Um e-Mails an die Liste rohrpost zu schicken, nutzen Sie bitte die
Adresse
[email protected]
Um sich via Web von der Liste zu entfernen oder draufzusetzen:
http://post.openoffice.de/cgi-bin/mailman/listinfo/rohrpost
oder, via Email, schicken Sie eine Email mit dem Wort 'help' in
Subject/Betreff oder im Text an
[EMAIL PROTECTED]
Sie koennen den Listenverwalter dieser Lister unter der Adresse
[EMAIL PROTECTED]
erreichen
Wenn Sie antworten, bitte editieren Sie die Subject/Betreff auf einen
sinnvollen Inhalt der spezifischer ist als "Re: Contents of rohrpost
digest..."
Meldungen des Tages:
1. xxxxx workshops berlin 27th january -> (m)
2. Re: Dorkbot Vienna #2: Jacob Appelbaum: The future of free
communication (das ende der nahrungskette)
3. So. 21.1. 20 Uhr: Sweet Sweetback's Baadasssss Song + How to
Get the Man's Foot Outta Your Ass (pirate cinema berlin)
4. club transmediale / DISK Newsletter #45: FESTIVAL UPDATES /
LIQUID SPACE / FILM PROGRAM (Oliver Baurhenn)
--- Begin Message ---
xxxxx workshops at pickledfeet, Berlin
A weekly series of constructivist workshops emphasising making within
the field of the existent.
Workshops led by field-expert practitioners extend over realms of code
and embedded code, environmental code, noise, transmission and
reception, and electromysticism. Workshops solely utilise free
software and GNU toolbase.
Practitioners include Julian Oliver (http://selectparks.net/), Derek
Holzer (http://soundtransit.nl), Jeff Mann, Martin Howse
(http://1010.co.uk) and many more tbc.
The first workshop will commence 2pm saturday 27th led by Julian Oliver:
//------------------------------------------------->
Object Oriented Programming with Python.
Object Oriented Programming refers to the technique of designing
and authoring powerful, task-oriented code 'objects' that
work together to do things for you.
This introduction to OOP uses the dynamic language Python and
is intended for those with little or no programming experience;
the day long class starts with the basics of programming and
moves through to writing whole modular programs.
//<-------------------------------------------------
Please bring a laptop!
Further planned workshops will cover Pd - Pure Data, the Arduino
platform, ATmega8 microcontrollers, PCB etching, base electronics,
schmitt trigger noise generation, UNIX process, documentation, VLF
reception, analogue TV transmission, FPGA design... full details tbc.
Nominal fee for the 27th, 10 Euros. Please RSVP m_at_1010.co.uk to
reserve places
xxxxx, pickledfeet, Linienstrasse 54, Berlin 10119
U2, Rosa-Luxemburg-Pl.
U8, Rosenthaler Pl.
Telephone: 3050187482. http://pickledfeet.com/workshops.php
--- End Message ---
--- Begin Message ---
Dorkbot Vienna #2 ( http://dorkbot.org/dorkbotvienna/ )
#####
The future of free communication - Techniques, ideas and pitfalls
for communicating (semi)anonymously.
#####
Talk by Jacob Appelbaum
#####
talk online:
http://www.dorkbot.org/dorkbotvienna/dorkbot-vienna-2.html
--- End Message ---
--- Begin Message ---
Sunday, January 21, 8 pm
Pirate Cinema Berlin
Tucholskystr 6, 2nd Floor
Sweet Sweetback's Baadasssss Song
Melvin van Peebles
1971, 97 min, 700 MB
How to Get the Man's Foot Outta Your Ass
Mario van Peebles
2003, 109 min, 697 MB
Free entry
Cheap drinks
Copies to go
--------------------------------------------------------------------------------
Es gibt eine ganze Menge gewiss grossartiger Filme, die Sie im Pirate Cinema nie
gezeigt bekommen werden, weil sie zu "Kultfilmen" geworden sind - also von einer
Folklore der Rezeption derart dicht einhüllt werden, dass kaum noch was zu sehen
ist. Im Falle von "Sweet Sweetback's Baadasssss Song" gehen wir allerdings davon
aus, dass das ein Film ist, der diesem Problem, auch heute noch, entgeht - Kult,
Kitsch und Folklore wäre hier ja eher "Blaxploitation", also ein ganzes, eigenes
Genre, das Melvin van Peebles' Film - zusammen mit "Shaft" und "Superfly" - zwar
begründet hat, dem er aber - das wäre zumindest die Idee für Sonntag - gar nicht
angehört. Danach - ab ca. 22 Uhr - gibt es "How to Get the Man's Foot Outta Your
Ass", also known as "Baadasssss!", Mario van Peebles' Hommage von 2003, zu sehen
- und einen der ziemlich seltenen Filme, die noch weiter aus dem Blaxploitation-
Genre herausfallen, Bill Gunns "Ganja & Hess", zeigen wir in der nächsten Woche.
--------------------------------------------------------------------------------
Blaxploitation
By Bob Bankard
phillyBurbs Special Sections
"We were tired of seeing the righteous black man. And all of the sudden we had
guys like us - or guys who did what we wanted 'em to do." - Samuel L. Jackson
"This film is dedicated to all the brothers and sisters who've had enough of the
Man."
So started the Blaxsploitation era, with an intertitle card at the beginning of
"Sweet Sweetback's Baad Asssss Song" in 1971. Directed by Mario Van Peebles, it
was financed partially by a $50,000 loan from Bill Cosby. The film was made for
urban black America, and salted with all the pent up anger that the racial
conflict had left behind. The hero was the son of a whore, and all the whores in
the whorehouse taught him how to do sex better than any man on earth.
We see him being trained during some straightfoward, semi-graphic kiddie porn.
So, he grows up to be some kind of erotic dancer. After killing two policemen
for beating up a black man, he goes on the run, having sex contests with Hell's
Angels. He keeps running away until he gets to Mexico, stopping to fight people
and to have sex along the way to revitalize himself.
And the crowd goes wild.
"The thing about Sweetback is he got away. That never happened in a movie
before. There's never been a movie where the police or someone has been running
after a black man and he escaped. Without the black power movement, that
wouldn't have been allowed." - Afeni Shakur, former Black Panther, mother of
Tupac Shakur
"I saw this film on opening night in Philadelphia, Pa. The audience consisted of
almost entirely young, black men (mostly) and women who were obviously active in
the civil rights movement, judging by the reactions of the men in the audience
when Sweetback gave "the man" his definition of justice - beating the living
crap out of them. His methods were quite original - especially with the pool
cue. His sexual prowness was the main hit of the film for the ladies in the
audience (I admit). The scene that really had me rooting for Sweetback was when
he "popped" the white biker chick (in a most original manner) and she
practically killed her biker boyfriend trying to join up with Sweetback in his
quest. He merely cast her off like a used oil rag, which she was. Hilarious.
There was a lot of anger among Black moviegoers at that time, which is why a lot
of the blaxploitation films were successful. Our voices were heard loud and
clear, especially in films, where our heroes were the victors against racist
society and even more racist law enforcement, no matter how grisly, gruesome or
violent the methods for dealing with them were." - 'Teeny,' Warwick PA., IMDB
Three months later, "Shaft" was released. The film was initially written for a
white cast, but after the huge success of "Sweet Sweetback," the film was
hastily re-written and re-cast as a black film. Issac Hayes came in to audition
for the lead role, but when the producers cast Richard Roundtree, Hayes was
given a chance to score the soundtrack, and history was made.
These two films, one a response to black anger, the other a standard
action/detective film set the stage for the four year explosion that was to be
called 'blaxsploitation.' At this early stage, there wasn't much to complain
about. "Sweetback" was an angry anomaly and "Shaft" was pretty much standard
except for the casting. What was to come, however, would make waves.
The films that followed carried neither the political message or the moral
center of the films that preceeded them. "Superfly" told the story of a wealthy
cocaine dealer who was searching for a last big score before he retired from the
business. He used drugs, he used women, he sold drugs for personal gain, and
"The Man" who wanted to stop him - well, the Police Commissioner was providing
him the drugs, and wanted to stop him from quitting.
I mean, what can you do when the police force you to sell drugs, right?
It was a crappy excuse to rationalize the use of a pusher as a hero, and the
film went full steam ahead to show him as a man with power, money, and all the
women he could handle per day. As Todd Boyd, the USC professor who runs the
commentary track on the film says - earnestly - "Hey it's tough being a drug
dealer. You gotta keep your money straight. He doesn't want to use his friend's
wife as a prostitute, but hey - the man owes him money!"
