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viewing 1 To 11 of 11 items
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INTER 017
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"It is no surprise that Robin Rimbaud, aka Scanner, chose to make a one hour sound-piece of Warhol. Though, basing a 60-minute radiopiece for Bayerischer Rundfunk upon boredom, as is the case here, might seem a bit boring. Or as Warhol might have said: Gee, uhm, really up there. Because Warhol really liked boredom. He liked repetitiveness, copies, details. He liked the surface, the new technology. In fact: he would have liked to be a machine himself. Because Scanner takes the sound as Warhol took the soup; creating a universe where the looping everyday becomes interesting in the blurred domesticity most people see as the very essence of plain, repetitive boredom. Touching upon the fact that it does not matter how famous or ordinary you are: A sausage is just a sausage. Or is it? I guess it's up to each individual to choose what to make of it. Warhol and Scanner are, it seems, just showing us the cans / scan. -- Mathilde Schytz.
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2CD
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INTER 016
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"Intermedium is a network for media art. Intermedium combines festival events and broadcasts in the media of radio and the World Wide Web. Organizationally Intermedium is based at Bayerischer Rundfunk and is being realized in collaboration with cultural institutions, media centres, theatres and public broadcasting corporations. Intermedium is interdisciplinary and sees itself as an initiative of radio to try out artistic cooperations with other media and arts; in addition to the developing and presenting of artistic projects, Intermedium is involved in the debate on technical-artistic matters and on media and cultural policy. The topics are: electronics as a lifestyle, the everyday routine of intermedia, cyber modernity, media totality, the interaction between art and media, pop culture, industry and piracy, media convergence, network art and art in the age of globalization, the information society." Artists include: 010010110101101.org / Negativland, Tone Avenstroup / Robert Lippok Marbel & Matrikel, Thomas Meinecke / Michaela Melián / Move D Konvent, Ottmar Hörl / Rainer Römer / Dietmar Wiesner Staubmarsch, 91v.2.0 a Sophisticated Soiree, Kalle Laar Me Myself & I.
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INTER 015
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"Recording of their performance at 'Intermedium 2', March 2002. Each of them solo for 15/20 minutes and as a duo for another 30 minutes. Great one!" "On their prepared sound recording media Claus van Bebber (*1949) and Philip Jeck (*1952) decipher a vinyl requiem, a swan-song of incredible beauty using obsolete reproductive instruments. Many a single dies on their turntables undergoing strange torments. 'After two or three revolutions these pointed fish-hooks have already scratched out fine elements, and the number grows with each new revolution, until the music has almost completely disappeared' (Claus van Bebber). Philip Jeck's record-players -- he has several hundred -- come from the flea market. They bear the names Pye, Bush, Philips, Ferguson, Fidelity or Dansette, they have built-in loudspeakers and four speeds. None of them cost more than five pounds. 'These record-players -- nobody else wants them. I'm the only one who collects them all, as far as I know. I painted them and did things with them. They're now worth even less than when I bought them. I recycle these things and give them a different life.' That's what the two have in common: they don't throw anything away. Claus van Bebber, who calls his performance Schallplattenkonzert (Record Concert), also has barns full of materials on his farm on the Lower Rhine: 'I started early on to collect all possible kinds of objects and my favourite artists were always those who worked with found materials. Fluxus and Dadaism have strongly influenced me and my artistic work.' Their common sound ideal is the opposite of high fidelity. Jeck's effect devices are cheap: a small echo pedal and a toy sampler which can store one and a half seconds of sound. They are used to blur the sound even more, to overlay the loops on the discs with additional layers of repetition. Van Bebber uses wah-wah and distortion pedals for electric guitarists to further modify the signals of his crystal pick-ups. In this first encounter between two broken music artists at the media art festival intermedium 2 a fusion of the medium and the message takes place: Low-tech becomes the moving obituary for the extinct world of vinyl, that material whose varied surface noises stood for an era of easier comprehensibility. 'Where are we going? .... Don't be so curious, little Piccolo! First to the other side of the record.' (Andre Popp: Piccolo, Sax & Co)." --Ulrich Bassenge
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INTER 014
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Classic archival sound poetry recordings from this Austrian, who has previously appeared on Poesia Sonora and River Run amongst other compilations. 13 Radiophone Texte contains the famous sound poet's BBC radio-play recordings from 1966. 'Das Roecheln der...' is a re-release of a CD/cassette which is out of print for a while, featuring Berlin Radio performances from 1970. Richard Kostelanetz on Jandle: "The most interesting of the [sound poets], in my experience, is Jandl, a Viennese high school teacher of English, who works exclusively in unaided live performance (the pre-WWII way), declaiming published phonetic texts, mostly in German but sometimes in English, which are usually inventive in form and witty in language. In part because of his anti-technological bias, Jandl's work seems to terminate a style, rather than suggest future developments."
