ecopolis

Happy Birthday Luca from Ilari
(Tobi Neumann rmx)

Dears,
after months, probably years, of rethinking intersubjectivity issues and remixing theory, I am very happy to annouce the birth of RAM LIVE under my direction.

RAM LIVE is a internet radio and place for the transmission of memories and experiences, providing an ethical listening before an aesthetic experience, open to a plurality of voices and the exchange of practices on an international level.

RAM LIVE is unique in its kind on the international scene, breaking away from genre and news radio stations.

RAM LIVE offers round-the-clock web streaming and (soon) monthly podcasts of: selections and remixes of sound works from SAM and RAM archives, interviews, historical recordings, popular music from the 1920s to today, field recordings, artist monographs, and new cultural programs, respecting the environments difference and languages.

Please feel welcome to send us sound materials, debates recording and to make purpose of collaborations.

The theme underlying the programming for October is the voice in a political view of an ethics of sound – from the first Beat revolution to the Black Panthers’ protest – featuring interviews to the protagonists of the cultural revolution in the USA (provided by filmmaker Ferdinando Vicentini Orgnani), and music of the time selected on the basis of a philological and emotional research.

The programming also gives room to multicultural reflection: the Mediterranean by Michelangelo Pistoletto; Carla Accardi and Gianna Nannini in Moscow; RAM travel diaries in Tunisia and China; FLUSSORAM sound geography; Manifesta sound landscapes; and other interior journeys through the voice of leading voices in contemporary culture.

Included in the schedule are also RAM LIVE’s regular programs: “Minima” (an hour of remixed material from the SoundArtMuseum archive), “Ready-Heard” (live broadcasts), and “Mono” (monographs on sound artists active on the international scene). The month of October will be dedicated to: Alvin Curran, Richard Crow, Jan Fabre, Michael J. Schumacher, Stephen Vitiello, and Luca Vitone.

Happy listening!

Ilari Valbonesi

Mail: live@radioartemobile.it
Skype: radioartemobileLIVE!
Web: http://live.radioartemobile.it/

(Washington, DC / Dubai, United Arab Emirates, October 4 -18, 2008) – American public artists will visit Dubai this week to create innovative public art projects that promote community engagement, civic pride and artistic creativity of local residents. Albus Cavus is an artist collective that reinvents and revitalizes public spaces for better service to community. The scale of the planned Dubai projects range from small murals and sculptures to large parks that are designed to foster imagination and playfulness.

Albus Cavus representatives Peter Krsko, Jason “Chor Boogie” Hailey and Daniel “Pose 2” Hopkins will travel to Dubai in the first two weeks of October to meet with community members, artists, students and innovative professionals to learn about demand for public spaces.

In Dubai, a fast growing modern city, public spaces play an important role. What was neglected in American urban development during their boom in early 1950’s must be brought to light, emphasized and embraced in this cosmopolitan and culturally-rich metropolis. “As the city grows, Dubai has a tremendous potential to become an inspiration for global public art and user-friendly urban design that avoids negative public spaces,” said Peter Krsko.

The group’s schedule of this two-week trip is packed with workshops and art demonstrations. A series of art happenings organized in collaboration with The Jam Jar, a Dubai-based gallery and community arts center, will explore the arts in public sphere through discussions in creative settings that will involve interactive mural and multimedia presentation with Dubai artists.

Albus Cavus, 2451 18th Street NW, Washington DC,
Contact: Peter Krsko, www.albuscav.us
email: albuscavus _@_ gmail.com

One of the founding fathers of synth pop, Gary Numan’s influence extends far beyond his lone American hit, “Cars” which still stands as one of the defining new wave singles.
That seminal track helped usher in the synth pop era on both sides of the Atlantic, especially his native U.K., where he was a genuine pop star and consistent hit maker during the early ’80s.

Even after new wave had petered out, Numan’s impact continued to make itself felt; his dark, paranoid vision, theatrically icy alien persona, and clinical, robotic sound were echoed strongly in the work of many Goth rock and (especially) industrial artists to come.

Numan was born Gary Anthony James Webb on March 8, 1958, in the west London section of Hammersmith. A shy child, music brought him out of his shell; he began playing guitar in his early teens and played in several short-lived bands. Inspired by the amateurism of the punk movement, he joined a punk group called the Lasers in 1976.

The following year, he and bassist Paul Gardiner split off to form a new group, dubbed Tubeway Army, with drummer Bob Simmonds; they recorded a couple of singles under futuristic pseudonyms (Valerium [or Valerian], Scarlett, and Rael, respectively) that attempted to match their new interest in synthesizers.

Scrapping that idea, Webb rechristened himself Gary Numan and replaced Simmonds with his uncle Jess Lidyard. Thus constituted, Tubeway Army cut a set of punk-meets-Kraftwerk demos for Beggars Banquet in early 1978, which were released several years later as “The Plan.”

That summer, Numan sang a TV commercial jingle for jeans, and toward the end of the year the group’s debut album, “Tubeway Army”, appeared. Chiefly influenced by Kraftwerk and David Bowie’s Berlin-era collaborations with Brian Eno, the album also displayed Numan’s fascination with the electronic, experimental side of glam, as well as science fiction writer Philip K. Dick.

