The world in 24 hours: differenze tra le versioni

Tratto da EduEDA
Jump to: navigation, search
 
(16 versioni intermedie di un altro utente non mostrate)
Riga 10: Riga 10:
  
  
                      '''The World in 24 Hours'''
+
'''The World in 24 Hours'''
  
                            '''RAPPORTO'''
+
'''RAPPORTO'''
 
(Quelle: Archiv Robert Adrian X)  
 
(Quelle: Archiv Robert Adrian X)  
  
Riga 41: Riga 41:
  
 
LINZ
 
LINZ
September 27
+
 
 +
'''September 27'''
 +
 
 
12:00 VIENNA (Helmut Mark)
 
12:00 VIENNA (Helmut Mark)
Computer Timesharing (IP Sharp), Confer and ARTBOX/ Telefax (3M 9136)/Sound Work, about 9:00 Sept 28
+
 
 +
Computer Timesharing (IP Sharp), Confer and ARTBOX/ Telefax (3M 9136)/Sound Work, about
 +
 
 +
9:00 Sept 28
 +
 
 +
____________________________________________________________________________________________
 +
 
 
BATH (Roy Ascott)
 
BATH (Roy Ascott)
Computer Timesharing (IP Sharp), Confer and ARTBOX/ "TEN WINGS" project, 12:00 Sept 27 - 12:00 Sept 28
+
 
 +
Computer Timesharing (IP Sharp), Confer and ARTBOX/ "TEN WINGS" project, 12:00 Sept 27 -  
 +
 
 +
12:00 Sept 28
 +
 
 +
____________________________________________________________________________________________
 +
 
 
AMSTERDAM (David Garcia & Annie Wright)
 
AMSTERDAM (David Garcia & Annie Wright)
 +
 
Computer Timesharing (IP Sharp), ARTBOX. "LATE TIMES EXTRA" project, 12:00 - 17:00 Sept 27
 
Computer Timesharing (IP Sharp), ARTBOX. "LATE TIMES EXTRA" project, 12:00 - 17:00 Sept 27
 +
 +
____________________________________________________________________________________________
 +
 
13:00 FRANKFURT (Thomas Bayrle)
 
13:00 FRANKFURT (Thomas Bayrle)
 +
 
Telefax (3M 9136)
 
Telefax (3M 9136)
 +
 +
_____________________________________________________________________________________________
 +
 
18:00 PITTSBURG (Bruce Breland)
 
18:00 PITTSBURG (Bruce Breland)
 +
 
Slow Scan Television (Robot 617)
 
Slow Scan Television (Robot 617)
 +
_____________________________________________________________________________________________
 +
 
19:30 TORONTO (Derek Dowden)
 
19:30 TORONTO (Derek Dowden)
Slow Scan Television (Robot 530)/Telefax (3M 9136)/Computer Timesharing (IP Sharp), Confer and ARTBOX in two different locations
+
 
 +
Slow Scan Television (Robot 530)/Telefax (3M 9136)/Computer Timesharing (IP Sharp), Confer
 +
 
 +
and ARTBOX in two different locations
 +
______________________________________________________________________________________________
 +
 
 
21:00 WELLFLEET (Sarah Dickinson)
 
21:00 WELLFLEET (Sarah Dickinson)
 +
 
Slow Scan Television (Robot 530)
 
Slow Scan Television (Robot 530)
 +
______________________________________________________________________________________________
 +
 
22:00 SAN FRANCISCO (Tom Klinkowstein)
 
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
+
 
 +
Slow Scan Television (Robot 530)/Sound. "THE COSTUMER IS ALWAYS RIGHT" ...
 +
 +
simultaneously broadcast on S. F. Cable Channel 35
 +
______________________________________________________________________________________________
 +
 
 
23:00 VANCOUVER (Hank Bull)
 
23:00 VANCOUVER (Hank Bull)
 +
 
Slow Scan Television (receive only) (Robot 530)/ Telefax (3M 2346)/Computer Timesharing (IP Sharp), Confer and ARTBOX
 
