In between

Marie-Louise Schneider, Lara Süß

Dokumentationsaufnahme

Description

Spielregeln:

  • Start: eine der beiden Stimmkünstlerinnen (1) – in unserem Fall, Marie-Louise Schneider – nimmt mit einem Aufnahmegerät ihrer Wahl eine 2 minütige Solo-Improvisation auf. Sie hört sich diese nicht an, sondern versendet sie über einen medialen Weg ihrer Wahl an die andere Stimmkünstlerin (2), Lara Süß.
  • Ein Münzwurf entscheidet darüber, welche der beiden Stimmkünstlerinnen anfängt.
  • Stimmkünstlerin (2) darf sich diese Aufnahme einmal anhören und wiederholt sie zeitnah aus dem Gedächtnis. Diese Reproduktion wiederum nimmt sie auf und versendet sie an Stimmkünstlerin (1), die denselben Vorgang wiederholt. Usw.
  • Die Aufnahme wird mindestens einmal täglich verschickt. Die maximale Anzahl an Aufnahmen pro Tag ist beliebig (x).
  • Das Projekt startet am 21. April 2020 und dauert 10 Tage.
  • Das gesamte Aufnahmematerial wird erst nach Abschluss des Projekts in Gesamtlänge angehört und eventuell weiterverarbeitet.

Forschungsfragen:

  • Wie verändert sich die Improvisation über einen längeren Zeitraum?
  • Welche akustischen Ereignisse bleiben besonders präsent?
  • Wie genau/ ähnlich ich alles, was die andere Stimmkünstlerin macht, mit meiner eigenen Stimme umsetzen?
  •  Wie verbessere ich meine Merkfähigkeit im Verlaufe des Spiels?

Statement der beiden Künstlerinnen nach Abschluss des Projekts:

 “Das u.a. Spannende für mich an dem Projekt bzw. Experiment war mit den Aufnahmen zu starten ohne sich im Voraus ein konkretes Ergebnis abzustecken, ohne das Ziel zu kennen. Wo würden wir am Ende unserer Reise landen? Welche Eindrücke, Erfahrungen und Schlussfolgerungen würden wir daraus ziehen? Von dieser Ziellosigkeit erhoffte ich mir eine Konzentration auf den Moment. Die Improvisation als Kunstform des Moments wird durch die Lebendigkeit des Augenblicks inspiriert und vorangetrieben. Durch die tägliche Wiederholung auf der anderen Seite würde sich möglicherweise eine Routine und Monotonie einstellen. Inwiefern verändert sich eine Improvisation obwohl die Ausführenden keine Veränderung intendiert haben? Diese Frage beschäftigte mich schon vor Beginn dieses Projekts sehr.
Es ging mir nicht um das letztendliche Produkt, vielmehr stand die persönliche Erfahrung im Vordergrund. Besonders präsent waren mir während des gesamten Verlaufs Anfang und Schluss der gehörten Aufnahme. An selbige Klänge konnte ich mich relativ leicht erinnern und sie dann mehr oder weniger auch produzieren. Markante Einschnitte oder Material-Wechsel blieben mir auch im Gedächtnis, während Materialentwicklungen und Weiterführungen eher vage in Erinnerung blieben. Ich empfand es als Herausforderung täglich mit derselben Energie und Lust die Aufnahmen anzuhören und habe bemerkt, dass mein Hören gegen Ende der zehn Tage weniger präzise und im Moment war im Vergleich zu den ersten Tagen. Ich habe schließlich vielmehr versucht das Gehörte zu analysieren, einzuordnen und in eine Form zu bringen.
Erstaunlich finde ich außerdem, dass ich beim Anhören des Materials teilweise meine eigene Stimme nicht mehr von der von Marie-Louise unterscheiden kann – vermutlich auch wegen der Frequenzen des gewählten Materials. Wir sind zu einer Einheit verschmolzen.”
Lara Süß

