Home » Events » RECOMBINANT Festival | Nights 1-3 – Gray Area / Grand Theater

RECOMBINANT Festival | Nights 1-3 – Gray Area / Grand Theater

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Date/Time
Date(s) - 09/28/2016 - 10/01/2016
6:30 PM - 12:00 AM

Location
Gray Area / Grand Theater

Category(ies)

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Buy Tickets | 18.30 – 19.30 CineChamber Classics

Buy Tickets | 20.00 – 21.00 Panorama Paranormal

Buy Tickets | 21.30 – 22.30 CineChamber Classics

Buy Tickets | 23.00 – 00.00 Panorama Paranormal

CineChamber

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  Buy Tickets

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.

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62 Minutes total running time.

Panorama Paranormal — Buy Tickets

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.

66 Minutes total running time.

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.

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.

Buy Tickets | 18.30 – 19.30 CineChamber Classics

Buy Tickets | 20.00 – 21.00 Panorama Paranormal

Buy Tickets | 21.30 – 22.30 CineChamber Classics

Buy Tickets | 23.00 – 00.00 Panorama Paranormal

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