Pour Henri Chopin
'It is impossible, one cannot continue with the allpowerful Word, the Word that reigns over all. One cannot continue to admit it to every house, and listen to it everywhere describe us and describe events, tell us how to vote, and whom we should obey.
I, personally, would perfer the chaos and disorder which each of us would strive to master, in terms of his own ingenuousness, to the order imposed by the Word which everybody uses indiscriminately, always for the benefit of a capitol, of a church, of a socialism, etc....
No one has ever tried to establish chaos as a system, or to let it come. Perhaps there would be more dead among the weak constitutions, but certainly there could be fewer than there are in that order which defends the Word, from the socialisms to the capitalisms. Undoubtedly there would be more alive beings and fewer dead beings, such as employees, bureaucrats, business and government executives, who are all dead and who forget the essential thing: to be alive.
The Word has created profit, it has justified work, it has made obligatory the confusion of occupation (to be doing something), it has permitted life to lie. The Word has become incarnate in the Vatican, on the rostrums of Peking, at the Elysee, and even if, often, it creates the inaccurate SIGNIFICATION, which signifies differently for each of us unless one accepts and obeys, if, often, it imposes multiple points of view which never adhere to the life of a single person and which one accepts by default, in what way can it be useful to us? I answer: in no way.
Because it is not useful that anyone should understand me, it is not useful that anyone should be able to order me to do this or that thing. It is not useful to have a cult that all can understand and that is there for all, it is not necessary that I should know myself to be imposed upon in my life by an all-powerful Word which was created for past epochs that will never return: that adequate to tribes, to small nations, to small ethnic groups which were disseminated around the globe into places whose origins escape us.
The Word today serves no one except to say to the grocer: give me a pound of lentils.
The Word is useful no more; it even becomes an enemy when a single man uses it as a divine word to speak of a problematic god or of a problematic dictator. The Word becomes the cancer of humanity when it vulgarizes itself to the point of impoverishment trying to make words for all, promises for all, which will not be kept, descriptions of life which will be either scholarly or literary which will take centuries to elaborate upon with no time left for life.
The Word is responsbile for the phallic death because it dominates the senses and the phallus which are submissive to it; it is responsible for the birth of the exasperated who serve verbose principles.
It is responsible for the general incomprehension of beings who succumb to murders, racisms, concentrations, the laws, etc.
In short, the Word is responsible because instead of making it a way of life we've made it an end. Prisoner of the Word is the child, and so he will be all his adult life.
But, without falling into anecdote, one can mention the names of some who insisted upon breaking the bonds imposed by the Word. If timid essays by Aristophanes showed that sound was indispensable- the sound imitative of an element or an animal then -that does not mean that it was sought after for its own sake. In that case, the sound uttered by the mouth was cut off, since it only came from an imagined and subordinated usage, when in fact it is the major element.
It will not be investigated for its importance in the sixteenth century either since it must be molded by musical polyphony. It will not be liberated by the Expressionists since they needed the support of syllables and letters as did the Futurists, Dadaists and Lettristes.
The buccal sound, the human sound, in fact, will come to meet us only around 1953, with Wolmann, Brau, Dufrene, and somewhat later with my audiopoems.
But why want these a-significant human sounds, without alphabet, without reference to an explicative clarity? Simply, I have implied it, the Word is incomprehensible and abusive, because it is in all the hands, rather in all the mouths, which are being given orders by a few mostly unauthorized voices.
The mimetic sound of man, the human sound, does not explain, it transmits emotions, it suggests exchanges, affective communications; it does not state precisely, it is precise. And I would say well that the act of love of a couple is precise, is voluntary, if it does not explain! What then is the function of the Word, which has the pretension to affirm that such and such a thing is clear? I defy that Word.
I accused it and I still accuse it as an impediment to living, it makes us lose the meager decades of our existence explaining ourselves to a so-called spiritual, political, social, or religious court. Through it we must render accounts to the entire world; we are dependent upon the mediocrities Sartre, Mauriac, De Gaulle. They own us in every area; we are slaves of rhetoric, prisoners of explanation that explains nothing. Nothing is yet explainable.