“Wo die Struktur fehlt, haben wir uns eine gegeben. Jeden Tag sind ein paar Minuten zu etwas Vorbestimmtem genutzt worden. Das hatte etwas Beruhigendes, Erlösendes, wo man in der Improvisation doch immer ein Risiko eingeht oder sich der Unsicherheit und dem Nichtwissen aussetzt.
Ich habe das Material, das sich mit der Zeit immer mehr konkretisiert hat, schätzen gelernt und es wie “Stimmhygiene” erlebt. Ich habe meine Stimme jeden Tag zu Wort kommen lassen in dieser vorbestimmten Geräuschhaftigkeit und das hatte überhaupt nichts mit meinen Gefühlen oder mit Kommunikation zu tun. Wie erfrischend!
Es war für mich etwas Germeinsames. Etwas zwischen uns. Etwas Fruchtbares, sich Veränderndes, ohne es verändern zu wollen. Wir wollten sogar, dass es möglichst exakt imitiert wird. Ich habe meine Aufnahmen nie selber gehört, nur Laras. Und sie hat sich angehört wie ich. Das war erstaunlich. Wir haben uns mit dem Material zu identifizieren begonnen, es interpretiert, wie ein Stück, ohne Originell sein zu wollen, sondern dem Material gerecht zu werden. In die Improvisation ist etwas von Selbstlosigkeit hineingekommen. Wir wollten uns nicht unterscheiden, abheben, um uns zu definieren. Das hat mir sehr gefallen, wo ich manchmal den Predigten des Individualismus verfalle und mich nach Zugehörigkeit sehne.
Es hat gut getan, eine klare Aufgabe vor sich zu haben und darin entspannen zu können, sie so gut wie möglich erfüllen zu wollen. Es gab eine Vorfreude, die Freude, wenn die Audioaufnahme dann kam und die Freude am Hören und Imitieren. Die verschiedenen Tonspuren, die entstanden sind und die ich am Schluss angehört habe, haben mich dazu inspiriert ein Arrangement zu machen und die Aufnahme zu bearbeiten. Manchmal muss man sich eine Minute Zeit nehmen pro Tag, um einen Stein ins Rollen zu bringen!”
Marie-Louise Schneider

I am sitting in the room…

Chi Him Chik, Zacarias Maia

Zacarias Maia, Recitation; Chi Him Chik, Video (work in progress, preview)

Description

All the time we spent, sitting in the room – bedroom, living room, bathroom -, waiting the time to pass, waiting all this to end. In the end, we are all just sitting in the room, which is different from the one everyone else is in now. In the end, we are all looking at a book, at a screen, at a wall, reflecting ourselves, and we are all going to do it again and again, until perhaps any semblance of our “existence” is destroyed.

Nature loves to hide

Paula Sánchez, Christian Moser

Things loves to hide, things are there, but they are not there. They have withdrawn, yet we have traces, samples, memories,…
How do we find ourselves in things? By listening, watching, interacting? In a playful way we wish to tune and blend in, to the world we inhabit, into the real illusions of the aesthetic dimension.A research about resonances, a dialog…
We collect sounds and pictures, getting tiny bits and pieces by recording and photographing, sometimes we combine them, rearrange disjunct elements in a new combination. Sometimes we maybe play and interact with spaces, enhance or process recordings, to point something out that we discover.

https://paulachez2.wixsite.com/naturelovestohide

Screenshot of the Website “Nature loves to hide” by Paula Sánchez and Christian Moser

La voiture de Théodore Musard

Sylvain Monchocé

Description

Concept: None
Pre-conceived Idea: None
Wishes: None
Project: None
Interest: Air/Water
Light: Arbitrary
Process: As shown in the video
Accessories: Glasses and Bowtie mandatory, moustache if possible

Postscript (by Michel Roth)

Sylvain and me had an exchange via e-mail about the project and I’m very glad that he allowed me to quote one section out of one of his mails which I regard as very important and deeply necessary in our days. Sylvain wrote:
“But the most important point which explains why I decided to perform alone, when the topic of this seminar was “distance musicking” with a goal to bring people together to perform and find new ideas, is a bit related to Thich Nhat Hanh’s “philosophy” but really connected to Krishnamurti’s thoughts (On Love and Loneliness). Since the beginning of this period, people keep publishing stuff “together” to ’show’ what they can do, to show that they exist and are connected. But it seems a bit false to me. People are afraid of loneliness, and in normal time we hide the fact that we are alone by meeting a lot of people, doing a lot stuff (to keep us busy) which then give us stories to tell to other people, but most of the time everything is empty. Most of us do what we do not simply because we want/need to do it but because it is hype to do it or just to be able to show off what we did, or simply because of social convention we do not undertake ourselves. But loneliness is still there.”

