D I S C O DUAL BRAINS. WANTED. D I S NT I C O N U I N T T iN U Y C NATIVE INSTRUMENTS has the mission to develop the most innovative and inspirational instruments for music producers and DJs of all genres. For this purpose, logic and creativity have to come together at every part of the process – and within every person involved. To further reinforce and grow our team, we are looking for the most forward-thinking talents in their respective fi eld. If you are ready to fully engage both your left and right I T brain in our quest for the Future of Sound, please check out the open positions at: www.native-instruments.com/careers T M 2014 Y D I S C O NT I NU I TY SELECT TRAJECTORIES IN EXPERIMENTAL & ELECTRONIC MUSIC CTM – FESTIVAL FOR ADVENTUROUS MUSIC & ART 15TH EDITION, BERLIN 2014 02 DIS CONTINUITY 50 DIGITAL AUDIO: REMASTERING AND RADICAL By Jan Rohlf REVISIONISM By Paul Purgas 04 GENERATION Z : RENOISE — EXPERIMENTS IN SOUND & ELECTRONIC MUSIC IN 53 CURATING THE PAST, CREATING THE FUTURE: EARLY 20TH CENTURY RUSSIA DJ AS TIME LORD By Andrey Smirnov & Liubov Pchelkina By Hillegonda C Rietveld 10 RENoise – RECONSTRUCTING THE HIDDEN 56 SONIC CYBERFEMINISM AND ITS DISCONTENTS HISTORY OF REVOLUTIONARY NOISE MUSIC By Annie Goh By Konstantin Dudakov-Kashuro 60 101 WOMEN IN ELECTRONIC MUSIC 14 OVERLOOKED PROGRESS By Antye Greie-Ripatti By Robert Mießner 66 TRANSMISsions – beaini // COHEN: A CASE STUDY 18 COSMIC FLIGHT By Katerina Leinhart ELECTRONIC POP MUSIC IN THE GDR By Florian Sievers 70 FROM FOLK CULTURE TO OPEN CULTURE: CONTINUITY, DISCONTINUITY, AND THE MUSICAL HACK 22 ERKKI KURENNIEMI By Peter Kirn By Jennifer Lucy Allan 72 THE OUTERNATIONAL CONDITION 26 IANNIS XENAKIS, THE POLYTOPES & By Ion Dumitrescu MUSICS OF OTHERNESS By Chris Salter 76 THE DEATH OF WORLD MUSIC By Johan Palme 30 IMAGE AND SOUND By Michael van Hoogenhuyze 80 DIS CONTINUOUS SPACES Photo Spread 32 MUSIC FOR THE FIVE SENSES By Frans Evers 86 LOOKING BEYOND THE BEAT: DISCONTINUITIES IN Berlin’S MUSICAL LANDSCAPE 35 WORLDS OF THE DRONE By Henning Lahmann By Marcus Boon 88 ANONYMONTH 38 COMING TO TERMS WITH SOUND By Mat Dryhurst By Björn Gottstein 90 DIGITAL CULTURE IN THE AFTERGLOW 40 J’ai rêvé d’une musique étrANGE ET BELLE QUI By Kristoffer Gansing NE SOIT JAMAIS LA MÊME NI TOUT À FAIT UNE AUTRE Thibaut de Ruyter in conversation with Eliane Radigue 92 DIS-CONTINUITY & PRESENCE OF MIND By Andreas L. Hofbauer 44 CHRONOPOETICS OF TECHNO-ARCHIVAL MEMORY 103 CREDITS By Wolfgang Ernst 3 DIS CONTINUITY equipment, appropriating old methods, rethinking forgotten ideas, chronic« experiments and the need to uphold a »well-defined order is by no means only a sign of an embarrassing lack of new ideas, but [of history] intact for transmission into future memory«, between BY JAN ROHLF also a crucial component of the art of combination that is so nec- the linear flow of time and the dissolution of temporality, between essary to assuring and strengthening heterogeneity. To bend and continuity and discontinuity, a new anarchic moment comes into be- warp timelines so as to travel through past and forgotten spheres ing, one that may perhaps lead to new »excellence« in the form of and return them thus to the realm of uncertain futures, is a neat way a radical expansion of variety. »Our task is not to locate and manifest the one greatest musical to graft new life onto the consensual view of development that tends to corral our imaginations. It is thanks to the free play of the greatest possible number of vari- work or locus of music, and plant it like a monument in human ables and the infinite possibilities for their (re-)combination that the This perspective may also possibly help lay to rest Reynold’s ghost potential for hitherto unheard music will always be with us, claims history.« – Adam Harper of Retromania, now afloat for a few years. For that which Simon music journalist Adam Harper in his book Infinite Music. Alternative Reynolds has roundly condemned as a stale no-hope future retreat stories, forgotten ideas and adventures, suppressed discourses, the into archives that seem to have nothing to offer but plush deserts tricks of memory and new perceptions of time all have the potential of nostalgia, reconstructed virtual idylls, or at the very best, some to inject endless new variables into the music system. The future of The radical evolution of music over the past hundred years – mod- Media archaeology, a relatively young branch of contemporary me- kind of trauma rehab circuit, may perhaps prove to be nothing less music, we might then say, is therefore no cause for concern. ern musical history, in short – is generally reduced to the exception- dia theory, has recently considered turning points in culture and than a deconstruction of the dominant time model of history itself. al achievements of a limited number of »heroic« individuals, which technology in light