The world in 24 hours: differenze tra le versioni

Revisione 16:34, 31 Gen 2006 (visualizza wikitesto) Bonci Rocco (Discussione | contributi) ← Previous diff		Versione attuale delle 11:04, 22 Mag 2006 (visualizza wikitesto) Editor (Discussione | contributi)
(11 versioni intermedie di un altro utente non mostrate)
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−	[[image:Linz-12.jpg|frame|center]]	+	[[image:Linzo-12.jpg|frame|center]]
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−		+	[[image:Linzol-15.jpg|frame|center]]
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−		+	[[image:ViennaColo.jpg|left]]
−	VIENNA	+	'''VIENNA'''
−	concept and coordination :	+
		+
		+	'''concept and coordination :'''
		+
	Blix (robert adrian, helmut mark)		Blix (robert adrian, helmut mark)
−	music :	+	'''music :'''
−	pas paravant (karl kowanz, renate kocer, günther schrom, manfredu schu, etc.)	+
−	Halofern (heimo zobernig, markus geiger, karl-heinz strohle, etc.)	+	'''pas paravant''' (karl kowanz, renate kocer, günther schrom, manfredu schu, etc.)
		+
		+	'''Halofern''' (heimo zobernig, markus geiger, karl-heinz strohle, etc.)
−	sound and telephone tech :	+
		+	'''sound and telephone tech :'''
	karl kubacek		karl kubacek
−	Location :	+
		+
		+	'''Location :'''
	Kulturservice-Studio		Kulturservice-Studio
	Grünangerg. 6, 1010, Wien		Grünangerg. 6, 1010, Wien
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−	telephone concert: 15 aprile 1983. -- Artpool, Budapest / Blix, Vienna / Aufbau-abbau, Berlino	+
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		+	'''telephone concert: 15 aprile 1983. -- Artpool, Budapest / Blix, Vienna / Aufbau-abbau, Berlino'''
	La musica giocata nel telefono è MUSICA del TELEFONO perché, non importa come è ricca e meravigliosa la musica quando entra nel telefono, quando emerge cento, mille, dieci mila chilometri lontano sarà suono del telefono.  La banda stretta delle frequenze disponibili nel telefono (basso costo e disponibilità universale) significa che tutto ciò che entra nel telefono esce come suono del telefono.  In un concerto di MUSICA del TELEFONO lo strumento è il telefono in se.		La musica giocata nel telefono è MUSICA del TELEFONO perché, non importa come è ricca e meravigliosa la musica quando entra nel telefono, quando emerge cento, mille, dieci mila chilometri lontano sarà suono del telefono.  La banda stretta delle frequenze disponibili nel telefono (basso costo e disponibilità universale) significa che tutto ciò che entra nel telefono esce come suono del telefono.  In un concerto di MUSICA del TELEFONO lo strumento è il telefono in se.
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	La parte finale del concerto era una 3-way jam session come una specie di conferenza telefonica improvvisata messa insieme da Karl Kubacek a Vienna.		La parte finale del concerto era una 3-way jam session come una specie di conferenza telefonica improvvisata messa insieme da Karl Kubacek a Vienna.
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	berlin		berlin
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−	BUDAPEST
		+	[[image:budacolo.jpg|left]]
		+	'''BUDAPEST'''
−	coordination :
−	artpool (gyorgy & julia galántai)
−	music :	+
		+	'''coordination :'''
		+
		+	[http://www.artpool.hu/ artpool] (gyorgy & julia galántai)
		+
		+	'''music :'''
		+
	Europa Kiado		Europa Kiado
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	Trabant		Trabant
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	Artpool's steps		Artpool's steps
		+
	Bizottsag		Bizottsag
−	Mihaly	+
		+	Mihaly
		+
	VIG		VIG
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	Vetó-ZuZu		Vetó-ZuZu
		+
	Jurij Kozmos		Jurij Kozmos
		+
	VHG		VHG
		+
	Peter Mery		Peter Mery
−	Location :	+
−	artpool	+
		+
		+	'''Location :'''
		+	[http://www.artpool.hu/ artpool]
		+
	frankel leo ut. 68/8, 1023, budapest		frankel leo ut. 68/8, 1023, budapest
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	Telephone: 00361 /16 26 59		Telephone: 00361 /16 26 59
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		+	'''BUDAPEST'''
	letter from art pool by julia galántai		letter from art pool by julia galántai
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−	BERLIN
		+	[[image:Berlin.jpg|left]]
		+	'''BERLIN'''
−	coordination :	+
		+	'''coordination :'''
		+
	aufbau - abbau (rainald schumacher)		aufbau - abbau (rainald schumacher)
−	music :
−	Nervous Service
−	horst markgraf
−	andre
−	Location :	+
		+	'''music :'''
		+
		+	'''Nervous Service'''
		+
		+	'''horst markgraf'''
		+
		+	'''andre'''
		+
		+
		+
		+	'''Location :'''
	galerie aufbau - abbau		galerie aufbau - abbau
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	oranienstraBe 47 a, 1000 Berlin 61		oranienstraBe 47 a, 1000 Berlin 61
		+
	Telephone: 003930 /65 31 15		Telephone: 003930 /65 31 15
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		+
		+
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	report from berlin		report from berlin
−	BERLIN
−	report from aufbau-abbau by rainald schumacher
