Wave Field Synthesis Special Program

Monday. 10.11 – 19h30

In addition to the German premiere of Filarium at Villa Elisabeth on Nov. 11th 2014, Michel Chion, Lionel Marchetti and Jérôme Noetinger play a selection of their works through the largest wave field synthesis/WFS system: Installed around the entire hall, over 2000 speakers, controlled by a computer cluster with 832 audio channels, allowing creation of sound sources anywhere in the space and providing a near-complete degree of immersion for the listener.

In collaboration with the Electronic Studio of TU, Faculty of Audio Communication, Berlin.

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noetinger
Jerome Noetinger and Lionel Marchetti
Jerome Noetinger and Lionel Marchetti

Selected pieces:

Michel Chion, Gloria (1994)
Lionel Marchetti, Natura morta (2007)
Jérôme Noetinger, L’epaisseur de la nuit (2014)
Lionel Marchetti, L’incandescence de l’etoile (1991)
Michel Chion, Blanche (1971)

A musique concrète composition by Michel Chion, Lionel Marchetti and Jérôme Noetinger

German première

In 1998, the Cultural Centre André Malraux of Vandoeuvre-lès-Nancy commissioned Michel Chion, Lionel Marchetti and Jérôme Noetinger to collaborate on a work of musique concrete. “Les 120 jours” was the result — a fresco for which the composers exchanged a mass of sounds from multiple origins, that each had worked, transformed and recomposed in their own style.

For this new commission, the work was realised in two stages. Firstly, during several recording sessions at the CFMI of Lyon (Université Lumière Lyon 2), the three musicians improvised to create some raw materials and sequences. From this large reservoir of sounds, they composed six pieces of musique concrète : one each independently, and three organised according to set rules of chance as chosen by the trio to create a series of sonic events.

The overall structure of “Filarium” is to be appreciated as a vivarium where just as many sound beings of different species cohabit — originating from varying lineages and junctions at porous borders, real, or imagined — as material and open poetics, antagonists, dissidents even, nevertheless connected here by a deliberate strangeness.”

Supported by Initiative Neue Musik Berlin. In partnership with Deutschlandradio Kultur and Elektronisches Studio, TU Berlin.

Listen on Deutschlandradio Kultur

Damaged Particulates

With Damaged Particulates the experimental musician and composer Ben Vida delves into the enveloping world of “direct bass”. Utilising a four-channel, twin-sub sound system and 25 individual SubPacs, a tactile audio system placed on each audience members seatback, which directly transfers low frequencies to the body, this highly detailed and immersive piece for electronics examines the dimensional and spatial qualities of analog and digital synthesis.

Damaged Particulates is a work that oscillates between performance, installation and sculpture, and is experienced as much by touch as by hearing. Originally commissioned for Unsound Festival NYC, this new version explores further the possibilities of multi sensory sonic reception.

Commissioned for Unsound Festival New York 2014. In partnership with Unsound, Subpac, the Electronic Studio of TU, Faculty of Audio Communication, Berlin. In collaboration with LEAP.

Ben Vida Interview – Unsound at LEAP Gallery Berlin

It’s one of those archetypal expressions that has lost some of its initial weight over time: “Anything and everything can be music.” The kind of saying that nowadays results in a shrug from those who have been subjected to it. Luckily for us, Brooklyn-based composer and experimental producer Ben Vida is lending the expression new significance. His work is quantitative in its uniqueness, its otherworldly weirdness, its experimentalist nature. If his critically acclaimed sound poem Tztztztzt Î Í Í, his 2013 multi-media project Slipping Control, or his performance-based collaborative effort with Sara Magenheimer and Michael Bell Smith, Bloopers #o have anything to say about it, anything and everything really can be music. And where Ben is concerned, we’re so glad that that’s a fact.

It’s with this mindset that we embark upon Damaged Particulates, Ben’s latest venture that balances performance art with immersive music listening. An eleven-movement solo composition for fixed and live electronics presented in four channel expanded stereo, Damaged Particulates explores the space between musical representation and sonic abstraction through speech, music, and body. Presented in collaboration with SubPac, Ben’s audience will not only hear the music, they’ll feel it too,  benefitting from his performance on three levels: mind, body, soul. Ahead of the Damaged Particulates’ show in Berlin this weekend, we caught up with Ben to talk sound poetry, experimentalism, SubPac, and the story behind this project. – Read more

Gordon Monahan’s Speaker Swinging

Gordon Monahan sees this concert performance as a hybrid with sculptural, installative, and performative, athletic aspects ‘due to the corporeality of the swinging boxes and because sweat, heavy labor, and stubbornness are required’.

The close connection to the tradition of the Fluxus performances, which were also based on a simple concept, here the swinging of the loudspeakers, has to do with Monahan’s interest in ‘the live staging of technical situations in which people concentrate their attention on things like the movement of sound in the room and on how physical gestures produce the sounds’.  – Rudolf Frieling

Speaker Swinging, from 1982, is a rite in which three performers swing loudspeakers over their heads. To this primitive ritual is added an electronic dimension, as each of the speakers relays a series of tones generated by nine sinewave or sawtooth oscillators, their rapid motion through the air creating complex overlays of effects, including phasing, vibrato, and tremolo. Speaker Swinging was first performed in Toronto in 1982, and has since been presented in many varied venues at festivals and museums worldwide.

In collaboration with Elektronisches Studio der TU, Berlin. Supported by Initiative Neue Musik, e.V. In cooperation with LUFF and Spazio Aereo.

Mika Vainio
Kuopio, Finland. Lives and works in Oslo, Finland.

Official WebsiteDiscogs

Mika Vainio, based in Oslo/Norway, has published solo recordings under his birth name and under a series of pseudonyms including Ø and Philus and, together with Ilpo Väisänen, as Pan Sonic (formerly Panasonic).

In the beginning of the 80’s Mika Vainio has played electronics and drums as part of the early Finnish industrial and noise scene.

Nowadays, his solo works are known for their analogue warmth and electronic harshness. Be it abstract drone works or minimal avant techno, Vainio is always creating unique, physical sounds.

He has released on labels like Editions Mego, Touch, Wavetrap and Sähkö and has been producing among others with Alan Vega of Suicide, Haino Keji, John Duncan, Stephen O’Malley, Merzbow and Bruce Gilbert.