Milan Adamčiak
Born 1946 in Ružomberok. Composer, cellist, musicologist, creator of the acoustic objects, installations and nonconventional music instruments, performer, visual artist, experimental poet, mystificator. 1962 – 1968 Academy of Music in Žilina (violoncello). 1968 – 1973 music studies at the Philosophical Faculty of Comenius University Bratislava. 1968 – 1991 Institute of Musical Studies (later renamed to Institute of Art Studies) at the Slovak Academy of Sciences (research of 20th century music and the mutual relations of music and visual arts). Since the mid 1960’s, he has focused primarily on experimental poetry, graphic scores, and to the creation of sound objects, which resonate with the artistic strategies of John Cage and with the international movement Fluxus. In the second half of the 1960’s, he worked in several temporary as well as permanent teams of authors, particularly with Robert Cyprich and Jozef Revall. At the same time, he carried out the sound and musical section of several projects by other authors. (A. Mlynárčik, J. Želibská, J. Čihánková). By the end of the 1980’s, he renewed the activity of Transmusic comp. - Ensemble of unconventional music (1989), founded the Society of Unconventional Music (Spoločnosť pre nekonvenčnú hudbu - SNEH, 1990), and initiated the FIT - Festival of intermedia creativity (Bratislava, 1991 and 1992). In 1990 co-founded New Seriousness.
,,Milan Adamčiak is a Slovak composer, cellist and musicologist; creator of acoustic objects, installations and unconventional musical instruments; a performer, visual artist and experimental poet. Traditionally trained but influenced by Cagean and Fluxus poetics, he created from the late 1960s until the mid-1990s a large body of work that transgressed the conventional definitions of art creativity and quickly moved toward the concepts of opera aperta, action music and various intermedia forms. At the same time he was experimenting with electronic media, he created several pieces of electroacoustic music and musique concrète, but it was primarily live electronics that fit the principles of his radical poetics. The author considers Adamčiak's intermedia in the context of philosophical and aesthetical thought, revealing mutual correspondences, apparent as well as hidden.“ Leonardo Music Journal, Volume 19, December 2009:
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