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.
I had the great pleasure and honour to give a three-day workshop on „Voice & Radio“ at the class of the radio artist Eran Schaerf at the ZHdK this semester. Once again it was a terrific exerience to work with artists and art students.
The guided tour through the two clouds – symbolizing Infosphere and Exo-Evolution – which Peter Weibel, manager of the ZKM and media artist, gave to me in advance for Deutschlandradio Kultur can be found here.
The title of my lecture, which will be in German as the whole workshop, is „The BBC World Service: International Radio – Made in the UK“. It is based on some findings of my Seminar „Special Sound“ about the BBC and the inspiring debates I had with my students in class. One of the results of this BBC seminar is our „Hitchhiker´s Guide to the BBC Radio Galaxy“, in which one of course also finds some information in English on the BBC World Service. In my lecture I will focus much more on the different attempts of delivering the identity concept of „Britishness“ via one of the oldest, largest and most famous radio stations to the world.
Update, 05-08-2015: The programme has been published now. Anyone interested is welcome to join, please just do register in advance.
We will be reading theoretical texts e.g. by Immanuel Kant, Nikola Tesla, Hans Blumenberg, Umberto Eco, Kodwo Eshun, Hans-Jörg Rheinberger, Joseph Vogl, novels by Stanislaw Lem and H.G. Wells, listen to Orson Welles‘ radio drama „The War of the Worlds“ (1938) and watch movies like „Alien“ by Ridley Scott, „2001: a space odyssey“ (1968) by Stanley Kubrick, „Solaris“ (1972) by Andrei Tarkowski, and „Contact“ (1997) by Robert Zemeckis. Of course this will be for me as a radio researcher one of the highlights: