KHM@ne(x)t_generation 8.5 - Streaming-Festival der elektronischen Hochschulstudios

1. Rebecca Beauchamp: jeanette's dream [2017-18]

Genre:  video+performance+sound

Instrumentation: max/msp+jitter, video synthesis, max4live [v-module].

Kanäle: 2 / stereo

Entstehungsjahr: 2017-18
Dauer des Stückes: 2 min 21 seconds

Werktext: a few years back -- well, perhaps several, now -- i began and carried out a series of performances under the auspices of a character i "invented" named jeanette, who wore multiple wigs and had a bizarre obsession w/ the innards of fruit. this is a video i programmed which accompanied one of those performances.

Rebecca beauchamp is a graduate of the university of virginia. she studies ex-media in the post-graduate diploma program at khm. she now mostly publishes and performs under the moniker 'swan meat,' a project with which she has toured the world & was nominated for popNRW's 2019 newcomers prize.

2. kraphük (Elisa Kühnl, Jiyun Park): Noisy Hyperventilation

Genre: Sound Performance, Experimentelle Musik

Instrumentation: Stimme, Piezzo, Mikrofon, Transducer, Electronics

Kanäle: 2 / stereo

Entstehungsjahr: 2021
Dauer des Stückes: 3min 31 sek.

Werktext: Kontrolle ist in den Arbeiten von Elisa Kühnl und Jiyun Park ein prägender Aspekt.
 Kühnl hat ihre Stimmpraxis darauf ausgelegt, die Regeln des normalen Gebrauchs der Stimme zu hinterfragen und somit in die spontanen Bereiche von Laut und Geräusch vorzudringen. Die Entscheidung sich mit den komischen und schrillen Momenten der Stimme zu befassen ist ein kontrollierter Griff. Park baut ihre Instrumente selbst, mit der Intention, damit Feedback zu erzeugen. Sie wählt die Form und ihr Material gezielt nach dem Prinzip der Rückkopplung aus. Aus diesen beiden Positionen heraus haben sich die Musikerinnen zusammen getan, um den jeweils eigenen Umgang mit Kontrolle an die anderen Person abzugeben. Das selbstentwickelte Instrument von Park wird durch den Körper von Kühnl ersetzt. Die befestigten Lautsprecher erzeugen Feedback im Zusammenspiel mit den Kontaktmikrophonen, die sich am Hals der Sängerin befinden. Die Rückkopplungsgeräusche wandern durch Kühnl's Körper. Deren Intensität kann Kühnl bestimmen. Die Mikrophone werden von Park am Mixer gesteuert.


Wer hat nun wen in der Hand? Wer kann die andere wie überraschen? Wer gibt nach?

www.elisakuehnl.de

www.jiyunportfolio.com

3. Alex Simon Klug (Composition), Kristina Lenz (Visual): "2:56" - Digitize - Preserve to consume at any time

Genre:  abstract electronica

Instrumentation: field recordings, sampler, trumpet, synthesizer, drums

Kanäle: 2 / stereo

Entstehungsjahr: 2021

Dauer des Stückes: 2min 56 sek.

Werktext: "2:56" is part of a video series that is currently being created in the course of a multimedia installation in collaboration with Kristina Lenz.

In our artistic collaboration we deal with what we call our co-world. We are exploring the boundaries/intersections between organic and digital materials. We want to get to the bottom of questions such as: can a human being think for several living beings? and if so, how many ?

Alex Simon Klug (born 1991) aka yfoam works as a multi media artist and experimental musician/producer in Cologne and Hamburg.

From 2012 to 2017 he studied art with a focus on time-related media at the Hochschule für bildende Künste Hamburg. Since 2018 he is a postgraduate at the Academy of Media Arts Cologne. his artistic works range from cross-space multimedia installations to subtle interventions and observations in everyday life.

4. Jacob Höfle & Inwoo Jung: Fantastic Transforming

Genre: experimental electrics

Instrumentation: Octatrack DPS-1, Nord Drum 3p, Korg Wavestate (Inwoo Jung), Garage Band Synthesizers (Jacob Höfle)

Kanäle: 2 / stereo

Entstehungsjahr: 2021

Dauer des Stückes: 3min

Werktext: A little trip into a strange transforming world. Two persons, big machines and trees.

jacobhoefle.com

Inwoo Jung(KR) is a Cologne based artist, creates the artificial and acousmatic field of synesthesia, as integration of critical admixture. Approaching a delicate balance of textures, he fuses the synthetic with the natural. Incorporating samples, electronic sounds, as well as field recordings - the narrative evolves in between the layers of dis-similarities of arrangement. Tone painting as Jung’s stylistic mean of story telling creates synesthesia with nonverbal linguistic tone.

5. Hajar Asyura (Composition + Production), Yohanes Bimo Pratama (Video): Kebal

Genre:  electronics

Instrumentation: Analog Four Synthesizer, Line 6 Pedals, Percussion and Fx Samples

Kanäle: 2 / stereo

Entstehungsjahr: 2021

Dauer des Stückes: 2 min 50sek

In Indonesia the fascination of the mystical and supernatural is pretty much alive, especially in rural areas or among the low-income and poorly educated class in the cities. One such belief is about the existence of inner energy similar to “Chi” or “Chakra” . Such energy allows one to be invulnerable (Kebal) among others. Many Martial Arts Academy claim to be able to teach this and some Shaman may also be able to grant such ability to another person by means of rituals. Many People who claim to have this ability then would show their abilities online or in rituals and parades, some people learn this ability specifically so that they may be able to do crime without fear. Despite Indonesia’s efforts towards industrializations and an educated Society, such practices are still alive and thriving while still being deeply rooted in local indigenous values and symbolism coupled with the beliefs of the majority religion. The Work is intended to highlight this phenomenon.

Hajar Asyura beschäftigt sich momentan vorwiegend mit elektronischer Musik. Sein Hauptinteresse gilt dabei der Erkundung nicht der schönsten, aber der interessanten und manchmal vergessenen Seiten der indonesischen Gesellschaft.
Seit Oktober 2018 studiert er als Postgraduierter an der KHM.