18.4.12

23 Aprile 2012 @ Naba, Milano: Convegno rivista Alfabeta2/Alfabeta



Il 23 Aprile 2012, si terrà presso la NABA, Nuova Accademia di Belle Arti di Milano un’intera giornata di convegno dedicato alla rivista Alfabeta e Alfabeta2, in collaborazione con il Dipartimento di Arti Visive, Performative e Multimediali NABA.
In occasione della pubblicazione del numero di aprile di “Alfabeta2”(con allegata una copia anastatica del primo numero di “Alfabeta”, maggio 1979) e dell’uscita del volume “Alfabeta 1979-1988. Antologia della rivista” (Bompiani editore), si succederanno una serie di interventi del comitato storico e dell’attuale redazione.

Nell’editoriale del primo numero di “Alfabeta” si legge:
“Non neghiamo che politicamente si stia vivendo una svolta conservatrice. Neghiamo che questo momento che coinvolge le classi dirigenti di tutta Europa, e del mondo intero, implichi necessariamente per tutti una fuga nel non politico, nel neo-religioso, nel neo-magico”.
La spinta che determinò la nascita della rivista e i suoi nove anni di vita (chiuse nel 1988 con l’uscita di 114 numeri), è la stessa che due anni fa determinò la rinascita di “Alfabeta2”: la necessità in situazione di emergenza di un organo di intervento culturale tra le macerie del crollo dell’etica, dei diritti, dell’economia e della politica.
Gli interventi, che partiranno con il racconto di Gino Di Maggio sulla nascita di “Alfabeta”, saranno intervallati dalla proiezione di video di Studio Azzurro, che negli anni della rivista storica hanno filmato performance, conferenze, spettacoli, concerti, organizzati da Milano Poesia, dalla Cramps, dalla Multhipla edizioni. Tra i molti artisti che hanno illustrato, in numeri monografici, la nuova serie di “Alfabeta2” – (tra i quali Jannis Kounellis, Gianfranco Baruchello, Renato Mambor, Michelangelo Pistoletto…) – interverranno Emilio Isgrò, Maurizio Nannucci, Giuseppe Spagnulo. Sarà reso omaggio a Omar Calabrese, recentemente scomparso, e a Gianni Sassi che è stato il magnifico art director della prima serie.

Programma

Mattina dalle 10.00 alle 13.00
Benvenuto di Marco Scotini
Gino Di Maggio – Faycal Zaouali – Paolo Rosa – Andrea Fumagalli – Lucia Tozzi – Manuela Gandini – Giorgio Mascitelli.
Pomeriggio dalle 15.00 alle 19.00
Maurizio Ferraris – Nanni Balestrini – Marco Scotini – Paolo Fabbri – Umberto Eco – Jan Reister.
Lunedì 23 Aprile ore 10
Aula Spazio Elastico – Edificio Amaranto – NABA – Nuova Accademia di Belle Arti Milano
NABA, Nuova Accademia di Belle Arti Milano, è un’Accademia di formazione all’arte e al design: è la più grande e la più innovativa Accademia privata italiana e la prima ad aver conseguito, nel 1980, il riconoscimento ufficiale del Ministero dell’Istruzione, dell’Università e della Ricerca (MIUR). Offre corsi di primo e secondo livello nel campo del design, del fashion design, della grafica, delle arti multimediali, delle arti visive, della scenografia, per i quali rilascia diplomi accademici equipollenti ai diplomi di laurea universitari. Nata per iniziativa privata a Milano nel 1980 per volontà di Ausonio Zappa, Guido Ballo e Gianni Colombo, ha avuto da sempre l’obiettivo di contestare la rigidità della tradizione accademica e di introdurre visioni e linguaggi più vicini alle pratiche artistiche contemporanee e al sistema dell’arte e delle professioni creative. Dal 2009, NABA è entrata a far parte di Laureate International Universities, un network internazionale di oltre 55 istituzioni accreditate che offrono corsi di laurea di primo e secondo livello a più di 650.000 studenti in tutto il mondo.

