My City is a Hungry Ghost is a dense collage of language, sound and video, which oscillates between moments of introspection and political articulation. It is designed as a four channel video loop including a Mini FM radio transmitter. In an installation comprised of video screens and hundreds of tiny loud speakers, Jan will be broadcasting and receiving his own radio transmission from within the gallery.

My City is a Hungry Ghost is based on found excerpts from a variety of literary sources revolving around the issue communication at the nexus of media, politics and subjectivity.

The content of the video is based on a montage of four voices each represented by one actor standing or sitting in an empty room with one chair. Each actor is brought to light when her or his voice is heard or otherwise stays in the dark and is only lit by the light of passing cars falling through venetian blinds. While remaining silent for themselves, they let us tune into their thoughts and inner monologues. And as the four monologues expand, a larger conversation unfolds investigating poetics and politics contemporary urban life.

Italo Calvino’s “The Invisible Cities” served as first inspiration for My City is a Hungry Ghost. Calvino’s description of the City of Melania was of particular fascination. Melania is reported to be the place for an ever continuing dialogue among generations of denizens. Although through its course the participants may die and new participants are born and take their place in one role or another. Re-contextualising Calvino’s Melania, ‘My City is a Hungry Ghost‘ is an re-enactment of found excerpts from a variety of literary sources* revolving around the issue communication in the making at the nexus of media, politics and subjectivity.

Watch the full length video as a four-in-one screen adapted version:
Use the embedded video player at the top or alternatively use the direct vimeo link (27’22”).

Listen to the soundtrack of the installation (27’22”)

Text References / Sources of Inspiration

  • Invisible Committee, The Coming Insurrection, 2007
  • Barbara O’Brien, Operators and Things, 1958
  • Piotr Czerski, We, the Web Kids; 2012
  • Anthony G. Banet, Jr.; Interview with Wilfred R. Bion; Los Angles, April 1976

unrelated relatedness

My City is a Hungry Ghost is together with planet ocean and Nature in the Dark part of the unrelated relatedness series. Each work brings into play the different elements, tactics or technologies that we employ in our search to unify the inner and outer worlds that we inhabit.

This series is part of Jan’s creative Ph.D in Media Arts at the Centre for Creative Arts, La Trobe University, in which he is investigating the phenomena of contemporary sound and communication practice and environmental aesthetics.
Ph.D title: From Sound to Waves to Territories, supervisors: Norie Neumark, Hugh Davies.


This is a production 2012/3.

Concept / Direction: Jan Hendrik Brüggemeier
Sound design: Jan Bartholomaeus
Director of Photography: Scott Lewis, Zoopatrol / Melbourne
Multimedia programming: Zsolt Barat, Softmonsters / Berlin
Post-Production / Compositing: Curtis Moyes, Green Brain Media / Melbourne
Installation design: Silvana Iannello / Melbourne


Female Voice 1: Tracey Callander
Male Voice 1: Garth Ernstzen
Female Voice 2: Marita May Dyson
Male Voice 1: Jez P.A. Speelman

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Two weeks of unprecedented and unexpected collaborations within the creative industries FREE events include dance performances by New Movement; a debate organised by New Deal of the Mind (NDotM) and a “Pecha Kucha” style event for young creatives to pitch their ideas to a range of experts

The Architectural Association’s Interprofessional Studio (AAIS) will take over a derelict building in the heart of Covent Garden for a highly unusual two-week long programme of genre-defying events, talks, and performances. Part architecture, part performance, part social and political debate, Seed to Scene (S2S) takes place from 18 – 31 May, and is inspired by the scalability of creative processes, from a seed of an idea which germinates to form ground-breaking and experimental collaborations. The aim of the project is to create new ways of bringing people together to form new and unexpected ideas and outcomes. S2S will showcase live and active practice of an emerging professional terrain operating between disciplines.

Now more than ever the creative industries need support and encouragement to ensure they continue to flourish and survive in difficult economic times. The creative industries are worth in excess of £50 billion a year to the UK economy and within four years are expected to employ more people than financial services. S2S will play a key role in providing networks, advice and most importantly, inspiration to the next generation of young creative talent from all disciplines, not just architecture.

Among the highlights of S2S will be a discussion of the importance of risk in creative innovation; a debate hosted by NDotM ( relating to their recent report Creative Survival in Hard Times; a dance performance from New Movement, a collective of choreographers with a long history of unusual collaborations and a careers surgery enabling young creative individuals and businesses to seek advice from established professionals.

To produce S2S, the AAIS will collaborate with many professional individuals and companies including renowned film producer Rosa Bosch; Ben Wolff & Andy Dean, Grammy award- winning music producers (Music Technology Ltd); NDotM which is a coalition of artists, entrepreneurs and policy makers which seeks to create new possibilities of work and employment for the creative industries and c/o pop, the organisers of Europe’s biggest conference for the creative industries in Cologne.

The AA Interprofessional Studio (AAIS), which was launched in January 2009, is creating a new field of activity for the AA. Working on the margins of art, architecture and performance, the AAIS can reach professions, create partnerships and stimulate students that would not usually have the possibility of working with, or within, the AA. AAIS welcomes students from a very broad range of backgrounds and disciplines including artists, filmmakers, scenographers, architects, urban planners, landscape architects, engineers, product designers and graphic designers as well as managers, teachers and communicators. S2S is part of AAIS’s commitment to creating interdisciplinary projects which involve professionals from all kinds of backgrounds, and which support creative industries.

S2S Details
Venue: 1- 5 Dryden Street, London, WC2E 9NB
Dates: 18 – 31 May 2010

AAIS Staff 2010
Programme Director: Theo Lorenz
Studio Master: Tanja Siems
Studio Tutor: Jan Hendrik Brueggemeier

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“Scenography Now!” presents the contemporary scenography festival: Crash! Boom! Bau!

.Jan Hendrik Brueggemeier curated together with Janek Mueller the Crash! Boom! Bau! Festival from May 1st – 17th 2009 at Theaterhaus Jena.

During the course of the festival we showcased 101 artists in a diverse range of formats from theatre productions, installations in public space, interactive games, panel discussions and music performance (see the programme – project website offline).

Check out the video showcase of 7 selected festival productions.

New! New! New! Crash! Boom! Bau!
At the Bauhaus, »New« was the word of the hour. One wanted to change the world to the better, with all perfection: new cities, new tea pots, new man, and certainly also: a new theatre!

The stage workshop at the Bauhaus was an unique laboratory of the performative. With great complexity, Bauhaus-master László Moholy-Nagy described, what it was all about: »The sensible demand for today is: a true organization of form and motion that is deemed equally important and on the same plane with the acoustic and optic (electric) phenomena we can currently produce, not one abusing motion as a medium for literary and emotional events.«

Quite complicated, but: new!

One experimented with space, with apparatuses, with machines, and mechanisms. Walter Gropius: »Every art wants to shape space!« Oskar Schlemmer presented a »Figural Cabinet«, Kurt Schmidt a »Mechanic Ballet«, and Moholy-Nagy a »Light-Space-Modulator« – for the first time in 1923 as a »Mechanic Cabaret« at the theatre in Jena.

The Crash! Boom! Bau! Festival celebrates 90 years of the Bauhaus with a new and up-to-date theatre, guest performances and own productions, with artistic installations and workshops. All projects focus on the a special way of dealing with space, with the stage, with the relation between action and perception, and with interdisciplinary approaches between stage design, media art, and architecture. The festival as a laboratory!

And: we expand! In collaboration with the Architectural Association London, a temporary structure is created on the public square in front of the theatre building – a new place for play and encounter, to expand our theater. This addendum calls: come on in, here is something new!

New! New! New! Crash! Boom! Bau!

The festival Crash!Boom!Bau! is funded in context of the project “Scenography Now!” by the German Cultural Foundation and in the context of the project “bauhaus lab” by the EU culture program.

For more information please on the festival and the participating artists and programming follow this link (official project website offline).

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In 2005 Jan Brueggemeier was the curator of the “Utopiebaustelle”.

The “Utopiebaustelle” utopia construction site, a temporary building on the Theaterplatz in Weimar, acted as a contemporary art and theory platform for the Cops&Robbers festival from 09.05.2005 to 11.06.2006.

200 years after the death of the poet Friedrich Schiller, the Cops & Robbers festival aimed to find a contemporary approach to his classical works in a dialogue between young artists and theoreticians.

“Cops&Robbers” is the name of the childhood game which represents the situation in the adult world and also contains a reference to three decisive works by Schiller: the infamous “Die Räuber” (The Robbers) (1779/80), the famous “Über die ästhetische Erziehung des Menschen in einer Reihe von Briefen” (On the Aesthetic Education of Man in a series of Letters) (1793/94) and the widely unknown fragment of a drama “Die Polizey” (The Police) (ca. 1799-1804).