I almost cried at that ethical dilemma, personally. I really felt bad for
Superfly.
One of the most interesting aspects of the film, in fact, is that the Curtis
Mayfield soundtrack continually trys to remind the audience that all of the
opulence and amorality portrayed so lovingly in the film is a bad thing.
"Superfly" woke up the black intelligencia, who recognized that the newly
blossoming film genre was creating an even more violent portrait of James Oliver
Killens' "lying, stealing, childish, sex-obsessed, teeth-showing, dice-shooting
black male" and was now selling it as a fashionable lifestyle instead of as an
insult. The NAACP, the NCLC and the Urban League banded together to condemn the
genre - they termed the films Black Exploitation.
The problem was, urban blacks liked the genre, wanted to emulate the heroes and
live their lifestyle. As Samuel Jackson said, Poitier was out - Superfly was in.
"'Oh my God; we shouldn't show this to white America - that this is who we are
in our community. They'll think we're all like this'. And that was the problem
of storytelling. Because everyone would generalize. One black man on TV, or on
the news, and all black people were like that. So that was a part of a lot of
the dialogue - 'Oh my God, can't we do other films?' Yeah - but nobody'd come to
see 'em." - Pam Grier
"Who was getting exploited? The actors were getting paid; they had a job, they
were going to work. The audience wasn't being exploited - they were getting to
see things on their screen they had longed for for years. So I really don't
understand where this terminology fits." - Fred Williamson
The main problem with the films then falling under that genre description (apart
from their negative stereotyping) was their sheer bulk and lack of quality. All
of them were made inexpensively, and generally recouped more than they cost to
make; over the course of four years, nearly 200 films were cranked out, the vast
majority of which were formulaic and of dubious worth. "Blacula," "Dr. Black and
Mr. Hyde" and "Blackenstein" co-opted the old Hollywood horror icons into
fast-buck black features. "Super Soul Brother" featured a wino given a super
serum, after which he goes back and whups on all the other winos who beat on him
in the past. "Black Caesar" was a re-working of old Edward G. Robinson films,
and "The Black Godfather" was, well, I'll bet you can guess.
In essence, the whole one-dimentional genre had burned itself out like a
brushfire on a median strip.
When the money stopped pouring in, "The Man" stopped financing the films. The
films stopped getting made, and everything ground down to a dead stop again.
[http://www.phillyburbs.com/Blackcinema/blaxsploitation.shtml]
--------------------------------------------------------------------------------
Who's Your Daddy?
A loyal son imagines the making of his father's influential pre-blaxploitation
psychodrama
by J. Hoberman
May 24th, 2004 11:30 AM
Unique in the history of cinema, Mario Van Peebles's Baadasssss! is a fictional
account of the labors his father, Melvin Van Peebles, undertook to make another
movie--Sweet Sweetback's Baadasssss Song, the 1971 independent that blazed a
path for a half-dozen years of blaxploitation. Like Melvin, Mario stars. He
plays his father, a cigar-smoking, chopper-riding, bandanna-wearing
megalomaniac, as well as his father playing the role of Sweetback. And like
Sweetback, Baadasssss! is a psychodrama of self-actualization--the Horatio Alger
version of Van Peebles's militant nationalist tract.
Sweetback was unlike any movie ever produced in America. The elder Van Peebles's
obstructions (as Lars von Trier might put it; see Tracking Shots), included a
lack of money, a shortage of film stock, loss of the director's eyesight, and
the arrest of cast and crew--and that's before Van Peebles had to solve the
problems of distribution and exhibition. There had never been a movie in which a
black man killed a white cop and lived, nor a movie so steeped in images of
underclass degradation. In a Times think piece, Clayton Riley called Sweetback a
"terrifying vision [that] Black people alone will really understand." That claim
will not be made for Baadasssss! The movie's tone is good-naturedly didactic,
locating Sweetback in the history of Hollywood (and American) racial imagery.
It's also accurate enough as history to provide a potent reminder that black
independent cinema did not end with Oscar Micheaux or begin with Spike Lee.