17.4.12

Of war, media and sound by Francesco Tacchini (UEL, London, 2012)





Of war, media and sound

To subdue the enemy without fighting is the acme of skill. —Sun Tzu, The Art of War


During the second half of the twentieth century a number of studies relating to the use of “non-lethal” sonic weaponry began taking place.1 Such weapons aim to control and alter the psyche, therefore the body equilibrium of an individual by using apparently nonviolent methods. Analyzed from a military perspective, the ear is an easy target: like our brain it has no protection nor can it select which sounds to hear; as a matter of fact it acts as a direct channel to our brain. If in the twenty-first century control is crucial to military and police forces at a surprising level, the use of sound as a weapon presents great advantages in terms of how a certain authority can exert it: a form of dissimulated and apparently nonviolent “white torture” that discards criticisms and confuses the public debate. In fact the fast rise of researches on the “non-lethality” topic within the military field and the continuous emergence and use of sonic weapons reflect the concern of potent authorities towards the public opinion. Nowadays the engagement of news media in war reportage is extremely high. They are perceived as a crucial element of war itself, or at least of the representation of it: the so-called “CNN factor” that is the dissemination through the media2, must be taken into account when conducting a war or, in the case of police forces, containing a demonstration, controlling a crowd, etc. It is in this frame that sonic and ultrasonic weapons are presented to the public. Since their violent effects are apparently invisible they become media-friendly: legitimate from a sociopolitical perspective, effective from a military one and justified, when questioned, because “preferable to real bombs”3.






As Steve Goodman puts it (2010, p. 5), our century began with “[...] a bang, setting the resonant frequency of fear at which the planet has been vibrating, trembling, ever since”.4 Sound itself acquired a new dimension of threat and audio signals like, for instance, Bin Laden’s audiotapes gained greater importance and played a crucial role within the hierarchy of the ecology of fear. What is a sonic warfare? Or better what are its modalities? For Goodman, it is the “deployment of sound systems in the modulation of affect, from sensations to moods to movement behaviors”.5 In other words, the production and transmission of bad vibes. Sonic warfare’s tactics are part of the everyday and its potent tools are essential for the control systems of an authority, a city, a nation.


Although only five decades have passed from the first experiments within the field, significant progresses have been achieved. At an early stage, both scientists and military researchers focused on infrasounds, in other words sub-bass frequencies that are lower than 20 Hertz. If very intense, such sound waves can vibrate along with the human body resonant frequency; that means our ear would not be able to hear them while our body would feel them, in terms of tactility or organ vibration. On the one hand, the implications of successfully employing infrasonic machines are terrifying and, particularly in the United States, triggered an “infrasonic euphoria” leading to a number of military and industrial research programs. 
On the other hand, almost fifty years of studies have proven that the real influence infrasound weapons have on human body is limited to tremors, because of the difficulty of producing sub- bass frequencies that are intense enough. Much easier to target are high-frequency weapons on which military and industrial studies focused in the early twenty-first century. 






Two of the most used and known technologies today are the Mosquito and the LRAD (Long Range Acoustic Device).6 e latter in particular described by the builder as “hailing and warning, directed acoustic device”, but sonic weapon de facto, is used as a crowd control device, a kind of acoustic repellent: an LRAD “produces the equivalent of an instant migraine” according to its inventor, Elwood Norris.7 The circular device is formed by multiple small speakers that emit sound in phase, creating a high-frequency wave of 153 dB at one meter that can penetrate up to 3000 meters of distance.8 e risk of deafness is therefore a real one: the weapon’s operators rely on the fact that no one would consciously want to stay in the sound transmission beam, without any concern about those who might not be conscious or able to move, for instance disabled, old or injured people.