of these same insights, thereby breaking ground A new art for our time is on the horizon, »Temporal Art«, or an provide colour enough for music’s crucial breaks and transitions to for new perspectives with a marked interest in neglected approach- Wolfgang Ernst defends this very thesis in a core text included in »Archive Art« perhaps, as Hillegonda Rietveld suggests in another be broadly traced in bright, bold strokes. Yet whoever constructs es, marginalized discourses, and local knowledge production. this publication, wherein he highlights the impact of the technologi- contribution to this magazine that discusses changes in DJ culture: easily understandable historiographies and genealogies runs a very Contrary to the continuous progress model, media archaeology’s cal transformation of archives, from storerooms for hidden, static »Perhaps, then, we can understand the DJ as a kind of a Time Lord of real risk of forever marginalizing important ideas, discoveries, and research radar persistently hones-in on matters obsolete and half- knowledge, into dynamic and publicly accessible real-time data- counter-memory, not only playing with the temporality of the musi- cultural expression in the wings of history. forgotten, claiming these as keys to future imagination and specu- bases. Ernst further pinpoints, from a media theory and technolog- cal rhythm and the narrative structure of a musical journey, but also lation. This is one very good reason to seek-out any past moment ical perspective, just why electronic archives literally demand the enabling audiences to surf multiple perceptions of historical time.« The fabric of musical history is of course far more complex; the con- likely to evince a greater than usual concentration of variety – and re-circulation of the past. Any archive set into motion and flux facil- spicuous threads left by its established luminaries are interwoven makes media archaeologists wary of the idea that any one single itates the permanent fluctuation of ahistorical orders as well as free Such new perspectives arise whenever disparate discourses on mu- with countless individual and collective achievements that are no cause gives rise to a single phenomenon. experimentation with bits and pieces derived from different layers sic, art, media theory, and aesthetics interconnect or fuse. CTM has less important and often serve to inspire, communicate, and sup- of time; and it thus challenges the symbolic order of historiography been staunchly defending and promoting this premise since 1999, port its major strands. They criss-cross, feed into one another, or According to media archaeologist Siegfried Zielinski, the most pro- and the linear flow of historical time. According to Ernst, the grow- a premise that is also the baseline of this magazine and all the texts run in parallel, forming vital nuclei of change and innovation within ductive phases of »powerful heterogeneity« occur whenever »things ing tendency to reference the past »suggests that that which char- contained within. »Dis Continuity« is, we (Oliver Baurhenn, Remco their respective communities and networks. In this vast intercon- and situations [are] still in a state of flux, [and] the options for de- acterizes the popular and experimental culture of today is not just Schuurbiers and myself) find, an appropriate title for the fifteenth nected fabric stretching across time and space, the simultaneous velopment in various directions [are] still wide open«. Phases thus, the cultural nostalgia of a society which has lost its avant-garde bias anniversary of an unorthodox festival that has never had any choice invention of similar ideas in different locations, the local appropria- which hold the seeds of anarchy, such as the period of upheav- but also a direct function of its storage technologies, which have but to look to an uncertain future, given that it swings annually on tion of ideas forged elsewhere, and the multifaceted expression to al in post-revolutionary Russia which Andrey Smirnov is presently become an integral part of present-day data circulation and pro- a shoestring, from one uncertain funding pot to another. All the which these give rise are as crucial as any discovery triggered by attempting to reconstruct in his comprehensive research project cessing«. This function is reinforced moreover, by virtue of being greater our delight, therefore, in being able to present a 2014 edi- singular chance, synchronicity, serendipity, a flash of genius or the »Generation Z«. What is therefore required, Zielinski argues, is not embedded in the capitalist value system: »Emphatic storage waiting tion of CTM that is stronger, more mature, and richer in content slow, laborious process of trial and error. so much an archaeology of the media, but an »an-archaeology« — a for (re-)circulation belongs to the logic of late capitalism and thus than any before.