Thursday, January 28, 2016

Nicola L. Hein Soundart

With Playstation 4200 comes to the question the relationship of forms of play and worldview. Worldviews are defined herein as one semantic and syntactic systems of ideas, beliefs, meaning of words, the use of rules of words, behaviors, etc. that are inherent included in every vision and theory forming his background and they are made comprehensible by each individual phrases and vocabulary. 

It is more specifically to the argument that there is a ratio of game forms and worldview, ie the ontological assumptions and axioms of a worldview expressed in the forms of gambling within that, particularly in popular forms of gambling. It is also important the initiation of a human being in a community through the game, which serves to introduce him to the world images of the common. 

Play Station 4200 is trying to suggest another worldview over another type of game, cheer to imagining worldviews, which operate according to other standards of value. 


The recipient is therefore faced with a very different form of the game, as it everyday of our culture, that is, the amalgam of our worldviews, would be usual, as the game 
1. It's purely and aurally done 
2. It's purely aesthetic and has no competitive goals 
3 is designed to mindfulness and not towards superiority, ie the actual degree of virtuosity in mindfulness and attention there.

Art of the monitoring is a collaborative work between the ensemble Tonverbrechung and the performance group RaumZeitPiraten. The title is considered a musical event staged by artistic value, also alluding to the importance of art in the sense of a special sophistication, as we are experiencing in the handling of modern surveillance techniques. The spectator is the object of the collected data in sound and image material, and is also a formal subject when this material is used in the musical end product.  

The artists create in their performance a monitoring apparatus which operates with a compound from surveillance cameras, sound recordings, musical games for images of surveillance cameras and a few other details, while the audience, by the way of delivering its data, reaches a dubious freedom over Arts grants. An ambivalence that is equivalent to all of our role in the scary global traffic.
Elisabeth Fügemann
Nicola Hein
Sophie Reyer
Texte und Stimme
Lukas Truniger
Moritz Ellerich
Tobias Daemgen

Electric Tire-Land is an abstract landscape of used tires -disassembled, dissected and amplified electronically join a dancer and a sound artist into play.
Practical and metaphorically, the tire is asked:
What Stories do you carry in your fabric?

The interplay of all those items involved catapulted off this part of a car in new
Association railways;  tonality and images are reflections on the invention,
conversion, memory and (mental) mobility, new possibilities. A musical conceived dance performance from "open scores" in which the two art forms merge together in real time.
Artistic director and dancer: Benedetta Reuter.