planet ocean
planet ocean @ VAC

planet ocean is a sound collage of underwater recordings and voice excerpts from Graham Hawkes. Hawkes is a former civilian ocean engineer, who has devoted most of the past three decades to designing, building — and finding someone to pay for — a submarine capable of cruising the deepest reaches of the ocean.The sounds used in this collage are comprised of underwater recordings of the ocean. It includes underwater earthquakes, submarine test transmissions, seals as well as terrestrial animals that use echolocation for their orientation (in this case recordings of Victorian bats). All sounds were kept in their original state, no sound processing.

unrelated relatedness series

planet ocean is together with My City is a Hungry Ghost and Nature in the Dark part of the unrelated relatedness series, which Jan exhibited at the VAC in Bendigo, Australia. 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 2013.

Concept/ Idea: Jan Hendrik Brueggemeier
Installation design: Silvana Iannello
Sound design: Jan Bartholomaeus
Photo credit: Jan Hendrik Brueggemeier / Silvana Iannello

Text link to the video: planet ocean

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optimistic disease facility
optimistic decease facility

Jan Hendrik Brueggemeier was commissioned to design the soundtrack for the film Optimistic Disease Facility: A documentary film about the fine artist Boris Lurie, a co-founder of the art movement NO!Art and Nazi concentration camp prisoner. Directed by Naomi Tereza Salmon.

(c) Buchenwald and Mittelbau- Dora Memorials Foundation – English with German subtitles – 58′ 37” – DVD, PAL

From the NO!art website:

“The life and work of Boris Lurie creates a radical, brusque, and at the same time a poetic cosmos. In New York where Lurie lives within his collages, the experience of the Nazi concentration camps seeps through everything. Apartment studio and laboratory all reflect a very personal artistic view of the past which surrounds him in the present.

After meeting the artist Naomi Tereza Salmon (who lives and works in Germany), at Buchenwald during the retrospective exhibition of his works in 1998/99, he gave her permission to document his apartment, studio and storage space. A dialogue developed, covering a range of issues, mainly about the past, about living in New York, about the Palestinian issue, including discussions on Stalin and capitalism.

The film is a result of this encounter, laconically trying to capture the authentic situation, and was made as a low budget project. Considering the fact that Lurie is the founder of the No!art movement, the making of the film is inspired by its manifest, which presents an opposition to american mass culture and to the commercalizing process of art, putting in question the scene of mainstream and pop art, creating a genuine ideological and fundamental aesthetic approach of its own.

The music, which was composed specifically for this purpose by the German music and internet performer Jan Brüggemeier (pingfm – internet radio broadcasting), serves as an adhesive as well as an interpretative component. An examination of the metaphysical space, focusing on the encounter between the two artists and the experiences of each of them with their immediate surrounding takes place. The film offers no answers but presents the questions which arise in it in a clear way for the viewer to reflect on them.”

More information about Naomi T. Salmon

NO!Art website

Naomi T. Salmon’s website

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Tune in the treatment of tomorrow’s depressions

(cassette tape found in the La Trobe Library Melbourne)

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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.


“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

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related posts:
DFM Radio/Television Int

Two live audio webcasts from two consecutive Sunday nights in 2005 for the Amsterdam-based independent webcast station DFM rtv Int from

The first one was a so called ‘translocally’ (Tetsuo Kogawa) improvised show, which means that different locations were involved. In this case it were Jan Hendrik Brueggemeier & Jiri Plachy in Berlin jamming together with Lars Mai in Weimar, 2 hrs run time:

The second one took place one week later when Jan did a solo show from Weimar in the style of an electronic music meditation over the three voices of the poets — Jack Kerouac, Ingeborg Bachmann and William S. Burroughs — 1.15 run time:

Three short snippets from live audio webcasts

Other bits and pieces from a pingfm Sunday night webcast on DFM rtv Int  from October 19th 2003:

Live on DFM on October 19th 2003 – Part I:

Live on DFM on October 19th 2003 – Part II:

Live on DFM on October 19th 2003 – Part III:

Note: As pingfm advocated the application and practice of free media, we chose for the radio shows the open and patent-free OGG VORBIS audio codec instead of MP3 which is shipped closed source and patented.

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