music

THE BIG GOLDEN ZEPPELIN



On the pile of rubble of information, speculation and desires, not finished lines of thought, stories only incompletely told and anecdotes from a post modern approach to the subject of airship travel, or put in other words: in the light of failure, accidents and fantasms … the fact still remains that these airships managed reasonably well to establish a regular global air service for a couple of years and once airborne with an absolutely stunning scenic view.”

Friedrich Liechtenstein and Jan Hendrik Brüggemeier take it from there, and throughout the show they develop this fragile but grand airy castle of splendour: The Big Golden Zeppelin. But this time in order to come back the Zeppelin must be bigger than its predecessors and golden.

Amusing as well as touching and during the performance one is tempted to think from time to time: … why not?

(more…)

Tags: , , , , , , ,

FROM SEED TO SCENE (AAIS)

SEEDS OF CREATIVITY FLOURISH IN A DERELICT COVENT GARDEN BUILDING THANKS TO NEW AA SCHOOL PROJECT

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 (www.newdealofthemind.com) 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

Tags: , , , , , , , , , , , , , , ,

THE CIRCLE IS RED



An interactive installation composed of light, words and sound based on the diaries and private letters of Oskar Schlemmer

On stage Oskar Schlemmer brought the painting in motion. His costume designs and space compositions taught the abstract form language of painting to jump and run. With the Bauhaus artist Oskar Schlemmer the theatre found connection with the artistic avantgarde of that time. The diarist Schlemmer is a witty and seismographic observer of a nervous epoch between the world wars aside from propaganda and party lines. He reveals his uncertainess, his doubts as modern protagonist at the breaking point of tradition and innovation.

The Circle is red is an interactive light and sound installation. The project was conceived and dramaturgically supervised by Jan Hendrik Brüggemeier. The listening environment by Ulrike Haage is based on the letters and diaries of Oskar Schlemmer. The Circle is red was produced for the Crash!Boom!Bau! Festival at the Nalepa Studios in Berlin.  In this radio play the actors Leslie Malton and Gerd Wameling perform as the speaking voices. The light designer Mattjakob dal Pozzo created a versatile spatial light zone, with which he will interact with live during the performance. (“The Circle is red”, quote: Oskar Schlemmer, diary Octobre 1923)

Tags: , , , , , , , , ,

BLACK CLOUDS

In this installation at the Kuenstlerhaus Schloß Wiepersdorf designed Jan Hendrik Brueggemeier two ‘black clouds’ out of 420 small loudspeaker to display 6 discrete audio channels.

As a topic, clouds trigger manifold associations and are a largely known cultural phenomenon. ‘As-Sahab’, the name of the alleged media production unit of Al-Qaeda means “The Cloud” in Arabic. In the old testament it is reported, that god liked to hide his appearance behind a cloud when calling Moses on the seventh day of the creation of the earth. The cloud also serves as an analogy for radio and the more recent phenomenon of wifi and wireless culture. It describes how the reception area is spread out. As well, it leads to the first days of the radio, when people experienced radio as a god-like appearance – a disembodied voice addressed to them directly.

Radio, today, is on one hand a synonym for popular culture and mass distribution. On the other hand, it can be tagged with politics of territory and strategic warfare. It may be surprising, but to a certain degree radio is culturally and technologically rooted in war and military invention – similar to the Internet.
(more…)

Tags: , , , , , , , , , ,

DFM RADIO / TELEVISION INTERNATIONAL

Independent Interactive Radio/Chat/Multi-Media Community

Contributors from: Canada, Japan, Netherlands, Germany, Belgium, UK, France, Spain, Finland, Scotland, USA and more

.
From 2001 to 2006 Jan Brueggemeier has been an audio/visual programme maker for DFM.

DFM is a free interactive radio/chat/multi-media community. Its main studio is located in Amsterdam. DFM has been a constant presence on the Dutch and international media scenes since the 1980s.

The programs have been transmitted live via the Internet and have been co-ordinated between various media-stations and platforms simultaneously.

Jan Brueggemeier is currently taking his sabbatical-year(s).

Project website: www.dfm.nu

Tags: , , , , , , ,

PINGFM.ORG




From 2000 – 2006 Jan Hendrik Brueggemeier has been founding member and one of the driving forces of the webcast band pingfm.

pingfm.org has been a web based platform for audio/video experiments with impetus on live production of audio and video.

Throughout its active phase the members of pingfm were fascinated by three aspects of streaming and networked media: their low-bandwidth aesthetic, their global interaction and their potential to hybridise different media and spaces like club, theatre, concert, installation, radio, cinema and performance.

