wow.. strong and sad at the same time. thanks for uploading!

In order to make a difference we need to see things in a new way, to open the mind and heart, and care for ourselves and the world> There is much help in the world of Buddhist practice for this shift.

Climate Change, Coronavirus And Compassion. Clil

Inviting In Difficulty For A Cup Of Tea. Wise Partnership With Painful Experiences

The Shambalah Warrior. The Weapon Of Wisdom To Change The World

For organ played by two musicians – 2022, ca. 20′ (first version)
Edition Peters

Dedicated to Susanne Kujala & Eckhard Manz
Premiere: 25 june 2022, Bishopchurch St-Martin, Kassel, opening concert of the festival Brandneu 2022, Susanne Kujala & Eckhard Manz.

Program Note:
Adverbial locutions in French, which I often use as titles, often have the wonderful characteristic of containing several meanings. Jusqu’à peu means both until recently and until barely or until a little. The piece is indeed a crisis composition: covid crisis, midlife crisis, Ukrainian crisis, climate crisis. All these crises, which have been lining up in a new pace for the last few years, have comparable characteristics: They emerge slowly, without being expected, and then explode in an uncontrolled way, often leaving a bitter and disillusioning aftertaste, if not despair, death and destruction. The climate crisis will perhaps be the last of these crises, challenging notions of human progress and perhaps leading to ultimate extinction. Written for one of the most sophisticated instruments in human music, the piece remains on the symbolic level of these different crises, but follows the form and spirit of this emergence and decline.

Jusqu'à peu, for organ (two musicians)

For our 17th edition, we have one of the founders of Disconnekt Berlin and Gegen resident: Cristian Marras. 

A fast paced 1-hour set filled with percussions, groove and nostalgic atmospheres that will take you straight to 90s. 

Invited artist:
Cristian Marras 

Instagram: www.instagram.com/dj_cristianmarras/
Soundcloud: @crisberlin

#techno #podcast #djset #bogotatechno

LIVE.DVSN017: Cristian Marras

Powerdove Solo live performance in Distler Hall, Tufts University, 10/5/15. Voice/sampler/Blister (modulating synthesizer made by Taylan Cihan)

Do You Burn?

El, for six players in three groups

Orte-Mekomot Ensemble

Recording: Deutschlandfunk - Forum neuer Musik DLF Köln, April 2016
Redaktion: Frank Kämpfer
Tonmeister: Robert Schneider



El [1-5-9, three opening groups] | Mekomot @ DLF [4/16]

https://soundcloud.com/mashrou3leila
https://soundcloud.com/ihatejade

Follow our Follow my ''Electronic Arab Indie'' Playlist on spotify tinyurl.com/1ajp1x8p

Mashrou Leila - Shim El Yasmine (Jade's Deeper Remix)

Israel is an ethnocracy. There’s cannot be a race-based democracy.  While many believe that Jews “deserve” a land of their own, I wonder if anyone has asked the land if it is willing to belong to any specific nation and what the hell is a nation to begin with… HaTikvah (the hope) is the Israeli anthem. It was written by Naftali Herz Imbar who could not stand this land and left after 4 years. However, his song, about the Jewish spirit, a song that was never meant to serve as an anthem was adapted by the Zionists as the Israeli anthem, just to remind the other races that live here who are the new landlords. As part of a  project named "It's Gone" by Turing Dames (Eran Hadas, Batt-Girl and I) that discusses the new race hierarchy that Zionism has established in Israel (also among different Jewish ethnic groups), I recomposed the anthem. Every word that commemorates the Zionist agenda  is eliminated, every super-star singer that proudly sang it is mocked and distorted. The piece ends with recordings from a demonstration of  HaTikvah neighbourhood in Tel- Aviv, where the citizens ask for social justice.

Remixing HaTikvah

study for orchestra after a poem by Andrea Cohen; performed by the RTÉ National Symphony Orchestra of Ireland, conducted by Gavin Moloney, Studio One, RTÉ Radio Centre, Dublin, May 28, 2019

To the Woman Going Up the Escalator at Columbus Circle at Five-Thirty Last Evening

I spent parts of my childhood growing up at a military base in Israel, one of the most militarized countries in the world today. I would often go with my family to military ceremonies and parades, and this was where I would encounter, along with the roar of jet planes showing off their tricks for the audience, the marching band playing its repertoire of marches and songs. These childhood memories are perceived as happy and careless (if I had any worries back then they didn't make it to the present). I especially liked when the "Hercules" - an American transport plane which back then was probably the largest vehicle I'd ever seen - would land in close proximity to the audience and give birth to a tank or two before taking off again in deafening noise, with spectacular flames coming out of its jets.
When I look back at these memories today I feel deceived. The maternal Hercules jet was manufactured by one of the world's largest weapon dealers. I was participating in what now I think of as a ritual of adoration of technology and power, for which the music of the military band was another ornament, an aural candy. In my piece I am exploring the gap between the sterile representation of wars and technology in mainstream media and culture and the realities of those conflicts: the destroyed homes, the torn flesh.

I went back to the official march of the Israeli military and electronically stretched and manipulated it, trying to symbolically reveal a certain truth or information it held and which was hidden. It became an austere and dysfunctional slow piece of music, perhaps a funeral march which I then transcribed for the ensemble. The original recording of the March is played through speakers towards the end of the piece, but it is framed within the larger piece in a way which is alienating and distancing. The players do not participate in the playing of the March. this is not a march is an attempt to refract the relationship of the wind ensemble and its militaristic history. 

This is not a march (2012) performed by Cynthia Johnston Turner and the Cornell Wind Ensemble

Amit Gilutz

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