pic: TU Dresden/Eric Münch

Have you ever dreamed of spending a night in a museum?
The Lullabyte project presents itself as part of the Dresden Music Festival and invites to an extraordinary evening on 1.06.2023 at the Hygiene Museum.

Music has strong effects on the human brain. Particularly well known are the “somnogenic” effects, i.e. that music influences the physiological state in such a way that sleep and relaxation are promoted – an effect that lullabies pick up on. But why does music have such a great influence on the brain that moods or even sleep behavior can be promoted? Since 2019, scientists* from neuroscience, psychology, musicology and computer science have been working together at TU Dresden in the “Lullabyte” project to investigate this question.

An exciting insight into the topic will be provided by “SOUND & SCIENCE” and an eight-hour sleep concert, which invites you to listen to sounds, relax or simply sleep.

Prof. Dr. Kira Vibe Jespersen – Assistant Professor at the Center for Music in the Brain, Aarhus University
Prof. Dr. Martin Dresler – Head of the Donders Sleep & Memory Lab, Donders Institute, Nijmegen
Jun.-Prof. Dr. Miriam Akkermann – Junior Professor for Empirical Musicology at the Technical University of Dresden, Germany

Duo Akkermann/Janek:
Miriam Akkermann – flute and electronics
Klaus Janek – double bass and electronics

The European notion of the note is set into a relation with the Indian, Chinese, Arabic, Armenian, and blues, which each follow different ways of conceiving musical sound. Such a musical-practical and microscopic analysis of the concept of note in transcultural comparison has not been done before. As a result of the accumulated knowledge about the respective cultural practices, transtraditional transformations have formed a musical unity with new symbols: the NOTE as an extended dimension and as a deconstruction of habitual playing techniques towards an alternative musical reality. The musicians are thereby enabled to use self-designed novel modes within their own methods of composition and improvisation, and to invent their own categories of raga- or makam-like approaches and to transfer them to 20th and 21st century learned musical practices that shape their musical identities.

In the concert, the musicians of Ensemble Extrakte will present jointly developed “final fragments” in groups and as an ensemble. The pieces in the program are based on analyses and extended ways of playing gained from these analyses, as well as synergies from newly learned notational practices of the various traditions. The result is a musical approach rich in new dimensions.

Sponsored by Musikfonds e.V. FEB-III Stipendienartige Förderung für Ensembles und Bands

ENSEMBLE EXTRAKTE
Sören Birke – Mundharmonika, Dudek
Klaus Janek – Bass, Elektronik
Bakr Khleifi – Ud
Cathy Milliken – Oboe, English Horn
Gregor Schulenburg – Flöten, Duduk, Kyotaku
Ravi Srinivasan – Tabla, Whistling, Vocal
Wu Wei – Sheng, Erhu
Jeremy Woodruff – Baritone Saxophone
Zhao Lucy – Pipa
Jeremy Woodruff – Musikalische Leitung
Elke Moltrecht – Leiterin Ensemble Extrakte

Research period Feb – April 2023
concert 16. April 2023, 16:00
ACUD CLUB RAUM, Veteranenstrasse 21, 10119 Berlin

In 2021, P600 has been chosen for the ensemble support grant of Musikfonds (FEB). In an intensive autumn work period, two one-week residencies are taking place in Berlin, including three public ‚work in progress‘ performances: at Liebig12 project space and in the BHROX Bauhaus ReUse glass construction on Ernst-Reuter-Platz. The group’s new musical output will be examined and presented in three different versions: as a low volume version (Liebig12), as a full range version (BHROX) and as an ‚open lab version‘ over the course of six hours (BHROX)

The quartet project P600 refers to specific research factors of cognitive science / psycholinguistics as a premise to create conceptual and graphic scores for music/sound.
Consisting of four musicians, including one klangregie (sound director / live sound manipulation), P600 experiments with a range of acoustic, electro-acoustic, and acousmatic sound. Each musician acts as an independent sound source, but also sends an audio signal to a main mixer. The klangregie manipulates and spatializes their sounds, via the mixer and (quadraphonic) loudspeakers, according to a score. This is equally inspired by Dub Reggae producers and avantgarde composers like Stockhausen or Nono, in that the mixer becomes an instrument. The autonomy of each musician, combined with the klangregie’s use of their signals, offers a complex level of sound dynamics: ranging from micro to macro and barely audible to omnipresent. For each performance the quartet spends a period of days in the space, developing ideas which both relate and respond to the space – both sonically and conceptually.
Since the launch of the project in 2013, a ‚modular approach‘ has been established besides the group work: collectively conceived ideas, audio material and scores/concepts have been integrated and re-contextualized in solo and duo efforts – in ongoing studio experiments, published recordings, as well as concerts.