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INTER 012
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With: Alexander Hacke, Chrislo, FX Randomiz, Kid 606, Loopspool, Merzbow, Peter Rehberg, Sparks, Zentralflughafen, Lesser. "One word and one recorded sound a few seconds long, this is the minimal specification of the BR Radio Drama and Media Art Department in its invitation to musical and media art formations to participate in the project One Word One Sound. The word and sound called for may be used to generate a radio play, either appearing or disappearing in it. This acoustic requirement may be used as a stimulus or as a quote, or it may be contradicted in some form. Whatever: this invitation is not just a form of arbitrary actionism. It continues a number of traditions. On the one hand, the concept is a play on the one-word poem of modern literature, on serial texts such as those created by the American lyric poet Robert Lax. On the other, the requirement relates to the tradition of the minimalists. Although the projects created are not expected to lead to minimalistic radio plays. A third strand comes from the Radio Play and Media Art Department of BR; there is a tradition here of issuing invitations to help create projects, the last occasion being in 2000 with soundstories. This time it is intended to give the artists invited maximum scope for creative action with minimum preset requirements. On one level, word and sound are closely linked. The creation of sounds makes use of the material basis for the written or printed word: of paper. On the other hand, the words spoken by authors can be understood as sounds. In this way, word and sound are given a material relationship which not only suggests the traditional genesis of a radio play, of text or music -- notes on a piece of paper. By means of sampling, it also highlights the artistic development of this material using improvisation and digital media. At the same time the samples on which 'One Word One Sound' are based point beyond this interconnection. They take on a life of their own by virtue of their special material and acoustic qualities. As signifier and acoustic event, word and sound are connected in an as yet undefined relationship -- and they thus open up scope for creativity. Word and sound are linked through the metaphor of paper, without anticipating or limiting any further artistic bridging."
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2CD
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INTER 013
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Double CD compilation of material from the first 12 Intermedium releases, plus previously unreleased tracks from Hans Platzgumer & Daniel Kluge/Edouard Stork. Fold-out digipak packaging, for the price of a single CD. Features: Hans Platzgumer, Samuel Beckett, Console/Thomas Meinecke, Philip Jeck, Günther Koch, Ammer & Console, Walter Ruttmann (DJ Spooky That Subliminal Kid Remix), Daniel Kluge/Edouard Stork, Thomas Harlan, Move D/Thomas Meinecke, Loopspool, Chrislo, Hans Platzgume/Ca Mi Tokujiro & more.
