Krautrock: The Rebirth of Germany


Documentary which looks at how a radical generation of musicians created a new German musical identity out of the cultural ruins of war.

Between 1968 and 1977 bands like Neu!, Can, Faust and Kraftwerk would look beyond western rock and roll to create some of the most original and uncompromising music ever heard. They shared one common goal - a forward-looking desire to transcend Germany's gruesome past - but that didn't stop the music press in war-obsessed Britain from calling them Krautrock.


Interview with Iannis Xenakis, 1967


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In this short clip, which aired on French television on November 12, 1967, Xenakis discusses his work and his influences.


Time Piece (1964) - Jim Henson



Aparelho Cinecromático (1964) - Abraham Palatnik


One the works on display in the exhibition “Dimensions of Constructive Art in Brazil - The Adolpho Leirner Collection” at Haus Konstruktiv in Zürich, Switzerland, is Abraham Palatnik’s Aparelho Cinecromático.

Abraham Palatnik is a pioneer of technological art. He was born in natal, Rio Grande do Norte, in 1928, to a family of Russian Jews that had settled there in 1919. When he was four years old, Abraham Palatnik went to Palestine, now Israel, with his family, where he went to school. He went on to take courses in mechanics and physics. Since his early childhood he had been drawing and he spent four years at an atelier studying drawing, painting, and aesthetics. Palatnik returned to Brazil in early 1948 and settled in Rio de Janeiro.

Abraham Palatnik dropped painting to adopt a different technique. He felt sure that using the latest technology, he could bring to “pictorial art the potential of light and motion in time and space”. He built his first two kinechromatic devices as experiments in 1949 and 1950.

In the catalog to the Abraham Palatnik retrospective exhibition at Itau Cultural Sao Paulo in the year 1999, Frederico Morais explains how Palatnik’s kinechromatic devices work: “On a plastic screen covering the front of his devices, he projected colors and forms driven by electric motors, creating a luminous effect with its own timing. Using motors and light bulbs, he replaced paint-as a material dimension-with refracted light. The timing of the lighting was controlled from a console with switches for each lamp. The viewer sees only the colored shapes projected onto the front of the kinechromatic device. Inside there were about 600 meters of electric wires in different colors, linking 101 lamps of varying voltages, rotating several cylinders at varying speeds. Light is projected through a set of ...


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Travess Smalley is an artist who lives in New York City. He is currently showing work in Art Since the Summer of '69's show "Objects, Furniture and Patterns", and is part of internet collectives Loshadka and Computers Club. He is also one half of the design duo Poster Company. He is an intern at Rhizome.

► Pumajaw - Jacky Daw

20 Jazz Funk Greats strength is in their rampant use of cosmic and cryptic verbs. "Jacky Daw" by Pumajaw presents a combination of CAN grooves and pagan howls.

► Kingdom - October Mix for Discobelle

Kingdom's own mp3 blog Patent Leather Daddy has had its share of amazing mixes and posts this year (hello Latin Freestyle & Gym Jams). But he also made a phenomenal mix for The last 15 minutes give me goosebumps.

Further listening: Lower End Spasm - BOK BOK b2b KINGDOM - Night Slugs Show - Sub FM 27 . 06 . 09 and Nguzunguzu's Mix for Discobelle

► Synergy - Delta 2

Synergy's Larry Fast is best known on Rhizome as the music in Ron Hayes Delta Videos. I found this song on Momus's livejournal, Click Opera, before finding Aesoteric Sounds had uploaded a vinyl copy of the full album.

► VC People - Dance Macabre


► Iasos - Jeweled Space

Crystal Vibrations consistently posts rare and ethereal new age and meditation music from gem spas and yogi shops around the world.

► Kwau Kese - Kwakwa

Sounds of Our Time, a compilation by Hammer. Ghana club music from 2004, quite relevant to English and American dance music in 2009.

► Clara Mondshine - Caesar In Camerun

Found on Travis Hallenbeck's tumblr, Mondshine is an electronic musician from the 80's. You can find Clara Mondshine's discography on Mutant Sounds, the godmother of all mp3 blogs.

Further Listening: Doris Norton - Personal Computer

► So Bone Mini-Mix for ...


Brian Eno, Peter Schmidt, and Cybernetics


Cybernetics is one of the most widely misunderstood concepts. The word itself seems sinister and futuristic, but the term has ancient roots - the Greek word kybernetes, meaning steersman. Cybernetics was famously defined in more recent times by Norbert Wiener in 1948, as the science of “control and communication, in the animal and the machine.” Words like "control” may seem to have creepy overtones, but at its heart, cybernetics is simply the study of systems. "Cybernetics is the discipline of whole systems thinking...a whole system is a living system is a learning system," as Stewart Brand put it in 1980. Cybernetic systems have been used to model all kinds of phenomena, with varying degrees of success - factories, societies, machines, ecosystems, brains -- and many noted artists and musicians derived inspiration from this powerful conceptual toolkit. Cybernetics may be one of the most interdisciplinary frameworks ever devised; its theories link engineering, math, physics, biology, psychology, and an array of other fields, and ideas from cybernetics inevitably infiltrated the arts. The musician and producer Brian Eno, for example, was a big fan of connecting ideas from cybernetics to the studio environment, and to music composition, in his work in the 1970s.


Monument (1967) - Ture Sjolander and Lars Weck



Random Distribution of 40,000 Squares using the Odd and Even Numbers of a Telephone Directory (1960) - Francois Morellet


With Random Distribution, the purpose of my system was to cause a reaction between two colours of equal intensity. I drew horizontal and vertical lines to make 40,000 squares. Then my wife or my sons would read out the numbers from the phone book (except the first repetitive digits), and I would mark each square for an even number while leaving the odd ones blank. The crossed squares were painted blue and the blank ones red. For the 1963 Paris Biennale I made a 3-D version of it that was shown among the Groupe de Recherche d’Art Visuel installations (and re-created it again on different occasions). I wanted to create a dazzling fight between two colours that shared the same luminosity. This balance of colour intensity was hard to adjust because daylight enhances the blue and artificial light boosts the red. I wanted the visitors to have a disturbing experience when they walked into this room - to almost hurt their eyes with the pulsating, flickering balance of two colours. I like that kind of aggression.



Poemfield No. 2 (1966) - Stan VanDerBeek with Kenneth Knowlton


Computer animation by Stan VanDerBeek and Kenneth Knowlton, made at Bell Laboratories in 1966.


Computer Composition With Lines (1964) - Michael Noll


Algorithmic simulation of Mondrian’s painting Composition With Lines created with pseudorandom numbers. When xerographic reproductions of both works were shown to 100 people, the computer-generated picture was preferred to Mondrian by 59.