Category: Film

KISS2011: Exploring Sound Space

Can sound define a space? In sound, is there a Point-of-View or culturally-influenced focus of attention? Sound designers, musicians, audio engineers, composers, acousticians and others interested in “sound space” are invited to discuss these and other questions during the third annual Kyma International Sound Symposium (KISS2011), scheduled for 15-18 September 2011 in Porto, Portugal. Inspired by Portugal’s proud history of navigators who set out to explore beyond the known and visible horizon, the theme of this year’s symposium is “Explorando o espaço do som” (“Exploring Sound Space”) and will celebrate the sound designers, composers, and researchers who are exploring beyond the familiar horizons in sound and music.

 

Set in the nautically-inspired Casa Da Musica, architect Rem Koolhaas’ dramatic new music venue in Porto, the symposium promises four intensive days of workshops, keynotes, technical talks, films and live performances.

To cite just a few highlights:

  • A mathematician and co-editor of a new book on the Sonic Spaces of Music (Spazi sonori della musica) will discuss the public space defining and defined by the sounds of the Trevi Fountain in Rome;
  • Kyma practitioners will have opportunities to attend master classes, participate in interactive workshops and consulting sessions, and most importantly, to make connections with and to learn from fellow Kyma practitioners;
  • The author of a new text for teaching and learning Kyma (published in both English and Chinese) will describe his search for the SumOfSines disco club;
  • Plus there will be an abundance of technical talks on a wide range of topics including how to use the spectrum of a sound as a sequencer; techniques for data sonification; using sound to help people confront pain; how to create a dynamic sonic ecology; using context-free-grammars to simultaneously generate dance movements and trajectories through abstract timbre space; techniques for spectral modification & morphing; and more.

Evening performances are to include a screening of the very first science fiction film accompanied by a live-improvised electronic sound track generated by Kyma reconstructions of Luigi Russolo’s intonorumori instruments; a portion of an audio documentary on Holocaust survivor Ksenija Drobac; and a live-generated audio/video film about Galileo that uses Kyma to control VJ software via Open Sound Control (OSC). Other live musical performances will create sound spaces controlled by (among other things) dancers, RFID cards held by the audience, iPads, Wacom tablets, video position trackers, Continuum fingerboards, SoftStep pedal-boards, OSC, acoustic instruments, the acoustics of the room itself, and even a sensor-enhanced Teddy Bear!

For more details on the program, please see the preliminary program and join the mailing list to be kept up to date on future enhancements and additions.

Registration

Registration is open to all. You can register at any time, but there is a discount for those who register prior to 1 August: you can participate in all 4 days (with lunch included) for €120 (€40 for students). Casa da Musica has strictly enforced occupancy limits, so please register as soon as possible in order to reserve your spot: http://kiss2011.symbolicsound.com/registration

Online discussion

You are cordially invited to join in the pre-symposium discussion on the theme of Exploring Sound Space: http://www.pphilosophyofsound.org

Porto

Known as A Cidade Invicta (the unvanquished city), in honor of its citizens’ successful resistance of Napoleon’s attempted invasion, Porto’s history can be traced back at least as far as Roman times, with evidence of even earlier habitation by the Celts, Proto-Celts and even Phoenicians.

The ukulele has its origins in Portugal; Portuguese immigrants brought the cavaquinho, braguinha and the rajão, small guitar-like instruments with them to Hawaii where they were re-invented as the ukulele. Portuguese luthiers Cordoba Guitars and Antonio Pinto Carvalho (in Braga about an hour north of Porto) continue the tradition today. In Porto, you can audition a Portuguese 12-string guitar or a cavaquinho at Toni Das Violas, a music shop in the historic center.

Porto is also the official source of Port wine, a special red wine in which the fermentation process is interrupted by the addition of distilled grape spirits known as aguardente (roughly translated as fire water with teeth), leaving a higher sugar and a higher alcohol content. The resulting fortified wine is then aged in wood barrels prior to bottling.

