View allAll Photos Tagged Sound
Lee Davis Pier looking on to Puget Sound on a nice evening, post sunset, not quite blue hour but time was running short and the colors were fading fast. I want to try to make it here during sunrise since it should theoretically come up just about at this view. I'll keep exploring the area since there are a lot of cool old piers as well as sea life and its a very short drive for me.
Image: Single image, 1:45 exposure, .9 ND Lee filter
Was out enjoying the flowers in the garden just beginning to show off, and ignoring the weeds that are also popping up everywhere.
I noticed the fountain was empty so I grabbed the hose and filled it up and thanks to the solar panels within moments the water started trickling down the little umbrella.
As I stood there enjoying the garden, the warm sunshine, the sound of running water and even tolerating a few bees I noticed the yard was alive with sound of songbirds singing everywhere. Thankfully I had my camera with me and decided to record just little bit of it.
It may still be Winter but it sure sounds like Spring!
Sound Mosaic - NYC-Musikmarathon Mattighofen - 16.08.2024 - Stadtsaal Mattighofen
www.jazzfoto.at/konzertfotos24/_nycmm/sound-mosaic/Index.htm
Besetzung:
Chanda Rule: vocals;
Clemens Gigacher: bass;
Andreas Lettner: drums;
Christian Wegscheider: keys;
Andi Tausch: guitar;
Honda Integra R Custom Exhaust by Profusion Customs. A previous owner had a custom exhaust built during the car's existence but badly put it together. Because they didn't have access to the right silencers, what they installed couldn't handle the pressures of the gasses vacating, so the internal packaging did just the same. They vacate, leaving behind empty chambers which sound noisy and the drone is unbearable. The entire exhaust system was so poorly fitted that even the tailpipe was way behind the end on the bumper, causing more damage. You can see the amateur job just by looking at the welding.
We built the entire exhaust again, ensuring controlled sound levels. Our work resulted in a delighted customer.
He had heard many exhausts where some exhaust shops have removed all silencers and built a straight pipe exhaust, and all you get is harsh noise and not enjoyable sound. Fitting cheap silencers was not an option. We are probably the only company to have straight through exhaust silencers. With the fully welded and two-stage acoustic packaging, you get a beautiful deep, enjoyable tone while delivering maximum performance with no sound degradation.
We built him an excellent mandrel-bent manifold back exhaust system with a sound that complimented the car, as you can see in the pictures. Profusion Customs builds quality exhaust systems, not just removing silencers to gain attention.
He did a lot of research before deciding on us to carry out the work. All exhaust companies are not the same. Buy cheap-buy twice.
Visit our website for more information and a quick quote for a custom-built exhaust for your car.
Website: profusioncustoms.com
Online Shop: profusionexhausts.com
Phone: +44 (0) 1753 686 878
Email: info@profusioncustoms.com
Ferrari challenge 2015
Don't use this image without my explicit permission. © All rights reserved
Like me on Facebook
Sound opened like a wound;
I looked — and found my face.
May I meet the one I resist with open hands.
Sound fell away; only light remained.
Desolation Sound Aug 2008
Desolation Sound Aug 2008
desolation sound aug 2008
desolation sound aug 2008
Simon & Garfunkel / Sounds of Silence
Trackliste:
- The Sounds Of Silence
- Leaves That Are Green
- Blessed
- Kathy's Song
- Somewhere They Can't Find Me
- Angie
- Richard Cory
- A Most Peculiar Man
- April Come She Will
- We've Got A Groovey Thing Goin'
- I Am A Rock
Besetzung:
Paul Simon: Gitarre, Gesang
Art Garfunkel: Gesang
Hal Blaine: Schlagzeug
Glen Campbell: Gitarre
Studios: CBS Studios in Nashville
und Los Angeles
Columbia Records 1966
ex LP-Collection MTP
Here's an interior shot of Sound Warehouse. You can find this shot in THE FRY STREET NEIGHBORHOOD by Williams and Couture. Future generations will no doubt wonder that we used to listen to music on vinyl LP's (long playing records at 33 and a third rpm) and magnetic tape cassettes. I got my sister a tape of SCHEHERAZADE by Rimsky-Korsakov here. It was with Eugene Ormandy conducting the Philadelphia Orchestra, and Dr. Ansel Brusilow playing the violin solos. When Dr. Brusilow and the UNT Symphony did Borodin's SYMPHONY NO. 2, Sound Warehouse got his recording with the Bornmouth Symphony in stock. A later management team nixed the classical, but the store eventually got some back.
(further pictures and information you can see by clicking on the link at the end of page!)