Slow Scan Television (receive only) (Robot 530)/ Telefax (3M 2346)/Computer Timesharing (IP Sharp), Confer and ARTBOX
 +
________________________________________________________________________________________________
 +
 +
'''September 28'''
 +
  
September 28
 
 
03:00 SIDNEY (Eric Gidney)
 
03:00 SIDNEY (Eric Gidney)
 +
 
Telefax (3M 9136)/Computer Timesharing (IP Sharp), Confer and ARTBOX
 
Telefax (3M 9136)/Computer Timesharing (IP Sharp), Confer and ARTBOX
 +
______________________________________________________________________________________________
 +
 
04:30 TOKYO (Kazue Kobata)
 
04:30 TOKYO (Kazue Kobata)
 +
 
Telefax (Okifax 7800), transmission in two parts, 1/04:30 - 05:30 and 2/07:30 - 08:30
 
Telefax (Okifax 7800), transmission in two parts, 1/04:30 - 05:30 and 2/07:30 - 08:30
 +
______________________________________________________________________________________________
 +
 
05:30 HONOLULU (John Southworth)
 
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
+
 
 +
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)
 
10:00 FLORENCE (ZONA)
 +
 
Sound (Radio Zona)
 
Sound (Radio Zona)
 +
 +
_____________________________________________________________________________________________
 +
 +
 
11:00 ISTANBUL (minus-delta-t)
 
11:00 ISTANBUL (minus-delta-t)
 +
 
Sound (Bankok/Archiv Europa)
 
Sound (Bankok/Archiv Europa)
 +
_____________________________________________________________________________________________
 +
 +
 
11:45 ATHENS (Hartmut Geerken)
 
11:45 ATHENS (Hartmut Geerken)
 +
 
Sound (Dirty Laughter from Athens)
 
Sound (Dirty Laughter from Athens)
 +
______________________________________________________________________________________________
  
  
Riga 83: Riga 147:
  
  
FOTO
 
(LINZ)
 
  
 +
'''FOTO'''
  
+
'''(LINZ)'''
  
 +
 +
 +
[[image:Linz-1.jpg|frame|center]]
  
  
Riga 94: Riga 160:
 
the ORF Landesstudio Oberösterreich, Linz
 
the ORF Landesstudio Oberösterreich, Linz
  
 +
 +
 +
[[image:Linz-2.jpg|frame|center]]
  
 
   
 
   
Riga 104: Riga 173:
  
 
   
 
   
 
+
[[image:Linz-3.jpg|frame|center]]
  
  
Riga 113: Riga 182:
  
 
   
 
   
 
+
[[image:Linzo-4.jpg|frame|center]]
  
  
Riga 122: Riga 191:
  
 
   
 
   
 +
[[image:Linz-5.jpg|frame|center]]
  
  
Riga 129: Riga 199:
  
 
   
 
   
 +
 +
[[image:Linz-6.jpg|frame|center]]
  
  
Riga 135: Riga 207:
  
  
 
  
 +
 +
[[image:Linz-7.jpg|frame|center]]
  
  
Riga 143: Riga 216:
 
Telefacsimile exchange with Frankfurt.
 
Telefacsimile exchange with Frankfurt.
  
 +
 +
 +
 +
[[image:Linz-8.jpg|frame|center]]
  
 
   
 
   
Riga 154: Riga 231:
  
 
   
 
   
 +
[[image:Linz-9.jpg|frame|center]]
 +
  
  
Riga 162: Riga 241:
  
 
   
 
   
 
+
[[image:Linz-10.jpg|frame|center]] 
  
  
Riga 170: Riga 249:
 
   
 
   
  
 +
[[image:Linz-11.jpg|frame|center]]
  
 +
  
 
Fax material received from Toronto and Vancouver.
 