Appropriately self-reflexive, Mario alternates between plunging into the
dynamic, slapdash Sweetback style and seeking distance in direct-address faux
documentary. (He even inscribes himself as a little boy with a majestic 'fro,
hanging around the Sweetback set, as indeed he did.) No less than Mario's Posse
and Panther, hectic examples of media mythmaking both, Baadasssss! vibrates with
crazy energy and cartoon-like perfs. It's packed with Hollywood wiseguys,
self-promoting hotties, craven agents, hippie stoners, porn purveyors, ghetto
hotheads, and miscellaneous white weirdos.
Baadasssss! doesn't glamorize the elder Van Peebles and frequently alludes to
his failures as a father--but however mean, strict, and self-absorbed Mario's
Melvin appears, this movie is the ultimate filial gift. The son bears witness to
his father's struggle and turns it into heroic legend.
[http://www.villagevoice.com/film/0421,hoberman,53735,20.html]
--------------------------------------------------------------------------------
Sonntag, 28. Januar, 20:00 Uhr: Ganja & Hess (Bill Gunn, 1973, 110 min, 1.36 GB)
--------------------------------------------------------------------------------
()
><
pirate cinema berlin
www.piratecinema.org
--- End Message ---
--- Begin Message ---
English Version (please scroll down for German Version / fuer die
deutsche Version nach unten scrollen)
************************************************************************
***
[1] FESTIVAL UPDATES
[2] 6 DAYS TO GO: ADVANCE TICKET SALE
[3] LIQUID SPACE.05
[4] HANDCLAPS FILM PROGRAM
[5] CTM.07 AUDIO CD
[6] REMINDER: REGISTER FOR SHARE
************************************************************************
***
[1] FESTIVAL UPDATES
// YOUNGSTA & TASK AT FREAK CAMP SESSION ON FRI 02.02.
London club Forward>> resident and Dubstep master DJ Youngsta and MC
Task replace Hatcha & Crazy D, who unfortunately can’t play their
show at CTM.07 – be assured, this is an absolutely equal replacement.
http://www.clubtransmediale.de/index.php?id=3938
// ZSOLT MACHAT PERFORMS WITH BURIAL CHAMBER TRIO
Ex-member of legendary Hungarian Black Metal band Tormentor, Zsolt
Machat joins the Burial Chamber Trio (Greg Anderson, Oren Ambarchi,
Attila Csihar) on Sunday January 28. During parts of the show he will
play drums and additionally boost up the already extra heavy sound,
delivered by a wall of a dozen amps and speaker cabinets.
http://www.clubtransmediale.de/index.php?id=3964
// SURPRISE CONCERT ON 25.01. CANCELLED
We are sorry to announce that the free open air Surprise Concert,
scheduled to precede CTM.07’s Opening Concert on THU 25.01 in front
of the Volksbuehne theatre, can’t take place. But no worries, the
shows by Sun City Girls, Alexander’s Annexe and Pierre Bastien inside
the theatre are not affected and will definitely be a great experience.
// ERRATA
The information on Rafael Toral and the Sei Miguel Quartet in our
last newsletter was not totally correct: The album “The Tone Gardens”
is of course not by Rafael Toral, but by Sei Miguel. Toral however
contributed to the album playing his self-build instruments. The
performance of Rafael Toral and the Sei Miguel Quartet at CTM.07,
"Garden : Space : Beyond", is thus not part of Toral’s “Space
Program”, rather it is a concert in three parts: the first part is
meant to evoke the "Tone Gardens" (referring to the album of the same
name). The second evokes "Space" (referring to concepts and ideas of
Rafael Toral's solo work as documented in his recent Staubgold
release "Space"). The third points to future developments. For this
program The Sei Miguel Quartet will consist of Sei Miguel (trumpet),
Fala Mariam (trombone), César Burago (percussion) and Pedro Lourenço
(bass).
