Seth Kim-Cohen is an artist, musician, and critic. He makes as little distinction between these categories as he can get away with. His work leverages audio, video, text, and performance, to question cultural conventions. His work often utilizes music as a signifier to investigate the social, economic, and political assumptions of our encounters with culture. He has presented his work around the world at venues spanning the cultural spectrum, from CBGB in New York to Tate Modern in London.
Kim-Cohen’s book, In The Blink of an Ear: Toward a Non-Cochlear Sonic Art (Continuum 2009), has received a great deal of attention in the art and music worlds. The eminent philosopher and critic, Christoph Cox, called it “a landmark book with which any future theory of the sonic arts will need to contend.” Kim-Cohen has also published One Reason To Live: Conversations About Music (Errant Bodies 2006). His piece for solo drum kit, “Forever Got Shorter (from a t-shirt of the same name)” is featured in the forthcoming, Word Events: Perspectives on Verbal Notation (Continuum 2012). He has also published in Artforum, Tacet Experimental Music Review, Art Review, Pitchfork, The Chicago Reader, and Popstock. From 1993 to 2002, he played in the rock bands Number One Cup and The Fire Show. More at www.kim-cohen.com
DIEDRICH DIEDERICHSEN is a critic and professor of theory, practice, and communication of contemporary art at the Academy of Fine Arts in Vienna. A former editor of the German music magazines Sounds (1979–83) and Spex (1985–91), he is a regular contributor to publications such as Texte zur Kunst and the Berlin daily Tageszeitung. Utopia of Sound, edited with Constanze Ruhm (Schleebrügge, 2010), and On (Surplus) Value in Art (Witte de With/Sternberg, 2008) are among his most recent titles, and his book of short essays on The Sopranos has come out with Diaphanes this spring.
Johannes Kreidler - www.kreidler-net.de
At ICMC2012 Johannes Kreidler's piece Fremdarbeit will be performed:
In 2009, I received a commission from Klangwerkstatt Berlin for a new piece for Ensemble Mosaik. Then, I searched on the Internet for composers in China who offer their skills. I found Xia Non Xiang, whom I gave recent compositions of mine; he should write a style imitation of my music for Ensemble Mosaik. Furthermore, I looked for a cheap programmer in India and found Ramesh Murraybay. I gave him the same pieces that I gave Xiang; Murraybay was asked to write a software that is algorithmically imitating my music. A third task was: Xiang should use Murraybay’s Software… The music I received from Asia actually sounds like my music, but is also different. One point of this concept is the question of authorship: Who actually composed this music? A second is exploitation. Like industry does, I switched production into cheap countries. I received 1500€ for my commission, whereas for my workers in Asia who wrote the score I only had to pay 150$.
Johannes Kreidler (1980) studied from 2000 to 2006 at the Musikhochschule in Freiburg, Germany where teachers included Mathias Spahlinger (composition), Mesias Maiguashca and Orm Finnendahl (electronic music), and Ekkehard Kiem (music theory). During this time he was also a Fellow of the European Union from 2004 to 2005 and a visiting student at the Institute of Sonology at the Koninklijk Conservatorium at The Hague in the Netherlands. He also attended seminars in philosophy and art history at the University of Freiburg. In 2008 he received broad attention for an art performance action in which he delivered 70,200 forms by truck to the GEMA head office (the German performance rights authority) in order to officially register his recent 33-second electronic piece comprised of 70,200 samples of other artists' work. Since 2006 he has taught music theory, ear training, and electronic music in Germany at the Hochschule für Musik und Theater in Rostock, in the advanced training division of the Musikhoch-schule Detmold, and, since 2009, at the Hochschule für Musik und Theater in Hanover.
Kreidler's works have been featured at numerous international music festivals, including the Donaueschingen and Darmstadt festivals, Ultima Festival Oslo, Musica Strasbourg, Gaudeamus Music Week, and the Huddersfield Contemporary Music Festival. Johannes Kreidler lives in Berlin. His music usually employs computer-assisted processes and electroacoustic elements.
Essays and Interviews have been printed in KunstMusik, Musik & Ästhetik, Positionen, Musik-Konzepte, Neue Musikzeitung and the Search Journal. His books „Programming Electronic Music in Pure Data“ (2009), “Music, Aesthetics, Digitalisation – a Controversy” (2010) and “Music with Music. Texts 2005 – 2011” (2012) have been published on Wolke Verlag.
The full ICMC 2012 program will be announced in June 2012 after the open call for papers and music, the selection process and registration to ICMC 2012 in Ljubjana. Thank you for understanding.