Jan
22
CTM.09 - STRUCTURES OPENING NIGHT / Wolfgang Voigt presents GAS live
Past eventGas and Last.fm DJ Team
61 attending |
Lineup (2 artists) |
5 shouts
| Added by DISK-CTM
Thursday 22 January 2009
CLUB TRANSMEDIALE.09 – STRUCTURES
club transmediale (CTM), Berlin’s unique festival for electronic and experimental musical culture, invites you to its 10th Anniversary Edition in January 2009.
Expect a magnificent programme of concerts and performance in honour of this grand occasion, in which the festival’s long-standing friends and comrades-in-arms, the best of the season’s newcomers and yet to be discovered talents will all do their utmost to highlight the festival’s status as a forge of international talent and a creative network hub.
New this year will be a daytime programme of events in Kunstraum Kreuzberg/ Bethanien, which will address both theoretical and practical aspects of today’s independent and experimental music production at the intersections of pop and sound & media arts. Artists, experts, journalists and theorists will present their work and lectures as a means to pool knowledge and sketch out the sector’s future prospects. Visitors can hone their personal skills in workshops designed to encourage and support DIY experimentation. Selected projects and initiatives will demonstrate what they do in a hybrid formats fusing exhibitions and work-in-progress sessions that engage visitors’ participation. Actions and installations will illustrate further examples of creative output wiring music, art and digital culture.
FESTIVAL THEME: STRUCTURES
For CTM the anniversary is an occasion for retrospection and an analysis of current trends yet the main focus is, of course, to once again check out whatever’s new in the rapidly evolving music and arts scene.
club transmediale.09 has chosen the theme STRUCTURES – Backing-up Independent Audio-visual Cultures as a means to investigate how the constant transformations wrought by progressive digitalisation and subsequent crises in the music industry affect today’s diverse and independent music and media art scenes. What risks and opportunities are in store?
In the 1990s a convergence zone of pop culture, science, art and media technologies gave rise to new hybrid projects and initiatives that merged sound and media cultures. It was a heady era full of pioneer spirit, in which barriers between established disciplines seemed to have at last become permeable. People felt that much might be gained by interconnecting the models of open, active media culture networks and independent players on the music scenes. To reconcile socio-cultural aspirations and economic viability seemed feasible. Barely 10 years later it is to be feared that these two poles are drifting further apart than ever before. If this proves ultimately to be the case, vital creative exchange and interdisciplinary initiatives would be severely limited. Given the growing constraints of earning a livelihood, is all that now remains for many musicians and artists a highly differentiated form of hobbyism and the hope – underpinned by intense self-marketing strategies in Web 2.0 – of finally being chosen on the market? Or are new social niches now emerging, in which the whish of scraping a living by creative means is rather unimportant while a resolute commitment to the arts and music is ever more vibrant? Will the relatively small number of experimental sound artists wave goodbye to commercial viability and adapt themselves more readily to the art market and public funding programmes? Are we witnessing the rise of a new musical middle-class that can get by reasonably well on concert fees and royalties yet – like the few remaining international stars – are affiliated ever more strongly with the multinational companies’ marketing strategies? What will be the odds in the future for independent, diverse and socially relevant music-makers?
Facing such crossroads, STRUCTURES will inquire into the current state and future potential of microstructures and micro-networks in independent music and media culture, for these are the true laboratories and matrix of new artistic forms and interdisciplinary practices that seek to broaden the scope of social and cultural negotiations.
10 YEARS OF CLUB TRANSMEDIALE
The STRUCTURES theme not least offers club transmediale and DISK – Sound & Image Initiative a chance to reflect on its own 10 years of commitment to and struggle for independence in music and media production.
The first edition of CTM in the year 1999 was originally conceived as a one-off special programme for the transmediale, Berlin’s festival for art and digital culture, where it was to throw some light on the new and rapidly expanding spectrum of artistic projects at the interface of media arts, electronic music and club culture, which had emerged from the Techno movement and progressive digitalisation. The idea fell on fertile ground – evidently we had struck a nerve at the right moment and correctly identified the needs of artists and the public.
Today, almost 10 years later, club transmediale has gained a unique profile and the reputation of being one of the most important international festivals both for state-of-the-art electronic digital and experimental music and for the manifold artistic activities that unfold in the context of sound and club culture. Together the two festivals club transmediale and transmediale comprise one of the most comprehensive and relevant occasions in the world for reflection on digital culture and, moreover, one that covers a much broader scope than any standard festival remit: it attracts a diverse and broad public, yet at the same time offers artists, producers, agents and curators a lively platform for informed, thoughtful debate and network opportunities: interdisciplinary activity that reaches deep into the minutely diversified grass-roots level of production. Insofar both festivals do much more than simply present new trends and developments. In their role as partners to the artists, as a continuous, vocal presence in current discourse, as an active network facilitator, information resource, research body and disseminator of innovative work, they make a vital contribution to the development of critical, innovative music and media cultures.
club transmediale (CTM), Berlin’s unique festival for electronic and experimental musical culture, invites you to its 10th Anniversary Edition in January 2009.
