Weekend (Wochenende) Walter Ruttmann 1930. Remastered audio: Ortiz Morales

 

Wochenende, la película experimental de Walter Ruttmann realizada en 1930, es una "película sonora sin imágenes" que utiliza sonidos para contar una historia sobre los cambios perceptibles de un día de trabajo a otro de fiesta, a un domingo cualquiera pasado al aire libre. Los sonidos evocan sensaciones y crean un mundo nuevo. Ruttmann utiliza el encadenamiento rápido de frases cortas y de sonidos evocadores en el montaje para sugerir nuevas analogías. La voz del hombre de negocios que pide un número por teléfono, una de cuyas cifras coincide con la que dice un muchacho que en la escuela canta la tabla de multiplicar y, luego, ese mismo número lo oímos por boca del encargado del ascensor de unos grandes Almacenes que advierte la llegada a los distintos pisos, con las especialidades que se encontrarán en los mismos. El uso de los sonidos (“fotografiados” sobre la propia banda visual), y su montaje efectuado con arreglo a las normas usuales en cinema mudo, crea un lenguaje nuevo de confrontaciones y sugiere imágenes en la mente del espectador. Ruttmann sostiene que en un film, el sonido y la imagen no deben apoyarse mutuamente para subrayar la expresión, sino que, por el contrario, deben complementarse en sentido longitudinal: ser el uno prolongación del otro. Lo que era preciso encontrar, según él, es el sonido que nos sugiera a la imagen, como antes (en sus sinfonías visuales) encontró la imagen que nos sugería el sonido. Wochenende, que aprovecha y experimenta los avances en el cine sonoro del avanzado sistema alemás Tri-ergon, es una obra única que demuestra el empleo eficaz del sonido aplicado al cine. Además de ser una obra emblemática en el mundo del cine, también lo es en el mundo de la radio (donde se emitió por la grabación de tres discos de 78 rpm) y, especialmente, en el mundo de la música, donde es un avance pionero y seminal de la denominada música concreta que surgirá 20 años después en Francia, y que dará lugar al comienzo de la música electoacústica.

Esta proyección tiene el audio remasterizado para ser proyectado como ejemplo en la conferencia: Berlín, de Ruttmann, de la sinfonia urbana visual al maquinismo musical, realizada por Ortiz Morales el 20 de Abril de 2023 en la Semana Cultural del Conservatorio Martín Tenllado, de Málaga.

Heterotropía Anempática, Ortiz Morales. Musique concrète & Electroacoustic music

 

En el verano de 2012, los investigadores de la Universidad de Newcastle Sukhbinder Kumar y Tim Griffiths realizaron un estudio sobre los 10 sonidos más desagradables para los humanos, basado en una encuesta de 74 muestras de ruido diferentes de muchos tipos. Publicaron el resultado en Journal of Neuroscience e indicaron que, según su investigación, lo que genera la sensación de que ciertos ruidos son desagradables es, posiblemente, la interacción entre el área del cerebro que procesa el sonido (la corteza auditiva y la amígdala), y el vínculo con nuestros pensamientos negativos. pero solo algunos ruidos puntuales (y dependiendo de cada paciente) representan un problema para las personas con esta sensibilidad acústica. Este trabajo es un paisaje sonoro experimental, en el que los sonidos escogidos en el estudio de Newcastle como casi insoportables son utilizados como puntos climáticos a lo largo de su desarrollo, mezclados con muchos otros que provocan ASMR a unos y a otros, una ligera misofonía. exclamaciones moduladas de voces humanas unifican todo el discurso en una narrativa intelectualmente absurda pero acústicamente coherente, que pone en un segundo plano los ruidos desagradables y agradables y construye un paisaje sonoro circunscrito y definido. La obra termina abruptamente con un sonido "ambiguo" (la masticación de un bocado): según el oído del oyente, la sensación será dulce, incómoda o desagradable.

Dadascope - Hans Richter (1961). Remastering: Ortiz Morales

 Compilation of Dadaist poems and texts declaimed by their own authors and made by Hans Richter in 1957 and premiered in 1961. Participating Jean Arp, Marcel Duchamp, Raoul Haussmann, Richard Huelsenbeck, Marcel Janco, Georges Ribemont-Dessaignes,Walter Mehrig, Hans Richter, Kurt Schwitters (on a 1932 recording), Tristan Tzara, and Wladimir Vogel. About the film that frames the texts, Richter said: "There is no story, there is no psychological implication except what the spectator puts in the images. But it is not purely accidental but rather a poetry of images built with and on associations. In other words, the film takes the liberty of playing on the scale of possibilities of the cinema, freedom for which Dadaism always bet and to which it continues to give medium." In reality, the film is a multilingual collection of Dada poetry, sound poems, and prose, along with Richter's choice of images and sounds typical of the Dada movement (objects and sculpture, especially by Man Ray; paintings, theater, performances and even chess games) to generate a new filmic style that he called "cinematic poetry" and defined as "externalized internal events", pointing out that there are many parallels between the composition of films and poetry, and that the essential element  poetic is montage that creates metaphors.

