Carlos Sandoval

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Carlos Sandoval Mendoza (born 1956, Mexico City) Is a Mexican/German freelance composer and multimedia artist mostly recognized for his work joining technology and a Gestalt approach to the art of music composition and performance. Michael Zwenzner describes him as a "Socio-critical magician of the extended-multimedia instrumental theater" [1]

Biography and Work[edit]

Carlos Sandoval was born in an archetypal barrio in downtown Mexico city. Since his childhood he was exposed to harrowing social and cultural conditions which were later reflected in his work.[2] He has lived in Mexico City (1956–64), Cuernavaca City (1964–78 and 1983-03), New York City (1979), Vienna (1980–82), Los Angeles California (1983) and Berlin, Germany (2003–present). In 2009 he became a German citizen and now holds a dual Mexican-German passport/nationality. Having abandoned his studies at Escuela Nacional de Música UNAM 1976-79 (classical guitar and composition), Sandoval went on to study composition, analysis and theory, privately, with Julio Estrada (1985–90). He also assisted and took part in private sessions with a number of composers, including Brian Ferneyhough, Joji Yuasa, Peter Garland, Lorenc Barber, Leo Brouwer, François Bernard Mâche, James Tenney, Stefano Scodanibio and Iannis Xenakis. Sandoval is among a few active Mexican composers of his generation who did not receive education primarily in Europe or the US and have no formal degree in composing. He did however, eventually take up studying in Europe, where he learnt Piano tuning and construction at the Bösendorfer Klavier Fabrik in Vienna (1980–82). This stint, rather than the "Vienna School")[3] changed his outlook on music in general. Later on As photo- and videographer he studied with Fabri (Austria), Sirgo (Mexico) and Fathi (Berlin). His work has been shown mostly in Germany but also in Mexico, France, UK and The Netherlands. Since 1999, with no interruption, he has been fellow of the SNCA which is one of the highest recognitions awarded to Mexican artists by the Mexican Government. He also worked as an assistant to Conlon Nancarrow (1991–94). He has been invited to take part numerous events and contemporary music festivals such as Darmstadt Summer Courses (1990 Germany), Donaueschinger MusikTage (1994 and 2016, Germany) and the Huddersfield Contemporary Music Festival (2009, UK, headlining), among others. He is an author of multiple articles and essays about music.

Early Work — Estradian-Xenakian period (1987-1990)[edit]

His early work can be identified with Julio Estrada's Techniques and the Xenakian school and includes the use of Cartesian graphics representing sonic trajectories and its evolutions, multi parametrics (utilizing several simultaneous performance and compositional resources in a single line or stave) as well as internal sonic imagination analysis.[4] "Ginantria", for cello solo, 1990, is the best example of this period. A number of out-of-cataloque pieces also belong to this stage:

  • "Traepes", 1985, 4:58", Glissandi studies, made before his studies). Chamula harp and tuning forks.
  • "Filos", 1987–89, 12:00" Chamber concert, never premiered.
  • "Lomos", 1989, 7:35" UPIC System
  • "Ginantria", 1990, 12:05" Violoncello.[5]
  • "Homenaje", 1991, 7:39" UPIC system[6]

Postmodern-Synthesis Period (1993-04)[edit]

In 1991 Sandoval met Conlon Nancarrow and began work as his assistant (1991–94).[7] The influence of Nancarrow´s music was strong at this time while some remains of Xenakian style were also present. Sandoval´s musical thinking began to lose channelization.[8] This lack of "school", "channelized impulse" or "Style" ("Style is just a super thin ham slice between your "freedom" and your own limitations" (Sandoval, 2009)[9]) remained a characteristic of his work and can be easily identified with a radical postmodern approach. Besides this, it took Sandoval almost four years to assimilate and synthesize the influence of both Estrada and Nancarrow, apparently the polar opposites of one another but in fact both belonging to a Cartesian, rational, object-oriented way of thinking.[10] Sandoval's music from this period is described well by the list of 16 postmodern music characteristics defined by Kramer (Kramer 2002, 16–17).[11] Between 2002 and 2003, just prior to relocating to Germany, Sandoval published two of his "manifestos": "Imaginación, análisis y posmodernismo"[12] and "De la fenomenología al ejercicio estético, o una apología del cinismo".[13]

Still in Catalogue from the "Fellini Circus Series":