P600-2021
residency and concerts
Version 1: low volume performance – Liebig12 – 22/Nov 7-9PM
Version 2: full range quartet concert – BHROX Bauhaus Reuse – 30/Nov 7-9PM
Version 1: six hours trio performance – BHROX Bauhaus Reuse – 04/Dec 1-7PM
P600:
William „Bilwa“ Costa: electronics and unnatural field recordings
Klaus Janek: double bass and electronics
Luca Marini: drums, percussion
Nicolas Wiese: klangregie / live sound manipulation, samples, feedback

P600, the music project, utilises factors related to research into event-related potential (ERP) as a premise to create conceptual and graphic scores for music/sound. Consisting of three musicians and one sound director, P600 experiments with a range of acoustic, electro-acoustic, and acousmatic sound. Each musician acts as an independent sound source, but also sends an audio signal to a main mixer. The sound director manipulates and spatializes their sounds, via the mixer and quadraphonic loudspeakers, according to a score. This is equally inspired by Dub Reggae producers and Stockhausen, in that the mixer becomes an instrument.

P600 are: Luca Marini (drums), Klaus Janek (contrabass/electronics), William “Bilwa” Costa (electronics/objects), and Nicolas Wiese (sound direction/mixer/feedback)

The monthlong stay in Bruxelles was funded by the two institutions and included a residency at Q-02 and a “staging-sound” mentoring at a.pass.

a.pass is an artistic research environment that develops research on performativity and scenography, in an international artistic and educational context. The institute includes two complementary bodies that operate in parallel and in dialogue: a Post-master Program and a Research Centre.

[SNDNG STTNS] was invited to share knowledge and experience of -staging sound – in a kind of quick’n dirty mentoring task.

Q-02 hosts [SNDNG STTNS] for the second time, and we enjoy the atmosphere and working and living situation. In 2017 we started our project concerto ambulante as a radio-phonic side-specific walking concert. This work gave the base to other  formats like the radio-phonic and sidespecific opera format with its first sketch “Musraropera” (winner of the ITI Music Theatre Now competition 2018). This time and residency we dedicated ourselfs to develop further the piece “to be in a time of war” with the text from Lebanese writer Etel Adnan. The first set of the presentation held nov 7th, at Q-02 was a listening of the piece. In the second set we performed as macchina som allstars elaborating Lukas’ idea of the daily encounters of death, not in its form as being a threat but more in its dailiy phenomena.

workshop soundrecording – sounding situations

The WS was initiated by the Goethe Institut Kigali, the Institut Francais and RAI Rwandan Arts Initiative. The idea of the workshop resulted from the digiTales across the borders performance, and its need to conserve the aural tradition of story telling into a digital media archive. For this the Goethe Institut Kigali invested in a basic equipment, which allows interested people to use the devices and microphones in order to record told stories, interview storytellers and collect material around the topic. Sounding situations conceived the WS not only technical, but also from a perceptional and physical  standpoint. It was organized in lectures on different topics, exercises of listening, and practical hands-on recording, mixing and mastering classes. The dossier can be downloaded here.

a sounding research archive stories,
sounds and tunes from the famous broadcasting complex of the former GDR-radio station in Nalepastraße

Grotest Maru and sound and radio artists Klaus Janek and Milena Kipfmüller revive radio history in their research “Nalepa lives!”. A central role is played by the old studios in Nalepastrasse. Thematic strands are the acoustical peculiarities of the studios, in particular the unique large broadcasting salon, the radio drama, feature and news production of the sixties to the eighties and also the everyday social life in this around-the-clock complex with a maximum of 5,000 workers.

The “Open Nalepa Studio” provides an insight into the current research stand with images, sketches, audio samples and their processing.
Also invited are contemporary witnesses with their own perspectives on the Nalepastrasse: the acoustic expert and former head of the Laboratory for Acoustic-Musical Boundaries, Gerhard Steinke, the former radio editor and current city guide through the Nalepa complex, Wolfhard Besser, a former sound engineer of the Funkhaus and composer Andre Bartetzki and (Ker) Stine Satke, former radio play spokeswoman and former member of the ensemble of speaker children.

Afterwards pasta and radio plays.

