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November 23rd 2008 | The House in the courtyard. 206th day of occupation.
La Maison bleue de l'extérieur | The blue House from outside...
Les occupants de la Maison bleue devaient déménager pour s'installer à l'intérieur, dans une salle supplémentaire ouverte à leur attention.
Ce déménagement et le déplacement de la maison bleue devait en principe rendre possible la mise en route du chauffage pour l'ensemble des locaux de la Bourse occupée.
Début janvier 2009, il n'y a cependant toujours aucun chauffage à la Bourse occupée. Température moyenne des locaux : 10 °C, sauf dans les quelques endroits où il a été possible d'installer des petits radiateurs électriques.
From 2 May 2008 to 7 August 2010, during 828 days, claiming residence permits, the “Sans Papiers” isolated workers of the group CSP75 occupied successively two buildings in Paris: first a Trades Hall at rue Charlot, then a disused public building, at rue Baudelique.
After fourteen months spent at the Trade Hall, on 24 June 2009 they got violently evicted by the Trade Union CGT's internal police. They stayed during three weeks sleeping outside, along the Trades Hall before they led the new occupation at rue Baudelique, on 17 July 2009.
One year later, under pressure of authorities, the CSP75 accepted to voluntary put an end to this more than two years long occupation, after being promised each occupier's case be examined and every one get a chance to receive a residence permit. This is how the CSP75 got out of Baudelique on 7 August 2010, 828th and last day of the occupation.
Struggle goes on...
Pour obtenir leur régularisation, du 2 mai 2008 au 7 août 2010, pendant 828 jours, les Sans Papiers travailleurs isolés de la Coordination Sans Papiers 75 sont en occupation à Paris, d'abord à la Bourse du travail rue Charlot, puis dans des locaux désaffectés de la CPAM rue Baudelique.
Après quatorze mois d'occupation à la Bourse du travail, le 24 juin 2009 les Sans Papiers de la CSP75 en sont violemment expulsés par le SO de la CGT, à coups de matraques et de gaz lacrymogène. Ils s'installent sur le trottoir du boulevard du Temple, le long de la Bourse, dans des conditions très difficiles avant de lancer, le 17 juillet 2009, la nouvelle occupation de la rue Baudelique.
Un an plus tard, sous la pression des autorités, la CSP75 accepte de mettre volontairement fin à cette occupation longue de plus de deux ans contre la promesse que chaque occupant voie son dossier examiné et aie une chance d'être régularisé. C’est ainsi que la CS75 quitte Baudelique le 7 août 2010, 828e et dernier jour de l’occupation.
La lutte continue...
The occupied Trades Hall's Posting. First wall.
Commencé au début de l'occupation et poursuivi jusque sur le plafond jusqu'à l'expulsion de la Bourse du travail le 24 juin 2009.
Started since the beginning of the occupation and continued until the eviction on 24 June 2009, even on the ceiling, walls were covered.
From 2 May 2008 to 7 August 2010, during 828 days, claiming residence permits, the “Sans Papiers” isolated workers of the group CSP75 occupied successively two buildings in Paris: first a Trades Hall at rue Charlot, then a disused public building, at rue Baudelique.
After fourteen months spent at the Trade Hall, on 24 June 2009 they got violently evicted by the Trade Union CGT's internal police. They stayed during three weeks sleeping outside, along the Trades Hall before they led the new occupation at rue Baudelique, on 17 July 2009.
One year later, under pressure of authorities, the CSP75 accepted to voluntary put an end to this more than two years long occupation, after being promised each occupier's case be examined and every one get a chance to receive a residence permit. This is how the CSP75 got out of Baudelique on 7 August 2010, 828th and last day of the occupation.
Struggle goes on...
Pour obtenir leur régularisation, du 2 mai 2008 au 7 août 2010, pendant 828 jours, les Sans Papiers travailleurs isolés de la Coordination Sans Papiers 75 sont en occupation à Paris, d'abord à la Bourse du travail rue Charlot, puis dans des locaux désaffectés de la CPAM rue Baudelique.
