Naisho Wave Manifesto / Bounce Houseナイショ・ウェイブ・マニフェスト / バウンス・ハウス

Naisho Wave Manifesto Lecture-performance by Terre Thaemlitz *With Q&A and sign language interpretation Bounce House Concept by Christine Sun Kim Track contributors by 34423、Katsuhiro Chiba、edIT、Matt Karmil、Kyoka、Ah-Reum Lee、nanonum、NOEL-KIT、Nyolfen、Phasma、Marina Rosenfeld、hiromi sunaga、James Talambas、TOKiMONSTA Technical cooperation by TAGUCHI and WHITELIGHT.Ltd *With Q&A and sign language interpretation Ticket: [Peatix](http://slt151115.peatix.com/) Now on sale!  [Sound Live Tokyo 2015 Homepage](http://www.soundlivetokyo.com/) Two questions on the social compulsion for “minorities” to be publicly visible and the exclusion of inaudible frequency ranges as valueless “social currency” Naisho Wave Manifesto Most people have become so indoctrinated in dominant cultural nonsense about information’s value only being determined by the breadth of its distribution, that even producers of minor and experimental media seem obsessed with notions of exposure.[...] As a result, we have culturally lost skills for understanding the value of secrets, their protective power, and their ability to connect people in deep ways through the cultivation of personally affecting social responsibilities.　Terre Thaemlitz Terre Thaemlitz asserts that music is not universal, and what comprises it is not the sounds per se but a specific “situation.” She moved to Kawasaki, Japan, after witnessing the Midtown of New York, where she would play as DJ Sprinkles, become “sanitized” through gentrification and deprived of key “situations.” The contexts from which the Deep House sound emerged are forgotten: sexual and gender crises, transgendered sex work, black market hormones, drug and alcohol addiction, loneliness, racism, HIV, ACT-UP, Thompkins Sq. Park, police brutality, queer-bashing, underpayment, unemployment and censorship — all at 120 beats per minute. However, Thaemlitz neither sought a place for peaceful living in Japan nor ended up in retrospectively paying homage to the “origins” of Deep House. Instead, moving back and forth between Kawasaki and Europe, she has accumulated acute and uncompromising musical and critical practices. One of the latest of these forms is Naisho Wave Manifesto, a lecture-performance that critically reflects on the one-sided expectation imposed on minorities to achieve self-realization and to gain presence through the cultural majority’s language and tools and the supremacy/marketability given to notions of social “visibility” behind that expectation. The performance touches upon such topics as indiscriminate online sharing of content and “copyrights,” sampling and subcultures, LGBT movements, and a feminist understanding of the low-birthrate “issue” in Japan. Delivered in Japanese with English translation. Bounce House Bounce House is a new project by Christine Sun Kim, a sound artist who multilaterally approaches sound and aural language as “social currency,” and attempts to criticize and unlearn the established concepts of sound. It is a dance party with sounds below 20Hz, which are generally said to be inaudible and are typically filtered out of CD and mainstream recording/broadcasting media. Since birth, the hearing in my left ear starts at 95 dB and in my right ear at 115 dB. An average person starts hearing between 0 to 25 dB. Technically, any sound that falls below 95 dB automatically makes up as society’s collective reality that is right in front of me.　　　Christine Sun Kim Hz (hertz) is the unit of frequency (pitch), and dB (decibel) indicates the intensity of a sound (loudness). While “any sound that falls below 95 dB automatically makes up as society’s collective reality” in front of Kim, sounds below 20Hz exist in the natural world regardless of benefits for the hearing. However, electronic dance music is basically delivered through loudspeakers, and most loudspeakers on the market — even large sound reinforcement systems — are not really designed with the reproduction of sounds below 20Hz as a serious consideration (and as a result, not many audio sources intentionally contain elements below 20Hz). Diverse beatmakers will contribute tracks that are made only from elements below 20Hz (only electronic music is capable of this) to Bounce House. TAGUCHI offers a number of subwoofers equipped with high efficiency, small-caliber speaker units capable of producing frequencies in this range, giving clear and loud playback of the tracks whether they are audible or not. This is neither an opportunity for the hearing to virtually experience the perception of the deaf, nor scientific experimentation; this is a dance party for extracting as much as possible, playing back, listening to, and if possible, dancing to the sounds that have been considered valueless as “social currency” and excluded merely for their inefficiency in conveying information. Track: 34423、Katsuhiro Chiba、edIT、Matt Karmil、Kyoka、Ah-Reum Lee、nanonum、NOEL-KIT、Nyolfen、Phasma、Marina Rosenfeld、hiromi sunaga、James Talambas、TOKiMONSTA [Track Maker's Profile](http://www.soundlivetokyo.com/2015/en/naisho_wave_manifesto_bounce_house.html) Artist information: Terre Thaemlitz  An award winning multi-media producer, writer, public speaker, educator, audio remixer, DJ and owner of the Comatonse Recordings record label. Her work combines a critical look at identity politics — including gender, sexuality, class, linguistics, ethnicity and race — with an ongoing analysis of the socio-economics of commercial media production. He has released over 15 solo albums, as well as numerous 12-inch singles and video works. Her writings on music and culture have been published internationally in a number of books, academic journals and magazines. As a speaker and educator on issues of non-essentialist Transgenderism and Queerness, Thaemlitz has lectured and participated in panel discussions throughout Europe and Japan. As of January, 2001, he resides in Kawasaki, Japan. Photo by Comatonse Recordings Christine Sun Kim  Born in 1980. A sound artist who is congenitally deaf. Growing up, as she acquired American Sign Language and English, she became aware of her relationship with sound and its social currency, and tried to identify the parameters of each language and how they interrelate with social behavior. She has been developing her art practice as an attempt to shift her relationship to sound away from society’s strictures; that is, rather than making what are generally perceived to be “correct” sounds, she produces and translates sounds based on her own perception, borrowing other people’s voices in order to have one. Her desire to legitimate her perceptions drives her interests in linguistic authority, the process of translation, and the deconstruction of preconceived ideas about sound. Based in Berlin and New York. Photo by Amber Mahoney Organized by PARC – Japan Center, Pacific Basin Arts Communication Supported by the Agency for Cultural Affairs, Government of Japan, in the fiscal 2015 and Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture)