Wed 11 Mar '20 - Film

Blind Cinema #2

2nd Edition!
20:30
WORM

De tweede aflevering van Blind Cinema. In de filmzaal van WORM worden twee geluidscomposities van studenten van Codarts en twee radiofonische hoorspelen ten gehore gebracht, de hoorspelen gemaakt in opdracht van Worm/Dr Klangendum. De makers zullen ook aanwezig zijn. De WORM studio vraagt ieder seizoen aan minimaal 10 geluidskunstenaars om een radiostuk te maken, bij voorkeur in de WORM studio. Die worden dan uitgezonden op de Concertzender bij het programma Dr Klangendum (voorheen op de dinsdag, middernacht, nu op de zondag, ook middernacht). Sinds kort hebben we een samenwerking met Codarts waarbij we studenten uitnodigen om van de WORM studio gebruik te maken, de twee stukken die we vandaag laten horen zijn daar een gevolg van.

Het leek ons een goed idee om zo nu en dan gezamenlijke luistersessies te organiseren… er van uitgaand dat het een bijzondere ervaring is om deze geluidskunst in het donker, met nog een aantal toehoorders samen te ervaren. Geen afleiding, totale focus, maar toch niet eenzaam en alleen…

Het programma; (beide hoorspel duren minder dan een half uur, de tape composities van de jonge componisten duren beiden niet langer dan 10 minuten, er is een pauze en gelegenheid tot uitwisseling met de makers, toegang gratis).

1. Phone Play Love by Mina Kim.
Mina Kim is an artist whose works explore leftovers from digital technology with the perspective of sociology and interactive media design. The methods of her practice range from creative coding, circuit bending, and audiovisual performance. Her in-progress project ‘off technology R&D’ investigates the error, failure, and residue of the development of digital technology. Through her projects, Mina aims to find a way to coexist with digital debris in our digital society. She exhibits and performs e-waste instruments she created in her last project. She is a member of ‘Fruit From the Forest’ – experimental sound project, and ‘RE#SISTER’ – female/femme/non-binary electronic music & sound community in Rotterdam. Currently, she is based in The Netherlands and South Korea. About the work: “I opened my old cell phone. I found the sleeping sounds, music, and voices in it.” Produced by WORM/Klangendum, part of it made in the WORM Studio, Rotterdam, 2019.

2. Body Without Organs by Carmel Freeman.
“Contained in the worlds appearances are virtual potentials. Deleuze & Guattari’s body without organs is granted access to a deterritorialized horizon of continuous intensities. Questions about hierarchy, organization, reproduction and stasis shape the architecture of this composition.” – CF

3. Going Places by Asim Halwarvi.
Going Places portrays the sounds that were recorded while the composer was travelling in Europe. It is the imagination of how the composer would like to perceive these sounds from different places and perspectives as a whole.

4. ‘Posedai tot felul de obiecte electrice’ by Suzana Lascu.
“So, I had an idea for the radio play. The inspiration is drawn from this poem:http://www.romanianvoice.com/. It’s an anxious text that’s been written by a Romanian postmodernist novelist (my personal favourite) who came quite close to winning the Nobel Prize in Literature recently. The importance of the poem is represented by the clash in the perception of a man upon a woman as a confusing entity encompassing a multitude of features and stereotypes, the reflex of the male gaze being that of adopting a simultaneously contemptuous and deifying attitude towards her contemporary authority. Dealing with a gender both emancipated psychologically and competent technologically is the main theme here, backed up by a fascination with the subconscious of the subject matter. Also, the title means “you were possessing all sorts of electrical objects”, which makes me feel it absolutely fits within the values of our feminist group of electronic musicians.

What I intend to do from here is to create a densely layered vocal piece that might remind listeners of Louis Andriessen’s ‘De Tijd’, in the sense of it being melodically indeterminate. This is a perfect opportunity to expand on my harmonic language and attempt to conjure such specific atmospheres of tension in my works. On a technical level, I’m very interested in using analogue effects which I either own or that are available at WORM.”