Palais Ephrussi
1, University Ring 14
Architect Theophil Hansen 1873
Family:
Address: Franzensring to Universitätsring
Progenitor Ephrussi-Sephardic Greek from Russia
Family tree - family vault at the Central Cemetery
Ignaz leaves the palace built on the ring
Viktor is arrested by the Nazis
The hare with amber eyes
Palais:
A small but fine Heinrichshof - Förstersche group
The neighbor: Palais Lieben
Piano nobile in inconspicuous 1 floor
Interior of Hitler's Professor
Location: Story of the Schottentor
From Franzensring to Universitätsring
The Ephrussi family name is relatively unknown in Vienna.
The Palais Ephrussi, so the building at the ring road, however, many Viennese is familiar, was there but housed the administration of Casinos Austria from 1969 to 2009 housed. The company inscription 'decorates' still the facade.
Today, the property is home of a law firm, led by the President of the Bar Association Gerhard Benn-Ibler.
Students across the university is probably more known McDonald, who has rented the ground floor of the adjacent house.
At that time the palace was at Franzensring. It began at the Parliament and reached to the university. In 1934 one part of it was renamed in Dr. Karl Lueger-Ring. This remained so until 2012. Now it's called University Ring.
The other part even had a more eventfull naming:
1934 Dr. Ignaz Seipel-Ring
1940 Josef Bürckel-Ring
1945 Dr. Ignaz Seipel-Ring
1949 Parliament-Ring
1956 Dr. Karl Renner Ring
Palais Ephrussi, opposite the University
Progenitor Ephrussi - Sephardic Greek from Russia
Ephrussi sounds strange and a bit exotic. One does not really know how to write the word, if you have not seen it before. Hardly anyone suspects that the ancestor of the dynasty, Charles Joachim (1792 - 1864), from Odessa in Russia was - and yet less that this was a Sephardic Greek.
He built a business empire, beginning with grain exports from Ukraine, then investing in the construction of infrastructure: bridges, railways, port facilities. And this, of course, also included the establishment of a bank - with offices in Paris and Vienna.
Offices in Paris - Vienna - Odessa
Pedigree
1. generation
Charles Joachim (1792 - 1864)
2. generation
Ignaz (1829 - 1899)
Leon (1826 - 1878)
3. generation
Viktor (1860 - 1945)
Charles (1849 - 1905)
4. generation
Elisabeth Waal (1899 - 2001)
Ignaz Ephrussi 'Iggie' (1906 - 2011)
5. generation
Victor de Waal
6. generation
Edmund de Waal (1964 - )
Son Ignaz has built the palace
Son Ignaz (1829 - 1899) took over in 1860 the financial transactions in Vienna, his brother Leonid (1826 - 1878) went to Paris and became 'Leon'
As the progenitor Charles died, he was laid to rest in the family vault Ephrussi at the Central Cemetery, not far from the gate 1
(There were later also Ignaz and his wife Emilie, born Porges 1836-1900, buried.)
Ephrussi family vault at the Central Cemetery, Gate 1
Son Ignaz was now head of the Viennese house and reputable in society. He was knighted by the emperor, bestowed him in 1871 with the Order of the Iron Crown, Third Class - although Ignaz throughout his life remained Russian citizen.
Economically he experienced a further upswing, founded more stores, also in London. It is said that the Ephrussi were the second richest banking family after the Rothschilds.
Therefore Ignaz could afford it to take on one of the most successful Ringstrasse architects, Theophil Hansen, 1869 for the construction of his palace. This one had a year earlier started with the construction of the Palais Epstein.
Apart from that Hansen had by his Athens stays good contacts with the Greek society of Vienna and came so to orders such as the Palais Sina am Hohen Markt or the Greek Orthodox Church at the meat market (Fleischmarkt).
Hansen Memorial, Parliament (detail)
Netsuke figurines come in the family
Around the time of the Palais building acquired Ignaz' extremely art-loving cousin Charles (1849 - 1905), who could afford to live as a bohemian and did not have to work, a collection of small carved Japanese figures, netsuke. Those were used in the attachment of kimono belts and were made of ivory, jade or horn.
As heritage (Note: according to other sources, as a gift ) within the family this exotic extravaganza came to Vienna's Palais, where Ignaz resided with family.
Son Victor is arrested by Nazis
In the family Ephrussi it came again to an alteration of generations: Viktor (1860-1945) took over the house. He was with Emilie, called 'Emmy', a born Schey, married.
The marriage was not happy, allegedly, in a manner of speaking the bride was in love with another man. Nevertheless, rapidly three children were born, almost 20 years later, another son - the father was at this time, however, almost certainly Emmys lover (but it was not talked about it).
The family survived reasonably sound an safe to the end of the monarchy, the first World War and the interwar period. But in 1938 came the Nazis, arrested the nearly 80-year-old Viktor in his palace and looted his valuables .
