  
Bernhard Loibner and João Castro Pinto
perform live at the Studio RP4, the digital radio drama studio of the
ORF radio. Using the on site infrastructure and facilities of the
studio, such as doors, staircases and props, the artists blend
live-generated sounds with archetypal pre-recorded sounds for various
genres of feature films. In their live radio performance, they create a
cinematic sound sculpture, inspired by the art of sound creation for
cinema.
Artists' statement:
Cinema was born with the
invention of the moving picture, its narrative / interpretation was at
its dawn determined, upon other premises, by two main factors:
1) gestural enhanced dynamics
within the representation (dramatic emphasis of the gestures / facial
expressions, in order to clarify the distinct intensities of the plot
and describe each character’s profile)
2) the insertion of long
captions, permeated with the images, in order to report the remaining
significant information of the movie to the audience (thus allowing a
contextual ground for the interpretation of the different scenes and
overall narrative). Music was also present in the first motion picture
exhibitions, mostly in the form of piano music. A pianist would play in
during the screening of the movie, with the aim to synchronize the
unfolding of the narrative’s events with a musical
“alike” structure.
The event that would dramatically change cinema’s history, dethroning the monopoly of the
visuocentric paradigm, was the insertion of sound in the motion picture. Sound would take and
expand most of the expressive roles of the mentioned characteristics from the first silent movies,
rendering its aesthetic
fruition more similar with everyday experience of reality. The
expression of context could now be explicit due to the possibility of
recording the soundscape (environmental sounds & the sounds of
human interaction with objects), as the display of emotions, within the
narrative, became clearer through the reproduction of actor’s
dialogs.
Jack Foley was a pioneer (late 1920’s) in the art of introducing sounds in the motion picture
like steps, clothing sounds,
squeaky doors / windows sounds, railroad train sounds, etc. These
sounds were fabricated in the studio, synchronized with the image, in
order to enhance the experience of the movie. From that time to
nowadays, cinema has learned to value sight as much as audition, thus
cinema has became a rich complex audiovisual experience, a compound of
image, music, sound effects and ambiences (currently enhanced with
immersive surround sound).
  
“FOOLING THE FOLEY
– an acousmatic parody on the art of sound for cinema” is a
radio art piece that presents a parody on the Foley concept as it
consists in a real time acousmatic sound performance of pre-recorded
Foley sounds at the studios of ORF (digital signal processing will be
used to transform some sounds beyond recognition) and of samples of
distinct genres and epochs of the cinema history (drama, comedy,
terror, sci-fi, spaghetti western, etc…). The main goal of the
performance is to create a radio art piece where a feasible cinematic
ambience is created, in terms of aural output, such as it will result
in a rich and fascinating non linear sound-cinema-world narrative,
where the distinction between prop Foley sounds and real time processed
sounds will be blurred, distorted and expanded through a collaborative
acousmatic live sound composition. Images flow as Sounds and Sounds
turn into Images.
Bernhard Loibner & João Castro Pinto 2012
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PLAY