Two excerpts from the programming:

.# 01 Utopia Reversed

Disappointed by the French Revolution, Friedrich Schiller turned to the aesthetic, hoping to find a better world through aesthetic education. Matteo Pasquinelli, a media theoretician from Bologna, will transport the question of utopia and how it can be approached into the 21st century. Under the title of “Neurospace”, he described where art, critical reflection and responsible behaviour start. Serpica Naro, for example, will report from her medial activist coup at the Milan Fashion Show this year. André Gattolin from the “Liberation” French daily paper will present a French collective called “AntiPub”, which looks into the dominance of advertising in public spaces. Andrea Natella and Sara Massaccesi from Rome will offer an introduction to the modus operandi of “guerilla marketing”. Paolo Pedercini, a computer game developer from Milan, will present his work “molleindustra” which has already been described as a “political computer game” by the BBC.

Thursday, May 26, 20-22h

Introduction and presentations with Matteo Pasquinelli, Bologna/London: An Assault on Neurospace: New forms of art and activism hitting the global mind; Paolo Pedercini, Milan: Molle Industria: Gaming as a new radical language; André Gattolin & Robert Johnson, Paris: The Antipub movement: From underground to “no ground”

Friday, May 27, 20-22h

Presentations and final debate with: Alex Foti, Milan: San Precario: The Italian icon of flexible revolt; Zoe Romano, Milan: Serpica Naro: Subvertising the fashion industry; Alex Foti + Zoe Romano: May Day 005: Euroradicals fighting precarization across Neuropa: Sara Massaccesi, Rome: Guerriglia Marketing: brand economy encounters social conflict

# 02 Blaulicht by Cornelia Erdmann / inauguration Construction Site Utopia

Cornelia Erdmann’s “Blaulicht” installation created an unmissable publicity action, attention grabber and landmark for the opening and all other police festival events. The container castle was transformed into a real utopia construction site scenario: covered with hundreds of blue lamps, the festival head-quarters pulsed in a flickering blue glow like Las Vegas. The rotating lights in police style can be found on every construction site.

website: (offline)

The Utopia Construction Site was financed by the government appointed representative for culture and media.

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street in plagwitz, 2004

Starting point for the neture – series was Jan Hendrik Brueggemeier’s MfA (German university diploma) project at the chair for Experimental Radio at the Bauhaus University in Weimar (2004) called: nEture

nEture was an artistic study of media and architectural interventions in urban planning using the example of Leipzig-Plagwitz in Germany.

Intention was to initiate media practices in a neighbourhood context in times of shrinking common public life in a city. It aimed to demonstrate that this differs from the usual approach taken by local authorities wishing to improve the image of the city without heeding to the need for a vital communication, which is itself crucial if sustainable development is to be achieved.

The nEture catalogue is the documentation of the diploma project and contains a radio feature (89’50”) including interviews with artists, architects and theorists like

as well as sound design from Jan Hendrik Brueggemeier and pingfm.

nEture has been presented at the Westend-Festival in Leipzig 2005.

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The Electronic Picnic Performance was the final presentation (“Verteidigung”) of Jan’s final year project nEture at the Bauhaus University Weimar with guests and  diploma jury. Located as a vacant factory hall in Plagwitz Leipzig.

Jan Hendrik Brueggemeier’s diploma mentors:

  • Tetsuo Kogawa, Media Experiments, Tokyo Keizai University
  • Ralf Homann, Experimental Radio, Bauhaus University Weimar
  • Christine Hill, Trend and Public Appearance, Bauhaus University Weimar and
  • Ute Holl, History and Theory of Artificial Worlds, Bauhaus University Weimar

Please see for further reference:
the nEture catalogue
– or listen to the English radio documentary: [audio:,,,,,,,,,,,|artist= Jan Hendrik Brueggemeier – nEture Radio 2004]

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(daniel guischard)

The topic of nEture was centered on the theme of ‘neture’. ‘neture’ as a term is made up of the two words: the ‘net’ and ‘nature’.

‘neture’ describes a field that opens between media-spaces like Internet and electronic media and those of the physical tangible world of our existence. Departing from the fact that it is our bodylyness (‘Leiblichkeit’) which relates us to our ‘Lebenswelt’ as Maurice Merleau-Ponty proposes in his idea of chiasm (intertwining).

In its first phase the term turned out to be particularly useful in connection with urban planning in times of post-industrialized cities working with communication-media resp. radio as concrete tool of architectural and urban planning. Intention was to initiate media practices in a neighbourhood context in times of shrinking common public life in a city.

It aimed to demonstrate that this differs from the usual approach taken by local authorities wishing to improve the image of the city without heeding the need for a vital communication, itself crucial if sustainable development is to be achieved.

Please see as well the Electronic Picnic performance.

Listen to the complete programme here!


001 Intro
002 Leipzig
003 the beginning or from niche to niche
004 n E t u r e – here we go
005 from blossoming countryside to shrinking population
006 what does home mean today: how short is the history of homesickness
007 how did you get into radio?
008 the public living room
009 Micro-Radio instead Business Innovation Center!
010 the end of mini-fm / the suburbanisation of the public sphere
011 n E t u r e  is a study, which is conscious that its methods change the observe object
012 Outro
013 Imprint

001 Intro

TV-SPOT IN (nEture-Spot #1)

TV-Spot Announcer 01:  n E t u r e presents Merge and Marge:

TV-Spot Announcer 02: How do you do? May we come in? May I present You Merge …

Merge: How do you do?

TV-Spot Announcer 02:    and Marge.

Marge: How do you do? …

TV-Spot Announcer 02: We come to see you for just a moment to let you hear Merge and Marge in action. May we use your home for a studio? Thank You. The Microphone please!

T03K: We are disconnected. … not, we didn’t get disconnected, right, but Web got disconnected. …

MUSIC IN (pingfm, sundaynights show, Track #01)

jan_ping: Welcome to pingfm now on fm-radio in Weimar, Germany, on studio B11, the Experimental Radio of Bauhaus University Weimar and at the same time we are on DFM rtv International. DFM rtv International is a webcast-station from Amsterdam. …

MUSIC ON (T03K @ pip Weimar, 2001, Track #01)

… pingfm is live audio/video webcast. Webcast is livetransmission of audio and video via the Internet.

MUSIC ON (NetRadio Home Run @ pip Weimar, 2001, Track #01)

Tetsuo Kogawa: This Tokyo, this is Tokyo. Voice is from Tokyo. Music is from Warabi …

jan_ping: … ah, I see …

MUSIC IN (T03K @ pip Weimar, 2001, Track #01)

SPEAKER 1: Audio-documentation of Jan Brueggemeier’s master project: n E t u r e at Bauhaus University Weimar 2004.

MUSIC IN (T03K @ pip Weimar, 2001, Track #01)

SPEAKER 1:  n E t u r e – made up of the two terms: net and nature.

MUSIC IN (pingfm @ pip Weimar, 2001, Track #01)
SOUNDSCAPE ON (City of Leipzig, Plagwitz)

Jan Brueggemeier: Where exactly are we?

Daniel Guischard: We are sitting down at the bend in the canal at Plagwitz*, Leipzig, on the roof of the former `people owned’ earth-tilling toolworks factory. JB:    And what we see here is a “shrinking city”?

DG: Plagwitz is a quarter of Leipzig, and one could describe Leipzig as a “shrinking city”*

*Wolfgang Kil in his essay ,,Lauter Leuchttuerme, Perforationslandschaften Leipzig-Plagwitz” is describing vividly the current developments since 2000 of the city-quarter Plagwitz around the so-called `Jahrtausendfeld’, where in close neighbourhood the former people-owned earth-tilling toolworks factory is located at. This essay has been published in the context of the print-on-demand `Shrinking Cities Working Papers (Halle/Leipzig)’ at

SOUNDSCAPE IN (City of Leipzig, Plagwitz)
MUSIC IN (pingfm @ pip Weimar, 2001, Track #02)

002 Leipzig

SOUNDSCAPE IN (car-cruising, Leipzig)

SPEAKER 1: Leipzig, with just over 500,000 inhabitants is a large city comparable with Bremen – the city where I grew up. Because of its layout, Leipzig always seemed to me to be a bit more urban and riotous than Bremen. But one cannot overlook that in Leipzig there is more than the proverbial ravages of time at work. …

SOUNDSCAPE IN (slamming windows of vacant buildings, Leipzig)

… The region Halle-Leipzig has at present an unemployment rate of over 20%. Like most East-German cities, Leipzig is marked by empty row-houses, gentrification, and industrial parks stranded and broken in the new system. In the first half of the 1990s internal emigration to the “old federated States” (West Germany) was the cause of this. In the second half of the 1990s suburbanisation took place* In contemporary discourse of urban planning this phenomenon is given the name of “shrinking cities”. This is a phenomenon, which can be observed elsewhere in cities such as Manchester or Detroit which can well be considered to be relevant in the debate regarding “shrinking cities”.*

*Guenter Herferts essay “Disurbanisierung und Reurbanisierung ­ polarisierte Raumentwicklung in der ostdeutschen Schrumpfungslandschaft” gives a detailed overview on the different economic and social reasons for peoples moving behaviour in East-Germany from the 1990s till today. Being aware of an already started `shrinking’ of the suburban areas as well caused by high expenditures in infrastructure, transport and a drastic devaluation of the premises Herfert is engaged asking to stop current policy to fund the new establishment of condominium houses and instead of to firmly proclaim the city as future host for stabile living-conditions. This essay has been published in the context of the print-on-demand `Shrinking Cities Working Papers (Halle/Leipzig)’ at and therefore a contribution to the general discussion to open the peoples access to such idled spaces.

