Did you ever have to dump books at an airport due to excess luggage after a long trip with many souvenirs? I just had. Awful expirience. Almost like dismissing friends. But despite having gone more and more digital after I participated as a student in last year’s first run of the terrific Massive Open Online Course (MOOC)Literature in the Digital Age, I still brought three paperbacks with me on my 10-weeks-research trip to Australia.
I did it because I still and always will love the feeling of having „book-books“ around me. They look, feel and smell nice, they never run out of batterie and they are just a lovely companion on any kind of lonesome trip. And yet they can become quite bothersome or even an obstacle if you have to travel or move a lot, especially in globally connected, flexible and racy times like ours.
For situations like these an ebook reader is certainly a great alternative, although no substitute, if you ask me. But „literature in the digital age“ is so much more than only reading or writing a text on an electronical device. As the lead educator Philipp Schweighauser explains in this interview very nicely, the reading strategies of „social reading“ and „distant reading“ are just two of various examples how digital technology challenges literature and books nowadays.
In this MOOC Philipp Schweighauser, Professor of American and General Literatures at the University of Basel (Switzerland), will take you on a six week journey through the world of literature in evolution. Together with my colleagues I will be one of the four mentors of this course and it would be my pleasure to attend you on this trip. You can join anytime but it is most fun to start in Week 1 with most of the other participants from all over the world. Just have a look!
This city portrait is mainly told by the means of electric static, by noises that the human ear normally cant’t perceive. Christina Kubisch is well-known for developing her very special head phones which make it possible to discover the un-hearable side of modern cities and environments in the context of her performances and so-called Electrical Walks.
Being a great fan of Christina Kubisch’s work I of course went to the arward ceremony. Asked how she came up with the idea if portraiing Las Vegas this way, Christina Kubuch just replied: „Oh, I married there once.“ Listening to Desert Bloom I venture to say: It was definitely worth it…. Congratulations to all the artists!
Before I left the drama department of Bayern2 Radio for working at the University of Basel and starting my PhD, I had the great pleasure to interview Okwui Enwezor, who had just become the director of Haus der Kunst in Munich. Tonight the interview from 2011 with interesting insights on growing up in Nigeria, being a young black man in the New York art scene in the 1980s and many more will be broadcast again. You can listen to the pocast here. (All dubbed in German)
Okwui Enwezor, director of Haus der Kunst in Munich, Germany. Foto: Andreas Gebert
The philosophical radio magazine „Sein und Streit“ asked me to visit for them the hut of Martin Heidegger in Todtnauberg, a climatic spa approximately 60 minutes by car from Basel in the Black Forest. Of course I knew about this famous hut, which Heidegger acquired in the early 1920s and where he concentrated on developing his fundamental ontology.
Heidegger’s hut above Todtnauberg and the famous well with the star-die on top. (August 2016)
Today Bazon Brock turns 80. Being an unique mixture of an artist and an polymath, Bazon Brock studied with Theordor W. Adorno, helped to bring Fluxus to Germany in the 1960th and was a close collaborator of Joseph Beuys and Wolf Vostell. Brock is emeritus Professor of Aesthetics and Cultural Education at the Bergische Universität in Wuppertal, Germany. He developed the method of “Action Teaching”, in which the seminar hall becomes a place for staging oneself and others. From 1968 until 1992 he launched the documenta-schools for visitors. As „Bazon“ is the Greek word for a talkative person, Bazon Brock developed talking and the mediation of art to an art form, always driven by on the one hand his fury against Hitlerism, which he suffered severely of as a child, being a refugee at the end of the Second World War from the east, and on the other hand by his euphoria to be alive.
Crashing of the airship LZ 129 Hindenburg on the 6th of May 1937 in Lakehurst, New Jersey (USA). Herbert Morrison’s radio report about the catastrophe is one of the oldest documents of radio history. Foto credit: Sam Shere
This is what my talk will be about:
„The antagonism between the technological development towards perfectly clean digital radio sound and the common idea of radio as a noisy analogue medium is crucial for contemporary radio research. From a literary and media studies perspective this antagonism can be scrutinized very well in the extensive corpus of over 40 radio plays by the German radio artist Andreas Ammer. Especially three of his works, which he created together with the German noise musician FM Einheit, are examined thoroughly within my PhD project. These plays are “Apocalypse Live” (1994), “Deutsche Krieger I – III” (1995/1997) and “Crashing Aeroplanes” (2001). All three of them broach the issue of “the noises of radio art in the digital age” by the means of catastrophic plots.
I have written all my life: articles, features, essays, diaries, letters, columns, seminar papers, speeches, lectures. I have experienced writing as burden and as bliss. Writing never stopped to fascinate me. Still I felt unsatisfied with my way of writing. Most of the time I have written for money as I used to work as a journalist since my teenage years. This is certainly not the worst reason. But I always had this other longing. I wanted to experience a different kind of wirting and yet not a poetic, fictional one. I was looking and longing for way of writing about the world, about so-called „reality“ as well as about art I neither learned at school for journalism nor at university, especially not at German university. Eventually today a friend of mine drew my attention to this interview on writing with the British anthropologist Alan Macfarlane.
Three days after the terror attacks in Paris, four days after the massacer which the suicide bombers caused in Beirut, in the middle of the biggest refugee track through Europe since World War II, during an evil war in Syria and daily terror in Israel, Iraq and so many other places since decades: I still feel speechless and deeply sad. On the contrary to so many politicians and demagogues and their immediate response to the terror attacks. All over the planet they seem to know the answers right away and cannot wait to spread their verbal build-up of arms via any channel of communication. But their hatred and racism, their cry for war and revenge is no answer. It never was and it never will be.