“The Reach Of Resonance” will be screening at the San Francisco Center For New Music on Sunday, April 13th at 2pm, in a double bill with a film about Meredith Monk, Laurie Anderson, and Pauline Oliveros. The screening was curated by Peter Esmonde, whose documentary on the mad genius Trimpin (who builds giant musical instruments like the one pictured here) has been programmed alongside “The Reach Of Resonance” in various parts of the world. Over the next month, CNM will screen a number of amazing music documentaries exploring the work of Nels Cline, Frank Zappa, Tom Zé, David Byrne, Arto Lindsay, Ornette Coleman, Edgard Varèse, Pierre Boulez, and musicians from Nepal, Suriname, Indonesia, and Ghana. http://www.centerfornewmusic.com

Here’s the trailer for Peter’s “Trimpin” film: http://www.youtube.com/watch?v=ahQKsW0LHEA

Trimpin’s Guitar Tower: http://www.youtube.com/watch?v=lWF1Al8lYBs

And Trimpin working with our friends in Kronos Quartet!: http://www.youtube.com/watch?v=_2uIOfuitBc

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Our deepest thanks go out to Mike Magoski and everyone at The Violet Hour for a very memorable sold-out fundraiser screening and discussion of “The Reach Of Resonance” on February 21st, 2014.  Your support for our work over the years has been unparalleled.

Director Steve Elkins (left) and producer David G. Marks (right) discussing "The Reach Of Resonance" with the audience at The Violet Hour.

Director Steve Elkins (left) and producer David G. Marks (right) discussing “The Reach Of Resonance” with the audience at The Violet Hour.

Recordings of the Ntaria Aborigine Ladies Choir made by director Steve Elkins in the deserts of central Australia during production of “The Reach Of Resonance” are now part of the score to award-winning journalist John Pilger’s new film “Utopia,” which Noam Chomsky has called “a beacon of light in dark times.”  The film documents the conditions of life of the Western Arrente and other tribes we were privileged to spend time with and learn from in Australia.  Be on the lookout for it, as it’s currently touring around.

We are very excited to announce that “The Reach Of Resonance” is now available for purchase or rent (as a file download) through Monoduo films, right here:  https://vimeo.com/ondemand/resonance

We’re thrilled to be a part of Monoduo’s roster, which features many other documentaries about unique music happening around the globe, including films about Egypt’s Electro Chaabi scene, indie bands in Iceland (“Backyard”), noise music in Tokyo (“We Don’t Care About Music Anyway”), the first black punk band who predated Bad Brains, Sex Pistols and even punk itself (“A Band Called Death,” trailer:  https://vimeo.com/61023981), and a new film about the emerging underground arts movement in war-torn in Afghanistan, the trailer for which can be seen here:  https://vimeo.com/61553264

http://monoduo.net/

“The Reach Of Resonance” will be screening at the Santander Cultural in Porto Alegre, Brazil this Saturday, December 7th, and also next week on December 10th and 12th.  More info:  www.santandercultural.com.br

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Years ago, “The Reach Of Resonance” was submitted to the Woodstock Film Festival in New York and rejected. To our surprise, one of the programmers of that festival contacted us recently, saying that the film has “endlessly” occupied his thoughts since then, and requested to interview director Steve Elkins in an effort to bring the film to a wider audience. The interview went live on Headphone Commute yesterday: http://reviews.headphonecommute.com/2013/11/06/interview-with-steve-elkins/

Headphone Commute is doing a lot of cool stuff. Check out their recent interview with Tricky and stay tuned next week for their new interview with Chris Watson of Cabaret Voltaire, who is creating a multi-channel sound work that starts underwater in Faxafloi, Iceland, alongside some of the largest animals on the planet, crosses lava fields and reindeer moss, and ends in the Sönghellir song cave inside the snowy peaks of Snaefellsnes.

