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EIMC is an annual meeting for improvisors. Your international network will benefit... 
Improvising musicians, composers, all other performing artists - come together! Develop your art by performing with new people, exchange ideas and get new contacts... see our mission statement. See a report from 2019 by Max Stehle and old programs and more under reports. So far, EIMC (DIMC - Intuitiva) has had participants from Argentina, Azerbaijan, Australia, Belgium, Canada, Denmark, England, France, Germany, Serbia, Ukraine, Switzerland, Holland, Hungary, Italy, Israel, Japan, Norway, Poland, Portugal, Russia, Sweden, Estland and USA. If you wish to get into closer contact, you are welcome to send a mail or meet us on Facebook. |
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NEXT CONFERENCE |
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NEXT TIME 2025 IN ROTTERDAM (NL)! Probably from 24.of July. Please use the contact link above if you dream of coming.
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REPORTS - newest first, scroll down for more history!
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And yet, on Saturday no less than 4 workshops took place simultaneously at a certain point of time, each with a well-functioning group. In addition to the double conduction workshop, other workshops dealt with "Musicial act and body performance. Between zig-zag and hybridisation" (Stephan Grossenbacher), "Silent music" (Hans Tonino), "Social prescensing - theater + improvisation" (Max Stehle) "Installation (playing with an installation of special instruments)" (Thomas Zimmermann), "Free improvisation as polyphony" (Carl Bergstroem-Nielsen) and "Sonic Meditation VIII by Pauline Oliveros" (Diego Kohn) Again according to our way, workshop leaders were of course participants.
See this compilation from the 2013 conference - click on the picture...
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Had 6 participants: Tuomo Haapala (FIN/S), Eckhard Weymann and Frank Hiesler (Germany), Helene Jerg, Henrik E. Rasmussen, Carl Bergstrøm-Nielsen (DK). Two coming for the first time. You may see the programme here.
We had a nice process with free improvisations and proposals and pieces from the participants.
The Conference Discussion became a theory session with two small lectures: Tuomo Haapala told us about his work as a musician and with including improvisation in composed works. Eckhard Weymann showed visual material which could give inspiration for musical ideas and graphic pieces. Read the Conference discussion which reflected the work we had done - and see a picture of us!
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Had 9 participants Roman Stolyar (Novosibirsk, Russia), Blaise Siwula (Brooklyn, New York), Ge-Suk Yeo (Korea/Hamburg), Frank Hiesler (Hamburg), Helene Jerg, Henrik E. Rasmussen, Henriette Errebo Gerhard Pischinger, Johan Toft, Carl Bergstrøm-Nielsen (all DK). Four coming for the first time, seven staying all the time. You may see the programme here.
Playing sessions had more pieces than before. You may see some glimpses here.
Read about the Conference discussion - and see a picture of us! Examples of scores we played from is here.
After the Conference, five of us played a concert in Copenhagen.
Some of the music was released on Russian Ermatell JCD 042 - see more here (please scroll down...)
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*DIMC 2000
Had one participant from Japan, one from Azerbaijan, one from USA, two from Germany and ten from Denmark and lasted a weekend from friday evening to sunday noon. Seven were present for the first time. You may see the programme here.
We did a concert at Vor Frue Church in Svendborg right at the beginning as the very first playing activity. We agreed to have as the only guidelines to pay attention to the big church room and to remember to listen and to make all the pauses and rests we felt like. The concert was released on Japanese CD MESCD 0014 - click here to see more.
Playing sessions were varied: free improvisations, playing of compositions, exercises. As before, one half of the four sessions in all was organized into two groups by randomly drawing lots, the rest being up to a free choice. The last one became a tutti for the second time. Some notations and paintings can be seen here<.
Also, we had a presentation of a written piece, Sonata for two Executioners by Azerbaijan composer Faraq Karaev (1974). And conference discussionon the special theme "notations".
Here are some pictures of us!
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Had seven participants staying for a long time (one from Germany, the rest from DK) and six coming for a shorter time.
No concert this time, but many playing sessions, also interacting with a visual artist.
Like to see some pictures?
The discussion was open-ended and centered around intuitive art and society. Here is a quote:
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Gerhard: intuitive art is getting exciting exactly when it begins to be boring. When you get stuck, you have to create. John: so intuitive music comes from boredom? Carl: maybe John is literally right. Since the art world is boring, we have to invent intuitive art. (...) Tytte: I do not agree that normal art is boring - all art is creative, it always starts so. Since we do not have to fight for survival in our culture, there is a greater demand for creativity. |
Click here to read a full resume of the discussion. Click here to go to top of the page.
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*DIMC 1998
Had seven participants - one from Japan, one from Germany and Danes. Despite many international contacts via letters and e-mail, this time everybody had seen each other before. So we just went deeper into playing.