−	I saw it at once from the scissors. They have not directly to do with the technology but were there to substitute for the telephone receiver which had become too unbalanced after the microphone and speaker had been removed. The scissors were Iying just like that on our telephone too in order to 'cut' the line, exactly as in the photo from Vienna. We had also picked up something Iying nearby, the scissors naturally, which we had been using to cut the wires, something familiar ... because here at AUFBAU-ABBAU the whole event was very strange. As an open atelier and producer gallery we tend to work more in the domain of painting and closed image-spaces--that is, more in the field of visual communication systems and fairly directly--if one can describe a painting or painted installation and its viewer as a communication system. So everything was completely new ground for us, and we were, and still are, very pleased that it all worked out. We tried first of all to master the technology--as we learned as painters first to mix the colours--and then we invited some friends around to use it, to make some cassettes and to play their music on the night of the event. NERVOUS SERVICE and CREAX APART played and ANDRE PECHMANN read his texts supported by ANNO DITTMER on the violin.	+
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		+	'''BERLIN'''
		+
		+	'''report from aufbau-abbau by rainald schumacher'''
		+
		+
		+	[[image:Ber2.jpg|left]]I saw it at once from the scissors. They have not directly to do with the technology but were there to substitute for the telephone receiver which had become too unbalanced after the microphone and speaker had been removed. The scissors were Iying just like that on our telephone too in order to 'cut' the line, exactly as in the photo from Vienna. We had also picked up something Iying nearby, the scissors naturally, which we had been using to cut the wires, something familiar ... because here at AUFBAU-ABBAU the whole event was very strange. As an open atelier and producer gallery we tend to work more in the domain of painting and closed image-spaces--that is, more in the field of visual communication systems and fairly directly--if one can describe a painting or painted installation and its viewer as a communication system. So everything was completely new ground for us, and we were, and still are, very pleased that it all worked out. We tried first of all to master the technology--as we learned as painters first to mix the colours--and then we invited some friends around to use it, to make some cassettes and to play their music on the night of the event. NERVOUS SERVICE and CREAX APART played and ANDRE PECHMANN read his texts supported by ANNO DITTMER on the violin.
	I dont believe that anybody really knew what was happening or what could actually be done. So we just tried to make the technology work and get a good line so that we could receive as much as possible, the musicians played their music and the audience received its entertainment, and we were all very excited and courious to know what we would be hearing from Vienna and Budapest. But somehow, in all the confusion, we simply overlooked the telephone, because the telephone doesn't transmit the things we had to "say" the way we said them, we should have talked in a different way--more telephone--link or whatever you call it. Perhaps we should have not only spoken differently but have had something different to say. But it seems to be a long way from the use of accessible systems by artists to the mediation of artistic ideas or content through the formal structure of such systems.		I dont believe that anybody really knew what was happening or what could actually be done. So we just tried to make the technology work and get a good line so that we could receive as much as possible, the musicians played their music and the audience received its entertainment, and we were all very excited and courious to know what we would be hearing from Vienna and Budapest. But somehow, in all the confusion, we simply overlooked the telephone, because the telephone doesn't transmit the things we had to "say" the way we said them, we should have talked in a different way--more telephone--link or whatever you call it. Perhaps we should have not only spoken differently but have had something different to say. But it seems to be a long way from the use of accessible systems by artists to the mediation of artistic ideas or content through the formal structure of such systems.
Riga 437:		Riga 608:
−	Rainald Schumacher,	+	Rainald Schumacher,
−	Aufbau-Abbau,	+
		+	Aufbau-Abbau,
		+
	Berlin, 6th March 1983.		Berlin, 6th March 1983.
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−	[[categoria:Stati Uniti]]
−	[[categoria:Nord America]]
	[[categoria:Vienna]]		[[categoria:Vienna]]
		+	[[categoria:Austria]]
		+	[[categoria:Berlino]]
		+	[[categoria:Germania]]
		+	[[categoria:Europa]]
		+	[[categoria:1982 d.c.]]
		+	[[categoria:1983 d.c.]]
	[[categoria:Arte delle reti]]		[[categoria:Arte delle reti]]