Viktor von Ephrussi
Against the Gestapo violence there were no means, only stratagems: Viktor's maid Anna scurried over and over again among the henchmen.
She succeeded every time to hide some of the small netsuke figurines under her apron, which she then hid in her room.
And she did not say a word to any of them. Not even the stately family.
Viktor was arrested, interrogated in the Hotel Metropol at Morzinplatz and forced to renounce all of his possessions in order to obtain an exit permit.
For his wife Emmy finally all of this became too much. She swallowed an increased dose of heart medications and died.
The Hotel Metropol as an interrogation center
The hare with amber eyes
Viktor was able to flee to England, where he died shortly before the end of the war. His daughter Elizabeth married into the Dutch family de Waal.
She returned in 1945 after the war to Vienna. In the meantime offices of the U. S. Army had moved Into the palais. Vienna should now remain occupied for ten years. Some of the old furnitures were still there. And Anna, the maid.
She handed out Elizabeth the netsuke figures which she could hide then. 264 by the number. A courageous woman. And no one knows her last name. Nobody has asked her for it.
Elizabeth's grandson Edmund has written the story of six generations in the book 'The Hare with the Amber Eyes'. A bestseller: sold 200 000 times.
The Bestseller
Netsuke Figures (Bid: Asian shop Bräunerstraße)
The war-damaged palace was in 1950 returned to the family. Meanwhile impoverished, it had to sell it for only $ 30 000. Were deferred only a few tapestries and books. For the compulsory expropriation of the bank a compensation of $ 5,000 was paid out - with the commitment that they would make no further claims .
As the palace changed hands in 2009, a sum of about 30 million euros has been rumored.
A small but fine Heinrichshof
The Palais Ephrussi extends on the ring road side over nine window axes, on the Schottengasse eight window axes.
The building is a scaled down version of the Heinrichshof which Hansen 1861-63 had built for the brick Baron Heinrich Drasche opposite the Court Opera (destroyed in 1945).
Heinrichshof, 1863
Palais Ephrussi on the left, then the Förstersche group
Theophil Hansen renounced of an accentuation of the center in favor of monumental tower-like corner projections giving the impression that the building stands free. The corner risalit was a characteristic of the baroque palace architecture (example: Schloss Belvedere). It was Hansen's innovative idea to incorporate this motif into the housing. In the business office at the corner of Schottengasse moved in the large, as well furnished by Hansen Café Hembsch.
University (left), Förstersche group (middle), Café Landtmann (right)
Hansen worked very closely with the architects of the adjacent building groups, which also had familial backgrounds: He was with Sophie, sister of Emil Foerster (1838 -1909) married. The brother took over the design on the ring road side, Carl Tietz on the back side at the Palais Lieben. In the literature, this complex of buildings of aesthetic and formal unity went down in history as the 'Förstersche group'.
Unfortunately, the part of the building complex (No. 10, to Mölkerbastei) was severely damaged by bombing in World War II and replaced by a new building.
Palais Ephrussi with caryatids, next to # 12
University Ring No. 10: New in 1966, Carl Appel
The neighbor: Palais Lieben
View Schottengasse:
Left Palais Lieben (8 window axes), right Palais Ephrussi (8 window axes)
One is inclined to attribute the Palais Ephrussi the entire complex. But on the side Schottengasse it includes only the first eight window axes.
If you look closely you can clearly see this on the basis of the color difference of the facade and the gilded, or not gilded balcony lattices.
Ephrussis' immediate neighbors were at the corner Schottengasse/Mölkerbastei the Lieben family, on the ring road side the Iron Baron Mayr-Melnhof (No. 12), No. 10 owned Theresa Blum (destroyed in 1945).
Corner Mölkerbastei/Schottengasse
Piano nobile in inconspicuous 1st floor
Italian flair with plenty of balconies
University Ring (above), Schottengasse (right)
The palace is through ledges horizontally divided into three zones ( base, 'piano nobile', Attica), nevertheless dominates the vertical order: pilasters embrace the second and third floor and the optical impression is further extended by the Terrakottakaryatiden (Terracotta caryatides) that carry the woodwork.
The entire attic floor lies something set back and is circumscribed by a gilded tendrils grid (the thus created balcony room provides surely a nice residential feeling, moreover, perhaps with a view to the Vienna Woods.)
The color scheme of the facade is particularly eye-catching and gives an Italian flair: red brick color with yellow stucco.
Hansen accentuates with the Palais Ephrussi in the first floor the main entrance and the sides with columns, wearing balconies. The shape of the balusters will be taken up later in the opposite University.
The lower floors were rusticated in the neo-Renaissance style, the appear massive and simple.
On the first floor, above the balcony, were the apartment of the landlord and the representative rooms - and not, as one might suspect, a floor above.
