5.0 channel audio (voice recording and editing at EMS) Hinrich Sachs – Kami, Khokha, Bert och Ernie (världsarv) 10.5-30.9 2012 Tensta konsthall Type: Installation
Various audio consulting, recording (voices, symphony orchestra etc), editing Dominique Gonzalez-Foerster och Ari Benjamin Meyers – T451 27/5 2012 Stockholm City Library, Stockholm Subway Green line, Tensta area
Type: Concert/Performance/Mobile installation
T.451 is performed one-time only on 27.5 starting at 14:00 at Gunnar Asplund’s Stadsbibliotek, Sveavägen 73. The walk is about 4 hours long ending at Tensta konsthall. A limited number of tickets are available for free at Tensta konsthall from 10.5 and at Stockholm Library at Sveavägen from 14.5. For more information, please contact: firstname.lastname@example.org
Visual artist Dominique Gonzalez-Foerster (Paris) and composer Ari Benjamin Meyers’ (Berlin) scenic walk in Stockholm with surroundings traces a classic story in a current reality. The one-time only performance T.451 is inspired by Ray Bradbury’s sci-fi novel Fahrenheit 451 (1953), and the filmed version by François Truffaut (1966) with music by Bernard Herrmann. In Bradbury’s original story, set in a future society, the only communication is made trough TV and images. Literature is regarded dangerous for the unified community and has thus been classified illegal. The printed word is actively searched for and destroyed by firemen, who instead of putting out fires, burn books to prevent disillusioned human conditions.
In T.451 the public becomes witnesses to re-enactments played out in Stockholm city and in the suburbs of Hjulsta and Tensta. By inserting scenarios and music into architectural environments and public places such as Gunnar Asplund’s famous Stockholm Library; the subway; and the late-modernist housing area Tensta, Gonzalez-Foerster and Meyers are testing the possibility of an imagined future through a new form of musical and performed narrative.
Like many of Gonzalez-Foerster’s works, T.451 is based on time, situations and the public presence, rather than material and structures. Her works, which since the early 1990s, often are inspired by literary classics or films, reflect more than just a narrative. They attempt to capture the public situation, the immediate encounter with art. Therefore, it is hardly surprising that her works appear as multi-dimensional enactments where sound and visual elements, combined with the existing environment, make the work into an experience, which reveals the potential of art to produce imagined, as well as real change. Gonzalez-Foerster and Meyers first started working together in 2007 as part of Il Tempo del Postino, the group show/artist opera curated by Hans-Ulrich Obrist and Philippe Parreno, which premiered as part of the inaugural Manchester International Festival. Their first full production as collaborators followed in 2008 with the work NY 2022 for the Peter B. Lewis Theater in the Solomon R. Guggenheim Museum New York. In 2009 they premiered the Performa 09 commission K.62/K.85 at the Abrons Arts Center in New York. In 2011 this production subsequently traveled to Kaaitheater, Brussels (K.62/K.73/K.85) and then to Hebbel Theater Berlin (K.62/K.85/M.31). In addition to T.451, they are working on a number of new projects, as well as a web-based archive. Their work together often takes its inspiration from specific films or pieces of music and has been described by themselves as being “audience-based”.
T.451 is a collaboration between Stockholm konst and Tensta konsthall, produced by Stockholm konst. With support by Stockholm Library and Tensta Library. A special thanks to, The Greater Stockholm Fire Brigade, the organization Röde Hanen, The Stockholm City Museum and Kurdiska föreningen Spånga.
On October 28, 2011, Andrea Rossi demonstrated his 1 megawatt E-Cat system to his first customer, who had engineers/scientists on hand to test/validate its performance. Due to a glitch, it provided 479 kW of continuous power for 5.5 hours during the self-sustained mode.
The total energy released between 12:30 and 18:00 was calculated from the amount of water heated and evaporated. The water flow was measured with two water meters, and according to the controller’s report the energy amounted to a total of 2635 kWh.
Subtracting the energy for pumps and fans, amounting to 66 kWh, this equals a net energy of 2569 kWh, which corresponds to an average power of 467 kW.
Subtracting the energy supplied during startup, about 320 kWh at an average power of 160 kW, the net energy would still be 2249 kWh. In this case the energy output during startup should also be estimated and added.
According to measurements of radiation made by David Bianchini from the University of Bologna no radiation above background level was registered.
