«Ein dunkler Rand einer Aureole» 
2025, Sonic Matter, Walcheturm, Zürich
Martina Buzzi, Kreation
Axel Kolb, Produktion  
Monika Stalder, Gesang


A conversation about "Ein nicht ganz dunkler Rand einer verlorenen Aureole"
between a crowned shepherd, an undead character, and some letters
C: “Letters give the names, for example, the letter "beth" gives the name of a house, the non-sensuous resemblance that makes not only the connection between the spoken word and what is meant, but also the connection between the written word and what is meant, as well as that between the spoken and the written word.”

B:“ O my God! We monsters are die spezifische Gestalt der Dingwelt and necessary! To me it seemed, that the liturgical form of the 'Kyrie' is transformed into a limbo of unacknowledged edges, but not only as a narrative of decay, but as a piercing relic, a loophole that refuses to be fully enunciated or captured as a whole. “

A:“I think as it is based on Johannes Ockeghem's 'Kyrie' (Missa pro defunctis), whatever this is, but it seems that it rather is a play on fragmentation, rather than restoration, of historical integrity. “ 

A:“A ruse, not a common syntax, can only be seen as a blind spot - a situation that cannot be fully apologetically contained.”

A:“ And it must also be said, that the figure of the 'Metaphor Lumpensammlerin', taken from a poem by Gertrud Kolmar, appears on stage in a double role: as materiality, drawing a line whose relevance depends only on her collecting fragmented remains, which appear not as a property but as a structural defect of her own form. The 'Metaphor Lumpensammlerin', the middle-evil MIDI voices on tape, the tape and live trombones play, play a harmonically corrupted canon that refuses any claim to liberating forms of entitlement. “

B:"What ist this then?! I do nut understand!"

C:"A drama of intimate geometry, to put the butter won't melt in your mouth, as a sentence to the play of microtonal deplacements, rhythmic interferences to a finite incoherence - it's DAS WHIP!"

A:"Oh yes but the “real” 'breakdown' of Ockeghem's “original” work cannot really be called a drama, but a relic of a long-rejected invocation, this is indeed a geometric drama! Because the form that this Kyrie is, is an invocation of God's mercy. But apparently, due to the problems of heavenly hierarchies and the consequent problem of impossible transmission, God cannot answer directly, because any word would betray him."

D: " What we are doing is only the image of what we would like to do. So we decided to rely heavily on too spectral fundamentals and Shepard's tonal trambling to open up all the structures to the eye, which proudly calls out short intervals and metric patterns and wants them to collapse before they can take place. We wanted the form to be punished by permanent changes in texture and constant restructuring of the material in which melodic remnants remain subordinate to the usual large-scale formal processes." 

S: "Judging by the ideas put forward by theologians, one has to conclude that God created most human beings simply to overflow hell."

A letter, referring to S and D, but one that is not A maybe C: "The  function of DAS WHIP is to make a bang, a noise. That is, it consists, much like noise, of a large number of randomly occurring, inharmonic fundamentals. And ‘Masochism’, then, at least in its pre-modern history, is to be seen as a practice of aesthetic embodiment, which is, perhaps paradoxically, based on a negation of and retreat from eschatological temporality. Instead of an orientation towards absolute fulfilment or its teleological counterpart in modern discourses on ‘normal sexuality’, the figure of the ‘religious masochist’ cultivates an aesthetically experienceable, sensual, emotional and imaginative relationship to matter and form, which transforms the linear structure of time into arrangements of delayed gratification and into rhythmic patterns of sensual and affective intensity."