In der aktuellen Ausgabe von Neural ist ein Porträt-Interview mit mir abgedruckt. Kaufpflicht für alle Kulturtechnoleser!
Snip:
N: In „cache surrealism,“ instead, you use anonymous pop music as pure sound, with no mediation, just as another instrument, juxtaposing it with an instrument playing. With the pervasive presence of speakers all around us, has pop music become the muzak of our times?
JK: In germany it is a common argument of composers that they focus on that sounds that are normally filtered out. What they mean are all the tiny sounds, for example, of the fingering on cello strings, not the bowed strings, but the noise of wiping along with the left hand every cello player does. But why do composers focus on classical music? (I don’t regard new music as contemporary classical music.) Once I sat in a pub and after hours I recognized that there is pop music playing. This is behind my daily sonic firewall, so I focus on that in the way other focus on cello-wiping. I am interested in making noise music. Pop music is noise!
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