That is why a suggestive art which leaves the body, that resonator and that receptacle, animated, breathed and acted, that + and-, that is why a suggestive art was made; it had to come, and nourish, and in no way affirm. You will like this art, or you will not like it, that is of no importance! In spite of yourself it will embrace you, it will circulate in you. That is its role. It must open our effectors to our own biological, physical and mental potentialities beyond all intellect; art must be valued like a vegetable, it feeds us differently, that is all. And when it gets into you, it makes you want to embrace it. That way the Word is reduced to its proper role subordinate to life; it serves only to propose intelligible usages, elementary exchanges, but never will it canal the admirable powers of life, because this meager canaling, as I have implied, finally provokes usury in us through the absence of real life.
Let us not lose 4/5ths of intense life without Word to the benefit of the small l/5th of verbiage. Let us be frank and just. Let us know that the day is of oxygen, that the night eliminates our poisons, that the entire body breathes and that it is a wholeness, without the vanity of a Word that can reduce us.
I prefer the sun, I'm fond of the night, I'm fond of my noises and of my sounds, I admire the immense complex factory of a body, I'm fond of my glances that touch, of my ears that see, of my eyes that receive.... But I do not have to have the benediction of the written idea. I do not have to have my life derived from the intelligible. I do not want to bc subject to the true word which is forever misleading or Iying, I can stand no longer to be destroyed by the Lord, that lie that abolishes itself on paper'.
extract/quote from PEOPLE LIKE US on Daphne Oram...
In January 2005, Sonic Arts Network, the leading UK body for electronic music and sound art, was asked by Daphne’s descendants to care for her collected papers, recordings and other items. It was with the benefit of experimental electronic music practice in mind that Goldsmiths Electronic Music Studio (EMS) collaborated with the Sonic Arts Network (SAN) to bring this collection into the academic community where it could be properly studied and developed. To this end, a grant was awarded to Goldsmiths, University of London in 2007 by the Arts and Humanities Research Council, to catalogue the collection, digitise the audio tapes and initiate related research.
In June 2008 People Like Us were invited into the archives of electronic music pioneer Daphne Oram, to rework them into new compositions, to be presented as part of a day-long symposium at London's South Bank Centre. Here are the results.
Cut and Splice
fabulous festival of sonic art working with Karlheinz Stockhausen's score Aus den Sieben Tagen (From the Seven Days) in london October, ...featuring Karlheinz Stockhausen, David Behrman, Maja Ratkje, Phil Minton, Michael Vorfeld, Frank Gratkowski, Rhodri Davies, Seth Josel, Nikos Veliotis, Twentytwentyone Laptop Quartet, Apartment House, Robin Hayward, Reinhold Friedl, Angharad Davies, Aleks Kolkowski, Anton Lukoszeieze and Marc Weiser...below is a quote from their web site of sonic artist/composers and their links..
Anton Lukoszevieze - Cello/Artistic Director
Cellist Anton Lukoszevieze is one of the most diverse performers of his generation and is notable for his performances of avant-garde, experimental and improvised music. Anton has given many performances at numerous international festivals throughout Europe and the USA (Maerzmusik, Donaueschingen, Wien Modern, GAS, Transart, Ultima, etc.etc.). He has also made frequent programmes and broadcasts for BBC Radio 3, Danish Radio, SR2, Sweden, Deutschland Rundfunk, WDR, Germany and ORT, Austria. Deutschlandfunk, Berlin produced a radio portrait of him in September, 2003. Anton has also performed concerti with the City of Birmingham Symphony Orchestra at the 2001 Aldeburgh festival and the Netherlands Radio Symphony Orchestra. He has collaborated with many composers and performers including David Behrman, Alvin Lucier, Amnon Wolman, Pierre Strauch, Rytis Mazulis, Karlheinz Essl, Helmut Oehring, Christopher Fox, Philip Corner, Alvin Curran, Phill Niblock and Laurence Crane, He is unique in the UK through his use of the curved bow (BACH-Bogen), which he is using to develop new repertoire for the cello. From 2005-7 he was New Music Fellow at King’s College, Cambridge and Kettle’s Yard Gallery. Anton is the subject of four films (FoxFire Eins) by the renowned artist-filmmaker Jayne Parker. A new film Trilogy with compositions by Sylvano Bussotti, George Aperghis and Laurence Crane premieres at The London Film Festival, October 2008. In November will premiere a new hour long work by Christopher Fox for cello and the vocal ensemble Exaudi commissioned by the Huddersfield Contemporary Music Festival and will also present new solo works for cello and live electronics. Anton is also active as a film and sound artist, his work has been shown in Holland (Lux Nijmegen), CAC, Vilnius, Duisburg (EarPort), Austria, (Sammlung Essl), Wien Modern, The Slade School of Art, Kettle’s Yard Gallery, Cambridge Film Festival and Rational Rec. London. His work has been published in Musiktexte, Cologne, design Magazine and the book SoundVisions (Pfau-Verlag, Saarbrucken, 2005). Anton Lukoszevieze is founder and director of the ensemble Apartment House, a member of the radical noise group Zeitkratzer and recently made his contemporary dance debut with the Vincent Dance Company in Broken Chords, Dusseldorf.