More information on Sei Miguel’s work: http://rt2.planetaclix.pt/
seimiguel/
http://www.clubtransmediale.de/index.php?id=3953
************************************************************************
***
[2] 6 DAYS TO GO: ADVANCE TICKET SALE
The capacity for the CTM.07 Opening Concert on January 25th with Sun
City Girls, Alexander’s Annexe and Pierre Bastien at Berlin's
Volksbuehne theatre is strictly limited. Don’t wait and save yourself
a ticket now:
Advance sale:
Price: 18/14 € (concession)
Telephone: 0049 (0)30 240 65 777 (daily 12 – 18h)
[EMAIL PROTECTED]
Credit card: www.volksbuehne-berlin.de
CTM-Festival-Tickets and tickets for the shows at Maria am Ostbahnhof
can be purchased online via our website:
http://www.clubtransmediale.de/index.php?id=3982
************************************************************************
***
[3] LIQUID SPACE.05
// 23.1. – 3.3.
// Opening 23.1. / 8 pm
// Ballhaus Naunynstrasse
"Liquid Space" is a series of workshops that was developed over the
last three years by the Belgian media arts laboratory, LAb[au], to
create immersive and interactive spatial audio-visuals. The event is
international in character, with stopovers to date in Seoul,
Brussels, Amsterdam and Rotterdam, and offers a platform for
collaborative interdisciplinary design processes and creative
exchange between musicians, artists, designers, and developers. LAb
[au] was founded in 1997 by Manuel Abendroth, Jérôme Decock,
Alexandre Plennevaux and Els Vermang, each with diverse backgrounds
in architecture, visual arts and music. They have since jointly
created interactive artworks, audiovisual performances and
scenographies, for which they developed their own software and
interfaces. LAb[au] also founded the digital arts gallery,
Mediaruimte in Brussels in 2003.
"Liquid Space 05" at CTM.07 will take place at Ballhaus Naunynstrasse
in Berlin-Kreuzberg within an experiment-station made of a 360°-
multiscreen-panorama-projection and a surround-audio-system. The
design session includes public events such as presentations and
performances by the members of LAb[au] and participating artists, as
well as an exchange session, to which anyone interested can join in
to experiment within the workshop environment. The basis for new
works to be developed during the twelve days of the workshop will be
the software environment "sPACE Navigable Music" developed by Lab[au].
Participants:
Frank Bretschneider (DE) | Patric Cremer (DE) | Thorsten Fleisch (DE)
| Xavier Gazon (BE) | HC Gilje (NO) | Jannis Kilian Kreft (DE) | Sven
Koenig (DE) | Holger Lippmann (DE) | Marie-Laure Plougastel (FR) |
Timm Ringewaldt (DE) | Jan Peter Sonntag (DE) | Marius Watz (NO)
http://www.clubtransmediale.de/index.php?id=4659
************************************************************************
***
[4] HANDCLAPS FILM PROGRAM
Continuing last year’s film program, Tim Tetzner has curated a new
“Handclaps” program with music documentaries and experimental films,
many of which are shown for the first time in Germany and Europe.
Tim Tetzner’s Handclaps project is an ever-expanding databank of film
and video about musical phenomena. Its comprehensive programs
comprise music documentation, clips and art videos that give
descriptions of specific contexts, investigate the iconography of
musical phenomena, cross-reference individual artists and analyze
their strategies and social repercussions. For CTM.07 Tim Tetzner has
compiled a Handclaps program that reflects this year’s theme,
Building Space. Further more Tetzner will run the Dense-Shop again at
the festival’s venue, where you can purchase materials from
participating artists and more.
Featured films:
// Friday 26.1., 20:00 MAO Lounge
* „Mr. De – A Detroit Story“
// Saturday 27.1., 21:00, MAO Lounge
* „Pilgrimage from scattered points
// Sunday 28.1., 20:00, MAO Lounge
* Subsonics 1 – 3
// Monday 29.1., 20:00, MAO Lounge
* „Subsonics 4 – 6“
// Wednesday 31.1., 21:00 MAO Lounge
* „Sumatran Folk Cinema”
// Thursday 1.2., 20:00, MAO Lounge
*„Congotronics 2“
* „Synken“
// Friday 2.2., 20:00 MAO Lounge
* „Bassline Baseline“
* „House“
* „Pioneers of Electronic Music : Richie Hawtin“
* „Pictoplasma – Characters in Motion“
// Saturday 3.2., 21:00 Mao Lounge
* „Essays on Radio: Can I have 2 minutes of your time“
* „It becomes her“
* „Covers“
* „La Ciudad”
http://www.clubtransmediale.de/index.php?id=3874
************************************************************************
***
[5] CTM.07 AUDIO CD
In collaboration with the label rx:tx from Ljubljana, CTM has
produced an elaborately designed double audio-CD. CD 1 contains a one-
hour mix of live recordings from last year's festival, CTM.06 – Being
Bold!, meticulously compiled by Marc Weiser. CD 2 consists of a
selection of studio tracks recorded by artists appearing at CTM.07.
