Carlos Casas - Sonic eye

SONIC EYE PROGRAM - CARTE BLANCHE CARLOS CASAS
Session of "films for hearing" at the Planetarium

Sonic eye program is a short sound program composed of four pieces that have been a key influence on my work and that have shaped in some ways the developing of my last project "Cemetery".

Carlos Casas. Filmmaker and artist whose work shifts between documentary film, sound art, video installation and performance. Casas develops sound landscapes to explore themes related to the natural world, memory and death. His films have been projected and awarded at festivals around the world, such as the FIDMarseille, Venice, Rotterdam and BAFICI. He has also exhibited his work in the Tate Modern in London, the Pompidou Centre and the Cartier Foundation in Paris, the Pirelli HangarBicocca in Milan and the Contemporary Culture Centre of Barcelona (CCCB).

Sanctuary
Chris Watson, 2020. 40’
The piece is a journey from an elephant sanctuary to the elephants graveyard and beyond. Featuring sounds from locations around the world from Iceland to Borneo, from Burma to Namibia, from the deep seas currents where oceans meet the deserts of Africa. Taking the narrative from Carlos Casas's film Cemetery, this piece is a work in progress of the films soundtrack presented tonight as a live spatial audio diffusion. (C.W.)

Presque rien n°1, le lever du jour au bord de la mer
Luc Ferrari, 1967–1970, 21’
“Following the complete disappearance of abstract sounds, we can regard this piece as a sonic snapshot and the culmination of an evolution. This is a realistic rendering (as faithful as possible) of a fishing village waking up. The first idea of minimalism.” (L.F.)

Benthic Storm
Francisco López, ‎1993, 8’ (part of one of his early milestone releases “Azoic Zone”)
“A soundscape journey to the life and environment of abyssal organisms.” (F.L.)

L'Œil écoute
Bernard Parmegiani, 1970
"From the very first moment, caught by the musical tone heard from inside a train, the trip offered by this piece triggers in us various climates able to give our imagination power over sounds: the power to guide them through our secret mazes rather than to blindly follow them like Panurge. This form of (auditory) contemplation thus attempts to enable us to lose ourselves outside our far too familiar and usual territories." (B.P.)