The sonic weapon is also effective on a multiplicity of levels, especially when its image is shaped and re-proposed by the media. It becomes as luminous a triumph of modern technology, legitimately dislocating protesters by firing (harmful) sound waves at a long distance, as sinister a warning for the collectivity: the clear message of the power in control is “stay home.” The crowd control becomes total, for different “crowds” are regulated, intimidated, manipulated in different space-times. The representation of power is therefore deepen by the perception of the system being in full control.


It can be argued that the relation between war machines and sound machines is a crucial one. A media theorist who sustained the argument of an interconnection between sound, media and military is Friedrich Kittler. In his Grammophon, Film, Typewriter, (1986) the German philosopher wrote that military development somehow contaminates mass popular culture with a technological contagion.9 As a result the entertainment industry uses the arsenal of the arms industry. In his view war acts as a catalyzer for new media: military technologies used as data storage devices during the American Civil War such as the gramophone, the film and the typewriter became media technologies. e same happened for the radio which was just “the military radio system of the First World War minus the talkback-capability”10 or the television, result of studies on the electric transmission of data. At last the Computer, emerging during World War II as the Turing machine, is the medium of modern society and allows an electronic transmission of data, a constant and pervasive digital processing. e conclusion is quite frightening: innovation in mass media is only driven by the technological evolution of war.






Kittler’s theory on the military nature of media adapts well to theories developed during the last century that argue the centrality of war in modern and contemporary society.11 e concept of war becomes ambiguous: it is not just a battle between factions anymore but a condition of militarization of the everyday. War is omnipresent because so is the inter- and hyper-connected militarized media environment; the only response to the ubiquity of such environment is abusing the militarized media. Paraphrasing Kittler, fighting the power which exerts control or, borrowing an engineering term, “negative feedback” necessitates the wild reappropriation of its artifacts, the remix of its media.12 By recycling and reutilizing the array of militarized technologies and practices the negative output can be reversed to an opposite, positive output.

A famous contemporary example of the practice could be KRS-One’s tune “Sound of da police”.13 The rapper from Brooklyn transferred the sound of a police siren to his beat: the alarm is as much of an echo and an allusion as a symbol to whom greater importance and new meanings have been given. Both loud noise making device and symbol of power willing to enforce control, the high-frequency sound remixed by KRS could have been the much louder one of an LRAD, but the “feedback” would still be positive.


Dealing with another medium, an example is found in Samuel L. Jackson’s The Lord of the Rings: The Two Towers. One of the central episode of this second movie of the epic trilogy is the battle of “Helm's Deep”14 fought between the Uruk-Hai and the humans lead by Aragorn. Moments before the conflict starts, the two factions are facing each others: the orcs’ army then begins hitting the ground with their spears and shields, thus creating a loud intimidating sound. e connection is easily drawn: the practice is in fact common among riot police, the special police force who are equipped and deployed to confront crowds. Before charging, riot police signal their move forward by hitting their shields with batons.
On 19th December 2010 a protest took place in Minsk against Alexander Lukashenko, the Belarusian leader who has been in charge for two decades. On the occasion riot police affronted the pacific crowd in a particular violent way.15


“22:30 - Out of the Government House come out a lot of riot police units with batons. There is tough resistance on the steps of the Government House. Some people are severely beaten, they lie on the ground. Riot police makes noise with shields and batons to intimidate people.”16


On 10 November 2011 thousands of Canadian student striking against education cuts in Montreal experienced the same fear when riot police started charging.


“They hit their shields with batons, producing an intimidating sound. is sound was repeated over the next several minutes, each time warning that the squad was moving forward.”17


Transferred to the equally frightening Uruk-Hai, the intimidating practice, which might be defined as negative output from a Kittlerian perspective, is reversed to a positive one.
At the dawn of the millennium the intersection of the machines of war, the machines of noise and the machines of entertainment is tight at an unprecedented level. Whether sound is employed as a weapon, or media are; whether militarized media become part of the entertainment network, or get abused by generating frequencies that echo urban and war experiences, a sonic war exists. As Deleuze (1995) would remind us, “ere is no need to fear or hope, but only to . . . [listen] . . . for new weapons.”18


NOTES
1. Altmann, J. (1999), Acoustic weapons. A prospective assessment: sources, propagation and 
effects of strong sound, Occasional Paper, n. 22, Cornell University Peace Study Programs.

  1. Major Thomas, M.R. (2008), Non-lethal weaponry: a framework for future integration, Air Command and Staff College, Air University, Maxwell Air Force Base, Alabama, p. 12-13.
  2. McGeal C. (2005) "Sonic Boom Raids Cause Fear, Trauma," Guardian, 3 November 2005. [Online] Available at: http://www.guardian.co.uk/world/2005/nov/03/israel (Accessed: 11 April 2012).
  3. Goodman S. (2009) Sonic Warfare: Sound, Affect, and the Ecology of Fear, Cambridge: MIT Press.
  4. Ibid., Glossary.
  5. Volcler J. (2012) Il suono come arma. Gli usi militari e polizieschi dell' ambiente sonoro, trans. Roberta Cristofani, Rome: DeriveApprodi.
  6. Arkin, W.M. (2004) “The Pentagon's Secret Scream: Sonic devices that can inflict pain - or even permanent deafness - are being deployed,” Los Angeles Times, 7 March. [Online] Available at: http://articles.latimes.com/2004/mar/07/opinion/op-arkin7 (Accessed: 11 April 2012).
  7. See the LRAD product overview, [online] available at: http://www.lradx.com/site/content/ view/15/110/ (Accessed: 11 April 2012).
  8. Kittler, F. A. (1986) Grammophon, Film, Typewriter, Berlin: Brinkmann & Bose.
10. Ibid.
11. Goodman S. Sonic Warfare: Sound, Affect, and the Ecology of Fear, p. 33. 12. Kittler, Grammophon, Film, Typewriter.

13. Video and song [online] available at: http://www.youtube.com/watch?v=1VRZq3J0uz4 (Accessed: 12 April 2012).
14. 10 minutes clip [online] available at: http://www.youtube.com/watch?v=fvcNid87ONA (Accessed: 12 April 2012).
15. 3 minutes clip [online] available at: http://www.youtube.com/watch?v=GrM8pdXeO68 (Accessed: 12 April 2012).
16. Solidarity with Belarus’ Information Office (2010) “19 December 2010. Chronology of event.” [Online] available at: http://solidarityby.eu/cat/chronology_of_events (Accessed: 12 April 2012).
17. Jutras D. (2011), Report of the Internal Investigation into the Events of November 10, 2011, Montreal, 15 December. [Online] available at: https://secureweb.mcgill.ca/dean-jutras-report/ sites/mcgill.ca.dean-jutras-report/files/investigation_report_final_version.pdf (Accessed: 12 April 2012).
18. Deleuze G. (1995) "Postscript on the societies of control," in Negotiations, trans. Martin Joughin, New York: Columbia University Press, cited in Goodman, Sonic Warfare: Sound, Affect, and the Ecology of Fear, p. 194.


Post Codex: 1) pic Alex Webb Magnum Photos: The Invasion of Haiti 1994
2) Media-fiendly bombs
3) pic LRAD sonic weapon
4) The Israeli Defense Ministry has contracted for the production of sonic-boom stun-guns called "Thunder Generator cannons," which they hope to use in crowd-control situations
5) The Turing Machine




16.4.12

Militarisation of cyberspace: how the global power struggle moved online Rise of cyber-attacks on critical infrastructure on both sides of Atlantic calls for creation of cyberweapons and new rules for use @ The Guardian 16 April 2012



Militarisation of cyberspace: how the global power struggle moved online.