Après quatorze mois d'occupation à la Bourse du travail, le 24 juin 2009 les Sans Papiers de la CSP75 en sont violemment expulsés par le SO de la CGT, à coups de matraques et de gaz lacrymogène. Ils s'installent sur le trottoir du boulevard du Temple, le long de la Bourse, dans des conditions très difficiles avant de lancer, le 17 juillet 2009, la nouvelle occupation de la rue Baudelique.
Un an plus tard, sous la pression des autorités, la CSP75 accepte de mettre volontairement fin à cette occupation longue de plus de deux ans contre la promesse que chaque occupant voie son dossier examiné et aie une chance d'être régularisé. C’est ainsi que la CS75 quitte Baudelique le 7 août 2010, 828e et dernier jour de l’occupation.
La lutte continue...
REGIONE LAZIO
Want to use this image on your project? Visit my website www.scorcio.it to obtain a licence.
© Genz, Lindner / transmediale
Panel with Jacob Appelbaum (us), Gabriella Coleman (ca), Dana Buchzik (de) and anonymous
Moderated by Tatiana Bazzichelli (it/de)
Chaired by Krystian Woznicki (pl/de)
In the book Pranks! (Re/Search, 1987), V. Vale and Andrea Juno pointed out that pranks, tricks and ludicrous actions are functional to express a continual poetic renewal, using the elements of surprise, irony and social criticism. Since that time the strategy of anonymity, as the critique of a rigid identity, and the creation of a multi-use philosophy of sharing, has been functional in redefining art practice through disruptive interventions, as well as served as a tool to reflect on the meaning of authority. Today the strategy of anonymity is still a vehicle to question the institutional media system and has often plunged it into crises by exposing its bugs and highlighting its vulnerability. But, mixing up with contemporary social media culture, being anonymous means to produce a new aesthetics – new linguistic codes – where poetic images, disruptive strategies (such as trolling and DDoSing) intertwine with multiple possibilities for lulz and pleasure. Is anonymity a tool for distributed and viral political struggle or is it the endless trick of an intangible crowd of pranksters?
Individual Presentation Descriptions
Dana Buchzik (de)
Descriptive text on the panel presentation:
My presentation will deal with anonymity as a healthful intervention. Based on a true incident, the story is told from the perspective of a phobic girl who isn't capable of mingling with people or even leaving the house. After effectless hospital treatments, she finds her way back to life by talking to strangers on the internet. Instead of only exposing her diseased parts, she tells stories about the self she wants to be, using the potential of anonymity to create a healthier self.
Those in New York, Berlin and Buenos Aires rank music as the most frequent activity while this is lowest among GenZers in Hong Kong.
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-ft-manuel-g...
Tonight The Joshua Light Show appears for the last time at transmediale 2012. Being the particular highlight of the performance series they will perform together with pioneering guitarist and electronic musician Manuel Göttsching (de). Over and above the notable visual accompaniment by New York’s Joshua Light Show, there is a special historical fiction surrounding Göttsching’s appearance at the HKW, an iconic venue of Berlin’s landscape that is instantly remarkable for its spacious and very open room-design and its hallmark curved roof. Boasting a full performance schedule as of its opening, the HKW on November 11 1979 the HKW hosted a fashion happening featuring Berlin designers Claudia Skoda and Tabea Blumenschein in its main hall. Entitled "Big Birds", the event was supported by a live soundtrack specially-composed and performed by Manuel Göttsching.
Göttsching performed his heavy metal-inspired electronic soundtrack only on analog synth gear that evening, and amplified its power through a sound system that he had alleged purchased from Pink Floyd. Rumour has it that Göttsching’s performance that night was so powerful as to cause concert officials to worry as to the roof's structural integrity. The building subsequently closed its public activities while reassessing what precautions to take. The move proved quite wise, as shortly thereafter, in May 1980, the roof indeed collapsed - killing one journalist that got caught under the debris. How big of a disaster, then, did Göttsching’s fateful performance potentially avert?
While the HKW has since been reinforced and renovated up to modern safety standards, expect to walk away with no less of a powerful impression from Göttsching’s performance, for which he will be bringing out his full arsenal of original analogue equipment, to recreate a soundtrack similar to that which he performed back in 1979. Göttsching will also be performing analog-only music relating to his own compositions of that same time period, such as the celebrated Dream and Desire album of 1977.
