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CineChamber (Wed Sept 28 - Fri Sept 30)


Both CineChamber programs run twice per night, with tickets sold separately for each screening. Programs are 65 minute-long modules comprising 8-9 works from the RML archive, as well as new previews from international artists.

 
 

CineChamber Classics

CineChamber Classics surveys some of the most alluring CineChamber works originally presented on the platform, revisiting live archived concerts and constructs from a decade ago at the Recombinant Media Labs theater in San Francisco.

Wed Sept 28th, Thur Sept 29th, Fri Sept 30th
18.30 – 19.30
21.30 – 22.30

SELECT TICKETS

62 Minutes total running time.

Panorama Paranormal

Panorama Paranormal An international survey of spatial cinematic artworks by prominent, historical and emerging experientialists, exploring altered or asymmetrical post-ambient states and poly-perceptual modes of intersubjectivity and aural optic envelopment.

Wed Sept 28th, Thur Sept 29th, Fri Sept 30th
20.00 – 21.00
23.00 – 00.00

SELECT TICKETS

66 Minutes total running time.

 
 

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CineChamber Classics - list in order:

1/2/3. Elsewhere, Anywhere / People Are Friends, Path Leading to the High Grass, and Shika by Egbert Mittelstadt: Visuals, and Biosphere: Sound.
The mercurial widescreen sonic cinematic syntax of Biosphere & Egbert Mittelstadt has graced the CineChamber screens for many seasons now after their live milestone residencies in 2007. Opening with the weightless dreamful drift of ”Elsewhere Anywhere", Egbert Mittelstaedt reveals a Tokyo subway interior where the passengers are captured in a catatonic still life as their frozen images float quietly around a discerning CineChamber Station. Trapped on a haunted metro train to nowhere are the animated apparitions that emerge out of these photographic figures which for brief moments re-imagine the former preoccupation and lost voices of these restless commuter "ghosts". The spectral twilight audio commentary from Biosphere's Geir Jenssen suggest that these "People are Friends" - activated spirit’s of a human presence long since suspended.

4. cm: av_c by Ryoichi Kurokawa, Surround Cinema version.
Adapted from Kurokawa’s longer cm:av_c concert program from the mid 2000's - the RML ”CrossMedia" archive expansion module consolidates & repurposes some essential excerpts from this full hour production in full 10 channel surround. It is like seeing it all over again for the very first time. A timeless and powerful passage through thirteen minutes of Ryoichi's initial leap to prominence.

5. Brilliant Noise by Semiconductor: Visuals and Sound.
The module Brilliant Noise takes us into the data vaults of solar astronomy. After sifting through hundreds of thousands of computer files, made accessible via open access archives, Semiconductor have brought together some of the sun's finest unseen moments. These images have been kept in their most raw form, revealing the energetic particles and solar wind as a rain of white noise. This grainy black and white quality is routinely cleaned up by NASA, hiding the processes and mechanics in action behind the capturing procedure. Most of the imagery has been collected as single snapshots containing additional information, by satellites orbiting the Earth. They are then reorganized into their spectral groups to create time-lapse sequences. The soundtrack highlights the hidden forces at play upon the solar surface, by directly translating areas of intensity within the image brightness into layers of audio manipulation and radio frequencies.

6.Halveplane V.4 + Flam V4.1 by Masako Tanaka: Visuals, and Oval (Markus Popp): Sound.
Halveplane V.4 + Flam V4.1 is a visual representation of Markus Popp’s Ovalcommers (early 2000’s period), delving to visually simulate fragmentary and densely-layered sound blasts with irregular textured and complex percussive elements. Listeners perceive Oval’s intricate integration of processed audible electrical glitches and tonal instrumental sources alongside Masako Tanaka's ephemeral visual materials.

7. Umfeld by Scott Pagano: Visuals, and Jochem Paap: Sound.
Jochem Paap & Scott Pagano's spatial experiments in hyperanimation led to their motion and music collaboration of Umfeld, which provides a glimpse of what it might be like to not just see and hear what’s within the range of our senses, but also the frequencies outside those limits. It is both a final product and a process. It started as an hour long graphics film in concert with an intricately shape-shifted 5.1 soundtrack.
The name is German and means «environment» or «surrounding» and essentially that is what it is: a series of environments engulfing the listener/viewer. Pagan & Paap superimpose, displace, multiply, mirror, deform, and add complex audio-synchronized three-dimensional computer generated imagery and sound toward their mix, creating an overall comprehensive capability which exceeds the individual streams.