  • "Slow piece for Player Piano", 1993, Player piano.
  • "Fast Piece for Player Piano", 1993, 6:23" Player piano[14]
  • "Fast Piece for computer controlled acoustical instruments", 1994, 6:23", pf., xil., barrel organ, vib. and accordion.
  • "La Pasión Según la Gente", 1999, 25:27" Indian Brass band, Cl, B.cl, percusión and tape[15]
  • "8to-01", 2000-01: Ca. 15:00", Flute, G FLute, Cl., B. Cl., Pf and string quitent.
  • "CcMd-01", 2002, 13:47" String quartet and CD. Premiered by the Arditti String Quartet.
  • "PfMd-01", 2001, 16:35", Piano and CD.
  • "Pf-03", 2002, 7:49", Piano.
  • "Bcl-01", 2002, 7:49", Bass Clarinet.
  • "KPmd01", 2002–03, Ca. 15:00", Orchestra, piano and tape.
  • "K-02" 2004, Ca. 10:.00", Orchestra and toy airplanes.
  • "K-03" 2005, Ca. 9:.00", Orchestra.

Still in catalogue transition pieces:

  • "Negative Study for Sensible Hands", 1996, Sensors on Hands, first gloves prototype.
  • "Suite Antimodem", 1997, 50:00", ETC-ETC Ensemble. Bio-energetics, disposition and improvisation.
  • "Pf-01", 1998, 7:58", Piano,[16]
  • "Pf-02", 1999, 7:49", (Huitzilac period) Piano,[17]

German Period 1 (2003-2007)[edit]

Carlos Sandoval moved to Berlin, Germany in September 2003. His first German project was "Mextoys", 2003–04, 80:00", commissioned by the Festival Eigenarten and the Culture Ministry in Hamburg and premiered at the city’s prestigious Hochschule für Musik und Theater in Hamburg. This piece constituted a breakthrough in Sandoval's work: it was his first true "phenomenological" work, his first full multimedia piece and his first work joining video and music into a single conceptual and constructive layer. This point marked Sandoval's departure from traditional score writing and deterministic thinking, towards developing either an experience-oriented connection to music and a Piagetian approach to animism towards music and life in general. Jean Piaget´s theories of language as an object and the cognitive inability to distinguish the external world from one's own psyche, still have a strong influence in Sandoval's work in this and the coming creative periods.[18]

Sandoval identifies himself also with diverse Edmund Husserl's phenomenological concepts like Lifeworld ("In whatever way we may be conscious of the world as universal horizon, as coherent universe of existing objects, we, each "I-the-man" and all of us together, belong to the world as living with one another in the world; and the world is our world, valid for our consciousness as existing precisely through this 'living together.'),[19] "Empathy and Subjectivity" (the subjectivity of others, as well as our intersubjective engagement with them),[20] Evidence ("the successful presentation of something whose truth becomes manifest in the evidencing itself"), Intuition ("...having a cup of coffee in front of you, for instance, seeing it, feeling it, or even imagining it: these are all "filled intentions", and the object is then intuited") and Intentionality of consciousness ("the power of minds to be about, to represent, or to stand for, things, properties and states of affairs"[21]). All these concepts are linked in Sandoval's work with an ethical use of technology, (or Technoethics: using technology not just without renouncing to humanism but stressing and empowering Humanism).

  • "Mex-toys", 2003–04, three movements., 80:00", percussion, dance, video and tape. Scenes from videoclips projected during the performance are reenacted live by the musicians performing on stage.
  • "The Birth of a Ship", 2006, 25:00", Ships as living organisms and percussion instruments. Lange Nacht der Museen, Senatsverwaltung für Wissenschaft, Forschung und Kultur, the Deutsches Technikmuseum Berlin and the TU Studio Berlin.
  • "Die Schaukel", 2007, 3:08:06" Improvised ritual, sound installation, stage actions and live electronics. Bauhaus Naunynstr. Interaktion Festival, Initiative Neue Music, The Tilt.
  • "Petenera", 2004, 11:50", guitar, toy guitar, tuning-fork, tape and stage action, in two movements. The guitarist becomes a mother, the toy guitar the baby.
  • "Qu Vara", 2004, 10:14" trombone, water, saliva, tape and stage actions
  • "Qu Trompa", 2007, 10:14" Trumpet, water, saliva, tape and stage actions

German Period 2 (2006-2012)[edit]

While living in Berlin, Sandoval met a number of computer-science specialists and began developing work incorporating the use of sensors. His third "manifesto", published in Germany in 2009[22] interjects cultural, artistic and political values to the pure act of sonification via the use of technology. His work incorporating living trees, accelerometers and hands equipped with tactile sensors is based on random-picking software, and adds a mystical quality to the otherwise objective process of transduction of physical phenomena.

