presents the Institute of Driving Experience:
Saturday, June 27, 2009
Cysts And Brown Discharge
Friday 26 June 2009, 19-20 Clock
outdoor Sender Kombinat 93.0MHz FSK
and on the streets of Hamburg .
car radio:
Both gave us the 19 Century, given that both the white man to this day nothing really to begin rational. Mid-20th Century, they came together: the car radio, which has since accompanied the trips to and from work, on and off to warn wrong-way drivers and speed traps and indemnify the rest of the time the biggest hits of the 70s, 80s, 90s playing. It could be so much more! What adventures awaited the riders and drivers who did not follow the traffic signs, but the voices from the radio? What secret places would bring us the car when it sailed to radio waves through the sea of houses? LIGNA invites you to be guided for an hour while driving a car solely from the radio. Turn off the roads of radiation transport.
Get to automatic train operation after the new allotment method!
Sit in a car. Make Driving collectives. Invite friends and listening to the radio. Everything else tells you on the radio!
Who does not have a car, should go to the Settings area in the road Wandsbeker 11th Taxis there for the duration of the program are provided. ES drives! takes place under the Year program "Shared Spaces" of the setting space eV
Thursday, June 25, 2009
Formula For Development Of Elliptical End Plate
What we can not hear (II)
A flat viewing
Wednesday 24 June 2009 to Saturday 27 June, 15 to 20 clock
São Paulo, Avenida Angelica 897
under X-Moradias São Paulo
you are a stranger here. They explore the room, the voices accompany it. The voices tell: In the Home was published a few years a ghost. In the middle of the night he appeared in a guest bathroom. Then he disappeared again. The visitors set out on a search for clues.
"The Uncanny on the homeless is home to the evidence, not that there are many homes and secrets, but that could there be in the near future at all no secrets of this nature. "( Vilém Flusser)
www.xmoradias.com
Monday, June 1, 2009
Its core consisted of the 144 phones, which were arranged in a grid of 12 x 12 phones, being placed in the contemporary art museum Galerie der Gegenwart. Each of the phones was equipped with an alarm sound composed especially for this event by the Composer Jens Röhm. The sounds he chose ranged from single tones to rhythm patterns, chords and sound clusters. Like any other instrument the grid of the 144 mobile phones was tuned, every single alarm tone was composed to fit with all the others. The next important component of that instrument was the radio: Every tone the mobile phones played was broadcasted to an unknown number of listeners – by several german free FM radio stations and by live stream on the internet.
With their own telephones – the third part of the scattered instrument - the listeners could call those in the Gallery. Every call set of a signal. Taken together the calls created a field of sound, a concert of ring tones. So the constellation of listeners caused an uncontrollable, constantly changing coincidental composition.
The concert lasted for twelve hours – from eight in the evening to eight in the morning. So the participation of the listeners and the sound changed according to the time. Early in the morning the concert was very silent, due to the small number of people still awake and calling.
Every call changed the association of the sounds and thus was responsible for the composition. No listener knew in advance who else called at the moment he or she was dialing. The composition couldn´t be controlled by anybody, but everybody was responsible for its development in the way he or she responded to the sound the others made with an own contribution. Every response changed the association in an unpredictable way. An answer without a question. Thus to compose did not mean to communicate, but to enjoy this impossible collective responsibility – to enjoy dissemination.
The numbers of the mobile phones were passed to the audience on different ways: flyers were distributed, additionally the grid of the mobile phones was displayed on the website, that also streamed the sound, as an abstract field of light dots. So during the concert one could see, which phone was ringing and which one was silent. This enabled the participants to choose consciously which sound they wanted to add to the sounds that they already heard.
Excerpt 1: 9.31 pm to 9.36
The grid of mobile phones as it appeared in the internet
Friends Tamil Kavithaikal
The New Man. 
Four Excercises in utopian Movements
.
Next Shows
15.01.2011, 17.30 Uhr 16.01.2011, 14.00 Uhr Schauspiel Stuttgart
1.-5. April 2011
Antistatic Festival, Sofia, Bulgarien
Doing is better than feeling.
Bertolt Brecht
After the shock of the First World War and the final breakdown of the bourgeois concept of art, very different artists looked for a new function for their art, searching for a new relation to life and society. This modernist impulse is buried under the experience of facism and the repression of stalinism. LIGNA’s performance The New Man explores three different positions -
with a fourth which cuts across the others. The poet Bertolt Brecht develops the Lehrstueck for a state without classes, where the gestures, social postions and by that
the society as a whole come into play. The dancer Rudolf von Laban proposes Bewegungschoere, choirs of movement, in which the collective vibrations disperse power itself. The director Wsewolod Meyerhold experiments in the young Sowjet Union with biomechanical exercises for his actors to renew their bodies and by that shape a new kind of subjectivity. Finally the comedian Charlie Chaplin stumbles across all of these utopian visions and their promises. The New Man is a performance without actors and stage. There is nothing to see except for the activity of the visitors. They are listening to a radio play, that not only deals with the four aesthetic positions mentioned above, but proposes gestures and movements according to the different blueprints of the new man. But the audience is not listening to the same things at the same time. It is is split up into four groups.
For fifteen minutes each group is listening to one of these positions, then their program is changing and their role is transferred to another group. In the end every group of listeners will have tested and quoted every attitude. They play the same play four times with different roles, being actors and viewers at the same time. The New Man calls for turning the production of gestures and movements into a public, collective affair. The New Man is a play in the third person, exploiting the iterability of the gesture and thus reconsidering the aesthetical paradigms of Brecht’s Lehrstueck. The hope that all social institutions could come into play, which is scattered under present circumstances, is kept alive in a dispersed way between the different positions of the play.
(The New Man in the Arts Center, Beirut, September 2009) in
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