(thanks lucy)

In 1932 Bertolt Brecht formulated a critique of the radio as a centralized mass media, and advocated a decentralized media structure with as many senders as receivers. Ever since, the general notion of democratic media has been, and still is, identical to people getting access to transmitting their own content. From independent grassroot TV makers to pirate radio stations or online digital platforms, the aim has been to create a perfect, democratic media structure by granting people access to the technology. Today though, with a media landscape made up of corporate internet service providers, Brecht’s visions seem to have been fulfilled. However, paradoxically enough, by venture entrepreneurs capitalizing on so called architectures of participation.

In this workshop we will try to go beyond the general notion of democratic media as a matter of access and instead re-examine the concept by itself. When broken apart, it raises questions around systems of organization and means of control. The workshop is on one side a conceptual framework for the discussion and exploration of participatory media production and the relation between code, content and execution, but also a ‘hands-on’ introduction to simple commandline video editing. We will develop TV programmes - small scripts that executes video content in different ways. At the end of the day we will turn the space into a pirate TV channel and make a collective transmission out of our TV programming efforts.

Please bring video material and computer.

Fee: 5 euros (includes food!)

Please email m@1010.co.uk to reserve a place (strictly limited)

_____-micro_research, pickledfeet, Linienstrasse 54, Berlin 10119

U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl.

Telephone: 3050187482.

_____-micro_research is supported by Hauptstadtkulturfonds, Berlin 2009

http://www.1010.co.uk/org/_____-micro_research.html

http://pickledfeet.com

Das betahaus veranstaltet kommenden Mittwoch das HOBO Filmfest!

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The railroad industry in America has played an immense role in the development and progression of our modern society. Besides its most obvious role as a life line for supplies and sustenance to newly burgeoning towns and industry, it helped spawn an incredible subculture of people, the hobos and tramps of America. These hobos used the trains during the great depression in order to seek work, and a whole society of people grew around the railroads.
Agency Films has long been associated with the railways and has produced multiple short films and television programming around the subject of train hopping and have made it their mission to preserve the history of the American train tramp. We have generated national interest due to our increasingly popular television shows, You Tube broadcasts, and the yearly Asheville Rejects Film Festival.

Agency Films is due to kick off the European leg of their Hobo Film Festival September 2009 and will embark on an international tour culminating in Oslo Norway. They have brought together dozens of filmmakers who produce films around train hopping and hobo culture and are gathering even more submissions to create the ultimate visual dichotomy of this colorful and truly important facet of American history.

The tour starts in Berlin and has over 16 stops along the route, including Prauge, Budapest, Vienna, Rome, Zurich, Barcelona, Paris, London, Bristol, Dublin, Brussel, Amsterdam, Copenhagen, Stockholm, and Oslo.
Films featured in the festival:

*HOBO- john t davis (The feature film of the event: run time 90min.)

http://www.culturenorthernireland.org/article.aspx?art_id=22
ROAD TO COLOSSUS- erik burke
RIDING THE RAILS- michael uys and lexy lovell

TRUE HIGHWAYS- daniel cieplinski
THE GREAT AMERICAN HOBO- bobb hopkins

WHO IS BOZO TEXINO- bill daniel
SLACK ACTION- shana lawton
TRAIN RIDES- melinda fries
SPRUCE PINE TO BOSTIC- agency films

FRUITLOOP AND ARWEIGIAN RICK- jeffery shroyer

MILWAUKEE TO PORTAGE- stacy barton

CP RAIL KANADA- raphael lyon
CATCHING OUT- sara george
COMING HOME- tyler mohler
COMPASS IN THE BLOOD- national hobo association

LISTERINE ON SUNDAYS- brian paul higgins

9. November 2009 - Final Screening

Infos & Videos: http://visualcorrespondents.com/

Visual Foreign Correspondents Berlin

Visual Foreign Correspondents Berlin is the latest in a series of projects initiated by the Visual Correspondent Foundation in cooperation with WL Projects Berlin in which networks of high-profile public media platforms have been developed as specially curated spaces. In VFC-Berlin we invite a network of artists to reflect in a personal way on the recent events in their region and relate these events to ways in which the world has changed in the two decades since the fall of the Berlin Wall.

Now that the spectre of economic crisis and heightened religious differences once again are threatening to create new sets of barriers there has never been a better moment to reflect on just how much is at stake when we erect boundaries (either tangible or intangible) between nations, peoples and idea’s. In the light of this anniversary we will be asking the artists to reflect on the nature of boundaries and borders, virtual and real, which are destroyed and (re) constructed in this era of intense volatility.

VFC-Berlin has commissioned seven artists to make screen-based works looking at specific boundary or border -related issues in their home country. For this selection we sought not only regional diversity but also selected artists on the basis of their interest in a specific types of issue combined with their proven capacity to make works compelling and immediate enough to successfully compete for attention in a modern media landscape.