The booklet contains two short essays by Tobias Rapp and Oliver Baurhen.
The CTM.07 CD will be available during the festival. The official
release date is March 20. Journalists who want to receive a reviewing
copy, please contact Relja Bobic of rx:tx: [EMAIL PROTECTED]
For the tracklisting, go to:
http://www.clubtransmediale.de/index.php?id=4745
************************************************************************
***
[6] REMINDER: REGISTER FOR SHARE
Don’t forget to register in advance if you want to participate at the
massive SHARE.MOBILE BERLIN open av-jam on January 28 and 29.
Please send a informal email before Friday 26th to:
[EMAIL PROTECTED]
Information:
http://www.clubtransmediale.de/index.php?id=4487
************************************************************************
***
************************************************************************
***
Deutsche Version
************************************************************************
***
************************************************************************
***
[1] FESTIVAL UPDATES
[2] NOCH 6 TAGE: TICKET VORVERKAUF
[3] LIQUID SPACE.05
[4] HANDCLAPS FILM-PROGRAMM
[5] CTM.07 AUDIO CD
[6] ERINNERUNG: FUER SHARE REGISTRIEREN
************************************************************************
***
[1] FESTIVAL UPDATES
// YOUNGSTA & TASK BEI DER FREAK CAMP SESSION AM FR 02.02.
Youngsta, Resident im Londoner Forward>> Club und meisterhafter
Dubstep DJ, spielt zusammen mit MC Task anstatt von Hatcha & Crazy D,
die ihre CTM.07-Show am 02.02. leider absagen mussten. Aber ihr
koennt euch sicher sein, dass Youngsta und Task einen absolut
ebenbuertigen Ersatz sind!
http://www.clubtransmediale.de/index.php?id=3938
// ZSOLT MACHAT SPIELT MIT DEM BURIAL CHAMBER TRIO
Zolt Machat, Ex-Mitglied in Attila Csihars legendaerer Black Metal
Band Tormentor, bereichert das Burial Chamber Trio (Greg Anderson,
Oren Ambarchi & Attila Csihar) am Sonntag 28.1. an den Drums und wird
bei einigen Stuecken den durch eine veritable Verstaerker-Wand
ohnehin schon mehr als fetten Sound nochmals weitertreiben.
http://www.clubtransmediale.de/index.php?id=3964
// SURPRISE CONCERT AM 25.01. ABGESAGT
Leider muessen wir bekannt geben, dass das Gratis-Open-Air Surprise
Concert, das dem CTM.07 Opening Concert in der Volksbuehne am 25.1.
vorausgehen, abgesagt werden musste. Aber keine Sorge, die Konzerte
von den Sun City Girls, Alexander’s Annexe und Pierre Bastien sind
davon nicht betroffen und werden dafuer mehr als entschaedigen.
// ERRATA
Der Text zu Rafael Toral und dem Sei Miguel Quartet im letzten
Newsletter war nicht vollstaendig richtig: Das Album „The Tone
Gardens“ ist natuerlich nicht von Toral, sondern von Sei Miguel,
waehrend Toral als Musiker bei den Aufnahmen beteiligt war. Die
Performanve von Toral und dem Sei Miguel Quartett beim CTM.07
„Garden : Space : Beyond“ ist daher nicht Teil von Torals„Space
Program“, vielmehr ist es ein Konzert in drei Teilen: der erste Teil
bezieht sich auf „the Tone Gardens“, der zweite Teil bezieht sich auf
Torals Solo-Arbeit, wie sie auf der bei Staubgold erschienenen CD
„Space“ dokumentiert ist, der dritte Teil ist ein Ausblick in
zukuenftige Entwicklungen. Fuer dieses Konzert besteht das Sei Miguel
Quartet aus Sei Miguel (Trompete), Fala Mariam (Posaune), César
Burago (Percussion) und Pedro Lourenço (Bass).
