Condit 2014 1 Christine Schörkhuber Entrevista

I am very associated to this idea of re-hackasing and the background of this is also an anti-capitalistic statement so you don't use high definition objects, or programs, or material to perform you try to build it for yourself and it's also a kind of acion of self-empowerment that you are not forced to spend money into something you need to perform and you don't support a big company with it so you are not forced to support Apple, you are not forced to support Sony you try to make it by yourself, you get back kind of your right to do music And in our world, I mean, we are living in a kind of increasing hypocrite delusional world The way of you seeing the quality is very often associated with the quality of the materials you use And this is for me a kind of an anti-statement That I use cans, that I use trash, that I use stuffs that are worth of ten euro, or twenty euro, or fifteen euro for me to build my instruments, and show "hey it's possible" you don`t need the newest amplifier and the best generator and the newest beat machine, and the whatever just be creative with your world and try to empower yourself, be smart, and not kind of victim of media strategies, of advertising strategies Thats the reason why I play with trash [Installation] I work with soundscapes that your eyes get, not your eyes, your ears get like you use that to be really much more focused on what's around if you have this layer of artificial amplification in-between because if you can abstract it a little bit, a little bit distant to you And with that you get pretty much aware of it, So that's why I decided to work with this existing soundscapes the title of the piece is "Traces of the unpresent present or the present unpresent" and I made it in ______________ So I will build a kind of an interface that changes the mood of the situation in a very very subtle way so I combine soundscapes, the existing soudnscapes that you bring like kind of time shifts, soundscapes that were in the short past in the room I will combine that with some slight musical interventions that change your perceivance of the situation, your interpretation of the situation [Influences] I think the most... the biggest influence on my work is actually the work of friends, the people I'm surrounded by, like i told before this klingt.org work all my friends "bis eine heult", doing really pop music but very intellectual texts and there's also kind of music that I appreciate a lot and this comes back to my music and how I do it so this inspiration is going to each other together and I also have some kind of sample wrtiting project where I work most texts, I mean I don't do that so much. I don't want to be a kind of pop star But I also like to play songs, and sing, and I just do it. [the landscape] Arthur Schnitzler's, in german "die Seele ist ein weites Land" that means "the soul is a vast landscape" and it's coming out of a context where is a lot of part It's an allegory of soul and landscape There's a lot of different things to see or do, is a very wide scene It is not like a restricted area And there are a lot of possibilities in this landscape And when I personally listen to music or compose music I have some really very often some kind of visual expression of the landscape [from image to sound] I begin in painting, regular painting at the Arts Academy of Viena in the class of Franz Graf but during this time I was also engaged in a cultural association in the countryside, which was much more a social political project, and I spent a lot of time there It was a big influence for me because I was surrounded by a lot of music, a lot of musicians, And I organized music festivals myself So in this time maybe I got more influences from the cultural cetre than I actually got from studies, But later I came back to Academy to make modern art, and I started in the video installation class with Dorit Margreiter That was actually a really inspiring time for me, It was quite a shock, because I was quite close to finish my exams and I did my final thesis work on the aspect of changing the role of video and audio, and video So I've already started to make actually a song work which was commented by video and it was about a process entering in a room, so It was an architechtural analysis of sound or the other round, the sound analysis of the architecture. And that's how... that was the point when I switched to sound, when started to be really interested on the topic of sound itself not as music, but as sound pure information. [sound video sound] The topics define the medium, That doesn't mean the sound is decontextualized... Actually sound is maybe this point of information sound is like a layer of information, that's more subtle, more associative unless you work really with introducing a speech, So for me sound is like the medium for another field of art work and video is also defining other objects. [body and performance] In my generation there are actually many musicians who started to play on the ground, and I was also really thinking about it, and I think there are several reasons for that... The position that people try to get back from this musician as a leader figure Then it's very important the grounding in both senses, with already the electronic music And it's the ground... If you play barefooted you are grounded, that means you avoid a little bit of the ' ham hum huken' This grounding is also in a metaforical sense, is this coming back on your scene of play is very abstract, you are moving yourself in a very abstract way of electronic amplification and, not in my case but another cases, digital generated music and you ground yourself, you keep the connection to the earth and for me, why I play like that, is that I can only play like that, like... I mean, I also play piano, and I figured out when I was playing I always had this kind of odd body moving When I was a child the teachers always told me "You! You have to seat, you can not play like that!" And that's why I finally quit because... I can't, I have to move my body, it's like I can not do that It's for me very important I don't know I cannot explain that, When I started to build up my set, it was very intuitive So I knew that through changing my body weight, I would change the sound using a light sensor with my hand And it's the movement, it's for me the exact sound that generates reflects the movement. So I get instruments in the way I think, that this movement for me it is kind of the equivalent to the sound that generates.