---

Versione attuale delle 11:04, 22 Mag 2006

Autore:Adrian Robert

Tratto da:

Titolo:Die Welt in 24 Stunden

Anno:1982

The World in 24 Hours

RAPPORTO (Quelle: Archiv Robert Adrian X)

Vienna, December 9, 1982

It is now just over 2 months since "THE WORLD IN 24 HOURS" project took place and this report completes, finally, the documentation. The enclosed material, including copies of telefax pages, photos of SSTV images, descriptions and photos of the activities in Linz during the project, and a nearly complete copy of "ARS CONFERENCE" on the I.P.Sharp network, is a selection from all the material we received during the 24 hours. We also have over 2 hours of U-Mativ Video tape which will be edited to about 20 minutes. Dubs of this tape are available to anyone interested for the cost of tape and dubbing time.

The strain of 24 hours of non-stop activity on people and equipment is obvious in the uneven quality (and quantity) of the enclosed material ... some things didn't get recorded or photographed ... the sound recording equipment broke down ... the person with the camera went home to bed, with the camera! ... we ran out of video tape in the middle of the night when everything was locked ... one telephone died and another got very neurotic in the early morning ... we all forgot and lost things, including telephone numbers.

But on the whole it was a successfull experiment. We learned a lot ... for one thing, we learned that most things, including people are not designed for non-stop, 24 hour, activity. But we also learned that such a project is possible and that the next one will be even better given the experience we now have.

There are, of course, many things we would do differently if we had to do it all again but three things stand out: 1. More time for preparation. We had 9 months but it needed at least a year. 2. Better audio recording equipment. The ORF (Austrian Radio/TV) supplied excellent sound equipment but the wrong tape deck. We should have paid a lot more attention on this point. 3. More telephones. We had 3 lines but needed 5. For a total telecommunications experience you need all the media working at once ... plus a communication line for emergencies. Telecommunications, by artists or anybody, only gets really exciting when carried out on a global scale. But the price of global scale telecommunications projects is all the pain and problems of language and cultural differences, time zones, networking and night-working. On balance I think it is worth it ... looking through the material we received one can feel a new kind of art developing, a new medium. Its a very exciting feeling.