Manuel Göttsching (de)
Manuel Göttsching’s career spans over 40 years. First known in the early 1970s as a founder of the German cosmic rockers Ash Ra Tempel – later known as Ashra – Göttsching earned a reputation with his usually atmospheric and subtle guitar work. After a number of albums throughout the 70s, Göttsching's most decisive and enduring work was released in 1984: E2-E4, a masterpiece of economy. Its hypnotic, treated synth and drum machine loop morphs and unfolds gradually over the entire first side of the album without ever loosing focus – before side two continues with Göttsching’s unique guitar-playing, which unpretentiously blends into the soundscape. With its stringent funkiness and minimalist sonic precision, it became a touchstone for much of the electronic dance music that would later emerge from Germany and internationally. Göttsching has remained active throughout the years while maintaining his position as grand seigneur of Krautrock, cosmic and minimal music. In December his image graced the cover of The Wire.
> ashra.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
la composizione multimediale dell'infiorata di Genzano
www.youtube.com/watch?v=gtQyXej2AFQ
A Genzano ogni anno, da oltre due secoli, si tiene nel mese di giugno l'Infiorata, immenso tappeto floreale che si estende, articolandosi in vari quadri, per circa 2000 mq sulla centrale Via Italo Belardi (già Via Livia).
Per la realizzazione dei quadri, disegnati sul selciato, occorrono, oltre alle essenze vegetali, almeno 350.000 fiori; i singoli petali vengono utilizzati dagli infioratori così come i colori di una tavolozza dai pittori: il giallo della ginestra, l'azzurro della torrena, il rosso dei garofani, il verde del bosso e del finocchio selvatico.
La manifestazione si articola in vari fasi: l'ideazione e la preparazione del bozzetto, la raccolta dei fiori e delle essenze vegetali, lo "spelluccamento" - separazione dei petali dalla corolla e loro conservazione nelle grotte del Comune - i disegni a terra (il sabato sera), la posa in opera dei petali (la domenica mattina), l'Infiorata completata (primo pomeriggio della domenica), la Processione del Corpus Domini (domenica sera), ed infine lo "spallamento" - quando i bambini correndo dalla scalinata della Chiesa di Santa Maria dìsfano i quadri infiorati.
Storicamente l'Infiorata è una festa strettamente collegata alla celebrazione cristiana del Corpus Domini e le sue origini risalgono al XIII secolo, quando in occasione della Processione del SS. Sacramento "si spargevano alla rinfusa dei fiori a piene mani".
Il 29 giugno 1625, poi, a Roma, nella Basilica Vaticana, per iniziativa di Benedetto Drei, Capo della Floreria Apostolica, per dare maggiore lustro alla Festa di San Pietro e Paolo, ebbe inizio la tradizione di decorare la chiesa con fiori disposti a mosaico, usanza questa che si estese in molti paesi cattolici.
Velletri is an Italian town of 53,298 inhabitants. It is a comune in the province of Rome, on the Alban Hills, in Lazio (Latium) - Italy. It is bounded by other communes of Rocca di Papa, Lariano, Cisterna di Latina, Artena, Aprilia, Nemi, Genzano di Roma, Lanuvio. Its motto is: Est mihi libertas papalis et imperialis.It was an ancient city of the Volsci tribe, and its status was influential in the time of King Ancus Marcius, enough to be on a par with Rome and has been the site of two historical battles in 1744 and 1849. In the Middle Ages it was one of the few “free cities” in Lazio and central Italy.Today, Velletri is home to several colleges and high schools. It is the terminus of the Rome-Velletri railway, inaugurated by Pius IX in 1863, and the city is one of the centers through which the Via Appia Nuova passes through.
