German
Johannes Kreidler Composer

Split Screen Studies (2012)

Film

Duration: 9'

 

A technical circuit can have the character of an art concept or it challenges me to explore its aesthetic potential. A keyboard in which a sound only sounds when the key is released, a 3D sensor that transforms everyday movements into violin music, Schönberg's Pierrot Lunaire spoken of as a car navigation device, and so on. It is important to me to use the technology functionally for something else, in the sense of the "aesthetic change in content" (Harry Lehmann).

Directors and experimental filmmakers have been experimenting with the split-screen method for a long time: Abel Gances Napoléon (1928) is a feature film on three screens, Alfred Hitchcock stages scenes running simultaneously with the rear window (1954); but it is only in the digital age that technology has become a broadly applied phenomenon - because it is now technically easy to realize, and today's huge amounts of data require such forms of representation.

My Split Screen Studies deal with the possibilities of creating (conceptual) music from different video recordings running simultaneously, whereby semantics and symbols can also be represented thanks to the visual level. From many small actions textures can be formed, similar to in the orchestra, but here with recordings from outside the concert hall, or logically separated moments can be brought together - simultaneity of the non-simultaneous.

 

Commissioned by SWR for Donaueschinger Musiktage 2012.

 

 

 

 

 

 

 

 

 

 

 

 

 

Darmstädter Frühjahrstagung für Neue Musik 2015, Topic "Musik and Film"

Exhibition "Building Realities", Sächsische Akademie der Künste Dresden, 18.1.-11.3.2016:

 

Related works:
Kinect Studies
Scanner Studies
IRMAT Studies