Rise of cyber-attacks on critical infrastructure on both sides of Atlantic calls for creation of cyberweapons and new rules for use

Jonathan Millican is a first-year university student from Harrogate in North Yorkshire. He says he doesn't think of himself as a "stereotypical geek", but having been crowned champion in Britain's Cyber Security Challenge, the 19-year-old is bound to take some stick from his undergraduate friends at Cambridge.
The competition is not well known, but it is well contested. About 4,000 people applied to take part this year, hundreds were seen by judges, and 30 were selected for the final in Bristol on 10 March.
After a day of fighting off hackers and identifying viruses in a series of simulations, Millican triumphed, giving him legitimate claim to be the brightest young computer whiz in the UK.
And though he may not recognise it yet, Millican has become a small player in a global game. There is a dotted line that links him to an ideological battle over the future of the internet, and the ways states will use it to prosecute conflicts in the 21st century.
The remaining cold war superpower, the United States, is slowly squaring up to the emerging behemoth, China, in a sphere in which Beijing has a distinct advantage: cyberspace.
Experts estimate China has as many "cyber jedis" as the US has engineers, and some of them, with backing from the state, have beensystematically hacking into and stealing from governments and companies in the west, taking defence secrets, compromising computer systems, and scanning energy and water plants for potential vulnerabilities.
The scale of what has been going on is only now being recognised, and with a discernible sense of panic, the US and the UK are trying to make up lost ground.
One important way of shoring up the west's defences involves recruiting a rival army of computer specialists to defend the systems being attacked.
This is why the UK began the Cyber Security Challenge in 2011, and why Millican and otherparticipants have been discreetly courted by GCHQ, the government's electronic eavesdropping centre, which is on the frontline of this new power struggle.
The explosion in internet use, and the almost complete reliance on computer systems to run and record our daily lives, has opened up endless opportunities for thieves, spies and vandals to exploit the platform.
Though it is still evolving, the push-back has started. The Guardian has spoken to senior officials in the US and UK government, as well as specialists and independent thinktanks in London, Washington and San Francisco, who agree that the west is galvanising itself to adopt a far more aggressive approach to a problem for which there is no precedent. The stakes have suddenly become very high.
Over the past 18 months, there has been a concerted effort to highlight the relentless nature of day-to-day attacks on businesses and government departments. The Obama administration estimates that 60% of small firms that are hacked go broke, and billions of dollars worth of intellectual property have been stolen from industry, including military blueprints from leading defence contractors.
And in the political shadows in Westminster and Washington, they have moved to put cyberspace more formally into the military sphere, so that those responsible for the attacks understand that retaliation is now part of the game.

Web freedom faces greatest threat ever, warns Google's Sergey Brin @ The Guardian, 15 April 2012



Web freedom faces greatest threat ever, warns Google's Sergey Brin

Threats range from governments trying to control citizens to the rise of Facebook and Apple-style 'walled gardens'