Small path in forest towards the Heidegger Hütte in Todtnauberg, Germany
Philosophy is of concern
Not many people have some clue why Martin Heidegger is so important, perhaps many of them think he just burned his last pieces of trust-ability when he joined the Nazi party 1933 and stayed there to 1945 (perhaps with the hope he could influence the destructive system from within to the better). However, regarding to his content of his philosophy and the political connections the conclusions fall in an arbitrary way to find ones position in an already hard society. Better to play with the game instead to be against, but still something seems to be obviously paradoxical here.
“One can forgive many Germans, but there are some Germans it is difficult to forgive. It is difficult to forgive Heidegger.” Emmanuel Levinas
Since the national socialists campaigned hard about the protection and access for nature (ref), one vague guess would be Heidegger also had his interests in just these specific questions such as the nature and animal protection plans (the presence of nature is strong in Todtnauberg). His affairs with Hanna Arendt (Jewish) and protecting the jewish employees at his school as a counter attitude makes it even more evident that society forced people to have unethical views (if not they got into trouble).
Well this pattern is of course visible in many similar state situations in history. Bad state hence bad people. For instance who would dismiss Plato’s works today for being unjustified and unreadable, when he had such bizarr and amoral political views regarding slaves etc. It was the society at that time that made him activate in that manner. Accusing Heidegger’s political standpoint also means accusing a majority of the German population at the same time, which of course one can do, but this is not especially interesting of philosophical concerns.
So philosophers distill attention to philosophical content (not mainstream political standpoints at the times) and clearly this guy has contributed a lot. When the linguistic analytics like Wittgenstein were trying to solve it all, Heidegger opened it up and just made the wheels turning (and made us all confused again). Since the release of the major work of “Sein und Seit” the philosophical world has questioned if metaphysics is really possible anymore.
Being a philosopher making a pilgrimage
With admiration and a backpack of novice questions a day-pilgrimage to his hütte in south Germany could be a good way to get away from the hot cities. Besides my dear girlfriend Dr. Anna brought up the idea in the first place.
To understand the trip itself it came evident that I also needed to understand the profession of a philosopher as well, a hard work in the humanities in close contact with science, poetry, theology, literature, human culture, history etc, with a considerable amount of thinking, reflecting and argumentation.
Being a philosopher also means to insert you into a process of dis-attachment and the need for spatiality-in-the-thoughts for developing your own nomenclature of building components. (as in contrast for the historical oriented philosophers, that can never stop referring and reading other philosophers). This spatiality do speak in large letters in Todtnauberg, it even feels clumpsy and superstitious to check the clock on the mobile phone.
Anna has an in-depth understanding of the whole world of Heidegger since she spent many years in the prestigious St. Petersburg State University discussing with her colleges and professors. Her thesis also concerned some of the main topics on Heidegger relating to historicity as well as other pretty much hard-boiled subjects. This was at the times when the teachers had not yet become insane (hence quite close to some sort of infinite state).
Ph.D. Kharkina at Heidegger’s Hütte
Becoming a doctor in philosophy at those days also meant promoting artistic liberties rarely seen in universities today and a freedom developing your own methods, textures and systems. The teachers didn’t go home after work but stayed late evenings discussing and developing the art and methods of philosophy with their students. This was an interesting time since many of the the continental philosophers appeared for the first time in their russian translations. Heidegger, Sartre, Foucault etc.
Todtnauberg is a small beautiful village in south Germany not very far from Freiburg (were Heidegger had his professor chair). The village is reached by first a commuter train departing from Freiburg HBF to Kirchzarten Bahnhof. Then if you have calculated your arrival right for the bus schedule, take the 7215 bus* to Todtnauberg. Since this bus does not go especially often, be sure to plan the day well, since the steep walking in Todtnauberg takes longer time (and more energy) than one can expect.
The bus trip was a delight itself going up the steep hill sides of the Black Forest areas. Used to the nature in Sweden the trees here and the forming of the land is almost brutal, demanding and sublime. You feel really tiny against those pine trees conquering the land and raising sharp up in the sky along the steep sides. At the time of Heidegger days these areas would really feel remote, without asphalted roads and security improvements.
One knows for sure that tourism is important for Todtnauberg at arrival. In this small village you can find a welcoming tourist info-roof with touch screen and maps all over the place. Even though most tourists come in the winter for skiing, we were glad to see that the tourist center further into the village had personnel helping us out to find the Heidegger Rundweg.