Terracotta Jewelry: The head of Mercury protrudes from the Arkanthusblättern (arcanthus leaves) of the capital. Fruit garlands adorn the tower walls between the pilaster capitals.
Detail balcony lattices
Interior of Hitler's Professor
Entrance hall
Transversely embedded courtyard with a glass roof
1 bedroom
2 Damensalon (ladie's salon)
3 dance lounge (including main entrance)
4 reception room
5 smoking-room, billiard room
6 Dining Room
(Note: In the Palais no tours are possible, only the reception area on the ground floor can be visited during business hours.)
Floor plan main floor
Ignaz Ritter von Ephrussi expressly wished from the architect to his main floor a separate staircase, which must not beeing used by any other house party. For the tenants were to build three floors with a convenient main and kitchen stair. On the ground floor a stable for four horses was provided. There are two basement levels.
For the interior design none other than Christian Griepenkerl was taken that equipped the main floor with painting cycles.
Later this one will Adolf Hitler refuse admission to the Academy of Arts because of "insufficient sample drawings".
The ceiling paintings in the Palais show Greek Zeus adventures and Jewish themes (images from the Book of Esther). In other respects, too, it was made sure that nothing was lacking: precious wood floors, expensive fireplaces, elegant marble - and a lot of gold. Inside and outside.
In sunlight, the balcony lattices shine far into the distance. No other Ringstraßenpalais (ring road palais) afforded this beauty .
Terracotta decorations, detail (Mercury)
Location - history from Schottentor
View before 1900 with still intact Gehtor (walking gate) of the Schottentor (gate).
Tor - Tower - Residential House
In the Middle Ages the Babenberg Jasomirgott took Irish-Scottish monks to Vienna. They founded on the ancient Roman road (traffic artery) leading to the west a convent and a school. The name Schottenviertel became customary.
The Schottentor was a part of the fortification. Mentioned it is for the first time in 1276, from 1291 on it was called the Schottenburgtor (Scottish castle gate), later only Schottentor.
The above the gate situated tower was extended in 1418, 1716 were converted into a house gate and tower, which belonged 1775-95 to the couple Eva and Anton Prohaska and 1812 to Protomedicus Edward Guldner von Lobes.
1839 has been demolished.
Old Schottentor Schottenkloster (monastery) 1683
Already in 1656 had been built a new (outer) gate in front of the old Schottentor. 1840 it was replaced by a neoclassical building, similar to the exterior castle gate.
However, as so inconvenient The five passages at Schottentor proved that the new gate soon, " the 5 follies " was the nickname . Supposedly, have been held to narrow the driving gates. And for pedestrians , it was a zig- zag course .
The new Schottentor was already 20 years after its establishment , in 1862 , demolished, only a Gehtor has been preserved until 1900. Then they demolished the remaining groups together with four houses of Mölkerbastei .
The term Schottentor found today on any street sign, only the metro station at the University bears the name - much to the chagrin of some Vienna tourists from the next station - can be misleading - Scots ring.
Old Schottentor to 1839
Schottentor , plan 1799
▲
New Schottentor 1840
View Schottengasse with Schottentor ( direction Votive Church ) , circa 1840
View Schottentor - outside, around 1840
View Schottentor - outside, around 1840
Outside, around 1840
Outside, around 1840
▲
New ablation Schottentor 1862
left: Palais Ephrussi
1875 - 1920 : Maximilian Course ( Emperor Maximilian of Mexico, initiated the building of the Votive Church )
1920 - 1934 : Liberty Square
1934 - 1938 : Dollfußplatz
1938 - 1945 : Hermann Goering place
1945 - 1946 : Liberty Square
1946 - Roosevelt Square ( with Sigmund Freud Park )
After the 2nd World War I circulated the following joke in Vienna: A visitor from the provinces asks in a Viennese tram :
" What is the name of the place over there? " "That is the Town Hall Square , formerly Adolf- Hitler-Platz . " A little further asks the visitors again :
" And what is there in the building? " "This is the Parliament , formerly County House . " Again, the tram runs a piece .
" And what is this place?" "This is the Stalin Square , formerly Schwarzenberg Platz . " The visitor gets out and says goodbye with the words:
"Goodbye , formerly Heil Hitler . "
View after 1900
▲
external link : Image Indoors on f1.online
Link :
Alphonse Thorsch
A banker was almost as rich as Rothschild - the extinction
Tomb of Thorsch family , Central Cemetery , Gate 1
▲
sources:
Dehio S 336 , Czeike , Archives Publishing
Viennese palace , W. Kraus, P. Müller, Blanck stone Verlag, 1991
The Ringstrasse , a European architectural idea , Barbara Dmytrasz , Amalthea Verlag, 2008
Vienna in old postcards, Czeike , 1989
Vienna pictures from the youth of our Emperor , Gerlach, 80 born FJ
The Press : The Ephrussi family scattered to the winds
The Standard : Prison of gold
A year 5 interactive display for science topic "sound" including instruments. I tuned the guitar and discovered it's perfectly playable, and the accoustics in the empty classroom were great.
