congress / events

Sound Cinema
day 1

concert / sound art

2011-09-08, 19.00-22.00 Feature Films Studio

informacje o biletach

photo: Szymon Hanczar

The Sound Cinema is a place for the observation of sounds. It presents stories told without words, images formed by the movement of sound, audio postcards from remote corners of the globe, and imaginative constructs in time and space. Audiences will step out of the hubbub of the congress grounds straight into a unique space, where they will hear paramusical projects and archival radio shows.

Projections will be held in the historic sound engineering studio at the Wrocław Feature Film Studio. The morning program will feature radio dramas for children, while in the afternoon audiences will hear multi-channel pieces, field recordings from all over the world, masterpieces of musique concrète, radio dramas, electronic and electroacoustic compositions, both new and archival — ones that delimit the boundaries of music itself and ones that define its very essence.

THURSDAY – September 8, 2011

19:00 – 20:00
Luc Ferrari “Presque Rien N°1, N°2, N°4”

Three pieces of the groundbreaking series by Luc Ferrari “Presque Rien” (“Almost nothing”):

Luc Ferrari “Presque Rien N°1 – Le lever du jour au bord de la mer” (20’43 / 1967-1970)
The first composition of Luca Ferarri’s groundbreaking “Presque Rien” cycle. The basis of “Presque Rien N°1 – day raise at the edge of the sea” is formed by recordings captured by Ferrari in the summer of 1968 on the island of Korčula in former Yugoslavia. The composition embodies the breach with traditional electroacoustic practices. Distinguished by their radical approach to music, the compositions do not contain any strictly musical sounds, they consist only of processed recordings of real sounds. This static sonic image suggests the meaning of a fragment of some specific reality.

Luc Ferrari “Presque Rien N°2 – Ainsi continue la nuit dans ma tête multiple” (21’29 / 1977)
“Presque Rien N°2 - Thus continues the Night in My Multiple Head” is a study of night and an analysis of the composer’s perceptions. The author says that his composition is a “description of a nocturnal landscape that the listener is trying to capture with microphones. The night, however, surprises the »hunter« and infiltrates his mind. The description is split in two: the inner landscape transforms the outer night; it composes the night, covers it with its own reality. The landscape of »Presque Rien N°2« is a homogenous and natural place, disconnected from the city. It has peculiar acoustic properties: clarity and depth. In such a place, you can simultaneously experience the nearer and farther sounds. There is no excess, everything exists in a human-friendly scale, without any interference from technology.”

The piece contains elements sounding similar to some traditional compositions, but even those elements immerse the listener in a world of postmodern dreaming. These elements determine the anecdotal passage from realism into fiction or the moment when the sounds of real night take concrete shapes in the composer’s mind.

“There’s one odd thing in the history of »Presque Rien N°2«; after I finished it, I didn’t intend to publish it, as if it was something too intimate, created exclusively for me. This went on for two years. One day I forced myself to listen to it once again and it hit me that I have no reason to jealously hide my work from the world and I should set it free. »Presque Rien N°2« premiered in 1979 at the Centre Pompidou in Paris. I remember that at one point, the spectators started opening their umbrellas. I took it as a form of silent participation.” (Luc Ferrari)

Luc Ferrari “Presque Rien N°4 – La remontée du village” (16’00 / 1990-1998)
In “Presque Rien N°4 – Walking Up the Village,” Ferrari investigates the concept of beauty as an inalienable element of our existence and our reflections. The “old village of Ventimiglia” is the subject of the composition.

“I was always hesitant to distribute any of the »Presque Rien« pieces,” says Ferrari. “Some of them waited two years to leave nest and live among others. In the case of the fourth part of the cycle, my hesitation went on for nine years. Maybe it was a result of the fact I consider it a clever imitation of the previous compositions, mixing reality and lie.” After a few years, he added: “The time has come to look upon things in a more general way, to create without reaching for theory, without systems, ideologies, references, to have the right to devise on our own or borrow from others, the right to imitate and the right to innovate – maybe this is what we might call a postmodern attitude.”

Wojciech Marzec “No 12/4.1” (~20’00 / 2011) PREMIERE!

This radio play is about the dangers and hopes linked with the operation of lost-and-found sound offices and warehouses, it reflects on the relevance of biophonic treatment plants, musical waste utilization facilities, it investigates unauthorized rentals of sonic relics, cautions against the threats presented by musicology and experimental encemusography conducted in semi-legal facilities where young talent is ruthlessly exploited. It analyzes the relationship between notes and humming, generalizes the Doppler effect, explores the issues of clefs, unique sounds, accidental recordings, radio plays lost in the air, and (in a limited way) the longest sound in the world.

Sabine Worthmann “Das Rätsel der Qualia” (55’52 /
HR 2011)
This radio play is a journey into the world of neurons in the human brain. Karl Lukowski, a drugstore cler, has been experiencing multiple unexplained phenomena and the presence of ghosts since his mother’s death. The task of explaining that weird phenomenon falls to a famous neuroscientist, doctor Karosinskaja. Lukowski is sitting in a chair in some laboratory, hooked up to peculiar apparatuses, with a specially designed interface between his brain and artificial eyes and ears. The scientist is investigating and analyzing Lukowski’s neurophysiological processes, molecular structures, personality models, hidden layers of his consciousness, and even his dreams. She studies his brain. The subjectively perceptible “Qualia” phenomenon should be found somewhere among the dense neural nets. “But where exactly is it?” asks doctor K of her levitating patient. The scientist’s assistant, Swedenborg, is a mystic and an enemy of science. The boundaries between worlds start to get fuzzy and a question arises in our heads: “Is the world only a figment of our minds, or is the mind only a part of the world?”

Author of the project: Patryk Zakrocki

Curated by: Patryk Zakrocki, Oliver Sturm, Jérôme Delormas

Coordinated by: Dawid Bargenda

Coorganizer: House of Peace Foundation

Partners: IRCAM (Institut de Recherche et Coordination Acoustique/Musique), WDR (Westdeutscher Rundfunk), DLR (Deutschlandradio Kultur), SWR (Südwestrundfunk), HR (Hessischer Rundfunk), Gusstaff Records, hanczar studio, Ośrodek Postaw Twórczych.