#MaerzMusik

Haus der Berliner Festspiele © Phillip Aumann Haus der Berliner Festspiele © Phillip Aumann
Thinking Together #2: Unstuck in Time
Marc Couroux’s “Memories of My Temporal Illness” is an immersive and exploratory journey of “getting unstuck in time” through music, art and media. Couroux charts various temporal ailments in the form of playful excursions (and the occasional more jarring instances), from artists, musicians, ensembles and media outlets as well as Couroux himself, where time is intentionally and physically reorganized within a piece of music, performance or media. Being “unstuck” in time is to shed the shackles of clock time, the conventional linear progression of the passing of time and time structures, of keeping time and being in time with others, not to mention our grasp on the past, present and future. What occurs is a temporal liberation. Taken out of its usual context and constraints we see time reimagined and repurposed. Time becomes a variable element at play: malleable and manipulated. The works presented show various manipulations (of temporal ailments) where time passes in unconventional ways: against time, with kairos (opportune time), time that back tracks and even turns back upon itself, time in camouflage, among others. We journey through varied, non-linear tempos, rhythms and structures. There are layered overlays in a discordant but pleasant co-existing. We witness “intangible scores”, “loops of speech”, sensations jumbled in a refusal of time as a stable given. Alternative methods of playing together as an ensemble are presented through desyncronization, perpetually falling behind, incursive approaches to structure, group energetics and relationships that expand, compress and deconstruct time. Time loops in möbiusoidal temporalities. Video action experiments manipulate time structures in feedback loops with the past, present and future estranged, intertwined and simultaneous. Deep learning systems and computational acceleration are used to exploit cognitive quirks. In Chrono Economics Couroux talks of computational accelerations that impose new time structures on existing media to optimize monetary return. “I Love Lucy” (an American television sitcom from the 1950s) reruns were sped up to increase advertising. The idea of an acceleration of that shrill (which we don’t hear unfortunately) is perverse to imagine as too the fact that it goes unnoticed by regular audiences and the intention behind it. Well, time is money. Not to mention the experimental explorations of chronic disorders like background music, low-level noise and the “slow death”, which are bad for wellbeing and cognitive health. We see that playing with time in music, art and media comes with a variety of intentions and background agendas attached. Each example is rich in conceptual narrative, the knowledge of which can help the listener/viewer orientate. These works challenge the listener/viewer to make sense of the jolt and disorientation (or not) of time reimagined. Thank you for this journey of temporal illness, so sweet and opaque.
Haus der Berliner Festspiele © Phillip Aumann Haus der Berliner Festspiele © Phillip Aumann
Thinking Together #1: Don’t Panic
“Time Wars” offers reflections on the complex, diverse and divergent temporalities of our time – a time of layered temporal haunting, insecurity, and surprisingly one of promise. How do we come to terms with acute self-awareness (and self-loathing) in this time of the Anthropocene, neo-liberalism, the war machine, nationalism, mass migration, climate change, cyber insecurity, apocalyptic imaginings, and future transitions? How do we negotiate this rapidly accelerating, overwhelming and frightening time in a meaningful way? “Don’t Panic” we are reassured. Thinking Together is a good place to start … and time is very much of the essence. Contemporary context reveals many perspectives of time: from the subjective to the regulated, governed, oppressive, the restrictive, unforgiving, fractured, the inconceivable, subversive, liberating and not to forget playful and the shifting. Mass migration both forced and voluntary is very much of our time. We explore “Living in the Temporary” where suspension of time occurs through displacement and exile. Refugees search for familiar reference points in unfamiliar terrain amid the uncertainty of a state of the continual temporary with no specified end date. Long-term suspension of time and spatial orientation on a folk and the individual through war, displacement and exile is massively disruptive and destructive but hope can be found in individual and collective agency, which can even temporarily erase boarders. Thoughts on the continual temporary lead us to the search for humanity in the machine and the relentless and never ending pursuit of the next soon-to-be obsolete technologies. In “The Planetary Test” otherwise known as “Demo or Die” we are reminded that “smart” explorations and “responsive environments” are experiments, test-beds that don’t necessarily predict stable, habitable or likeable outcomes. In “The Sliding Moment: Cybersecurity and the Politics of Time” big data, large-scale interconnectivity and sweeping mass vulnerabilities come to the fore. Here we see public discourse easily thwarted and subverted by way of meddling, fake news, bots, data harvesting and analytics: think Cambridge Analytica. Cybersecurity policy in its rush to strike back on the offensive may lead to problematic, shortsighted policy, a denigration of civil liberties and power placed in intelligence communities. It is no wonder that the perpetual now, light distractions and instant gratifications such as social media diversions consume. We may not find humanity in machines even in those that “sense” and we are urged not to leave important decision making to algorithms. Where does this all fit in broader context? That brings us to the capital war machine. The cycle of war and peace that was replaced by war and revolution has since been replaced by the war of the government and the governed. Maurizio Lazzarato says we need to drop the idea that we are living in a period of peace and consider the new ways war has emerged since the 2008 crisis. We presently live in the war of capital, in its victories. Before you despair. Please remember that temporalities are not only governed by dominant or negative forces but “generative flourishes” of rupture, transition, resilience and agency abound. Systemic cracks are indeed showing. It is high time for large-scale political and theoretical rupture. As discussed, we need to look at apocalyptic imaginings not as an endpoint in time but one of transition into a new political and social order. It is time to jump into the radical not knowing, to rethink and reimagine a collective and just way forward. We are urged not to lose democratic oversight and accountability no matter how fast we proceed. But to take the time: thinking time, thinking together, co-presence to form long-term strategies for these urgent times.