CDs :
New Order
Power Corruption & Lies
Factory
FAC75
New Order
The Peter Saville Show Soundtrack
London Records
2003
Pantone Postcards :
G = Pantone 5125
M = Pantone 7654
A = Pantone 17-5722
GMA translated using Peter Saville colour coded alphabet
Use Hearing Protection
GMA
Taking photographs and many other elements creating a more in depth piece of photographic art.
(Model supplied by Colby Files)
Milford Sound (Piopiotahi in Māori) is a fjord in the south west of New Zealand's South Island, within Fiordland National Park and the Te Wahipounamu World Heritage site. It has been judged the world's top travel destination in an international survey,and is acclaimed as New Zealand's most famous tourist destination. Rudyard Kipling had previously called it the eighth Wonder of the World.
Milford Sound is named after Milford Haven in Wales, while the Cleddau River which flows into the sound is also named for its Welsh namesake. The Māori named the sound Piopiotahi after the thrush-like piopio bird, now extinct. Piopiotahi means "a single piopio", harking back to the legend of Māui trying to win immortality for mankind - when Maui died in the attempt, a piopio was said to have flown here in mourning.
Prior to World War II and the invention of radar, acoustic mirrors were built as early warning devices around the coasts of Great Britain, with the aim of detecting incoming enemy aircraft by the sound of their engines. The most famous of these devices still stand at Denge on the Dungeness peninsula and at Hythe in Kent. Other examples exist in other parts of Britain (including Sunderland, Redcar, Boulby, Kilnsea) and Selsey Bill, and Baħar iċ-Ċagħaq in Malta. The Maltese sound mirror is known locally as "the ear" (il-Widna) and appears to be the only sound mirror built outside Great Britain.
Acoustic mirrors at Denge
The Dungeness mirrors, known colloquially as the "listening ears", consist of three large concrete reflectors built in the 1920s–1930s. Their experimental nature can be discerned by the different shapes of each of the three reflectors: one is a long, curved wall about 5 m high by 70 m long, while the other two are dish-shaped constructions approximately 4–5 m in diameter. Microphones placed at the foci of the reflectors enabled a listener to detect the sound of aircraft far out over the English Channel. The reflectors are not parabolic, but are actually spherical mirrors.[1] Spherical mirrors may be used for direction finding by moving the sensor rather than the mirror; another unusual example is the Arecibo Observatory.
Acoustic mirrors had a limited effectiveness, and the increasing speed of aircraft in the 1930s meant that they would already be too close to deal with by the time they had been detected. The development of radar put an end to further experimentation with the technique. Nevertheless, there were long-lasting benefits. The acoustic mirror programme, led by Dr William Sansome Tucker, had given Britain the methodology to use interconnected stations to pin point the position of an enemy in the sky. The system they developed for linking the stations and plotting aircraft movements was given to the early radar team and contributed to their success in World War II; although the British radar was less sophisticated than the German system, the British system was used more successfully.
There are three acoustic mirrors in the complex, each consisting of a single concrete hemispherical reflector.
The 200 foot mirror is a near vertical, curved wall, 200 feet (60m) long. It is one of only two similar acoustic mirrors in the world, the other being in Magħtab, Malta.
The 20 foot mirror is similar to the 30 foot mirror, with a smaller, shallower dish 6 m (20 ft) across. The design is close to that of an acoustic mirror in Kilnsea, East Riding of Yorkshire.
Acoustic mirrors did work, and could effectively be used to detect slow moving enemy aircraft before they came into sight. They worked by concentrating sound waves towards a central point, where a microphone would have been located. However, their use was limited as aircraft became faster. Operators also found it difficult to distinguish between aircraft and seagoing vessels. In any case, they quickly became obsolete due to the invention of radar in 1932. The experiment was abandoned, and the mirrors left to decay. The gravel extraction works caused some undermining of at least one of the structures.
Sound side on the Pamlico Sound in Frisco, NC. A little more shoreline has been visible the last few day after Winter storm Riley moved out to sea.
The Honkies (London, England) - 1992
Live at
Autonomes Kulturzentrum Metzgerstrasse Hanau
.
SQUAT - SOUNDS *
AUTONOMES KULTURZENTRUM HANAU
(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).