  • "Sotavento", 2006, no duration. International network of sounding trees. Tree installation in Florence, Italy, Berlin, Germany and San Luis Potosí, Mexico. With the support of the TU electronic studio, Berlin, the GSLI in Florence and the Festival de San Luis in Mexico.
  • "Baumberauschen", 2007, No duration. Three networked trees. Commissioned by the European Union's "Soziale Stadt" program, throughout the "Kunst : Identität" project.
  • "The body", 2007 Gloves with sensors and a female body as a musical instrument, Ca 20:00". Commissioned by the "5+1 electroacoustic music festival" in Berlin. TU Elektronisches Musik Studio.
  • "Mosaicos” 1 and 2", 2008, Ca. 20:00" Chamber ensemble, any instruments and gloves with tactile sensors. Commissioned by the ensemble Mosaik.
  • "Die basta-Zeiten sind vorbei", 2008, Ca. 22:00" Chamber ensemble, any instruments and gloves with tactile sensors. Commissioned by the ensemble Mosaik.
  • "Baumberauschen 2", 2009, Sound installation. Trees with accelerometers. Commissioned by the European Union's "Soziale Stadt" program.
  • "Klangkaskaden", 2010, Sound installation. Trees with accelerometers. Commissioned by the European Union's "Soziale Stadt" program.
  • "8to-02", 2010–11, 6:22", String quartet, 2 trombones, 2 double basses.
  • "The forest is above the man", in four independent parts: 2008-09 Part I: "The myth of Globalization", open duration. Fl, Ob, Cl, Bss, Trp 1 and 2, Sx ten, Sx Bar, Trb1 and 2, Piano and perc. Part II: "The myth of Alienation", open duration. Fl, Ob, Cl, Percussion, Piano, String quintet and piano.
  • "The forest is above the man", in four independent parts: Part III: 2009-10 "The myth of lacking of time", open duration Fl, Cl, Ob, Bs, P, String quartet Percussions 1 and 2. Part IV: "The myth of relativity", open duration, string quartet.
  • "The forest is above the man, Epilogue", 2012, 12:00", two tubas, two trombones and tape.
  • "The Mexican Wave", 2012, 9:00", string quintet (from one to five musicians pro stave)and tape.

German Period 3 (2014-)[edit]

Two spatial tendencies are perceivable here: The "indoors", video-based chamber-pieces, and the "outdoors", performance-based pieces. In the first case, as Saxer explains: “Antipodal to the overall tendency to instrumental theatre in media-integrative music, the Live-actions by Sandoval are combined with highly manipulated stop-motion video parts in such a way the "normal", real-time of the live-performance becomes a special emphasis.” [23]

The "indoor", chamber pieces, deal with what is called in decision field theory "violations of stochastic dominance" or a clear denial of the independence between alternatives. “Maquina Latina”, for instance, is based on nested (Matryoshka-doll style) musician-generated metronomic inaccuracies due to performative stress. “Teleprompter” is based on, as Sandoval call it “forced isolated-musicians synchronization”, “AntiLegos”, on strictly planned discursive contradictions. And "The Mexican National Anthem as I Recall it From my Chilhdood" on child memories, patriotism and detuning-entities, as identity. In most of the pieces the raw “mother-cell” composition materials where video-generated by the performers, reading open scores.

