For its 19th edition, zweikommasieben presents a view on ambiguity as a hallmark of contemporary art and music, especially within its scene and culture. After all, one would be hard-pressed to classify the work of its artists in terms of a singular activity, style, scene, or context.
Félicia Atkinson for example, who has contributed a series of collages to this issue of zweikommasieben, is not simply a musician, but also a poet, visual artist, publisher, label owner, and more. The DJ and producer Parris, who was interviewed for this issue, places himself in a musical no-mans land, although he grew up listening to grime and dubstep. The feeling of not belonging has been an issue for Phillip Sollmann aka Efdemin throughout his entire career. Until recently, Sollmann was set on keeping two fields of interesta career in techno and his pursues in sound art projectsseparate from each other. In the interview he talks about how realizing that such a clear distinction was not necessary and how the resulting aesthetic cross-fertilization has had an impact on himself. Finally, Caterina Barbieri, Cam Deas, Kali Malone, and Robin Buckley aka rkss, who all pop up in this issue of zweikommasieben in one way or another, all understand their craft as a rupture with established musical genres and associated aesthetic norms, albeit in different contexts and using different means.
There is no doubt that ambiguity, uncertainty, tension, and conflict lead to friction, but at the same time ambivalence, complexity, and multiplicity generate enormous aesthetic potential.