Mehr Informationen zu Sei Miguel: http://rt2.planetaclix.pt/seimiguel/
http://www.clubtransmediale.de/index.php?id=3953
************************************************************************
***
[2] NOCH 6 TAGE: TICKET VORVERKAUF
Die Ticket-Anzahl fuer das CTM.07 Eroeffnungskonzert mit den Sun City
Girls, Alexander’s Annexe und Pierre Bastien am 25.1. in der
Volksbuehne ist begrenzt.
Sichert euch besser jetzt eure Karte:
Preis: 18/14 € (ermaessigt)
Per Telefon: 0049 (0)30 240 65 777 (daily 12 – 18h)
Per email: [EMAIL PROTECTED]
Mit Kreditkarte: www.volksbuehne-berlin.de
CTM-Festival-Tickets und Tickets fuer das Programm im Maria am
Ostbahnhof sind ueber unserer Webseite erhaeltlich:
http://www.clubtransmediale.de/index.php?id=3982
************************************************************************
***
[3] LIQUID SPACE.05
// 23.1. – 3.3.
// Eroeffnung 23.1. / 20:00
// Ballhaus Naunynstrasse
„Liquid Space“ ist eine vom belgischen Medienkunstlabor LAb[au]
waehrend der letzten drei Jahre entwickelte Workshopreihe zur
Gestaltung raumbezogener, immersiver und interaktiver audio-visueller
Performances und Installationen. Die Veranstaltung ist international
angelegt (bisherige Stationen waren Seoul, Bruessel, Amsterdam und
Rotterdam) und bietet eine Plattform fuer kollaborative und
interdisziplinaere Design-Prozesse und den kreativen Austausch
zwischen Musikern, Kuenstlern, Designern, und Entwicklern. LAb[au]
wurde 1997 von Manuel Abendroth, Jérôme Decock, Alexandre Plennevaux
und Els Vermang gegruendet. Mit einem Hintergrund in Architektur,
Kunst und Musik befassen sich die vier seitdem gemeinsam mit der
Gestaltung interaktiver Installationen und audio-visueller
Performances sowie mit der Entwicklung eigener Software und
Interfaces. 2003 gruendeten LAb[au] zudem die Bruesseler Galerie fuer
digitale Kunst Mediaruimte.
„Liquid Space 05“ beim CTM.07 findet im Ballhaus Naunynstrasse in
Berlin-Kreuzberg in einer Experimentierstation aus 360°-Multiscreen-
Panorama-Projektion und Surround-Audio-System statt. Der Workshop
beinhaltet oeffentliche Praesentationen und Performances von den
Mitgliedern von LAb[au] und Workshop-Teilnehmern sowie eine Austausch-
Session, bei der jeder Interessierte im Workshop-Environment
experimentieren kann. Grundlage fuer die waehrend der zwoelf Workshop-
Tage neu entwickelten Arbeiten ist die von LAb[au| entwickelte
Softwareumgebung "sPACE Navigable Music“.
Teilnehmer:
Frank Bretschneider (DE) | Patric Cremer (DE) | Thorsten Fleisch (DE)
| Xavier Gazon (BE) | HC Gilje (NO) | Jannis Kilian Kreft (DE) | Sven
Koenig (DE) | Holger Lippmann (DE) | Marie-Laure Plougastel (FR) |
Timm Ringewaldt (DE) | Jan Peter Sonntag (DE) | Marius Watz (NO)
http://www.clubtransmediale.de/index.php?id=4659
************************************************************************
***
[4] HANDCLAPS FILM-PROGRAMM
Wie bereits im letzten Jahr hat Tim Tetzner ein Programm mit
Musikdokumentationen und Experimentalfilmen zusammengestellt. Viele
Filme sind zum ersten Mal in Deutschland und Europa zu sehen.
Das Handclaps-Projekt von Tim Tetzner ist eine wachsende Datenbank
mit Film- und Video-Dokumenten zu Musikphaenomenen.
Formatuebergreifende Programme aus Musikdokumentationen, Musikclips
und Kuenstlervideos aus dem Musikkontext geben informative
Situationsbeschreibungen, befragen Musikphaenomene und ihre
Ikonographien, zeigen Zusammenhaenge zwischen einzelnen Protagonisten
auf, analysieren ihre Strategien und gesellschaftlichen Wirkungen.