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INTER 010
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"The story is quickly told. 'Shonen A', Japanese for 'Boy A', is the anonymous name for a fourteen year old who is convicted of the cruel murder of a younger schoolboy. The case 'Shonen A' took place in 1997 in the Japanese port of Kobe. A shocked public bemoaned the decline of high-tech youth and, among other things, blamed brutal videos, superhero computer games and comics for this violent act. The written records and statements of the perpetrator were influenced to a large extent by the subject matter of the games which are popular with Japanese youth. The sound is on the track of this crime. 'Shonen A' takes newspaper reports on the case plus published threatening letters and diary entries by the perpetrator and turns them into 19 music tracks: pop songs to dance to, with techno, house or freestyle electronics, meditative chants, instrumentals, vocal samples and thriller-type soundtracks with 70s movie and psychedelia inserts. A German voice (Peter Veit) leads us through the plot of the murder, presents the pompous, gruesome records of the perpetrator and the newspaper reports in a constantly matter-of-fact tone. Hans Platzgumer's soundscapes in the background maintain and increase the tension, secretly scrape away at the nerve-endings. For the singing part of Ca Mi Tokujiro, Platzgumer finds different free forms of electronic music which ignore the common genres and rely totally on strong rhythms. Tokujiro sings in Japanese. Lyrics which interrogate the perpetrator, which depict his confusion between the virtual and the real worlds. Speech and voice convey autonomous, exotic, emotion-laden atmospheres. Easily recognisable lines of song in pop refrains, with easy-to-reproduce melodies, alternate with meditative chants of the Buddhist prayer "Hannya Shingyo" in the traditional style ? the best known sutra of Buddhists. 'Shonen A' does not contain any explicit criticism of society or the media. And yet the electropop soundtrack poses uncomfortable questions about the causes of the worrying youth criminality in Japan and the recurrent phenomenon of the youthful murderer who claims he killed 'to see what it was like'. The fragile scenario of an Asian high-tech dolce vita between traditional education rituals, a scenario that has declared a generation to be the collective target consumer group of an efficient industrial nation -- that is what 'Shonen A' turns quite incidentally into its musical focus." --Barbara Schäfer
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INTER 009
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"From midnight on 21 November 1999, the foyer of the Academy of Fine Arts in Berlin was transformed into a sound laboratory. Within the framework of the media art festival intermedium 1, four teams of artists were invited to work on sound files before an audience under the title Audiolounge: Sound and Picture Electric Shocks Live: four hours of electronic music, something between a sound workshop and a club evening. Those taking part were: Robert Lippok, visuals: Visomat inc.; Andreas Ammer and Console, visuals: Anton Kaun; Kalle Laar and Georg Zeitblom, visuals: pReview; Robert Merdzo and Bülent Kullukcu, visuals: Lillevän/Computer Centre. The Berlin musician (To Rococo Rot) and graphic artist Robert Lippok opened the night with Callanetics and set the mood for the Audiolounge with gentle, digital sounds. Electronic minimalism from a laptop was the contribution of Kalle Laar and Georg Zeitblom. hypersound concrète stems from musique concrète: 'Music as electronic raw material: the starting point for manipulation and reconstruction.' The nearest to a concert performance was that of the Munich musicians Robert Merdzo and Bülent Kullukcu with not a question of balance. Electronics: Bülent Kullukcu, guitar, bass and vocals: Robert Merdzo. engine noises, voices, samples from the mixing desk coupled with the good old sound the electric guitar."
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2CD
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INTER 007
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A conceptual electronic music compilation based around the voice of the most famous German soccer announcer, Günther Koch, an update on previous radio play experiments in this mode by Ror Wolf. "If there was ever a man of football, a man of today's, totally shabby media football, if there was ever such a one who managed to become first a so-called 'cult figure' and then a figure of art, a subject for media art, an artistic character, then it has to be Günther Koch. This symphony in twenty-two parts, pays tribute to, honours and to a small extent, as befits contemporary art, destroys and, as far as I'm concerned, deconstructs a living legend of sports commentary, or more accurately: live radio reporting. Of course, it would not be totally inappropriate to ask whether Koch, often and quite rightly called a 'poet' and 'virtuoso' and 'artist', whether someone who is his own DJ can be outdone, ennobled, so to speak out-arted. Koch improvises like no other; Koch tuts, shouts, bellows, whispers, sings, implores, blubs, celebrates, curses and extols with passion and fidelity; Koch modulates maniacally, piles up monstrous sentences, assembles and combines the incompatible as one obsessed, the bright tone of hymnal enthusiasm with digression, the dialect touch with an educated bon mot, casual chat with concentrated information, objective description with the tumult of the fans. What and who can do justice to him, this original tenor, the Pavarotti or, hm, perhaps more the Bergonzi of the microphone? Yes, a liaison between Koch and radio drama/music, 'that's not totally unrisky' (Koch), not to put too fine a point on it: it's not totally blessed with lack of risk. And since, with the gloomy foresight of a Kafka, football will possibly be over and done with in the near future, the remembrance, blessed consolation, of its most beautiful, wonderful moments ('Babble! Babble! Babble! Babble!') will remain, embedded in our collective memory, preserved in the resounding works of the eternally Olympian art. Something like that, anyway." -- Jürgen Roth. Artist list: Sparks, Khan, Gringotone, Lions Den Dubshower, Hans Platzgumer, Loopspool, FC Einheit, Curd Duca, Wolfmanson & Dr. Walker, Jennifer Minetti, Dead City Radio, Funkstörung, Hans Nieswandt, Goldenholg & Andrej, Melita, Squadra Ragazzi, Timestretch Paradise, Caspar Brötzmann, Narcotic Brothers, DJ Hell, Sportfreunde Stiller.