Velletri è un comune italiano di 53.544 abitanti della provincia di Roma nel Lazio.Posta su un ripido pendio a 332 metri sul livello del mare, dista 42 km dal capoluogo e 26 km da Latina. Inclusa – ma solo da alcuni – nell'area dei Castelli Romani nonostante la sua lunga e gloriosa tradizione di libero comune, Velletri è uno dei centri più importanti della provincia. È il decimo comune più popoloso del Lazio e il primo tra i quindici comuni dei Castelli Romani, sia per numero di abitanti che per estensione territoriale.Antichissima città dei Volsci, già autorevole al tempo di Anco Marzio, tanto da poter trattare alla pari con Roma, lo storico Dionigi d'Alicarnasso la definisce ἐπιφανής (epiphanés), "illustre". È sede della Sede suburbicaria di Velletri-Segni, ed è stato teatro di due storiche battaglie: nel 1744 e nel 1849. Velletri fu nel Medioevo uno dei pochi liberi comuni del Lazio e dell'Italia centrale, e una delle pochissime città a conservare una propria vita cittadina.Velletri ospita numerosi istituti superiori e licei. Capolinea della ferrovia Roma-Velletri, inaugurata da Pio IX nel 1863, la città è uno dei centri attraversati dalla via Appia Nuova.Grazie alle aree di particolare pregio naturalistico (Monte Artemisio e Vivaro), fa parte dell'area tutelata del Parco dei Castelli Romani.
Font : Wikipedia
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show
New York City 1967
When the Summer of Love blows its wind from the West Coast to the city, it brings with it new ideas, colours and sounds.
It was in this atmosphere that Joshua White formed the Joshua Light Show, in order to provide psychedelic music with a fittingly intoxicating visual form and to turn its concerts into stunning multimodal experiences. The up to ten members of the ensemble assembled for these ends an entire arsenal of film-, slide- and overhead-projection equipment, conjuring up an infinite and breathtaking multiplicity of colours and shapes. Entirely in keeping with Timothy Leary’s rallying cry to “turn on, tune in, drop out”, the combination of music and light aimed to expand perception and broaden the mind.
The rock impresario Bill Graham promptly booked the Joshua Light Show for his newly opened Fillmore East, which was quickly rising to fame as the “church of rock and roll”, due to performances there by top names such as The Who, Jimi Hendrix and Janis Joplin, Frank Zappa and the Mothers of Invention, The Doors, The Grateful Dead and Jefferson Airplane. The Joshua Light Show concerts were immersed in a dreamlike world of images, which in the minds of the attendees will be forever associated with the sounds of these bands…
With its unique visual language, the light show has not only become part of contemporary popular culture, but remains the standard by which concert-visuals are judged. In the course of their growing popularity the Joshua Light Show have, for that reason, performed not only at legendary events such as the Woodstock Festival, but also in classical concert halls such as Carnegie Hall and the Lincoln Center.
Berlin 2012
The Joshua Light Show presents its light projections for the first time in Europe since the 1960s. Thousands of kilograms of equipment have been packed into boxes, shipped to Berlin, and installed on stage in the auditorium. Once in place, the magical-psychedelic gadgetry will be fired into action, overwhelming and sweeping the audience into the past, the present, and into places they have never been before.
Together with CTM.12 – Festival for Adventurous Music and Related Arts, transmediale has initiated a series of special collaborations with musicians, bringing together historical and contemporary sounds.
Performing alongside the New York light-artists are the ambient musician Oneohtrix Point Never, the Norwegian group Supersilent, who are known for their entirely improvised music and, as a special highlight, no other than Krautrock / cosmic / minimalism giant Manuel Göttsching (Ash Ra Tempel / Ashra).
The following members of the Joshua Light Show will be present: Joshua White, Alyson Denny, Seth Kirby, Doug Pope, Brock Monroe, Ana Matronic and Nick Hallett.
la composizione multimediale dell'infiorata di Genzano
www.youtube.com/watch?v=gtQyXej2AFQ
A Genzano ogni anno, da oltre due secoli, si tiene nel mese di giugno l'Infiorata, immenso tappeto floreale che si estende, articolandosi in vari quadri, per circa 2000 mq sulla centrale Via Italo Belardi (già Via Livia).
Per la realizzazione dei quadri, disegnati sul selciato, occorrono, oltre alle essenze vegetali, almeno 350.000 fiori; i singoli petali vengono utilizzati dagli infioratori così come i colori di una tavolozza dai pittori: il giallo della ginestra, l'azzurro della torrena, il rosso dei garofani, il verde del bosso e del finocchio selvatico.
La manifestazione si articola in vari fasi: l'ideazione e la preparazione del bozzetto, la raccolta dei fiori e delle essenze vegetali, lo "spelluccamento" - separazione dei petali dalla corolla e loro conservazione nelle grotte del Comune - i disegni a terra (il sabato sera), la posa in opera dei petali (la domenica mattina), l'Infiorata completata (primo pomeriggio della domenica), la Processione del Corpus Domini (domenica sera), ed infine lo "spallamento" - quando i bambini correndo dalla scalinata della Chiesa di Santa Maria dìsfano i quadri infiorati.