Apartment House was created by cellist Anton Lukoszevieze in 1995. Since then its original and innovative programming has gained Apartment House the reputation as one of the most exciting contemporary music groups in Europe. While performing a wide range of new music, the seeds of the Apartment House repertoire stem from the hard-core European avant-garde, the joyful anarchy of The Scratch Orchestra and the exploratory nature of experimental music. Apartment House embrace a broad range of acoustical and theatrical situations within which volatile and stimulating performances occur. Apartment House’s performances have included world premières of music by a wide variety of composers. Notable portrait events have featured Christian Wolff, Jerry Hunt, Luc Ferrari, Dieter Schnebel, Christopher Fox, Laurence Crane, Helmut Oehring, Clarence Barlow, Philip Corner and Richard Ayres. Titled with reference to the Cage work Apartment House 1776, the group is of flexible instrumentation, allowing for a vast range of performance possibilities. Apartment House has made numerous broadcasts for BBC Radio 3 as well as Danish Radio, Swedish Radio 2, WDR Cologne and Deutschlandfunk, Berlin.
Performers for Cut & Splice:
Dave Ryan - Clarinet
Ian Mitchell - Clarinet
Andrew Sparling - Clarinet
Gordon MacKay - Violin
Mai Kawabata - Violin
Sara Hubrich - Violin/viola
Anton Lukoszeieze - Cello
Patrycja Kujawska - Violin
David Berhman - Electronics
David Behrman has been active as a composer and artist since the 1960s. Over the years he has made sound and multimedia installations for gallery spaces as well as musical compositions for performance in concerts. Most of his pieces feature flexible structures and the use of technology in personal ways; the compositions usually rely on interactive real-time relationships with imaginative performers. Behrman’s sound and multimedia installations have been exhibited at the Parochialkirche in Berlin, Stanford University’s LaSuen Gallery, the Whitney Museum, the Museum of Contemporary Art in Chicago, The Hudson River Museum, The New York Hall of Science, the DeCordova Museum, The Addison Gallery of American Art, Ars Electronica in Linz and La Villette Science and Technology Museum in Paris, and other spaces. Some of these installations have been collaborative projects with George Lewis, Paul Demarinis, and Robert Watts. Together with Robert Ashley, Alvin Lucier and Gordon Mumma, Behrman founded the Sonic Arts Union in 1966. Sonic Arts performed extensively in North America and Europe from 1966 until 1976. Working at Columbia Records in the late 1960s, he produced the “Music of Our Time” series of new music recordings for Columbia Masterworks, which presented works by Cage, Oliveros, Lucier, Reich, Riley, Pousseur and other influential composers. Behrman toured as composer/performer with the Cunningham Dance Company in the early Seventies and again from time to time in more recent years. In the Sixties and Seventies he assisted John Cage with several projects. Merce Cunningham commissioned him to compose music for several repertory dances, including “Pictures” in 1984.
Arturas Bumsteinas works as a sound and visual artist. He has completed a number of musical scores for different instrumental ensembles and orchestras, released 9 albums of electroacoustic music (in Lithuania, USA, Denmark, Ukraine, Canada, Spain, Netherlands) and directed a multi-collaborative project called Antiradical Opera with writer Jesse Glass. He founded laptop quartet 20/21, which is devoted to performances of graphical notation scores and many more activities.
Bumsteinas started as a visual artist working with artist Laura Garbstienò. In the fall of 2002, during the exhibition Parallel Progressions 3 in Vilnius‘ Contemporary Art Center they founded G-Lab duo, which was devoted to video art, audiovisual installations and performances. He is an organiser of the first-ever series of experimental music events in Lithuania based on the concept of open mixer and simultaneous participation. He lives and works in Vilnius and Warsaw and is represented by ANTJEWACHS gallery in Berlin.
Cranc formed in 1999. They perform infrequently and rarely release any music. They began performing with an interactive, gestural and highly energised aesthetic, as documented on their only CD release, ‘All Angels’. They are now exploring calm sonic landscapes. Although they mostly use acoustic instruments, they sound shamelessly electronic. Cranc is Rhodri Davies, Angharad Davies and Nikos Veliotis.