003 the beginning – or from niche to niche

MUSIC IN (drum-fill in)

SPEAKER 1: My first meaningful intensive struggle with this theme was in the summer of 2003, as I worked on an application for a project with Johannes Sienknecht. In this framework “n e t u r e” popped up for the first time as a project title. Then it was written with a lower case “e”. “n e t u r e” was proposed as a project with the wish to abandon the trusted studio of the internet work place and to find places which could give a physical counterweight to the medium. Here is a brief sample from our application:

MUSIC IN (Crash-Cymbal-FX, pingfm: pingeniune 01, #01)

SPEAKER 2: “n e t u r e” wants to focus on the impulses and possible conceptual or aesthetic transfers of the mediafied spheres and physical spaces with a similar structure, and to document such processes. Where can one find the unused capacities in mediafied and physical spaces that allow “neture” to grow exuberantly and freely? Can one compare, e.g., redundantly laid telecommunication-cabling which private-persons can hire from telecoms for a cheaper rate to abandoned and vacant post-socialist tower-blocks in East-Germany, Hungary or post-industrial relics in Sheffield, UK?
The focus and crux of the subject matter of “neture” are spaces with communication-potentials, which are forgotten or no longer used, and spaces where less relevant conventional references exist (or are in the process of vanishing) between the place itself and its culture and history. “neture” uses this void, grows within it and creates dynamic presence in it with methods of art, communication and documentation. “neture” uses free space, communicates out of necessity, cooperates out of love, creates from passion, manifests from coincidence.”
quoted: Brueggemeier, Sienknecht; application, “neture”, Sommer 2003

SPEAKER 1: Unfortunately, the application was not favoured with a positive decision. However, it was a decisive thrust in the direction of my Diploma-Project “n E t u r e” -this time with a capital ‘E’ as second letter.

MUSIC IN (pingfm: pingenuine 01, #01)

004 n E t u r e : here we go

MUSIC IN (pingfm, pingeniune 01 #02)

SPEAKER 1: n E t u r e – now with a capital ,E’, is concerned with ­ tentatively, in one sentence, – to contain and contribute to our understanding of “house” and its demands – both the home as exile as well as banishment to the home. It should intervene in a region such as Halle-Leipzig through the means of architecture and radio. For n E t u r e this region offers a definite potential as well as basic conditions which appear to be favorable. From an aesthetic perspective, this scenario presents at the same time the impression of a certain breadth and anonymity and as well as adaptive capacity to socio-economic niches. This is a state which is quite often associated with new media such as the internet and phenomena such as net-radio and which can bring them together. …

SPEAKER 1 SOLO FROM “gaps of the residential market” ON
MUSIC IN (pingfm: sundaynights, #02) “released of their original …”

… The large stock of idle residential and industrial spaces as well as – after complete demolition – entirely unbuilt surfaces generates niches which were left to fall into the gaps of the depressed residential market and released of their original requirements for use. …

MUSIC BREAK (pingfm: sundaynights, #03) ON “A short look”

… A short look into the current tendencies on `the net’* brings forward that an equal but opposite reaction has happened to the internet coming from a background of an academic niche the net evolved to its today popular state of being a market of its own and tool at the same time.*
An instructive insight in the ongoing developments of the Internet offers Geert Lovink in the capter “Towards a political Economy” of his book “Dark Fiber”.

MUSIC BREAK (pingfm: sundaynights, #04) ON “Nowadays”

… Nowadays, some net-activists are already calling for some kind of political economy and a social contract to preserve the net’s `niched’ approach and its accompanied praxis of cultivation of such free-spaces with activist, artistic or educational-projects off to the side in the shadow of commercial entrepreneurship. We will have to wait and see if a similar popularity will be re-gained by former people-owned factories. Still a rather unrealistic forecast although new media hold the capacity to condition “urbanity” no longer on a spatial position between us but rather through proximity of structural networks around us. …

MUSIC BREAK (pingfm: pingenuine 01, #03) ON “For n E t u r e”

… For  n E t u r e  this abundance of new spaces, the use of which is as yet undetermined according to conventional urban planning, enables us to reflect and rethink space. Thereby areas in our dwellings that we now naturally completely associate with each other, can be pulled apart and consciously noticed. n E t u r e is particularly interested in the hierarchies of rooms in connection with their communicative capacities from the private to the public in order to let radio and architecture interpenetrate each other.

MUSIC IN (pingfm: pingeniune 01, #03)

SPEAKER 1: Proceeding from the structural similarities that I have observed regarding the “shrinking cities” and free media, I would like to extensively expose this phenomenon from the perspective of the free media discourse of the last thirty years. To do so, I would like to invoke the practice of free radios such as Radio Alice in Bologna, Italy in the 1970s, the progressive network “” existing in today’s Berlusconi dominated media landscape in Italy, as well as the Micro-Radio movement of the 80’s in Japan and examples of the free radio scene of Amsterdam from the 80’s to today. I regard these examples as comparable because they are variants of radio practices in the broader senses, which create in their media niches individual spaces for which their part resituates and recenters the usual conceptions of media. In their individual reflections they offer informative insights into the methods of praxis which allow making use of such self-determined free spaces. In the coming minutes Franco Beradi from Bologna, an initial member of Radio Alice and will express his opinions on this subject.

Franco Berardi: My name is Franco Berardi. People call me ‘Bifo’. I don’t know why. I have been writing some books about communication, power and movements. The last book I’ve published is “The Sage, the Merchant, the Warrior”, which is about the emergence of the `kognitariat’.”

SPEAKER 1: Tetsuo Kogawa, Tokyo, performance-artist and Professor for Communication Studies at the Tokyo Keizai University. Tetsuo Kogawa was one of the initiators of the Micro-Radio movement in Japan.

Tetsuo Kogawa: My name is Tetsuo Kogawa, I live in Tokyo.

SPEAKER 1: T03K, ulti-media-Performer from Amsterdam, one of the driving forces of the Webcast-Station DFM radio television International and of the free Radio, Radio 100.

T03K: Are you recording?

Jan Brueggemeier: Yes, I am.

T03K: Does my voice sound white?

JB: Yes, it sounds quite white.

T03K: Ok.

SPEAKER 1: Daniel Guischard will take the microphone to present an architectonic look into the idled free spaces in regions such as Halle-Leipzig. He is seeking to be an architect and ideas man in the internationally advertized competition for ideas about “shrinking cities”.
Daniel Guischard: I am Daniel, what else do you want to know?
Jan Brueggemeier: Simply say your full name and that you have earned your diploma in architecture at the Bauhaus University.

DG: (laughs) My name is Daniel Guischard, I have just earned my diploma at the Bauhaus University and in my spare time study art, which really makes me happy.

MUSIC IN (pingfm: pingeniune 01, #04)

005 from blossoming countryside to shrinking popluation

MUSIC IN (reversed piano FX and pingfm: pingeniune 01, #06)

SPEAKER 2: “Faced with the disappearance of home worlds we can react with two possible escape routes, which can also be registered in a city such as Leipzig: On the one hand there is the flight forward, which makes us inhabitants… of a Cosmo-polis. There we are at least certain that we are everywhere in the world at home, even if it does not always feel like it. The other path is the demarcation against the foreigner, which awakens the memory of the supposed homeland and expresses itself via the visible relationship of the home of one’s own in the suburb (Oikos). Do not the coverings and forms of our habitats develop into one (new?) hetereogeneity instead of degenerating into the strategies of homogenization? What then remains of our sovereignty over the inner and outer, of our own mastered, mastering, enticing, releasing and provoking, etc.? … The way in which we choose from our possibilities, in the end, is estimated by those things that the situation in which we find ourselves teaches us. The appropriation of the area is also obligated, in the broadest sense, in equal measure to the opposition of circuitous straying and being rooted. There is a missing differentiation which overruns the consciousness on the spot in the tension between Cosmopolis and Oikos.”
quot.: Brueggemeier, Guischard; application, “n E t u r e”, Shrinking Cities- Ideas Competition 2004

MUSIC IN (pingfm: pingeniune 01, #06)

Jan Brueggemeier: Do you think that that is a new phenomenon?

Daniel Guischard: That is absolutely no new phenomenon. I think that the story is already quite dated. Thus I also find the concept of the shrinking city to be difficult. … The city has always lived from conflicts of interests. That is the definition of the city. There have always been folks who have tried to treat this differentiation of rights and needs of the known and unknown in a more sensible manner and others who quite often invoke the known and wall themselves off from the unknown in a very unreflective or harsh way.

