“That being said, the demonstration was a success in that it gathered seven to ten thousand people and instilled in them (well, perhaps not all of them, but lots of them) the need to engage in long-term activism that cannot simply be a fight for funding. Rather, they have to attack this coalition in its entirety, on points ranging from the crusade against halal meat to a flurry of measures that increase social inequality – and attack it with acts of the imagination that forge new social montages.”
Zie Sven Lütticken: http://svenlutticken.blogspot.com/2011/06/polderland-ist-abgebrannt.html
Daniel van der Velden zegt over de voorgenomen bezuinigingen op kunst & cultuur:
“Finally this will allow people abroad to see the Netherlands for what it really has become: a small-minded security haven for rich, white pensioners. No longer the liberal laboratory of Europe, we need a new resistance, a new politics, and a new art to set us free.”
Lees: http://www.metropolism.com/opinion/despotic-powers/
Hier nog twee nuttige reacties op de barbaarse aanval op hedendaagse kunst & cultuur door het huidige kabinet:
Infographics die laten zien over hoe weinig budget het eigenlijk gaat:
http://www.mediamatic.net/page/219535
De schadekaart, begin van een inventarisatie van de culturele schade:
http://www.schadekaart.nl/
Erg goed, (lezen!) is het artikel van Willem Schinkel in het meest recente nummer van Metropolis M, over realpopulisme. (Niet online, dus kopen, lenen of in de bibliotheek lezen: http://www.metropolism.com/)
“Dear Friends & Colleagues,
Despite the recent drastic and depressing news about the art funding in the Netherlands, the music should always continue. June 18th is an important date for STEIM – it was 3 years ago on this day that you gathered to show support for this institution that was being threatened by funding cuts. This time, it is everyone who is jeopardized.
But let’s not have these irrational decisions halter what we do, instead let’s use it as a catalyst to strengthen our networks and deepen our artistic explorations. As much as we criticize the new policies, let’s explore new methods for a sustainable infrastructure that nourishes young talent and allows for experimentation.
The Netherlands has one of the most vibrant art and music scenes in the world, and it’s up to us to keep this going, not the politicians.”
Takuro Mizuta Lippit
Concerts at STEIM Summer Party, this saturday: http://www.steim.org/steim/
… writes Regine Debatty:
“This week, i’ve been watching Volume 16: Lo-tech and Volume 17: Hi-Tech. The first presents nine artists who work with basic, or in some cases antiquated technology. As its name indicates, its ‘hi-tech’ counterpart features ten artists working at the intersection of new ideas in art and technology.
There were only a few names that were familiar to me in Lo-tech and Hi-tech and that’s good, I’m all for discovering new artists. One of the reasons of my ignorance might be that i tend to be a little too enwrapped in Europe and most of the artists and commentators in both volumes are North Americans (one notable exception is Arie Altena presenting with his delightful Dutch accent Marnix De Nijs’s Beijing Accelerator.)”
http://www.we-make-money-not-art.com/archives/2011/06/aspect-the-chronicle-of-new-me.php
Vorig jaar uitgekomen bij ‘het balanseer’, essays van Sven Vitse: Tekstbestanden. Een deel ervan had ik al gelezen in de Yang of DW&B. Uitstekende analyses van vernieuwende, experimentele of anderszins avontuurlijke teksten, een paar algemenere essays, en zeer kritische fileringen van (wat er mis is aan) conventionelere teksten van Brijs, De Winter, Lanoye en Mortier – fileringen die desalniettemin nooit respectloos worden. Toegegeven, ik las Vitse’s essays soms diagonaal, maar zelfs dan maken ze je veel duidelijk over taal, tekst, literatuur en het leesavontuur. Heel wat zinniger dan recensies lezen. Meest interessant vond ik zijn essay over Roggeman en Feldman, dat ook het minst geslaagd is – omdat Roggeman en Feldman eenvoudig te veel van elkaar verschillen om in 1 tekst te worden samengebracht. (Maar het is al fijn om teksten te lezen van iemand met wie je een cultureel universum en nieuwsgierigheid lijkt te delen). Enz.
Euh, en van de bibliotheek leende ik zomaar de Nederlandse vertaling van verschillende essays van Luckacs over Thomas Mann. Ik grasduinde er in. Opnieuw verbaasd over de culturele afstand tussen Lukacs’ stijl en literatuuropvatting en de westerse kapita-libera-cultuur van nu. Dat krijgt extra cachet door Lukacs soms bijna krampachtige argumentatie waarom de burgerlijke Mann-romans juist een kritiek van het burgerdom impliceren en wijzen op een betere wereld. Die aanpak viel begin jaren zeventig blijkbaar in goede aarde bij de sociaal-geëngageerde literatuur-crew. Lukacs realismebegrip is overigens nog steeds interessant – if ye ask me. Zijn essays over Mann zijn ‘pretty hard going’, Lukacs’ communistische geloof in maatschappelijke progressie komt inmiddels vreemd over. (Een veel platter geloof in commercieële vooruitgang daarentegen kunnen we heel goed volgen, ook al geloven we er niet in). Enz.
Instructions for a music composition for any number of players, makings sounds with any preferred type of instrument or other sound source.
Version 0.7
1. Choose one sheet of notated music, and give a copy to each player.
2. Set the exact length of the piece.
3. Every player determines individually for him/herself a code of how to read and interpret the notated music. The code has to adhered to rigoruously during performance.
4. Play.
Please note:
Players do not need the ability to read traditionally notated music. Every player determines a strict way of how to read the signs and interpret these on the instrument(s) and/or sound sources that he/she plays. It is not necessary to discuss the chosen code with the others in the ensemble before the performance, but it is not forbidden either. It is not necessary to rehearse, but it is not forbidden either. Do not change the code during performance for any reason – e.g. because something else turns out to sound better with what the other(s) are doing. Any code is permitted. It is not necessary to interpret all the signs of the notation; (the viola also does not play all the notes of a notated string quartet).
We’ll do this with Oorbeek at the Notations-festival. We tried it yesterday with the first prelude from Robert de Visée’s Livre des Pieces pour la Guittarre (1686) – in the original notation. It worked better that I had expected.
At some point during rehearsal the drummer asked: “So I could also read each letter as a sign for a specific genre, like funk, afro-beat, punk? and then play a characteristic lick for a couple of measures.” “… Euh, hmm, yes… as long as you follow that code rigorously, you could.”
On tuesday I interviewed Cesar Harada – I’m editting the text now, it will be published on the V2_website. Cesar Harada is working with his team on Protei, an unmanned sailing boat for cleaning up oil spills. He’s an energetic, humble guy who’s doing impressive work.
Protei is project of the day on Kickstarter: http://www.kickstarter.com/projects/cesarminoru/protei-open-hardware-oil-spill-cleaning-sailing-ro/.
Consider to fund it….
More on Protei here: http://protei.org.
Cesar was at V2_ for 2 weeks and developed a new model for the boat – it was tested on the Maas: http://www.v2.nl/files/2011/lab/protei-test-model.
Just out: Herbie Sykes’ history of the Giro d’Italia, Maglia Rosa. I read his earlier book The Eagle of the Canavese, a biography of Balmamion, and was positively impressed. This one is published by the most ‘chique’ of all cycling publishers Rouleur: http://www.rouleur.cc/maglia-rosa. Should be very beautiful.
Image gallery at http://www.cyclingnews.com/news/photos/maglia-rosa-triumph-and-tragedy-at-the-giro-ditalia
(Photo: © Maglia Rosa – Triumph and Tragedy at the Giro d’Italia)