the Game

Iulia-Andreea Smeu, Jakub Jarosław Miarczyński

Draft of the Game Matrix (see Download “Process_theGame” below)
Final result of the Game piece by Iulia-Andreea Smeu and Jakub Jarosław Miarczyński

Description
(for the downloadable game instructions, see at the end of this post)

At the beginning everything is possible. It is a play in between randomness and free will. The players are responsible for the content of the game (the improvised musical material responding to the instructions), while the structure (the layout of the instructions in the matrix, the number of throws, the instructions to be performed) is generated individually using chance (dice throwing and random number generator). They thus proceed to create their own variant of the matrix game and play it without seeing/hearing/informing each other. The aim is to shape together a piece.

Download here the game instructions for personal use:

Download here the documentation of the process:

Crazy Lip Sync

Eleni Ralli, Alina Traine, Umberto Beccaria

Original score by Eleni Ralli
Umberto_Alina_original
Corona times, 2020, Study on synchronisation between Italy, Switzerland and Argentina.
Harp: Alina Traine, Piano: Umberto Beccaria
Concept/Composition: Eleni Ralli
Umberto_Alina_after_sync

Description

How do composers and performers work and communicate these Corona-Days? How do the rehearsals in different parts of the Corona World take place? Video calls assure that we are based on the image, to reconstruct the sound information that is missing, or that is not properly synchronised. A group consisted of a composer, a harpist and a pianist, can reconstruct all the audio information someone needs, based on visual elements and score instructions. Is the process successful or at least convincing enough? Let’s find out!!!

Fragment Manifesto

Paula Sánchez, Vicente Moronta and Luciana Morelli

In this project, we investigate different manifestations of the fragmentary in today’s culture.  Under the light of the current conditions of artistic production in the midst of a global pandemic, it becomes more evident that the “fragment” dominates the contemporary world, from social relations and aesthetic experiences to the way we know and understand the world through the black mirrors of our devices.

On the internet and in social networks we find millions of fragmented contents.  The obscene amount of information that circulates makes its content become banal and meaningless. And at the same time, the content is poor because it is produced to be consumed under this logic. Everything we see on a screen takes on real value while the body and experiences in the real world are devalued. In response to this accelerated and empty circulation, we seek to generate materials in which the fragment recovers its value as a way in which bodies are imprinted, leaving our mark and our view of the world.

In Fragment Theory (1998) Bartoszynski defines the fragment as a “non-everything”. The fragment may be “natural”, as a text that was conceived as a totality by its author at the time of its production, but by the passage of time or for natural reasons it remains fragmented. For example, the incomplete works of Mozart. But it can also be artificial, that is, a sought-after effect that aims to open the work to new meanings and in turn suggests that there is no such thing as “the whole”. For example, improvisation music, authors like Beckett or works by John Cage. Unlike the fragment understood as part of a whole that is possible to know, the artificial fragment is a fragmentation of a whole that does not exist. 

The artistic production is in itself fragmentary since the artist creates from a cut, a point of view, and in the same way the perception and aesthetic experience is fragmentary because it is also experienced from a person, a body in a space and time with its history and its sensitivity. The fragment expresses an unrepeatable here and now. But today, it seems that if things are not on the Internet, they do not exist. For that, the content must be adapted to the measure of the virtual platforms generating images, music or videos in equal formats, even forcing us artists to think our creations directly in the digital formats to which they will be converted when shared in the networks. For example in the consumption of music by streaming, all songs or musical works are leveled to a certain amount of dB depending on the platform. In addition, the concept of the album as a whole, as an integral work, is lost in the random reproduction or the possibility of downloading a playlist or listening to a mix programmed by an algorithm. Many times artists opt for the publication of singles or EPs. Under this logic a homogenization of the contents under the rules of the digital programming is produced. In addition to adapting their format, on the networks the contents are also fragmented. The fragment is easier to circulate, easier to reach a massive audience and in consequence, easier to be used for other purposes that perhaps were not what the artist had thought. What matters is the massiveness and not the quality. Its circulation is uncontrolled, it can be shared and forwarded millions of millions of times. It is also offered in loop, video-minutes that start again and again with the hope of seeing something new in each repetition. 