SPEAKER 1: Such conceptualisation of the `shrinking city’ is not to be understood entirely un-problematically and has to be seen in a more figurative way understanding, because things as a city, communication or education as conception or idea do not shrink. In real terms it is for example the number of inhabitants or the shrinking of intended financial expenditures.

MUSIC IN (pingfm, pingeniune 01, #06)

006 What does ‘home’ mean today or: How short is the history of homesickness?

SOUNDSCAPE IN (radio-listening in the kitchen, TV-zapping)

SPEAKER 1: Back to our conception of the home in the homeland or `heimat’ and home in exile or homelessness. Many contemporary commentators followed Martin Heidegger’s famous dictum that homelessness will become the fate of the world.* With respect to this dicourse determined by Heidegger’s dictum the communication-theorist David Morley in his book “Home Territories: Media, mobility and identity” adds the question from the ethnologist Orvar Loefgren’s.

SPEAKER 2: “How short is the history of homesickness?”

SPEAKER 1: David Morley writes:

SPEAKER 2: “Loefgren’s argument is that, in earlier times, people were often less home-centered than we are now, and could feel sufficiently at home on a more pragmatic basis, as they passed through a variety of spaces, as “life flowed through the house … [which] was not yet the special place of beginning and endings that we imagine it to be”. Contemporaneously the question of who can (literally) afford what degree of sentimentality in their idea of home may vary with social, cultural and economic circumstances: as a Turkish migrant worker interviewed in Germany put it, “Home is wherever you have a job.””
quot.: David Morley, “Home Territories – Media, mobility and identity” Routeledge, London and New York, 2000, p.44

SPEAKER 1: It’s informative to see how that again correlates to a notion of heimat in Germany
until the 19th Century. According to Meyers encyclopaedia published 1906 in Leipzig, heimat was seen more related to law than to a certain territory or ancestry. The definition of heimat that evolved in the 16th Century was rather meant to assure one’s right for pittance within a district than to describe a specific place or community. This first came in the 19th Century and found its ultimate climax in the conception of home and heimat following the blood and land-ideology of the 3rd Reich.

FADE INTO MUSIC (pingfm: pingeniune 01, #05)

*Date: Mon, 3 May 2004 06:50:16 +0900,
From: tetsuo kogawa <tetsuo(at)goethe)dot)jp>,
To:, Subject: Re: n E t u r e/competition :

“Martin Heidegger started with sharing his nostalgia for Heimat with the contemporary right-wing culture. His worship of Hoelderlin is not shallow but had some smell of reactionary tendency that intended to get back to the “real” (“bodenstaendig”) Heimat again, too. However, it was his greatness that he, after his “Kehre”, accomplished to de construct his whole process of thinking from the perspective of his extraordinary re-capturing of technology. In 1946, he wrote, “Die Heimatlosigkeit wird ein Weltschicksal. Darum ist es noetig, dieses Geschick seinesgeschichtlich zu denken. Was Marx in einem wesentlichen und bedeutenden Sinne von Hegel her als die Entfremdung des Menschen erkannt hat, reicht mit seinen Wurzeln in die Heimatlosigkeit des neuzeitlichen Menschen zurueck.” (Ueber den Humanismus) … If the Heimatlosigkeit is wesentlich, the point should not be whether it may be possible to get back the Heimat again or not.”

Jan Brueggemeier: What does homelessness or “heimatlosigkeit” mean for you?

Daniel Guischard: I have learned that “heimatlosigkeit” is a very difficult concept because the concept of “heimat” is also complicated. … I would describe it rather as a life in exile. I find homelessness or “heimatlosigkeit” interesting when the home is also at the same time an exile. It is a tense moment when one abandons the position in which one thinks one knows everything quite exactly well, where one is conscious of the conditions which are fluttering about somewhere in the wind. When one rips out threads here and can stretch new threads there and is conscious that in principle one apparently always has “heimaten” respectively, if I may now simply take that concept – I think that one must then be allowed to use it quite unhindered. …

JB: … it is also enthralling when you speak of “heimaten” as plural respectively – as opposed to “the homeland” or “ur-heimat” …

DG: ur-heimat?

JB: … or the absolute truth. Pardon, I meant homeland. …

DG: … and truth. The one true homeland. Recently someone photographed his one true homeland: the belly of his mother. The idea is that one`s homeland or “ur-heimat” clearly has a lot to do with the place where one comes from. I would use the term there. Otherwise homes are all these places in which networks appear. The way these networks function is left up to everyone. What always interests me… are basic bodily needs. It is there that networks stretch themselves out at a place in which one can carry out constructive conflicts with oneself and others.

MUSIC IN (pingfm: pingeniune 01, #05)

JB: When and how did you reach this critical debate about houses, quarters in such recently termed “shrinking cities”?

DG: There was already – before my studies in architecture – a fascination for the materiality of buildings and spaces. What has always fascinated me is the transition when the city, occupied in so many places by certain behaviour patterns and demands of and on the users, steps into the background leaving us, or me, the liberty to move about in a spatial context that is still added to the city, yet at the same time is separate and released from that context, not necessarily seeking, but certainly finding, new definitions and thereby bringing new qualities to the city. … In the architectural re-formulation of space it seems to be that one must reflect very elementarily about ones own needs. Purely physical, human needs, which concern the laundry, or the watering point, the quiet space or resting space not only for the body but also storage space for things. Perhaps one does not need that at all – or perhaps one needs it very much in order to store thoughts and things. One can, through pulling apart spaces which we today associate in our homes, quite naturally become more conscious in our perception of these associations with the image of living-space. Thereby one can also produce this openness of conflict without needing to wall oneself off out of amour propre against difference, conflicts or stress situations. I think, however, that is also a matter of habituation through exercise.

MUSIC IN (pingfm: pingeniune 01, #05)
FADE IN (pingfm: remix #01 “Requiem for Baghdad”, Tetsuo Kogawa)

007 How did you get into radio?

SOUNDSCAPE IN (radio zapping FX)

SPEAKER 2: “A city such as Leipzig in a region such as Halle-Leipzig signifies a chance to notice a space comparable to the structure which we perceive in the new media. Only here [in the city] people live along with their concrete lives and attendant necessities.”
quot.: Brueggemeier, Guischard; application, “nEture”, Shrinking Cities-Idea Competition 2004

SPEAKER 1: These ‘individual concrete requirements of life’ are also the deciding motivation for a movement of free media and self-appropriation of media.“

SOUNDSCAPE IN (pingfm: remix #02 “Requiem for Bagdag”, Tetsuo Kogawa)

Jan Brueggemeier: How and when did you get involved in radio?

Tetsuo Kogawa: When we started the radio-movement in the end of seventies and early eighties I think the obvious type of political movements were almost over. The high tide of the student-movement was in the late sixties and of the anti-nuclear war movement in the early eighties. As late as late seventies people got more interested in economics. Young students especially felt some isolation. I myself had to think about another type of politics and political situations: that are micro-politics. … From the late seventies till the eighties I lived in New York City. At that time New York City had a big transition of mass-medium. There were also a lot of media-experiments. During my stay I naturally have been influenced by such trends. When I was in New York a friend of mine let me know about the new happenings in Italy. That has been free radio.

SOUNDSCAPE IN (pingfm: remix #02 “Requiem for Bagdag”, Tetsuo Kogawa)

Franco Berardi: In the seventies, sixties and fifties in Italy, Germany and everywhere else in Europe the media-scape was dominated by state owned monopoly. Only the state could broadcast TV and radio and was able to produce the collective knowledge and information. At the beginning of the seventies something began to change. Especially the social movements produced by the 68-wave were creating a new social participation. At the same time the technologies were changing and becoming cheaper. So more and more people were able to produce radio- or videotape communication. In Italy in the seventies, in ’75 and `76 the law changed. The constitutional court decided that the state owned monopoly was unconstitutional. So we could start many radio-stations all over Italy. In Bologna we created Radio Alice against the state owned monopoly but also against the dominant politics of the moment, which has been the historical compromise in an alliance of the Communist Party and the Christian Democratic Party. In a sense, Radio Alice represented a political minority, just little part of the political world, but a social majority, because the movement of the unemployed and the students had been becoming large.”

SOUNDSCAPE IN (pingfm: remix #03 “Requiem for Bagdag”, Tetsuo Kogawa)

T03K: I started in 1978 with punk-bands. The first thing we experienced was that the media was not enthusiastic about us getting on the radio and on TV. In fact we found a lot of resistance. Even if we would arrange things, they would keep us out. Experience showed us that there was no media for people like us. So we started to organise things ourselves like festivals, helped other bands. … People started to do lots of things for themselves and by themselves, small-scale stuff. That was a development, which came from punk, which was really good. At a certain point that was in 1982 … there were radio- things going on in Amsterdam that came from the squatter-movement in those days. The first free radios, they were broadcasting from occupied squats, where the police were kept outside, barricaded. It was a war-like situation. In those days they put a transmitter in the house. The people could listen to the radio until the last moment the police trashed the transmitter. (laughing)
The squatting-movement was a bit radical and the radio was very political, but after a while there were also much more relaxed times. There were no needs for political fighting. In those relaxed times people said, hey, we still have the transmitter here, why don’t we switch it on and have some fun. Let’s play some reggae, let’s play some punk. On that moment they switched on the transmitter for no politically activist broadcast, but just for fun. In fact that is the moment when the real free radio came in. The squatter-radio still exists, they still are much focussed on squatting and politics. When for us on that moment the real open free radio started, because everybody could make radio in a way. We made it all ourselves the radio, the studio. … We built a world for our own in that sense. That’s good. It still exists and had its impact on the society here after all these years and we can do many more things then twenty years ago.