8. Static Room by Scott Arford: Analog Television and Sound.
The RML Static Room module is segments from Scott's ongoing series of performance & exhibitions, which with the palpitating chromatic moiré patterns from TV static and flawed connections, omit all representational images and cease to portray a linearly composed narrative event. Clamorous tones and hallucinatory color fields break down into vibrating sheets of interlaced fluttering and tumultuous shredding crackling luminosities that make it possible to hear the buzzing images and see the flickering sounds.

9. Parallel Head by Ryoichi Kurokawa: Visuals and Sound.
A seminal Kurokawa project from the later 2000's gets the full panoramic treatment with the rapid fire "Parallel Head" - a real head turner in the 360-degree version. Here Ryoichi upshifts his dynamic blip fast data pings to tidal waves of transitory, contradictory elastic tempo's which are re-assembled in a sudden and surprising dramaturgy of a distinctly indivisible concordance with electrochemical sub-narrative temporalities.

 
 

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Cinechamber Panorama Paranormal - list in order:

1. Xynaxis by Naut Humon: Audio Mapping Remixing.
One of Xenakis’s first “polytope” multimedia pieces “Persepolis” was chosen for re-interpretation with customized remixes that the composer was aware was about to be released by Asphodel Records in 2001 when he passed away. The interlacing of the remix pieces by various composers draws largely from the original work, emphasizing its noisy sonorities and overlapping waves of intensity. Naut Humon who curated the customized re-workings applied those remix sources with other outside electronics from Frankenstein Symphony etc. for this dedication tribute remix to the future memory of Iannis Xenakis.

2. Orbit Study (preview) by Ryoichi Kurokawa: Visuals and Sound.
Kurokawa’s work ORBIT premiered at Mutek 2012. This work explores a strange new alternate earthworld as it rotates, contracts and spans various panoramic vicinities.

3. Urban Horizon by Egbert Mittelstadt: Visuals and Sound.
A turbulent ride through different metropolitan environments like Moscow, Tokyo, Cologne, and San Francisco. The deconstruction of the footage is followed by a new spatial and temporal arrangement for the CineChamber.

4. Frame Grain by Masako Tanaka: Visuals and Sound.
Frame Grain is the re-materialization of fragmented film footage, recombined, collaged and stripped of their theatrical narrative structure, and re-synthesized for panorama pandemonium.

5. Portrait in Half Light by Paul Clipson: Visuals, and Jefre-Cantu Ledesma: Sound.
Clipson's approach to making films is an attempt to bring to light subconscious preoccupations - that reveal themselves while filming, into an improvised stream of consciousness manner. Aspects of memory, dreams and recordings of the everyday are juxtaposed within densely layered, in-camera edited studies of figurative and abstract environments vast and small, all within a flowing formal and thematic experimental aesthetic that encourages unplanned-for results. Maintaining a predominantly intuitive process in conceiving and creating films, where improvisation, utilizing mistakes, and "wrong" images (for example images that are overexposed or out of focus) are part of his filmmaking methodology, He is less concerned with a preconceived end result and more with being immersed in a visual exploration of the moment, where un-thought, unexpected elements reveal themselves. Live performance screenings provide an indispensable environment which visual and sonic permutations can be studied for future films.

6. Saffron Revolution Forever by Lillevan: Visuals, and Christian Fennesz: Sound, Co-produced by RML & ECAS.
'Saffron Revolution', which is a suitably grand thematic gesture, stretching out a single, euphoric multi-layered chord across much of its duration before dissipating away into a pattern of delayed string pickings. 'Saffron Revolution' is far and away one of the Cinechamber's most atmospheric and submergent modules, both in terms of the music and visuals themselves, and the sheer iridescence of the all-encompassing electronic liquidscape harnessed within.

7. Fundamental Forces - Version FF 003 by Tarik Barri: Visuals, and Robert Henke: Sound, Co-produced by RML & ECAS
Fundamental Forces is a collaborative audiovisual research project and installation work by Robert Henke and Tarik Barri. The title reflects the focus on movement, acceleration and the interconnections and attractions between visual structures and sonic events, as well as the underlying mechanics in each of the domains. Visual shapes emerge as the result of complex mathematical operations, are transformed and thrown around by the power of the underlying codes but they seem to be alive, there is a sense of plausibility and realism even in the most abstract moments, a sense that is created by the careful adjustments and tunings of all details, resulting in an overwhelming and highly immersive 360 degree projection combined with a deeply spatial auditive component that seems to span a space of nearly infinite size.

 
 

 
 
 

Saturday Performances (Oct 1st)


The final two days of the Recombinant Festival presents evening programs of music-driven audio-visual performances.