Faced with this type of consumption of fragments generated for quick and effective consumption that generates a banalization of content and a loss of experience that saturates the networks, we want to claim an “aesthetic of the fragment” that recognizes itself as a fragment, that does not hide its identity and points to itself to remember that it was created by a real person through an experience in the “offline world”. These fragments awaken our curiosity and stimulate our imagination, and also draw attention to what is not shown, what is “missing”, what is not represented. In other words, everything that is shown is hidden at the same time. But when we refer to what is not shown, we are speaking mainly of the real bodies of flesh and blood. The person who has registered those images or interpreted those sounds becomes the out-of-field, but she/he becomes present through she/his cuttings, she/his voice, she/his sounds. 

 We want to claim the fragment as a point of view of our being-in-the-world, as a symbol of a partial vision that allows the opening to the mystery of things. Fragments in the form of images, texts or an improvisation not only reproduce the pathos of a lost totality, but also propose perspectives and points of view that would not be offered if they were “complete”. We offer our fragments as open and unfinished works for an imaginative practice that finally help us to rethink our relationship with what is absent in the virtual world, therefore with the body. In a way, we seek to return the body to the virtual, and to remember that the body is our first way of approaching reality, it is the medium and the point of view from which we perceive reality. We incarnate ourselves through the fragment, recognizing the diversity of points of view and against digital homogenization. While it may be ironic to upload material to Instagram, YouTube or Soundcloud, we believe in subverting the normal use of these platforms.

During the process, each member of the team worked remotely, placing in this document their productions, a description of them and a reflection. The result is a kind of diary/dialogue that we reproduce below.

PAULA 5.5.20 

Sound diary: 

I started keeping a diary of images and sounds.

A trace of places, objects and texts that caught my attention. 

All of them were saying something to me..

1

Estar despierto, estar-ahora, estar en la actualidad, en la que como en un destello, el pasado se une con el presente en una constelación, cargada de tiempo.

Las cosas remotas y las cosas cercanas reunidas juntas en su irrenunciable singularidad

2

Which is the quietest sound of your body?

 -La piel que roza

3

J’étais débordé, Inondé

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5 . J'étais débordé, Inondé . 4PM

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4

Le temps

était rempli

d’ailes

en infinies

rivières

5

That day I woke up at 6 am. We went to the forest by the river. Next to the train tracks, among the trees, there was a man singing…

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10 . Next to the train tracks

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6

The sound of water is the surface of the water. Passage. Moment. Shape.

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9 . Later

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11 . Inside

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7

Perceive touch as someone who listens. The sensible body, listening/feeling. The friction that appears and disappears, temperatures, and textures that melt together.. Juxtaposed , surrounding me.

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8 ..

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8

I wonder..  can a presence be captured by sound?

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12 . Inside

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13 ..

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LUCIANA 7.5.20:

Experiment with vocal improvisation and texts:

Improvisation #1: “Where would you like to go today?”

I start to experiment with the fragmentation with texts. Sometimes a text could reveal a truth when you just read some fragments by chance. The reconfiguration of a preexisting text reveals new meanings.

For this improvisation I used fragments of Google’s privacy policy and screenshots of Google Maps. I first saved the audio file under the name of “Big Data” but when I added the images a new meaning came out. 

“Where would you like to go today?” refers to a way to go out in a moment that we have to stay home and at the same time calls for a re-reflexion on the fragmented way we relate to reality by being able to “see” different parts of the world at the same time, from our device  without leaving our home. But at the same time with the incapacity of really been there in presence or get to know this places. It also denounces how we use internet to satisfy our middle-class needs but under the interests of large corporations that hide behind the suspicious privacy and data protection policies that we accept every time we use the internet and its “free” services. 