Von innen Gegenrede leisten
Terre Thaemlitz – ein Portrait
Mazen Kerbaj: „Six Drawing Lessons for Mazen Kerbaj", 2017 Mazen Kerbaj: „Six Drawing Lessons for Mazen Kerbaj", 2017
Kerbaj on Kentridge
The work of contemporary artists from the perspective of their colleagues
„The Otherness Inherent in That Place“
Widerspenstige Weltenschau, oder: Immersion zweiter Ordnung im Computerspiel.
Music Fund, Workshop © Koen Broos Music Fund, Workshop © Koen Broos
“Music can resolve a lot of things.”
An interview with Christian Bertram, instrument repairer and coordinator of the ateliers at Music Fund.
Alvin Lucier © Hauke Harder Alvin Lucier © Hauke Harder
Vorzeigen und Demonstrieren
Alvin Lucier transformiert physikalische Versuchsanordnungen in Musik.
Catherine Christer Hennix © Laura Gianetti Catherine Christer Hennix © Laura Gianetti
Shaking the foundations
Catherine Christer Hennix: a portrait.
Julius Eastman performing “Piano Pieces I-IV”, 1968; Music Library, University of New York at Buffalo Julius Eastman performing “Piano Pieces I-IV”, 1968; Music Library, University of New York at Buffalo
American Composer
Julius Eastman: a portrait.
In der Tonschmelze
Was Musiktheater mit Klimaschutz zu tun haben könnte
Meine Winterreise
Verloren in der Welt: Unsere Junge Reporterin hat sich von Schubert inspirieren lassen
Zurück im langen JETZT!
Zum zweiten Mal „The Long Now“ im Kraftwerk Berlin – ein Selbstversuch.
Erklär mir Liebe
Der dritte Teil von Daniel Kötter und Hannes Seidls Trilogie
1001 Klang
3 Berliner Schulklassen führen ihre Projekte vor
The Exposure Effect
Warum Musikhören wie einen Menschen kennenlernen sein kann – eine Begegnung mit Matthew Shlomowitz
Inkompetente Musik?
Matthew Shlomowitz "Lecture on Bad Music"
Stell dir vor, es ist Krieg
Mazen Kerbajs musikalische Erinnerungen an den Libanonkrieg
Abendlektüre
Der Junge Reporter Benjamin Gommert hat den Cottbusser Chor beim Zeitunglesen beobachtet – und dabei den „News Blues“ bekommen.
Marino Formenti eröffnet MaerzMusik – Festival für Zeitfragen 2016 © Camille Blake Marino Formenti eröffnet MaerzMusik – Festival für Zeitfragen 2016 © Camille Blake
Was ist „gewöhnlich“?
Publikum und Zuhörer werden zu Akteuren – der Eröffnungsabend bei MaerzMusik
Eröffnung von MaerzMusik – Festival für Zeitfragen © Camille Balke Eröffnung von MaerzMusik – Festival für Zeitfragen © Camille Balke
feel free to gather
Was passiert, wenn sich vermeintlich festgefügte Formen des Konzerts verflüssigen – Beobachtungen zum  Eröffnungsabend der MaerzMusik – Festival für Zeitfragen.