Angharad Davies - Violin
Angharad Davies is a violinist based in London. She is an active performer in contemporary, improvisation and experimental music both as a soloist and within ensembles. Her classical background lead her to further violin study with Charles-Andre Linale in Dusseldorf, Germany and subsequently Howard Davis in London. Her studies with these two eminent violinists inspire her own teaching practice. Since making London her base in 2002 she has developed a specific approach to the violin, extending the sound possibilities of the instrument by attaching and applying objects to the strings or by sounding unexpected parts of the instrument’s body. She is dedicated to exploring and expanding sound production on the violin. 2008 has seen Angharad perform a live radio broadcast with Apartment House for WDR Koln, and in June she took part in Tony Conrad’s ‘Unprojectable: Projection and Perspective’ which was specially conceived for the Turbine Hall, Tate Modern, London.
Rhodri Davies - Harp
Rhodri Davies has been a significant figure in European experimental and improvised music for over ten years and is based in London. He uses a range of inventive techniques to extend the possibilities and sounds of the harp. His regular groups include Branches, duo with John Butcher, Broken Consort, Common Objects, Cranc, Portable, Apartment House, The Sealed Knot and a trio with David Toop and Lee Patterson. He has commissioned new works for the harp by: Carole Finer, Catherine Kontz, Michael Maierhof, Michael Parsons, Tim Parkinson, Ben Patterson, Mieko Shiomi and Yasunao Tone.
Reinhold Friedl – Inside Piano
Born in Baden-Baden, he lives in Berlin. He studied piano in Stuttgart with Renate Werner and Paul Schwarz, and in Berlin with Alan Marks and Alexander von Schlippenbach. Reinhold Friedl extended the playing-technologies in the interior of the piano and introduced for this instrument the term “Inside piano”. He studied mathematics and musicology and received scholarships in Paris, Rome, Marseille, Amsterdam. He has given concerts in Europe, the USA, Australia and Japan and produced numerous CD and broadcasting recordings, as well as professional articles and radio features (WDR Cologne). Reinhold Friedl is founder and leader of the ensemble Zeitkratzer.
Frank Gratkowski - Saxophone
Born in Hamburg, 1963. Alto saxophone, clarinet, bass clarinet, contrabass clarinet, flute, composition. Started playing the saxophone at 16 and, following a period at the Hamburg Conservatory (Hamburger Musikhochschule), moved in 1985 to study at the Cologne Conservatory of Music with Heiner Wiberny, graduating in 1990.
Since 1990 he has been giving solo performances throughout Europe, Canada and USA. Frank Gratkowski has played at nearly every German and on numerous international Jazz Festivals including Vancouver, Toronto, Chicago, New York, Seattle, Quebec, Les Mans, Muelhuus, Groeningen, Nickelsdorf, Barcelona, Lithuania, Warsaw, Zagreb, Prague, Bratislava, Sofia, Bucharest, Odessa and Roma. He has been teaching saxophone and ensembles at the Cologne, Berlin and Arnhem Conservatory of Music and is giving workshops all around the world as well.
Robin Hayward - Tuba
The tuba player Robin Hayward, born in Brighton, England in 1969, has been based in Berlin since 1998. He has revolutionized the tuba’s potential both in the areas of noise and microtonality. His compositions for other instruments reflect a similar experimental, medium-specific approach. As an interpreter his specific playing ability has been utilized by leading composers such as Alvin Lucier and Christian Wolff. He has toured extensively both solo and in collaboration. His research to date has been documented in his solo CD Valve Division and various collaborative releases. Active in many contemporary music ensembles including Phosphor and Kammerensemble Neue Musik Berlin, in 2005 he founded Zinc & Copperworks for continued research into brass instruments.
Seth Josel - Guitar
Originally from New York, now residing in Berlin - has become one of the leading instrumental pioneers of his generation. As ensemble player and soloist he has been involved in the first performances of more than one hundred works. From 1991 till 2000 he was a permanent member of the Ensemble Musikfabrik NRW, a State-subsidized ensemble devoted to the performance of contemporary music. Recently released on Mode is a portrait of Gavin Bryars, in collaboration with Ulrich Krieger. He is the co-founder of www.sheerpluck.de, a website database dedicated to the contemporary guitar literature, and he is a member of the artistic committee for the newly founded Triennial in Amsterdam, “OUTPUT Festival”.
