Oskar Schlemmer’s Triadic Ballet


Oskar Schlem­mer born Sep­tem­ber 4th, 1888 in Stuttgart, Ger­nany. He was a painter, sculp­tor, designer and chore­o­g­ra­pher. He was also a pro­fes­sor at the Bauhaus School.

Tri­adis­ches Bal­lett (Tri­adic Bal­let) is a bal­let devel­oped by  Schlem­mer. It pre­miered in Stuttgart, on 30 Sep­tem­ber 1922, with music com­posed by Paul Hin­demith, after for­ma­tive per­for­mances dat­ing back to 1916, with the per­form­ers Elsa Hotzel and Albert Berger. The bal­let became the most widely per­formed avant-garde artis­tic dance and while Schlem­mer was at the Bauhaus from 1921 to 1929, the bal­let toured, help­ing to spread the ethos of the Bauhaus.


The Tri­adic Bal­let rep­re­sents a place of ten­sions fol­lowed by res­o­lu­tions, where Schlem­mer suc­cess­fully con­ducts a rene­go­ti­a­tion of deeply-rooted ten­den­cies: abstraction-expression; mechanised-human bod­ies; heterogeneity-homogeneity of an art work con­sti­tuted by a dia­logue of dif­fer­ent mediums.

The very idea of dance as a per­form­ing art lies at the heart of these the­o­ret­i­cal issues. Schlem­mer will help us to define first abstract dance as a new lan­guage, rely­ing on sym­bols; sec­ond, per­for­mance as new genre, inte­grat­ing in a com­mon vision and pur­pose het­ero­ge­neous forms of artis­tic expres­sion; and the mod­ern use of rhyth­mi­cal move­ment as a new medium.


This video dance piece of the “Tridiac Bal­let” is recon­struc­tion by Mar­garete Hast­ings in 1970. This was pos­si­ble with of sup­port of Lud­wig Grote and Xanti Schaw­in­sky (Schele­mer stu­dents from Bauhaus School) and also with Tut Schlem­mer, the widow of Schlemmer.

Jacob Kirkegaard


Jacob Kirkegaard has received inter­na­tional atten­tion for his artis­tic ven­tures into “hid­den” acoustic spheres.

His instal­la­tions, com­po­si­tions & per­for­mances deal with acoustic spaces or phe­nom­ena that usu­ally remain imper­cep­ti­ble. Using unortho­dox meth­ods for record­ing, Kirkegaard cap­tures and con­tex­tu­al­izes hith­erto unheard sounds from within a vari­ety of envi­ron­ments: a geyser, a sand dune, a nuclear power plant, an empty room, a TV tower, and even sounds from the human inner ear itself.

Based in Berlin, Kirkegaard is a grad­u­ate of the Acad­emy for Media Arts in Cologne, Ger­many. Since 1995, Kirkegaard has pre­sented his works at exhi­bi­tions and at fes­ti­vals and con­fer­ences through­out the world. He has released five albums (mostly on the British label Touch) and is a mem­ber of the sound art col­lec­tive freq_out.


Like all of pre­vi­ous Kirkegaard’s work, Labyrinthi­tis is not only a fas­ci­nat­ing con­cept, it’s also fas­ci­nat­ing to lis­ten to. The record­ing starts with high fre­quency sounds that find their way into your skull and set­tle there. It’s an immer­sive sound end­ing after 40 min­utes (unlike the tin­ni­tus that Labyrinthi­tis patients hear, which can­not be switched off and ulti­mately becomes very tir­ing and disorientating!)

Kirkegaard relies on a prin­ci­ple: when two fre­quen­cies at a cer­tain ratio are played into the ear, addi­tional vibra­tions in the inner ear pro­duce a third fre­quency. This third fre­quency is known to medics as a DPOAE (dis­tor­tion prod­uct otoa­coustic emis­sion); musi­cians pre­fer the snap­pier han­dle of ‘Tar­tini tone’.


4 Rooms explores the phe­nom­e­non of radi­a­tion using the medium of sound. It’s a musi­cal piece that wants to cap­ture the sound of four aban­doned spaces inside the Zone of Exclu­sion in Cher­nobyl. Kirkegaard delib­er­ately picked four deserted rooms that were once an active meet­ing point for peo­ple. An audioto­rium, a gym­na­sium, a church in the vil­lage of Krasno and a swim­ming pool in Pripyat. He tried to cap­ture the decay and invis­i­ble radioac­tiv­ity in sound and video. He recorded the sound of empty rooms, replayed that record­ing in the same room and recorded it again. After sev­eral rere­cord­ings, each room pro­duced a dif­fer­ent drone.


