Performed by: Sam Auinger, Ingrid Beirer, Peter Cusack, Ursula Rogg, Sven Sappelt, Georg Spehr, n.n, n.n. and katrinem.
Thanks to Udo Noll, Thomas Meier, Nika Radic.

In the framework of the exhibition Berlinlokalzeit at CLB Berlin we did a BesenBallett performance in the courtyard behind the gallery. 3 brooms were equipped with microphones and the recordings were broadcast via live-stream on Radio Aporee.
The performance followed my Score for Brooms and Sweeping (Kehrpartitur)

BesenBallett

Walter Klingenbeck, die treibende Kraft einer jugendlichen Widerstandsgruppe in München, die Historiker als den „Klingenbeck-Kreis“ bezeichnen, wurde am 5. August 1943 im Alter von 19 Jahren von der Nazi-Justiz hingerichtet. Für die Widerstandspraxis des Klingenbeck-Kreises, spielte die Radioleidenschaft von Klingenbeck und seinen Freunden eine große Rolle. Der Kreis begann als Gruppe, die sich zum Hören sogenannter „Feindsender“ traf und u.a. durch Sendungen der BBC dazu angeregt wurde, in München „Victory“-Graffiti an Hauswänden anzubringen. Klingenbeck, der eine Ausbildung zum Elektrotechniker machte, experimentierte außerdem mit einem eigenen Sender zum Verbreiten antifaschistischer Propaganda. Er wurde jedoch denunziert und am 26. Januar 1942 festgenommen. Aus Sicht der heutigen Forschung gilt es als sehr wahrscheinlich, dass die Aktivitäten des Klingenbeck-Kreises den in der offiziellen Erinnerungskultur verankerten späteren Aktivitäten der „Weißen Rose“ als Inspiration dienten.

Das Grundmotiv des Stücks ist das akustische Erkennungssignal des deutschen Dienstes der BBC aus dem Zweiten Weltkrieg. Ihre zeitliche Verteilung basiert auf den Lebensdaten Klingenbecks.

Das Stück basiert auf der gleichnamigen Komposition von die grenzlandreiter, die 2006 in München als Performance im öffentlichen Raum aufgeführt wurde.

ENGLISH:
Walter Klingenbeck was the head of an antifascist resistance group formed by several youths in Munich. Aged 19, he was sentenced to death by Nazi judges and executed on 5 August 1943 in Munich. Klingenbeck and his friends were passionate about radio, which was an important inspiration for their resistance. They started as a circle of friends meeting up to listen to foreign broadcasts, such as the BBC, which was illegal under the Nazi regime. Listening to the BBC prompted them to paint "Victory" graffitis on Munich walls. Klingenbeck, who was training to become an electrician, also experimented with building a transmitter for broadcasting his own antifascist propaganda, but he was denounced and arrested on 26 January 1942.

The basic pattern of the piece is the Victory sign identifying the German service of the BBC during World War II. The timings according to which the pattern is repeated are based on Klingenbeck's dates of birth and death. 

This piece is based on the composition of the same title by die grenzlandreiter which was performed in public space in Munich in 2006.

Akustisches Denkmal für Walter Klingenbeck

Martyn Schmidt - The ball I threw while playing in the park has not yet reached the ground

the track Bricks Crumble by Dälek on a disturbed radio at the end of the age

Manifesto: Bricks Crumble Radio

Manifesto: 71 Fragmente einer Chronologie des Zufalls

Beatrice Ottmann, Voice and live-Electronics
Stefan Schulzki, Modular Synthesizers and Beats

Improvisation / 2017 May 28 / Munich, Club Milla / aDe-Lounge (aDevantgarde Festival 2017)

containing samples of the composition "322 aus Dunkle Raeume" by Stefan Schulzki for brass quintet and two percussionists, performed by oenm (Oesterreichisches Ensemble fur Neue Musik)
as well as "In Paradisum" from the Requiem by Gabriel Fauré, performed by Maedchenkantorei am Muenchner Dom, partly recomposed by Stefan Schulzki for the feature film "The Super"

Improvisation (In Paradisum 322)

Improvisation (In Paradisum 322) aDe-Lounge 2017 Ottmann/Schulzki

featuring guest vocal performance by Martin Lau(1:11 min- 1:28 min)

Martyn Schmidt: Gerald ist aus Kohlenstoff

Tom Waits (on Jim Wilson): "Wilson, he's always playing with time. I heard a recording recently of crickets slowed way down. It sounds like a choir, it sounds like angel music. Something sparkling, celestial with full harmony and bass parts - you wouldn't believe it. It's like a sweeping chorus of heaven, and it's just slowed down, they didn't manipulate the tape at all. So I think when Wilson slows people down, it gives you a chance to watch them moving through space. And there's something to be said for slowing down the world."