Saturday night sees powerful experiences from artists Ulf Langheinrich (solo) and his former group Granular Synthesis with Kurt Hentschlager. The night will close with the electronic rhythmic racket project Cut Hands, pushing voodoo and haunted percussion motifs in radical new directions. Saturday night tickets ensure admittance to the entire evening program.

TICKETS

 
 

Saturday Night Performance Works - in order

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1. Motion Control MODELL 5 Granular Synthesis: Visuals & Music.
Motion Control MODELL 5 is a performance or installation in which the face of Japanese performer Akemi Takeya is subject to drastic time-based interventions that create in essence a cyborg-like hybrid, between human and machine. A roller coaster dramaturgy following the "life" of the four clones on screens.

Initially premiered in 1994 at the ICC London, MODELL 5 has been described as one of the most brutiful experiments in bringing digital video to a theatrical setting. It uses a technique derived from the principals of sound design called "granular synthesis" but applies this to the rather fat grains of single video frames (visual content and sound). The audio resulting from this aggressive, shattering granulation is largely responsible for translating the familiar human form into the alien machine.

Radically deconstructed and decontextualized, the audio, still in perfect synchronization with but perhaps even more disturbingly abstract than the granulated video-humans, is amplified, multiplied, layered and compressed into an oscillating, pulsating 'living' sonic mass. The result of this represents our species uniquely (inhumanly) and in so doing also defines the essential characteristics of machineness - speed, precision, and unnatural control. We witness the machine processing and reforming human presence.

Granular Synthesis is a collaboration between two researchers, Hentschlager and Langheinrich, who specialize in transforming the gestures and noises of human bodies, particularly human heads isolated by video from their bodies, into recombinant, alien screen-based creatures that move, express and distinguish themselves through superhuman performance. In short, Granular Synthesis turn people into machines.

 

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2. Full Zero by Ulf Langheinrich: Visuals & Sound.
Shocking, yet prurient, Full Zero focuses on a total field performance by Chinese choreographer Luo Yuebing. Captured by a remorseless scanning camera, her ephemeral and delicate situation is transformed into an ambiguous body barrage of hypnotic beauty, both sensually and enraptured of the eros and its mortality.

Exhibited on a large screen, the piece imposes a voyeuristic situation upon the audience, where the tension is created in connection with the image flow onto and into the surface as truth or illusion. Seductively disturbing, the work addresses deep desires behind the notions of power in the consummation of ubiquitously available sexual images to viewers in solitude, and in dominion of nothing but their mouse or trackpad. It is essentially about control over people who are addicted to empty images that are inescapable, but uncertain - like memories.

Parallel spatial streams of high and low frequency oscillation pulsation textures flood the mesmeric space with vibrational in consistencies derived from a trance induced state of near purity where a kind of perceptive drowning to silence of the listeners syn-aesthetic time discernment is liquidated.

3. Cut Hands by Cut Hands (William Bennett).
Thematically speaking Recombinant finds a brutally fierce focus through the pulse propelled batteries of African and Haitian inspired polyrhythmic percussive energy of William Bennett's CUT HANDS solo project where caustic full frequency swarms clash, whirl and collide with the electronically driven vaudou / voodoo spirit of the possessed. Intense hallucinatory states of physical and mental motions are torrentially applied in a flurry of skeletal pounding djembes and stabs between eerie calms and thorny panic.

The name Cut Hands is a reference to the Whitehouse track "Cut Hands Has the Solution" from their 2003 album "Bird Seed". With the "Black Mambo" / "Afro Noise" to the "Festival of the Dead" album releases already riding the upstream rivers into the hearts of darkness, CUT HANDS continues to confound, scar, manipulate and undermine mainstream music's typical tyrannies of response by allowing its spectators their own personal space to react and to fathom.

 
 

 

Re-Cog-Ignition: A Substance Immersion Symposium (Oct 2nd)

This is the first in an ongoing series of Recombinant panel discussions. Using the context of the works shown in the festival as a starting point for debates around our contemporary understanding of time-based works, spatial media, and experiential enactments. Featuring two festival artists and other special guests and cameos.