Lets do it again soon!

Robert Adrian X This documentation has been made possible by the cooperation of the 3M company and the Österreichische Kultur Service.

                        ORARI DEL PROGETTO                                             

LINZ

September 27

12:00 VIENNA (Helmut Mark)

Computer Timesharing (IP Sharp), Confer and ARTBOX/ Telefax (3M 9136)/Sound Work, about

9:00 Sept 28

____________________________________________________________________________________________

BATH (Roy Ascott)

Computer Timesharing (IP Sharp), Confer and ARTBOX/ "TEN WINGS" project, 12:00 Sept 27 -

12:00 Sept 28

____________________________________________________________________________________________

AMSTERDAM (David Garcia & Annie Wright)

Computer Timesharing (IP Sharp), ARTBOX. "LATE TIMES EXTRA" project, 12:00 - 17:00 Sept 27

____________________________________________________________________________________________

13:00 FRANKFURT (Thomas Bayrle)

Telefax (3M 9136)

_____________________________________________________________________________________________

18:00 PITTSBURG (Bruce Breland)

Slow Scan Television (Robot 617) _____________________________________________________________________________________________

19:30 TORONTO (Derek Dowden)

Slow Scan Television (Robot 530)/Telefax (3M 9136)/Computer Timesharing (IP Sharp), Confer

and ARTBOX in two different locations ______________________________________________________________________________________________

21:00 WELLFLEET (Sarah Dickinson)

Slow Scan Television (Robot 530) ______________________________________________________________________________________________

22:00 SAN FRANCISCO (Tom Klinkowstein)

Slow Scan Television (Robot 530)/Sound. "THE COSTUMER IS ALWAYS RIGHT" ...

simultaneously broadcast on S. F. Cable Channel 35 ______________________________________________________________________________________________

23:00 VANCOUVER (Hank Bull)

Slow Scan Television (receive only) (Robot 530)/ Telefax (3M 2346)/Computer Timesharing (IP Sharp), Confer and ARTBOX ________________________________________________________________________________________________

September 28

03:00 SIDNEY (Eric Gidney)

Telefax (3M 9136)/Computer Timesharing (IP Sharp), Confer and ARTBOX ______________________________________________________________________________________________

04:30 TOKYO (Kazue Kobata)

Telefax (Okifax 7800), transmission in two parts, 1/04:30 - 05:30 and 2/07:30 - 08:30 ______________________________________________________________________________________________

05:30 HONOLULU (John Southworth)

Slow Scan Television/Computer Timesharing (IP Sharp), Confer and ARTBOX/Sound. Linz was

connected live via all media to PEACESAT Pacific Region satelite conference ______________________________________________________________________________________________

10:00 FLORENCE (ZONA)

Sound (Radio Zona)

_____________________________________________________________________________________________

11:00 ISTANBUL (minus-delta-t)

Sound (Bankok/Archiv Europa) _____________________________________________________________________________________________

11:45 ATHENS (Hartmut Geerken)

Sound (Dirty Laughter from Athens) ______________________________________________________________________________________________

FOTO

(LINZ)

The World In 24 Hours location in the foyer of the ORF Landesstudio Oberösterreich, Linz

Reading the latest material from the Project: "Late Times Extra" (Amsterdam).

Waltraut Cooper Moidi Kretschmann Norbert Hinterberger

Robert Adrian, Otto Mittmannsgruber, ORF technician and Gerald Hackenberg: Connecting the telephone to the sound system.

Robert Adrian and Waltraut Cooper

Robert Adrian and Otto Mittmannsgruber

Norbert Hinterberger, Waltraut Cooper, Karl Pichler and Gabi Holzhaider: Telefacsimile exchange with Frankfurt.

Robert Adrian, Waltraut Cooper, Norbert Hinterberger, Otto Mittmannsgruber: Telefacsimile exchange in progress.

