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?


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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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Carol Becker – audio (English)

The interview with art theorist and former Dean of the School of Art Institute Chicago Carol Becker is part of the chapter “The meaning of museum in the 21st Century” which was a contribution to the HRN Magazine #1 Are Museums just digging in the Past? questioning the role museums play today in various contemporary societies.

Buchenwald Memorial Foundation staff – audio (English)

The interviews form the chapter “The Buchenwald Memorial – about current-history memorial work in Germany” which was a contribution to the HRN Magazine #1 Are Museums just digging in the Past? questioning the role museums play today in various contemporary societies:

  • Rikola-Gunnar Luettgenau, Director of the Buchenwald Memorial, Curator of “Topf & Sons: The Engineers of the ‘Final Solution’, the Builder of the Auschwitz-ovens”
  • Ronald Hirte, Author of the online-project “Found Objects – a picture-catalogue” of the Buchenwald and Mittelbau-Dora Memorials Foundation and fellow of the „Media of History / History of Media- promotion-program at Bauhaus-University Weimar

Chuck D, Public Enemy – audio (English): “New (digital) services for the genre instead of ourselves.”

A conversation about independent music distribution in the age of the Internet and how Public Enemy appoeaches it. Chuck D is a musician, author, producer, and label owner. He helped create politically and socially conscious rap music in the mid-1980s as the leader of the rap group Public Enemy.

Further web references: Chucks digital record label SlamJamz, social website for classic Rap & HipHop:, social website for female Rap & HipHop artists:

– text in English: pdf

Kodwo Eshun – audio: radio feature “Music journalism as the third deck of the DJ” (German moderation / English interview)

Kodwo Eshun is a music journalist and cultural theorist. He is author of “More brilliant than the sun – adventure in the sonic fiction”. The interview is departed form his book and ideas about black avangrade popular culture in general and the relationship of electronic popular music and its relationship to machines in particular. The interview formed the basis for the radio feature.

– text in German as published in testcard on black music: pdf (not yet linked)

Spiros Mercouris – audio (English)

Born in Athens (1926). Studied Law at the University of Athens. Active in the Resistance during the German/Italian occupation. Member of the resistance organisation “Democratic Defence” during the colonels’ junta (1967-74) in Greece. Organised the tour of Melina Mercouri against the dictatorship in 14 countries of Europe. Took part in activities against the junta throughout Europe and United States with speeches, interviews and by organising political and cultural events. Co-founder of the political party PASOK. Organiser and general co-ordinator of the first Cultural Capital of Europe “Athens 1985”. Honorary President of the Network of Cultural Capitals and Cultural Months of Europe. President of the non profit organization Horizons – Actions. Member of the Board of Directors of the Melina Mercouri Foundation.

The interview is an excerpt from the HRN Magazine #3 – Europe still under construction – after 20 years of European Cultural Capitals which was meant to reflect on the concept and implementation of Cultural Capitals a closer look needs to be taken at which points this ‘complex concept’ has failed its ambitious aims, which mistakes have been done and where problems have arisen, if at all with the local population and last but not least how were they designed to be Cultural Capitals.

Sodja Zupanc Lotker – text (English)

Sodja Z. Lotker is a dramaturge and the artistic co-director of the PQ11. Togther with the architect and artist Oren Sagiv she developed the Intersection Project of the PQ11. This conversation took place in the context of the CRASH!BOOM!BAU! festival at the Theatehaus Jena and looks into current trends of scenographical work.
– text in English: pdf

Robert Palmer – audio (English)

Robert Palmer is the Director of Culture and Cultural and National Heritage at the Council of Europe, based in Strasbourg, France. He has worked in the cultural sector for more than 30 years, and prior to joining the Council of Europe in 2006 was an expert independent adviser to governments, cities and regions in more than 20 countries on cultural development and regeneration, cultural tourism, festivals and arts policies, and a consultant to cultural foundations, cultural networks, arts organisations, and intergovernmental bodies such as the European Cultural Foundation, the European Commission and UNESCO. He has been very involved in European Capitals of Culture and was the Director of two – Glasgow (1990) and Brussels (2000) and published a study for the European Commission, which evaluated 20 capitals of Culture. During this career, he has been the Director of Drama, Dance and Touring at the Scottish Arts Council, and the first Director of Arts for the City of Glasgow.

