Film Score / Live Performance / 6o mins
Interior Cinema : Film Screening onto Red Velvet /Black reflecting Screen Monitor / candles
Surround sound 5+1 live processing / Textile installation
“How long will your bitter lament grieve your lord who weeps?
Until distant days, other days, future days.”
Lament for Ur, c. 2000 BC 
‘I am Half Sick of Shadows’ is a dirge for ruined cities in the voice of Earth.
The cinematic ceremony is the first phase of a larger cartographic project; the mechanics of a music box have inspired towards developing
methods for composing, translating and mediating data and traces from the environment into audio visual spatial compositions.
Notions of revolution has been approached looking into its etymological origin; the revolving as the origin of a cyclical movement
found in celestial bodies: ‘an instance of revolving, to revolve, revolvere; roll back, unroll, unwind; happen again, return; go over,
repeat, ‘back, again’ ‘to turn over (in the mind or heart), meditate.’
What does ‘Revolution’ mean in times of Anthropocene and darkness?
A revolution is what we feel inside our guts,
the other latent in matter carries our destruction.
The revolution; in alliance with this word we sink.
What does ‘Revolution’ mean in times of horror and obscurity?
It carries an action that originates in a past,
in the present time this is taken towards a future,
a future change of paradigm.
It bears a transformation, but towards where? towards what?
The Revolution; is then when is possible the impossible.
The poetic gesture funtions as a performed amulet for protection, fine-tunes perceptions of Earth and humankind’s disjointed and
entangled processes. An audio-visual composition is made by creating translations of marks found on used shooting targets. Traces
of bullet impacts have been interpreted as pitch, timing, surround placement, sound qualities and gestures. This data has then been
used to create the film scores using different composition techniques and so to mark editing rhythms within the film. The vibrations from
a tuning fork in the performance is mirroring the bullet impacts onto a body, as musical tones and sound frequencies are related to
the seven tantric chakras. The cinematic event is composed in four acts based on Edgar Allan Poe’s poem The Bells. The metal sound
is used to evoke the different phases of a vital cycle; Silver, Gold, Bronze and Iron.
Interior Cinema is a cinematic space designed as a type of shelter or guarded threshold; a speculative device, a womb-like cave
machine from where one goes back to the feminine energy of origins. Interior Cinema is an immersion of body and senses through
cinematic processes of integration and navigation.
The premiere was curated by Svein Inge Saether and Nazare Soares and took place at Trondheim Cinemateket in the context of Trondheim Open Biennial the 29th of October 2018.
Photographs by Amalia Fonfara
. “translucent depths of the mysteriously lighted viscera. World of sleep- in which our inner conscious-ness, subordinated to the disturbances of our organs, accelerates the rhythm of the heart or the respiration, because the same dose of terror, sorrow or remorse acts with a strength magnified a hundredfold if thus injected into our veins: as soon as, to traverse the arteries of the subterranean city, we have embarked upon the dark current of our own blood as upon an inward lethe meandering sixfold, tall solemn forms appear to us, approach and glide away, leaving us in tears.”
|Title||I am Half Sick of Shadows|
|Subtitle||A Dirge for ruins cities in the voice of Earth
|Curation||Svein Inge Sæther in collaboration with Nazaré Soares|
|Sound Designer / Live processing||Ada Hoel|
|Composers||Ada Hoel and Andreas Elvenes|
|Performers / musicians||Michael Francis Duch, Andreas Elvenes, Ada Hoel, Linnea Jansson and Nazaré Soares|
|Scenography||Maria Eva Russo and Nazaré Soares|
|Flag + Seal Design||Maria Eva Russo , Lidia de Pedro , Amelia Arranz|
|Field Sound Recording||Bell toll for attack warning recorded by Daan Hendriks at Basilica de St Maria de Pi on 11 of September 2011 at Santa Maria del Pi, Barcelona.|
|Support||Trondheim Open, Olavshallen, Kunsthall Trondheim, NTNU Institutt for musikk|
|Special Thanks||Amelia Arranz, Surnadal Billag,Amalia Fonfara, Sergei Ivanov, Berthold Hinrichs, Magdaléna Manderlová, Rocio Mata , Ismael Palacio, Jordi Sacasas Segura, Pierre-Luc Vaillancourt, Jeremy Wells, Sasa Yague.|