Fabulous Festival of Fringe Film 2008 Fear Remembered
 

Schedule 2008Tickets and DirectionsFabulous Festival of Fringe Film HomeOpening ReceptionA Pathless LandFn FsFear RememberedPeople's ChoiceHandmade Film WorkshopHarvesting the YukonExperiments With TruthTrue Meaning of PicturesTrip-Hop MetropolisAndrew Lampert: Projection Performance

 

 

Saturday, August 1, 8:30pm, Symphony Barn

Ben Shemie

Musician and composer Ben Shemie has developed an eclectic style that spans many contemporary musical genres. His formation of such groups as the Zeroes and Blink Blink Blink has garnered him a significant following in the Montreal music scene.

For this performance of his latest work he will employ the traditional configuration of the string quartet and its classical repertoire. The ensuing sound production will then be funneled into a computer and altered through electronic manipulation. Working in collaboration with projected imagery he will present this premier concert, Invisible Ink, especially commissioned for our festival. - Tony Massett

Invisible Ink is a multimedia, new music composition that incorporates contemporary classical music, electronica and cinema. In the piece, three children are viewed speaking about themselves in a way that weaves whimsical snapshots of childhood and memory. Divided into three movements, we grasp that time is passing and eventually we reconnect with each of the children as adults with their faded recollections mysteriously half-hidden like invisible ink. Throughout, their images and voices are manipulated and abstracted, thus painting a contemporary musical landscape of memory.

Invisible Ink is written for string quartet and eight loudspeakers in a surround-sound format synchronized to projector and tape. The visuals were developed in a collaboration between the Shemie and two eclectic, Montreal visual artists—Janicke Morrisette, a graphic designer and live-visuals producers; and Joseph Yarmush, a unique photographer. This work plays with fast syncopated images and slowly evolving photographs. Images fade and distort, the edges rounded out, weakened and reminiscent.

Episodic, rhythmic and spare, the visuals are scored like an instrument. They become part of the ensemble and provide a focal point for the concert. The music also works as a soundtrack for the disjointed interviews with the three protagonists, that are spliced and shuffled and at times obscured, like features of real memory. Breaking away from the contemporary concert format, the audience is enveloped in sound while experiencing the fine line between concert music, sound installation and cinema. - Ben Shemie