concept (january 2007 edit)
I look with wonder at the world wide web and see how it has become a reservoir, a storage room of each individuals creative outcome. (Of course there is so much more, but as in a city, I don't knock on every door and I don't enter every shop/gallery/bar/cinema and what so ever.)
Sometimes it makes me think that a person's website is the final destination of his productivity. One of the reasons I organised this festival is to visualize, or maybe better, to materialize the information I got through the web.
The majority of the performing artists I met through internet. It is easy to maintain a digital relation. But to my idea there is also life after the world wide web. Webbing is communicating fast. The result could be meeting in a bar and have some chats and then go home to check some more e-mails. But this is the age of production. And I wanted to produce a Festival and thus present a place where an artform like field recording could have a platform.
I choose field recorders out of another wonderment. By now I know that Berlin can be considered one of the cities in the world with a amazingly lively experimantral/noisical scene. Musicians who have dedicated themselves to this artform often incorporate field recordings in their performances/compositions. But they seldom make appearances where exclusively field recordings are used. I don't know of any venue in Berlin with a programme that includes at least one weekly performance of pure field recordings.
The line up of this Festival (sixteen persons; on the first there were eight) shows the eagerness of the field recorder to present himself to an audience, I mean a real live audience, and not a digital audience at the other side of the computer who will download his netrelease, and whose presence often is diminished to the figure that indicates the number of downloads. I hope that this Festival will result in more initiatives, be it as an evening, be it as a festival. In the end it is all about listening and hearing what is going on. If you like you may read an idealistic statement in this (last) line.
I consider the worldwideweb as a means of communication. I often consider communication as a means to get together and produce something. (Yes, I have my moments of nice goodtime nonsensical blablaing, but hey, this is also what talking is about, but I don't like to be so technocratic that "having a good time" equals "communicating good vibes", before you know, it will become a registered trademark).
I would like to respect networking:
That's why I have contacted (internet)radio's around the world to ask them if they would like to dedicate some of their time to the festival. A list of these radio's will be published soon. I like radio, because I can imagine sounds swirling in some space where ever on the world. And I also like the excitement, knowing that sounds produced in Berlin will go travelling into orbit and from there back again to the Australian desert.
And that's why I will also contact field recorders around the world. Their recordings will become available on line, as a festival to go.
Soon.
Sometimes it makes me think that a person's website is the final destination of his productivity. One of the reasons I organised this festival is to visualize, or maybe better, to materialize the information I got through the web.
The majority of the performing artists I met through internet. It is easy to maintain a digital relation. But to my idea there is also life after the world wide web. Webbing is communicating fast. The result could be meeting in a bar and have some chats and then go home to check some more e-mails. But this is the age of production. And I wanted to produce a Festival and thus present a place where an artform like field recording could have a platform.
I choose field recorders out of another wonderment. By now I know that Berlin can be considered one of the cities in the world with a amazingly lively experimantral/noisical scene. Musicians who have dedicated themselves to this artform often incorporate field recordings in their performances/compositions. But they seldom make appearances where exclusively field recordings are used. I don't know of any venue in Berlin with a programme that includes at least one weekly performance of pure field recordings.
The line up of this Festival (sixteen persons; on the first there were eight) shows the eagerness of the field recorder to present himself to an audience, I mean a real live audience, and not a digital audience at the other side of the computer who will download his netrelease, and whose presence often is diminished to the figure that indicates the number of downloads. I hope that this Festival will result in more initiatives, be it as an evening, be it as a festival. In the end it is all about listening and hearing what is going on. If you like you may read an idealistic statement in this (last) line.
I consider the worldwideweb as a means of communication. I often consider communication as a means to get together and produce something. (Yes, I have my moments of nice goodtime nonsensical blablaing, but hey, this is also what talking is about, but I don't like to be so technocratic that "having a good time" equals "communicating good vibes", before you know, it will become a registered trademark).
I would like to respect networking:
That's why I have contacted (internet)radio's around the world to ask them if they would like to dedicate some of their time to the festival. A list of these radio's will be published soon. I like radio, because I can imagine sounds swirling in some space where ever on the world. And I also like the excitement, knowing that sounds produced in Berlin will go travelling into orbit and from there back again to the Australian desert.
And that's why I will also contact field recorders around the world. Their recordings will become available on line, as a festival to go.
Soon.
posted by rinus at
11:35 am
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