  • "Maquina Latina", 2014, Ca. 15:00”, for Piano, Time-lapse video and Tape. An Ernst Surberg commission kindly supported by the Sistema Nacional de Creadores (FONCA, México. Premiered November 2013 at the Piano +, Imatronic Festival of Electronic Music”, ZKM, Karlsruhe.
  • "Teleprompter", 2015, Ca. 2:54”, for soloists ensemble (Ob, Cl, detuned Keyboard, Perc., Viola and Violin), video (with same performers, cloned) and tape. Commissioned by the German NDR´s for the Festival “Das Neue Werk”. Premiered at the “Resonanzraum” St. Pauli, in Hamburg by the Ensemble Mosaik. Second version kindly supported by the Sistema Nacional de Creadores, FONCA. Premiere at the Akademie der Künste Berlin, by the Ensemble Mosaik.
  • "AntiLegos Part One", 2015, Ca. 2:54”, for detuned keyboard, video (with same performer, cloned) and Tape. Commissioned by the Ensemble Mosaik. Premiered at the Donaueschinger Musiktage 2015.
  • "AntiLegos Part two", 2015, Ca. 4:18" for Oboe and Violin, Video (with same performers, cloned) and tape. Commissioned by the Ensemble Mosaik. Premiered at the Donaueschinger Musiktage 2015.
  • "AntiLegos Part three", 2015, Ca. 4:40" for Bb Clarinet, Bass Clarinet and Viola, Video (with same performers, cloned) and tape. Commissioned by the Ensemble Mosaik. Premiered at the Donaueschinger Musiktage 2015.
  • "The Mexican National Anthem as I Recall it From my Childhood", 2016, Ca. 15:30", for Ensemble, soprano, 2-channels video, tape and flag conductor. Commissioned by Carlos Prieto, for the CTM-Berlin festival 2016.

Outdoor chamber-pieces

Two collaborative-works (with mariana castillo deball) are part of this section and show "[...] the shifting of the artistic focus from objects and installations, to the work with subjects and their creative participation, opening the same creative door for both, the artists and the performers." [24] With these works, Sandoval turns back to his second creative period (the mix of performance and composition) with an addition: the creation of solid artistic objects as a consequence of the performances.

  • "Viertel Nach Schatten", 2016, Ca. 120:00", for Brassband, church bells and performers, commissioned by the Grazer Kunst Verein, Graz, 2016.
  • "Fatalismo Mágico, ópera sobre el deseo y la nostalgia en cuatro actos", 2017, no duration, for performers and sound recordist. Commissioned by the Fundación Alumnos 47, Proyecto Líquido Deseo, Ciudad de México, 2017.

Video works[edit]

  • "Se fueron los pájaros" (Video, Color, HD, 8:07", Anti-soundscape for blind people, Germany 2016).
  • "Perchtenlauf in Klotzenberg" (Video, Color, 4:3, 14:02", A documentary on Alps Traditional culture Production: Grazer Kunst Verein, Germany-Austria 2016).
  • "Rabbit-score played by Christian Vogel" (Video, BW, HD, 3:57", Own-Score performance, Germany 2015)
  • "Lips" (Video, Color, HD, 13:57", edited and modified voice improvisations by Almut Khüne, Germany 2011).
  • "Hidden 2" (Video, Color, HD, 4:57", featuring Charlote Grude, Germany 2011).
  • "Ursula" (Video, Color & BW, HD, 30:00", Germany, 2010).
  • "Hidden 1" (3:29", Color, Video HD, Mexico-Germany, 2010).
  • "Doña Soco, her Mother and the chicken. Three non-fiction portraits" (16:05", Video, Color, Mexico-Germany, 2003–09).
  • "Dream" (6:05", Video, Mexico-Germany, 2001–2009).
  • "La Pasión según la gente" (18:05", video, Color, Mexico 2001-2003).
  • "Mextoys 1" (5:00", video, Color, Mexico 2004).
  • "Mextoys 2" (5:00", video, color, Mexico 2004).

Discography[edit]

  • "O cigarro de Möbius", 2013, in The Marvellous Transatlantic, Ápice AP 002. Collaboration with the Mexican anti-ensamble Genración Espontánea. Mexico.
  • "Petenera", 2011, in Pages acoustiques, Christelle Sery, Guitar. SACM, XTL001/1, France.
  • "PfMd 01, por piano et band", 2009, in 17 Mars 2009, Théâtre d'Orléans, Concours International de piano d'Orleans. France
  • "Liz-Mix" Electroacoustic piece, 2009, in Ready Media: hacia una arqueologia de los medios y la invencion en Mexico, Laboratorio de Arte Alameda, Mexico City,
  • "Chillida", 2004, continuous loop, electroacoustic piece using a never-repeating simultaneous 2-CDs looping, in Danilo Veras, puntos Comas Acentos Palabras , DVD, Facultad de Arquitectura, Palmera Films, Universidad Veracruzana, Mexico
  • "La Pasión Según la Gente", 2002, in La Pasión según la gente y otras obras, Quindecim, PACMyC, Sireña, monographic CD, Mexico
  • "Homenaje", 2002, in De vez en vez, SACM, Quindecim, track 4, Mexico
  • "Fast Piece", 1994, in Donaueschinger MusikTage 1994, Col Legno Produktion, WWE-3CD-31882, track 1, Germany.

