Fake Synthetic Music live at CTM festival

Serge & Mondriaan

Inverted

Panel with Stefan Römer, and Henrik Jungaberle. Moderated by Ivo Gurschler.

Sunday 28 January 2018 
CTM 2018 – Turmoil 
Kunstquartier Bethanien, Berlin

Preceding Stefan Römer’s "Decon Sound Performance" later the same day, this panel provided further context for the performance and, in light of this year’s festival theme "Turmoil," discussed some of its wider aesthetic and political implications.

Psychedelic drugs and the production and reception of art and sound have been intrinsically linked throughout the ages. This link was of course especially evident in the pop culture of the late 1960s, when the UFO Club made its short-yet-lasting impact in London, hosting among others a now-famous performance by the early Pink Floyd with Syd Barret, or in experiments by Conrad Schnitzler and Hans Joachim Roedelius in Berlin with the foundation of their Zodiak Free Arts Lab in 1967. Both of these examples provide starting points for Römer’s performance. Here and elsewhere in art and pop culture, psychonautic practises not only formulated – and continue to formulate – techniques for self-exploration and new aesthetic experiences; they also helped to make room for indeterminacy and ambiguity in an otherwise highly-controlled society. Such practices propose alternative concepts of the self, of agency and society, that hold the potential to counter a dominant Zeitgeist prioritising social and economic functionality and efficiency above all else. Yet as the history of pop music demonstrates so clearly, drug use also always contains the very real risks of self-harm and eventual failure and collapse. In recent years, psychotropic substances are regaining legitimacy and topicality as therapeutic tools, and are also being considered in a different light through the expanding practice of psychedelic micro-dosing in an attempt to increase creativity and performance within the neo-liberal work place.

This panel looked at the role of psychotropic substances in art and music, and discussed the politics of drugs in light of their double-sided role as "pharmakon," i.e. as poison and cure.

CTM 2018: Sound, Psychedelics, Repetition, (Dis-)Function

A Replay from Aeons Past

from the audiovisual work Go Back to Hiding in the Shadows by Pandelis Diamantides

A digital granary of processed instrumental and electronic sounds, field recordings, rock formations, plants, animals and swarms unfolds a narrative of becoming.

The prime material of the work consists of deconstructed human voices, physical instruments and field recordings dissolved in an imagery of photographs, videos and processed visual material collected around the Troodos mountain range on the island of Cyprus.

The material for this album was shaped during performances at:

Fotonica Festival, Rome, Italy, 2018 
Patchlab Festival, Krakow, Poland, 2018
Oddstream Festival, Arnhem, the Netherlands, 2018
Retune Festival, Berlin, Germany, 2018
LOOS, The Hague, the Netherlands, 2018
Athens Digital Arts Festival, Athens, Greece, 2018
AV Node, Istanbul, Turkey, 2018
International Film Festival Rotterdam, Rotterdam, the Netherlands, 2018
FIBER Festival, Amsterdam, the Netherlands, 2017
Thkio Ppalies Gallery, Nicosia, Cyprus, 2017

World Premiere Audiovisual Performance:

International Film Festival Rotterdam - Sound//Vision 
Rotterdam, the Netherlands, January 27, 2018 
Curator: Peter van Hoof

Album Release Performance:

Trippen Concept Store
Berlin, Germany, April 13, 2019 
Curator: Jakub Kubica

Music and Visuals by Pandelis Diamantides

www.pandelisdiamantides.com 

Mastered at AV Playroom, Nicosia, Cyprus 2019 
Mastering Engineer: Marcus Papageorgiou 

Publisher: Studio Pandelis Diamantides
Producer: Machteld Jacques

Release Date:
11/04/2019

© Pandelis Diamantides 2019
℗ Studio Pandelis Diamantides

Go Back to Hiding in the Shadows

A Replay from Aeons Past

Video

for string quartet and computer, 2014
Hezarfen Ensemble.

Toponymy is a piece for string quartet and computer, that is made up of place names in Northern Cyprus that have both a Turkish and Greek name. These names are encoded in the music and heard simultaneously in the soundtrack, spoken by computer voices, Greek from one speaker, Turkish from the other. These names refer to villages or towns that were once inhabited by either one of the ethnic communities or were bi-communal, but have since the war in 1974, changed population profile and adopted a new name. Also encoded in the music, in the use of the noise bands in the computer as an indicator of whether the village was originally Greek, Turkish or bi-communal.

Toponymy

collapsed program + chemnitz zither
"can a shaman amortise coins he collects from the ground?"

0918 - 15 Re 0717 07 Lv 1 S 4 C 2 RECS_nm

Formed in Copenhagen, February 2018, using a modified Ciat-Lonbarde Esoterica Spike Ring.

Order your tape over at http://touchshop.org/product_info.php?products_id=862 [SOLD OUT]


"Typically in my work I deal with fixed concepts and defined parameters. With “Entrop” the concept was to not deal with such notions and instead to embrace chaos. I built a noisy little synth – a Ciat-Lonbarde Esoterica Spike Ring – which I modified with further feedback loops to intensify its unpredictable nature. The drum track is not programmed – instead the drum computer follows the pulses of the synth. The recordings on this tape are edited and layered from several sessions. I find it to be one of my most musical works – less rational, almost purely instinctive.” - Zeno van den Broek, Berlin, 22.vi.2018

Entrop

ENTROP - Untitled IV

This composition is a reinterpretation of material from my project Maya & Gagi (with cellist Maya Fridman). Recorded in one take and almost no post-edits.

Performed by myself on GEST (image).

Reminders Reinterpreted

إنفجار بقلبي / staat op instorten

info: www.zenovandenbroek.com
booking: info@zenovandenbroek.com

ENTROP - Untitled IV

Zeno van den Broek

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