Vortrag über meinen letztes Jahr bei den Donaueschinger Musiktagen uraufgeführten Kinofilm 20:21 Rhythms of History, gehalten am 29.3. an der Hochschule für Musik Basel
Amplitude Shipping
"Amplitude Shipping" (2022)
canvas print with hand-painted glaze
120×180 cm pic.twitter.com/xNREkzzmUj— Kreidler (@_Kreidler) April 2, 2022
See (Lake)
See (Lake)
2021/2022, 120×160 cm
Canvas Print, Acrylic Paint and manual Glaze
See (Lake)
2021/2022, 120×160 cm
Canvas Print, Acrylic Paint and manual Glaze pic.twitter.com/DVPP0BV0d2— Kreidler (@_Kreidler) March 20, 2022
Music-19 – „Beethoven’s Ear Trumpets“ Interpretation von Dejana Sekulic
All the bow extending and extended bowings sometimes feel like an extra pair of bows and hands could be of use… So here’s one way to grow a few extra pairs of hands AND bows – extend yourself by projecting yourself over/under yourself! 😊🙃 My first interpretation of Johannes Kreidler’s >Music-19< #17 waaaay back in summer 2020 I did as a fixed multi-channel video, and that was all the fun to make (especially considering the time when I made it, and we all know what was that period about). But - the idea to take this interpretation into the “real” world of performance came true. This live version is based on all the same ideas, it includes (almost) the same animation as the first video, (almost) the same gestures (but also some extra ones), and it is with the live performer present in the space–and then multiplied live with projection of other selves over this one physical body present in the space. Good thing projecting video over yourself blurs your face so no-one can see how much you squint... although I guess if I was not projecting video over myself I probably wouldn’t squint all that much 🤔🤷🏼♀️
Jetzt erschienen: Mein Text „Zum kompositorischen Subjekt“
Im Sammelband „Musik und Subjektivität“, erschienen dieser Tage im Transcript-Band, ist auch mein Aufsatz „Selfie, Sujet, Soundjekt. Zum komponierenden Subjekt“ abgedruckt.
Meine kompositorische Arbeit bewegt sich zwischen Momenten des Ent-Subjektivierten und einer prononcierten Subjektivität. Ersteres zeigt sich durch Techniken der Collage, der Übernahme von Fremdanteilen in Material und Entstehung sowie in der von mir öfter genutzten Schwerkraft als objektiv-physikalische Kraft bei der Erzeugung von Klängen und Klangverbindungen. Zweiteres wird deutlich in Strategien der Performance als Fokus auf die Realität eines künstlerischen Subjekts als ausführender Körper sowie im Moment der Erfindung von Konzepten als Gegenpart beispielsweise zu den von mir oft herangezogenen Leistungen des Computers beim Komponieren. In beiden Bewegungsrichtungen manifestiert sich die Subjektivität des Künstlers in ihrer Dialektik, an der auch die Rezeption Anteil hat.
https://www.transcript-verlag.de/978-3-8376-4938-3/musik-und-subjektivitaet/
Music-19 – weitere Interpretation von Dejana Sekulic
In graphic score >Music-19< #10 , Johannes Kreidler offers some fresh food for imagination and imagining the process of listening, through creating abstract, aurally implausible ear trumpets. Yet when I look at them I cannot help but start thinking of them as maybe plausible–if one is to start thinking of different ways to hear and listen. In this interpretation and through the performance, I try to share those thoughts in an active, activating way. The process of performance is an invitation to join the exploration of ways of hearing and listening, and the idea that one could always use some more perceptiveness and continuous adjusting in order to better hear, listen, understand, in which eternity can be the "shortest possible" portion of time. All the sound material played during the performance is derived from one chord of Beethoven's last string quartet, written shortly before his death. If sound and time would stop and one would be able to experience the inner vibrations with a sense of eternal lasting–what would this sound feel like? If one would be able to keep the intensity and energy and aura of the sixteenth-note length Beethoven wrote on that last sixteenth note of bar 29 from movement III of the String quartet no.16 op.135, how would that sound field feel like, when lasting indefinitely? How he might have felt it, beyond the memory of how it sounded? How one might feel and hear, beyond the memory of sounding? This video is documentation of the first live performance of the piece that took place in Create Lab (Huddersfield, UK), on March 1st.
See (Lake)
See (Lake)
2021/2022, 120×160 cm
Canvas Print, Acrylic Paint and manual Glaze
See (Lake)
2021/2022, 120×160 cm
Canvas Print, Acrylic Paint and manual Glaze pic.twitter.com/DVPP0BV0d2— Kreidler (@_Kreidler) March 20, 2022
Scanners
Hier noch mal in eigenem Post: Mein „Scanners“ Film, als Teil der Foyer-Installation anlässlich der Premiere von „20:21 Rhythms of History“ bei den Donaueschinger Musiktagen 2021.
Früher auf Kulturtechno:
Scanner Studies
Scanner Studies 2
BOW, making-of
Ein kleines Making-of Video (Twitter stellt es leider verzerrt dar) zu meinem Geigenstück BOW (Kulturtechno früher)
Motion Tracking for "BOW" for violin and video. Showing today in a workshop at Huddersfield University.https://t.co/aVZQWvCvYV pic.twitter.com/K2qRzvAImi
— Kreidler (@_Kreidler) March 1, 2022