Writings[edit]

  • "Una visión del tiempo: Conlon Nancarrow" In Spanish, La Tempestad 115, pp 64–67, ISBN 1 405-6895, Mexico City, October 2016.
  • "Un Antipaisaje sonoro" Interview in Spanish, La Tempestad, Online Arts Magazine, Mexico City, September 2016.
  • "Sobre Nacho Baca" Spanish. A text for the CD "Chamber Music", by Ignacio Baca Lobera, Cero Records CDFL-1715", July 2015.
  • "Cien Años de Nancarrow" Spanish, La Tempestad, Arts Magazine, Mexico City, December 2012.
  • "Heimat? Identität?" German, Neue Zeitschrift für Musik, p.p. 40-45. The German translation of "Composición y Colonialismo hoy?". Germany 2009.
  • "Composición y colonialismo hoy?" Spanisch, Pauta, Music Magazine, 2008.
  • "Música electrónica en vivo: gesto, inexpresividad y cinismo en la música del siglo XXI" Spanish, Pauta, 100, p.p. 37-47, 2006.
  • "De la fenomenología al ejercicio estético, o una apología del cinismo" Spanisch, Artelugio 2002, versión revisada y publicada en Pauta, 2005.
  • "Imaginación, análisis y posmodernismo" Spanisch, Artelugio 2002; (versión revisada, Pauta, 2005).
  • "Suena el tambor, ladran los perros", Spanish, in La pasión según la gente, booklet, 2001, Quindecim Recordings
  • "Nancarrow, Samuel Conlon", Spanisch, Diccionario de la Música Española e Hispanoame-ricana, Madrid 2000.
  • "Estrada, Julio", Spanisch, Diccionario de la Música Española e Hispanoamericana, Madrid 2000.
  • "Conlon + Tiempo = Nancarrow", Spanish, Mexico City, Pauta, Music Magazine, 50-51, pp. 148–178. 1994.
  • "Música Nueva en México", Spanish, Cultural supplement "La Comunidad", 177, Newspaper La Opinión, Los Angeles, 1983.
  • "La nueva Canción", Spanish Cultural supplement "La Comunidad", 152, Newspaper La Opinión, Los Angeles 1983.

External links[edit]

References[edit]