Fax material received from Toronto and Vancouver.
Riga 176: Riga 257:
  
 
   
 
   
 
+
[[image:Linzo-12.jpg|frame|center]]
  
  
Riga 183: Riga 264:
  
  
+
 
 +
[[image:Linzo-13.jpg|frame|center]]
  
  
Riga 192: Riga 274:
  
 
   
 
   
 +
[[image:Linz-14.jpg|frame|center]]
  
  
Riga 201: Riga 284:
  
 
   
 
   
 
+
[[image:Linzol-15.jpg|frame|center]]
  
  
Riga 208: Riga 291:
  
  
+
[[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
Riga 228: Riga 319:
  
  
telephone concert: 15 aprile 1983. -- Artpool, Budapest / Blix, Vienna / Aufbau-abbau, Berlino
+
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
'''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.
Riga 236: Riga 355:
  
 
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.
 +
 +
 +
 +
 +
 +
 +
[[image:buda-1.jpg|frame|left]]
 +
 +
 +
 +
 +
  
 
   
 
   
 
budapest
 
budapest
 +
 +
 +
 +
 +
 +
 +
 +
 +
 +
 +
[[image:buda-2.jpg|frame|left]]
 +
 +
 +
 +
 +
 +
 +
  
 
   
 
   
 
vienna
 
vienna
 +
 +
 +
 +
 +
 +
 +
 +
 +
 +
[[image:buda-3.jpg|frame|left]]
 +
 +
 +
 +
 +
 +
 +
  
 
   
 
   
 
berlin
 
berlin
 +
 +
 +
 +
  
  
  
 
   
 
   
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
 +
 
Trabant
 
Trabant
 +
 
Artpool's steps
 
Artpool's steps
 +
 
Bizottsag
 
Bizottsag
Mihaly  
+
 
 +
Mihaly
 +
 
VIG
 
VIG
 +
 
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
 +
 
Telephone: 00361 /16 26 59
 
Telephone: 00361 /16 26 59
 +
 +
 +
 +
 +
 +
 +
 +
 +
 +
 +
  
  
Riga 286: Riga 486:
 
report from budapest
 
report from budapest
  
BUDAPEST
+
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
'''BUDAPEST'''
 
letter from art pool by julia galántai
 
letter from art pool by julia galántai
  
Riga 325: Riga 545:
  
 
   
 
   
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
 +
 
oranienstraBe 47 a, 1000 Berlin 61
 
oranienstraBe 47 a, 1000 Berlin 61
 +
 
Telephone: 003930 /65 31 15
 
Telephone: 003930 /65 31 15
 +
 +
 +
 +
  
 
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.  
+
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
 
 +
'''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 355: Riga 608:
  
  
Rainald Schumacher,  
+
Rainald Schumacher,
Aufbau-Abbau,  
+
 +
Aufbau-Abbau,
 +
 
Berlin, 6th March 1983.
 
Berlin, 6th March 1983.
  
Riga 362: Riga 617:
  
  
[[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)


Theworld.jpg

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)


Linz-1.jpg


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


Linz-2.jpg



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


Linz-3.jpg


Waltraut Cooper Moidi Kretschmann Norbert Hinterberger


Linzo-4.jpg


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


Linz-5.jpg


Robert Adrian and Waltraut Cooper



Linz-6.jpg


Robert Adrian and Otto Mittmannsgruber



Linz-7.jpg


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



Linz-8.jpg



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


Linz-9.jpg



Telefacsimile material received from: Tokyo, Frankfurt and Vienna


Linz-10.jpg


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


Linz-11.jpg


Fax material received from Toronto and Vancouver.


Linzo-12.jpg


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


Linzo-13.jpg


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


Linz-14.jpg


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


Linzol-15.jpg


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


ViennaColo.jpg

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.




Buda-1.jpg




budapest






Buda-2.jpg





vienna





Buda-3.jpg





berlin





Budacolo.jpg

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.jpg

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


Ber2.jpg
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.