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© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-2
The man behind Oneohtrix Point Never is the Brooklynite Daniel Lopatin. His album Returnal (Editions Mego, 2010) was made using vintage synthesizers to create widescreen ambient landscapes. His latest album Replica (Mexican Summer, 2011) manipulates samples from 1980s TV commercials to construct evocative tracks of unexpected emotional depth. Although Lopatin has complained about people using the word "nostalgic" to describe his music, the term is rather apt. In the best sense, Replica does indeed conjure a feeling of nostalgia: as if someone has hacked into your vaguest, most distant memories and reassembled them as clear recollections of things that never really happened.
pointnever.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
© Genz, Lindner / transmediale
At transmediale 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. Tonight JLS are joined by the band Supersilent and the guitarist Stian Westerhus from Norway.
Supersilent (no)
Supersilent is a Norwegian improvisational band formed in Bergen in 1997. The current band members are Arve Henriksen (trumpet), Ståle Storløkken (keyboards) and Helge Sten (electronics). 1998 saw the release of Supersilent’s debut album 1-3. Supersilent 6 is considered by many to be a particular highlight. While the band’s earlier work was often propelled by drums and harsh electronic treatments, the bands sound has gradually become more meditative and expansive. After the departure of their drummer Supersilent has continued to perform extensively as a trio and has meanwhile released the albums 9, 10 and 11.
For their show at transmediale 2012 Supersilent will be joined by guitarist Stian Westerhus from Norway.
> supersilence.net
Stian Westerhus
Stian Westerhus is one of Norway’s most in demand young musicians playing in bands like Monolithic (with Kenneth Kapstad from Motorpsycho), Puma, Nils Petter Molvaer Group and more. For the last few years Stian Westerhus has put more and more energy into challenging the electric guitar alone on a stage. Having been blessed with little or no respect for the instrument his performances balance raw expressiveness, virtuosity and melodic instinct utilizing his Norwegian heritage as well as growing up listening to Slayer. With a soundscape far beyond the standard guitar he seeks to push the boundaries for improvised music across the muddy waters of genres.
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
© Genz, Lindner / transmediale
With presentations by Dieter Daniels (de), Thomas Munz (de), Rudolf Frieling (de/us), Susanne Jaschko (de)
Moderated by Baruch Gottlieb (ca/de)
In computer jargon, to "unarchive" something is to de-compress data, such as from a zip file or on a backup drive. The archive in this form is an unaccessible, incompatible being. It is inherently in need of unpacking. Join us in this session in an attempt to dig into the 25-year old transmediale archive and unpack some of its impenetrable secrets.
Initially, transmediale Advisory Board member Dieter Daniels will place the history of the festival within the context of the emergence and subsequent institutionalisation of media arts festivals in Germany and abroad. Baruch Gottlieb will then talk about his work with the transmediale archive as such, explaining how it is being digitised, disseminated online and given a presence in the current festival programme. A more curatorial perspective on past festivals will be given by Thomas Munz, former transmediale film and video curator, who will focus on unpacking works shown at transmediale from the late 1990s onwards. Finally, two special guests from different formative and transitional eras in the festival history: curators Rudolf Frieling and Susanne Jaschko who have been asked to each "unarchive" an item from the transmediale history.
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-2
The man behind Oneohtrix Point Never is the Brooklynite Daniel Lopatin. His album Returnal (Editions Mego, 2010) was made using vintage synthesizers to create widescreen ambient landscapes. His latest album Replica (Mexican Summer, 2011) manipulates samples from 1980s TV commercials to construct evocative tracks of unexpected emotional depth. Although Lopatin has complained about people using the word "nostalgic" to describe his music, the term is rather apt. In the best sense, Replica does indeed conjure a feeling of nostalgia: as if someone has hacked into your vaguest, most distant memories and reassembled them as clear recollections of things that never really happened.
pointnever.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
© Genz, Lindner / transmediale
With presentations by Dieter Daniels (de), Thomas Munz (de), Rudolf Frieling (de/us), Susanne Jaschko (de)
Moderated by Baruch Gottlieb (ca/de)
In computer jargon, to "unarchive" something is to de-compress data, such as from a zip file or on a backup drive. The archive in this form is an unaccessible, incompatible being. It is inherently in need of unpacking. Join us in this session in an attempt to dig into the 25-year old transmediale archive and unpack some of its impenetrable secrets.
Initially, transmediale Advisory Board member Dieter Daniels will place the history of the festival within the context of the emergence and subsequent institutionalisation of media arts festivals in Germany and abroad. Baruch Gottlieb will then talk about his work with the transmediale archive as such, explaining how it is being digitised, disseminated online and given a presence in the current festival programme. A more curatorial perspective on past festivals will be given by Thomas Munz, former transmediale film and video curator, who will focus on unpacking works shown at transmediale from the late 1990s onwards. Finally, two special guests from different formative and transitional eras in the festival history: curators Rudolf Frieling and Susanne Jaschko who have been asked to each "unarchive" an item from the transmediale history.