Photographs 1987-1994
- Please scroll down for english and german info) -
The Squat - Photos:
www.flickr.com/photos/sterneck/sets/72157627799174125
Squating the Parliament (1988):
www.flickr.com/photos/sterneck/sets/72157627923787960
Concert-Photos 1987-1988:
www.flickr.com/photos/sterneck/sets/72157627799191443
Concert-Photos 1989-1990:
www.flickr.com/photos/sterneck/sets/72157627923799072
Concert-Photos 1991-1992:
www.flickr.com/photos/sterneck/sets/72157627923811302
Concert-Photos 1993-1994:
www.flickr.com/photos/sterneck/sets/72157627923815978
- Concert-Photos 1991-1992:
Charles Hayward (London, England) - 1992
Embryo (Munich, Germany) - 1991
Girls against Boys (Washington, USA) - 1992
Hadayatullah Hübsch (Frankfurt, Germany) - 1991
In den Wolken schwebende Gänse II (Hanau, Germany) - 1991
Kaktuxxe (Hanau, Germany) - 1992
Medusa (Amsterdam?; Netherlands) - 1992
Sterneck-Cage-Project (Hanau / New York) - 1991/92
The Ex (Amsterdam, Netherlands) - 1992
The Honkies (London, England) - 1992
Tom Cora (New York, USA) - 1992
..... and Friends and .....
.........
There were a lot more bands playing in the squat.
If you have photographs or recordings - please get in contact:
contact@sterneck.net
Thanx! *
- * -
THE SQUATED AUTONOMOUS CULTURE CENTER
METZGERSTRASSE / HANAU
In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.
Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.
The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.
At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:
- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.
- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.
- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.
In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.
If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.
The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.
Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.
But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.
Wolfgang Sterneck, 2001.
Autonomes Kulturzentrum
Metzgerstrasse 8, D-63450 Hanau, Germany.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:
- www.sterneck.net/john-cage/metzgerstrasse-e
- * -
SUBVERSIVE SOUNDS *
Konzerte im Autonomen Kulturzentrum Hanau.
Das besetzte Haus
Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.
Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.
Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.
Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.
Selbstbestimmte Kultur ohne Kommerz
Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.
Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.
Freiräume statt Parkplätze
Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.
Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.
In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.
Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.
Wolfgang Sterneck, September 2011.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:
Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau
- www.sterneck.net/squat/metzgerstrasse-d
English Info:
The squated Autonomous Culture Center Metzgerstrasse Hanau
- www.sterneck.net/squat/metzgerstrasse-e
Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:
- * -
.
SQUAT - SOUNDS *
AUTONOMES KULTURZENTRUM HANAU
(Besetztes Haus / Metzgerstrasse-Squat in Hanau / Germany).
Photographs 1987-1994
- Please scroll down for english and german info) -
The Squat - Photos:
www.flickr.com/photos/sterneck/sets/72157627799174125
Squating the Parliament (1988):
www.flickr.com/photos/sterneck/sets/72157627923787960
Concert-Photos 1987-1988:
www.flickr.com/photos/sterneck/sets/72157627799191443
Concert-Photos 1989-1990:
www.flickr.com/photos/sterneck/sets/72157627923799072
Concert-Photos 1991-1992:
www.flickr.com/photos/sterneck/sets/72157627923811302
Concert-Photos 1993-1994:
www.flickr.com/photos/sterneck/sets/72157627923815978
- Concert-Photos 1991-1992:
Cage-Sterneck-Project (Hanau) - 1991/92
Charles Hayward (London, England) - 1992
Embryo (Munich, Germany) - 1991
Girls against Boys (Washington, USA) - 1992
Hadayatullah Hübsch (Frankfurt, Germany) - 1991
In den Wolken schwebende Gänse II (Hanau, Germany) - 1991
Kaktuxxe (Hanau, Germany) - 1992
Medusa (Amsterdam?; Netherlands) - 1992
Peter Brötzmann (Wuppertal, Gemany) - 1991
The Ex (Amsterdam, Netherlands) - 1992
The Honkies (London, England) - 1992
Tom Cora (New York, USA) - 1992
..... and Friends and .....
.........
There were a lot more bands playing in the squat.
If you have photographs or recordings - please get in contact:
contact@sterneck.net
Thanx! *
- * -
THE SQUATED AUTONOMOUS CULTURE CENTER
METZGERSTRASSE / HANAU
In December 1986 some people in Hanau (Germany) decided to squat a house that had been empty for a long time, Metzgerstraße 8. They restored it and filled this free space with a new life.
Soon it became an ’Autonomous Culture-Center’ for the people and by the people, and also a focal point for a solidaric projects and for the resistance against ruling systems in all their repressive forms. The center has had a long history of attempts to establish a self-determined culture-center in Hanau, although it has always been repressed by the local city council.