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INTER 005
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"The archive with tens of thousands of programme hours stored on sound recording media is the broadcasting station's memory. Over more than seven decades, a broad spectrum of narrative forms has developed in the radio art genre. The aim with the 'soundstories / materialmeeting' project was to extend this spectrum by a further variant: the six-part project is a play with acoustic material and it draws on the extensive historical repertoire of German radio play production: the recordings of historical productions were copied and transformed digitally to render them absolutely unrecognisable. In the radio play studio of Bayerischer Rundfunk in Munich the musicians and authors Console / Thomas Meinecke, Hans Platzgumer / Caroline Hofer, To Rococo Rot / Stefan Schneider, Hans Nieswandt / Kathrin Röggla, Resut / Thomas Palzer and Zeitblom / Laar / Ulrich Schlotmann were confronted with the newly created audio material: in three days in the studio they wrote, composed and created "soundstories" from the hermetic and non-narrative radio play material and presented them live on Bayern2Radio. The stories and dramas of the past are not told anew; they remain unknown to the authors and musicians involved in the project. The result was 'soundstories' -- without any allusion to the content of the historical radio play sources."
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INTER 003
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Featuring remixes by: DJ Spooky, To rococo Rot, Mick Harris, John Oswald, Klaus Buhlert, Ernst Horn. Plus the original Ruttmann track from 1930 (previously issued as a 3" by Metamkine). "'Weekend' by Walter Ruttmann (1887-1941) is a pioneering work from the early days of radio. In an 11 minute 10 second collage of words, music fragments and sounds, the film-maker and media artist Walter Ruttmann presented on 13 June 1930 an avant-garde and radically innovative radio piece: an acoustic picture of a Berlin weekend urban landscape. After his experience with his films, Walter Ruttmann deliberately sought possibilities for producing an audio-film for radio. 'Everything audible in the world becomes material', he wrote in a manifesto in 1929. Tones and sounds should exist in their own right. For 'Weekend' they were recorded as arbitrary and intentional elements on the soundtrack of an optical sound film using the so-called tri ergon technique. For the first time an artistic radio production was created whose material could be assembled and designed according to rhythmic, musical principles. The technique used also meant that a repeat broadcast would have been possible. But this never happened. The original of 'Weekend' was long considered lost. A copy was only rediscovered in New York in 1978. 68 years after the creation of the original, Barbara Schäfer and Herbert Kapfer invited international artists to make six Walter Ruttmann Weekend Remix versions for Bayerischer Rundfunk. The radio play classic, which had opened up new aesthetic perspectives for the genre at a very early stage, underwent the digital endurance test and was confronted with the means and possibilities of the digital age and the remix technique. The remixes of Klaus Buhlert and Ernst Horn took Ruttmann's compositional principles of 'Weekend' and circumscribed them with their own compositions. With the new digital technology new methods of composition were also applied. Pathos and rhythm were given a contemporary drive, the ironic moments of the disrespectfully edited original were amplified further with a subsequent treatment by the composers Horn and Buhlert, new audio spaces were opened up. In 1998 Berlin, To Rococo Rot sought acoustic equivalents to the elements Ruttmann had recorded in 1930. Their version is ?- in film terms ? a remake, in musical terms a cover version, and at the same time a homage to Ruttmann and the City of Berlin. In their 'Weekend' remixes, the British musician Mick Harris and DJ Spooky from New York staged a return to the fatalistic mood of the original. The remix compositions focussed on machine noises and the acoustic signals of disturbed communication. Apart from the added bass and rhythm tracks, Harris and DJ Spooky used only the original as material, processed with digital machines. The basis for the remix by the Canadian John Oswald was the loud noise on the copy of the 1930 original. Oswald's remix conducted a digital material battle with the original, one which duplicated in Ruttmann's discontinuous rhythm the copying noises which had developed over time."
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