Baveći se izvođačkim glasom u savremenoj umetničkoj, popularnoj i crossover muzici, nastojala sam da pokažem na koji način specifične, tj. ![]() ![]() Predmet disertacije Glas i tehnika/tehnologija u savremenoj muzici jeste odnos glasa u savremenoj muzici prema vokalnoj tehnici i tehnologiji snimanja, obrade i manipulacije zvuka. What (new) requirements are demanded of the live performers and technicians? And how does digital simulation affect the artistic experience and aesthetics of contemporary art music and of social life itself? In this article, a performer-researcher from Hide to Show and a sociologist of culture and politics analyze the possibilities and limitations of digital art and Internet culture found in Beil’s work. Beil’s composition may realize with this ‘fixing’ technique one ideal of today’s live performer: guaranteed perfectionism on stage. Mistakes, but also individual interpretations and authentic appropriations of the piece are smoothed out or erased. Perhaps more misleading, the live music and vocals are frequently processed in real time, too. The audience is continuously misled and often left guessing between real and digital, confusing a real body with its projected simulation and live performed music with a (pre)recording. Beil’s piece, with memes and memefication as a guiding principle and compositional format, plays along the hyperreal boundary between live performance and digital re-representation. ![]() Michael Beil’s scenic composition Hide to Show (2021) thematizes a basic principle of social media, namely hiding mistakes, failures, or any vulnerable matters with the purpose of simulating an ever-perfect, active, and successful image and profile.
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