QUICK NOTES ON THE METHOD: "EMPTY TURNTABLES + OBJECTS"
Institut fuer feinmotorik's accoustic work is the result of a processing exploration of:
<A> self-reference of "empty" record-players (strict absence of vinyl- or shelac records)
<B> some odd interpretation of DJing
<C> dealing with repetitive, minimal rhythms on huge mechanical drum-machine (octogrammoticum
<D> the contextualization of this idiosyncratic method in relation to digital/electronic music and its reception by different groups of music consumers.
<A> One challange of admitting a self-referring use of record players might be the attempt of inventing a blind spot for a certain medial apparatus (i.e. the record-player) which can then be made productive for 'new ways' in producing output throug avoiding the designated input. What emerges from that conceptual approach is in somehow a negative emergent phaenomenon (the whole is less than the sum of its parts), which could be entitled as 'negemergence'.
<B> Concerning the often outrageous and elaborated techniques and inventions of DJing including scratching, cutting, mixing and much more, it is mostly focused on records, i.e. reproduction, deconstruction abuse or reinterpretation of recorded sound, rather than on the record player itself.
Furthermore, a DJ uses his / her precision motoricity for the precise use of the record, the mixer-faders, the pitch-control and breakdance intermezzi while backspinning a record. An alternative approach for bringing the precision-motoricity skills to use is the appliance of handicrafted tinker-odds and ends like rubber-bands, paper, stickers, all sorts of small items and trivia, compact-discs + stickers, needles, tooth-brushes etc.
<C> As far as the concept of endless repetition is one important feature of sound reproduction, it is
self-evident for us to orientate to it in an affirmative way. there have been some tracks on previous releases of institut fuer feinmotorik, where this repititive and rhythmic structure is roughly broken, but on "penetrans", we particularly concentrate on this proximate characteristic as well as an emancipation away from the noisy error-sounds towards an self-contained style of raw turntable-music.
<D> The music of institut fuer feinmotorik mostly appears in the context of electronic music, but it is deeply mechanical and, if any, imitates structures and aesthetic codes of digital-/electronic music by the use of an important instrument of the electronic (dance-) music, namely the DJ set-up minus the records, to create an aesthetic approach of a stumble-structured rythm music, sounding not unlike some state-of-the-art powerbook click-hop piece listened to through some closed doors. But then again, compact-discs play a role in when we play our music: due to its slick surface it is often used to "program" it with stickers or paper for stepless rythm-patterns.
Beside this whole conceptual superstructure, we hope that the audible result of the acoustic work of IFF has a value of its own and although works as some catchy music to enjoy!