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© Genz, Lindner / transmediale
Mort Aux Vaches Extra Extra ist ein kompositorisches Projekt des Musik-Mavericks und Warrior Gæoudjiparl, bei dem er sich auf radikale Weise dafür einsetzt, die Computermusik- und Medienkunstkrise zu lösen. Das Projekt besteht aus mehreren Alben, interaktiven Spiele-Büchern, einer unabhängigen Schule und jetzt noch dazu aus der großformatigen Installation MORT AUX VACHES EKSTRA EXTRA – THE GIVE AWAY! Alles, was Gæoudjiparl besitzt (und aus den Überbleibseln einer zusammengekrachten Bahntrasse gerettet hat), hat er in diese Installation integriert und wird nun umsonst weggegeben. Diese spendable Art macht einen ganz wichtigen Teil des Projektes aus: Bei Konzerten und Vorträgen vergibt er schon seit längerem Schallplatten und Bücher und 2011 hat er ein “Album-Objekt” herausgebracht, das einen 500 Kronen-Schein beinhaltet, aber für 100 Kronen verkauft wurde. Auf der transmediale 2012 folgen die Schenkungen besonderen Regeln und jeder Akt wird im Zusammenhang mit einem kleinen Vortragsritual an einem eigens von Gæoudjiparl dafür ausgewählten Ort geschehen.
www.transmediale.de/de/node/20624/
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.
Lorenzo Gulli, giornalista e presidente Fondazione 'Duc in Altum'
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
Arturo Mari, fotografo pontificio
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
Flavio Gabbarini, sindaco di Genzano
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
Almazuela sobre una foto realizada durante la sesión vespertina en el Museo de León con la actuación en directo de FIBONACCI grupo electrónico de reciente creación compuesto por los artistas leoneses Notone y Genzo P.
TESLA Festival de Música Electrónica y Experimentación Sonora organizado por PRODUCCIONES INFAMES que tuvo lugar el sábado 21 de febrero´15 en León.
Toda la información sobre el Festival TESLA
Álbum TESLA FESTIVAL DE MÚSICA ELECTRÓNICA Y EXPERIMENTACIÓN SONORA - LEÓN 21.02.015
© Genz, Lindner / transmediale
www.transmediale.de/content/steam-machine-music-0
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.
Lorenzo Gulli, giornalista e presidente Fondazione 'Duc in Altum'
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
When 2 #FullyLoaded performers met, magic happened. Catch the highlights of the vivo GenZ Meet-up featuring the popular GenZ icon, Raftaar as he unboxes the powerful #vivoZ1Pro. Know more: www.vivo.com/in/products/z1pro
Source: Vivo India | Vivo India Youtube
Arturo Mari, fotografo pontificio
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
Antonia (l.) feilt fleißig an ihrem Stück Silber, Lina beobachtet sie aufmerksam. (Foto: Ilka Bärwald)
Die Goldschmiedemeisterin Katja Osterhoff-Genz schmiedet in ihrer kleinen Dorfgoldschmiede in Haltern am See individuelle Schmuckstücke nach Kundenwunsch.
Sie gibt bereits seid über zehn Jahren in Kooperation mit dem Trigon Haltern, dem Katholischen Bildungswerk Recklinghausen der VHS Marl, dem Areopag Recklinghausen der VHS Dorsten oder der Familienbildungsstätte Recklinghausen Goldschmiedekurse für Erwachsene, Kinder und Jugendliche.
Das Kurprogramm wird durch Intensivkurse mit wenigen Teilnehmern, Pastoralkursen oder Beauty&Wellness Kursen ergänzt. Regelmässig treffen Sie die Goldschmiedin zum Beispiel beim Moonlight Shopping Seppenrade und anderen Veranstaltungen.
Buchen Sie auch Ihren Platz in einem Goldschmiedekurse bei der Goldschmiedemeisterin Ihnen mit Rat und Tat zur Seite steht.
Kurstermine und weitere Informationen gibt es auf der Internetseite: www.mobile-goldschmiedekurse.de
This is a crazy loaf of bread. The Genzano Country Bread from Daniel Leader's "Local Breads." Great book, every bread I've made has been fantastic.
I don't know if the picture does the size of this loaf any justice. It was huge, soft and nicely sour with an incredibly crackly crust.
© Genz, Lindner / transmediale
Discussion with Inke Arns (de), Wolfgang Ernst (de), Jussi Parikka (fi/uk)
Moderator 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.
S.E. Mons. Emery Kabongo, arcivescovo emerito di Luebo
© Foto di Cristiano Proia
'L'Amore per il Creato - A lezione da Wojtyla'
Genzano di Roma, Palazzo comunale, Sala Consiliare
13 gennaio 2012
© Genz, Lindner / transmediale
60 min / Installation
"Flag as inapproriate". This unconspicuous button with a flag icon appears underneath every single YouTube video we watch marking the limits of our freedom in the Internet. Once flagged by anonymous users, after being checked by the also anonymous YouTube team, a video quickly disappears forever. In exactly this process, Dominic Gagnon intervenes. He 'saves' the flagged videos before they are deleted and adds them to a dark and mythological collage of American survivalism. People have their say, who deeply mistrust the government, who warn their fellow citizens, and who arm themselves visibly. An unclear image emerges. While the protagonists are scared of the almighty American government, the viewer is irritated what to find the most threatening in this "hell": the United States of America, the critics armed to the teeth with conspiracy theories, or the anonymous censorship power of the companies which control the web. The protagonists of Pieces and Love All to Hell are mostly female, whereas in Gagnon's earlier work RIP in Pieces America (transmediale.10) they were mainly male.