SOUNDSCAPE IN (pingfm: remix #03 “Requiem for Bagdag”, Tetsuo Kogawa)

Jan Brueggemeier: You once said to me that radios like Radio 100 are free, because nobody is listening to it. … Who is nobody?

T03K: Nobody listens to us, that would be then all the nobodies. I am a “nobody”. There are many nobodies. Many nobodies are listening to this very broadcast on this moment. We are getting together at this moment, that’s the point. For the media, the music-industry we are nobody. We are the nobodies and we are listening to each other. I am listening to my friends and artists and I know the people, the artists. We have personal relations. As I said we make our own networks for performances, installations. We travel, we meet, we organise congresses. We have a lot of stuff going on not even parallel of the established media. We are totally on our own way and that are the nobodies (laughing).
Nobody listens to us, because all the big-shots, everybody who is somebody, they don’t listen to us, but this is also that attitude to get reactions, to be a little bit upfront. I am proud to be a “nobody”. … That are some statements, because if you put up a transmitter, there will be somebody listening. This can be one, two or five or a few hundreds people. It was meant pushy, punchy to get some reactions. It was a bit the challenge to see people come up saying, no, no I was listening to You.

SOUNDSCAPE IN (pingfm: remix #03 “Requiem for Bagdag”, Tetsuo Kogawa)
FADE INTO MUSIC (pingfm: sundaynights #05)

008 the public living room

MUSIC IN (turning-on radio FX and pingfm: sundaynights #06)

SPEAKER 2: “Each city is a shrinking city with regard to the acceptance of openness in the sense of impersonal communication structures and practices. A general tendency to privatisation underlies urban communication here as elsewhere whereby extremely sharp borders between private and public spheres and practices appear. That is a tendency that is essentially carried through the media. [Thus my mobile telephone transforms the subway into a super-private area and the web-cam transforms my bedroom into something somewhat more public.] Only `public’ here no longer defines itself as open to attack or discourse. Information is the exchange of facts and not choppiness in the sense of a public in the historical understanding of the city. The individual hides itself in the extensiveness of the transported globally traded flood of information.”
quot.: Brueggemeier, Guischard; application, ,, n E t u r e”, Shrinking Cities- Ideas Competition 2004

Jan Brueggemeier: What is for you a link between radio and something like a collective production of desire?”

Franco Berardi: Radio is a fragment of the public space. It is a tool for production of the public space. It is a subject of the collective enunciation. The public space is the product, the effect of enunciation. Desire is a process of communication. Desire means creations of a constellation of bodies and language. This is desire. The etymology of the word desire comes from the Greek word for stars. Desire is the search of a harmonic constellation of bodies and language. Of course radio is a privileged tool for creating constellations of people

MUSIC IN (pingfm: sundaynights #06)

SPEAKER 1: In the understanding of the mass media the individual is then being picked up from their own living room at home, in order to be re-collectivized in the imaginary. In the sense that is being today suggested in the conception of a name like `Central German Broadcasting network’ and it’s self-entitling as “homeland transmitter”. The modern ethnologist Orvar Loefgren writes something similar about exemplified radio in the 40’s in Sweden:

SOUNDSCAPE IN (pingfm: remix #04 “Requiem for Bagdag”, Tetsuo Kogawa)

SPEAKER 2: ,,The radio turned the sitting room into a public room, the voices from the ether spoke from the capital and united us with our rulers, but also with all other radio listeners around the country.”
quot.: David Morley, “Home Territories – Media, mobility and identity”, Routeledge, London and New York, 2000, p. 107

MUSIC IN (pingfm: sundaynights #07)

SPEAKER 1: Against these standardizing imaginations, which are still given attention in today’s mass media, there was, interestingly enough at that time, when the radio receivers were still rare and the audience would gather together for communal radio sessions, a tradition of municipal regulations which required the roads to be lit up longer so that the radio listeners returning home from their popular radio transmissions did not have to go home in darkness. …

MUSIC IN (pingfm: sundaynights #08)

… As the contemporary wittness Mary Lee McCrackan is remembering her festive radio-experiences in the 1920s in Ray Barfields “Listening to Radio, from 1920 till 1950”:

SPEAKER 2: “… The select few who had these first radio receiver sets entertained the whole town. We had a large discarded church bench in our backyard that has moved to the porch of a neighbour who had a radio. All the spare chairs available throughout the neighbourhood were collected. We would gather there in the evening to listen to all music and talk beamed to us from Pittsburgh. The station went off the air at 11 p.m., which was the same time our street lights were extinguished. This soon changed to 11:15 p.m. to ensure our safe transit home.”
quot.: Ray Barfield, “Listening to radio, 1920 ­ 1950”, Praeger, Westport, Connecticut, London, p. 4.

MUSIC IN (pingfm: sundaynights #09)

SPEAKER 1: This was a situation which again corresponds to the understanding of “public” – in terms of the “public sitting room” – in the sense of the Micro-Radio movement of the 80s in Japan: To use radio to begin to bring people together or, as Tetsuo Kogawa formulates: “to create `Leiblichkeit'” (bodilyness), a phrase, which suggests a connection close to the phenomenlogy of Maurice Merleau-Ponty.

FADE INTO SOUNDSCAPE (pingfm: remix #06 “Requiem for Bagdag”, Tetsuo Kogawa)

Jan Brueggemeier: What is Your idea about micro?

Tetsuo Kogawa: This idea is closely related to the idiosyncratic situation of Japanese media policy at that time. When I came back from NYC, I was very much interested in opening an alternative radio-station in Japan. I found that this was totally difficult to do, because of very strict regulation and the surveillance-system was very sophisticated. If you opened up illegal radio-station, in maybe thirty minutes, you might be arrested. You know, it is difficult for ordinary people. At that time we – a friend of mine and I – were interested in alternative but regular type of radio-station to circulate alternative information to the public. We needed some range of service-area at least ten or five kilometre radius. In order to do so we needed at least a five or two watt-transmitter, but it is totally illegal. During my research I found the special item in law-book of airwave-regulation. It is about very weak airwaves. According to the law-book you can use very low-power transmission without license. I thought that this is it. Within this regulation there were mentioned quite a lot of tiny transmitters, which are available at toy-stores and electronic-shops. They are kind of toy for hobby to relay audio-signal in a room or other limited area, but when we had tested these machines connecting proper antennas to it. We supplied that it covers 200 up to 500 meters radius even if the output power of such devices is below 50 Milli-Watt. …

MUSIC IN (pingfm: sundaynights #08)

… We were convinced that we could use that for small radio-stations. We started to use this as a device for broadcasting – but it is not broadcasting, it is narrowcasting.

JB: What is Your concept of public especially in the context of micro-radio?

TK: In my idea `public’ is not one. I think the `public’ is very diverse. But the Japanese mass-media always tries to combine and integrate public into one public. We had a long history of this integrating policy. I think usually Japanese people have been considered as homogeneous and one-dimensional, but in my experience and also in our everyday communication, we are very familiar with more diverse aspects of communications. We wanted to respond to these aspects. There were strong needs for such a medium to cover these diverse desires and needs.

MUSIC IN (pingfm: sundaynights #10)

FB: Felix Guattari, in my knowledge, was the first one, who understood during the seventies that the history of human communication was changing in a radical way. What I mean that Felix saw that the growth of big corporations of communication was only one side of a process. The other side was the proliferation of little, microscopic tools of communication, groups of communication, subjects of collective enunciation. He understood that Radio Alice was a fragment of this process. He said that millions and millions Radio Alices are important. He was absolutely right with that. We have witnessed during the last thirty years and in the years of “indymedia” – the proliferation of little, microscopic subject of enunciation.”

