congress / events

Sound Cinema
day 2

concert / sound art

2011-09-09, 10.00-22:00 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.


Alessandro Bosetti “A collection of smiles” (51’00 / WDR 2011)

Alessandro Bossetti is fascinated by the sound of words. He’s tirelessly looking for new ways to make music out of spoken language. In his newest project, inspired by Francis Ford Coppola’s “The Conversation,” he concentrates on the polyphony of everyday private conversations.

Bossetti’s characters are placed in separate booths and urged to talk. Along with his experimental ensemble, consisting of Kenta Nagai, John Chang, and Chris Heenon, Bossetti analyzes fragments of interactions, faithfully reconstructing the spaces between the words and pits recorded voices against one another.

Andreas Bick “Chronostasis 5.1” (3256 / WDR 2009)

The “Chronostasis” project is a form of defense against the inevitable passage of time in the form of dematerialization of its sound.

Imperceptibly, we are approaching the era of time measurement, an era which began with the invention sundials and water clocks and reached its end with the construction of the atomic clock. Modern time measurement based on the vibrations of caesium atoms is in a way a return to the past, to time measurement reliant on naturally occurring processes.

In “Chronostasis,” Bick discusses our modern perception of time and investigates its disintegration. His composition is an homage to a world filled with the sounds of clocks, sounds that have disappeared from our lives. The composer forces a pendulum clock into our everyday lives, filled with technology, ruled by time management and the overbearing feeling of its lack.

Pierre Henry “Le voyage initiatique” (66’00 / 2005)

The journey created by Pierre Henry is a movie without a picture – all the adventures, stories, and events are told only through recorded sounds. You just have to close your eyes.

LMS “Continuity Illusions” (14’30 / WDR 2003)

“Continuity Illusions” is a composition about time, perception and the concept of spacetime. Particles and sonic explosions whirl around with variable speed inside the speakers. Sounds that seem layered on top of each other suddenly evolve into an acoustic wave sweeping through an entire tonal spectrum; linear sequences intertwined with receding silence. As with all hasty movements, also here we experience slowing down, standing still, and sudden changes of direction. The dynamics of these elements form the basis of this composition.

Thomas Gerwin “Feuer-Werk” (48’00 / WDR 2003)

In his composition, Gerwin weaves hypnotic visions straight out of dreams (or nightmares.) The cleansing, destructive, energetic flames, forming a complex mixture of specific sounds, spread to create a peculiar sonic conflagration. The sounds of flames are stretched to the maximum, their sonic structures carved like reliefs, their spatial configuration modified, and the sounds themselves reassembled only to be disassembled again. Gerwin traces the rhythm of flames, investigates the fiery events, from their humble beginnings (in the depths of the Earth) up to the point where we see their effects with our own eyes (e.g. volcanic eruptions and lava flows.)

Werner Cee “Agon” (45’10 / DLR 2010)

“If I was to shoot my last movie, it would be a story about science and terrorism going hand in hand.” (Luis Buñuel)

Shortly before his death, Buñuel left with Jean-Claude Carrièr for his favorite hotel in Mexico, where they were supposed to work on a new screenplay. Unfortunately, it turned out that their favorite hotel bar is no longer there. The new movie was never shot.

30 years later, Werner Cee, a sound artist, pits the apocalyptic scenario against the sounds of a Good Friday procession recorded in Calanda, Buñuel’s hometown. “Those drums, this unbelievable, immense, cosmic phenomenon, stirring the collective unconscious and making the Earth itself tremble.” (Luis Buñuel)

Luc Ferrari “Les Anecdotiques” (54’28 / 2004)

This composition was commissioned by DeutschlandRadio Berlin.
The composer said this about his work: “The ‘Les Anecdotiques’ compositions illustrate a concept I first touched upon in ‘Hétérozygote,’ (1963), a piece that I decided to subtitle “anecdotal music,” with an intentional amount of derision. The project was supposed to let me seize upon the chance offered by travel, mostly professional, which allowed me to visit many foreign countries. There, I recorded what I considered to be interesting.

Using these recordings (the ones that turned out all right,) I composed short sequences, each one created from sounds captured in one specific place, more or less a representation of reality. These sequences are portraits that can be perceived as sonic riddles, because the aforementioned places are rarely identified, except when I remembered to do so on the spot.

The sequences form one level of the composition, first of the three.

I began to think of a second level while perusing my archives. There, I found heretofore unused electronic sounds, which could have served as a very interesting bridge between sequences. So the second level is the perpetual balance between the ‘concrete’ and the ‘abstract’.

