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© 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.
© Genz, Lindner / transmediale
www.transmediale.de/content/liquid-state-machine-wolfgang...
Borrowing terms from the cognitive and computer sciences, Liquid State Machine usually describes a soup of connected nodes, a situation with inputs, nonlinear functions and outputs which computes something or assists in its computation.
In this instance, the performance space becomes the computational soup bucket, an experimental Space-Noise-Continuum based on the connections between the plentiful nodes of both the kinetic-electromagnetic-noise apparatus of Martin Howse and the analogue/digital projection-machines of Wolfgang Spahn.
The performance begins with the subtle influence across these two distinct systems, arriving at an ultimate feedback between light (waves) and sound. LSM presents a play with transformations between distinct physical system domains.
NUCA, culminación del proyecto Geologías Antropológicas Monumento [In] material, de Miriam Isasi, un homenaje a las personas fusiladas a partir de diferentes himnos de la época y la transformación de metralla en un elemento para interpretar música, que tuvo lugar el 22 de septiembre en el Laboratorio 987 del MUSAC.
NUCA revisa e interpreta himnos de la época por un cuarteto de clarinetes y electrónica y tiene su origen en la transformación de metralla en un elemento para interpretar música, la llave 12 del clarinete. Se trata de la llave de registro del instrumento musical, un ítem que tiene su origen en la Alemania del siglo XIX, y es la responsable del primer clarinete tal como lo conocemos hoy, su función es cambiar el registro de armónicos del instrumento, de graves a agudos. Realizada en la fragua del Centro de los Oficios de León y adaptada por el lutier de viento Enrique Pernía. Ésta pieza es la encargada de poner en marcha la creación e interpretación de un himno para el proyecto.
Miriam Isasi ha contado con el músico y compositor Joan Espasa para versionar diferentes himnos de la época y crear una partitura sin letra para cuarteto de clarinetes y sintetizador. El concierto en León contará con el compositor de la partitura, Joan Espasa, que interpreta el clarinete bajo, el clarinetista Raúl Herrero -quien será el encargado de interpretar la obra con la llave 12 de clarinete conformada para la ocasión- los clarinetistas Laura Villa y Carlos Ruiz Ramos y la música electrónica de Genzo P.
Toda la info sobre el proyecto de Miriam Isasi
Álbum NUCA - MIRIAM ISASI - GEOLOGÍAS ANTROPOLÓGICAS MONUMENTO [IN] MATERIAL - MUSAC 22.9.19
© Genz, Lindner / transmediale
www.transmediale.de/node/20537/
Year: 2010
Duration: 2:15 min
Format: film/video
Constant Dullaart’s response to Deep Water Horizon – a video shot by the US coastguard and published on YouTube by marinelog.com – employs abstract shapes and colours to transform imagery of a burning oil platform in the Gulf of Mexico. With the help of Photoshop’s “Spot Healing Brush” tool, Dullaart has attended to every single frame of the video of the blazing oil rig, constructing from it an abstract media reality in which Adobe’s technology has freed the platform from its fate. The healing however does not erase the sound of the fire, but instead produces a disturbing discrepancy between image and content.
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
With: Susanne Jaschko (de), Rudolf Frieling (de/us), Thomas Munz (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, Lindner / transmediale
Telekommunisten present R15N as a working telephone-based interactive installation which is available as a mobilization and engagement platform for the transmediale community. R15N is an artwork in the form of an experimental mobile phone service which attempts to generate local community engagement and communication. Unlike typical social networks, where communication is self-selected into circles of “friends,” R15N works through the co-operation of randomly selected people to enable a community to share information by having the system call people and connect them to each other on the phone. After registering with the service on www.r15n.net participants will be joined together in the R15N community, able to initiate and share information. Every member thus eventually becomes engaged in a real conversation with another, and this engenders cohesion and complicity. R15N was originally produced in collaboration with the Israeli Center of Digital Art and successfully implemented in the Jessy Cohen Neighborhood (Holon, il).
© Genz, Lindner / transmediale
www.transmediale.de/content/joshua-light-show-2
With concert by Oneohtrix Point Never (us)
After the concert with Supersilent two days ago tonight sees another performance by The Joshua Light Show, this time in conjunction with a concert by the American one man band Oneohtrix Point Never.
Oneohtrix Point Never (us)
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: Susanne Jaschko (de), Rudolf Frieling (de/us), Thomas Munz, moderator Baruch Gottlieb (ca/de)(image)
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
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.
Genzano - Lazio - Italy
Canon t70 50mm 1,4 S.S.C. with RVP 100F => CanoScan 8600F
Lavoro artigianale realizzato da:
Anna Maria Santinicchia - V. Ernesto Lugaro 26/B - Roma (Precisato come d'accordo con la signora al momento dello scatto...!! :)) )
© Genz, Lindner / transmediale
With: Susanne Jaschko (de), Rudolf Frieling (de/us), Thomas Munz (de), 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, Lindner / transmediale
www.transmediale.de/content/keynote-jodi-dean-incompatibl...
in/compatible publics
Keynote by Jodi Dean (us)
Moderated by Krystian Woznicki (de/pl)
Hundreds of thousands of people have recently responded to capitalist dispossession by taking space, occupying sites that, ostensibly open and public, the process of occupation reveals as closed to the many and belonging to the few. As a tactic, occupation responds to communicative capitalism’s ideology of publicity. Communicative capitalism announces the convergence of democracy and capitalism in networked communication technologies that promise access and equality, urge participation, and celebrate creative engagement. Occupation accepts that promise. The resulting disturbance – pepper spray, riot gear, eviction – reveals the incompatibility at communicative capitalism’s heart. At this point, though, the tactic of occupation is compatible with the system it ostensibly rejects. Thus, it is necessary to consider the gap between occupation and its politicisation, between occupation as a tactic and occupation as a form.
© Genz, Lindner / transmediale
Discussion with Inke Arns (de), Wolfgang Ernst (de), Jussi Parikka (fi/uk) and Siegfried Zielinski (de)
Conceived and moderated by Timothy Druckrey (us)
With such an array of histories whirling through the media sphere over the past decades, it seems important to tackle some questions about how these methodologies have and are inflecting an equally wide range of artistic practices that incorporate, re-evaluate, rethink, spoof, or re-invent technologies under rubrics ranging from “archaeology” to “variantology”. This “Open Conversation” brings together a range of participants whose work traverses historiographic and contemporary curatorial practices that resonate with assessments and contributions to this debate. In a sphere with such varied approaches to artistic production – geneaologies, archaeologies, and other approaches to revive, extend, reconsider, etc., previous techniques or media – this “conversation” will attempt to bridge differences, clarify methodologies, and, most importantly, ask what is the relevance of all this historiography in the working spheres where art is being made.