Visiting Conímbriga, a well-preserved ancient Roman city and attached museum about an hour south of Porto, is practically like traveling to ancient Rome in the Tardis.

There are several historic cathedrals and monasteries in Porto which is also home to a vibrant Marranos community, the so-called crypto- or Sephardic Jews who continued to practice their religion even in the face of the forced-conversions during the Inquisition (http://www.independent.co.uk/news/world/europe/priests-hunch-finally-uncovers-portos-hidden-holy-scrolls-520387.html)

Something about Porto seems to inspire artists who work with space. Not only is it the home of Casa da Musica, it’s also the birthplace of two Pritzker-prize-winning architects: Álvaro Siza who designed the central square in Porto, the Faculty of Architecture campus, and the contemporary art museum; and Eduardo Souto Moura whose award-winning work includes Estádio Municipal de Braga, the Burgo Tower in Porto and the Paula Rego Museum in Cascais among others.

Summary

What: The Kyma International Sound Symposium (KISS 2011), an annual conclave of current and potential Kyma practitioners who come together to learn, to share, to meet, to discuss, and to enjoy a lively exchange of ideas, sounds, and music! This year’s theme is “Exploring Sound Space”

Presenters: Experts from the fields of music, sound art, sound design, mathematics, philosophy & audio engineering who use Kyma in their work.

Participants: Sound designers, musicians, audio engineers, composers, acousticians and others interested in “sound space” and the Kyma sound design language

When: 15-18 September 2011

Where: Porto, Portugal

Venue: Casa da Musica / Avenida da Boavista, 604-610 / 4149-071 Porto / Portugal

Cost: € 120, students € 40

Organizers: Faculdade de Engenharia da Universidade do Porto & Symbolic Sound Corporation with support from Casa da Musica & UT Austin|Portugal International Collaboratory for Emerging Technologies

Deadline: 1 August 2011 for early registration discount; registration open through 15 September 2011

More info: http://kiss2011.symbolicsound.com

Time Dilation

Edmund Eagan has posted his new video work,  Time Dilation as an example on the Haken Audio site. Time Dilation is a glimpse of what life will look like in the future, when Internet-connected heads-up displays explain and analyze everything we see.  The video work includes a single take capture of a live performance of Eagan using the Continuum to control Sounds organized on a Kyma Timeline.  Other Kyma elements include:

• The time structuring of Kyma Sound elements

• The overall time of the piece, which is variable due to the extensive use of the Kyma WaitUntil sound. (Eagan writes that he found this “a very useful tool for interactive improvisation, and a nice way to create localized time dilations.”

• The selection and editing of Continuum Internal Sounds via Midi commands sent back to the Continuum from the Kyma timeline.

• The processing and mixing of a blend of Kyma Sounds and Continuum Internal Sounds.

In addition to the Continuum as a control device, Eagan also used the Pen page of the Kyma Control app running on an iPad.

Time Dilation is a free download, available in a large and a small version (Eagan strongly recommends the larger version):

http://www.hakenaudio.com/Continuum/html/examples/ex268.html

The Acceptance @ Maine International Film Festival

Yogesh Khubchandani‘s beautiful and mysterious directorial debut, The Acceptance, is scheduled to be screened as part of the Maine International Film Festival, July 15-24 2011, a festival billed as ten days of the best of American independent and international cinema!

The Acceptance will be shown on Saturday, July 16 2011 at 8:30 pm.  And again on Wednesday, July 20 at 3 pm.

During the festival, audiences will have opportunities to meet and talk with the people behind the movies — directors, producers, writers, musicians — as well as have a chance to experience several panel discussions and informal Q&A sessions.

Director Khubchandani also did the sound design for the film, using the sounds of birds, wind and water in stark constrast to the rattling drones of machines in order underscore his themes. Like the images, the sound slips easily back and forth between the logic of “realism” and the logic of dreams.  Khubchandani credits Kyma for playing a role in the transformation of one of the pivotal sound events of the film: a massive tree falling in the forest.