He also states elsewhere: "Dadascope... unfolds like a melody. Every scene in this type of film has its own rhythm, its own kind of movement. The connecting of these movements into sort of sound patterns; the connecting of the colors that what accompanied in a color and sound film, which in Dadascope consists exclusively of poems, that is what I would like to develop". However, despite what he says about the exclusivity of music in the sounds produced by the poems themselves ( a principle of what would later be known as the "text-sound" genre, and inspired by fufurist phonetic poetry), we can see how there is music by Auric (very close to the Dadaist movement) fully accredited for the last poem and also that already from the first editions, preludes and interludes of parodic versions of classics such as Bizet's Carmen were interspersed, in the sound of "Calliope", a strange somewhat out-of-tune fluted pipe organ from the mid-19th century, a risky sound experiment performed by pianist Milton Kaye, on his 1956 vinyl "Nickelodeon and Calliope", the year before the film was made.

The original source of this realization was a curious German DVD from the 90's with no information about the editor, publisher or the place of edition.

The audio and video were remastered (in the ATI-Gabirol Lab.) to serve as work material for the subject "Music for Audiovisuals" by Ortiz Morales,Dr. at the Superior Conservatory of Music of Malaga, in the year 2006-2007. Doubled in size for release to the general public in 2022.

 Some videos produced that year and derived from this proposed theme were Ción 1 (Futuristic Onomatopea) https://www.youtube.com/watch?v=Su50rHXe5LM

and Eggeling Diagonal 1 (audiovisual variations on a fragment of the Symphonie Diagonale) https://www.youtube.com/watch?v=LiQ1w-YLBGw

Race Symphony (1928) - Hans Richter. Soundtrack : Ortiz Morales & KinematikoM

 

Richter was originally a painter who came to the movies almost by chance. His interest in abstractions and fast rhythmic movements transferred them to his cinematographic work in his varied works, many of them in the Dadaist style, a movement in which his first works are framed. This documentary, whose original title is "Rennsymphonie", about an impressionist-style horse race, based on a superb montage and dominated by the effects of close-ups, overlaps and contrasts of images, sometimes with a devilish rhythm, was made as an introduction to the feature film "Ariadne in Hoppegarten" and could be included, in a certain sense, within the trend of "visual symphonies" ("Visual Symphonies2"), since it develops, in a musical way but only from images ( since she is originally mute), a day of racing at a racecourse.A figurative derivative of her abstract experiments, it is reflected in a superb dialogue between images of horses (with the race as a climax), the spectators themselves, and the environment the event takes place in. It is not isolated, since Richter produced similar documentaries, although of an advertising nature, for companies such as various advertisements for tobacco, footwear or automobiles, among others.

Music by Kinematikom  (Le cursa de cavallos, by O.M.) which are, in this case:

Carmen Morales.... prepared  piano / noises
David Alonso...........LSMi 1
JuanLu Montoro.......LSMi2
Samuel Pelaez.......drums / percussion
Ortiz Morales..........electric bass, noises and direction

With the invaluable collaboration of...

Ana Belén Lopez Lorente.....double bass
Juan Manuel Cornejo...........tuba
Jose Antonio Rojano........timpani

...is also used an old BBC recording of "Bandstand Music at the Royal Ascot"

Visual editing and image synchronization: Ortiz Morales, at ATI-Gabirol Lab. July 2022.

Made as an introduction to the conference:"The Visual Symphonies of Dadaism: Murphy, Ruttmann, and Richter"

End of course closing acts Martín Tenllado 2022

Inflation - Hans Richter (Inflación). 1928. Noise Soundtrack: Ortiz morales & Kinematikom

 

Between 1927 and 1928, the dadaist painter and filmmaker Hans Richter use visual experiments in cinema, contravening conventional methods, in order to succeed in making the general public aware of the problems that afflicted the decadent german society between the wars and to carry out in a few minutes a fierce criticism of the capitalist system. One of the most pressing and painful was the loss of savings and galloping impoverishment of the middle and poor layers of society due to such an exaggerated hyperinflation (bills of millions of marks were even printed that they barely managed to pay for products of little value; you had to pay for the drinks exactly when you received them, because if you waited until they were finished they could cost much more; you would buy them with the tickets in carts and as soon as the salaries were collected, because a few hours later they could be worth half or less, etc.) that ended up delivering the majority of german society into the arms of Hitler as a desperate measure of containment.

Richter presents his avant-garde visual statement as "a counterpoint between declining people and  growing zeros." It addresses the economic precariousness of the middle layers of a country against currency speculation. Technically, it is a condensed visual collage based on a splendid general montage where uses overlays, double exposures, animations, stop motion, and very short shots of all kinds (close-ups of the faces of impoverished and enriched people by speculation, hands counting money, various products; medium shots of architectural collapses and subjects reading bad news; and general plans of the bag of values ​​or of the city of New York, etc.) that in a metaphorical and non-narrative way end up creating a climax of economic catastrophe.

Originally a silent film, this time it has been synchronized with a semi-noisy soundtrack, called "Le heroe per hazardo" (O.M.), by the group Kinematikom, which on this occasion is made up of:

Samuel Pelaez.......handpan, drums and percussion

Carmen Morales.....prepared piano and noises

JuanLu Montoro.....supercollider

Jose Maria Cuadra....cello

Pablo Guerrero..........tuba

Ortiz Morales...........electric bass, noises and direction

and with the special collaboration of the group of bassoons "Fagotería del Tenllado", directed by Francisco Manuel Puyana.

Recorded in June 2022 in the "Orchestra room" of the Martín Tenllado Conservatory; and mixed and edited at ATI-Gabirol, in July 2022.