{"id":16316,"date":"2016-01-20T05:53:25","date_gmt":"2016-01-20T03:53:25","guid":{"rendered":"http:\/\/www.kulturtechno.de\/?p=16316"},"modified":"2016-01-18T10:54:03","modified_gmt":"2016-01-18T08:54:03","slug":"post-internet-sound","status":"publish","type":"post","link":"http:\/\/www.kulturtechno.de\/?p=16316","title":{"rendered":"Post-Internet Sound"},"content":{"rendered":"

Im Diskurs der Neuen Musik hat in den letzten Jahren der „Neue Konzeptualismus“ die Runde gemacht – nur wird mittlerweile praktisch alles, was irgendwie mit neuen Medien, Performance usw. zu tun hat, darunter subsummiert. Den Vogel abgeschossen hat da mal wieder Rainer Nonnenmann<\/a>, der sich versteigt zu behaupten, dass auf deutschen Festivals der Konzeptualismus ja mittlerweile schon regelrecht Mode w\u00e4re – als ob da lauter Konzeptmusik liefe; lachhaft, wenn man mal die Programme daraufhin wirklich anschaut. Wirkliche Konzeptmusik ist da quantitativ marginal, das gute alte Konzertformat mit ausnotierten Partituren ist der absolute Regelfall. Nonnenmann meint wohl einfach alles, was irgendwie anders daher kommt als konventionelle Neue Musik.<\/p>\n

Jedenfalls, um dem Mi\u00dfstand, dass f\u00fcr alles irgendwie Neue gerade der Ausdruck „Konzeptmusik“ herhalten muss, mal abzuhelfen, schl\u00e4gt Jenny Walshe in Entlehnung an die Bildende Kunst den Ausdruck „Post-Internet Sound“ vor<\/a>.
\nDie Formulierung „Post-Internet“ ist zwar etwas ungl\u00fccklich, denn sie will nichts behaupten von wegen wir w\u00e4ren in einer Nach<\/em>-Internet-\u00c4ra, sondern es geht um die Zeit seit <\/em>der Etablierung des Internets.<\/p>\n

Zusammen mit Holly Herndon will sie nun eine Datenbank mit signifikanten Musik\/Soundwerken erstellen, die sich dem Internet (was auch immer das im Detail hei\u00dfen mag) verdanken.<\/p>\n

https:\/\/docs.google.com\/spreadsheets\/d\/16at0cLqj9AvXRIbuE1CGc4xUPjk0bPe3nUq8_Pv8TdY\/edit#gid=397186906<\/a><\/p>\n

\nArtists have been working with the internet for decades. As we see archives and critical writing about this work emerge, we noticed that there is a strong focus on visual work. In an effort to promote more critical writing, vocabulary development and analysis in our field, we are attempting to put together an archive of sound and music works dealing with the internet since its inception. We would like this to be a resource everyone can draw on. This is a messy topic, but we hope that by creating a databank of works and writings on this topic, we can support the sound and music community in understanding how the internet is shaping our field and how artists have been and are currently responding to this integral part of our lives. We define sound work as work where sound is a key component to the work, if not the focus. We define music to include fixed and non-fixed media, academic and non-academic. The work does not necessarily need to live online. We are looking for pieces and texts that deal with the internet in any way, including but not limited to: network technology, online culture, websites where an artist sings blog posts, sound art involving speech recognition, vaporwave, black MIDI, solo piano pieces where the performer interacts with YouTube videos of other pianists, telematics, virtual choirs, operas for mobile phones, techno songs sourced from videos tagged with \u201cparty,\u201d lieder using Facebook updates, free improvisers \u201ctorturing\u201d Twitter, interactive websites where the listener can choose how a piece for solo clarinet unfolds\u2026\u2026 Feel free to share this with friends and colleagues. We\u2019re looking for two categories of input – writings about this sort of work, and entries on works themselves. Please take a moment to contribute to this archive, adding entries on your own work or that of others. ~Holly Herndon & Jennifer Walshe<\/p><\/blockquote>\n

Hier kann man einen Eintrag machen, auch theoretische Texte sind gefragt:
\nhttps:\/\/docs.google.com\/forms\/d\/1uU-wLYoIjNwAjvO9XcBjsBPgpx2CcNfhGzzviUUf3_k\/viewform?fbzx=-8508694261290636449<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Im Diskurs der Neuen Musik hat in den letzten Jahren der „Neue Konzeptualismus“ die Runde gemacht – nur wird mittlerweile praktisch alles, was irgendwie mit neuen Medien, Performance usw. zu tun hat, darunter subsummiert. Den Vogel abgeschossen hat da mal wieder Rainer Nonnenmann, der sich versteigt zu behaupten, dass auf deutschen Festivals der Konzeptualismus ja […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_links_to":"","_links_to_target":"","footnotes":""},"categories":[19],"tags":[],"class_list":["post-16316","post","type-post","status-publish","format-standard","hentry","category-theorie"],"_links":{"self":[{"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/posts\/16316"}],"collection":[{"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=16316"}],"version-history":[{"count":8,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/posts\/16316\/revisions"}],"predecessor-version":[{"id":16368,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/posts\/16316\/revisions\/16368"}],"wp:attachment":[{"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16316"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=16316"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=16316"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}