Expect a magnificent programme of concerts and performance in honour of this grand occasion, in which the festival’s long-standing friends and comrades-in-arms, the best of the season’s newcomers and yet to be discovered talents will all do their utmost to highlight the festival’s status as a forge of international talent and a creative network hub.
New this year will be a daytime programme of events in Kunstraum Kreuzberg/ Bethanien, which will address both theoretical and practical aspects of today’s independent and experimental music production at the intersections of pop and sound & media arts. Artists, experts, journalists and theorists will present their work and lectures as a means to pool knowledge and sketch out the sector’s future prospects. Visitors can hone their personal skills in workshops designed to encourage and support DIY experimentation. Selected projects and initiatives will demonstrate what they do in a hybrid formats fusing exhibitions and work-in-progress sessions that engage visitors’ participation. Actions and installations will illustrate further examples of creative output wiring music, art and digital culture.
FESTIVAL THEME: STRUCTURES
For CTM the anniversary is an occasion for retrospection and an analysis of current trends yet the main focus is, of course, to once again check out whatever’s new in the rapidly evolving music and arts scene.
club transmediale.09 has chosen the theme STRUCTURES – Backing-up Independent Audio-visual Cultures as a means to investigate how the constant transformations wrought by progressive digitalisation and subsequent crises in the music industry affect today’s diverse and independent music and media art scenes. What risks and opportunities are in store?
In the 1990s a convergence zone of pop culture, science, art and media technologies gave rise to new hybrid projects and initiatives that merged sound and media cultures. It was a heady era full of pioneer spirit, in which barriers between established disciplines seemed to have at last become permeable. People felt that much might be gained by interconnecting the models of open, active media culture networks and independent players on the music scenes. To reconcile socio-cultural aspirations and economic viability seemed feasible. Barely 10 years later it is to be feared that these two poles are drifting further apart than ever before. If this proves ultimately to be the case, vital creative exchange and interdisciplinary initiatives would be severely limited. Given the growing constraints of earning a livelihood, is all that now remains for many musicians and artists a highly differentiated form of hobbyism and the hope – underpinned by intense self-marketing strategies in Web 2.0 – of finally being chosen on the market? Or are new social niches now emerging, in which the whish of scraping a living by creative means is rather unimportant while a resolute commitment to the arts and music is ever more vibrant? Will the relatively small number of experimental sound artists wave goodbye to commercial viability and adapt themselves more readily to the art market and public funding programmes? Are we witnessing the rise of a new musical middle-class that can get by reasonably well on concert fees and royalties yet – like the few remaining international stars – are affiliated ever more strongly with the multinational companies’ marketing strategies? What will be the odds in the future for independent, diverse and socially relevant music-makers?
Facing such crossroads, STRUCTURES will inquire into the current state and future potential of microstructures and micro-networks in independent music and media culture, for these are the true laboratories and matrix of new artistic forms and interdisciplinary practices that seek to broaden the scope of social and cultural negotiations.
10 YEARS OF CLUB TRANSMEDIALE
The STRUCTURES theme not least offers club transmediale and DISK – Sound & Image Initiative a chance to reflect on its own 10 years of commitment to and struggle for independence in music and media production.
The first edition of CTM in the year 1999 was originally conceived as a one-off special programme for the transmediale, Berlin’s festival for art and digital culture, where it was to throw some light on the new and rapidly expanding spectrum of artistic projects at the interface of media arts, electronic music and club culture, which had emerged from the Techno movement and progressive digitalisation. The idea fell on fertile ground – evidently we had struck a nerve at the right moment and correctly identified the needs of artists and the public.
Today, almost 10 years later, club transmediale has gained a unique profile and the reputation of being one of the most important international festivals both for state-of-the-art electronic digital and experimental music and for the manifold artistic activities that unfold in the context of sound and club culture. Together the two festivals club transmediale and transmediale comprise one of the most comprehensive and relevant occasions in the world for reflection on digital culture and, moreover, one that covers a much broader scope than any standard festival remit: it attracts a diverse and broad public, yet at the same time offers artists, producers, agents and curators a lively platform for informed, thoughtful debate and network opportunities: interdisciplinary activity that reaches deep into the minutely diversified grass-roots level of production. Insofar both festivals do much more than simply present new trends and developments. In their role as partners to the artists, as a continuous, vocal presence in current discourse, as an active network facilitator, information resource, research body and disseminator of innovative work, they make a vital contribution to the development of critical, innovative music and media cultures.
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Gas
Last.fm DJ Team
Shoutbox
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pr_gagarina_167 wrote:
It felt like 90-s too much, I cannot imagine someone is still interested in 2009 watch unmoving figure with laptop playing amorphous ambient for 2 hours. I expected much more efforts, but Wolfgang Voigt seemed to do nearly nothing behind his desk. Was so stupid that it was funny again.
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DISK-CTM wrote:
Tickets now available at the Volksbühne website
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noisecolours wrote:
amazing
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malonemuert wrote:
why thursday?? :(
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lukatoyboy wrote:
my birthday!
Tracks from the Lineup
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Gas - Pixels full track | 1:27 |
|
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Gas - Microscopic free download | 9:51 |
|
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Gas - Experiments On Live… full track | 16:35 |
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