We are glad to present the third issue of grapefruits. This time six authors from different professional backgrounds wrote about female* composers and sound artists and their use and understanding of instruments: Limpe Fuchs encounters her instruments from eye to eye. Tones and sounds want to be lured out and listened to with care. Playing an instrument is like an encounter to her, in each of her ever changing performances a new experience.
Black Acid aka Nina Pixel is not interested in virtous playing a specific instrument. In contrast to the classic notion of instrumental musicians she feels attracted by instruments either destroyed or instruments she cannot properly play. As a sound artist she turns things and phenomens she likes acoustically into instruments by the means of her music production process.
Matana Roberts turns music itself into an instrument to tell history and make it tangible.
Anna Schimkat builds her own instruments and uses her field recordings, compositions, installations and performances as instruments for sharpening conscious perception.
For Laurie Spiegel programming and composing belong to one process. By developing her own software, she can transform computers into intelligent instruments, making it possible to focus on the intuitive, emotional and almost limitless creation of sounds.
Tina Tonagel's work ranges from sound installations, visual arts and performance pieces with self-built instruments. Enjoy reading!