On the anniversary itself, for one night only, the entire series of works will be shown on the media façade on the outside of the Collegium Hungaricum Berlin the Hungarian Cultural Institute, This modern building is in the heart of the city of Berlin close to where the wall once was. With it’s enormous windows it will be a dramatic and symbolic location for the final night of the project.

Monday 9th of November: 8 pm - 12 pm

Great panorama video-installation for live visuals, set up by VB’s Leinwandler & VitaminK+ of Tritamin VJ Collective for the Club del Mate party series at Ritter Butzke.

baba roga’s revenge voirchestra is a remixed silent movie ambient art installation with djing and live soundscapes it could also be descriped as a expanded cinema experience. i remixed the movie Häxan (Witchcraft Through the Ages) made 1922 from Benjamin Christensen. The idea of the projection is, that on one screen the movie follows his narration and on two other screens i comment the actual narration with material from the movie and bring in some vj, video art aesthetics. dj witwe bolte is playing a lot of freaky sounds and hagen von detten is playing the guitar and other crazy instruments all through lots of effects so that there are a lot of soundscapes and experimental electronic noises.

here a short video from the performance at zeitraumexit

more on: www.benjaminjantzen.de

VB’s Raquel Meyers just released her new music video for the spanish hardcore band TR1C3 - where she actually sings screams !!!

TR1C3 : http://www.myspace.com/tridekafobia

- 30.10.09: Paul Kalkbrenner - live, @ Camea / Laguna, Frankfurt / O - vjing

- 31.10.09: “Kontrollverlust - Freakcircus” Neubrandenburg - vjing

- 07.11.06: “Alpha-Festival” Schwerin, Main Floor - vjing

hello everyone!!!

hope your all doing good! long time no see..

coming back next week!!

i put you the link of the blog dairy we’ve developp with homemade collective!!!

see you soon!!!

http://homemadecollectif.wordpress.com/

Awesome.

Artist Exchange International and Marymount Manhattan College present
“11/9-9/11” (2 November -1 December 2009), an exhibition in the Hewitt Art
galleries of Marymount Manhattan College (221 East 71st Street, New York,
NY, 10021). The exhibition opens to the public on 2 November (6:00-8:00
pm). Marymount will host a panel discussion with the artists, led by the
art critic and curator Lilly Wei, on 3 November, 6:30-8:00 pm, in the
Regina Peruggi Room (2nd floor of Main).
“11/9-9/11” both juxtaposes and likens the fall of the Berlin Wall (on 9
November 1989) and the destruction of the World Trade Center (on 11
September 2001). The presentation of work at Marymount corresponds with
the twentieth anniversary of the dismantling of the Berlin Wall, and
showcases work by six Berlin artists who have been inspired by that
landmark event.
“11/9-9/11” is the first of two exhibitions on this theme.  The second
will take place in April 2010 at the Galerie am Meer in Berlin, and will
feature five American artists.

“11/9-9/11” contains work by the following German artists:
Lilly Grote and Blonay Fuchs are from the former West Berlin. Grote works
with boxes allowing us to peer into small isolated worlds, not unlike the
formerly divided Berlin. In Beta, a post 1989 work, a tightrope walker
crosses the cosmos; we feel on the one hand exhilarated and on the other
precarious and exposed. In a series of 8 works on paper, Fuchs shows us
fantasies of New York and Berlin. Highly expressive and abstracted imagery
reproduce the energy of both cities and call to our attention the
similarities between the two.

Ulla Walter and Michael Arantes Müller are from former East Berlin.
Walter’s Last Exit is an oppressive image of the last escape, the impact
that major structures, like the Berlin Wall or the World Trade Center have
on the world.  Last Exit forces us to come face to face with the wall, but
then enables us to pass through it.  Müller’s Flydream creates a
chronological story using a progression of media – from expressive
charcoal (before the fall) to hard, violent etchings (during) and then
finally opening out to woodblock (after) portraying a more colorful,
hopeful future.

Lucas Boettcher was 19 when the wall came down. He had the advantage of
coming of age in an undivided Germany. His work deeply reflects the
aftershocks of the Berlin Wall and the Twin Towers. He is able to step
back and look from afar, the events mythologized through his eyes in a
comic book style video.

The fall of the Berlin Wall not only established the end of the socialist
experiment in eastern Germany it also gave rise to a full range of
evolutionary changes throughout Europe. The exuberance of the destruction
of the Wall led to the reunification of Germany and to an era of renewed
hope and optimism. The unexpected and dramatic destruction of the World
Trade Center, however, suspended this sense of global optimism.
Ultimately, both Berlin and New York became the epicenters of seismic
cultural and political transformations. The works of art in “11/9-9/11”
and those in the kindred Berlin exhibition are intended to generate
conversations about the state of the two cities today and how two events
that permanently marked their histories resonate with one another.