Dagegen (“Against”)

Camila Scholtbach – dance

Sebastian Wendt – clarinet

Norman Jankowski – percussion

Daniela Petry – contrabass

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is just an incidental political exclamation, it is about forms in nature, culture and society that result from fractals – opponents, opposites, shared, paired. Forms that stand in opposition to others, are constantly developing, and yet always seem the same. From which it is impossible to grasp a closed section, but which are rigid in themselves. The term, which only emerged in the 1970s, shaped digital aesthetics. We take these divisions and splits as inspiration for movement and sound in all their parameters.

A project development that creates new shapes from material: Stefano Scodanibbio (*1956) “Alisei” (1986) for double bass David Lang (*1957) “new morse code / stuttered chant” (2011) for percussion/drum kit and cello John Cage (*1912) “Ryoanji” (1983) for double bass solo Performance: Norman Jankowski, percussion | Daniela Petry, double bass | Sebastian R.A. Wendt, clarinets | Phaedra Pisimisi, dance & choreography __ In 1975, the mathematician Benoît B. Mandelbrot invented a new way of looking at geometry, which he called “fractal – geometry”.

Before he was taken seriously by the scientific world, he developed the first computers at IBM and paved the way for modern computer-animated graphics in the Star Wars films at lucas arts. We ask ourselves: If dramaturgy in art always corresponds to certain aesthetic forms, can fractal technology be added to our intuitions? Do you get such a “complete work”? Or: If he has developed a geometry that corresponds to nature, isn’t our intuition closer to it?

In purely mathematical terms, according to Mandelbrot, the beginning and end of a thing can never be complete. As an example, he takes a coastline, and explaines that to define it´s lengh, you can take a stick and put it around the land. Deviding the stick in hapfes for a not defined number, you would prolong the lenght of the coastline endlessly. Since there is of course much more to the perception of a dramaturgy than the length of a section, we feel like the filmmakers in Hollywood who hired him: It’s a frame for a story – and at the same time we ask ourselves: Isn’t that every choreography and composition?

So we put the above protagonists of our choice into this framework, namely compositions from classics, undiscovered diamonds and the bang-on-a-can universe. __ An introduction to how we work on this project, and at the same time our special for all creative minds: An invitation to try it yourself: This is how our scenic fractal work is created as a first step: