View allAll Photos Tagged Sound
Homemade HT8950 Demonstrator Board
Used the Gootee method after four failures attempting to use inkjet resist.
The siphons of a bivalve reach up out of the substrate to feed on plankton in the water column.
Date: 06/08/2014
Loch Ailort, Sound of Arisaig
Photographer: Graham Saunders
© SNH. All rights reserved. Please email for details - marinephotos@nature.scot
Parry Sound,
Ontario
The 550-passenger Island Queen is the best vessel for cruising Georgian Bay’s 30,000 Islands.
4 April 2008
The Brum Critical Mass ride included a towable sound system. Alas, the battery died between the owner's house and the ride, so he had to tow it around, but we had no tunes.
There was some attempt to see if something was wrong with it. It had LEDs blinking inside. ooooh.
August 2nd GoodKnocking Entertainment Group and C3 Promotions presented live entertainment and an outstanding open mic.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
City Sound Milano si conferma anche per il 2014 uno dei festival più esplosivi della stagione. I Linkin Park, ospiti della rassegna, ne sono un esempio. Icone del rock alternativo e del crossover tra i generi, vincitori di Grammy e di svariati dischi di platino, i membri del gruppo fanno nu metal intrecciato a generi diversi, hip hop, alternative rock, elettronica, a cui si aggiunge l'uso di due voci – spesso un cantato e un rap - nello stesso brano. Dopo i primi due album, Hybrid Theory e Meteora, la band comincia un percorso di evoluzione musicale, iniziando a sperimentare suoni diversi e che esplode con la loro ultima fatica discografica, Living Things.
I Linkin Park sono un gruppo musicale alternative rock statunitense, formatosi a Los Angeles nel 1996. Composto da Chester Bennington (voce), Mike Shinoda (voce, tastiera e chitarra), Brad Delson (chitarra), Phoenix (basso), Rob Bourdon (batteria) e Joe Hahn (giradischi), si tratta di uno dei gruppi di maggior successo commerciale dell'ultimo decennio.
Sound Transit's tunnel boring machines, which will be used to dig the Link light rail tunnels between the University of Washington Station and the Capitol Hill Station, are currently being assembled in Fife. The machines will be delivered to the site this spring.
2/4
"Soundscapes & Sound Identities"
7th international FKL symposium on soundscape
VII SIMPOSIO INTERNAZIONALE SUL PAESAGGIO SONORO
22 23 24 maggio 2015 @ Castello di Beseno in Trentino
PORTOBESENO 2015 FKL - info
www.portobeseno.it/blog/?page_id=6496
PROGRAM
www.paesaggiosonoro.it/soundscapeandid/prev_programme.php
- IT -
Portobeseno festival 2015 e il Forum Klanglandschaft (FKL), Forum Europeo per il Paesaggio Sonoro, presentano il VII Simposio Internazionale FKL sul Paesaggio Sonoro.
Il simposio sarà ospitato nel castello di Beseno nei giorni 22-24 maggio 2015 e prevede la presenza di decine di ricercatori, musicisti e artisti provenienti da tutto il mondo.
La selezione dei partecipanti è avvenuta tramite un bando internazionale che ha raccolto oltre 180 proposte suddivise in conferenze, installazioni sonore, video, audio performance.
Il tema proposto per il simposio internazionale FKL 2015 riguarda il rapporto tra i suoni che ci circondano e il concetto di identità.
I luoghi, gli abitanti, ma anche i tempi e le diverse pratiche di comunicazione comportano in maniera inevitabile una molteplicità di identità sonore. Con questo tema si vuol proporre una suggestione trasversale a tutte le discipline della scienza e dell’arte che, ognuna secondo il proprio modo di ascoltare, di sollevare i problemi e di dare risposte, si interessano degli aspetti sonori del paesaggio e della relazione con chi in esso abita.
Ospitando “Soundscape & Sound Identies”, il festival Portobeseno offre un'occasione per confrontarsi e stimolare la riflessione intorno al tema dell’identità sonora, per dialogare all'interno della comunità acustica e per offrire una panoramica sugli studi e sulle ricerche sonore internazionali.
- EN -
“Soundscapes & Sound Identities” is the theme of the seventh international symposium on soundscape organized by the FKL (Forum Klanglandschaft)
The symposium is hosted by the festival Portobeseno 2015.
There exists doubtlessly an acoustic identity of places, even in those which, due to the increasing uniformity of the contemporary world, end up being “non-places”; acoustic identity may appear standardized, but is nevertheless present.
The term “acoustic climate” is often used in environmental physics in defining the parameters and quantitative data which characterize an acoustic environment, obviously this term inevitably hints at an idea of identity linked to its measurable aspects.
Bioacoustics and ecology deal with, among other things, the way the acoustic environment, the specific sonic utterances and hearing characteristics of living species represent the identity of a given species, and the way they co-exist and live together.
PORTOBESENO
Il progetto culturale Portobeseno è nato nel 2004 e si occupa di archivi multimediali 2.0, progetti artistici e laboratori creativi aventi per oggetto il territorio, il paesaggio e la memoria individuale e collettiva. I progetti traggono spunto da interviste narrative, ricerche etnografiche, laboratori didattici rivolti alle scuole, da riflessioni sulla memoria orale e sulla conoscenza concreta del territorio, dall’esplorazione dei paesaggi sonori, dalle loro possibili relazioni con il web attraverso lo sviluppo di cartografie virtuali, blog creativi, geoblog, progetti sociali per la Rete. Tali progetti confluiscono nel festival “Portobeseno, viaggio tra fonti storiche e sorgenti web” che produce spettacoli (dal teatro ai concerti di musica elettroacustica) e installazioni multimediali originali e innovative. Il festival Portobeseno propone inoltre riflessioni sui diritti d’autore, la condivisione creativa e sulla percezione del territorio tra reale e virtuale, dalla scoperta di un sentiero nei boschi alla navigazione virtuale offerta da Internet.
Portobeseno è curato da Davide Ondertoller e Sara Maino.
La commissione scientifica di SOUNDSCAPES & SOUND IDENTITIES è composta da: Stefano Zorzanello; Caroline Profanter; Hanke Haun; Lorenz Schwarz; Francesco Michi; Albert Mayr per FKL e Sara Maino per PORTOBESENO.
La commissione artistica è composta da: Gabriele Proy; Francesco Michi; Caroline Profanter; Bernadette Johnson; Mechi Cena; Stefano Zorzanello per FKL e da Sara Maino per PORTOBESENO
Citizen Fish (Warminster, England) &
Zygote (Bath, England) - 1990
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 1989-1990:
Archbishop Kebab (Edinburgh, Scotland) - 1989
Citizen Fish (Warminster, England) - 1990
Die Trottel (Budapest, Hungary) - 1988
Do Or Die (Amsterdam, Netherlands) - 1990
Israelvis (Trondhrim, Norway) - 1989
Kina (Valle d'Aosta, Italy) - 1990
Life… But How To Live It? (Oslo, Norway) - 1989
Political Asylum (Edinburgh, Scotland) - 1989
Rikk Agnew (Fullerton, USA) - 1990
Robsie Richter (Hanau, Germany) - 1990
Sharon Tates Children (Stuttgart, Germany) - 1989
Sore Throat (Yorkshire, England) - 1990
Spongetunnel (Chicago, USA) - 1989
Ugly Food (Lübeck, Germany, Odense, Denmark) - 1989
Zygote (Bath, England) - 1990
..... 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:
- * -
This is a 'Sound Sculpture' just outside the entrance to the station and a fascinating thing it is. You can twiddle the beads to show yellow or black and in doing so, an ethereal 'other worldly' sound emerges. Quite fascinating and attracting a lot of attention from tourist, child and commuter alike!
Embryo (Munich, Germany) - 1991
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:
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:
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Clayoquot Sound | 2004 | Acrylic on board, 44" x 28" | Price upon request. | The rough water of the west coast is calmed inside this sound. I used a chisel pointed brush to make the marks of the trees and water surface. Held at an angle and and slowly turned as it crosses the surface, the brush makes a sharp mark that swells and narrows. This repeating form is a reflectaohor (similar to the fractal). It is a form that scales nests inside largrer forms, is self referential, is random, and self reproducing system. This is a form that recurs in variations providing a sens of unity and wholeness to the work.
Chess players in silhouette near our seats at the sound-and-light show on the walls of the medieval fortress called the Tower of David in Jerusalem's Old City.
"The walls of the Citadel serve as a stage for a nightime show which is a celebration of sight and sound. Amidst the archaeological remains in the Citadel’s courtyard and to the sound of original music, the story of Jerusalem unfolds through giant breathtaking, virtual reality images."
This is a close-up of the acoustical absorption walls of the BP Hall at the Disney Concert Hall in LA. The whole structure, inside and out, is a architectural masterpiece.
My father and I took a (free!) self-guided tour that was amazing. I definitely have to return to photograph the whole grounds a bit more thoroughly.