Source: "Woyzeck to run at Freud Playhouse". Daily Bruin (USA), by Andrew Lee. December 3, 2002

Find more on the recording on this link: http://www.democraticunderground.com/10023815586

Tom Waits on Tom waits talking about this recording - http://gloriousnoise.com/2008/tom_waits_interviews_tom_waits

More on the recording - http://hearingvoices.com/transcript.php?fID=142

You can buy original recording here - http://www.amazon.com/Gods-Chorus-Crickets-Jim-Wilson/dp/1932192077?tag=viglink124132-20

Original recording from the author - http://www.constancedemby.com/godscricketchorus_f.html

And more: http://scienceblogs.com/startswithabang/2013/10/13/weekend-diversion-is-this-an-amazing-chorus-of-slowed-down-crickets/

Jim Wilson | God's Chorus of Crickets | crickets audio recording slowed way down

Piano song 1

„Gasworks“ by sonic artist Gerald Fiebig collects his sound installations, radiophonic compositions, and live performances relating to the former gasworks in Augsburg-Oberhausen. They were created between 2010 and 2016, some in collaboration with colleagues EMERGE and Christian Z. Müller. Among the compositional materials of the album are processed recordings of the sounds of gas and industrial machinery, stories told by a former gasworks employee, and live improvisations in the echo chamber of the large gas tank.

Liner notes by Gerald Fiebig:

Cities phosphorescent
on the riverbank, industry’s
glowing piles waiting
beneath the smoke trails
W.G. Sebald, After Nature

The former gasworks in Augsburg-Oberhausen (not to be confused with the better-known Gasometer in the city of Oberhausen in the Ruhr area) have been a subject of my artistic practice for more than a decade. This album collects all the works related to the gasworks except a site-specific installation version of Echoes of Industry that did not lend itself to documentation as a recording.
Opened in 1915, the gasworks are a testimony to the spirit of what one could call the ‚heroic‘ age of industrialisation. The architecture of the ovens and machine halls features stylistic quotes from the façade of Augsburg’s renaissance city hall as well as from cathedrals. Technological progress is presented as both raison d’état and religion. This stands in stark contrast to the extremely hard, dangerous and – for a very long time – poorly paid working conditions described by long-time gasworks employee Johann Artner in Nach der Industrie / After Industry. From our contemporary viewpoint, informed by climate change and the impending end of fossil resources, the optimism expressed in the beautiful architecture of the gasworks also appears less than justified for ecological reasons: until 1968, the gasworks actually produced gas by burning coal in large ovens. They then continued to operate as a distributing station for fossil gas from transcontinental pipelines into the local network. Operations ceased in 2001.
After almost two decades of merely intermittent use for festivals and other events, 2019 saw the re-opening of the gasworks area as an arts centre featuring a theatre as well as artists‘ studios, rehearsal rooms, and office spaces for creative businesses. This seems to imply that it has now entered the ‚post-industrial‘ age where clean, almost immaterial computer screens have replaced the factory floors once so dirty and dangerous.
In fact, there is no such thing as a ‚post-industrial‘ age, just globalised capitalism increasingly outsourcing the dirty and dangerous work (manufacturing the microprocessors for the ‚post-industrial‘ devices, for example) to poorer countries. And of course industrial manufacturing still does form an important part of economies of the global North, even if the leading role in ideological narratives of growth and prosperity has been taken over by the ‚post-industrial‘ businesses.
Both post-industrial, which is partly based on processed sounds of a metal tool factory quite close to the gasworks, and Echoes of Industry can be heard as reminders of these ambivalences. Echoes of Industry brings the space of the gasworks into contact with the sounds of textile machines. This is a reference to the fact that the decline of the gasworks as an industrial site paralleled that of Augsburg’s once-thriving textile industry. It also alludes to the role of the textile industry as one of the most prominent examples for the exploitative use of cheap offshore labour.

 ======================================
Mre Information: http://www.gruenrekorder.de/?page_id=17005
Order here: http://shop.gruenrekorder.de/?full#Gruen_179

Akustisches Denkmal für Walter Klingenbeck

Gerald Fiebig

Related tracks