- Abstractive extensive studies
- Three situation studies
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Three measurement studies
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Greenwich House, 1957
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At every instant, seeing reason to believe as much, and not being able to satisfy himself of the contrary, he should conceive himself to be so.
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Timecode studies
- Postproductions
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[number of performers-date-abbreviated venue name]
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Edgar Varèse and the Jazzmen
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Piano Reductions
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Luftlinien
texts
In this preface, I recount how the spontaneous writing of text scores—initially without any artistic intention—gradually turned into a daily practice governed by a self-imposed constraint of regular production. This shift from a free gesture to a programmed activity deeply altered my way of thinking, moving the focus from the quality of ideas to their mere occurrence. To maintain continuity, I adopted various strategies—recycling, appropriation, and more—revealing a kind of logistical thinking aimed at managing flows of ideas rather than their intrinsic content. In retrospect, I came to see the collection as a symptom of the material and mental conditions of its time: a moment when an overwhelming abundance of information and fragmented attention imposed new regimes of writing. Writing every day, even without a clear purpose, became a way of imposing form on a state of mental overflow, of filtering rather than accumulating.
- To Be Free, One Must Play Against the Devices: A Philosophical Analysis Of Dick Raaymakers’ “Intona: Dodici Manieri Di Far Tacere Un Microfono”
Article published in eContact 21.2
Drawing on writings from the artist and other theorists, a philosophical analysis of Dick Raaymakers’ musical theatre work Intona proposes a reconstruction of its concept and underlying discourse by outlining the implicit definition of art embedded in the work.online
- Interview of Hannes Seidl on his and Daniel Kötter’s radio play STADT [LAND FLUSS]
Article published in recordedness.org
- introduction to Postproductions
This introductory text presents the conceptual basis for Postproductions, a work built entirely from existing scores, documents, and texts by other artists. The approach is informed by ideas of postproduction and curation, where composing consists in selecting, assembling, and recontextualizing material. I reflect on how the use—or misuse—of technologies of sound reproduction, transmission, and documentation can become compositional tools in themselves. Verbal scores play a central role, allowing for a critical engagement with devices and for a more open, participatory relationship between performer, listener, and composer. Rather than proposing a return to Fluxus or similar practices, I aim to reactivate them in a contemporary context marked by ubiquitous media and shared authorship. This text also addresses the ethical dimension of transparency, reuse, and mediation in today’s musical practices.