Rondo Nr.1

12:15min Klangstück aus fMRT Sounds -
Live-Klang-Installation

im Rahmen der Ausstellung Von Monaden und linearen Kreisen,
Kunstraum Michael Barthel, Leipzig


Rondo Nr.2

Klangstück und dubplate Schallplatte mit Endlosauslaufrille, Spiralenaufkleber
4´33min
Auflage: 5 + 1

Mit dieser Arbeit greift Anna Schimkat sowohl die traditionelle Kompositionsform des Rondos auf, die sich im Laufe des 17. Jahrhunderts zu einem wahren Gassenhauer entwickelte, als auch John Cages Auseinandersetzung mit Tönen der Alltagswelt, was sich in der Anspielung an sein Stück 4?33? (Four minutes, thirty-three seconds), das am 29. August 1952 uraufgeführt wurde, durch die gleiche Länge zeigt.
Anna Schimkat verwendet F-MRT-Geräusche, die aus einer Studie zur Dopaminausschüttung der ETH-Zürich stammen, und stellt diesen die menschliche Stimme entgegen. Sie thematisiert die menschliche Aufmerksamkeitsspanne und wirft die Fragen auf: Wie vollzieht sich die Wahrnehmung bei Wiederholungen, worauf das Kompositionsschema des Rondos basiert? Wie werden Inhalte bei und in Wiederholungen begriffen?
Auch in dieser Arbeit wird das menschliche Begreifen analysiert. Im Gegensatz zu Säuger können kein Wasser atmen, Fische keine Luft, wo die menschliche Kapazität zu begreifen befragt wird, hinterfragt Schimkat an dieser Stelle die wissenschaftliche Auswertung des menschlichen Begreifens durch das Bildgebende Verfahren der funktionellen Magnetresonanztomographie kritisch. Auf der abstrakten Ebene der Wissenschaft wird versucht die menschliche Wahrnehmung bzw. die Aktivität der neuronalen Vorgänge im Gehirn mittels des f-MRT zu vermessen. Jedoch wird das exakt zu vermessende Individuum negiert, da das vom F-MRT ermittelte Bild aktivierter Hirnareale nicht ein wahres Abbild dieser ist, sondern aufgrund von statistischen Erhebungen und empirischen Daten verschiedenster Menschen per Durchschnittswert ermittelt und errechnet wird. Dieser abstrakten Wissensgenerierung setzt sie die sinnliche Erfahrung eines komponierten Stückes entgegen.
Text: Constanze Fritzsch

Rondo NR.2 english text

Sounds piece and dubplate vinyl with locked groove
Spiral sticker
4´33min
Edition: 5 + 1

In this piece Anna Schimkat captures both the traditional musical form of the rondo, popular in the 17th century, and John Cage’s examination of everyday sounds, by alluding to his piece 4’33min (Four minutes, thirty-three seconds) with its length. Anna Schimkat makes use of fMRI sounds, which were recorded during a study researching dopamine release at the ETH-Zürich. These sounds are then contrasted with the human voice. She addresses the human attention span and poses the question How is perception put into effect during repetition on which the rondo is based?. How are contexts understood during and through repetition? Thereby, this piece also analyses human comprehension. In contrast to “Mammals cannot breath water, fish cannot breath air”, which demands the human capacity to comprehend, Schimkat questions science’s attempt to measure human perception and comprehension on an abstract level through neural processes in the brain captured with the help of functional magnetic resonance imaging. Instead of being a true representation of the individual’s brain activation, the fMRI image is the average of data collected from a range of individuals. This abstract generation of knowledge is contrasted with the sensual experience of a musical composition.


Rondo Nr.3

Recordings for the Summer presents, Rondo No.3, the second cassette release of
Leipzig based sound & installation artist, Anna Schimkat, 2015

Cassette, 9.6 minutes

The rondo is a traditional musical form dating to the 18th century. Schimkat's Rondo is a series of electroacoustic compositions combining the sounds of the human voice with a neuroimaging machine, known as fMRI (functional magnetic resonance imaging).
The sounds of the fMRI machine were recorded during a study for the release of dopamine.
Schimkat addresses the human attention span and poses the question How is perception put into effect during repetition on which a rondo is based? How are contexts understood during
and through repetition? Thereby, this piece also analyses human comprehension. Schimkat questions science's attempt to measure human perception and comprehension on an abstract level through neural processes in the brain captured with the help of functional magnetic resonance imaging.
Instead of being a true representation of the individual's brain activation, the fMRI
image is the average of data collected from a range of individuals. This abstract generation
of knowledge is contrasted with the sensual experience of a musical composition.

However due to the powerful magnetic field generated by the neuroimaging machines, Schimkat had to obtain a recording from the physicians occupying a room adjacent to the fMRI. The challenges present in the attempt to record the fMRI lend an overall sense of absurdity to Rondo No.3. Recording, an action which requires machines that use magnetic fields, is instantly defeated by the fields generated from the fMRI.

Composition No.1 of Rondo was presented as a live performance in 2012, during the solo-show "Von Monaden und linearen Kreisen" at Kunstraum Barthel. Rondo No.2 is from a 12 inch vinyl recording, limited to 5 (+1) pieces.
On Rondo No.3, Schimkat examines the elements of the recording by isolating and separating the sounds of the original composition, the refrains are now on the one side of the cassette, all melodies on the other.

The cover artwork is based on sketches of the score by Anna Schimkat
as well as a special made poem by Michael Barthel.

