Illust: T. Thaemlitz
Brain Goes Vegitable by Christine Sun Kim ©Yang Chao Photography Studio
Brain Goes Vegitable by Christine Sun Kim ©Yang Chao Photography Studio
Illust: T. Thaemlitz
Illust: T. Thaemlitz
Brain Goes Vegitable by Christine Sun Kim ©Yang Chao Photography Studio

Naisho Wave Manifesto


Lecture-performance by Terre Thaemlitz


Bounce House


Concept and performance by Christine Sun Kim

Tracks contributed by 34423, Katsuhiro Chiba, Matt Karmil, kyoka, Ah-Reum Lee, nanonum, NOEL-KIT, Nyolfen, Phasma, Marina Rosenfeld, hiromi sunaga, James Talambas, and TOKiMONSTA + edIT

Technical cooperation by TAGUCHI and WHITELIGHT.Ltd


Sound: Yuji Tsutsumida, Hiroyuki Nakashima
Lighting: Hiroshi Kato
Sign language interpretation: Natsuko Shimotani, Hidenobu Nozaki
Documentation: Kenta Matsuo (video), Hideto Maezawa (photo), Tomoyuki Arai (sound)


Sunday, November 15 | 18:30 open, 19:00 start

*With Q&A and sign language interpretation

Adv 2,500 yen / Door 3,000 yen

Advance tickets available at Peatix


Two questions on the social compulsion for “minorities” to be publicly visible and the exclusion of inaudible frequency ranges as valueless “social currency”


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 [1]


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.


DJ Sprinkles: Midtown 120 Blues Midtown 120 Intro (2:47 2.2MB MP3 128kB/s)
DJ Sprinkles: Midtown 120 Blues Midtown 120 Intro (2:47 2.2MB MP3 128kB/s)

DJ Sprinkles: Midtown 120 Blues

Midtown 120 Intro

(2:47 2.2MB MP3 128kB/s)


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.


Subjective Loudness by Christine Sun Kim (Sound Live Tokyo 2013)

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 (premiered at Fusebox Festival, Austin, in April 2015 in collaboration with the Visual Arts Center at the University of Texas and the Church of the Friendly Ghost). 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.

Subjective Loudness by Christine Sun Kim (Sound Live Tokyo 2013)

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 (premiered at Fusebox Festival, Austin, in April 2015 in collaboration with the Visual Arts Center at the University of Texas and the Church of the Friendly Ghost). 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 [2]


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.


Comatonse Recordings


Comatonse Recordings

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 Amber Mahoney


Photo by Amber Mahoney

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.


[1] Terre Thaemlitz, Naisho Wave Manifesto, in Farben 2014, nicolo, Visual and Echo Japan, 2014

[2] Christine Sun Kim, Subjective Loudness, Sound Live Tokyo, 2012



Track contributors for Bounce House




34423 (Miyoshi Fumi) | Electronic musician born in Ehime and based in Tokyo. Having been familiar with recording devices and instruments since childhood, she started to create her own unique sounds. Her aggressive sounds and vivid visual images that contrast with her appearance have drawn attention, which led to her international debut with Tough and Tender (kaico) in 2013. Since then, she has been active taking part in large-scale festivals in Tokyo and collaborating with YU-KA TANAKA, to whom she entrust the visual aspects of her activities, and released Masquerade (kaico) in February 2015. She has also composed for films including a horror movie Eyes based on a novel by Koji Suzuki and directed by Yohei Fukuda and Seishun Gunjyoiro no Natsu directed by Yuwa Tanaka.




Katsuhiro Chiba | Electronic musician born in Iwate, Japan. Specializes in digital acoustic processing and Max (a program development environment used by musicians). He released innovative glitch sound software “cyan/n” in 2003, and started to perform live using the software. Having released two full albums and one mini album, he has been taking advantage of software that he develops to create uniquely transparent and melodious electronic sounds. Recently he also created apps, and his iPhone app “hibiku,” of which theme is reverberation, took first place in the app market ranking in Japan in 2013.




