Telekinett is a record label dedicated to the exploration, development, promotion, and preservation of atonal, field, experimental, and electroacoustic music. It serves as the official base for Mauricio Reyes, a multifaceted musician, composer, producer, artist, and Futurist. One of the label’s most notable upcoming projects is titled “DADA MUSIK,” which seeks to produce music composed, performed, and played by various artists associated with the Bauhaus movement.

Since the late 19th century, advancements in technology have allowed individuals to alter the traditional listening experience. The introduction of easily editable magnetic tape in the 1940s and 1950s, along with the evolution of multitrack recording, facilitated these changes. During this period, the experimental genre of musique concrète utilized tape manipulation to craft sound compositions, while less artistically ambitious edits resulted in medleys or novelty recordings.

The advent of home computers has ushered in a new era of auditory creativity, enabling both composers and non-composers to produce music as distinctive as their written works. Music has transcended the realm of experts, thereby unlocking a vast array of creative sonic opportunities.

Telekinett promotes experimentation and research. Reyes is partnering with notable experimental and electroacoustic artists to develop projects that are not only captivating but also grounded in strong academic principles. Telekinett advocates for experimentation as a significant pathway for artistic expression.

Jean Arp and other Dada artists embraced chance as a tool for liberating creativity from rational thought. An account by his friend and fellow artist Hans Richter describes how Arp created the “Chance Collages” like this one. Frustrated with a drawing he had been working on for some time, Arp finally tore it up and let the pieces flutter to the floor of his studio. Sometime later he happened to notice these same scraps of paper as they lay on the floor and was struck by the pattern they formed. It had all the expressive power that he had tried in vain to achieve.

He accepted this challenge from chance as a decision of fate and carefully pasted the scraps down in the pattern that chance had determined. To remove his artistic intervention even further, Arp sometimes used a paper cutter to cut the squares rather than tearing them by hand. While chance was undoubtedly the point of departure for this and other works in the series According to the Laws of Chance, the relatively ordered appearance of Arp’s collages suggests he did not fully relinquish control.

Illustration: Jean (Hans) Arp
Untitled (Collage with Squares Arranged according to the Law of Chance)-1916–17