We did a nice concert in Växjö. (Click here here to see a review!). It was recorded and released on Japanese CD MESCD 0006 - click here to see some of the cover and here to get order information.
Click here to see some pictures...
Here is a summary of our discussion Saturday 15th of August about the theme: "Intuition and life":
Theme for the discussion was the concept of intuition and how it can be brought to a broader use also outside of improvised music playing. One marked standpoint was expressed by Johan who said the concert the day before represented one hour of intuitive activity, however, he wanted it totally, to go on much longer time, in the form of a tour improvising its way along on the journey. Other viewpoints dealed with what intuitive music does to the listener and musician, like Kumi's saying that it had to do with throwing mental garbage away and be free in the situation. Various other improvised music playing experiences, their paradoxes and requirements for improvised playing were also discussed. (CBN) (Click here to read a full resume of the discussion)
Carl.
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*DIMC 1997
A CD with improvisations from the Conference 1997 is distributed by Intuitive Records.
Click here to go to Intuitive Records' homepage and read what Karlheinz Stockhausen wrote to us about this record and to see a review by Richard Cochrane!
DIMC 97 had 14 participants, including one from Japan, one from
Germany and one Danish participant living in New York. As
expected this third annual conference proved that DIMC is
becoming an international meeting place of composers, musicians
and artists working intuitively.
"FOR ME INTUITIVE MUSIC IS TO CUT THE TIME, - IT SHOWS WHAT I AM,
WHAT PEOPLE ARE!"
(Kumi Wakao, Japan)
Once again the Rudme Free-school (Denmark) was the frame for a
conference. In spite of somewhat primitive facilities in
general, DIMC-participants enjoyed this setting. And again
shopping & cooking was implemented in an intuitive
community-spirit. Informal intuitive sessions, talking, & life
enjoyment in general seems to be what DIMC-participants
appreciate!
"EVERYTHING IS COMPLETELY NEW AND PART OF HISTORY!"
(Jens Balder, Denmark)
THIS IS A RESUME OF OUR CONFERENCE DISCUSSION:
The question proposed was whether history and theory were vital
or irrelevant to intuitive music.
Several participants stated that formal theories were not
important to them, rather a reflective process centered around
their practical musical life.
This could also be named tradition or a working process. Some
standpoints stressed the importance of individual freedom. This
could be in order to explore oneself and fellow human beings as
they are instead of stereotypes.
To achieve this end, both the practises of forgetting previous
knowledge and remembering individual experiences as well as roots
back were pointed out as valuable tools.
The discussion thus showed differentiated individual approaches
to the working process as an improvisor.
DIMC 97 was organized by Carl Bergstrøm-Nielsen &
Johan Toft (host)
Carl and Johan.
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*DIMC 1996.
The Conference had eleven participants. Two were Danish visual
artists. One was a Canadian. Something new this year was also the
representation of several musicians from the city of Århus.
Friday evening participants agreed to go to the town of Svendborg
because of a special invitation to do a concert during a town
festival (starting exactly at sunset at 9:23 pm!). We did that
as a benefit for the Conferences and developed a design for the
concert by common discussion.
Playing sessions had a nice variation: some had the form of a
painting/playing collaboration workshop, some were centered
around certain participant's ideas, one took place outdoors in
a wood, some were simply about playing.
Special theme of the year was "Intuitive music and other art
forms". In our discussion, themes of awareness of time and space,
intuitive music versus composed music were worked upon. One must
say that once again people were standing on their toes to express
their opinions and comment each other's views. After closing of
the formal discussion, it went on informally for hours!
On the last day we formed The Association Denmarks Intuitive
Music Conferences. It has the aim of supporting the Conferences
and participant's travelling, and it is a nescessary formality
to keep money from benefits, funds etc. out of reach of personal
income taxes. The two founders are born members of the comitee
which is to be elected at a general assembly during the
Conference each year.
We have encountered much love and serious interest both from
those present as from ealier participants as well as from new
people who have contacted us - thank you, all of you!
Carl.
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*DIMC 1995 (first time - DIMC founded by Johan Toft and Carl Bergstroem-Nielsen)
had ten participants, including two from Sweden. The theme was:
"Intuitive Music - different backgrounds, common goals?". We
wrote in the programme: "The idea for this Congress has grown out
of the idea of letting the Intuitive Music groups at Funen and
Copenhagen meet, and we would like to see even more people. In
the countries surrounding us, freely improvising musicians have
regular organisations - we want to meet each other, too. The aim
of this conference is solely to do it for our own sake - to
exchange sounds and thoughts"
No official resume was made of discussions which were not
formally arranged either, but they certainly were vigourous, and
participants enjoyed greatly to play. It appeared to us that
there was a real need to do this.
Carl.
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