In contrast to the concept of "Musik als Zeitkunst", which suggests ethereal dematerialization, my work focuses on "Musik als Körperkunst". *
When using technological bodies, i.e. media of sound reproduction and sound generation, there is a tendency to fade out the bodies that carry the music. The computer only seems to simulate what other bodies do or would do. The same applies to loudspeakers.  If music is always available on a simulation medium, it loses its value. One has the feeling that nothing "happens". Other reception mechanisms, such as the enhancement of content through the written word, are intended to compensate for this loss of value. *
But the physical objects are "there". The loudspeaker is a body. So is the computer.  Because the old classical sound bodies have frozen into overloaded images with which art can no longer be made, my compositions deal with the physical reality of the current music media. The gaze is directed at loudspeakers, robots, acoustic flying drones and wired people.

Genoël Lilienstern *1979 studied composition in Berlin and computer music in The Hague. He was a master scholarship holder of the Ensemble Modern Akademie Frankfurt. In 2008 he won the first prize of the Ring.award.off for his robot opera "Rigolator". Interpreters of his music include Ensemble Intercontemporain, Ensemble Mosaik, Dezibel, Ulrich Mertin and Lucho Pelucho.