Matthew Lee Knowles was born in Scunthorpe in 1985, studied with Richard Baker and Paul Newland at the Guildhall School of Music and Drama and writes music, poetry, events and happenings whilst teaching piano in London. Happenings include: “six_events” which took place in nearly thirty countries over seven days; “The Nothing and the Nothingness” where over one hundred performers contributed to an evening of exploration into the subject of nothingness in art, music, literature and dance; “For the Birds” for seven groups of people reading texts in seven different ways in seven different locations and a happening for the London Festival of Architecture. Compositions recently completed include: “33..44…. for a Speaker”; “Lecture on Chopin” (piano+speaker); “Ten Text Pieces for Josh”; “The Story of a Magnificent Banquet” (Harpsichord+speaker); “This is Fluxus (piano+speaker)”; “I always thought I’d like his sculpture in my garden”; three theatre scores; about one hundred mesostics; over one thousand events; numerous piano pieces; thousands of lists/questions/anagrams/palindromes/poems/waxpaintings/sculptures/videos and photographs. Future projects and pieces include setting texts of Jon Clay, more collaborative work with Neil Luck, several commissions and more happenings.
Aleksander Kolkowski studied Music at London University and the Royal Academy of Music and has worked internationally as a violinist, improviser, solo performer and composer appearing in major festivals world-wide and recording on numerous labels. Over the past ten years he has explored the potential of pre-electronic sound reproduction technology, combining horned violins, gramophones and wax cylinder phonographs to make contemporary live mechanical-acoustic music. This work has been shown widely in Europe, the U.S.A. and also broadcast on the BBC, WDR & Deutschlandradio radio stations. The ‘Stroh’ string instruments used in the performance all come from Kolkowski’s extensive collection of historic horned fiddles which includes the only working original Stroh String Quartet in existence. The Stroh violin, characterised by it’s large aluminium horn, was patented by Augustus Stroh in 1899 and manufactured until the 1940s. It was the first mechanically amplified string instrument and used widely in the early sound studios before the advent of electrical recording in 1925. Stroh instruments are highly versatile, their tone blends superbly with brass and wind, while they also can produce a wide variety of unusual sounds not found on their conventional counterparts. This makes them ideal for sonic experimentation. Kolkowski’s ‘What hath God wrought?’ for Stroh String Quartet performed by Apartment House, was featured in BBC Radio 3’s ‘Hear and Now’ in June 2007.
Neil Luck - Gold Dust Performer
Neil is a composer and performer based in London. His compositional practice focuses on various approaches to non-standard notations, in particular those which implicate either the composer’s own body/movement in construction and performance, or directly engage with the physiology of performance techniques themselves. This interest has lead to several projects including the co-curation of NOTATIONS 2008 with visual artist Sam Belinfante at the Slade research centre, London, as well as a series of live-performance installations for the Louise T Blouin institute, Soundwaves festival 2008, a happening; For the Birds created in collaboration with Matthew Lee Knowles, and a large scale vocal work created with Sam Belinfante and EXAUDI for the launch of the Campaign for Drawing Festival 2008.
Neil is also the founder of ARCO - a collective of emerging composers, artists and string players from a range of musical and artistic disciplines and backgrounds, investigating experimental approaches to musical notation and live performance practice.
Phil Minton - Vocals
Phil Minton was born in Torquay UK 1940 and both his parents were singers. He learnt trumpet from age 15 and played and sung with local jazz groups, moving to London in ‘63 to play with Mike Westbrook. From the mid ’60s he worked in dance bands in the UK, Canary Islands and Sweden. Rejoining Westbrook in ‘72 he was a regular member of his Brass Band until ‘84 playing trumpet and singing extensively in Europe, USA and beyond. Over the last 30 years he’s worked mainly as an improvising singer and sung with most of the world’s leading improvising musicians as well as been a guest singer for many composer’s music. He collaborated with pianist Veryan Weston on compositions such as ”Songs from a Prison Diary” and is currently a member of improvising groups TooT, No Walls and Axon. He also has a quartet with Veryan, John Butcher, and Roger Turner. In the last 15 years has traveled to many countries with his “Feral Choir”, a workshop and concert for all people who want to sing.
