For Weiser, sounds are essentially a vehicle of meaning and/or information. This becomes especially clear when, for instance, he records an artist at work, letting him comment on the current situation while he draws, and later proceeds to make field recordings at the opening of an exhibition so as to bring together both of these aspects. In this case, the real social situation of the production is part and parcel of the artistic process, and is reflected in an aesthetic manner. The approach is often both transcendental and sociological, inasmuch as the conditions of the possibility of the cultural situation become thematic.
Since Nicolas Weiser’s aesthetic work refuses to be reduced to a predefined form catalogue, it can be described as essentially experimental. In certain contexts, this can imply a broader experimental intervention, when – contrary to the public’s expectations – the musician does not blow into a trumpet or dismantle his guitar, but launches into a folksy song. These humoristic games with the expectations of the prevailing aesthetic milieu frequently lead to fascinating ruptures in style.. .
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