In der aktuellen Ausgabe der „Positionen“: Ein Essay von Nina Noeske, der sich intensiv mit dem Thema „Geld“ in meiner Arbeit befasst. Darin auch die Transkription eines ulkigen Dialogs zwischen Stefan Fricke und mir im Rahmen meines Stücks Audioguide in Darmstadt 2014.
Dank an Nina und das Positionen Team!
In the new issue of "Positionen": an essay by @nanoe_ni that looks very intensively at my work on the subject of "money". (in german) Including a zany conversation I had with Stefan Fricke during the music theater piece "Audioguide" 2014 at Darmstadt.https://t.co/Idd3uvQY3qpic.twitter.com/pbpun023qL
Das Begleit-Video zu meiner Ausstellung in der Akademie der Künste Berlin letzten September. Hat keinen Ton.
Johannes Kreidler
vvvwvwwvvwvvvwvvvwwwwvvvwvwvvvvvwvvv
Exhibition at Akademie der Künste Berlin 2022
Video of the screening (silent)
vvvwvw… is an acoustic and visual synthesizer that opens up and expands the richness of sound waves, their formal possibilities as well as their symbolism: the wave in the image as a function taken from time, which can be arranged autonomously here; the acoustic periodicity articulated in the beating, the room resonance, the standing sine, which places the sounding natural form in space and is „played“ by the moving listener.
Since Corona, we have been practised in reading wave progressions, following their course and discussing their prognosis. In the work of art, they become the drama of hearing and seeing par excellence.
Kommentare deaktiviert für vvvwvwwvvwvvvwvvvwwwwvvvwvwvvvvvwvvv| Kategorie: ID
„Musik machen“ – 33 composers write about how they work. Very nice new book publication @Vexer.
Edited by Désirée Meiser, Matthias Schmidt and Anja Wernicke. With my contribution „Arbeiten an der Minimierung“.
"Musik machen" – 33 composers write about how they work. Very nice new book publication @Vexer. Edited by Désirée Meiser, Matthias Schmidt and Anja Wernicke. With my contribution "Arbeiten an der Minimierung".https://t.co/7iVWt6zfcqpic.twitter.com/nXFXRGlJ7e
„Sound waves pressing into the air“
(ongoing series)
Bürgermeisterhaus Essen
Part of the concert-exhibition „vvvwwvwvwvvvvwwvvvwwwvvvwwww“ with E-MEX Ensemble December 2022
"Sound waves pressing into the air" (ongoing series) Bürgermeisterhaus Essen Part of the concert-exhibition "vvvwwvwvwvvvvwwvvvwwwvvvwwww" with E-MEX Ensemble December 2022 pic.twitter.com/S4dfo61Qly
Snadris Murin hat mit mir zusammen eine YouTube-Playlist konzeptueller Musik kuratiert.
It was my pleasure to work with Johannes Kreidler to create a Youtube playlist of 10 concept music pieces. We defined concept music as music where the idea produces the pieces itself and composer intervention is the least possible. You can find the link to this Youtube playlist in the first comment.
Here is our list:
– 4’33 composed by John Cage
– MINUSBOLERO composed by Johannes Kreidler
– Sol Lewitt performed by John Baldessari
– Crypto Silence created by Dmitri Kourliandski
– Arnold Schoenberg, op. 11 – I – Cute Kittens created by CoryArcangel
– Die Geburt des Künstlers aus dem Geiste der Musik created by Trond Reinholdtsen
– Guitar Drag created by Christian Marclay
– Up next composed by Dylan Richards
– The Chord Catalogue composed by Tom Johnson
– Inverted Piano created by Tomomi Adachi
„Pond“
lasercut sound waves, mirror (2022)
Bürgermeisterhaus Essen
Part of the concert-exhibition „vvvwwvwvwvvvvwwvvvwwwvvvwwww“ with E-MEX Ensemble December 2022
"Pond" lasercut sound waves, mirror (2022) Bürgermeisterhaus Essen Part of the concert-exhibition "vvvwwvwvwvvvvwwvvvwwwvvvwwww" with E-MEX Ensemble December 2022 pic.twitter.com/1LfynG3hms
„Musik gilt generell als relativ abstrakt, die Töne und Klänge stehen für keinen Inhalt. Doch wie weit kann man das treiben? Diese Stücke sind Extremfälle der musikalischen Abstraktion.“
1st release of the new Label „Ghost Notes Records“ of Kunststiftung
Baden-Württemberg as a follow-up of the exhibition „Ghost Notes“ 2022.