Funded by the Senate Departement of Culture, Berlin, and hosted by KuLe, Berlin

During the days of collaborative work and research the CAMP collective creates and discusses artistic ideas combining individual creativity with collective needs. The artistic research method is used for topics to be chosen, discussed, produced and presented as art projects.

the this years festival happend at RMPE Stuttgart and hosted following artists:

Goncalo Cruzinha PT | Fried Dähn DE | Neus Estarellas ES | Emilian Gatsov BG | Vladislav Iliev BG | Pepa Ivanova BG | Klaus Janek DE | Hanna Kölbel DE | Mirian Kolev BG | Desiree Lune DE | Sabrina Ma CA | Alexandra Mahnke DE | Thomas Maos DE | Lora Rounevska | BG | Milan Schell DE | Swen Seyerlen DE | Petko Tanchev BG

and here a little presentation feature..
click here

[SNDNG STTNS] Milena Kipfmüller & Klaus Janek is invited by Musrara Mix Festival to develop a new work in Jerusalem. We will be researching and developing a mobile radio opera in the old city quarter of Musrara between 26 of March until 26 of April 2018. Performances at Musrara Mix Festival in end of Mai…

During the month-long residency in the quarter of Musrara [SNDNG STTNS] developed a participatory mobile radio opera based on the voices of the neighbourhood. In a collective dialogue we draw a description of the present and futures to be heard in an acoustic portrait. The piece moves as a radiophonic opera through the city landscape transforming it into its stage. How to deal with a format full of past and tradition like the opera, when present is the moment we have, the time frame and power to make transformation happen? Theatre and performance are a strategy to imagine in a concrete way what we do not know and how (personal and collective) history could be staged. It is the fictive rehearsal and master training of transforming the uncertain present into a wished future world in which we want to construct our broader neighbourhood.

between april and may 2017 [SNDNG STTNS] Milena Kipfmüller & Klaus Janek were invited residents at Vila Sul, Goethe Institut in Salvador, Brazil. They got nominated by the Sophiensaele, Berlin to propose a project. The project called CERNa was choosen by the jury of curators of Vila Sul. The residence was supported by the Goethe Institut and Robert Bosch Stiftung. In the two month the two artist focussed on the CERNa project (informations about see on project listings) and also collaborated with the poet and performer Alex Simoes in the piece a Capella de Wally a 3 and presented the new project concerto ambulante at the University of Bahia UFBA and got invited to participate with both projects at the Festival Paisagem Sonora 2017 in Chachoeira.

Frequency fields. Milena Kipfmüller & Klaus Janek will engineer a solid set as composition instrument. At the beginning of the research tehy decide about abilities and aesthetic characteristics of the instrument, which will intrinsically define its sounding and performative qualities. At this stage a guest from Berlin, Lukas Matthaei will work with them.
Then they go through try outs with a smaller audience, installing a performative situation in an indoor space, being a stage, a hall, a smaller room, etc. The feedbacks from the listeners give the possibility to go further through the process, bringing the instrument to an outside, urban environment, where the city and its notches (Kerben) puts the work/composition into friction with a specific shaped and resonating space.
At last Milena Kipfmüller & Klaus Janek will try out the possibility of composing in a mobile way, integrating live recorded and processed sound of outside. Specific spaces and its acoustic qualities function as analog live effects as part of the composition.
They experiment with an instrumentation of double-bass, oboe, recorder, laptop, analog gear, pickups on a variety of objects, voices reading text (recorded or live), radio-transmitters and radios.

We, Milena Kipfmüller and Klaus Janek, met during the development of a performative project where sound and urban space were used as a foil for examination of the German participation in today’s wars. After that, during a year long process, it became a radio piece that we perform live with different local guests, therefore scanning different environments and possible interpretations.
This work leaded us to a profound development of radio and soundwork that deals with aspects of processing of musical material, field recordings and language based sound, that, interconnected, change their original definition and become a net of sounding meanings. By the use of the compositional and performative strategies these are constantly redefined. We work on a collaborative and artistic research about the development of a “performative instrument” under the perspective of its philosophical, conceptual and artistic production processes. We both started studying music and then reached out for different directions, over collaborations in performance (deriving from fine arts and dance/theatre), architecture and photography. This makes the faculty of each owns language specific and leads to an inevitably necessary collaboration as an artist entity, which we would like to develop further and strengthen during the residency period.

the instrument:

We feel the necessity to take a closer look to the activity of composition or the multiple fields a composer has to work on. The actual definition of composing derives from the Latin “componere”which literately means to assemble. But what we commonly mean by composing tends towards creation of music. So the composer is mainly the creator of the music and the executor is the interpreter of the score, or the concept created as score. From this thought we would like to deepen the idea of creating music (instead of composing music) by examining the activity itself, and deconstruct „creation“ into different elements: sound objects, process methods and composition techniques.

