Reflection text #1, 2018
Improvising with humans and improvising with machines
Reflections seven months into the project
I like to communicate through music, to negotiate different ideas and different aesthetic preferences among musicians – the friction that occurs and how to deal with it.
I like the challenge to be aware of my own wishes and to be able to follow them as much as being aware of what others do. I like the closeness that emerges by playing music together that is completely different from closeness created by talking. The very unique encounter with the personalities of musicians that might not be apparent outside of the music.
(…)
In human encounters there are always expectations and projections and even feedbacks of projections. I can project into Kim-Auto but I will project into emptiness and it won’t project anything back. I will be confronted with my own projections. Playing with Kim-Auto might be like being reflected by a mirror. Or it suggests that you interact with the emptiness (where you send your projections) as it was your partner (…) Sometimes (…) I get scared and ask myself if I really want a machine being as human-like as possible.
Reflection text #2, Feb 2019
Reflections on playing with K.A.
Workshop November 2018
Reflections after the first time I listened to it:
This piece doesn’t work.
At least four different sorts of sound material are occurring unrelated to each other and reveal neither a clear atmosphere nor a clear structure:
Quiet and lyrical material (rubbing a bamboo stick that is plugged between two strings) loud and energetic percussive sounds in the grand piano (KA)
harsh electronic sounds from my mixer
an often repeated melodic/rhythmical motive from KA (archive from Morten)...
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Biography
Andrea Neumann
- Klavier Innenklavier Komposition
Grew up in Japan and Hamburg, studied classical piano at Hochschule der Künste Berlin from 1988 - 1993. Has been active primarily as musician and composer in the fields of new music and experimental music since 1995. Her exploration of the piano for new sound possibilities has led her to reduce the instrument to its strings, its resonance board and the cast-iron frame. She has been significantly involved in the formation and development of the "echtzeitmusik" scene in Berlin, which borders on fields as varied as noise, electronica, contemporary composed music, performance, and sound art. She has engaged in intensive co-operations in the mixed border areas between composition and improvisation, between electronic and hand-made music, between instrumental and performative music with ensembles like "Les Femmes Savantes" and "Splitter Orchestra". She has co-organized "Labor Sonor," a series for experimental music, film and performance in Berlin since 2000.
- Prix Ars Electronica for the Video-Performance "Videobrücke Berlin - Stockholm" in collaboration with Sabine Ercklentz
- Comissions from Deutschlandfunk, Bayrischen Rundfunk, MDR Leipzig, Wittener Tagen für Neue Kammermusik, EMS Stockholm, Ny Musikk Oslo
- Lectureships for experimental music at Universität der Künste, Berlin (2013) and Universität Potsdam (2014)
- Workshops at California Institute of Arts in Los Angeles, at Mills College, California, at "Conference for Musica Nova" in Brno, in Mexico City, Taipei, Tainan, Porto, Oslo, Brussels, Stockholm, Hamburg and Berlin
- Concert and festival performances in Europa, USA, Canada, Mexico, Argentina, Russia, Libanon, Australia, Taiwan and Japan
- Residencies at EMS (electronic music studio, Stockholm), Counterflows in Glasgow, Villa Aurora in Los Angeles, a.o.
- Collaborations as a composer, composer-performer und interpret with international renowned ensembles like Ensemble KNM Berlin, Ensemble Zeitkratzer, ensemble mosaik, Ensemble Liminal (Mexiko City) and Fant Noise (Stockholm). Interdisciplinary teamworks with a.o. Antonia Baehr (Choreography), Seidl/Kötter (Musiktheater), Chico Mello (Opera)