“The Reach Of Resonance” is now part of the syllabus for art students at New York University in NYC, thanks to award-winning artist and professor Marina Zurkow, who builds animations and participatory environments that are centered on humans and their relationship to animals, plants and the weather:  http://www.o-matic.com/: http://www.o-matic.com/

A new article about “The Reach Of Resonance” featuring an interview with director Steve Elkins was published this month in Spain’s Yorokobu Magazine.  It can be read in Spanish here:  http://www.yorokobu.es/el-hombre-que-viajo-para-buscar-el-verdadero-sonido-el-mundo/

The full interview can also be read in English here:  http://www.steveelkins.net/Interviews/Yorokobu-Magazine-Spain/33007124_Wh74rH#!i=2860873267&k=SpTKxNh

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In October 2013, four screenings of “The Reach Of Resonance” were presented at the MUTEK Festival of Digital Creativity and Electronic Music in Mexico City. In addition to concerts by artists such as Amon Tobin, Kid Koala, Fourtet, Matmos, and others, the festival brings together artists, architects, policy makers, and urban developers from around the world to discuss innovative new ways that public space can be used for art and creative events to revive economic and cultural life in 21st-century cities, and contribute to urban renewal in city planning and community. Director Steve Elkins was a guest of the festival to speak with audiences about the relationship of The Reach Of Resonance’s subject matter to these topics.  www.mutek.org

Amon Tobin’s use of projection mapping on the stage sculpture he performed in at the MUTEK Festival was absolutely incredible. Take a look:  https://vimeo.com/25039183

The last time “Reach Of Resonance” director Steve Elkins had crossed paths with Matmos (who were performing at the festival) was in New York City in 2006, while meeting up with harpist Zeena Parkins, whom he had interviewed for his film just after she and Matmos had returned from touring as part of Bjork’s orchestra for the Vespertine tour (http://www.youtube.com/watch?v=KWiSZk0z60U).  Matmos have been known for making music from of sources as diverse as the amplified neural activity of crayfish, rat cages played with violin bows (http://www.youtube.com/watch?v=x1s_0Nz2Ykc), surgical procedures crafted into melodic pieces of experimental techno, and even laser-triggering snails.

Just prior to a screening of “The Reach Of Resonance,” director Steve Elkins was in Zócalo when a police officer was engulfed in flames after being hit by a Molotov cocktail thrown by protesters marking the anniversary of the Tlatelolco massacre in Mexico City, when government soldiers were ordered to open fire on students holding an anti-government protest ten days before the 1968 Summer Olympics. In addition to these protests, about 30,000 striking Oaxaca teachers and union colleagues from other states paralyzed the capital for days at a time, blocking access to the airport, stopping lawmakers from entering the Congress, laying siege to television broadcast studios and public buildings and turning the main square into an occupied tent city.

Four screenings of “The Reach Of Resonance” were presented at Cine Tonalá as part of the MUTEK Festival.  It was one of the nicest cinemas we have ever attended. It has a vinyl library, a bar, a bookstore with rare art and literature, and an outstanding restaurant. Local independent bands sometimes perform live soundtracks to classic and silent films.  The discussions Steve Elkins had with the audience each night were very exciting.
http://www.cinetonala.com/

Below, Steve Elkins (left) and Robin Fox (right) sit in front of three fantastic Alejandro Jodorowsky posters at Cine Tonalá (http://www.youtube.com/watch?v=V_k8oaeHsnc).  Elkins last saw Robin Fox four years ago when he was building a chamber orchestra of bicycle powered musical instruments with Jon Rose in an abandoned train factory in Australia.  Robin was in town as one of the headlining performers of the MUTEK Festival. He has been up to his usual fascinating stuff, like using lasers and cathode ray oscillators to make the underlying geometry of music visible to listeners as they hear it, and writing music for the hearing impaired. He recently built a giant outdoor theremin that’s played by anyone passing by on the street: http://www.youtube.com/watch?v=RFjr7reLovI

Mexico City’s Cocolab had an installation at the MUTEK Festival:

Among Cocolab’s many fascinating projects is “Disarm” by Pedro Reyes, who has taken guns seized by police in Ciudad Juárez and turned them into musical instruments. This followed a previous project of Reyes that began in 2007, when he was invited to Culiacán, a major drug trafficking center that is also one of Mexico’s most violent cities, where residents were asked to donate weapons that were then melted and made into shovels to plant trees. He received 1,527 guns which were steamrolled and transformed into as many shovels. The idea was rooted in the function of alchemy, that physical change in the environment would be accompanied by a psychological change in the children using former instruments of death to cultivate life.

More screenings of “The Reach Of Resonance” in Mexico are currently in the works, in cities including Guadalajara, Monterrey, and Los Cabos.  Here are some other photos from the MUTEK Festival.

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“The Reach Of Resonance” will be screening at the Mutek Festival of Digital Creativity and Electronic Music in Mexico City on October 1st, 2nd, and 5th, 2013.  Director Steve Elkins will be there to present the film and do Q&A.  Amon Tobin, Matmos, and others will be performing.  http://www.mutek.org/

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