From this position we feel the urge to research and develop an instrument in order to process artistic content.
Technically speaking, we experiment with an instrumentation of double-bass, oboe, recorder, laptop, analog gear, pickups on a variety of objects, voices reading text (recorded or live), radio-transmitters and radios. The set has different qualities that can be explored:
a) performance situation, b) live installation, c) mobile act.
We work with different kinds of radio devices and the technique of radio transmission, which enables us to use it as a flexible and portable engine for moving performances. The instrument is mounted on a belly tray and transmits the creation via radio frequencies onto portable radio devices, used with or without headphones.The instrument characteristics consist of three fields: sound source, method of processing, composition technique. In previous works we experienced these fields in a way that we are sure about them as a choice – in that a certain presetting is given. The sound source we are using are acoustic instruments (which we play), ambience (live and or recorded) and word-based voice. The method of processing are analog, digital and performative. The techniques of composition are assembling, overlaying, arranging, manipulating, repeating.
We are planning to work first of all on the set itself with the goal of the set fulfilling our artistic needs in terms of haptic behaviour and immediacy of the realization of an idea. The set should be easy and immediate to handle. As second, the set has to function as a working tool of artistic expression, without influencing or colouring too much the result. It needs to be as neutral as possible taking in consideration, that it is anyway by its means and specific existence a statement in it self. The set in general should not only respond auditively but should include the possibility of being staged on a performative level.

the process:

We plan to work during a period of four weeks, where we engineer a solid set as composition instrument.
The first week we decide about abilities and aesthetic characteristics of the instrument, which will intrinsically define its sounding and performative qualities.
During the second and third week we go through try outs with a smaller audience, installing a performative situation in an indoor space, being a stage, a hall, a smaller room, etc. The feedbacks from the listeners give us the possibility to go further through the process, bringing the instrument to an outside, urban environment, where the city and its notches (Kerben)2 puts our work/composition into friction with a specific shaped and resonating space.
In the fourth and last week we will try out the possibility of composing in a mobile way, integrating live recorded and processed sound of outside. Specific spaces and its acoustic qualities function as analog live effects as part of the composition.

matraresidencies
ECHOLOT
Residency Project by
K. Janek & M. Kipfmüller

ECHOLOT is a performance installation by Milena Kipfmüller and Klaus Janek which will be presented at the Goethe Institut, Montréal for Nuit Blanche on February 27, 2016.

On March 2, they will present a lecture performance at matralab that investigates ECHOLOT on a deeper level. The questions that they will work on during the lecture performance are:

Do words function as music objects and information carrier for purely music composition?

Does the semantic understanding deviate the audience from the music meaning?

They will try out different possibilities of creating text material as music objects in english and german.

The transformation from the first pure reading of the text, via the overlaying of different loops, adding sounds and recomposing the donated material as musical source is the transformation process that we will follow in the installation. In the lecture they want to analyze in a collective process the mechanism of semantic and musical reception, changing between different understandable and non-understandable languages as well as a abstract sounds source. What kind of meaning is being lost and which kind of understanding is created?

Case Cortina is a project that looks for the development of an auditive-performative „instrument“. It is based on the constant investigation of the special acoustic characteristics of field recordings, music and language that enter a dialog of its informational content.

Case Cortina is convinced that meaning is not just constituted by the use of understandable words and linguistic construction: any kind of acoustic material can contribute to the creation of meaning. Musical dimension in words and field recordings and linguistic information in music are analyzed, recombined, overlayed and put into friction trying to unfold and discover masked meanings in concrete and abstract sounds.

In Case Cortina Milena Kipfmüller and Klaus Janek follow this work developing a long term artistic research with open ending.

The project started at the forecast forum in the Haus der Kulturen der Welt in Berlin.

Performances the 29th and 30th of august 2015 in the Westgarten des Haus der Kulturen der Welt

The project looked at the movement and stage studies Oskar Schlemmer developed as director of the stage workshop of the Bauhaus Dessau. The name Schlemmer gave to these works, which were created from 1926–29 with students and guest dancers, was Bauhaustänze (Bauhaus Dances).