Maja Ratkje – Voice / Electronics
Maja Solveig Kjelstrup Ratkje, composer and performer (born Dec. 29th 1973 in Trondheim, Norway), finished composition studies at the Norwegian State Academy of Music in Oslo in 2000. Her music has been heard all over Europe as well as in Japan, China, Canada, USA and eastern Russia. Her composed works have been performed by Klangforum Wien, Oslo and Bodø Sinfonietta, The Norwegian Radio Orchestra, Fretwork, TM+, Arve Tellefsen, Cikada and Vertavo string quartets, Quatuor Renoir, Ticom, crashEnsemble, Torben Snekkestad, Marianne Beate Kielland, SPUNK, Frode Haltli, Rolf-Erik Nystrøm and Håkon Thelin in POING among others. Ratkje is active as a singer/voice user and electronics player as well as studio engineer, mainly in connection with the contemporary improvisation ensemble SPUNK or as a solo artist. Other groups are the metal band Trinacria, duo with Jaap Blonk, the performance trio Agrare and a workers’ songs collaboration with the acoustic trio POING. Ratkje has performed her own music for films, dance and theatre performances, installations, and numerous other projects. Her music has been released by Tzadik, rune grammofon, ECM, Kontrans, Asphodel, Important Records and others.
Twentytwentyone – Laptop quartet
Twentytwentyone isn’t your average chamber quartet. Firstly, because the instruments it uses are laptop computers. Secondly, because it interprets (or, often, reinterprets) graphic and aleatoric scores by both the 20th century classics like Cardew and today’s composers (hence the quartet’s symbolic name), as well as graphic artifacts whatsoever unrelated to music. In effect, the quartet’s performances are a curious and engaging hybrid of a concert and an exhibition, with the actual scores projected on the screen as they are turned into electronic sound. Brought together by the inexhaustible idea generator Arturas Bumsteinas, the collective consists of four sound artists with diverse aesthetic inclinations, which makes the sound of Twentytwentyone complex, multi-layered and widescreen.
Lina Lapelyte - Laptop
Arturas Bumsteinas - Laptop
Antanas Dombrovskij - Laptop
Vilius Siaulys - Laptop
Nikos Veliotis - Cello
Nikos Veliotis was born in Athens, Greece. Active in the experimental field (audio & video) since late 90s. Veliotis uses floating long sustained sounds (primarily with the cello) and multilayred abstract visuals (overlays of digital trash and other digital found material) which provide the spectator with a suspended intermedia environment to sink in, dislocating him from the casual perception of time and space. He runs the Athens 2:13 club whose activities include an annual 2:13 three-day festival.
Michael Vorfeld - Percussion
Musician and visual artist, based in Berlin, plays percussion and self designed stringed instruments and realises electroacoustic sound pieces. Vorfeld works in the field of improvised, experimental music and sound art and is often involved in site-specific art projects. Besides his solo activities he is a member of various ensembles and collaborates with artists from different art forms. He realises light installations and performances with light, works with photography and film.
Mark Wastell – Tam Tam
London-based lowercase improviser and composer Mark Wastell builds enormous atmospheres on the Tam Tam with very little actual movement. Wastell’s music is dark, deep and beautiful. Slow movements build up sonic pulses that are able to take over rooms and buildings. He is creating something that is very close to pure elegance. He has played with people like Tony Conrad, Keith Rowe, Otomo Yoshihide, Tomas Korber, Toshimaru Nakamura and Joachim Nordwall.
Marc Weiser – Laptop / Voice
Born in the city of Kraftwerk and Joseph Beuys he studied Outer European music and philosophy. He is a musician (git, vox, electronics) and part time writer (Suhrkamp, Verbrecher Verlag). For 3 years he was Programme Director for the club “Maria am Ostbahnhof“ in Berlin and worked for different record labels as Product Manager (eye q / harthouse / königshaus / wea …). He was part of the curator- team of the “club transmediale – international festival for electronic music and related visual arts“ 1999 - 2007 in Berlin. Since 1997 he has been part of the audio - visual project “rechenzentrum“, giving live performances, lectures and workshops. He was commissioned by the Goethe institute for a new version of the 5th piano concert of l.v. Beethoven (opus 73 / emperor) in 2006 with Ueli Wiget from Ensemble Modern. He has produced music and sound design for dance companies, commercials, films, radioplays etc. and has been a part of the ensemble for contemporary music “Zeitkratzer“ since 2003. He has provided vox and electronics for the techno-noise live project “t.raumschmiere“ (novamute). He has given 200 instant genre generator performances as “marc marcovic “.
SONIC ARTS NETWORK
vicki bennett (people like us) at ubu
people like us site
INTUTE also has great links to 135 plus sonic artists click HERE