The basic forum of the center is the ”squatter meeting,” which is open to everyone who has an interest in the squat as a counter-cultural free space. Decisions are made on the consent principle, which means that they try to find a decision that can be supported by everyone. Many activists in the squat, but not all, describe themselves as members of the autonomy movement, which connects anarchist, communist and feminist ideas.
At the moment there are a lot of projects, groups, and events that take place in the center. Everything is done on a do-it-yourself and nonprofit basis; no one receives money for her or his work. Solidarity, trust and self-determination are the basis for all work. Here are some examples:
- The ’Infoladen’ (Infoshop): The Infoshop is an opportunity to get information that can’t be found in the normal bourgeois media. There are a lot of autonomous, left radical and feminist leaflets, brochures and newspapers available. There is also a small media center and an archive that includes material on topics like anti-fascism, atomic politics, women’s liberation, internationalism, etc.
- The ’Volxküche’ (Peoples Kitchen): Frequently people from the community cook a vegetarian meal that is available for a small price. The idea behind this is to overcome isolation between people and the patriarchal roles typical in the kitchen, and, of course, to provide a good tasting meal for many people.
- The Concerts: Concerts in the center are organized, and absolutely dedicated to the principle of working in a self-determined way without a manager, an agency, or even a contract. The bands that play in the squat should have a mutual relation to the ideas of the center. There are no musical limits: Local punk bands have played there as well as jazz bands from North-America and Avantguarde projects from Eastern Europe. Some of the performances have been released on tapes and records.
In a way, the things that happen between the people in the center are more important than the events: changes in behavior, opportunities to live together without hierarchical structures, and new ways of relating. Although the squat is like an island in some ways, it’s far from a concrete utopia. Problems in interpersonal relations exist, as well as differences between ideals and real behaviour.
If people want to go alternative ways, the authorities try to stop them. In Hanau the local city council has said for a long time that none of the things the squatters do and organize represent culture. They decided in parliament that the center was to be closed and torn down without an alternative. In place of the squat, they planned to build five parking places. A decision that is very symbolic and characteristic. Certainly, the real aim was to destroy the ideas and the structures this center stands for.
The answer of the supporters of the Autonomous Culture-Center was the squatting of the parliament of the city. The politicians went out of the building and the squatters voted for the continuation of the center.
Up to now the authorities have not been able to realize their plans for various reasons. On the one hand there are many people who support the squat. There are also legal difficulties around closing it, and they are afraid of the resistance and activities that could take place after closing the squat.
But even if they evict the center, they can’t repress the ideas that the squat stands for. It’s about a self-determined culture and a self-determined life. It’s about dreams and ideals. It’s about consequence and change, here and now.
Wolfgang Sterneck, 2001.
Autonomes Kulturzentrum
Metzgerstrasse 8, D-63450 Hanau, Germany.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Info on the Project of John Cage and Sterneck / KomistA in benefit of the squat:
- www.sterneck.net/john-cage/metzgerstrasse-e
- * -
SUBVERSIVE SOUNDS *
Konzerte im Autonomen Kulturzentrum Hanau.
Das besetzte Haus
Im Dezember 1986 kam es in Hanau zur Besetzung eines ehemaligen Nachtclubs in der Metzgerstraße 8. Das Gebäude, das zuvor über Jahre hinweg leer stand, wurde renoviert, neu gestaltet, umbenannt und wird seitdem als Autonomes Kulturzentrum genutzt. Das Ziel der Besetzung war es, einen Freiraum zu schaffen, in dem die Vorstellung einer autonomen Kultur wie auch die Wiederaneignung des entfremdeten Alltags konkret umsetzbar wird.
Vor diesem Hintergrund gelang es, ein Zentrum zu entwickeln, in dem solidarisches Handeln, kollektives Leben und politische Identität auf vielen Ebenen verschmelzen oder sich zumindest annähern. Die Metzgerstraße wurde dadurch zu einem wichtigen Bezugspunkt von dem auf verschiedenen Ebenen vielschichtige politische, soziale und kulturelle Impulse ausgingen.
Im Laufe der Jahre entstanden vielfältige Projekte wie die Volxküche (Essen zum Selbstkostenpreis), der Infoladen (Aktuelle politische Informationen und Archiv) und das Basta-Cafe (Treffpunkt und Sozialberatung). Die politischen Schwerpunkte der im Kulturzentrum aktiven Gruppen liegen unter anderen in den Bereichen 'Internationale Solidarität', Antifaschismus und 'Soziale Veränderung'.
Die Entscheidungen innerhalb des Kulturzentrums werden basisdemokratisch nach dem Konsensprinzip getroffen. Alle Aktivitäten basieren auf einer idealistischen Grundhaltung. Keine Person aus dem Zentrum erhält für ihre Tätigkeiten eine finanzielle Entlohnung.