These dances manifest an approach to a spatially orientated movement art beyond ballet and Ausdruckstanz (expressionist dance) that has largely been forgotten today. They are also seen as being part of the pre-history of performance and action art, as well as conceptual dance.

With Dancing Bauhaus (German title Bauhaus tanzen) the Bauhaus Dessau Foundation initiated a choreographic and scenographic re-interpretation of Schlemmer’s works.

Whereas earlier reconstructions generally attempted to ‘perfect’ Schlemmer’s fragmentary studies, the Dancing Bauhaus project, under the direction of Prof. Ingo Reulecke, focused on the research-based, improvisational, playful and pedagogic character of the Bauhaus Dances in order to generate further developments within a contemporary context.

Dancers and choreographers from the Anhaltisches Theater Dessau and the Inter-university Center for Dance (HZT) Berlin, as well as scenographers from the TU Berlin, looked into the Bauhaus Dances in a further training programme that focused on choreography and dance history, and, inspired by historic images, films and texts, created their own interpretations.

Ingo Reulecke, artistic director / Burghard Duhm, historian of Stiftung Bauhaus, advisor / Doris Dziersk, mentor scenography / KJ, mentor music, sound

Bauhaus Tanzen Ausstellung from DIEHL+RITTER on Vimeo.

outside the box with Matthaei & Konsorten/fft Düsseldorf

A research project initiated by Zeitraum Exit Mannheim and funded by Kulturstiftung des Bundes. 8 participating theatre institutions, exchange associated theatre makers to solve artistic question of the guest host theatre. Matthaei&konsorten (Lukas Matthaei, direction, Daniel Hengst, new media, Sophie Jahnke, visual adopted ars, KJ, music sound) researched at Kanuti Gildi Saal following question in feb 2014:

in estonia, just as in the majority of ex-soviet countries, the audience for contemporary performing art appeared together with the artists. this means that the audience is from the same generation as the performers. we have discovered that even though our audience is growing the average age of our visitors is getting younger. most artists who were active in the early 90s have meanwhile disappeared and so has their audience. kanuti gildi saal wants to bring back the older audience and hold on to the younger one at the same time. 
the question is, how? the artists jörg lukas matthaei, daniel hengst,sophie jahnke and klaus janek travel from düsseldorf to tallinn to work on this question.

The research result were presented at Zeitraum Exit in Mannheim at the socalled Market june 5th to 7th 2014

KJ analyzed the sound identity and biography of the city of Tallinn. All soundobjects used in further composition came out from a specifically created sample tank. Soundsnippets were taken starting from the famous mass singing contest were literally thousands of choir members come together to sing, as well as contemporary pop music production as well as city sounds, relevant political statements or seventies to eighties estonian pop stars.

During their residency (21. – 24. 11.) at Liebig12 P600 will work on reconfiguring the space sonically within their presence. P600 invites Zaungäste who, because of their own research/interest, come by, observe, question, comment and/or feed back.We invite those interested to announce their passing by, mailing to mail{at}klaus-janek.de, so that we can organize (and prepare coffee or Tea). Beginning 5 p.m.

Konzert: Sonntag 24. November 2013, 20 Uhr

P600 experiments with a range of acoustic, electro-acoustic and acousmatic sound. In addition to the large soundsystem, controlled by Nicolas, each musician has a personal sound system. This allows for a micro-to-macro and audible-to-inaudible sound dynamic.

The P600 is an event-related potential (ERP), or peak in electrical brain activity measured by electroencephalography (EEG).
It is a language-relevant ERP and is thought to be elicited by hearing or reading grammatical errors and other syntactic anomalies.
Therefore, it is a common topic of study in neurolinguistic experiments investigating sentences processing in the human brain.

P600 in residency at Liebig12 // Preview from Liebig12 on Vimeo.

P600 / 3rd: "THE MEN NEXT DOOR" from Liebig12 on Vimeo.

focussing in different works and researches mainly on the  junction of installative performance, situated between  visual arts / dance, and live composed sound art, taking place in visual art spaces. The idea finds collaborators in Heidi Schnirch, Anke Euler, Claudio Rocchetti, Ingo Reulecke and more.

Videos from a performance and research project june 12th and 13th, 2013, at Liebig 12, Berlin:

Judith Hummel / Klaus Janek / Claudio Rocchetti this time interacted with Valery Vermeulen and his EMO-Synth
within 3 days of work in process where the Audience as well played an active role “directing” the Emo-Synth and the performers.