Edition of 30, numbered and signed by Anna Schimkat.
10 Euro

Rondo Nr.1

12:15min Klangstück aus fMRT Sounds -
Live-Klang-Installation

im Rahmen der Ausstellung Von Monaden und linearen Kreisen,
Kunstraum Michael Barthel, Leipzig


Rondo Nr.2

Klangstück und dubplate Schallplatte mit Endlosauslaufrille, Spiralenaufkleber
4´33min
Auflage: 5 + 1

Mit dieser Arbeit greift Anna Schimkat sowohl die traditionelle Kompositionsform des Rondos auf, die sich im Laufe des 17. Jahrhunderts zu einem wahren Gassenhauer entwickelte, als auch John Cages Auseinandersetzung mit Tönen der Alltagswelt, was sich in der Anspielung an sein Stück 4?33? (Four minutes, thirty-three seconds), das am 29. August 1952 uraufgeführt wurde, durch die gleiche Länge zeigt.
Anna Schimkat verwendet F-MRT-Geräusche, die aus einer Studie zur Dopaminausschüttung der ETH-Zürich stammen, und stellt diesen die menschliche Stimme entgegen. Sie thematisiert die menschliche Aufmerksamkeitsspanne und wirft die Fragen auf: Wie vollzieht sich die Wahrnehmung bei Wiederholungen, worauf das Kompositionsschema des Rondos basiert? Wie werden Inhalte bei und in Wiederholungen begriffen?
Auch in dieser Arbeit wird das menschliche Begreifen analysiert. Im Gegensatz zu Säuger können kein Wasser atmen, Fische keine Luft, wo die menschliche Kapazität zu begreifen befragt wird, hinterfragt Schimkat an dieser Stelle die wissenschaftliche Auswertung des menschlichen Begreifens durch das Bildgebende Verfahren der funktionellen Magnetresonanztomographie kritisch. Auf der abstrakten Ebene der Wissenschaft wird versucht die menschliche Wahrnehmung bzw. die Aktivität der neuronalen Vorgänge im Gehirn mittels des f-MRT zu vermessen. Jedoch wird das exakt zu vermessende Individuum negiert, da das vom F-MRT ermittelte Bild aktivierter Hirnareale nicht ein wahres Abbild dieser ist, sondern aufgrund von statistischen Erhebungen und empirischen Daten verschiedenster Menschen per Durchschnittswert ermittelt und errechnet wird. Dieser abstrakten Wissensgenerierung setzt sie die sinnliche Erfahrung eines komponierten Stückes entgegen.
Text: Constanze Fritzsch

Rondo NR.2 english text

Sounds piece and dubplate vinyl with locked groove
Spiral sticker
4´33min
Edition: 5 + 1

In this piece Anna Schimkat captures both the traditional musical form of the rondo, popular in the 17th century, and John Cage’s examination of everyday sounds, by alluding to his piece 4’33min (Four minutes, thirty-three seconds) with its length. Anna Schimkat makes use of fMRI sounds, which were recorded during a study researching dopamine release at the ETH-Zürich. These sounds are then contrasted with the human voice. She addresses the human attention span and poses the question How is perception put into effect during repetition on which the rondo is based?. How are contexts understood during and through repetition? Thereby, this piece also analyses human comprehension. In contrast to “Mammals cannot breath water, fish cannot breath air”, which demands the human capacity to comprehend, Schimkat questions science’s attempt to measure human perception and comprehension on an abstract level through neural processes in the brain captured with the help of functional magnetic resonance imaging. Instead of being a true representation of the individual’s brain activation, the fMRI image is the average of data collected from a range of individuals. This abstract generation of knowledge is contrasted with the sensual experience of a musical composition.


Rondo Nr.3

Recordings for the Summer presents, Rondo No.3, the second cassette release of
Leipzig based sound & installation artist, Anna Schimkat, 2015

Cassette, 9.6 minutes

The rondo is a traditional musical form dating to the 18th century. Schimkat's Rondo is a series of electroacoustic compositions combining the sounds of the human voice with a neuroimaging machine, known as fMRI (functional magnetic resonance imaging).
The sounds of the fMRI machine were recorded during a study for the release of dopamine.
Schimkat addresses the human attention span and poses the question How is perception put into effect during repetition on which a rondo is based? How are contexts understood during
and through repetition? Thereby, this piece also analyses human comprehension. Schimkat questions science's attempt to measure human perception and comprehension on an abstract level through neural processes in the brain captured with the help of functional magnetic resonance imaging.
Instead of being a true representation of the individual's brain activation, the fMRI
image is the average of data collected from a range of individuals. This abstract generation
of knowledge is contrasted with the sensual experience of a musical composition.

However due to the powerful magnetic field generated by the neuroimaging machines, Schimkat had to obtain a recording from the physicians occupying a room adjacent to the fMRI. The challenges present in the attempt to record the fMRI lend an overall sense of absurdity to Rondo No.3. Recording, an action which requires machines that use magnetic fields, is instantly defeated by the fields generated from the fMRI.

Composition No.1 of Rondo was presented as a live performance in 2012, during the solo-show "Von Monaden und linearen Kreisen" at Kunstraum Barthel. Rondo No.2 is from a 12 inch vinyl recording, limited to 5 (+1) pieces.
On Rondo No.3, Schimkat examines the elements of the recording by isolating and separating the sounds of the original composition, the refrains are now on the one side of the cassette, all melodies on the other.

The cover artwork is based on sketches of the score by Anna Schimkat
as well as a special made poem by Michael Barthel.

Edition of 30, numbered and signed by Anna Schimkat.
10 Euro