The interview is an excerpt from the HRN Magazine #3 – Europe still under construction – after 20 years of European Cultural Capitals which was meant to reflect on the concept and implementation of Cultural Capitals a closer look needs to be taken at which points this ‘complex concept’ has failed its ambitious aims, which mistakes have been done and where problems have arisen, if at all with the local population and last but not least how were they designed to be Cultural Capitals.

Bart Verschaffel – audio (English)

HRN Magazine #3 – Europe still under construction – after 20 years of European Cultural Capitals which was meant to reflect on the concept and implementation of Cultural Capitals a closer look needs to be taken at which points this ‘complex concept’ has failed its ambitious aims, which mistakes have been done and where problems have arisen, if at all with the local population and last but not least how were they designed to be Cultural Capitals.

Bernhard Waldenfels – audio (English)

Bernhard Waldenfels taught philosophy at the Ruhr University, in Bochum, Germany. He has written books about phenomenology, dialog theory, the “life world,” structures of behavior, and order and normativity.

Hildegard Westerkamp – audio (English)

Hildegard Westerkamp is a composer, radio-maker and one of the initiators of the World Forum for Acoustic Ecology, has been a long-term activist in terms of acoustic awareness.

The interview is an excerpt from the HRN Magazine #2 on UNESCO and was meant to highlight the connection between acoustic ecology and world heritage, the acoustic awareness in a visually dominated world and Westerkamp’s motivation to start the World Forum for Acoustic Ecology in 1993.


Please see for further reference the neture series and check out the nEture catalogue.

TO3K – audio (English)

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 (defunct).

– text (English): pdf

Tetsuo Kogawa – audio (English)

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

– text (English): pdf
– text (English): 2nd interview with him at Transitwelle event in Munich: pdf

Franco “Bifo” Berardi – audio (English)

Franco “Bifo” Beradi, Bologna, political activist and theorist as well as an initial member of Radio Alice and

– text (English): pdf
– text (English): 2nd interview with him at NEURO festival in Munich: pdf

Daniel Guischard – audio (English)

Daniel Guischard, Weimar, architect and product designer

– text (English): pdf

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Biology of love (Maturana & Verden-Zoeller)

related posts:
From Sound to Waves to Territories, Introduction
Human perception and virtual realities (H. Maturana)

from:  Biology of Love (paper), By Humberto Maturana Romesin and Gerda Verden-Zoller, Opp, G.: Peterander, F. (Hrsg.): Focus Heilpadagogik, Ernst Reinhardt, Muenchen/Basel 1996. [pdf]

In their book with the same title Humberto Maturana Romesin and Gerda Verden-Zoller pose the following question:
Are we genetically aggressive animals that love occassionally, or are we loving animals that cultivate aggression culturally?

As the for Maturana the all-important concept of theliving systems both authors look closer at theevolutionary process and its deeper implications for us as species:

The authors state:

Language and Evolution

Indeed, our human indentity is a systemic phenomenon, and in our opinion it arose in the primate evolutionary history to which we belong some three million years ago when languaging as a manner of living began to be systemically conserved geneation after generation in the learning of the children of some small ancestral family.

As human beings we exist in a multidimensional interactional and relational space in which most dimensions remain outside our awareness. So we humans exist in a partially conscious and partially unconscious interactional and relational space in which most dimensions are unconscious. We (the authors) call this conscious and unconscious interactional and relational space our psychic domain of existence. Everything that we do takes place in us through our operation in our psychic domain of existence, or better, in our psychic existence, and as we change in the course of our living, our psychic domain of existence changes.

Language is a manner of living together in recursive consensual coordinations of consensual coordinations of behaviors, and must have arisen in the spontaneous coordinations of behavior that takes place when living together; sharing space and food in intimacy occurs.

Or, in other words, as living in language, and particularly in oral languaging, began to be conserved generation after generation in our ancestors, our human lineage began in a process of change that shaped our whole body (nervous system, face, larynx, manner of relation, the world lived) around living in oral language.

Finally, language is not a domain of abstractions or symbols, it is a concrete domain of coordinations of coordinations of concrete doings, and symbols and abstractions are secondary to language. In these circumstances, we humans are not only languaging animals, but we exist in languaging, and we disappear as humans if language disappears. That is, it happens that we are in language not that we use language, that our being in language is our manner of existence as the kind of animals that we are as humans, and that our psychic existence includes the relational dimensions of our languaging being.

Language and Emotions

As a result, different emotions can be fully characterized as different domains of relational behaviors or as dynamic body dispositions for relational behaviors.

