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.

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SCHILLERMOB – Thrilling Figures: Lawless Sound Thieves and Picture Robbers

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From May until June 2005 John Heck (Tape-beatles), Jan Hendrik Brueggemeier (pingfm), Daniel Ziethen and Sebastian Rallo conceived and executed a row of workshops on STREET-ART and AUDIO/VIDEO-Collage with Thuringian teenagers from 14 to 18 years old at the Cops+Robbers Festival in Weimar.

Departing from the call of the French Revolution (“fraternité, liberté, egalité”), today the word “free” is influenced by the commercial sense meaning “gratis”, or “free in price”.

Theft as a form of illegal appropriation appears in problems in current production techniques and the production of culture in the areas of media and music. The discussion about rights of usage in media development (music downloads) plays as much of a role here as contemporary music techniques, for example sampling different sound fragments to make a new piece of music.

Schiller’s robber figures are an interesting parallel in this respect, since they also decided to lead an ostensibly illegal way of life. Their motivation for this came from idealism and love of freedom however. Subsequent to this is Schiller’s idea of the importance role of aesthetics in society as a regulator.

Aesthetics are however always something to be shared, to be adopted, borrowed, taken, stolen and copied. This implies that every artwork is theft, adoption or predation of intellectual images and ideas. It does not become criminal through theft, but through assertion of ownership. The increasing commercialisation and exclusivity of common goods such as culture and language make Schiller’s artistic autonomy appear utopian.SCHILLERMOB flyer front

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