Wolfgang Schlogel

July, 2017 | Darbast Platform, Tehran, Iran.

His performance at Darbast Platform on July 14th was the result of a creative process he had started 3 years before. Going back to his first instrument working on prepared classical piano and fusing it with his electronical environment. The electronic instance he had developed in his time focusing more on pop culture influenced projects like for instance the post rock electronic band Sofa Surfers -www.sofasurfers.net- or for various movie scores and theatre sound designs he has done in Austria and Germany. Having been invited to Darbast Platform in collaboration with OKF for hosting a workshop about electronic music production a further thought raised in his mind questioning the sole focus on technological questions and neglecting the issue of emotional content. On his five days working with a highly educated and motivated group he tried to break up the typical class/teacher relationship and got the whole group to communicate with each other, sharing knowhow and finally creating music together. He hopes that this group experience has led to some kind of scene building effect, where workshop participants continued collaborating with each other. In that light he changed his setup for his performance to a jazz piano, which he prepared with various items like combs, nails, rubber balls and chains. With those analog interventions he can produce a more digital like sound, without using digital technology. The listeners hear a traditional instrument that is slowly shifting from classical into technological perception. While the whole concert surrounding is handled like a typical art event his goal was to slowly transform that routine by adding more human emotion: Therefore he has built his performance around 4 jazz standards, which are highly emotionally charged: “His funny Valentine” by Chet Baker “L.O.V.E.” by Nat King Cole “Time after Time” by Cindy Lauper/Miles Davis “A Love Supreme” by John Coltrane Using several little acting tools he has learned from his work with theatre directors and actors he tried to establish not a technological infused, but an empathic atmosphere in the black box of Darbast Platform. The musical form and technical handling of his setup up was only the foundation for the content which was a message for empathy and love: Love Supremacy, With a live processing of his voice he worked against a romantic perception of emotions and tried to close the emotional-technological circle with his robot/human way of singing love songs and longing for love. In the back of their heads I could hear the audience think: Can artificial creations weep? Can technological creations love? Can robots dream? and where begins the human factor in our life and loves?