Improvisation #2: “Are you listening?”

In this case, I took a poem of Oliverio Girondo, an Argentinian writer, and I record myself reading it in different ways. Then I added, as if it was a collage, different fragments of singing exercises I’ve been doing or random improvisation melodies. Then I recorded another improvisation over it that it ended to be an imaginary dialog with someone else who is not there and who is also not listen to me.
  This experience demonstrate that we can not read or say the same text the same way every time, that are different velocities, tones, pauses, and that this is not possible in the internet-loop world of the digital reproduction. With every click on ”play” you will hear and watch the same thing over and over again.  At the same time, on the internet we are all talking at the same time without listening each other, everybody is sharing, everybody is streaming, everybody is doing everything at the same time.

Experiment with collage made of old art magazines:

Collage #1: “…unparalleled mastery, the artist portrays the environment’s influence on GRÖSSTE” 

I took old art-magazines that I had and start cutting figures and things randomly. While I was scrolling the magazines what caught my eye was the amount of images in where a man was oppressing a woman somehow. Then I started pasting the figures creating a different relation between them.

Vicente all days

BETWEEN SHEETS AND PURRINGS

I must confess that I’ve never been very fond of animals and especially of felines.

These days of confinement I have shared with a cat whom they call “Nena”. As it’s common, cats decide how and when they want to be sharing space and time with strangers.

Well, in these times of quarantine I have woken up every day to the sounds and gestures of Nena, who, showing her affections, brightens my day from very early on.


Duo Revolut: Aperghis Retrouvailles IV

Tsugumi Shirakura, Tomohiro Iino

8. Mai. 2020, Tokyo and Graz
Original score by Georges Aperghis, 4th movement out of Retrouvailles IV

Description

“Spielplan” used by the two performers
Screenshot of the performance
Coaching by Christian Dierstein.

Kommunikationsspiel

Jana Wirth

Description

A communication game inspired by Hans Wüthrich’s “Kommunikationsspiele”. The concept reflects the daily press conferences and their rituals during the corona crisis and transforms them into a musical communication game consisting of three (p)layers: The government (“Bundesrat”), Player I, informs the people, almost simultaneously translated by Player II into a (musical) sign language. The Players III, IV, and V act as “journalists”, interrupt the speech and start to ask uncomfortable questions.

Moreover, the concept applies implicitly the common experience of mutual contingencies and coordination problems while communicating under such “distanced” and asynchronous circumstances. Therefore this score seems very suitable for a realization via electronic communication media.

sky-pee (study 2)

Michel Roth (with Julian)

Description

After many weeks of video conferencing with screen sharing during the Corona lockdown, I wondered what happens when two computers on a table directly opposite each other are doubly connected via two providers (skype and jitsi), each partially sharing their screen and filming the other screen simultaneously. A further level is created by the fact that the screens mirror bright elements of their surroundings. These emergent feedback loops turn out to build a highly sensitive system that can be influenced astonishingly with the smallest changes. In this example video, the angles of the two screens are sometimes slightly changed, beams of light (played by my son) are injected into the system and, especially by a very simple trick, strong color changes can be caused: For this, different colored pens were moved in front of the cameras, whose color track was strongly stabilized and amplified by the loops.

This study was intended to be mainly visual, but some well audible audio feedbacks and reverberations exemplify that the system could be additionally fed with acoustic inputs.

Meandertale – 1918 Pandemia

Lara Süß, Jacek Adam Chmiel

Lara Süß, voice and video; Jacek Adam Chmiel, sound, electronics, objects

Description

We took two texts that were talking about the Spanish Flu situation in 1918, one a fictional letter from F. Scott Fitzgerald quarantined in the South of France (written by Nick Farriella in March 2020 in the style of a parody; see: Link), the other describing the actual symptoms of the pandemia of 1918 quoted from the book Krankheit und Tod 1918: zum Umgang mit der Spanischen Grippe in Frankreich, England und in dem Deutschen Reich by Marc Hieronimus.

Lara started with a recording of the texts, Jacek reacted on the recording of her voice with an improvisation on electronics and objects.