KUGscholar (University of Music and Performing Arts Graz)
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Drehscheibe Graz : Musikkulturelle Verbindungen im 19. Jahrhundert
No full textMobilität und Netzwerke sind nicht nur heute topaktuelle Themen. Das Grazer Kulturleben war bereits im 19. Jahrhundert maßgeblich von diesen Faktoren beeinflusst.
Dies veranschaulichen die in diesem Sammelband publizierten Forschungsbeiträge, die auf der Basis von bisher wenig beachteten handschriftlichen Quellen, u. a. Stamm- und Tagebücher, entstanden. Dabei zeigen sich Verbindungen zwischen Orten und Personen, die essentiell im Entstehungsprozess und Austausch von Kultur waren.
Die in den einzelnen Aufsätzen diskutierte Thematik umfasst Beispiele aus der ersten und der zweiten Hälfte des 19. Jahrhunderts und spannt einen Bogen von der Musik- zur Kunst- und Kulturgeschichte.
Ziel ist es, einen Beitrag zur steirischen Regionalforschung zu leisten, der neue Perspektiven eröffnet und auch bisher wenig beachtete Aspekte des Musizierens und musikkulturellen Handelns in den Vordergrund treten lässt
Quel Plaisir! Quel Plaisir? – On Bodies in Performance
No full textLet\u27s start with where opera happens: the opera house. For the 2022/23 season, Opernhaus Dortmund, known for its fine instinct for rare gems on the operatic stage, decided to mount Jacques François Fromental Halévy\u27s La Juive. Having been introduced to this grand opéra as a first-year musicology student, I was excited to see the premiere of Sybrand van der Werf\u27s production on a Sunday night in November 2022 – while preparing this review. As it turns out, the performance transferred me straight into the core arguments of each of the three books under consideration here: the intense co-presence unfolding between the performer and audience, generated as in Clemens Risi\u27s account by a briefly indisposed singer; the inclusion of visual codes evoking SM erotic play on stage, which also informs Axel Englund\u27s investigation; and finally, the production of a hypermedia spectacle, which is Tereza Havelková\u27s central concern. A single performance demonstrated the relevance and applicability of each of Risi\u27s, Englund\u27s and Havelková\u27s studies
Kontakt (simultan)
No full textKontakt (simultan) is a hybrid net-art piece and screen installation on an experimental waiting process taking place as a permanent arrangement inside the studio of Reagenz. Here, a glass plate with collected lichen fragments is irrigated and photographed four times a day, perhaps producing an extremely slow growth, that is revealed as a time series of the photographs. The recordings began in April 2021. The process can be followed online, as a bot posts the photographs on a social media account. The second form are physical installations, using either a suspended screen in a showroom window, in front of which stereoscopic lenses are mounted, or a tabletop viewing device. In these versions, the most recent photo is superimposed with a photo that was taken a month ago. The tabletop version allows the visitor to scroll through the time series. The photographs are augmented by text lines contributed by people reacting to an ongoing open call, reflecting on waiting and on making contact
Simultaneous writing (machines)
No full textThe singular “writing” is always suspicious, as the source of truth and authority, as monism. The multiple on the other hand(s) seems like the supreme expression of the algorithmic. A potentially endlessly ongoing writing, iteration, recursion, re-instantiation, or as Frieder Nake put it: “The work of art in algorithmic art is the description of an infinity of possible works.” Perhaps against the backdrop of capitalist-industrialist automated production and techno-optimism, when Cage was interviewed about HPSCHD, he said that “in the case of working with another person and with computer facilities, the need to work as though decisions were scarce – as though you had to limit yourself to one idea – is no longer pressing. It’s a change from the influences of scarcity or economy to the influences of abundance and – I’d be willing to say – waste.” Waste, surplus, excess. It is interesting that the work on computers is linked here with collaborative work. How can we arrive at a form of excessive and collaborative writing that does not subscribe to the techno-optimist logic or imperative that all writing should become inter-connectable, compatible, ready for optimisation and exploitation? We want to capture this idea of a surplus writing – writing with machines, through machines, writing with other artists – that resists becoming a network node, one that preserves the alterity of each agent in the process, as a simultaneous writing. Instead of defining a topology that assigns positions to each part, totalising the text’s meaning, simultaneous writing practices hodology, makes pathways, orients different texts towards each other, allowing them to come together in a space without establishing cause-and-effect or hierarchy among them. In this presentation, we work with sound and computation. We understand writing as an operation more generic than “linguistic” and discrete writing
