Bill Dietz – L’école de la claque

That the modern European concert format and its concertante
listening are exemplary instances of the historical “public sphere”
is a foundational assumption tacitly accompanying much “critical”
music production. If, however, the public sphere is retroactively
understood as a universalising projection of an exclusive cadre,
where does this leave contemporary efforts to think and to counter
the algorithmic seeding of publicness that characterises recent
political history? Can we imagine non-nostalgic forms of convocation?
Following Dietz’ eponymously titled work for the 2017 Donaueschinger
Musiktage and its accompanying publication, the workshop invites
participants to boo and cheer their way through a history of concert publicness.

Find out more about the symposium Sound & Participation here. 

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Bill Dietz, born in 1983 in Arizona, has lived and worked in Berlin since 2003.
From sounding the facade of Le Corbusier’s Unités d’habitation in Marseille to
orchestrating echoes across city blocks in Manhattan, his work examines the
genealogy of the concert and the performance of listening. Since 2007 he is
the artistic director of the Berlin-based Ensemble Zwischentöne, and since
2012, the co-chair of Music/Sound in Bard College's MFA program. In 2013
he co-founded Ear │Wave │ Event with Woody Sullender. He has worked
extensively with Peter Ablinger, Catherine Christer Hennix, Chris Newman,
Christian von Borries, and through 2009 with Maryanne Amacher. In 2015,
Editions Solitude released a monograph on his "Tutorial Diverions." In 2017,
oncurating.org & the Donaueschinger Musiktage released, L’école de
la claque, a collection of scores and essays on those scores by Chris Mann,
MYSTI, and Rachel O'Reilly.