Back in those early days live audio/video streaming felt strangely anachronistic in comparison to the more general trend in digital production and its increasing high fidelity. Live-streaming instead meant to one had to:
a.) lower and reduce one’s sound and video quality and not to increase it and
b.) to face what ADILKNO had called “electronic loneliness” because online audiences were more diverse and at times more or less global but still rather marginal in terms of listener numbers.

In order to compensate for that pingfm organised live performances, festivals and conferences like the ping-in-progress-festival in Weimar (2001). pingfm was involved in the preparation and participated in the NO BORDER-Camp Radio in Strasbourg (2002). It received the Bauhaus University Award and participated in the online event series ‘Fusion’ organised by Jill Scott (aside others). It performed at the Webcastlounge at the ART Frankfurt (2001) organised by Station R.O.S.E. Together with Theaterhaus Weimar pingfm hosted the Sleep-Camp at the Kunstfest Weimar (2001). And together with the artist-duo radioqualia pingfm was topic of discussion on the empyre-mailinglist. In 2004 it participated in the Ars Electronica’s long night of radio-art, organised by the ORF Kunstradio.

pingfm was a member of the Dutch webcast station DFM rtv International, the British webcaster pirate TV and Radio Kinesonus, the Japanese platform for experimental sound. pingfm hosted a weekly 2hrs live show on DFM rtv International as well as 1 hr programme slot on the local FM radio.

(more…)

Tags: , , , , , , , ,

RASTE_02 – “DISTRIBUTED BY… – How do I get to the music and how does the music get to me?”

In 2004 Jan Brueggemeier was one of the core organisers and curator of Raste_02.

Raste_02 is a festival of new electronic music and audio art which opened in Weimar for the second time that year. It dealt with this question.

For the three days from 12th to 14th June 2004 in Weimar and Frankfurt am Main, Raste_02 combines readings and discussions with the experience of live, new, electronic music and audio art.

Raste_02 creates a forum for budding and established musicians and artists to present music concepts using an electronic sound space and its audio-visual implementation.

Raste_02 aims to be a communicative platform which discusses changes in the relationship between artist, market and audience resulting from digital media.

website: www.raste.org

“Distributed by… – how do I get to the music and how does the music get to me?”

How do I get to the music – and how does the music get to me?
How can you find the music you really like?
Does technology always change music?
Is there any music which is not influenced by the fact that it can be recorded and copied?
Does music live through its continuous reproduction?
How can the value concept of music as a product be developed in a digital musical system?
Are physical storage media being increasingly marginalised?
Is there a digital pendant to a 500 series vinyl record?
Is the only thing of value something that cannot be copied?
Who founds a label and why?
Do labels act as a compass in the overgrown data jungle?
How does the label landscape change?
Are small labels more adventurous, more entertaining and more patient?
Does financial success spell creative disaster?
Can musicians cope with the new economic model of making music?
Is music driven out of its own studio so quickly that no file-sharing client can keep up?
Can music be sold in such attractive packaging that the purchase is easier than copying it?
Will self-publishing of music by the artist become the best form of publicity because an increasing number of people will go to concerts of those musicians, who keep their music in circulation?
Will live presentation of music become more popular?
Are there too many laptop artists?
Can electronics arbitrate between experts, hobbyists and independents?
How will the relationship between creative and interpretive art develop?
Will pure music agents with their networks and talent scouts become more and more important as the real artists of distribution?
What does the future look like for musicians?
What does a musician live from?

You can be sure the presentations, discussions and moderations during Raste_02 will reveal more questions. But maybe some answers can also be found without carrying on the powerful discourse bubble in the context of electronic music.

Saturday, June 12th 2004, Weimar
20.15 Uhr Senking (Cologne)
22.00 Uhr Robert Lippok (Berlin)
DJing Ushi Hupe (Berlin)
DJing Kazi Lenker (Berlin)

Sunday, June 13th 2004, Weimar
17.00 Uhr Reading: Thomas Meinecke (Munich)
18.00 Uhr Panel
20.00 Uhr pingfm (Weimar)
21.00 Uhr L.O.S.D. (Amsterdam)
22.00 Uhr Frank Bretschneider (Berlin)
DJing Peter D. (Amsterdam)

Monday, June14th 2004, Frankfurt
20.00 Uhr Frank Bretschneider (Berlin)
21.00 Uhr L.O.S.D. (Amsterdam)
22.00 Uhr pingfm (Weimar)
23.00 Uhr Robert Lippok (Berlin)
24.00 Uhr Senking (Köln)

Raste_02 made possible by

Tags: , , , , , ,