The principles of openness and universal access that underpinned the creation of the internet three decades ago are under greater threat than ever, according to Google co-founder Sergey Brin.
In an interview with the Guardian, Brin warned there were "very powerful forces that have lined up against the open internet on all sides and around the world". "I am more worried than I have been in the past," he said. "It's scary."
The threat to the freedom of the internet comes, he claims, from a combination of governments increasingly trying to control access and communication by their citizens, the entertainment industry's attempts to crack down on piracy, and the rise of "restrictive" walled gardens such as Facebook and Apple, which tightly control what software can be released on their platforms.
The 38-year-old billionaire, whose family fled antisemitism in the Soviet Union, was widely regarded as having been the driving force behindGoogle's partial pullout from China in 2010 over concerns aboutcensorship and cyber-attacks. He said five years ago he did not believeChina or any country could effectively restrict the internet for long, but now says he has been proven wrong. "I thought there was no way to put the genie back in the bottle, but now it seems in certain areas the genie has been put back in the bottle," he said.
He said he was most concerned by the efforts of countries such as China, Saudi Arabia and Iran to censor and restrict use of the internet, but warned that the rise of Facebook and Apple, which have their own proprietary platforms and control access to their users, risked stifling innovation and balkanising the web.
"There's a lot to be lost," he said. "For example, all the information in apps – that data is not crawlable by web crawlers. You can't search it."
Brin's criticism of Facebook is likely to be controversial, with the social network approaching an estimated $100bn (£64bn) flotation. Google's upstart rival has seen explosive growth: it has signed up half of Americans with computer access and more than 800 million members worldwide.
Brin said he and co-founder Larry Page would not have been able to create Google if the internet was dominated by Facebook. "You have to play by their rules, which are really restrictive," he said. "The kind of environment that we developed Google in, the reason that we were able to develop a search engine, is the web was so open. Once you get too many rules, that will stifle innovation."
He criticised Facebook for not making it easy for users to switch their data to other services. "Facebook has been sucking down Gmail contacts for many years," he said.
Brin's comments come on the first day of a week-long Guardian investigation of the intensifying battle for control of the internet being fought across the globe between governments, companies, military strategists, activists and hackers.
From the attempts made by Hollywood to push through legislation allowing pirate websites to be shut down, to the British government's plans to monitor social media and web use, the ethos of openness championed by the pioneers of the internet and worldwide web is being challenged on a number of fronts.
In China, which now has more internet users than any other country, the government recently introduced new "real identity" rules in a bid to tame the boisterous microblogging scene. In Russia, there are powerful calls to rein in a blogosphere blamed for fomenting a wave of anti-Vladimir Putin protests. It has been reported that Iran is planning to introduce a sealed "national internet" from this summer.
Ricken Patel, co-founder of Avaaz, the 14 million-strong online activist network which has been providing communication equipment and training to Syrian activists, echoed Brin's warning: "We've seen a massive attack on the freedom of the web. Governments are realising the power of this medium to organise people and they are trying to clamp down across the world, not just in places like China and North Korea; we're seeing bills in the United States, in Italy, all across the world."
Writing in the Guardian on Monday, outspoken Chinese artist and activist Ai Weiwei says the Chinese government's attempts to control the internet will ultimately be doomed to failure. "In the long run," he says, "they must understand it's not possible for them to control the internet unless they shut it off – and they can't live with the consequences of that."
Amid mounting concern over the militarisation of the internet and claims – denied by Beijing – that China has mounted numerous cyber-attacks on US military and corporate targets, he said it would be hugely difficult for any government to defend its online "territory".
"If you compare the internet to the physical world, there really aren't any walls between countries," he said. "If Canada wanted to send tanks into the US there is nothing stopping them and it's the same on the internet. It's hopeless to try to control the internet."
He reserved his harshest words for the entertainment industry, which he said was "shooting itself in the foot, or maybe worse than in the foot" by lobbying for legislation to block sites offering pirate material.
He said the Sopa and Pipa bills championed by the film and music industries would have led to the US using the same technology and approach it criticised China and Iran for using. The entertainment industry failed to appreciate people would continue to download pirated content as long as it was easier to acquire and use than legitimately obtained material, he said.
"I haven't tried it for many years but when you go on a pirate website, you choose what you like; it downloads to the device of your choice and it will just work – and then when you have to jump through all these hoops [to buy legitimate content], the walls created are disincentives for people to buy," he said.
Brin acknowledged that some people were anxious about the amount of their data that was now in the reach of US authorities because it sits on Google's servers. He said the company was periodically forced to hand over data and sometimes prevented by legal restrictions from even notifying users that it had done so.
He said: "We push back a lot; we are able to turn down a lot of these requests. We do everything possible to protect the data. If we could wave a magic wand and not be subject to US law, that would be great. If we could be in some magical jurisdiction that everyone 
in the world trusted, that would be great … We're doing it as well as can be done."

