News about the 4th edition of the Festival that will take place in Berlin all through the year 2008. The information about the former editions that were held on 22-26 november 2006, 13-22 february 2007 and 1-29 august, 2007 are still to be found somewhere in the jungle of this blop.

Thursday, July 26, 2007

The Mini Sponsor List

Steven Burnett
Nicolas from Absurd

for a total amount of approximately* 500 euro. With this money a part of the financial pain of the participating artists can be cured. You can find their names and hometowns at the bottom of this entry.

Some more donations are on their way. The names of the supporters will arrive here as confirmation comes in.

Mini sponsors are still welcome and can pay through paypal on
sjefahoy at home dot nl.

Please mention your link and das kleine field recordings festival.
Those who prefer to pay in my bankaccount can contact me at
rinus at zeromoon dot com to get the Iban Swift codes.


Big sponsors wear ties. They can make an appointment in the lounge of the Hotel Adlon.
Just give me a call 0049 (0) 152 05 345 905

The artists that got benefit so far were Madame P (50 Euro, eurolines from Amsterdam), Yannick Franck (30 Euro, shared car ride from Liège), Hwem/Namenlos soundsystem (100 euro 2 returntickets eurolines Malmö-Berlin), Gilles Aubry (20 euro, taxi for mackiespeakers), Ruben Patino (50 euro unconditioned collaboration on all the evenings to get the concerts on internetradio), Björn Eriksson (25 Euro for taxi Wedding-Neukölln), Francesco Cavaliere & Luciano Maggiore ( 20 Euro each, contribution plane ticket), Murmer (50 Euro, carshare Paris-Köln + carshare Köln-Berlin), Michael Peters (50 Euro for carride Köln-Berlin-Köln),
Budhaditya Chattopadhyay (60 Euro, contribution train ticket)

On behalf of the participating artists a big thank you!!!

Rinus

* Dollar versus Euro value has still to be established.

1 Comments:

Blogger rinus said...

The festival started with a provocation, and was received as such. I wanted to present an anti-thesis to the purist approach of the first two editions. Then the musicians mostly came with their laptops and presented a composition of their nature, domestic or site recordings.

When, long ago, musicians left their studio's to make their recordings somewhere else, they adopted the name field recordings. (Of course lots of scholars will see this differently.) This movement brought to me the suggestion that there was a want for imperfection, and also a desire to capture something of the daily life itself.

Last nights concert was in open air, in a garden that was part of a bigger patchwork, that consisted further of a small sportsfield, backyards, but above all five stories of bare walls with windows in it. Loads of people living there must have heard the sounds coming from our loudspeakers (we were not loud).

In the garden itself sounds from the streets were heard, some music from a open window, people talking in an other part of the garden. Each perfoming artist created a momentary sonic portrait of the evening.

I knew that little use of field recordings was to be made. The total line-up was a composition, the participants themselves and the order in which they played. The real field recording was made by each single member of the audience.
It is in their memory that the imperfectness of the evening will come to its completion.

greetings from berlin,

rinus

11:53 a.m.

 

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