As far as the third level is concerned... I was thinking about the interviews I gave to young women many years ago. I used to call them ‘The Words of Women.’ Spontaneous and intimate. These unused recordings finally found their place in ‘Anecdotiques,’ creating a parallel discourse that has nothing to do with sequences or electronic sounds.”
Luc Ferrari (October 2002)

The titles of the sequences are:
1 - Numero quatro, Ronda Spain, June 2001. A group of Spanish tourists in a museum.
2 - Plaza de toros, Ronda. The arena is under restoration.
3 - Fitting, Saint Jean d' Angélys, France. July 2001 During a rehearsal, the actors try on their costumes.
4 - Sky of Tuscany, Italy. August 2001
5 - Superstrada n°2. Tuscany.
6 - A cypress in sunset. Tuscany.
7 - Sea of Eze. France. September 2001.
8 - Grape harvest, St. Lawrence d' Eze, France.
9 - The Ranch. Texas, USA, October 2001
10 – Chicago, USA. October 2001. Rehearsal for a concert.
11 - Harley Davidson. Texas. Sunday walk in a village.
12 - Red shoes. Estaque, France. July 2002. Visit to the Lafarge cement factory.
13 - Hole of sea, Estaque. July 2002
14 - Joliette. Docks of Marseilles. France. Loading of the containers.
15 - Doors of Rove. Estaque, same period. Rove is a maritime tunnel reaching a bay to the east of Estaque

Recorded by Brunhild Meyer and Luc Ferrari, cut, mixed and composed at the Atelier post-billig by Luc Ferrari (between June 2001 and October 2002).
German translation and vocals: Brunhild Meyer Ferrari

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

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.

Jan Topolski “Cinema for listening” – live act (~60’00 / 2011)

A collage of movie soundtracks with live commentary. Jan Topolski invites the audience on an hour-long journey through the history of cinema... with our eyes closed. From Walter Ruttmann’s “Berlin: Symphony of a Great City” and “Weekend,” through the classic works of Jean-Luc Godard and David Lynch, and up to the newest films of Tsai Ming-liang and Koen Mortier. Can we deduce the images and plot of a movie just from listening to its soundtrack? The presentations will be accompanied by a bit of theory (Michel Chion,) but the primary goal of the show is to let imagination run free!

Heiner Goebbels “Stifters Dinge
(55’45 / SWR 2010)
The basis of “Stifter’s Things” is a short story titled “My Great-grandfather’s Notebook,” written by an Austrian writer. The works of Adalbert Stifter, (1805-1868) who called the cooperation of men and things a “gentle law,” was often interpreted in a very careful and cautious way. Heiner Goebbels wants to go in a different direction. Stifter’s respect towards things made him seek realities that exceeded the limits of human cognition. A musical equivalent of such a search would be the early, original ethnographic recordings that brought as unfamiliar voices belonging to alien cultures. The whine of engines and the hiss of various apparatuses become the basis of an acoustic piece, a quote from the text that Stifter battled with his entire life.

20:00 - 20:45
Jacaszek “Pentral” (35'52, 2009)

Michał Jacaszek's new project “Pentral” (lat: inside, spirit, temple) is an attempt to describe a gothic church interior by means of sounds. A temple owes its special atmosphere not only to visual elements but also to characteristic acoustics – reverb, enhancing and prolonging a slightest whisper into infinity. Jacaszek spent several days in three Gdansk historic churches (Oliwa Cathedral, St. Nicolas' church, St. Mary's Basilica) recording chanting (retired opera tenor Stefan Cejrowski and a singer Maja Siemińska), organs (Stefan Wesołowski, Błażej Musiałczyk), and also a broad spectrum of accidental noises. Source sounds were used only as a stimulus which releases the sound of the whole inside, and as such, they were consequently retouched in the post-production process. Studio work and also the atmosphere of melody and arrangements were subordinate to the idea of portraying the church as a place filled with distant mysteries, a huge music instrument.

Michał Libera “Experimental Studio of the Polish Radio” – part 1 (~60’00 / 2011)

The first of the series of three radio shows dedicated to the recordings captured in the legendary Experimental Studio of the Polish Radio. Established in 1957 due to the tireless efforts of Józef Patkowski, the Studio was one of the most prolific and original establishments dedicated to sonic experiments in Poland. Unfortunately, up until 2010 accessing the Studio’s archives was almost impossible and no archival recordings were ever released. Because of that, the Studio’s place in Polish musical history of the 20th century is wholly inadequate to its real output, which was truly unique. The audience will have a chance to learn a bit about the Studio’s history and hear the most important works recorded therein. But first and foremost, the show will present how original and unique the studio was in comparison to other similar facilities established in the 50s (like the Cologne and Paris Studios.) The show will be split into three parts, dedicated among others to written scores for electronic music, fascination with instruments, intuitiveness of the composition process, and the important role of the sound director. Some newer recordings from the Studio, which could be called the Polish equivalent of noise music, will also be presented during the show.

Author of the project: Patryk Zakrocki

Curated by: Patryk Zakrocki, Oliver Sturm, Jérôme Delormas

Coorganizer: House of Peace Foundation

Coordinated by: Dawid Bargenda

Partnerzy projektu: 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.