27 aprile 2012: Maurizio Lazzarato @ LUM Project, Roma (Via Dei Volsci 169)


15.4.12

10/04/2012 > 17/04/2012: KRAFTWERK RESTROSPECTIVE 1 2 3 4 5 6 7 8 MoMA - The Museum of Modern Art, 11 West 53 Street - New York



KRAFTWERK
RESTROSPECTIVE 1 2 3 4 5 6 7 8
MoMA - The Museum of Modern Art
11 West 53 Street - New York
10/4/2012 - 17/4/2012 


Entire Repertoire of Eight Conceptual Albums Performed Live Over Eight Consecutive Evenings from April 10 to 17 (Please note: 
All performances are SOLD OUT) 

The Museum of Modern Art presents its first time-based artist retrospective with Kraftwerk–Retrospective 1 2 3 4 5 6 7 8, performed live on eight consecutive evenings from April 10 through 17, by Kraftwerk, the avant-garde electronic music pioneers. Each evening will consist of a live performance, in the Museum’s Donald B. and Catherine C. Marron Atrium, of works from one of the group’s eight albums, created over four decades, followed by a selection of original compositions from their catalogue adapted specifically for this exhibition’s format, to showcase both Kraftwerk’s historical contributions and contemporary influences on sound and image culture. Kraftwerk–Retrospective 1 2 3 4 5 6 7 8 is organized by Klaus Biesenbach, Chief Curator at Large at MoMA and Director of MoMA PS1, with the assistance of Eliza Ryan, Curatorial Assistant, MoMA PS1. 
The elaborate staging of the performances will combine sound and 3D images to present more than 40 years of musical and technological innovation, with new improvisations and 3D projections. The albums will be performed in chronological order: Autobahn (1974), Radio- Activity (1975), Trans Europe Express (1977), The Man-Machine (1978), Computer World (1981), Techno Pop (1986), The Mix (1991), and Tour de France (2003). 
“Kraftwerk is an influential force not only in music, but also in visual culture,” says Mr. Biesenbach. “Through their experimentation with how images and sound are shaped by the latest recording and visualization tools, they have continuously anticipated the impact of technology on everyday life, and have captured the human condition in an era of rapidly changing mobility and telecommunication. Today, they remain vital to contemporary practice through their intersection of popular culture, mass media, and artistic production. In Kraftwerk’s practice, all of the components—melodic music and ambient sound, elaborate stage sets, live performance and performance by robots, their trademark videos and logo-like still imagery, all conceived and realized by the artists themselves—coalesce as one work of art.” 
Ralf Hütter and Florian Schneider began the Kraftwerk project in Düsseldorf, Germany, in 1970, setting up the pioneering Kling Klang studio, where all of Kraftwerk's albums were conceived and composed. By the mid-1970’s they achieved international recognition for their revolutionary “electro sound paintings” and their musical experimentation with tapes and synthesizers. The compositions also featured beautiful distant melodies, multi-lingual vocals, robotic rhythms, custom-made sequencers and vocoders, and computer-speech technology. Their use of robots, among other innovations in live performance, illustrates Kraftwerk’s belief in the respective contributions of people and machines in making music. The artists’ physical surroundings—both natural and man-made—have heavily influenced both the sonic direction and graphic identity of their eight concept albums, which draw on elements such as the noises of transit or industry to create their repetitive mechanical melodies. 

In recent years, starting with their performance at the Venice Biennale in 2005, Kraftwerk has been invited into the visual arts context, festivals, and museums, most recently performing at the museum Lenbachhaus Kunstbau in Munich. In contrast to all former presentations, where Kraftwerk videos, visuals, or the “robots” were presented in a museum context but performances were staged as concerts, MoMA is realizing a groundbreaking new display: the first synthetic retrospective to present simultaneously and in one location the complex layers of music, sound, videos, sets, and performance as a total work of art in MoMA’s main atrium. 