Eld­f­jall con­sists of geot­her­mal record­ings of vibra­tions in the ground around the area of Krisu­vik, Geysir and Myvatn in Ice­land. The record­ings have been car­ried out using accelerom­e­ters, vibra­tion sen­sor micro­phones. These are stuck into the earth at var­i­ous places around the geysirs, map­ping the sonic aspects of vol­canic activ­ity at the sur­face of the earth. A stick can be attached, to be inserted into — for exam­ple — the earth at desired places.


Drugs Are Like That

Anita Bryant (famous Florida orange juice and anti-gay spokes­woman) nar­rates this film that tries to sim­plify its drug abuse mes­sage with an anal­ogy of kids putting together a con­trap­tion out of Lego blocks.

Although the metaphors often don’t make sense, the visual impact of the film is stun­ning and could eas­ily be quite pop­u­lar with indi­vid­u­als con­sum­ing illicit drugs. Also, like most anti-drug films, this could be a tempt­ing intro­duc­tion to drugs for some youths yearn­ing to escape their “bor­ing” lives or to rebel against their parents.

We’ll laugh about this tomor­row.
It’s times like this I hope will fol­low me.
i hope they fol­low me. i hope they fol­low me. oh oh i hope they fol­low me.

Suck It to Me: Almodóvar y McNamara

Almodóvar & McNamara

At the end of the 70’s Almod­ó­var started shak­ing things up next to Fabio McNa­mara, in what would be known as La Movida Madrileña, a coun­ter­cul­tural move­ment that took place mainly in Madrid dur­ing the Span­ish tran­si­tion after Fran­cisco Franco’s death in 1975. It was char­ac­ter­ized by free­dom of expres­sion, trans­gres­sion of the taboos imposed by the Franco Regime, use of recre­ational drugs and a new spirit of free­dom on the streets.

After many suc­cess­ful live per­for­mances, Almod­ó­var and McNa­mara recorded ¡Cómo está el ser­vi­cio… de seño­ras! in 1983.


The Battle of Brazil


Today, Brazil is a widely, fever­ishly loved film, but once upon a time it had its share of detractors—specifically, those who financed it and released it in the U.S.

In the doc­u­men­tary The Bat­tle of “Brazil,” critic Jack Math­ews charts direc­tor Terry Gilliam and pro­ducer Arnon Milchan’s strug­gles to get Uni­ver­sal to put out the filmmaker’s cut, which the stu­dio found too dark and dif­fi­cult (mar­ket­ing divi­sion pres­i­dent Mar­vin Antonowsky sug­gested it was more of an art-house spe­cialty film than a main­stream movie).


Here, in a clip from the doc­u­men­tary, Gilliam and Milchan describe the first important—and disastrous—screening.

Does Your Child “Sissy Bounce”? The Dangerous Anal Dance Trend Sweeping America’s Colleges

If you don’t know New Orleans Bounce Music or Sissy Bounce you’re seri­ously miss­ing out! Bounce Music is an orig­i­nal New Orleans form of rap that’s been dom­i­nat­ing radio and street cul­ture locally for over 15 years!

For sev­eral years, social the­o­rist rock­star Alix Chap­man has been study­ing black queer per­for­mance and pol­i­tics. He is cur­rently research­ing Post-Katrina New Orleans ‘Sissy Bounce’ cul­ture within the con­text of gen­der and race. Over the past sev­eral months Sissy Bounce artists such as Big Free­dia, Vockah Redu and the Cru, Sissy Nobby, and Katey Red have made a huge impact, tour­ing to New York and Los Ange­les, attract­ing the atten­tion of dance music pio­neer Diplo, play­ing sev­eral show­cases at SXSW.

The one thing that’s miss­ing in the midst of the hype is an expla­na­tion of the his­tory of the phe­nom­e­non, and very few peo­ple can speak on the his­tory of this aspect of black trans/queer cul­ture with as much author­ity as Chap­man. In 2006 I started to hear about Sissy Bounce from queer activist friends who trav­eled to New Orleans to help out with the Com­mon Ground Relief Orga­ni­za­tion. They were excited to find a really strong syn­ergy in the DIY crossover of Bounce and Punk Rock, and started to spread the music around. I was thrilled when I found out Alix was deeply involved in research into the Sissy Bounce cul­ture. In terms of street cred, he was one of the vocal­ists for Seattle’s infa­mous Infer­nal Noise Brigade who came to noto­ri­ety dur­ing the WTO protests in 1999.