The group’s second album, “Replicas”, credited to Gary Numan & Tubeway Army, was released in early 1979. Its accompanying single, Are ‘Friends’ Electric?” was a left-field smash, topping the U.K. charts and sending Replicas to number one on the album listings as well. The record also included “Down in the Park,” an oft-covered song that stands as one of Numan’s most gothic outings.

“The Pleasure Principle” was released in the fall of 1979 and spawned Numan’s international hit “Cars,” which reached the American Top Ten and hit number one in the U.K.; the album also became Numan’s second straight British number one. He put together a hugely elaborate, futuristic stage show and went on a money-losing tour, and also began to indulge his hobby as an amateur pilot with his newfound wealth.

Gary Numan is back. 2009
http://www.myspace.com/garynuman

4th project series
translation paradoxes and misunderstandings

http://www.shedhalle.ch/index.html

Globally there are some 6000 languages, and it is generally assumed that around 90% of the languages still in use will have become extinct by the end of the present century.

2008 has been declared the International Year of Languages by the United Nations. The declared objective of European Union language policy is to strengthen the multilingualism of European citizens: multilingualism fosters the personal development of the individual, it improves vocational mobility and competitiveness (Lisbon strategy), enhances understanding of other cultures (intercultural dialogue), and generates a “real sense of union citizenship”.

But which languages benefit from translation? Colonialist practices have shown – and continue to do so even today – that one official language comes to dominate a diversity of languages and linguistic communities.

Artists and commentaries by authors

SHEDALLE.CH have asked the participating artists to invite a writer, theorist or person researching in this contextual field to compose, from their own perspective and in their native language, a short text on the respective work or the issues the work discusses. These texts are integrated into the exhibition on a commentary level of interpretation and presented here in German translation. In this way, we can speak of a double translation movement already on this level: a translation of artistic work into a textual medium takes place while simultaneously the texts were translated into German.

Pierre Bismuth, Chiapas Media Project, Beth Derbyshire / Ilari Valbonesi, Esra Ersen / Miya Yoshida, Patricia Esquivias / Cristián Silva, Lise Harlev / Boris Boll-Johansen / Leila El-Kayem 1 / 2, Farida Heuck / Kien Nghi Ha, Susan Hiller / Sonja Lau / André Siegers, Andreas Künzli, Wolf Schmelter, Pavel Medvedev / Alexander Komin, Praga Manifesto / Dietrich M. Weidmann, Khanh Minh Nguyen / Andrea L. Rassel, Raqs Media Collective / Ravi Sundaram, Volker Schreiner / Kristina Tieke.

—
1 http://ec.europa.eu/commission_barroso/orban/index_en.htm

John Zorn (born September 2, 1953 in Queens, New York City) is an American avant-garde composer, arranger, record producer, saxophonist and multi-instrumentalist. Zorn has led the notable punk jazz band Naked City: “I’ve got an incredibly short attention span. My music is jam-packed with information that is changing very fast”.

Naked City Album:

Batman” – 1:58
“The Sicilian Clan” (Ennio Morricone) – 3:27
“You Will Be Shot” – 1:29
“Latin Quarter” – 4:05
“A Shot in the Dark” (Henry Mancini) – 3:09
“Reanimator” – 1:34
“Snagglepuss” – 2:44
“I Want to Live” (Johnny Mandel) – 2:08
“Lonely Woman” (Ornette Coleman) – 2:38
“Igneous Ejaculation” – 0:20
“Blood Duster” – 0:13
“Hammerhead” – 0:08
“Demon Sanctuary” – 0:38
“Obeah Man” – 0:17
“Ujaku” – 0:27
“Fuck the Facts” – 0:11
“Speedball” – 0:37
“Chinatown” (Jerry Goldsmith) – 4:23
“Punk China Doll” – 3:01
“N.Y. Flat Top Box” – 0:43
“Saigon Pickup” – 4:46
“The James Bond Theme” (John Barry) – 3:02
“Den of Sins” – 1:08
“Contempt” (Georges Delerue) – 2:49
“Graveyard Shift” – 3:25
“Inside Straight” – 4:10

15 Sep 2008
The family of Richard Wright, founder member of Pink Floyd, announce with great sadness, that Richard died today after a short struggle with cancer.

The family have asked that their privacy is respected at this difficult time.

Richard Wright
Born 28 July 1943 (65)

Brian Eno is working with Will Wright on Spore’s procedural soundtrack.

Back in the 1970s Will Wright and Brian Eno got hooked by cellular automata such as Conway’s “Game of Life,” where just a few simple rules could unleash profoundly unpredictable and infinitely varied dynamic patterns. Cellular automata were the secret ingredient of Wright’s genre-busting computer game “SimCity” in 1989. Eno was additionally inspired by Steve Reich’s “It’s Gonna Rain” in which two identical 1.8 second tape loops beat against each other out of phase for a riveting 20 minutes. That idea led to Eno’s “Music for Airports” (1978), and the genre he named “ambient music” was born.

Spore takes place in a universe which ranges from the very large to the very small and from the distant past to the distant future. Depending on where you are in the game, you experience it as a cell, an organism, a tribe, a city, or a civilization.

“I’m interested in the idea of games creating original music,” Eno said in an interview with rolling stones magazine. “It allows you to write interactive music in ways that are very difficult to do when you’re licensing music. With licensing, you have a band who has already written a piece of music without having thought at all about the idea of games or interactivity in any way, and so unless you happen to have some particular thing going in your game — like a radio you can turn on — it’s very difficult to make it blend into the action of the game and be responsive.”