Telefacsimile material received from: Tokyo, Frankfurt and Vienna

Gaby Holzhaider and Otto Mittmannsgruber: Preparing Fax material for exchange with Toronto.

Fax material received from Toronto and Vancouver.

Gerald Hackenberg discussing the "Ten Wings" project with visitors.

Robert Adrian and Otto Mittmannsgruber coordinating fax and telephone exchange with Vienna.

Gerald Hackenberg and Jörg Mikesch receiving "Late Times Extra" from Amsterdam via the IP Sharp Network on the 3M computer terminal.

10:32 September 28 - Robert Adrian and ORF editor doing a live radio interview after more than 22 hours of non-stop Telecommunicating.

VIENNA

concept and coordination :

Blix (robert adrian, helmut mark)

music :

pas paravant (karl kowanz, renate kocer, günther schrom, manfredu schu, etc.)

Halofern (heimo zobernig, markus geiger, karl-heinz strohle, etc.)

sound and telephone tech : karl kubacek

Location : Kulturservice-Studio Grünangerg. 6, 1010, Wien Telefon: 0222/5281 06

telephone concert: 15 aprile 1983. -- Artpool, Budapest / Blix, Vienna / Aufbau-abbau, Berlino

La musica giocata nel telefono è MUSICA del TELEFONO perché, non importa come è ricca e meravigliosa la musica quando entra nel telefono, quando emerge cento, mille, dieci mila chilometri lontano sarà suono del telefono. La banda stretta delle frequenze disponibili nel telefono (basso costo e disponibilità universale) significa che tutto ciò che entra nel telefono esce come suono del telefono. In un concerto di MUSICA del TELEFONO lo strumento è il telefono in se.

LA MUSICA del TELEFONO era un tentativo di utilizzare il telefono (come il mezzo di comunicazioni elettronico universalmente disponibile) per generare uno spazio comune per gli artisti attraverso le barriere ideologiche che hanno diviso allora Europa centrale - fra Vienna "occidentale", Berlino divisa e Budapest "orientale". Al ÖKS a Vienna, Artpool a Budapest ed Aufbau/Abbau a Berlino, il telefono è stato collegato semplicemente ad un amplificatore in modo che le prestazioni di musica e del suono degli artisti potessero essere giocate l'un l'altro per una paio d’ore. Il budget del telefono è stato fornito dal ÖKS a Vienna così Berlino e Budapest sono state chiamate da Vienna e ogni performance è durata circa 20 minuti. Il suono è stato ricevuto a Vienna ed trasmesso su una seconda linea per il terzo partner. Le performance di Vienna sono state effettuate su 2 linee direttamente alle altre 2 posizioni.

La parte finale del concerto era una 3-way jam session come una specie di conferenza telefonica improvvisata messa insieme da Karl Kubacek a Vienna.

budapest

vienna

berlin

BUDAPEST

coordination :

artpool (gyorgy & julia galántai)

music :

Europa Kiado

Trabant

Artpool's steps

Bizottsag

Mihaly

VIG

Vetó-ZuZu

Jurij Kozmos

VHG

Peter Mery

Location : artpool

frankel leo ut. 68/8, 1023, budapest

Telephone: 00361 /16 26 59

report from budapest

BUDAPEST letter from art pool by julia galántai

Dear Bob,

Here you have the photos of the telephone concert. They were made by J. Vetö, T. Nemesi and G. Galántai - they don't remember who made which one.

Some information about Hungary's programme: On the telephone concert at the Artpool Studio / Julia and Gyorgy Galántai / there were about 40-50 artists present, among them Miklös Erdély and his INDIGO Art Group; János Vetö and Laszlo Kiss from the Trabant Group; Sandor Czakö from the VHK / Rasende Leichenbeschauer / group etc.