This warn­ing about the evils of “Sissy Bounce” is taken from an arti­cle called ‘Does Your Child “Sissy Bounce”? The Dan­ger­ous Anal Dance Trend Sweep­ing America’s Col­leges’, check it out, it’s real and it’s fuck­ing hilarious!:

As more and more peo­ple attempt to “sissy dance,” the con­se­quences will be tragic. We may very well see a sharp upsurge in twenty-somethings try­ing col­lege sodomy exper­i­ments. For white women, this can often lead to a life­time within the insuf­fer­able walls of the big city sado­masochism, plea­sur­ing ever larger black phal­luses as they seek to feel some­thing, any­thing in that overvi­o­lated back pas­sages. These women will end up in the low­est depths, cast­ing their white friends aside for the pun­gent musk, the hard bod­ies and the rapid pound­ing that are all hall­marks of the black inter­course experience.

For white males, the expo­sure to the homo­sex­ual lifestyle is sim­ply tragic. They can look for­ward to a world of secret inter­ra­cial orgies and a sell­ing their bod­ies on water­front piers just to feel that cheap thrill again, that 12-inch beer can girth crush­ing you against a wall and mak­ing you whim­per like an injured puppy, scream­ing, cry­ing for it to end when you really dream that it will never end. No, this is truly a night­mare no par­ent would ever want for their child.’

Bril­liant, now start shak­ing that azz!

Digital Collages by Julien Pacaud


With a great col­lec­tion of surreal-inspired dig­i­tal col­lages, Julien Pacaud has cre­ated a series that chan­nels what he calls “Per­pen­dic­u­lar Dreams.” He works “with bargain-hunted vin­tage imagery and tries to go beyond the usual ‘cut and paste’ tech­nique in order to cre­ate coherent-but– sur­re­al­is­tic strange worlds.”


I am Secretly an Important Man

Steven J. Bern­stein was grunge-era Seattle’s favorite lit­er­ary rebel, a skin-and-bones mis­fit with Coke-bottle eye­glasses whose raw and jaggedly hilar­i­ous poems were recorded by Sub-Pop, win­ning atten­tion even as his bipo­lar dis­or­der led him to take his own life in 1991. He was 41, but as this detailed biog­ra­phy reveals, he’d lived with hard-core inten­sity, whether as an ado­les­cent mental-institution res­i­dent, a New York street musi­cian, a self-medicating heroin user, or a teenage run­away on Ken Kesey’s magic bus.

I Am Secretly An Impor­tant Man, a hard-edged but com­pas­sion­ate doc­u­men­tary about the life and death of song­writer, poet and per­for­mance artist, takes its title from a line in Bernstein’s most famous poem, “Come Out Tonight.’’

His angry, sur­pris­ingly fresh, lyri­cal writ­ings are about sen­si­tive souls, drifters and drug addicts; peo­ple alien­ated by a soci­ety that refuses to under­stand them. He peeled back the ugli­ness and the dark­ness of life on the fringe to expose ten­der and not so ten­der human feel­ing. His unique rhythms, filled with humor and pain, were espe­cially excit­ing when read in his own gravely voice. Peo­ple packed into the­aters, bars and cafes to hear him read and sing. Unfor­tu­nately much of Jesse’s work has not yet found the audi­ence it deserves out­side of the Pacific North­west. Fol­low­ing is the the­atri­cal trailer.

Being in the minor­ity was a way of life for Bern­stein. Known as the god­fa­ther of grunge, he didn’t live to hear the term and undoubt­edly would have dis­dained it. He not only liked the naked ele­gance of the music, he helped shape it, open­ing for the bands (Nir­vana, Big Black, Soundgar­den, U-Men, the Crows) who went on to the big time, and work­ing the crowd into a ecsta­tic heat. He liked to cause a stir. When in the mood, he added to his leg­end. When not, he com­plained about it.“All the sto­ries about me are true,” he said.

In the fol­low­ing video, Bern­stein reads his story ‘Face’ as we are guided through the illus­tra­tions by Tri­an­gle Slash. This is one of the best things I have ever heard and watch. Please allow the nar­ra­tor to make you suf­fer through the whole video.