Composers, young or advanced, come to Basel to study composition! We have an enthusiastic team of composers as well as instrumentalists, improvisers, audio designers, music theorists, musicologists and a philosopher who are dedicated to new music, guest teachers/lecturers, many cooperation projects e.g. with Basel Sinfonietta, Theater Basel, Zeiträume Festival, Art Basel, Tinguely Museum and exchange programs with other schools (for example 2024 with Harvard University). The beautiful town at the border to Germany and France is a cultural center of middle Europe, located close to Zürich and Freiburg, with lots of music, art and theater around.
Application deadline is 15th February. You can contact me for further information.
https://www.sonicspacebasel.ch
topics of my composition class courses until now: http://www.kulturtechno.de/?tag=profkreidler
//
an essay of mine on teaching composition: https://www.nmz.de/artikel/the-composition-class-as-an-aesthetic-think-tank?fbclid=IwAR2LeBbiKq2PLC3LkcBzv18MKKRK0YtTga2E6gK6f2vxrcGijlgNmN6NQ4s
* Bereits 2019 veröffentlicht, aber mir erst jetzt bekannt: Max Erwins Text „Cyberbored/Culture-Jammed: The Short-Circuit of Musical Progress “
The following investigation identifies two potential departure points for scholarship on the work of Johannes Kreidler and – the following scare quotes should be read very emphatically indeed – technologically “engaged” art in general. In both cases, I demonstrate how Kreidler’s technological practice undermines two ideological traditions – and their respective foundational myths – of techno-musical progress. The first tradition, characterised by an immanent universalism and a concomitantly utopian teleology, is manifested in a number of hierarchical, “establishment” institutions: New Music in the upper case. The second, predicated on relativistic epistemology and focused on subject-centred musical practice with emphasis on the performance of marginalised social identities, has lately emerged, largely in response to upper-case New Music, as a non-hierarchical, emancipatory narrative – a sort of counterutopia – and is perhaps best exemplified by the individual “composerperformer” and their close collaborators: lower-case “new music”, as it were. This tradition’s critical position towards upper-case New Music (sometimes, not particularly helpfully, conflated with Modernism) is probably quite familiar by now, in Anglo-American scholarship, for example, from the works of Georgina Born and Lydia Goehr, among many others. However, I argue that Kreidler’s work – in addition to that of a few of his younger contemporaries – not only attacks hierarchical-institutionalb New Music in the upper case but also demonstrates the ethical and aesthetic limitations of lower-case new music practice, problematizes its emancipatory claims, and ultimately exposes its utopian project as an impotent, aporetic offshoot of the tradition it purportedly rejects. Despite this, Kreidler’s work can nevertheless be understood, via Virilio, as fundamentally humanistic in its performance of artistic futility, deploying pitiless technological processes to reveal a pitiful human subject.
Die Dialektik vom Subjektiven und Objektiven des Künstlers ist legendär und wird in einschlägigen
Sentenzen überliefert. Einerseits ist der Künstler das schiere Objekt der ›Welt‹, wenn Beethoven bei
als unspielbar geltenden Noten grimmig zu verstehen gibt, ihm käme eben »der Geist«, wenn
Schönberg postuliert, im historischen Auftrag zu handeln, denn Kunst komme »nicht von Können,
sondern von Müssen« und Jonathan Meese folgerichtig die »Diktatur der Kunst« ausruft, die
tatsächlich zu befehlen gebe, dass die rechte obere Ecke gelb zu malen sei. »Die Freiheit des Künstlers
ist, dass er keine hat. Versteh’s wer kann«, so Ernst Barlach in einem Anflug von Komik. Für Martin
Walser ist das Schreiben »die passivste Tätigkeit«, die er sich nur vorstellen könne, und Elfriede Jelinek
hält die Totenrede auf den Dichter: Er wäre notwendig »abgelebt, der immer nur anderes beleben
kann«. Das komponierende Ich ist nicht nur nicht Herr im eigenen Haus, es will diese Rolle tunlichst gar
nicht einnehmen, will das musengeküsste Sprachrohr höherer Mächte verkörpern. Das Verdienst des
Künstlers ist, eigentlich keines zu haben.
Kommentare deaktiviert für Mein Text „Zum komponierenden Subjekt“ jetzt online| Kategorie: ID
