congress / events

Sound Cinema
day 4

concert / sound art

2011-09-11, 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.


Andrzej Maria Marczewski, Tadeusz Woźniak “Moomins: The Summer Book” (79’32 / 1978)

A famous Polish radio adaptation of Tove Jansson’s “Moominsummer Madness,” recorded in 1978. Adapted by Andrzej Maria Marczewski. Text by Bogdan Chorążuk. Music by Tadeusz Woźniak.

Rudolf Ebner “Une Bacchanale pour Henri” (9’11 /
WDR 2009)
A piece consisting of recorded grunts, panting, sniffling, and other animal sounds commonly emitted by humans. The entire recording is like a comic strip and sounds like someone recorded a meeting of monsters, during which inappropriate sounds turn into a rhythmic dance number.

Alessandro Bosetti “Children’s America” (34’58 / WDR 2009)

An alternative look at “Obama’s country”: Alessandro Bossetti turns the United States into a utopia ruled by kids.

Chris Watson “Outside the circle of fire” (~ 60'00 / 1998)

The purr of a leopard close up against a baobab tree, waiting. Whales surfacing, breathing in cold air. Coil starling imitate the noise of farm machinery from the hollow ring of a ruined booth. The rattle of wood over a black stream... Chris Watson's second CD is a dramatic contrast to the spacious atmospheres of  "Stepping into the Dark" (Touch TO:27, 1996). Featuring 22 close-up recordings of animals, birds and insect life, "Outside the Circle of Fire" enlarges our awareness of the sound universe, intimate with voices from the past. There is an intensity here that television pictures cannot conjure.

Carsten Schulz, Peter Simon “Święte Drogi – Polnische Pilgerfahrt” (50’27 / WDR 2004)

Sounds recorded in villages where there are still ancient PA systems once used to broadcast the Sunday mass. The voices of thousands of pilgrims mouthing their prayers. Peter Simon and Carsten Schulz packed their gear and traveled to the heart of “Polish Jerusalem” during the Holy Week of 2003. The recording of Easter services turned into a peculiar pilgrimage to lands of undiscovered sounds.

Poland, the home of John Paul II. For liberals from Western Europe, who can’t understand the worship of the Black Madonna and can’t grasp the dark rituals of the Holy Week, Poland is still the heart of hardcore Catholicism. Even those familiar with mass processions and bus pilgrimages will not be able to resist the unusual force of soundscapes captured in rural Poland.

Piotr Czerny “The Simphony No 2” – live act (22’00 / 2011)

Czerny’s Electronic Symphony No. 2 is an ultra-rich and colorful piece, crafted only out of sounds produced by freeware synthesizers. Czerny, who is a Polish composer and sound director, has been working on the symphony for more than two years. “Symphony No. 2” will be played live with multichannel sound.

16:00 - 16:15
Patryk Zakrocki
Measurements (13'25, 2003)
The quadraphonic composition mixing traditional compositional technique – recording of harp, violin, cello and piano, with field recordings and electronic manipulation of the material. It is a story about hearing in a dream, when bird’s chant splits effortlessly into the straight sines and noise that forms inherent background of all acoustic phenomena can be “disappeared done” by us.
Realized by: Zofia Dowgiałło – harp, Patryk Zakrocki – piano, Karolina Wojaczek – cello, Julia Kubica – violin, Wojciech Marzec – sound direktor.

Pierre Henry “La ville. Die Stadt (Metropolis Paris)” (56’00 / 1994)

An acoustic snapshot of the city. The recorded sounds of alleys, stairs, human activity, and other urban phenomena were processed and edited in surprising configurations to form a specific, acoustic narrative.

Mauricio Kagel “Nah und fern” (41’34 / WDR 1994)

A radio play utilizing the sounds of bells and trumpets. As the title (“Close and far away”) suggests, it involves constant changes of perspective – shifting from the recordings from the Domkerk Cathedral in Utrecht to pieces for carillon and trumpet composed by Mauricio Kagel. The result of these experiments is an acoustic film lacking dialogues and exhibiting a clear rhythmic and musical structure, a film full of undiscovered stories.

Pierre Jodłowski “Le roaume d’en bas” (20’00 / 2011) PREMIERE!

It starts with a story. Fleeing the city in the dead of night… Entering a forest, searching for something, a whole new place… The flight ends: a discovery, a new beginning, a fall… These images, this interplay of symbols and spaces loaded with meaning (the city, a dark forest, an odd house) introduce us to the “Underground Kingdom.” Immersion in an unknown world results in music, bringing us closer to that, which for a long time will remain a non-place.

In this movement, accompanied by various texts arranged in reverse chronological order (from the long tradition of burning people at the stake to Plato’s Cave,) we want to ask the following question: “What can we do with knowledge?” Is our modern world, filled to the brim with information and an endless supply of entertaining activities so different from the other, underground world? There is nothing down there but archaic gestures: performed by musicians, gestures weaved with fluorescent lights. Then, energy becomes matter: a bow glides across the strings, a sudden gust of air rushing out of the bellows of a pipe organ. The mind becomes animated. In this primal state, in this primitive energy, something is born: incantations, a strange rush, a great uproar…

Vocals: Manuela Agnesi, Pierre Jodłowski.

Kamil Antosiewicz “Remememember” – live act (~60’00 / 2011)

For centuries, scientists have been trying to elucidate the way in which we access long-hidden memories. Subconsciously, they come back to us in dreams or during hypnotic states. Consciously, we can access them through meditation. The state of falling asleep acts as a very special catalyst, setting of a series of creative processes in our brains, including the recall of half-forgotten sensory impressions. That state (called phantasmata, praedormitum, dreamlets, etc.) is often explored by altered states of consciousness enthusiasts. It inspires musicians, whose works can evoke it indirectly, directly, or just serve as its acoustic interpretation. Their names come up every time that this topic is explored in the independent press and the blogosphere (e.g. The Shadow Ring, James Ferraro, Akira Rabelais, The Caretaker, Orphan Fairytale, performers associated with The Shadow Rings label, etc.) Using old recordings from radio archives, forming new permutations of the pop aesthetic, these musicians create a musical alternative to biofeedback and other methods that induce this peculiar state, in which we can’t really tell whether music is coming from speakers or is the result of opening our hippocampus. Only a hypnic jerk – the involuntary muscle twitch known to everyone – brings us back to Earth.

Michał Libera “Experimental Studio of the Polish Radio” – part 3 (~60’00 / 2011)

The last 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

Curated by: Dawid Bargenda

Coorganizer: House of Peace Foundation

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.