“Dark Stations” is a forty-two minute work utilizing Schumann resonances, Spricom frequencies, binaural and monaural beat frequencies and spatial effects to induce an altered state in the listener. The event’s structure is derived from the Fibonacci series.
The audience is seated in a darkened room surrounded by a triangular array of speakers (Fig 2), in the middle is a subwoofer which completes a 3.1 multi-speaker configuration.
The audience sits in the center of the triangle and is asked to meditate during the event. After the listeners have closed their eyes the piece begins. A low thrumming sound emanates from the subwoofer, filling the area like sonic incense.
Kim Cascone | The Bourbaki Conjecture
“Dark Stations” is an acoustic mirror, a reflecting pool bringing the audience’s unconscious to the surface through the technique of entrainment, allowing them to project onto the sonic gauze. “Dark Stations” could be likened to a scrying mirror into which the viewers unconscious is projected then reflected back to them.
This work was inspired by research in Jungian psychology, Hermetic philosophy, brain entrainment techniques, altered states of consciousness, meditation and a variety of other areas. The audience is requested not to applaud at the end of the session.
Kim Cascone has a long history involving electronic music: he received his formal training in electronic music at the Berklee College of Music in the early 1970’s, and in 1976 continued his studies with Dana McCurdy at the New School in New York City.
After moving to San Francisco in 1983 and gaining experience as an audio technician, Cascone worked with David Lynch as Assistant Music Editor on both Twin Peaks and Wild at Heart.
Cascone left the film industry in 1991 to concentrate on Silent Records, a label that he founded in 1986, transforming it into the U.S.’s premier electronic music label. Cascone sold the company in 1996, at the height of Silent’s success, in order to pursue a career as a sound designer and went to work for Thomas Dolby’s company Headspace.
After a two year stint at Headspace he then went to work for Staccato Systems as a Director of Content where he oversaw sound design using algorithmic synthesis for video games. Kim has been touring Europe since 2001 performing, conducting workshops and lecturing on post-digital aesthetics in sound art. He has released more than 50 solo and collaborative albums since 1984 and has recorded/performed with Merzbow, Keith Rowe, Tony Conrad, Scanner, John Tilbury, and Pauline Oliveros among others.
In addition to Kim Cascone, Hopek Quirin & Kris Limbach will also share dark ambient soundscapes with us. Christoph “Kris” Limbach’s focus has always been on sound.
He often applies film-editing techniques and film sound aesthetics for his sound pieces like the ongoing “begin_ if _ ()” project (upcoming release at AGXIVATEIN in december) and his live performances.
He released on labels such as Richard Garet’s Contour Editions, Staaltape, Modisti, Framework Radio and more. Together with Pierce Warnecke he curates the emitter micro Festival and label.
Hopek Quirin plays with electric bass, objects, micro-tapes, motors and effects.
He is collaborating with Jochen Arbeit, Anton Mobin, Anthony Donovan, Kris Limbach, Bryan Lewis Saunders, MaCu, Paul Amlehn, Classwar Karaoke, ABQ, Tomas Nochteff among others.
This event is kindly supported by the Elektronisches Studio of the Technische Universität Berlin.
Kim Cascone’s “Dark Station” + Hopek Quirin & Kris Limbach
presented by D/B
Sunday, 20 October 2013 | 20:00 CET
Tabor Kirche | Taborstraße 17 | 10997 Berlin/Kreuzberg
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