Así adelanta W Genzo parte de la trama de "Los Ángeles de Pau" en Twitter.
El guión falso que circulaba hace unas semanas al final no resultaba serlo del todo.
El personaje de Déborah se llama Thais,según relata W Genzo,ella quiere vengar el asesinato de su padre.El presunto asesino del padre es su propio mejor amigo,Pau(Aaron Lauper),por quien Thais siente una fijación que va creciendo por momentos.
Esta información y la que deja ver el teaser trailer recién estrenado,deja claro que Thais y Pau se alían para hacer justicia.
Pero el resto de su relación sigue siendo un misterio.
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-2
The man behind Oneohtrix Point Never is the Brooklynite Daniel Lopatin. His album Returnal (Editions Mego, 2010) was made using vintage synthesizers to create widescreen ambient landscapes. His latest album Replica (Mexican Summer, 2011) manipulates samples from 1980s TV commercials to construct evocative tracks of unexpected emotional depth. Although Lopatin has complained about people using the word "nostalgic" to describe his music, the term is rather apt. In the best sense, Replica does indeed conjure a feeling of nostalgia: as if someone has hacked into your vaguest, most distant memories and reassembled them as clear recollections of things that never really happened.
pointnever.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-2
The man behind Oneohtrix Point Never is the Brooklynite Daniel Lopatin. His album Returnal (Editions Mego, 2010) was made using vintage synthesizers to create widescreen ambient landscapes. His latest album Replica (Mexican Summer, 2011) manipulates samples from 1980s TV commercials to construct evocative tracks of unexpected emotional depth. Although Lopatin has complained about people using the word "nostalgic" to describe his music, the term is rather apt. In the best sense, Replica does indeed conjure a feeling of nostalgia: as if someone has hacked into your vaguest, most distant memories and reassembled them as clear recollections of things that never really happened.
pointnever.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.
My grandfather, at my grandparents 50th wedding anniversary.
Taken with Revueflex 3000 SL analog camera (identical to the Chinon CX camera). Kodak Tmax 100 Pro film (7,5 years expired).
No post-editing. Negative scanned with Epson Perfection V500 Photo, cropped and downsized for the web.
© Genz, Lindner / transmediale
With: Susanne Jaschko (de), Rudolf Frieling (de/us), Thomas Munz (de), Dieter Daniels (de) (image), moderator Baruch Gottlieb (ca/de)
In computer jargon, to "unarchive" something is to de-compress data, such as from a zip file or on a backup drive. The archive in this form is an unaccessible, incompatible being. It is inherently in need of unpacking. Join us in this session in an attempt to dig into the 25-year old transmediale archive and unpack some of its impenetrable secrets.
Initially, transmediale Advisory Board member Dieter Daniels will place the history of the festival within the context of the emergence and subsequent institutionalisation of media arts festivals in Germany and abroad. Baruch Gottlieb will then talk about his work with the transmediale archive as such, explaining how it is being digitised, disseminated online and given a presence in the current festival programme. A more curatorial perspective on past festivals will be given by Thomas Munz, former transmediale film and video curator, who will focus on unpacking works shown at transmediale from the late 1990s onwards. Finally, two special guests from different formative and transitional eras in the festival history: curators Rudolf Frieling and Susanne Jaschko who have been asked to each "unarchive" an item from the transmediale history.
GenZ&U is a safe space; an organization that coaches tweens, teens, young adults, and parents on how to revive the lost connection. We're bridging the generational gap, one family at a time.
© Genz, Lindner / transmediale
With presentations by Dieter Daniels (de), Thomas Munz (de), Rudolf Frieling (de/us), Susanne Jaschko (de)
Moderated by Baruch Gottlieb (ca/de)
In computer jargon, to "unarchive" something is to de-compress data, such as from a zip file or on a backup drive. The archive in this form is an unaccessible, incompatible being. It is inherently in need of unpacking. Join us in this session in an attempt to dig into the 25-year old transmediale archive and unpack some of its impenetrable secrets.
Initially, transmediale Advisory Board member Dieter Daniels will place the history of the festival within the context of the emergence and subsequent institutionalisation of media arts festivals in Germany and abroad. Baruch Gottlieb will then talk about his work with the transmediale archive as such, explaining how it is being digitised, disseminated online and given a presence in the current festival programme. A more curatorial perspective on past festivals will be given by Thomas Munz, former transmediale film and video curator, who will focus on unpacking works shown at transmediale from the late 1990s onwards. Finally, two special guests from different formative and transitional eras in the festival history: curators Rudolf Frieling and Susanne Jaschko who have been asked to each "unarchive" an item from the transmediale history.