Storicamente l'Infiorata è una festa strettamente collegata alla celebrazione cristiana del Corpus Domini e le sue origini risalgono al XIII secolo, quando in occasione della Processione del SS. Sacramento "si spargevano alla rinfusa dei fiori a piene mani".
Il 29 giugno 1625, poi, a Roma, nella Basilica Vaticana, per iniziativa di Benedetto Drei, Capo della Floreria Apostolica, per dare maggiore lustro alla Festa di San Pietro e Paolo, ebbe inizio la tradizione di decorare la chiesa con fiori disposti a mosaico, usanza questa che si estese in molti paesi cattolici.
© Genz, Lindner / transmediale
Panel in the symposium strand in/compatible publics
left to right: Gabriella Coleman (us), Jacob Appelbaum (us), moderator Tatiana Bazzichelli (it/de)
also with Dana Buchzik (de) sitting in the audience and Anonymous via Skype
Chaired by Krystian Woznicki (pl/de)
In the book Pranks! (Re/Search, 1987), V. Vale and Andrea Juno pointed out that pranks, tricks and ludicrous actions are functional to express a continual poetic renewal, using the elements of surprise, irony and social criticism. Since that time the strategy of anonymity, as the critique of a rigid identity, and the creation of a multi-use philosophy of sharing, has been functional in redefining art practice through disruptive interventions, as well as served as a tool to reflect on the meaning of authority. Today the strategy of anonymity is still a vehicle to question the institutional media system and has often plunged it into crises by exposing its bugs and highlighting its vulnerability. But, mixing up with contemporary social media culture, being anonymous means to produce a new aesthetics – new linguistic codes – where poetic images, disruptive strategies (such as trolling and DDoSing) intertwine with multiple possibilities for lulz and pleasure. Is anonymity a tool for distributed and viral political struggle or is it the endless trick of an intangible crowd of pranksters?
Individual Presentation Descriptions
Dana Buchzik (de)
Descriptive text on the panel presentation:
My presentation will deal with anonymity as a healthful intervention. Based on a true incident, the story is told from the perspective of a phobic girl who isn't capable of mingling with people or even leaving the house. After effectless hospital treatments, she finds her way back to life by talking to strangers on the internet. Instead of only exposing her diseased parts, she tells stories about the self she wants to be, using the potential of anonymity to create a healthier self.
The ability of technology to help make GenZ smarter, more capable and more connected is a core part of how they live their lives.
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show
New York City 1967
When the Summer of Love blows its wind from the West Coast to the city, it brings with it new ideas, colours and sounds.
It was in this atmosphere that Joshua White formed the Joshua Light Show, in order to provide psychedelic music with a fittingly intoxicating visual form and to turn its concerts into stunning multimodal experiences. The up to ten members of the ensemble assembled for these ends an entire arsenal of film-, slide- and overhead-projection equipment, conjuring up an infinite and breathtaking multiplicity of colours and shapes. Entirely in keeping with Timothy Leary’s rallying cry to “turn on, tune in, drop out”, the combination of music and light aimed to expand perception and broaden the mind.
The rock impresario Bill Graham promptly booked the Joshua Light Show for his newly opened Fillmore East, which was quickly rising to fame as the “church of rock and roll”, due to performances there by top names such as The Who, Jimi Hendrix and Janis Joplin, Frank Zappa and the Mothers of Invention, The Doors, The Grateful Dead and Jefferson Airplane. The Joshua Light Show concerts were immersed in a dreamlike world of images, which in the minds of the attendees will be forever associated with the sounds of these bands…
With its unique visual language, the light show has not only become part of contemporary popular culture, but remains the standard by which concert-visuals are judged. In the course of their growing popularity the Joshua Light Show have, for that reason, performed not only at legendary events such as the Woodstock Festival, but also in classical concert halls such as Carnegie Hall and the Lincoln Center.
