MEDIA TAGS

available formats in this documentation

a sound file is available
a signal flow chart or drawing is available
a photo is available
a graphical representation of a sonic or musical PROCESS is available
a video file is available
CONTENT TAGS

what the work was/is

pieces for loudspeakers. no live performers. no score. no theater. nothing to look at. present is only the sound projectionist, who ideally is as invisible as possible. he/she does not replace the performer. he/she is a translator, an interpreter, translating the pre-existing audio material into an experience in a unique architectural space. he/she is an artist as operator, or technician, somebody pierre schaeffer would have been proud of. related to concrète approaches for composing and organizing sound.
collaborations with juan betancurth: with these truly collaborative works, consisting of objects and situation-specific sound, the artists juan betancurth and daniel neumann explore the overlap & the consequences between their significantly different individual practices. neumann’s intermedia practice is mostly focused on sound, sound material and its modulation through space with temporal operations. betancurth's mixed media works act as loaded metaphors, provoking the viewers' intimate desires to come to the surface as they decode each object. they've been collaborating on various installations and performances since 2013.
general term for the activity of working jointly with others towards a shared goal. the goal can be blurry, yet each individual that's part of the collaboration contributes something towards the result. there are different levels of dividing the work, different forms of work, different levels of investment by participants, different hierarchies, organizational structures, credit distortions, favoritism and power dynamics. MODULAR COLLABORATION is one of the many forms of collaborations. team effort can rely on greater resources and in more decentralized forms of collaboration the idea of the Genius Author is weakened - probably a reason why in the art world collaborative efforts are less sellable desireable.
an approach to sound, based on using and altering specific, recorded, concrete audio material. manipulation is limited. in the tradition of the musique conrète the concrete sonic material is the starting point of the compositional activities. the work unfolds from there - not from a master-method or grande idea or score determining the structure of the piece. unfolding, not imposing. most often resulting in ACOUSMATIC compositions. through manipulation of the concrete material different degrees of source regonition are achieved. [durchdringung des materials wie das formen und kneten des tons.]
pieces involving any kind of electronic (digital or analog) processing of acoustic instruments.
the term is used here in reference to the musical practice that originated in western art music (mostly academic) during the modern era, rather than the broader use of electroacoustic as a branch of acoustic engineering. yet these two definitions are closely related to the other by involving the use of transducers that convert one form of energy (acoustic) into another (electro-magnetic). in western art music the term has become quite blurry over the last decades including everything that is incorporating electric sound production into compositional practice.
i find a limitation based on live- or pre-excecuted signal processing of acoustic sound sources helpful for keeping the term meaningful.
a PERFORMANCE or RECORDING is structured as an experiment. the outcome is not predetermined. the focus is on the PROCESS, not on the result. there is no failure: the word experimental is apt, providing it is understood not as descriptive of an act to be later judged in terms of success or failure, but simply as of an act the outcome of which is unknown. (Cage, Silence, 1961, p. 13)
made for a specific place, room, context, work adjusts to space, space determines the work or influences heavily, creating a unique SITUATION
main decisions over a PROCESS in the work/PERFORMANCE have to be made LIVE
SPATIAL arrangement, long duration
a conversation or written exchange between two or more parties. usually the roles are divided into interviewer, who asks questions, and interviewed, who answers. these roles though are subject to dissolvements and blurrification.
piece performed with an audience present at the moment of PERFORMANCE
collaboration based on sonic exchange, non­hierarchical, decentralized
a sound work for more than 2 loudspeakers in various arrangements, spatialization of sound is important part of compositional process
To produce specific sounds for found objects that can emit sound. The object becomes sculptural and temporal. A group of objects create a sonic environment. The objects chosen remain ambivalent.
the act of performing a ceremony, play, piece of music, presented before an audience, LIVE event
a series of actions and operations, LIVE, never fully predictable
project for radio or use of radio as material. medium-specific.
recording as an artistic gesture is part of the piece. this TAG does not necessarily indicate that the piece is a recorded piece, produced in a studio and made for preservation. for that s. STUDIO-FOR-TAPE. recording can be used as a method within pieces, exploring aspects of its PROCESS.
social situation is an integral and designed/composed part
a shape, an object in space, can be presented in different spaces, not specific FOR_SITE
The open factors for a practice outside of the Ereignis (event, special event, happening) are put into play to liquidate the spectacle complex. The parameters of the found surroundings  are twisted to create a tension in the here and now. For example, if there are chairs, don't put them in rows. If there are ladders, leave them around; go for ambiguity, not corporate presentation standards. To work with SITUATION is not specific to any particular work, and is a factor for anything that's produced and presented, but to varying degrees. The TAG is used when the SITUATION was or is an important factor in the work. FOR SITE would be related, yet SITUATION is more about the tweaks, about providing a framework for the work, and the creation of a new place to be, not about using the site as content of the work.

This is also in reference to my curatorial practice, where I organize public programs and events. These are more focused on community, artistic experimentation and not the new fetish of the special event, shiny intellectual entertainment, or the art spectacle. SITUATION as occurrence, as experimentation within structures. Santos was Closed. Chelsea is dead on Mondays. Contemporary Temporary.
all content and presence in PERFORMANCE by myself
sound fields are live-compositions, installations or hybrids of both. this series of works could be best described as an aural practice, rather than individual hermetic works. the compositional approach is a continual concrète practice, where sound material is applied, diffused and re-recorded over multiple iterations of performances and in response to the surroundings, FOR-SITE.  the ways of using sounds are historically derived from musique concrète, so composing starts with found and collected sounds, not with an abstract idea, CONCRÈTE. and the sound material - over time, not just for one finished piece - is unfolded, processed, recorded again, modified and re-applied again to new listening situations. the listening space is then shared with the audience. listening as a process is being foregrounded, to encourage a simultaneous attentiveness to the sound field one is sitting in and to an inner field that is resonating and/or expanding. so rather than following pierre schaefer’s call for a “reduced listening” neumann is inviting a spatially expanded listening. and the reduction (of narrative and semantic content) becomes the responsibility of the composer. 
the formal spatial arrangement / layout is an integral part of the piece, allowing different perspectives depending on the position of the viewer
pieces that were produced for tape, most likely in a studio. this is the opposite approach to FOR-SITE.