Sonic Cinema - Week #7 · Wednesday, April 12

SONIC CINEMA - WEEK #7 · WEDNESDAY, APRIL 12 GENERAL INFORMATION Wednesday, April 12 · 19:00 - 20:30 Doors open at 18:50 - please make sure to arrive on time to attend the whole session Tickets on shotgun only - limited capacity Basement -2 35-37 Rue des Francs-Bourgeois, Paris 75004 PROGRAM SCHEDULE 19:00 - 19:10 Monom Studios Recalibration (4DSOUND installation) 19:10 - 19:25 Jan Jelinek, Beweisstücke für das Bombardement (4DSOUND Installation) 19:25 - 19:35 (10 min break) Monom Studios Recalibration (4DSOUND installation) 19:35 - 20:20 Rrose (4DSOUND Installation) ABOUT SONIC CINEMA To visit Sonic Cinema is to enter a liminal zone - a ‘space of possibles’ where Spatial Sound fundamentally enhances and alters the ways stories are told and experienced. A pure sonic experience, set in complete darkness - the Sonic Film is a film that the audience inhabits and experiences with their whole body. Uninhibited by the visual sense with its defined boundaries, this new medium enhances one's physiological experience, vastly expanding possibilities for narrative creation and embodiment. Before each session you will be able to experience a Recalibration by Monom Studios to tune in your senses. This moment will serve to sharpen our attention and in particular our ability to listen more deeply, to listen with the whole body. For more information about Monom Studios follow them on instragram: @monomstudios and visit their website: www.monomsound.com ABOUT THE ARTISTS Rrose Rrose is the latest incarnation of Seth Horvitz, an inter-disciplinary artist from California whose 20+ year history weaves in and out of academic circles and electronic music culture. Their work is informed by ongoing interests in microtonality, the limits of perception, and the idiosyncrasies of machines. This approach serves to create a distinctly detailed, sensual and hallucinogenic form of techno that challenges the mind and body in equal measure. The project extends into specific pockets of the avant-garde, leading to collaborations with luminaries such as Bob Ostertag and Charlemagne Palestine and reinventions of works by 20th century composers such as James Tenney. On stage, Rrose often stands in the shadows, going by he and she interchangeably (Rrose’s name and image allude to Duchamp’s female alter-ego) – an implied interrogation of gender norms and artistry in techno circles, albeit with a hint of black humour (Rrose’s biography states “Born 1969. Died 1909”). Rrose’s first release in 2011 on Sandwell District came cloaked in mystery as to its creator, as did the following collaboration featuring Bob Ostertag’s Buchla 200E synth and a string of vinyl releases on her own Eaux label starting in 2012. In the sync domain Rrose is equally blowing fuses having recently provided music for Martin Scorcese’s “The Current War” along with producing music for Alexander McQueen’s Black Show and Harmony Korine’s collaboration with Gucci. Jan Jelinek, Beweisstücke für das Bombardement Originally produced for SWR. First broadcast: 7 July 2015. Conceived, composed and produced by Jan Jelinek. Beweisstücke für das Bombardement (Exhibits of the Bombardment) is a composition, a collage and a documentation. Special edited version for MONOM in 2022 (length: 16 minutes) Seventy-one years after the atomic bomb was dropped, the catastrophe is still present: Designed by Kenzo Tange in 1954, Hiroshima Peace Memorial Park and the same-name museum are both a monument to the victims, a resource for tourism, and an ambitious memorial. Over several days, the author tried to capture the site acoustically. The result is a markedly subjective cartography. Views of the dome, the hysteria of school children in the park, documents of a devastated city in the museum: like a journal, the collage tours the site, station by station. The realization takes its cues from Kryztof Penderecki’s microtonal score Threnody for the Victims of Hiroshima. On the realization Following Penderecki’s score, the field recordings are organized in orchestral groups: instrument groups become terrain groups – the group of 24 violins, for example, becomes 24 recordings from the museum’s foyer; the group of ten violas becomes ten recordings from the first exhibition space – each instrument is represented by one field recording. By analogy with the piano keyboard, a time scale divides the field recordings into 88 units – allowing shifts in time to replace changes in tone. Recording location, time, and duration of playback are the key compositional criteria. The resulting new interpretations are woven together with other collage fragments into a 30-minute audio composition. Beweisstücke für das Bombardement orients itself towards the orchestral organization of Threnody: the creation of sound mass - and the composition and modulation of textures with up to 52 sound layers. A harmonic approximation of the original was not planned as it would have led to the field recordings being too strongly distorted. Jan Jelinek’s works translate popular music sources into abstract textures. Rather than using traditional instruments, he constructs collages out of tiny sound particles. Since 2000, he has released material under both his own name and various pseudonyms (incl. Ursula Bogner). His many collaborations include projects with Sven-Åke Johansson, Sarah Morris and Masayoshi Fujita. In 2007, together with Hanno Leichtmann and Andrew Pekler, he founded the improvisation trio Groupshow, and in 2008 he established the Faitiche label as a publishing platform for his own experiments, for collaborations, and for works by musician friends. Since 2012, he has been writing and producing experimental radio plays for public broadcaster Südwestrundfunk (SWR) that explore fictional identities and soundscapes. ______________________________________________ FAQ What is SPATIAL sound?⁠ Spatial sound is a term to describe the way we have evolved to perceive space through sound - it refers to the way we hear sound naturally in the world around us, in all its complexity and depth. From above, below, around us, through and within us. The perfect spatial sound experience is the one we experience every day. When we refer to spatial sound technology, this is technology that aims to recreate this effect.⁠ ______________________________________________ PLEASE NOTE We advise coming 10 prior to the start of the sessions to enjoy a Recalibration by Monom Studios For a better experience we recommend having cell phones turned off as light can distract from the experience. If you need to leave the room in the middle of the session, please do so in silence. No cash accepted for the tickets, all the tickets are sold only on shotgun. Possibility to buy directly at the beginning of the event on shotgun. Spatial Sound by MONOM Studios Production: 3537 Technology: 4DSOUND Thanks to Dover Street Market Paris Visual identity by Studio Doppelgänger