Berlin 2012
The Joshua Light Show presents its light projections for the first time in Europe since the 1960s. Thousands of kilograms of equipment have been packed into boxes, shipped to Berlin, and installed on stage in the auditorium. Once in place, the magical-psychedelic gadgetry will be fired into action, overwhelming and sweeping the audience into the past, the present, and into places they have never been before.
Together with CTM.12 – Festival for Adventurous Music and Related Arts, transmediale has initiated a series of special collaborations with musicians, bringing together historical and contemporary sounds.
Performing alongside the New York light-artists are the ambient musician Oneohtrix Point Never, the Norwegian group Supersilent, who are known for their entirely improvised music and, as a special highlight, no other than Krautrock / cosmic / minimalism giant Manuel Göttsching (Ash Ra Tempel / Ashra).
The following members of the Joshua Light Show will be present: Joshua White, Alyson Denny, Seth Kirby, Doug Pope, Brock Monroe, Ana Matronic and Nick Hallett.
REGIONE LAZIO
Want to use this image on your project? Visit my website www.scorcio.it to obtain a licence.
Velletri is an Italian town of 53,298 inhabitants. It is a comune in the province of Rome, on the Alban Hills, in Lazio (Latium) - Italy. It is bounded by other communes of Rocca di Papa, Lariano, Cisterna di Latina, Artena, Aprilia, Nemi, Genzano di Roma, Lanuvio. Its motto is: Est mihi libertas papalis et imperialis.It was an ancient city of the Volsci tribe, and its status was influential in the time of King Ancus Marcius, enough to be on a par with Rome and has been the site of two historical battles in 1744 and 1849. In the Middle Ages it was one of the few “free cities” in Lazio and central Italy.Today, Velletri is home to several colleges and high schools. It is the terminus of the Rome-Velletri railway, inaugurated by Pius IX in 1863, and the city is one of the centers through which the Via Appia Nuova passes through.
Velletri è un comune italiano di 53.544 abitanti della provincia di Roma nel Lazio.Posta su un ripido pendio a 332 metri sul livello del mare, dista 42 km dal capoluogo e 26 km da Latina. Inclusa – ma solo da alcuni – nell'area dei Castelli Romani nonostante la sua lunga e gloriosa tradizione di libero comune, Velletri è uno dei centri più importanti della provincia. È il decimo comune più popoloso del Lazio e il primo tra i quindici comuni dei Castelli Romani, sia per numero di abitanti che per estensione territoriale.Antichissima città dei Volsci, già autorevole al tempo di Anco Marzio, tanto da poter trattare alla pari con Roma, lo storico Dionigi d'Alicarnasso la definisce ἐπιφανής (epiphanés), "illustre". È sede della Sede suburbicaria di Velletri-Segni, ed è stato teatro di due storiche battaglie: nel 1744 e nel 1849. Velletri fu nel Medioevo uno dei pochi liberi comuni del Lazio e dell'Italia centrale, e una delle pochissime città a conservare una propria vita cittadina.Velletri ospita numerosi istituti superiori e licei. Capolinea della ferrovia Roma-Velletri, inaugurata da Pio IX nel 1863, la città è uno dei centri attraversati dalla via Appia Nuova.Grazie alle aree di particolare pregio naturalistico (Monte Artemisio e Vivaro), fa parte dell'area tutelata del Parco dei Castelli Romani.
Font : Wikipedia
My grandfather (b.1936). Sometime in 1966.
It is unclear to me who shot this photo, since he's holding the camera himself in most of the shots in this set.
The biggest gaps in satisfaction appear among data-heavy users, those who frequently participate in video chatting, taking photos/videos and watching videos.
1 novembre da Palozzetto. Veduta del lago di Nemi con l'omonimo paese.
Usato obiettivo Konica 40mm F1.8
From a global perspective, Genzers in Tokyo check their phones most often, while those in Bangalore look at them the least.
December 31st 2008 | Getting Ready. 244th day of occupation.
La Grande Salle comme jamais on ne l'a vue à la Bourse occupée, parce que ce soir-là...
From 2 May 2008 to 7 August 2010, during 828 days, claiming residence permits, the “Sans Papiers” isolated workers of the group CSP75 occupied successively two buildings in Paris: first a Trades Hall at rue Charlot, then a disused public building, at rue Baudelique.