Selbstbestimmte Kultur ohne Kommerz
Musik hatte von Anfang an in der Metzgerstraße eine besondere Bedeutung. Über das Musikhören hinaus machen viele AktivistInnen selbst Musik, veröffentlichen eigene Aufnahmen oder organisieren Konzerte. Im Sinne des DIY-Prinzipes ('Do it Yourself') werden die Auftritte im direkten Kontakt mit den MusikerInnen ohne Konzertagenturen und auch ohne Verträge auf völlig nichtkommerzieller Basis organisiert.
Eine Grundlage bildet ein solidarisches Verhältnis der MusikerInnen zur Metzgerstraße, was sich unter anderem auch in der Gage ausdrückt, die sich in der Regel auf die für die Band entstandenen Unkosten und die Verpflegung beschränkt. Der Eintrittspreis ist so ausgerichtet, dass er für alle interessierten Personen erschwinglich ist und die anfallenden Kosten deckt bzw. im Rahmen von Benefiz-Konzerten bestimmte Projekte unterstützt.
Freiräume statt Parkplätze
Während der ehemalige sozialdemokratische Kulturdezernat Hanaus davon sprach, dass in der Metzgerstraße keine Kultur stattfindet, bildete dass selbstorganisierte Zentrum durch die Auftritte von Bands aus Westeuropa und Nordamerika einen im Hanauer Kulturleben herausragenden internationalen Bezugspunkt. Die musikalische Bandbreite umfasst unter anderem Rockmusik in den verschiedensten Schattierungen, Punk, Hardcore, Folk und Jazz, sowie experimentelle und improvisierte Musik. Lokale Nachwuchsbands traten im Laufe der Jahre genauso auf wie renommierte Gruppen aus unterschiedlichsten Ländern. Einen Kultcharakter erlangten zudem die Nachtcafe-Sessions, an denen jeder und jede teilnehmen konnte.
Die Aufnahmen einiger Konzerte wurden später auf verschiedenen Tonträgern veröffentlicht. 1992 kam es daneben zur Veröffentlichung eines der Metzgerstraße gewidmeten Stücks des Avantgarde-Komponisten John Cage.
In den Anfangsjahren plante der Hanauer Magistrat das Haus nach einer Räumung abreißen zu lassen, um dort stattdessen fünf Parkplätze zu errichten. Die Kulturpolitik des Magistrates entlarvte sich dadurch in einer kaum zu übertreffenden symbolhaften Weise selbst. Das Vorhaben wurde jedoch nicht zuletzt in Folge einer Besetzung des Stadtparlamentes durch Unterstützerinnen des Kulturzentrums nicht weiter verfolgt.
Rund 25 Jahre nach der Besetzung wird das Haus weiterhin als Kulturzentrum genutzt. Im ansonsten auf Konsum und Kommerz ausgerichteten Stadtzentrum Hanaus ist es mit seinen vielfältigen Projekten kreativer wie auch subversiver Freiraum.
Wolfgang Sterneck, September 2011.
Autonomes Kulturzentrum Metzgerstraße:
- www.metzgerstrasse-hanau.org
- de-de.facebook.com/people/Metzgerstrasse-Acht-Hanau/10000...
- www.myspace.com/metzgerstrasse
Eine ausführliche Beschreibung der Geschichte des Kulturzentrums:
Freiräume entwickeln - Das besetzte autonome Kulturzentrum Metzgerstraße Hanau
- www.sterneck.net/squat/metzgerstrasse-d
English Info:
The squated Autonomous Culture Center Metzgerstrasse Hanau
- www.sterneck.net/squat/metzgerstrasse-e
Infos zum Benefiz-Projekt von John Cage und Sterneck / KomistA für das Kulturzentrum:
- * -
Milford Sound in New Zealand is one of the wettest places on earth which explains the many waterfalls that run down the sides of its lush cliffs. The tour boat in this image gives some scale to these towering cliffs which rise thousands of feet out of the water.
.
Stylish Nonsense @ Cosmic Cafe
Bangkok - 14-08-2013
www.facebook.com/events/516177178454622
www.youtube.com/watch?feature=player_embedded&v=gQ9Vj...
Sounds and WorLds *
Photo-Set:
www.flickr.com/photos/sterneck/sets/72157635217698799
- * -
Stylish Nonsense
pandarecordsbkk.blogspot.de/2011/08/stylish-nonsense.html
www.facebook.com/stylishnonsense
Panda Records
- * -
Wolfgang Sterneck:
In the Cracks of the World
Photo-Reports:
Articles (german / english) :
- * -
Underground Sound 7 at Hogrock Ranch in Cave-In Rock Illinois.
Follow me on Facebook.
©Notley Hawkins