During performances and demonstrations at Liebig12 the system automatically generated and manipulated sounds and images to direct the user in certain predefined emotional states.
Emotional reactions are hereby measured and processed by the means of biosensors that register various psychofysiological parameters such as heart rate (ECG) and stress level (GSR, galvanic skin response).

The EMO-Synth plays a central role as well as the emotional man-machine, based on artificial intelligence, affective computing, psychophysiology, algorithmic music composition + sound and image generation.

Judith Hummel / Klaus Janek / Claudio Rocchetti from Liebig12 on Vimeo.

William ‘Bilwa’ Costa – laptop, electronics, raw materials
Klaus Janek – double bass, laptop, electronics
Luca Marini – percussion, electronics
Nicolas Wiese – live sound manipulation, non-laptop-electronics

P600 is an electro-acoustic quartet who will make its debut on this evening, after a 3-day rehearsal period at Quiet Cue, Berlin.

P600 experiments with a range of acoustic, electro-acoustic and acousmatic sound. In addition to the large soundsystem, controlled by Nicolas, each musician has a personal sound system. This allows for a micro-to-macro and audible-to-inaudible sound dynamic.

The P600 is an event-related potential (ERP), or peak in electrical brain activity measured by electroencephalography (EEG). It is a language-relevant ERP and is thought to be elicited by hearing or reading grammatical errors and other syntactic anomalies. Therefore, it is a common topic of study in neurolinguistic experiments investigating sentence processing in the human brain.

The P600 can be elicited in both visual (reading) and auditory (listening) experiments, and is characterized as a positive-going deflection with an onset around 500 milliseconds after the stimulus that elicits it; it often reaches its peak around 600 milliseconds after presentation of the stimulus (hence its name), and lasts several hundred milliseconds. In other words, in the EEG waveform it is a large peak in the positive direction, which starts around 500 milliseconds after the subject sees or hears a stimulus. The P600 was first reported by Lee Osterhout and Phillip Holcomb in 1992. It is also sometimes called the Syntactic Positive Shift (SPS), since it has a positive polarity and is usually elicited by syntactic phenomena.

perpetualmvmtsnd.org/bilwa
klaus-janek.de
myspace.com/lucamarini
nicolaswiese.com

The period was initated and led by Judith Hummel. Collaborators were Naima Ferre, Heidi Schnirch (performers), KJ (live soundscape) and Katrin Schmid (stage design). The research got a grant from the Kulturreferat Munich and took place in april, 2013. The research had its follow up in the piece Act tracing, remembering, finding poses from Venus, Olympia and us premiered in april 2014 at Gallerie der Künstler, Munich

with Judith Hummel, H  eidi Schnirch (movement), Claudio Rocchetti, KJ (sound), Inge Landsmann, Steffi Roderer (artistic documentation), Ingo Reulecke (guest), researching installative movement and sound.

please read the documentation > art_in_research_2013

photo: Sacha Neukirch

The art-in research project is a collaborative research of movement and sound. It is mainly initiated by Judith Hummel and supported by the Kulturreferat Munich. The idea is to research specific topic in the fields of movement and sound and to practice the research in front of  “Zaungäste” (lit. translated fenceguests: comes from birds sitting on a fence observing the activities in the garden). Collaborators were: Judith Hummel, Heidi Schnirch, Ina Dokmo movement, Anke Euler, dramaturgy and KJ sound.  The research happened in 2013

please read the documentation > artin_research_documentation

The initial stiumulus of creating the opportunity of a residency was my curiosity in the process of meaning making of abstract music. The question was: how does it work when someone creates an abstraction and somebody else witnesses it. The starting point was the known situation of a concert situation where obviously there is one or more musician and an audience. The interest lays in the interplay of various levels of  perception on both sides and the resulting knowledge, or meaning making.

A source of inspiration is the novel Solaris written by Stanislaw Lem. The fiction displays the unsuccessful communication of generations of scientists and astronauts and the so called ocean on the planet Solaris. The narration touches various possibilities of what can an output be: narration, communication, atmosphere and a functional trigger for the perciever. With this the general forms of music are described.

The residency was founded by the Südtiroler Amt für Kultur and took place from august 20th 2009 until end of the year in New York City and for the second phase in Berlin.  The result of the research, experimentations and studies go as footage into a new solo doublebass and computer  album and titeled Prospect Park.

please read the documentation (in german) > Resume