lorem ipsum norum (2019)
audiovisual live concert for five musicians and projectiontrailer
full concert _ page
concept and composition _ Daniel Schellongowski
video art _ Lisa Hoffmann
video editing _ Lisa Hoffmann in collaboration
with Daniel Schellongowski
ensemble
electric guitar _ Isaac de Martin
clarinet _ Florian Bergmann
double bass _ Stephan Goldbach
accordion _ Franka Herwig
violoncello _ Paula Lavarías Ferrer
video art _ Lisa Hoffmann
video editing _ Lisa Hoffmann in collaboration
with Daniel Schellongowski
ensemble
electric guitar _ Isaac de Martin
clarinet _ Florian Bergmann
double bass _ Stephan Goldbach
accordion _ Franka Herwig
violoncello _ Paula Lavarías Ferrer
For thousands of years human beings have been
intrigued by their surrounding objects and urging questions. To process those eternal enigmas they are
seeking for tools, techniques, rules, laws, data, algorithms and systems which guide
them through the jungle of the unknown or to inspire and facilitate their own creative works. And today
human beings claim to have developed a “system” which produces melodies or even
entire pop songs by pushing one button?
The so called artificial intelligences are creating melodies, rhythms, and whole music tracks. The amount of AI providers is rapidly increasing and their promises are big.
In "lorem ipsum norum", traditional analogue compositional techniques and recent digital AI algorithms are working together to investigate the relation between a purely musical material and a musical intention, and their meaning in a specific environment.
When does a meaningless material become a relevant piece of music? Can an AI create its own work of art rising above the use of an only functional replica? Or would it be limited without any own intention, like a hostage of its machine learnt source material?
The visuals open up a discourse on the entanglement of the material and the virtual. Physical things are filmed in such a manner as to be aesthetically positioned in a post internet, virtual realm, questioning of quotidian categories. To understand energy ecologies within the ongoing project of digitalisation, it is important to trace false immaterialities.
The so called artificial intelligences are creating melodies, rhythms, and whole music tracks. The amount of AI providers is rapidly increasing and their promises are big.
In "lorem ipsum norum", traditional analogue compositional techniques and recent digital AI algorithms are working together to investigate the relation between a purely musical material and a musical intention, and their meaning in a specific environment.
When does a meaningless material become a relevant piece of music? Can an AI create its own work of art rising above the use of an only functional replica? Or would it be limited without any own intention, like a hostage of its machine learnt source material?
The visuals open up a discourse on the entanglement of the material and the virtual. Physical things are filmed in such a manner as to be aesthetically positioned in a post internet, virtual realm, questioning of quotidian categories. To understand energy ecologies within the ongoing project of digitalisation, it is important to trace false immaterialities.
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