Burtt & Wood talk about Super 8

Sound designer, Ben Burtt. Photo by Gregory Schwartz (www.editorsguild.com)

There’s a fascinating piece by Mel Lambert on the Editor’s Guild web site, giving details of every aspect of the sound—from dialog to Foley, to mixing, to creative sound design— for JJ Abrams new science fiction film, Super 8.

In it, master sound designer, Ben Burtt details how he used his own voice to control a bank of sounds in Kyma, performing it like a musical instrument to create the voice of the alien.  Burtt says that he wanted to create a character who, although alien, had an expressive soul, purpose, and rationality.  Once Industrial Light & Magic, which handled visual special effects, heard Burtt’s vocalizations, they were so inspired that they added a tongue to the creature’s mouth! One of the few times that they created picture to sound, instead of the other way around.

Full of insider tips and tricks ranging from how Burtt sustained the tension in a long train crash scene to how Matthew Wood compensated for young actors’ voices changing over the course of the shoot, the piece is essential reading for anyone who’s serious about sound design!

(Thanks to Matteo Milani for spotting this article and sharing it with us!)

Supervising Sound Editor, Matthew Wood (www.editorsguild.com)

The Acceptance

Kyma played such a strong role in the sound design for Yogesh Kubchandani’s directorial debut, The Acceptance, he gave it an ending credit. Can you solve the mysteries in this compelling, poetic film? http://www.3stonespictures.com

Following the initial screening of The Acceptance in New York City, director Yogesh Khubchandani, was barraged by questions when he took the stage. He politely declined to speak about the film, suggesting only that if people still had questions, they should watch the film again, adding “there are no symbols in the film; I just had one impression that could not be expressed in words, and so the film came out.” Can you solve its mysteries? (Order your own DVD copy of the film at http://www.3stonespictures.com)

Certain unforeseen events can almost literally befall us, unexpectedly and violently tearing into the web of our interconnections and relationships. In Yogesh Khubchandani’s new film, The Acceptance, one such event has disrupted the existence of Elli (compellingly played by Alicia Lobo) to its very core. Khubchandani’s poetic, spell-binding film uses images and sounds to create an urgent sense of mystery as he traces her inner journey from near despair to a calm acceptance. Khubchandani masterfully recreates a seamless interleaving of the inner imagination and outer events that constitute Elli’s flow of experience. Intense emotion is experienced as sudden silence and a sense of time slowing almost to stop as the character focuses full attention on the anger or fear or frustration and the rest of the world disappears for that stretched-out moment of time. Several threads weave themselves throughout the film: the restorative power of nature, thanking God for what we do NOT have, vegetarianism as identity, the relationships between mothers and daughters (the male characters rarely appear on screen).

Khubchandani also did the sound design for the film, using the sounds of birds, wind and water contrasted with the rattling drones of machines to underscore his themes. Like the images, the sound slips easily back and forth between realism and the logic of dreams. Kyma played such a large role in this transformation, it even gets a credit at the end of the film!

Rahman Scores 127 Hours

Internationally acclaimed film composer, AR Rahman used Kyma (Harm Visser’s physical modeling toolkit) controlled by the Haken Audio Continuum Fingerboard to perform the lead on the dignified and ethereal Acid Darbari, as part of Rahman’s sound track for Danny Boyles’ new film, 127 hours. The full soundtrack is available for download from iTunes, Rhapsody and Amazon (http://www.arrahman.com).

Internationally acclaimed film composer, AR Rahman used Kyma (Harm Visser’s physical modeling toolkit) controlled by the Haken Audio Continuum Fingerboard to perform the lead on the dignified and ethereal Acid Darbari.  Rahman’s full soundtrack, composed for Danny Boyles’ film, 127 hours, is available for download from iTunes, Rhapsody and Amazon Direct links available here: http://www.arrahman.com.