After fourteen months spent at the Trade Hall, on 24 June 2009 they got violently evicted by the Trade Union CGT's internal police. They stayed during three weeks sleeping outside, along the Trades Hall before they led the new occupation at rue Baudelique, on 17 July 2009.
One year later, under pressure of authorities, the CSP75 accepted to voluntary put an end to this more than two years long occupation, after being promised each occupier's case be examined and every one get a chance to receive a residence permit. This is how the CSP75 got out of Baudelique on 7 August 2010, 828th and last day of the occupation.
Struggle goes on...
Pour obtenir leur régularisation, du 2 mai 2008 au 7 août 2010, pendant 828 jours, les Sans Papiers travailleurs isolés de la Coordination Sans Papiers 75 sont en occupation à Paris, d'abord à la Bourse du travail rue Charlot, puis dans des locaux désaffectés de la CPAM rue Baudelique.
Après quatorze mois d'occupation à la Bourse du travail, le 24 juin 2009 les Sans Papiers de la CSP75 en sont violemment expulsés par le SO de la CGT, à coups de matraques et de gaz lacrymogène. Ils s'installent sur le trottoir du boulevard du Temple, le long de la Bourse, dans des conditions très difficiles avant de lancer, le 17 juillet 2009, la nouvelle occupation de la rue Baudelique.
Un an plus tard, sous la pression des autorités, la CSP75 accepte de mettre volontairement fin à cette occupation longue de plus de deux ans contre la promesse que chaque occupant voie son dossier examiné et aie une chance d'être régularisé. C’est ainsi que la CS75 quitte Baudelique le 7 août 2010, 828e et dernier jour de l’occupation.
La lutte continue...
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-ft-manuel-g...
Tonight The Joshua Light Show appears for the last time at transmediale 2012. Being the particular highlight of the performance series they will perform together with pioneering guitarist and electronic musician Manuel Göttsching (de). Over and above the notable visual accompaniment by New York’s Joshua Light Show, there is a special historical fiction surrounding Göttsching’s appearance at the HKW, an iconic venue of Berlin’s landscape that is instantly remarkable for its spacious and very open room-design and its hallmark curved roof. Boasting a full performance schedule as of its opening, the HKW on November 11 1979 the HKW hosted a fashion happening featuring Berlin designers Claudia Skoda and Tabea Blumenschein in its main hall. Entitled "Big Birds", the event was supported by a live soundtrack specially-composed and performed by Manuel Göttsching.
Göttsching performed his heavy metal-inspired electronic soundtrack only on analog synth gear that evening, and amplified its power through a sound system that he had alleged purchased from Pink Floyd. Rumour has it that Göttsching’s performance that night was so powerful as to cause concert officials to worry as to the roof's structural integrity. The building subsequently closed its public activities while reassessing what precautions to take. The move proved quite wise, as shortly thereafter, in May 1980, the roof indeed collapsed - killing one journalist that got caught under the debris. How big of a disaster, then, did Göttsching’s fateful performance potentially avert?
While the HKW has since been reinforced and renovated up to modern safety standards, expect to walk away with no less of a powerful impression from Göttsching’s performance, for which he will be bringing out his full arsenal of original analogue equipment, to recreate a soundtrack similar to that which he performed back in 1979. Göttsching will also be performing analog-only music relating to his own compositions of that same time period, such as the celebrated Dream and Desire album of 1977.
Manuel Göttsching (de)
Manuel Göttsching’s career spans over 40 years. First known in the early 1970s as a founder of the German cosmic rockers Ash Ra Tempel – later known as Ashra – Göttsching earned a reputation with his usually atmospheric and subtle guitar work. After a number of albums throughout the 70s, Göttsching's most decisive and enduring work was released in 1984: E2-E4, a masterpiece of economy. Its hypnotic, treated synth and drum machine loop morphs and unfolds gradually over the entire first side of the album without ever loosing focus – before side two continues with Göttsching’s unique guitar-playing, which unpretentiously blends into the soundscape. With its stringent funkiness and minimalist sonic precision, it became a touchstone for much of the electronic dance music that would later emerge from Germany and internationally. Göttsching has remained active throughout the years while maintaining his position as grand seigneur of Krautrock, cosmic and minimal music. In December his image graced the cover of The Wire.
> ashra.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.