T03K: If you are on street, people – even before the mobiles ­ didn’t really look at each other. If you are on the street you are on your own. You can not look at everything and everybody. It was already very private, you are really only yourself. You have to take care on the streets, you have to watch out. The mobile phone is a good escape from that, because people feel uncomfortable being just on the street, in the wild. The mobile connects them to their friends and to the home-base. That’s exactly what we are doing with the artists and when I travel the first thing I do is connect back to the base, to the group, to my friends. That gives you a good feeling. You can be where-ever you are in the world and be on your own, but you are not really alone, you have this link. It is indeed a kind of cyber link. … This I already said a long time ago that the ego, the person itself, became way more important. … Everybody became much more on their own, alone, isolated and at the same time networking became popular. This is very logical. The moment you feel alone, you want to network. (laughing) In the public space which you mentioned – that’s not really public space, I don’t think so. I think we are creating a new public space which is friendly and we feel good with it. If the radio gets pushed off the air then instead of going to fight for that specific place we just move to another medium and continue what we are doing. That’s the same with the street. If the street is not of us anymore and it is not nice on the street anymore, we just do our thing elsewhere. These are tendencies, which go through history. Cities change and there are generation of this and generations of that. If you look in ten years, things will be different again. The transitioning of our art, of our work to the  virtual, online to the digital world is not really safe, that’s what people finding out now too, with all these viruses … of 18 year-old German hacker.”

MUSIC IN (pingfm: sundaynights #10)

T03K: Let’s see if we get sound here! Connecting, buffering … 5, 4, 3, 2, 1!

MUSIC IN (T03K @ pip, Weimar 2001, #02)

T03K: Oops, buffering … (laughs) …

MUSIC IN (T03K on pip, Weimar 2001, #02)

T03K: This is Santana, one riff … the public is fake!

MUSIC IN (T03K on pip, Weimar 2001, #02)

T03K: ah, buffering! This is a very slow network …

MUSIC IN (NetRadio Home Run @ pip, Weimar 2001, #01)

Tetsuo Kogawa: This is Tokyo, this is Tokyo. Voice is from Tokyo, music is from Warabi …
jan_ping: … ah, I c ..

Tetsuo Kogawa: … by Kenji Mahaera. My name is Tetsuo Kogawa. Hello Weimar!?

jan_ping: Hello Tokyo …

MUSIC IN (Oima @ pauseandplay, Recife, Brazil, 2004, #01)

Magda Crace: This Oima broadcasting live from the UK. Popped-up greetings to all contributors to this evening, we are looking forward to working and collaborating with You and others again. Keep listening! Plenty of streams at, keep you busy 24/7. We love to hear from you in IRC-Net Channels #dfm and #pingfm.


009 Micro-Radio instead Business Innovation Center!

MUSIC IN (pingfm: sundaynights #11)

SPEAKER 2: “Micro-radio instead of business innovation centers! We do not want to cultivate any concept along the lines of the Olympic City of Leipzig, or the Innovation’s Park of Plagwitz, the Water or Johann Sebastian Bach City of Leipzig but rather to approach a dialog on the living world networks of people and places. One could have as a starting point a concept such as the home: Retaining its fundamental structure but resolving its excess baggage thereby. n E t u r e would like to investigate the swelling of social spaces between the Self and the Other in its manifestation in physical space. This swelling phenomenon describes thereby not only the existential orientation of human housing with the neighboring world as a space for processing the noises of the world into information ­ as many media theorists would like to see it, or “simply” the relationship to other persons ­ but also the phenomena of alterity with oneself. Borders draw themselves inward. Self-alienation is seen as an opportunity. …

MUSICBREAK (pingfm: sundaynights #11)

… Radio for us is a method for dialogue in order to actively define the social dimensions of our networks in the living world. What type of radio are we talking about here? Radio, through the non-directional adjustment of its addressing its auditors, represents one means by which the general tendency of communication to increasingly shift into private spheres occurs. Here it holds true that the media qualities of radio, its egalitarian anonymity and its lack of definite vectors, must be worked out in order to annihilate the imaginary worlds of a unified consciousness of transmission and structural hierarchies of sender-receiver relations that accompany the medium. The narrow reach of the signal invites one to even seek the place of transmission: Micro-Radio! Radio which personally and publicly flies beneath radar of the public’s general attention and therefore is more inviting and communally works instead of envisioning a fleeting ghost-like communication partner. …

MUSICBREAK (pingfm: sundaynights #12) ON “used in a customary …”

… The extent of individual radio activity could be seen as an alternative measures for public liveliness of a region which, used in a customary fashion to measure the appearance of movements of persons in the traditionally public spaces of streets and squares.”
quot.: Brueggemeier, Guischard; application, “n E t u r e”, Shrinking Cities-Idea Competition 2004

MUSIC IN (pingfm: sundaynights #12)

010 the end of mini-fm / the suburbanisation of the public sphere

SOUNDSCAPE IN (mobile-ringingtone FX #01)

SPEAKER 2: “Radio is the oldest of the new media and thus known to be trans-generational. Naturally, similar scenarios and communications structures could be realised through PDAs with wireless-LAN or satellite uplinks and GPS localisation, but that would be merely a much more cumbersome and expensive variant which moreover would impose a higher threshold of accessibility. …

FADE INTO MUSIC (pingfm: sundaynights #13)

… A form of radio, similar to that which we describe, has already been done in the 80s in Japan. There, transmeitter were used, which today could be built for 15 euros, were used which had a capacity of transmission comparable to garage door operated by remote controls and had an effective radius of 500 m. This was a zone of transmission which ensured a visit by the transmitter within a comfortable walking distance. This is a property which works against the protection of personal integrity through one`s own representation in the anonymous wide range of the new media (web-cam in the bedroom, mobile phone in the subway). Communication becomes, in the proper meaning of the word, dialogue, discourse and, through its immediacy of reactions, reflective. Radio instead of Business Innovation Center!”
quot.: Brueggemeier, Guischard; application, “n E t u r e”, Shrinking Cities-Idea Competition 2004

FADE INTO MUSIC (pingfm: sundaynights #13)

SPEAKER 1: The question in this day and age naturally arises whether the phenomenon of miniFM of the early 80s today is sufficiently compensated with mobiles and talkshows. Roger Silverstone speaks in this connection of a “suburbanization” of the public area. As he notes:

FADE INTO SOUNDSCAPE (mobile ringingtone FX #02)

SPEAKER 2: “Central to suburbanism is the impulses towards conflict-avoidance, which gives rise ,,to an anti-politics of withdrawal from the public sphere … of conformity, self-interest and
quot.: David Morley, “Home Territories – Media, mobility and identity”, Routeledge, London and New York, 2000, p. 129

FADE INTO MUSIC (pingfm: sundaynights #13)

SPEAKER 1: The “telestreet” movement in Italy would be a shining counter example to this trend. Perhaps a hope for comparable mini-FM activities would be found in Germany, if FM-radio became similarly obsolete due to a final successful introduction of digital systems, as the people-owned enterprises are today, and thus a publication in the sense of general opening would happen.

MUSIC IN (pingfm: sundaynights #13)
FADE INTO SOUNDSCAPE (Tetsuo Kogawa: “Requiem for Bagdad” on Radio Kinesonus, excerpt #01)

Jan Brueggemeier: Looking back to the late seventies/early eighties when there was a real boom of micro-radio stations in Japan, how does the situation nowadays look like?

Tetsuo Kogawa: Nowadays mini-FM is over because the social and cultural situation is different now. In the eighties people especially young people felt isolation but there is no medium to connect them with each other. Now there are various kind of new-media such as internet mostly email and mobiles. The needs at that time, I mean mini-FM, have been substituted by such new devices, but the function is different.

FADE INTO MUSIC (pingfm: sundaynights #14)

JB: But the anonymity of the city didn’t change?

TK: The physical situation of a city like Tokyo is not so different from the eighties. For people the physical condition of the cities is more isolated and intensified themselves their isolation function.

JB: In Your opinion people are more isolated although we live in a time of more and more communication means. You mentioned the situation in the subway and that more and more private customs are entering the public sphere, what do You think what is transformation about that is taking place?

TK: I am always optimistic to the future. The point is a new medium to combine and to relate to such new happenings and trends. It is a new type of expression that, for example, especially young people who put on their make-up in the car or people who use their mobile phones for their public conversation. These phenomenona implicit possibilities and potentials of new expression. …

FADE INTO SOUNDSCAPE (Tetsuo Kogawa: “Requiem for Bagdad” on Radio Kinesonus, excerpt #02)

… Look at the bikini-style. That kind of things used to be very private underwear. Nowadays it is a public fashion. I think commercial designers are now more interested in so called private phenomenon in public space. Usually progressive people are against the commercial side, against change of trends of commercial world, but I think even progressive people and radical and left-wing people could find new ideas in these areas.

JB: You mean to use the means for a different goal, but therefore one still need to have an imagination of a different goal. What are conditions to shape possible imaginations?

TK: I think you have a lot of interesting philosophers. They can provide the idea.

SOUNDSCAPE IN (Tetsuo Kogawa: “Requiem for Bagdag” on Radio Kinesonus, #02)
FADE INTO MUSIC (Radio Alice: “harmonici”)
FADE INTO RADIO-EXCERPT (Radio Alice: “beethovenseghe”)

Voice 1: (nervous, in the Background of 1977 insurrection and eviction of Radio Alice) Hand over a record, so we can at least hear some music. God damned God!

Voice 2: (answering phone) Alice!

Voice 1: The phone is riniging here continuously, continuously … Here we have Beethoven. If you like it, fine! If not, jack You one off!

