Fredrik Degrér
Accelerated Hyperstition Inc. The Musical (vol. 0) Karaoke
Musical theatre has always retained the idea of music as a phenomenon that can transcend narrative limitation. Not unlike a montage, music in Musicals can accelerate a process, effectively making time, effort, progression, and so on, elastic. Moreover, Musical music can solve drama, conflict and even impossibilities, as well as the opposite. But unlike plot devices, like a Deus Ex Machina, music doesn’t enter into the story as an external transcendental power, but is inherently part of it.
In Accelerated Hyperstition Inc. The Musical (vol. 0) Karaoke – Disc 2 of 4 this inherent transcendental power of the music in Musicals is fully utilized. The story is about a company that commercialize mistakes and impossibilities, and the obvious problematics of this is superimposed by musical numbers. We follow the new worker S as he finds ways to curtail doubt, becoming his own Freudian slip and finds out how to become one with everything through moisturizing cream while searching for a self-contradictory MacGuffin in the companies Tautological Singularity Project Group with the help of friends and colleagues. The internal abductive logic of the Musical constantly self-verifies itself, and conclusions, definitions and determinations only temporarily serve premises as to approach the idealization of objects and subjects. Maximized wish fulfillment give rise to possible impossibilities, verified by Musical music sensibility.
In staging the Musical as an office party, at the very same company as the story takes place, the audience is invited to take part in the main party entertainment, namely Karaoke. Insofar as Karaoke is a medium which allows anyone to become successful performers, Accelerated Hyperstition Inc. has kindly made the possible even more possible, by auto-tuning the whole experience.
About Fredrik Degrér:
Fredrik Degrér (b. 1993) is a Sweden-based artist and composer. His work deals with generic correlations, self-referential referentiality and temporal potentiality. Using musical theatre, ambient music, magic, and piano-accompanied speeches, Degrér seeks to unfold something akin to music’s latent qualities through abductive inference. Degrér holds an MA from The Royal Academy of Music in Denmark and his works have been featured at venues such as MINU-festival, Copenhagen; Intonal festival, Malmö; Spor-festival, Aarhus; Struer Tracks, Struer; Borealis-festival, Bergen.