Fuer CTM.07 hat Tim Tetzner ein Hanclaps-Programm unter dem
Blickwinkel des Festivalthemas Building Space erstellt. Tim Tetzner
wird darueber hinaus wieder den Dense Record Shop im Maria am
Ostbahnhof betreiben, in dem Materialien voN Festival-Teilnehmern und
mehr erhaeltlich sein wird.
Die Filme:
// Freitag 26.1., 20:00 MAO Lounge
* „Mr. De – A Detroit Story“
// Samstag 27.1., 21:00, MAO Lounge
* „Pilgrimage from scattered points“
// Sonntag 28.1., 20:00, MAO Lounge
* „Subsonics 1 – 3“
// Montag 29.1., 20:00, MAO Lounge
* „Subsonics 4 – 6“
// Mittwoch 31.1., 21:00 MAO Lounge
* „Sumatran Folk Cinema“
// Donnerstag 1.2., 20:00, MAO Lounge
*„Congotronics 2“
* „Synken“
// Freitag 2.2., 20:00 MAO Lounge
* „Bassline Baseline“
* „House“
* „Pioneers of Electronic Music : Richie Hawtin“
* „Pictoplasma – Characters in Motion“
// Samstag 3.2., 21:00 Mao Lounge
* „Essays on Radio: Can I have 2 minutes of your time“
* „It becomes her“
* „Covers“
* „La Ciudad“
http://www.clubtransmediale.de/index.php?id=3874
************************************************************************
***
[5] CTM.07 AUDIO CD
In Zusammenarbeit mit dem Label rx:tx aus Lubljana erscheint zum CTM.
07 Audio-Doppel-CD. CD 1 enthält einen von Marc Weiser sorgfältig
zusammengestellten einstündigen Mix von Live-Aufnahmen des Vorjahres-
Festivals CTM.06 – Being Bold! CD 2 besteht aus einer Auswahl von
Studio-Tracks von Künstlern des CTM.07. Das Booklett enthält zwei
kurze Essays von Tobias Rapp und Oliver Baurhenn.
Die CD ist am Festival erhältlich – offizielles
Veröffentlichungsdatum ist der 20. März 2007. Journalisten, die ein
Besprechungsexemplar anfragen möchten, wenden sich bitte an Relja
Bobic von rx:tx: [EMAIL PROTECTED]
Für das Tracklisting, siehe:
http://www.clubtransmediale.de/index.php?id=4745
************************************************************************
***
[6] ERINNERUNG: FUER SHARE REGISTRIEREN
Vergesst nicht, euch fuer das grosse SHARE.MOBILE BERLIN zu
registrieren, dem offenen audio-visuellen Jam am 29. und 30.1.
Interessierte senden bis Freitag 26.1. eine formlose Email zu:
[EMAIL PROTECTED]
Informationen:
http://www.clubtransmediale.de/index.php?id=4487
************************************************************************
***
CTM.07 – BUILDING SPACE
January 25th – February 3rd, 2007
************************************************************************
***
http://www.clubtransmediale.de
************************************************************************
***
festival for adventurous music and related visual arts.
DISK - Sound & Image Initiative
************************************************************************
***
Funded by Hauptstadtkulturfonds and Bipolar – deutsch-ungarische
Kulturprojekte – an initiative by Kulturstiftung des Bundes.
************************************************************************
***
Media Partners:
DE:BUG | SPEX | DIE TAZ | GROOVE | KULTURNEWS | SAMURAI.FM | THE GAP
| ZITTY
************************************************************************
***
You get this newsletter either because you are a subscriber or
because we thought that you might be interested in the contents
featured therein. To unsubscribe or to edit your contact data please
go to:
http://www.clubtransmediale.de/index.php?id=36
Sie bekommen diesen Newsletter, weil Sie ihn subskribiert haben oder
weil wir der Meinung sind, seine Inhalte koennten Sie interessieren.
Um den Newsletter abzubestellen oder um ihre Kontakt-Daten zu
editieren, gehen Sie bitte auf
http://www.clubtransmediale.de/index.php?id=36
--- End Message ---
--
rohrpost mailing list
[email protected]
http://post.openoffice.de/cgi-bin/mailman/listinfo/rohrpost