TV-SPOT EXCERPT ON (Telestreet ,”Telefinale”)

Announcer 1: Listen to me! The Television is not the truth. It is a bloody freak-show! Rope-dancer, clowns, lion-tamer … We work in a circus, to kill boredom is our job.

Different Voices: This is an interruption, this is an interruption …

Different Voices: (choir) Create the conditions to end being just a passive receiver anymore!
Announcer 2:

(TV-moderator) Tonight I will shoot me in the head during the seven pm-news.

Voice 3: (female) Become an active subject of communication! Become an active subject of communication!


Jan Brueggemeier: Can you state over the last thirty years some transformations or changes regarding peoples relationship to media and medias relationship to the reality of the people and their notion of so called public-ness in terms of space, mentality or customs?

Franco Berardi: That’s a very difficult question, because first at all we must think about what has changed in technology. Communication-technology, the machines for broadcasting, for producing video, photography, print-media and radio have completely changed on an economic level. … Every group can become a media-producer, but at the same time the access to the media-scape has become narrower, more private dominated and more selective. It is a kind of feudalism of the media-scape we are experiencing nowadays. The emperor Murdoch and the king Berlusconi owning big regions of the global media-scape and millions of people who have the technical possibility of producing communication, but they have become dump, deaf, mute. They can not do anything. They can not speak with the people, they are living with. We are more and more powerful, but at the same time more and more impotent, silent and unable to communicate. The main contradiction to me is that ‘Oeffentlichkeit’ ­ as you call it in German ­ is less and less ‘offen’ and is more and more closed. You see it in the advertising, which is the production of the collective mind, but the collective mind is imagined, produced by a very narrow group of people. The openness, the public-ness of our age is a deeply contradictory one and we are acting in this contradiction. …

MUSIC IN (pingfm: sundaynights #15)

During the eighties and nineties I was convinced that our task is the creation of an autonomous sphere of desire, language and social production. Nowadays I am doubtful, if we can protect our temporary autonomous zones, our desire, if we are not able to stop fascism, to stop this new form of fascism, which is the connection of economic corporations and the machine of war.

MUSIC IN (pingfm: sundaynights #15)

JB: This leads us to the recent project, You are involved in: What is it about and what is again Your impulse for you to work for it?

FB: `Telestreet’ has been born in a condition, which recalls the situation of the seventies and sixties. … During the last five years since the election of mister Berlusconi in Italy a new kind of monopoly appeared, which is a private monopoly. … This economic group has become the owner of the entire Italian media-scape. Two years ago a group of people, many of them coming from the old experience of Radio Alice began thinking about, what we can do against such a monopoly. We decided to start a micro-TV in Bologna. Micro-TV ‘telestreet’ means the television can be received only by the people, who live in your neighbourhood, in your street. We started with that idea and many other groups in every city in Italy started micro-TV in their neighbourhood. We created a network of micro-TV-stations, which are connected via the internet and are producing broadcasts for their neighbour but also exchange and download programms produced by the other ‘telestreets’. We can say ‘telestreet’ is a new step in the direction of proliferation and is a new combat against monopoly, this time a corporate monopoly.

MUSIC IN (pingfm: sundaynights #15)
FADE INTO RADIO-EXCERPT (Radio Alice: “combat cossiga”)
FADE INTO MUSIC (DFM @ pip,Weimar 2001, #01)

T03K: Let’s try this one. This is a nice one.

MUSIC IN (T03K @ pip, Weimar 2001, #01)

T03K: This is congestion! Sorry! Come on, can I have it back!

MUSIC IN (T03K @ pip, Weimar 2001, #01)

T03K: We are not Djs, we are Mixers. Mixers are something else. A DJ plays one record and fades into next one and he leaves the broadcast, the thing to the records. When people like me, like the mixers, we have always more channels open at the same time. It is multi-layered and you adjust all these layers in volume, or with the balance of the sound, high, midst, low to let them fit all nicely together …

MUSIC IN (T03K @ pip, Weimar 2001, #01)

T03K: What are you feeling, what are you experiencing? We don’t know, but it is changing, because …


Jan Brueggemeier: Looking back to the beginning did your relation or approach to radio has changed or what has happened?

T03K: That’s a good question. In fact nothing changed over the years, except for my technical thinking about how to do it and what we can do. From the content, the feeling I still make the same work with radio as I did from the very first moment. It developed, evaluated into new forms, but the idea is still there, with I started with.

JB: What is this moment, which is still fascinating you?

T03K: That’s open, that’s interactive. That’s independent, free. Nice thing is that it’s ongoing. At a certain point we became 24 hours a day. The mix, the sound it never stopped anymore. We keep it up now for at least ten years, I think, we are just pumping continuously 24 hours a day our strange mix of sounds, music, soundscape, artists. It became an real ongoing process. We have some automation going on, but that’s all about live and free stuff. It is not that computers are taking over. We are still and we will stay the content. … It’s already a year ago Radio 100 went off the air, that’s already one year ago. …

MUSICBREAK (DFM @ pip, Weimar 2001, #02)

… They just started to send bills to people. Big fines, lots of euro and if you won’t pay that, then whenever you travel and cross the border, they look in their computer seeing that you have a big fine to pay. From that moment on, they put you in jail. Many people don’t like it anymore to run media or radio, when you have the possibility to go into jail. …

JB: Free radio has always been illegal and criminalised. …

T03K: Yes, but we are now also talking about the internet and broadcasting. I am talking only about broadcasting. If you can get your message out, then you are broadcasting. If you say, but I want it on FM on that frequency, then you are making conditions saying like it has to be like this. We just keep on broadcasting. We just go to another medium, to another frequency. For us it is more important that we can go on then that we try to find a form, which the other people, who don’t like us, are happy with. Come on, Jan, that’s ridiculous in a way, but that’s the niche, the margin. If you are small, if you are outside everything, if you are not in their way, if they don’t see you, if they don’t know you, this is an area, a free space, where you can work, where you can be without getting hassles, problems all the time. But that’s low, you only have small publics … It is all a bit shabby, it’s not luxurious (laughing), but I prefer that, I have rather preferred the pure thing. …

MUSIC IN (DFM @ pip, Weimar 2001, #02)

… I like the pure stuff and you can hear that in the music, in the choice of music and musicians we let play.

JB: I liked that statement that “we don’t care about primetime”, we work around it and say all you Djs always who want to be on primetime …

T03K: Yes, everybody wants to be on primetime and we just take all the rest. They can fight over the primetime and we take all the rest, which is about five, six times more than the primetime. So we were in the night indeed and in the morning. We could do our shows twelve hours long. We could extend it as long as we felt as we wanted to. If we felt good, we continued broadcasting. We were not limited to a program of one or two hours. We could go on and on.”

MUSIC IN (T03K @ pip, Weimar 2001, #01)

T03K: I had people calling in at the radio. They said, please don’t use the classical music …

MUSIC IN (T03K @ pip, Weimar 2001, #01)

011 nEture is a study which is conscious that its methods change the observed object

MUSIC IN (pingfm: sundaynights #16)

SPEAKER 2: “The intervention of n E t u r e takes place in several steps:
– Inhabitants locally become active mini FM users.
– Start-up of the internal mini FM narrowcasting within the private framework.
– The perception of the private as micro-public area should in its consequences be tested and can have as a consequence a prototypcical intervention in a dwelling structure.  Participants can be anyone – from the pensioner to the school child, from the housewife to the Banker Yuppie – due to the diffusion and degree of familiarity of radio. All that is required are 15 euros for the mini-FM transmitter, two hours of tinkering with guidance, a microphone, and a radio. Our role consists first and foremost in the organization of information meetings, workshops, and documentation, and then to lend a hand in feedback on the mini FM activities in global distribution forms in order to return to the image of the relevant region which is the external representation of the identity of the relevant region: guaranteed to be free of buzz-words, rough, but transient. The documentation will take place in photo, film and auditory media. Possible consequences for the human dwelling are derived from observation and documentation of the procedures in the architectural sense. The spaces, in which the networks of daily life of our everyman`s hero are played out, entail a new form of living and home-making. …

SOUNDSCAPE IN (City of Leipzig, #02) ON “For the time …”

… For the time of the transmission the door of the house will not be locked, some seats will be placed around the microphone and the recorded media (CD, record, cartridge, MD, etc..) will be at hand along with coffeecake, licorice and chips on the table (crunching chips!) – …

MUSIC IN (NetRadio Home Run @ pip, Weimar 2001, #01) ON “on with the show …”

… and on with the show: We have a visitor today. A new electronic model of the country kitchen of northern Germany, whoever in Frisia does not meet their host can just take a seat in the kitchen. Later there is tea and only after the third cup must one think about departure, while one continues to talk0 about their interests. ….

