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Danube digitalitis >> Austria's Granular Synthesis have not come to assault us... this time by KEITH MARCHAND
With these words, Ulf Langheinrich dispels any notions that the new Granular Synthesis show is anything like their last Montreal effort at ISEA '95. Motion Control Modell 5 was an all-out assault using gigantic digitized headshots and blaring sampled voices. Signs outside the venue gave warning to anyone with heart conditions or epilepsy. NoiseGate M-6 may use the signature trappings of Granular Synthesis--in this case, six enormous screens and an impenetrable noisefield--but that's where the similarities end. This is a quiet, looming and contemplative piece. A piece removed from the industrial techno and clubland leanings of the duo's previous offerings. Langheinrich and partner Kurt Hentschläger form Granular Synthesis. Based in Austria, they have carved out a name for themselves as pioneers of new digital and electronic art. I spoke with Langheinrich about art, Austria and things electronic. Mirror: Would you care to attempt a brief historical explanation of Austria's current dominance in electronic art and music? Ulf Langheinrich: I think the most important and charismatic figure in Austrian digital arts was Peter Weibel... and he still is. He was the director of Ars Electronica and he held the first classes in media design at the University of Applied Arts. There are two main reasons for the development of Austria's electronic art scene: one is government funding. [During the 1980s the Austrian government funded the digital arts scene; years ahead of most other nations.] Secondly, Austria itself, and Vienna especially, had not much suffered devastation from World War II. So it was, and is, kind of a museum--a lot of effort that had gone into restoring other nations was not necessary in Austria. Traditional art and architecture were not so necessary. And the result is that every now and again there is an outburst of something that is very radical, statements that are opposite to common sensibilities. Austria was the ideal territory to explore new worlds. And that has happened throughout the country. M: Kurt Hentschläger one time referred to a "new Austrian culture." What does this mean to you? UL: Young people--and we don't include ourselves in that generation--have electronic music. [Hentschläger and Langheinrich have reached the ripe old ages of 38 and 39.] And this is an area that is not at all restricted by borders. Vienna is a very convenient, and in a way provocative, place to create. But the market for one's work is definitely not Austrian... it cannot be Austrian because it is much too small. Artists now have a world audience for their work. M: On both the local and global electronic and digital arts scene, where does Granular Synthesis fit in? Musicians, performance artists, a whole new type of collective... how do you define what you do? UL: I guess "professional creative people" would be a term. It is perhaps a little bit delicate to try to sum up a title, because there is art and there is also music. But both of these titles are limited. We have always been, let's say, between the worlds somehow--between the markets. Which, I think, has always been an advantage in some respects, because it allows us to play very different places. Places that specialize in electronic arts and traditional galleries. NoiseGate-M6 by Granular Synthesis is at the Musée d'art contemporain until May 16. GS Web site: http://thing.at/granular-synthesis/html/gshome.htm
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"Were you there at the opening evening, last Friday? No? That's good, actually. Friday was a little bit too crowded. This work was not done for 150 people. If you've been there alone you might get a little more of an idea of what the piece is intended to be about."