  1. ^ Zwenzner, Michael: "Ensemble Mosaik, diskrete Maschinen", Program catalogue, Klangspuren Schwaz 2016, p63, Tirol, Austria, 2016.
  2. ^ "(…)I was born in one of the poorest barrios in Mexico City and had an unstable primary education. Since there were six of us children and the resources were very limited, my parents decided to subscribe only one of us at a time, each year, to the first Freinet active-school in Mexico City, a very expensive one.(…) Growing up, I have always lived in between two extremes: the incredibly violent street life in the barrio and the most delicate family friends like David Alfaro Siqueiros, Leopoldo Méndez, Elena Huerta, Pablo O’higgins, Elizabeth Cattlet, Mariana Yampolsky and others. I cannot imagine this fact not having some kind of an influence, or a role later in my artistic life." Ituarte Maru, "Interview with Carlos Sandoval (In Spanish, German subtitles), HD Video, 2010, 24:15", http://vimeo.com/17957124
  3. ^ Ibid., Ituarte, Maru, 2010
  4. ^ Sandoval, Carlos: "Los Yuunohui: un acercamiento al continuo en la obra de Julio Estrada", 80pp, DGAPA/IIMAS/IIE, UNAM, 1992.
  5. ^ Sandoval, Carlos: "Ginantria", in La Pasión según la gente, Quindecim, QDO 1153, PACMyC, Sireña, México.
  6. ^ Sandoval, Carlos: "Homenaje", in De vez en Vez, Quindecim, SACM, 2002.
  7. ^ Hocker, Jürgen, Begegnungen mit Conlon Nancarrow Schott Musik International, Mainz 2002. 294pp.
  8. ^ Tosi, Michèle, "...une pièce mixte au titre très énigmatique – l’absence de notes de programme préserve tout le mystère ! - du compositeur mexicain présent dans la salle Carlos Sandoval Mendoza. PfMd-01 se nourrit des contrastes plus ou moins radicaux entre une partie de piano aux ambiances pastorales et légèrement «détempérées», diffusée en continu par les hauts parleurs, et les interventions du pianiste dont la brillance du jeu et la fulgurance du geste rehaussent l’intérêt d’une écriture parfois peu canalisée" in "Grands Prix « Piano d’Orléans » 2009" http://www.resmusica.com/2009/03/19/grands-prix-piano-dorleans/
  9. ^ Woschnick, Thomas, "Carlos Sandoval: setting in Motion", interview in Cast your Art http://www.castyourart.com/en/2009/04/08/carlos-sandoval-setting-in-motion/
  10. ^ Ibid, Ituarte, Maru.
  11. ^ Kramer, Jonathan. 2002. "The Nature and Origins of Musical Postmodernism." In Postmodern Music/Postmodern Thought, edited by Judy Lochhead and Joseph Aunder, 13–26. New York: Routledge. ISBN 0-8153-3820-1 Reprinted from Current Musicology no. 66 (Spring 1999): 7–20. "1. Is not simply a repudiation of modernism or its continuation, but has aspects of both a break and an extension 2. Is, on some level and in some way, ironic. 3. Does not respect boundaries between sonorities and procedures of the past and of the present 4. Challenges barriers between 'high' and 'low' styles. 5. Shows disdain for the often unquestioned value of structural unity. 6. Questions the mutual exclusivity of elitist and populist values. 7. Avoids totalizing forms (e.g., does not want entire pieces to be tonal or serial or cast in a prescribed formal mold). 8. Considers music not as autonomous but as relevant to cultural, social, and political contexts. 9. Includes quotations of or references to music of many traditions and cultures. 10. Considers technology not only as a way to preserve and transmit music but also as deeply implicated in the production and essence of music. 11. Embraces contradictions. 12. Distrusts binary oppositions. 13. Includes fragmentations and discontinuities. 14. Encompasses pluralism and eclecticism. 15. Presents multiple meanings and multiple temporalities. 16. Locates meaning and even structure in listeners, more than in scores, performances, or composers."
  12. ^ Sandoval, Carlos, "Imaginación, Análisis y Posmodernismo" Artelugio Magazine, Querétaro City, 2002. Revised version: Pauta Magazine. Mexico City, 2005.
  13. ^ Sandoval, Carlos, "De la fenomenología al ejercicio estético, o una apología del cinismo", Artelugio Magazine, Querétaro City, 2002. (Revised edition in Pauta Magazine, Mexico City, 2005). "Archived copy" (PDF). Archived from the original (PDF) on 15 April 2012. Retrieved 2011-12-09. 
  14. ^ Sandoval. Carlos, "Fast Piece", in Donaueschinger Musik Tage 1994 CD 1, Track 01, Col Legno, WWE 3CD 31882.
  15. ^ "La Pasión Según la Gente" SACM, Quindecim Recordings QD01153, PACMYC, Mexico, Sireña, Track 01.
  16. ^ Sandoval, Carlos: "Pf-01", in La Pasión según la gente, Quindecim, QDO 1153, PACMyC, Sireña, México.
  17. ^ Sandoval, Carlos: "Pf-02", in La Pasión según la gente, Quindecim, QDO 1153, PACMyC, Sireña, México.
  18. ^ Sandoval, Carlos, "Imaginacion, Análisis y Posmodernismo", Artelugio Magazine, Queretaro Citi, UAQ, 2002. Revised edition in Pauta Magazine, Mexico City, 2005)
  19. ^ Husserl, Edmund. (1936/1970). The Crisis of the European Sciences, pp. 108-109
  20. ^ E. Husserl, Cartesian Meditations, Klumer Academic Publishers. Translated by Dorion Cairns.
  21. ^ Jacob, P. (Aug 31, 2010). "Intentionality". Stanford Encyclopedia of Philosophy. Retrieved 21 December 2012.
  22. ^ Sandoval, Carlos, "Heimat, Identität?", Neue zeitschrift für Musik, 1-2009, p. 40-45. Germany
  23. ^ Saxer, Marion "Präsenz und ihre Reflexion" in "Positionen, Texte zur aktuelle Musik / 107, Live Liveness", Verlag Positionen, Mai 2016
  24. ^ Landl, Bettina, "Das Licht des Goldes in der Dunkelheit" (on "Viertel nach Schatten") in "Jahrbuch der Steirichen Volkskultur, Verlag Volkskultur Steiermark, ISBN 978-3-9503747-4-2, 2017