I am Half Sick of Shadows. A Dirge for Ruined Cities in the Voice of Earth  .

Cinematic Ceremony. 2018-2020

Film Score performed live /  6o mins

Interior Cinema : Film Screening onto Red Velvet  /Black reflecting Screen Monitor / candles

Surround sound 5+1 live processing / Textile installation

Flag Design by Maria Eva Russo

“How long will your bitter lament grieve your lord who weeps?
Until distant days, other days, future days.”
Lament for Ur, c. 2000 BC *

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 have 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 functions 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 of 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.

We understand the current biological and geological time of the earth as transmuting and secluding. By means of aesthetics dimension; successive processes of mourning and lamenting function for engraving traces from environment as the feasibility for sensory wail to penetrate the body. Interior Cinema aims to perform elegy as a main stratagem.

Composed: Andreas Elvenes
Voices: Andreas Elvenes, Linnea Jansson and Nina Günther
Bass: Nina Günther
Keyboard: Linnea Jansson

Siren Song
Composed: Andreas Elvenes
voices: Linnea Jansson and Ada Hoel
bass: Michael Francis Duch

*The Lament dates back approx. 4000 years to the ancient Sumerians, contains one of the Mesopotamians ‘City Laments’, refers to a format such a dirge in the voice of a deity or spirit who is a
guardian, patron, or protector of a particular place, geographic feature, person, lineage, nation, culture, or occupation. Expresses the concept of safety, and thus of guardianship. 64-418.