Heidegger Hütte in the beautiful surroundings
Todtnau is death-now, poetry the saviour
When you are there, it is really something special about it*
The sign at the hütte clearly speaks: “Why this is not a museum., no entrace, private property etc..” And perhaps in this death of continuation lies an ultimate answer that is definitive but also frightening. Why would one be so against showing the place were one of the most important philosophical works in the 20th century has been written? All road signs are modest, small and easy to miss. It was though not easy to miss the right path in the end, but It felt like it could be.
We we finally got there. A groups of cows were very close walking around and that typically cow alp-bell sound really got you relaxed. Sky is high and you’re one step close to the clouds.
The Jewish poet Paul Celan was promoted by Heidegger for a long time (20 yrs) and Heidegger insisted him to come to Todnauberg. However Paul Clean was very much inspired by Heidegger’s thinking and used this type of philosophy in his own development of poetry. Paul Celan came to his hütte finally and even wrote some poems there. However shorty after his visit at Todnauberg, Paul Celan committed suicide which frightened Heidegger to a large extent. Perhaps Celan had felt the lack of love in the world as a fundamental category, something Heidegger never wanted to add into his work and possibly also made him focus on forces which would lead to destruction.
Everything is less
than it is,
everything is more
*Its the perhaps same mood and excitement you get as for the occultist going to Rennes le Chateau in France. At that place you are welcomed by text on the church entrance in latin: Terribilis est Locus Iste / This place is terrible”. What is terrible? The truth? Your own existence?
Subject and Object got lost in the hills
Walking up and down the pretty steep hill makes one really aware of the presence of walking, as soon as you think of how you do it you are lost. Its not far fetched that a philosopher on this location wants to get rid of everything that makes up some trouble, including the irritating descartian subject/object dilemma.
It’s understandable that Heidegger didn’t want to sit in Berlin, Freiburg seemed to be a far better deal and closer to his Ur-Plato cave. I just wonder how Elfriede Petri could cope being in this small hütte for these long periods.
“Gå över ån” is a pedagogical project working with students in elementary or secondary high-school environments. Its initiated by Västmanlands Läns Museum, Linda Wallenberg (Rydberg)
Regional visual art coordinator Västmanland county
The focus in this project is: Pedagogical education within the field of sound art in the public space.
Karlheinz Essl is the maker of this fascinating Max MSP generated application. In the first versions on Mac OS9 classic you could see how everything was made and you could obtain your own unlock code for the application to generate midi signals. However, now this app is locked and considered more as an performance art piece from Karlheinz than before.
Lexikon-Sonate is an interactive realtime composition environment for musical composition and live performances. It takes advantage of composition algorithms that has been developed by Karlheinz Essl since 1985. With this algorithmic music generator on can easily create fascinating and complex musical structures on the fly. Furthermore, Lexikon-Sonate is an infinite music installation that can run on a computer for years without repeating itself. Finally, Lexikon-Sonate can be used as an instrument for live performance of electronic music. ref
vs. 3.3 – MacOS X 10.4 – 10.6
released: 22 Dec 2009 (Freeware)
Lexikon-Sonate is a work-in-progress which was started in 1992. Instead of being a composition in which the structure is fixed by notation, it manifests itself as a computer program that composes the piece – or, more precisely: an excerpt of a virtually endless piano piece – in real time. Lexikon-Sonate lacks two characteristics of a traditional piano piece:
there is no pre-composed text to be interpreted, and
there is no need for a pianist or an interpreter.
Instead, the instructions for playing the piano – the indication “which key should be pressed how quickly and held down for how long” – are directly generated by a computer program and transmitted immediately to a player piano (or the built-in Quicktime synthesizer) which executes them.
The title Lexikon-Sonate refers to the “Lexikon-Roman”, written in 1968-70 by the Austrian-Slovakian author Andreas Okopenko. This novel appears to be one of the very first literary HyperTexts, independently of Ted Nelson who introduced this term about the same time. This novel – “a sentimental journey to a meeting of exporters in Druden” (subtitle) – consists of several hundred small chapters which were brought into alphabetical order. By reference arrows as in a lexicon the reader could make her own investigations through the multiple nested web structure of the text. Instead of presenting a sequential text with a predefined direction of reading, Okopenko provides a structure of possibilities, which challenges the reader to become a creator of her own version of this novel.
Originally, Lexikon-Sonate was conceived as a musical commentary to an electronic implementation of Okopenko’s “Lexikon-Roman”, carried out by the interdisciplinary group “Libraries of the Mind”. But soon afterwards it started its own life due to its manifold ramifications, becoming an outstanding example in the domain of algorithmic composition. ref
The audio contains a demo, some reverb has been applied…