Sonic fragments (the poetics of digital fragmentation)

‘Sonic Fragments’ is ‘a manifesto in the medium’. Born of the capabilities of digital editing technology itself, the identity of the digital medium (cut and paste) is investigated. ‘Re-mixing’ is intransigently unfinishable; the process could, in theory, go on and on. The re-mix reminds us that the rational is merely one possible system among others: it suffices that there be a system, even if this system is apparantly illogical, uselessly complicated and curiously disparate. The project ‘Sonic Fragments’ comprises seven short experimental ‘re-mixes’ by seven directors, each with a very different background: from experimental, feature, documentary, television, graphic design, visual arts to the new field of VeeJaying.

IAN KERKHOF (1964): Kyodai Makes The Big Time (1992); The Mozart Bird (1993); De Enge Knijperman En De Ondersteboven Vrouw (1993); Ten Monologues From The Lives of Serial Killers (1994); Confessions of a Yeoville Rapist (1994); The Dead Man 2: Return of The Dead Man (1994); Bay Kain (1994); Nice To Meet You, Please Don’t Rape Me (1995); The Turner Revelati On (1995); The Crossing Border Tapes (1995); Techno: Space and Flow In The Radical Flow (1996); Naar De Klote! (Wasted!) (1996); Beyond Ultra Violence: Uneasy Listening By Merzbow (1998); Mondo Roxy: No Other Drugs Required (1998); Shabondama Elegy (1999); Sonic Fragments: Nostalgia For The Future Re-Mix (2000).

FRANK SCHEFFER (1956): Landscapestudies (1991); From Zero (1995); Kontakte (1998); Sonic Fragments (2000).

MIRIAM KRUISHOOP (1971): Vive Elle! (1998); The Days After (1999); Unter Den Palmen (1999); Sonic Fragments (2000).

ROB SCHRÖDER (1950): Sonic Fragments (2000).

ALEXANDER OEY (1960): Sonic Fragments (2000).

MISHA KLEIN (1964): Sonic Fragments (2000).

JOOST REKVELD (1970): Sonic Fragments (2000).