Arp/Star is a SoundScope (SNsC-01) by OliSUn.
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MUSIC:
'Arp' is an 1 hour and 34 minutes-long track resulting, at this start, from an improvisation on synthetic arpeggios.
Once treated/bad-treated, the track took on epic and cinematographic proportions hitherto unsuspected. It is all the interest to be carried by the sounds themselves which generate, of their own intrinsic properties, a capable sound matrix, totally untamed and random.
Then, the work of the sound material was set up according to the auditory variations which are revealed over the course of numerous listenings: sound/noise, granularity, rhythm/arythimia, variations, themes, atmospheres, chromatic palette, modes, temperature, levels, amplitudes…
A real sonic cinematography is set up illustrating in an auditory way a fantasy and imaginary film at the rhythm marked by the different parts and sub-parts which constitute the audio track. Thus, calm, noisy or moderate sequences follow one another, constituting the perfect sound track of an abstract cinema, without dialogue or speech, only carried by the presence of the auditory elements. The low emissions of noise, breaths and quasi-silences also participate in these sonic modulations which emerge in phases of this ocean of sounds. The tune develops its own musical arsenal and feed itsefl on explosive sounds and turbulent scores.
This time, it is not the sound which illustrates or accompanies the visuals or a story told, but quite the opposite, a sound allegory supporting an unbridled imagery specific to each of us.
The soundtrack of our own interior film, that we named, SoundScope.
This unique tune consists in 5 parts and 13 sequences:
- Prelude : 00 :00 – 28 : 32
- 00 :00 – 07 :57 : Desistfilm
- 07 :57 – 18 :07 : The Wonder Ring
- 18 :07 – 28 :32 : Flesh of Morning
- 26 :22 – 28 :32 : White Eye
- Part I : 28 :32 – 01 :03 :34
- 28 :32 – 35 :02 : Paradiso
- 35 :02 – 42 :03 : The Way to Shadow Garden
- 42 :03 – 47 :48 : Anticipation of the Night
- 47 :48 – 57 :09 : In Between
- 57 :09 – 01 :03 :34 : Metaphors on Vision
- Part II : 01 :03 :34 – 01 :11 :37 : Daybreak
- Part III : 01 :11 :37 – 01 :24 :13 : The Extraordinary Child
- Part IV : 01 :24 :23 – 01 :33 :58
- 01 :24 :13 – 01 : 28 :07 : Reflections on Black
- 01 :28 :07 – 01 : 33 :58 : Blue Moses
Thus, after multiple listening appear and retrospectively combine reminiscences of atmospheres tested in the plays here of PINK FLOYD and HARMONIA, there of LABRADFORD, PAN•AMERICAN, TALK TALK and AUTECHRE or even SEEFEEL, BOARDS OF CANADA and many others still unsuspected, that everyone can summon, plan, graft and appreciate personally...The complete track sails near the concept of Hauntology as conceived by Jacques Derrida, exploring ideas related to temporal disjunction, retrofuturism, cultural memory, and the permanence of the past.
Then, we propose you 2 choices:
- 1/ the choice of an excellent personal journey, wether with your eyes closed, to take full advantage of the effects of deep stereophony, thrilling infra-bass and other bursts of delicate saturation, thus leaving you complete freedom to create your own imaginary cinematography.
- 2/ Wether, eyes wide open, we offer you the non-narrative visual illustration that we have selected for you: Dog Star Man by Stan Brakhage, a film dating from 1961-64.
>> Direct link here:
youtu.be/7ZiSDw58oe8
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VISUALS:
'Dog Star Man', considered as a masterpiece of experimental filmmaking, is a silent cosmological epic consisting of four short films and a prelude. Shot in 16mm, the film utilized variable exposure times and the physical manipulation of the film stock, including painting directly on the film and scratching its surface, to produce specific visual effects. With its innovative new techniques, it is considered to have ushered in a new age of experimental film. Brakhage later incorporated it into a longer film titled “The Art of Vision” (1965). © Library of Congress National Film Registry.
Brakhage's categorical rejection of sound has its undoubted origin in his vehement commitment to the primacy or "nobility"s offsight and to his expansion, literalization, and revivification of the Visionary claim, the sense of the Imagination as indeed primarily and concretely generative of images.
He therefore eliminates sound from almost all of his mature work.
