Moderato
Gerriet Krishna Sharma & Meng Qi
29.03.2019
With an ever-widening chasm fast approaching us, BRUD invites you to a soirée on hearing and shared perception. In the Slavic languages functionaries supplant their functions. A photographer is a fotograf. A cameraperson is an operator. A musician is a muzyk. BRUD is pleased to welcome two pioneering operator-musicians of periphony and synthesis, Gerriet Krishna Sharma, and Meng Qi to the second iteration of JUJU.
Do musicians hear what their audiences hear? As the operator-musician of a sophisticated instrument needing many years of immersion to appreciate, do you understand my music at all?
Do You hear what I hear?
Do You hear with Eye Ear?
How are composers who work with systems that produce previously unheard sound and space phenomena to know that the audience will perceive them at all?
We welcome you to a concert and a tete-a-tete with Gerriet Krishna Sharma attempting to answer this very question. The conversation will span Sharma’s wide-ranging practice in holophony, ambisonics, spatial perception, and how to communicate the subtleties of electronic music. The evening will conclude with an in-camera composition and performance by the band GITA focusing on the White Cube-as-instrument, camera-as-synthesiser. GITA will employ Rib’s unique spatiotemporal and acoustic properties as ingredients in a live performance featuring holophonic feedback.
BRUD is pleased to debut in the Netherlands the fruits of our 3D cassette tape label, BUIO, in the form of the series PING-PONG, produced, mixed, and mastered within Rib. We are living through a Renaissance in tape technology. BRUD is proud to move the needle a wee bit within this subculture by showcasing our in-situ, in-camera, site-specific technique for producing 3D cassette tapes.
BUIO and PING-PONG stem from the observation that every cassette ever made has 4 tracks, which is the number of channels needed for 3D sound. Most cassette players, decks, stereos, and walkmans give you access to two tracks at a time, termed a “Side”. By manipulating and recording all 4 tracks periphonically at the same time, BRUD has turned the humble cassette into a portable sonic sculpture and a vessel to immerse oneself in — a stunning comeback of and a fresh contemporary take on a vintage format long considered dead. A number of JUJU have shown keen interest in this approach and BRUD aims at releasing a number of PING-PONG tapes this year with them. BRUD thanks our friend and co-conspirator Juan-Pablo Villegas for helping us figure this out.
On 30 March, as part of JUJU TV, we are pleased to stream Meng Qi Live from Beijing. The first synthesist from China, Meng is renowned in modular circles for his radical interpretations of synth interfaces for “fast and simple ways to get custom expression”. Of note is his work within Peter Blasser’s Ciat-Lonbarde family, members which have featured prominently in previous editions of Radio JUJU with the artists UMMO, and Chipirurri.
Presentation
Gerriet Krishna Sharma
29.03.2019, 19:00–22:00
Live stream
Meng Qi, live from Beijing
30.03.2019
All areas of Gerriet K. Sharma’s (DE, 1974) activities deal with media-linked societies, their perception and the influence and alteration of their perception by the media. To this end, he considers it inevitable that he exposes himself to these environments with their apparatuses, effects and phantoms, to research them, and thus himself, to subtract a critical artistic use, in order to create a counterpoint in dealing with the usual media-induced music sound and picture worlds. The fact that he has chosen for this practice from the outset, and without exception sounds and their emitters, storage media and projection methods, is due to his persisting fascination for the potential of the subtle compositional possibilities and the constantly problematic relationship between time, space and body within the framework of a so called (virtual-)reality of the Now.
Meng Qi is a pioneering synthesist, theorist, teacher, and designer, the first of his kind in China. Renowned for his distinctive devices and instruments, Meng performs with a gestural, emotional edge. Meng has built a number of experimental instruments with unique aesthetics and innovative interfaces that are played all over the world.