Jetzt in der PROGRAMM-Sektion: Eine eigene Seite für Hinausgehen, das dreiteilige audiovisuelle Projekt von Nevec Red, basierend aus Improvisationssessions zusammen mit Miriam Siebenstädt, aufgenommen in der Geräuschkulisse in Berlin Mitte – eine musikalisch und abstrakt-bildhafte Reflektion seiner Immigration.

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Ceven writes about Geräuschkulisse Sessions and the upcoming Knife album.

Hinausgehen

a sonata | eine Sonate

made from improvised studio sessions and spontaneous video recordings layered upon each other to form a complete audio-visual composition in the classical form with exposition, development and recapitulation

Studio-Improvisationen und ihre spontane Visualisierung bilden gemeinsam eine audiovisuelle Komposition in der klassischen Form der Sonate aus Exposition, Durchführung und Reprise

IMP

2. Movement – Development | 2. Satz – Durchführung

Ceven’s Blog | stills

music by NEVEC RED made from voice recordings of Ceven Knowles and Miriam Siebenstädt at the Geräuschkulisse in summer 2009.
This second movement in the series is in contrast to the first, technical, cold, and digital.
The text was inspired from What is Free Improvisation? by Christian Munthe.
The video uses highly processed video on text.

Musik von NEVEC RED unter Verwendung von Aufnahmen aus der Geräuschkulisse aus dem Sommer 2009 von Ceven Knowles und Miriam Siebenstädt.
IMP schlägt in einem digitalen Kontrast zum 1. Satz der Sonate einen kälteren, technischen Ton an.
Der Text der Komposition geht zurück auf den Essay What is Free Improvisation? von Christian Munthe.
Schrift bildet das augenscheinliche Grundgerüst des Videos.

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Hinausgehen

a sonata | eine Sonate

made from improvised studio sessions and spontaneous video recordings layered upon each other to form a complete audio-visual composition in the classical form with exposition, development and recapitulation

Studio-Improvisationen und ihre spontane Visualisierung bilden gemeinsam eine audiovisuelle Komposition in der klassischen Form der Sonate aus Exposition, Durchführung und Reprise

Unter Uns Kollegen

1. Movement – Exposition | 1. Satz – Exposition

Ceven’s Blog | stills

Unter uns Kollegen recorded by Ceven Knowles and Miriam Siebenstädt in the Geräuschkulisse over two hours with no preparation. The goal was to make a complete song within a single session with each track recorded in a maximum of two takes.
This first movement in the series is raw, naked and completely analogue.
The text was inspired by Unter uns Kollegen written by dadaist Kurt Schwitters in 1927.
The video uses unrefined footage taken from a mobile telephone over the course of 2009 in Berlin and Lübeck.

Miriam Siebenstädt und Ceven Knowles spielten Unter uns Kollegen ohne vorherige Proben oder andere Vorbereitungen innerhalb von zwei Stunden in der Geräuschkulisse ein, jeder Track wurde höchstens zweimal aufgemommen.
Dieser erste Satz der audiovisuellen Sonate Hinausgehen bleibt damit etwas Rohes, Nacktes und völlig Analoges.
Der Text der Komposition ist inspiriert vom gleichnamigen Gedicht Kurt Schwitters von 1927.
Das Video basiert auf unbearbeitetem Material, aufgenommen mit einem Mobiltelefon im Laufe des vergangenen Jahres in Berlin und Lübeck.

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last word forward

Der Kleine Bär Sucht das Nordlicht 2009

In January 2005, I was working on my first (and ill-fated) film festival in Berlin and wanted a new film of my own to be shown as well. It was to be a parody cooking show “Sauerbraten” which started out well but ended in disaster and the resulting footage was unusable. Arriving home a few nights before the festival feeling discouraged about it all, Helga and I decided to play around and see what could come of it. The result was an improvisational story with stuffed animals. We recorded the voice-overs (also nearly completely improvised) a day later and the film was finished at the very last minute, only to be missing the sound on the final hardcopy (due to a dvd-making error). The festival passed and I put the film in its final form online. It was my first German film made at a time when I barely understood the language. There are small inconsistencies in the script which reflect that, but the initial attempt is worth noting. I love this film because it embodies exactly where I was at a particular place and time just at the brink of transformation. While at the Geräuschkulisse for an experiment involving two others (Miriam Siebenstädt & Natalie Hausmann), I chose to use this film as a backdrop while recording improvised music tracks. There were many instruments involved, saxophone, clarinet, flute, melodica, accordian, and various percussion pieces. The result was quite nice and so I decided to put everything together for the internet. Once again I love this film and for exactly the same reasons. I hope that you enjoy seeing them together and perhaps in another four years we make another version.
-Ceven Knowles

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Der Kleine Bär Sucht das Nordlicht (2005, deutsche Version)

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Der Kleine Bär Sucht das Nordlicht (2009, Musical Interpretation)

Drache

Wall All

A Tribute to Paul Klee

Earliest Simple