For example, love is the domain of those behaviours or dynamic body dispositions through which another arises as a legitimate other in coexistence with oneself, aggression is the domain of those behaviors or dynamic body dispositions through which another is denied as a legitimate other in coexistence with oneself, and fear is the domain of those behaviors or dynamic body dispositions through which one moves away from the cicumstances in which one finds oneself.

In these circumstances, love is not a virtue, or something special, it simply is a biological phenomenon as the domain of those behaviors through which social life arises and is conserved; it is simply the biological dynamics that constitutes trust and mutual acceptance in body and spiritual relations of nearness and intimacy.

The way a child lives, the experiences to which he or she is exposed, determines what kind of an adult he or she becomes as he or she will have the structure as an adult that only permits him or her to reenact the emotioning that he or she has lived.

We humans are languaging animals, that is, we live in language as a manner of flowing in coexistence in consensual cordinations of consensual coordinations of behaviors. This manner of living must have arisen in the history that gave origin to us some three million years ago. This we said already.

At the same time, we are loving animals.


In fact, what must have begun then, must have been living in the braiding of languaging and emotioning that we call conversations, and with that what began then was human living as a living in networks of conversations, so that everything human takes place in conversations as a flow in consensual coordinations of consensual coordinations of behaviors and emotions.

As such our evolutionary history is a history of expansion of the capacities for consensuality, and, hence, of expansion of intelligence. Intelligence has to do with consensuality, intelligence is not primarily the capacity to solve problems, but it is the capacity to participate in the generation, expansion, and operation in consensual domains as domains of coordinations of behaviors through living together.

Languaging, indeed, living in conversations as we humans do requires such an enormous capacity for consensuality, that we humans are all essentially equally intelligent, and the differences in intelligence that seem to exist between humans are not due to differences in their capacity for consensuality, but in their emotioning.

To live in love, in the biology of love, in the conservation of collaboration, in the acceptance of the other and in the acceptance of the conditions of existence as a source and not as an opposition, restriction or limitation, has been the fundament for the evolutionary trend of conservation of the continuous expansion of intelligence in our lineage. We humans are the present result of these four basic processes. But there is more to our human condition than what is apparent in these
reflections, both in the richness and range of being animals that live in conversations.

The Culture of Negation of the other

But at the same time, as languaging animals that live in conversations, we humans can reflect on our circumstances, and we can invent, and have invented, rational systems in the form of religious, political, philosophical, and economic theories, that we have used to justify our doings and the negation of our emotions. As we have done that during the last ten thousand years, particularly in our occidental culture, we humans have become alienated from our basic condition of loving animals, and we have begun to live through those theories the rational justification of the systematic and systemic negation of the other (love) through the defense of transcendental values, and rational or revealed universal truths. In the blindness that the negation of love creates in our living, we stop seeing ourselves as part of the harmonious interconnectedness of all existence in the unending dynamics of life and death, and we begin to live guided by ambition, greediness and the desire for control and continuous relational difficulties that open ended population growth and misapplied technology, in the belief that it is the solution to all our problems have brought to us, and we are not happy. Indeed we suffer, because we become denied by the very same world and psychic existence that we are bringing about, as this is a world and psychic existence that denies the fundaments of our existence as loving animals. We humans are loving animals, or we still are. This means that love is the grounding of our human existence.

We want to arise in our relations with others as legitimate beings that do not need to justify their existence with respect to them;

The only emotion that expands intelligence is love, and this is so because intelligence has to do with the acceptance of the legitimacy of the other and the expansion of the possibility for consensuality that such acceptance entails. Love is visionary. We think that other lineages of the human kind may have become extinguished through the negation of love in mutual destruction or ecological blindness in their domain of existence.

We are not talking about love as a virtue or as something good from a moral, religious, or philosophical perspective. We are talking biology, we are talking about our animal constitution as the particular kind of primates that we are as members of an evolutionary trend centered around the conservation of the biology of love and the expansion of intelligence.

It is as loving languaging beings that we can still become aware of what it is to be a human being, and it is only as loving animals that we can still create the conditions for the upbringing of our children in the mother*/child relation and, later, in the schools and during their growth into adulthood, in a way that they grow and conserve themselves as self respecting socially conscious loving and caring adults by living with them in the biology of love.

* mother can mean both male and female as it is understood as a caring function.

Humberto Maturana Romesin and Gerden Verden-Zoeller, The Origin of the Humanness in the Biology of Love, Imprint Academic, Exceter, 2008

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