[artinfo] NetSoundArt for Tibetans..by WOLF KAHLEN, Berlin (fwd)
Thu, 2 Aug 2001 11:57:27 +0200
---------- Forwarded message ----------
Date: Thu, 2 Aug 2001 10:35:31 +0200
From: Ruine der Kuenste Berlin <email@example.com>
To: soroscenter budapest <firstname.lastname@example.org>
Subject: NetSoundArt for Tibetans..by WOLF KAHLEN, Berlin
SORRY FOR EVENTUAL CROSSPOSTINGS
NetSoundArt for Tibetans, Chinese and Japanese:
A threefold internet art piece by Wolf Kahlen in Tibetan, Chinese and
Japanese language is online since today.
Live and interactive the visitor of the page
may hear a piece of world literature of these countries, the first page at
least. If he is patient enough to find out on a blank page, with the mouse
in motion, the sound of the words hidden in the background like on a book
page. This automatically turns out to be a game, since any move of the mouse
touches another word. Until the underlying structure has been found out, a
number of audio events have happened, words' sounds have overlapped or
entangled at random. Who stirs with the mouse produces a concert like a DJ.
The presented world's classics are by Tibet's greatest poet Milarepa
(11./12. Century), the Chinese Tang-Dynasty poet Li Bo (6.- 9. Century) or
the alphabet-poem attributed to Kukai of Japan. It is of political delicacy
that Wolf Kahlen, who did a number of documentaries in Tibet and Mongolia
since 1985, parallels Tibet with China.
Possibly the first Tibetan language internet site to listen to, probably
frequented joyfully by the world spread Tibetans and the few with access in
Lhasa and other parts of the Snowland. Who has entered the site either reads
Tibatan, Chinese or Japanese or has been attracted by the curious writings,
since all three titles are of course in original characters. Another way to
support the cultures in their differences. The hearing experience of the
pieces, roughly translated as
Sorry, Milarepa / Excuse me, Kukai / I beg your pardon, Li Bo,
spans the whole spectrum between playful chaotic sounds, own word
combinations and listening to a fluently spoken classical piece: all
democratic ways of using words. Words as material per se. And since these
words bump into each other in most cases other than as a structered
classical piece, Wolf Kahlen asks the authors for excuse in the titles
already beforehand. As a side effect the net is swept blank off the overload
of images. And the sound of the 'bush drums' is heard again.
These three pieces continue the former realized three ones in English,
German and Spanish language
Sorry, Mister Joyce / Verzeihung, Herr von Goethe / Perdone, Don Cervantes
More pieces in a great number of world languages are under construction.
They kind of point out on the polarisation of the numb and speechless making
psycho esthetic feedbacks of the net 'culture'. The texts are usually read
by native artists.
Li Bo read by Zhao Zhao
Kukai by Masuko Iso,
Milarepa by Tsewang Norbu,
Goethe by Wolf Kahlen,
Joyce by David Allen,
Cervantes by Argine Erginas.
Edition Ruine der Kuenste Berlin
Contact Wolf Kahlen