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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
and IV (inertia)
Grischa Lichtenberger
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“The title _and IV (inertia)_ refers to a fictionalized successor to the Baksan Neutrino Observatory in the Caucasus. First it was an idea for a novel, based on the consideration that it is impossible to deal with the topic of a _lebensraum_ such as Berlin without being hit by stylization—so I had to experiment with strategies of fiction.”
For his musical production, Grischa Lichtenberger uses field recordings of his environment, which are manipulated and broken down to their bare essentials until only fragments are left. Apart from analog sources, he also uses digital sound data, which is likewise turned and twisted until the boundaries between analog and digital are blurred. The arrangement of these atomic elements results in a rather rough and brutal machine-like cut-up sound with outstanding dynamics—almost none. It seems like that the 21 tracks consist only of a minimal set of elements, but which are rearranged in a virtuoso way and with a high degree of variation.
Broken beats and dribbling basses allude to downbeat tunes, allow one to stumble because of their arhythmicity, to eventually take up the underlying groove again. Equally, there are fierce and harsh techno elements. And towards the second part of the record there is also room for new developments where more introverted and airy songs take over.
Lichtenberger’s musical production on _and IV (inertia)_ is in line with his general artistic work, which also comprises other artistic genres such as installations and paintings. There is a mental attitude behind all this, and while the music sounds abstract, one may still identify his personal note. In this way _and IV_ is the extension of a concept he already started with his _~treibgut_ EP, “to define aspects of legitimation for an artistic work in engagement with the concreteness of one’s living situation.”
Links: grischa-lichtenberger.com www.raster-noton.net
For his musical production, Grischa Lichtenberger uses field recordings of his environment, which are manipulated and broken down to their bare essentials until only fragments are left. Apart from analog sources, he also uses digital sound data, which is likewise turned and twisted until the boundaries between analog and digital are blurred. The arrangement of these atomic elements results in a rather rough and brutal machine-like cut-up sound with outstanding dynamics—almost none. It seems like that the 21 tracks consist only of a minimal set of elements, but which are rearranged in a virtuoso way and with a high degree of variation.
Broken beats and dribbling basses allude to downbeat tunes, allow one to stumble because of their arhythmicity, to eventually take up the underlying groove again. Equally, there are fierce and harsh techno elements. And towards the second part of the record there is also room for new developments where more introverted and airy songs take over.
Lichtenberger’s musical production on _and IV (inertia)_ is in line with his general artistic work, which also comprises other artistic genres such as installations and paintings. There is a mental attitude behind all this, and while the music sounds abstract, one may still identify his personal note. In this way _and IV_ is the extension of a concept he already started with his _~treibgut_ EP, “to define aspects of legitimation for an artistic work in engagement with the concreteness of one’s living situation.”
Links: grischa-lichtenberger.com www.raster-noton.net
Grischa Lichtenberger (DE), born in 1983. Starting in 2006, Lichtenberger decided to rethink the artistic process from scratch—its ethical legitimization and its epistemological backgrounds—all in regard to the concreteness of the biographical situation in its landscape and history. Since 2008 Grischa Lichtenberger has lived in Berlin. In 2009 he released his debut EP ~treibgut ununbium on the German label raster-noton. ~ treibgut is a system of references to the river Rhine—working as a motto for varied expressions: installations, videos, music, painting and drawings. With the new “super title” andyrchie iv he tries to take forward the idea of revaluating the reference to landscape as “the place we live in.”