edIT | Before he was edIT, indie hip-hop artist Edward Ma began his career in the late ’90s as the Con Artist. During his stint as the resident DJ at Konkrete Jungle Los Angeles, Ma worked with Hive, Daddy Kev, James Tai, Busdriver, P.E.A.C.E., and Mikah 9; he also hosted a regular program on Dublab Radio. When not performing, Ma acted as producer and engineer for other musicians such as Sole, the aforementioned Busdriver, Aloe Blacc, Emanon, and Dr. OOP under the Con Artist moniker. The name was retired in 2003 and replaced with edIT while Ma was completing his first solo album. In 2004, Crying Over Pros for No Reason was released on the Planet-Mu label. Rather than rest on his laurels, Ma continued to explore his craft, creating remixes and mashups that gained him further recognition in the world of electronic music. Fans and fellow DJs weren’t the only ones to take notice — in 2006, Urb magazine named Ma one of their “Next 100” artists to watch. Certified Air Raid Material, the follow-up to Crying Over Pros for No Reason, was released in the autumn of 2007. Outside of his work as edIT, Ma has created ad music and jingles for Face the Music. These compositions have appeared in commercials for Scion, Toyota, Mercedes-Benz, and Calvin Klein, among others.




Matt Karmil | He was born near the giant pre-historic glockenspiel / mythical neolithic monument known as Stonehenge. Today he produces and plays a particular form of playful and moody dance music for some of the world’s finest record labels and dance floors. Years of djing, record collecting and working as a producer-engineer in London, Paris, Berlin and Stockholm led to him finding a new home in Cologne by 2012. Matt soon befriended the tight-knit yet open-minded community of music lovers centred around the legendary Kompakt imprint. It was these newfound friends that convinced him to release the music he was making, up until that moment for his own enjoyment only. Matt’s current releases diverge wildly, ranging from the easily accessible and dance floor friendly “Dans-Maxi Från Nacksving” on Stockholm label Studio Barnhus, to his experimental and insular untitled second album on Bristol’s Idle Hands.

Photo by Sylvia Stäinhauser


Photo by Sylvia Stäinhauser

kyoka | She works as a musician/composer in Berlin and Tokyo. Grew up in Japan, she had piano, flute and syamisen lessons during her childhood. While listening to and recording radio shows and tuning sound of the radio to tape, she became attracted by the tape recorder and bass sound. In 1999, she started to explore the potential of synthesizers/computers and began a trip as a backpacker with her small synthesizer. Traveling in the USA, Spain, France, the UK etc and improvising with local underground artists, she learned about differences in expression that stem from personality, regionality and musicality. In 2008, she released her first three EPs from onpa))))), Berlin, and in 2012, she released a 12-inch iSH from raster-noton led by Alva Noto and Byetone as the first solo female artist on the label’s roster. At Plissken Festival, she won the second best act in the two-day period over Deadbeat, Fuck Buttons, etc (the best act was Shackleton), and in Japan she has performed at such occasions as Sonar Tokyo 2012, FREEDOMMUNE 0 ONE THOUSAND 2013 and The Star Festival.




Ah-Reum Lee | A musician and media artist from Seoul, South Korea. She is a founding member of the experimental psych-rock band Juck Juck Grunzie, formed in 2007 in Seoul. Performing as the band’s lead vocalist and synth player, Ah-reum has recorded two records with her band and has toured internationally in Asia and Europe. Juck Juck Grunzie’s music marries irregular rhythms with psychotronic soundscapes grounded with a driving punk-rock ethos. In addition to her music Ah-reum has recently been busy developing new media art projects which incorporate sound sculpture and video.




nanonum | Sound artist / designer / programmer. Works on a freelance basis. Attempts to create musical expression based on semiotics and phonemic structures using signal processing through Max and programming. Among his works are NNNMNMNL released from +MUS; track contribution, visual and art direction for coppe’ (mango + sweetrice); remix for Czech experimental ambient unit “Gurun Gurun” and participation in Bunkai-Kei records’ compilation.




NOEL-KIT | Creates quiet and gorgeous tracks making full use of old-school synthesizers and samplers as well as MAX/MSP programming. As the half of electronic improvisation duo DUB-Russell, he has appeared in events including SonarSound Tokyo and remixed Jeff Mills’ track. Also works as the mechanic of a mysterious and soothing vocaloid girl Funwari-chan and as Tengu Magazine. As a solo artist, he has released In Praise of Shadows (Bunkai-Kei records) that was inspired by Junichiro Tanizaki and the techniques of ink painting as well as Steamfunk and TOKYO NOISE (Bandcamp).



Nyolfen | Started to perform mainly in Tokyo in 2006. His compositions range from electronica, minimal and experimental to piano works. Selected in Ken Ishii Remix Contest on Sound & Recording Magazine in 2009. As the earth dances, his second album released from Denryoku Label in May 2010, was featured in the J-Indies ranking of Tower Records Shibuya, and his conceptual EP fourpoles released from Bunkai-Kei records in June 2011 was acclaimed internationally. In 2012, he released his third album Pulse (PROGRESSIVE FOrM) in July, Eclipse EP (Denryoku Label) and contributed tracks to a collaboration project by Bunkai-Kei records and Intel Gridplay in November.