SOUNDSCAPE IN (pingfm: remix #06 “Requiem for Bagdad”, Tetsuo Kogawa) ON  “n E t u r e”

…. n E t u r e is a study which is conscious that its means change the object investigated. Radio is the first religion with no book in whose practice the usual carefully guarded bastions of individual self realization, which cripple us, become the field of work of the other socialized in unknown persons.”
quot.: Brueggemeier, Guischard; application, “n E t u r e”, Shrinking Cities-Idea Competition 2004

SOUNDSCAPE IN (pingfm: remix #06 “Requiem for Bagdad”, Tetsuo Kogawa)

012 Outro

FADE INTO TV-SPOT (nEture presents, #02)

Announcer 01: n E t u r e presents Merge and Marge:

Announcer 02: How do you do? May we come in? May I present Merge …

Merge: How do you do?

Announcer 02: and Marge.

Marge: How do you do?

Announcer 02: We come to see you for just a moment to let you hear Merge and Marge in action. May we use your home for a studio? Thank You. The Microphone please! Are you ready girls?

Merge and Marge: (choir) All ready!

Announcer 02: Let’s go! (door slams) … And so it goes with show-folks. They must forget personal worries and cares, when the call comes for a performance. Their creed: The show must go on. For further adventures of Merge and Marge tune in the “n E t u r e”-programm each evening except Saturday and Sunday on your nearest narrowcasting station! …

SOUNDSCAPE  (pingfm: remix #06 “Requiem for Bagdad”, Tetsuo Kogawa)



interviewees: Franco Berardi, Daniel Guischard, Tetsuo Kogawa, T03K
speaker: Angela Clinkscales
speaker: Howard Atkinson
duration: 89′ 50”
Jan Brueggemeier (concept, production)

Eric Ellen Engle, Dunja Funke, Sebastian Rallo (translation)
Daniel Guischard (layout, graphic design, application co-author),
Johannes Sienknecht (application co-author), Daniel Fischer (application co-author)

Ronald Hirte, Daniel Thompson (copy editors)

production-platform: pingfm

Lars Mai (pingfm, posting co-author), Sebastian Seidel (pingfm, posting co-author)

Kurd Alsleben, Matze Schmidt (third party)

Jan Brueggemeier (MG 990590)

Experimental Radio Bauhaus University Weimar
Diploma WS 2004/5
Tetsuo Kogawa, Ralf Homann, Ute Holl and Christine Hill (diploma / master board)

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radical connectors flyer

with the friendly support of the

Friedrich Ebert Foundation, Erfurt

stuko logo weimar
the student union, Bauhaus University Weimar

Or what means autonomy today? And how do protest movements (de)form in the 21st Century?

radical connector(s) 01 – a discourse and media-art festival in Weimar, Germany, from October 21st – 24th and October 28th – 31st 2004

worldwide telecommunication is permeating almost all facets of our daily life. the telecom-munications-multi sony ericsson revised its forecast of this year sold mobile-phones worldwide from 550 mill to 600 mill devices.

media let spatial borders between private and public become transient. one’s cellular turns the public space of the subway into a super-private realm while the web cam makes the sleeping-room somewhat public. with the ongoing transition of working routines in communicative situations the office and the factory are leaving their former abode – the factory hall.

the production mode is entering the common sphere of everyday communication. although communicative interconnectedness is constantly expanding the user tend to become more isolated. the mobile-phone and its direct addressability introduce a social practise that stresses more the personal than the impersonal relationships.

we receive a situation, where on one hand the technical capability of media-production has reached the consumer-level, but is used only in a private context. on the other side the active area of the general media public is left to a few corporations monopolising the global mediascape and are effectively forming public conception.

How do social and artistic movements face such situation, and what does it mean for political and artistic autonomy?

radical connector(s) 01 is meant as a survey on social and artistic movements of the last 30 years, which stand out through their very own and unique media-practises. current projects will be introduced, as well as exchange with local initiatives is wanted.

Outdoor screening sessions throughout the events

photo, out door screening session

photo, screening outdoors

video was projected from the boots of  cars

or vacant store windows

radical connector(s) 01 schedule

Thursday 21/10/2004

17:00 – 18:00 reception and overview an all planned activities
18:00 – 19:30 Christian Goerg (lecture): on new and newest social movements -transformations of political protests
20:00 – 22:00 Erick Arellana-Bautista (presentation /screening): multimedia-proletaria Bogota, Colombia

Friday 22/10/2004

16:00 – 17:00 Regina Bittner (lecture): between appropriation and disappropriation of public space in post-socialism
17:30 – 18:30 Mirijam Struppek (presentation): public space – interaction – digital media
19:00 – 20:00 Claudia Reiche (lecture): (De)information – on the Politics of Fictional Figures in Fictitious Times

Saturday 23/10/2004

14:00 – 15:00 Wolfgang Bock (lecture): social movements in transformation
15:30 – 16:30 Roger Behrens, testcard (lecture): pop and politics – a critical review
17:00 – 18:00 Lloyd Dunn (presentation): plagiarism thanks you for interacting
20:30 – 22:00 Franco Berardi, telestreet (lecture): what means autonomy today?
succeeding screening: Telestreet

Sunday 24/10/2004

12:00 -13:00 Matthias Niendorf, University Erfurt (lecture): TO All! – russia, the revolution und radio (1895-1945)
14:00 – 16:00 final-panel:
how do protest movements (de)form in the 21st Century?
17:00 – 18:00 Alexander Klosch, from tech to polis? – about community networking in current technologies

Part II:

Thursday 28/10/2004

16:00 – 17:00 Diana McCarty, (presentation): what means free media today? – an example: berlin
17:00 – 18:00 T03K,DFM rtv Int (presentation): free (new) media – Amsterdam Skool
18:00 – 19:00 Filmgruppe Chaos (presentation): underground, home movies, independent distribution
20:00 – 22:00 screening of Filmgruppe Chaos’ works

Friday 10/28/2004

10:00 – 20:00 preparation of outdoor intervention in public space
20:00 – 22:00 public screening

Saturday 10/30/2004

10:00 – 20:00 preparation of outdoor intervention in public space
20:00 – 22:00 public screening

Sunday 10/31/2004

10:00 – 18:00 preparation of outdoor intervention in public space
20:00 – 22:00 performance/outdoor screenings
22:00 – 23:00 final discussion
23:00 party


the conference took place at: Herderplatz 03 – 99423 Weimar  > radical connector(s) 01

It takes place in the context of the lecture series City & Protest organised by the alternative_lectures at the Bauhaus-University Weimar with friendly support of the Friedrich Ebert-Foundation (Thuringia), department of the political education of the student union of the Bauhaus-University Weimar, Theaterhaus Weimar e.V., the Experimental Radio-Department of Bauhaus-University Weimar, the media-platform “pingfm” and the cultural initiative “Salon K”.

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Together with the British painter Will Martyr and Jan Hendrik Brüggemeier have developed a series of temporary game courts in the public space. Commissioned for the to design an intervention for the public square in front of the Theaterhaus Jena, Germany, it turned out that this square used to be main auditory hall of the venue, which once was re-designed by Walter Gropius, the director of the Bauhaus school.

Vorplatzspiele’, intrigued by the transition of the public space of a theatre in a societal sense to a more physical public space of the square, questions a new kind of performer: who are the urban performer?

With the game court a framework is provided ready and open to be explored. The design of the game court can be on one hand be seen as a bastardization of existing popular sport games e.g. soccer and basket ball and their very familiar lineaments. On the other hand it echoes the notion of the game as a driving force in the legendary didactics of the Bauhaus, as well as its idiosyncratic play with rigid geometry as present in the work of modern painter like Wassily Kandinsky or the performance work of Oskar Schlemmer.


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In 2008/9 was Jan Hendrik Brüggemeier the artistic co-director and co-initiator of the EU culture project “bauhaus lab”.

“bauhaus lab” is a international network of interdisciplinary laboratories on new artistic strategies and modes of interdisciplinary co-operations.

In full appreciation of the ideas behind the historical Bauhaus movement and their lasting impact on today’s affairs, the bauhaus lab project wants to further explore the present conditions for an innovative artistic practice across disciplines and national borders:

# where is the working place of the artist today?
# which are the interdisciplinary coalitions to be shared today and why?

With the support of the Culture programme of the European Union (2007- 2013) and on initiative of the Cultural Directorate of the City of Weimar, the bauhaus lab project is a co-operation between the following partners:

In the course of this project and in the frame of the 90th anniversary of the Bauhaus the results of the research are presented to the public in various formats and further collaborative co-operations with external partners will be fostered across Europe and beyond.

Besides the numerous activities of the project partners the contemporary scenography festival Crash!Boom!Bau! at the Theaterhaus Jena forms the flagship of the project co-operations.

The point of departure is the work of the theatre workshop at the Bauhaus school “Bauhaus Bühne” (bauhaus stage), that used to present his work in 1920ies at the city theatre of Jena (todays Theaterhaus Jena and location of the festival).

The festival wants to highlight contemporary scenography as the melting pot assembled out of diverse interdisciplinary artistic trends and drives.

Project website: (archived website)
Crash!Boom!Bau! website: (archived website)

logo design: Helmut Voelter

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