Speakers include:

Vicki Bennett (People Like Us)
Erik Davis
Ulf Langheinrich (formerly of Granular Synthesis AV group & co-creator of Motion Control MODELL 5 and solo work)
David McConville

Steve Mason
Edwin van der Heide

Co-presented by:
Naut Humon and Li Alin

 

Themes and Topics include:

Between Human & Machine - from Motion Control MODELL 5 to FULL ZERO. Exploring meanings & contexts of time(less)-based media arts

Screen Saver or Savor? - Narrative vs Abstract, Substance vs Simulation. Considering the aesthetics of spatial media and recombinantory cognition

Have we passed the Acid Test? - Time travels to the 1966 Factory ethos of Andy Warhol's Exploding Plastic Inevitable (EPI), and the psychedelic San Francisco Trips Festival. An exploration looking back at experiential enactments from the past half century of pioneering intermedia spectacles and installation works, in relation to future thinking on AI and VR for the next 50 years.

 
 

 
 
 

Sunday Performances (Oct 2nd)


The final two days of the Recombinant Festival presents evening programs of music-driven audio-visual performances.

Sunday repeats the works Full Zero and Motion Control MODELL 5, and closes the evening with the late Maryanne Amacher’s sonic monument "Plaything". A droning, spectral masterpiece that will be played precisely from Amacher's own score, reanimated and amplified live by Naut Humon and Edwin van der Heide.

Sunday night tickets ensure admittance to the entire evening program, as well as the Re-cog-Ignition Symposium.

TICKETS

 
 

Sunday Night Performance Works - in order

 

m5-03

1. Motion Control MODELL 5 Granular Synthesis: Visuals & Music.
Motion Control MODELL 5 is a performance or installation in which the face of Japanese performer Akemi Takeya is subject to drastic time-based interventions that create in essence a cyborg-like hybrid, between human and machine. A roller coaster dramaturgy following the "life" of the four clones on screens.

Initially premiered in 1994 at the ICC London, MODELL 5 has been described as one of the most brutiful experiments in bringing digital video to a theatrical setting. It uses a technique derived from the principals of sound design called "granular synthesis" but applies this to the rather fat grains of single video frames (visual content and sound). The audio resulting from this aggressive, shattering granulation is largely responsible for translating the familiar human form into the alien machine.

Radically deconstructed and decontextualized, the audio, still in perfect synchronization with but perhaps even more disturbingly abstract than the granulated video-humans, is amplified, multiplied, layered and compressed into an oscillating, pulsating 'living' sonic mass. The result of this represents our species uniquely (inhumanly) and in so doing also defines the essential characteristics of machineness - speed, precision, and unnatural control. We witness the machine processing and reforming human presence.

Granular Synthesis is a collaboration between two researchers, Hentschlager and Langheinrich, who specialize in transforming the gestures and noises of human bodies, particularly human heads isolated by video from their bodies, into recombinant, alien screen-based creatures that move, express and distinguish themselves through superhuman performance. In short, Granular Synthesis turn people into machines.

 

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2. Full Zero by Ulf Langheinrich: Visuals & Sound.
Shocking, yet prurient , Full Zero focuses on a total field performance by Chinese choreographer Luo Yuebing. Captured by a remorseless scanning camera, her ephemeral and delicate situation is transformed into an ambiguous body barrage of hypnotic beauty, both sensually and enraptured of the eros and its mortality.

Exhibited on a large screen, the piece imposes a voyeuristic situation upon the audience, where the tension is created in connection with the image flow onto and into the surface as truth or illusion. Seductively disturbing, the work addresses deep desires behind the notions of power in the consummation of ubiquitously available sexual images to viewers in solitude, and in dominion of nothing but their mouse or trackpad. It is essentially about control over people who are addicted to empty images that are inescapable , but uncertain like memories.

Parallel spatial streams of high and low frequency oscillation pulsation textures flood the mesmeric space with vibrational in consistencies derived from a trance induced state of near purity where a kind of perceptive drowning to silence of the listeners syn-aesthetic time discernment is liquidated.

3. Plaything by Maryanne Amacher.
Unequivocally one the most magnificent musical mavericks of the 20th century, Maryanne Amacher leaves to our mortal listening world one of her more personal live-to-multi-channel disc performances comprising her rare departures from structure borne sound.

After studying with Stockhausen and working with John Cage, Amacher took off on her own psychoacoustic flight path, developing work that was critically described as; "hallucinating swarms of biological air from every direction", "3D illusions of difference-tone ear dances where the sound seems to emanating from inside your own skull!", "immense volumes that make the frequencies feel liquid -, all-enveloping buzzing rumbles wrapped in sandstorm textures".

Through multiple residency periods with Recombinant Media Labs in 2000, Amacher designed a legendary 'airborne audio' "Plaything" mix, re-amplified from her hand in concert by Naut Humon and Edwin van der Heide. A 50-minute epic epiphany, chronicled by Amacher before her death, 'Plaything' is a prime example of RML's experiential archive of past lives that can still breathe and encircle us today.