© Lindner, Genz / transmediale
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.
© Genz, Lindner / transmediale
Die Steam Machine Music ist ein selbstgebautes, mechanisches Instrument, das zum Großteil aus alten Meccano-Teilen besteht. Das Instrument wird von einer Dampfmaschine betrieben. Mehrere Saiten, Dynamos und Spieluhren erzeugen Klänge, aber noch wichtiger sind dabei die Geräusche der Maschine selbst – die Rhythmen und pulsierenden Drones der Dampfmaschine oder das Quietschen der Zahnräder.
Die ganze Maschine ist merklich wackelig und zeigt und reflektiert die Physikalität der Maschine auf hochgradige Weise. Alles ist immer kurz davor, schief zu gehen, ein Zahnrad, das sich verklemmt, eine Schraube, die sich lockert, eine Kette, die abspringt, Wasser und Gas, das entweicht, Druckabfall... Die Steam Machine Music stellt die Praxis und Idee maschineller Musik in Frage, indem sie mit historischem Blick darauf verweist, dass Maschinen immer Fehler innewohnen, dass sie immer schon kaputt gegangen sind, dass es immer einen „echten“ physischen Mechanismus gegeben hat, der die angestrebte Funktionalität der Maschine gefährten konnte.
www.transmediale.de/de/node/20756/
Steam Machine Music is a homebuilt mechanical instrument made mostly from vintage Meccano parts. The instrument is driven by a steam engine that provides the whole instrument with energy. The sound material is generated from various strings, dynamos and music boxes but the most important sound generating part is the sound of the machine itself, the rhythmic patterns and pulsating drones of the steam engine, the squeaking of the gear trains.
The instability of the entire mechanism is extremely noticeable, and displays and reflects the physicality of the machine to an extreme degree. Everything is imminently about to go wrong, a cogwheel that jams, a screw that loosens itself, a chain falling of, water running out, the loss of steam pressure, gas running out. Steam Machine Music questions the whole practice and conceptualising of machine music in a historical perspective that points to the fact that machines always have been malfunctioning, they have always broke down, there has always been a “real” physical mechanism that challenged the predetermined functionality of the machine.
© Genz, Lindner / transmediale
Mort Aux Vaches Extra Extra is a compositional project launched by the musical maverick and warrior Gæoudjiparl to radically engage with and solve the crisis in computer music and media art. The project encompasses several albums, interactive game books, an autonomous school, and now the large-scale installation MORT AUX VACHES EKSTRA EXTRA – THE GIVE AWAY! For the installation Gæoudjiparl has brought his entire belongings (saved from the ruins of a collapsed railroad construction) and is giving them all away for free. This kind of generosity constitutes an integral part of the project: he has given away vinyls and books at several concerts and lectures; in 2011 he published an “album object” containing a 500 Danish Crowns note and sold it for 100 Danish Crowns. At transmediale 2012 the give-aways follow certain idiosyncratic rules and each will be accompanied by a small ritual lecture at a spot chosen by Gæoudjiparl.
© Genz, Lindner / transmediale
in/compatible publics
Panel with Anthony Iles (uk) + Rachel Baker (uk), Liza Tsaliki (gr, image) and Norifumi Ogawa (jp)
Moderated by Krystian Woznicki (de/pl)
Riots in Great Britain, uprisings in Greece, crisis in Japan – what do these social eruptions have in common? The world system is in turmoil – a process that not only disrupts the fragile order of the global South but more and more aggressively also those walled gardens composing the industrialised world. Suddenly we are talking about failed states located inside exclusive clubs such as the G8 and the Euro-17. Before we are able to understand the implications of this far-reaching transformation, we notice new authoritarian trends in politics foreclosing democratic processes.
In this time of social crisis we have to ask about the potential of social media. After all it is a strong collaborative grassroots quality that qualifies them as platforms for social change. With respect to the walled gardens in crisis, this panel wonders: What are seminal practices and applications of social media? What is their disruptive potential in increasingly authoritarian media landscapes?
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-2
The man behind Oneohtrix Point Never is the Brooklynite Daniel Lopatin. His album Returnal (Editions Mego, 2010) was made using vintage synthesizers to create widescreen ambient landscapes. His latest album Replica (Mexican Summer, 2011) manipulates samples from 1980s TV commercials to construct evocative tracks of unexpected emotional depth. Although Lopatin has complained about people using the word "nostalgic" to describe his music, the term is rather apt. In the best sense, Replica does indeed conjure a feeling of nostalgia: as if someone has hacked into your vaguest, most distant memories and reassembled them as clear recollections of things that never really happened.
pointnever.com/
This event is a collaboration between transmediale and CTM – Festival for Adventurous Music and Related Arts.