One part of the 1 hour programme had been previously recorded on tape / as a concert with several groups and all the instruments couldn't be done at our 3rd floor studio. This was the following:

- Artpool's steps - Bizottsag / the committee group /: nothing is happening to me, darling. - Mihaly VIG: The coward soviet man doesn't speak about politics. - Vetö-Zuzu: music for the opening of the exhibition "New flags, new winds" - Europa Kiado / Europe to rent or Europe Publishing House /: The empire hits back / or ripostes --- titel of an american film, I don't know the English original. - Jurij Kozmos: Tango - VHK - Peter Mery: Erzsike / little Elisabeth - Trabant: In ballet shoes and in disguise -Mortar and pail

Between the recorded pieces the INDIGO Group made some minutes of live concert using hammers, bars, boards, a pair of scales etc. and the public accompanied them singing. On the 30 minutes common concert with Berlin everyone participated using "instruments" found in our studio. Technically we arranged so that we could speak and send music and receive music at the same time. We used a tape recorder, a mixer, an amplifier, a microphone and 3 loudspeakers. For a good quality sending we isolated the telephone's microphone and one loudspeaker-which emitted only what we were sending-in this way we also avoided the reverberations. In the main hall, where the public was, from one loudspeaker one could listen to what you were sending, from the other we could hear what we were saying. During the concert here, everyone was very enthusiast and I think it was in fact an event or a happening as all the public participated, it really was a common concert-not like in Vienna or in Berlin where there were groups and there was an audience-here people felt to belong to an universal culture where one could communicate with the help of art or music. It was a very nice utopistic feeling.

Maybe the photos are not the best, but we didn't think on the photos. I was a "technician" and Gyuri forgot totally about the photos. That's why there ist no photo on which you could see the space, or alle the people present here.-But as you know it was decided in the last moment that the concert will be held in our studio. ..

Hope to meet you too some day in Budapest,

with our best wishes

Julia Galántai, Artpool, Budapest.

BERLIN

coordination :

aufbau - abbau (rainald schumacher)

music :

Nervous Service

horst markgraf

andre

Location : galerie aufbau - abbau

oranienstraBe 47 a, 1000 Berlin 61

Telephone: 003930 /65 31 15

report from berlin

BERLIN

report from aufbau-abbau by rainald schumacher

I saw it at once from the scissors. They have not directly to do with the technology but were there to substitute for the telephone receiver which had become too unbalanced after the microphone and speaker had been removed. The scissors were Iying just like that on our telephone too in order to 'cut' the line, exactly as in the photo from Vienna. We had also picked up something Iying nearby, the scissors naturally, which we had been using to cut the wires, something familiar ... because here at AUFBAU-ABBAU the whole event was very strange. As an open atelier and producer gallery we tend to work more in the domain of painting and closed image-spaces--that is, more in the field of visual communication systems and fairly directly--if one can describe a painting or painted installation and its viewer as a communication system. So everything was completely new ground for us, and we were, and still are, very pleased that it all worked out. We tried first of all to master the technology--as we learned as painters first to mix the colours--and then we invited some friends around to use it, to make some cassettes and to play their music on the night of the event. NERVOUS SERVICE and CREAX APART played and ANDRE PECHMANN read his texts supported by ANNO DITTMER on the violin.

I dont believe that anybody really knew what was happening or what could actually be done. So we just tried to make the technology work and get a good line so that we could receive as much as possible, the musicians played their music and the audience received its entertainment, and we were all very excited and courious to know what we would be hearing from Vienna and Budapest. But somehow, in all the confusion, we simply overlooked the telephone, because the telephone doesn't transmit the things we had to "say" the way we said them, we should have talked in a different way--more telephone--link or whatever you call it. Perhaps we should have not only spoken differently but have had something different to say. But it seems to be a long way from the use of accessible systems by artists to the mediation of artistic ideas or content through the formal structure of such systems.

That is why we are looking forward to the next time.

Rainald Schumacher,

Aufbau-Abbau,

Berlin, 6th March 1983.