Phasma | Released Mirage EP from Bunkai-Kei records in June 2011. In addition to the sound design for Gridplay — A Social Music Playground Powered by Intel® and participation as a featured artist in kidkanevil’s album My Little Ghost released from PROJECT MOONCIRCLE, Berlin, he has contributed a number of tracks and remixes for compilations. Also actively performing live, he has appeared in such events as OUT OF DOTS, CHANNEL, 2.5D and RAINBOW DISCO CLUB. Currently a mechanic of Funwari-chan, a project with NOEL-KIT. Funwari-chan has released seven EPs and one album, thrown a release party at SuperDeluxe, performed in SADD SOUND in Taipei, composed for UNIQLO CSR MOVIE, collaborated with earth music & ecology Japan Label, remixed for Buffalo Daughter and produced music of an exhibition by hatra, a hoodie brand.




Marina Rosenfeld | A composer and artist based in New York. She has created large-scale works at the intersection of performance, installation and music composition since the mid-nineties, including a noted series of conceptual “orchestras” and a customized P.A. system that she has composed for and deployed in monumental sites internationally, from New York’s Park Avenue Armory to Western Australia’s Midland Railways Workshops. A pianist and composer by training, Rosenfeld has also performed as an experimental turntablist since the late-nineties, working mostly with hand-crafted dub plates, alongside collaborators from Christian Marclay to Warrior Queen to the Merce Cunningham Dance Company. Rosenfeld’s work has been presented at numerous biennials, festivals, and museums, including solo projects for NY’s Museum of Modern Art, Whitney Museum (including Whitney Biennials 2002 and 2008), Stedlijk Museum, Tate Modern, and Wien Modern, SPOR, Vancouver and Holland festivals, among many others. She teaches at Bard College, where she has co-chaired the MFA in Music/Sound since 2007.




hiromi sunaga | Electronic music / video artist living in Berlin. Started analog recording and video production in 2007, working mainly in Tokyo. Produces acoustic works that utilize places / open spaces, where ambient sounds and drones exist, with her theme of “reflecting on the acoustic memory, overlapping and melting beauty.” Hosted an ambient event called “Shadow of Stars” at an old church in the suburbs in May 2011. Took part in Hz-records’ compilation album amorphous in 2012 and BULLET’S 15th Anniversary! compilation 02 in 2014. Currently planning to release a LP from a Japanese label CMFLG.




James Talambas | A composer, producer, dj, and installation artist. He owns and operates New Media Recordings, a production company and creative venue on the south side of Fort Worth. Talambas does original scores and sound design for a number of films, and has recorded, produced, programmed, and arranged for a variety of local, national and international artists in a myriad of genres. Talambas consistently employs technology, improvisation and space into the pieces he composes, creating site specific, and musician specific electro-acoustic works.




TOKiMONSTA | Los Angeles native, TOKiMONSTA (Jennifer Lee) is known for her unique take on indie electronic / r&b / dance music. Her classical upbringing and eclectic music taste has allows her to create vast textural soundscapes — a reverberation that fuses vintage sensibilities with progressive inclinations. She is notably the first female to join Flying Lotus’ crew / label BRAINFEEDER, and has been featured on various large-scale radio programs such as: BBC Radio1 (UK), NPR (USA), BBC World Service (UK), J Wave (JP), Studio Brussels (BE), Radio Nova (FR), KCRW (LA) to name a few. Subsequently, DJ Mag, Pitchfork, The Guardian, XLR8R, Paper, LA Times, Dazed and Confused, SPIN, Wax Poetics, MTV, VIBE, Billboard, Rolling Stone, Sound and Recording and more have covered her. LA Weekly ranked her as 2010’s #1 female DJ in Los Angeles, and Resident Adviser did a full feature on her for their “Breaking Through.” Her performance is engaging as well as intricate — using new technology with pieces of musical and multimedia gear. Some notable past performance occasions were: Red Bull Music Academy in London, the first electronic music themed train tour Full Flex Express, Golden Voices’ first ocean cruise festival SS Coachella, Sonar Barcelona, DEMF, WMC, Electric Zoo, SxSW, Camp Bisco and Decibel Festival. Currently she is on Fovere Tour across North America.