Hide to Show: ‘Memefying’ Live Music

Pascal Gielen; Thomas R. Moore

doi:10.51191/issn.2637-1898.2022.5.8.29

Authors

Pascal Gielen University of Antwerp, Antwerp Research Institute for the Arts (ARIA), Antwerp, Belgium Author https://orcid.org/0000-0003-2846-4328
Thomas R. Moore University of Antwerp and Royal Conservatoire of Antwerp (ARIA), Antwerp, Belgium Author https://orcid.org/0000-0002-6614-2330

DOI:

https://doi.org/10.51191/issn.2637-1898.2022.5.8.29

Keywords:

perfectionism, meme, digital performance, scenic composition, simulation, hyperreality, the Real

Abstract

Michael Beil’s scenic composition Hide to Show (2021) thematizes a basic principle of social media, namely hiding mistakes, failures, or any vulnerable matters with the purpose of simulating an ever-perfect, active, and successful image and profile. Beil’s piece, with memes and memefication as a guiding principle and compositional format, plays along the hyperreal boundary between live performance and digital re-representation. The audience is continuously misled and often left guessing between real and digital, confusing a real body with its projected simulation and live performed music with a (pre)recording. Perhaps more misleading, the live music and vocals are frequently processed in real time, too. Mistakes, but also individual interpretations and authentic appropriations of the piece are smoothed out or erased. Beil’s composition may realize with this ‘fixing’ technique one ideal of today’s live performer: guaranteed perfectionism on stage. In this article, a performer-researcher from Hide to Show and a sociologist of culture and politics analyze the possibilities and limitations of digital art and Internet culture found in Beil’s work. What (new) requirements are demanded of the live performers and technicians? And how does digital simulation affect the artistic experience and aesthetics of contemporary art music and of social life itself?

Author Biographies

Pascal Gielen, University of Antwerp, Antwerp Research Institute for the Arts (ARIA), Antwerp, Belgium

Pascal Gielen (1970) is full professor of sociology of culture and politics at the Antwerp Research Institute for the Arts (Antwerp University – Belgium) where he leads the Culture Commons Quest Office (CCQO). Gielen is editor of the international book series Antennae – Arts in Society (Valiz). In 2016 he became laureate of the Odysseus grant for excellent international scientific research of the Fund for Scientific Research Flanders in Belgium.

Gielen has published many books which are translated in Chinese, English, Polish, Portuguese, Russian, Spanish, Turkish and Ukrainian. His research focuses on creative labour, the common, cultural and aesthetic politics.
Thomas R. Moore, University of Antwerp and Royal Conservatoire of Antwerp (ARIA), Antwerp, Belgium

Thomas R. Moore (1980) studied music performance at Indiana University (1998-2002) and the Royal Conservatoire of Antwerp (2004-2007). He is currently a member of Nadar Ensemble and works as a researcher and brass department chair at both the Royal Conservatoire of Antwerp and the University of Antwerp.