Performance Schedule
Tuesday, April 10, 8:30 p.m. Autobahn (1974)
Wednesday, April 11, 8:30 p.m. Radio-Activity (1975)
Thursday, April 12, 8:30 p.m. Trans Europe Express (1977)
Friday, April 13, 10:00 p.m. The Man-Machine (1978)
Saturday April 14, 8:30 p.m. Computer World (1981)
Sunday, April 15, 8:30 p.m. Techno Pop (1986)
Monday, April 16, 8:30 p.m. The Mix (1991)
Tuesday, April 17, 10:00 p.m. Tour de France (2003) 

Kraftwerk at MoMA PS1
As part of Kraftwerk–Retrospective 1 2 3 4 5 6 7 8, a presentation of Kraftwerk’s historical audio and visual material will be on view in the new MoMA PS1 Performance Dome at MoMA PS1, from April 10-May 14, 2012.

 





Kraftwerk gig in NY: Report from Wired Magazine

NEW YORK — Hip-hop legend Afrika Bambaataa, Japanese pop icon Ryuichi Sakamoto and former REM singer Michael Stipe were among the stars spotted in the audience at Thursday’s Kraftwerk concert at the Museum of Modern Art. They came to see the band perform Trans-Europe Express, the 1977 release that is, in many ways, the most legendary of all the Kraftwerk records.
The album’s DNA is hard-coded into the history of hip-hop and electro. The groundbreaking 1982 track “Planet Rock” by Afrika Bambaataa & the Soulsonic Force, a Rosetta Stone for early hip-hop, incorporates elements of Trans-Europe Express‘ title theme. (It also folds in elements of “Numbers,” a 1981 Kraftwerk song from Computer World.) So it was special to see Bambaataa in the MoMA audience Thursday, bobbing his head to Kraftwerk’s beats.
Bambaataa stood at the back of the crowd with a smile on his face. He whipped out his cellphone to snap a photo of the band during “Numbers,” just like all the fans standing next to him. During the opening strains of “The Man-Machine,” he began air-keyboarding along with the melody line and mouthing the lyrics (“Machine machine machine machine machine machine! Maaa-chine!”) and grinned ear to ear when the group kicked into “Computer World.” In a brief chat with Wired after the show, Bambaataa talked about his longtime fascination with Kraftwerk, a love for the band stretching back over three decades — Bambaataa first saw Kraftwerk play in New York in 1981.
Perhaps cognizant of all the hip-hop and techno fans in attendance, Kraftwerk brought harder beats into the equation for Thursday’s performance, the third installment of the eight-day series Kraftwerk — Retrospective 1 2 3 4 5 6 7 8, in which the band plays entire albums (along with back-catalog tracks.) The song “Europe Endless,” for instance, a song that Kraftwerk rarely plays live, was modernized into a sleek techno anthem. Though it was difficult to see what the individual band members were doing — they were positioned at glowing podiums that obscured their laptops and other gear — you could clearly see Ralf Hütter playing keyboard lines and singing, and his bandmates triggering various live effects at various points.
Sakamoto stood in the front row for most of the concert, bobbing his head along with the music. Sakamoto was a key force in Yellow Magic Orchestra, probably the most legendary pop band to ever come out of Japan. Like Kraftwerk, YMO helped lay the groundwork for electro and synthpop in the late 1970s and early ’80s. During “Europe Endless,” Sakamoto sang along silently with the lyrics, standing by the corner of the stage under the glow of Hütter.
The incredible sound that Kraftwerk mandated for the MoMA atrium, with its crisp highs and well-defined bass, made everything sound like a million dollars. Even when the songs sounded almost exactly like the album — several tunes sounded like the versions included on The Mix, a 1991 Kraftwerk remix compilation — it was a thrill to hear Kraftwerk’s classics played loud and clear on a giant, audiophile-quality sound system.
Hütter, Kraftwerk’s only remaining original member, seemed to loosen up during Thursday’s performance, even cracking a smile at one point. He was clearly enjoying the adoration of the high-profile crowd, and seemed to put more verve into his vocal delivery than during Wednesday’s Radio-Activity show.
The concert ended triumphantly with “Musique Non Stop”; as the song came to a close, each band member slowly left the stage, until only Hütter was left. “See you tomorrow!” Hütter said brightly, as the audience burst into raucous applause. On Friday, Kraftwerk returns with The Man-Machine.