#Digital Markting Role

[robtechworld34]

The Role of a Digital Marketing Company in Boosting Your Online Presence

Discover how a Digital Marketing Company can help you boost your online presence and expand your business. This blog discusses easy methods such as SEO, social media marketing, PPC, and content creation. These are tools that a Digital Marketing Company in Chandigarh uses to make your brand stand out. Whether you’re just beginning or already set up, see how running with a digital marketing company can make bigger your attain, boost engagement, and supply actual outcomes. Don’t miss out—read it now!

[foodandbeverages]

Bubble Tea Market Earnings Margins, Value Of Production & Consumption Demand Figures 2023 to 2033

The Bubble Tea Market (Bubble Tea-Markt)  is expected to increase at a 9% CAGR from 2023 to 2033, above the 9.1% CAGR witnessed between 2018 and 2022. This huge increase in growth rate suggests a high demand for bubble tea, resulting in a significant increase in market value from US$ 2.72 billion in 2023 to US$ 6.17 billion by 2033.

The bubble tea market has experienced enormous expansion and appeal in recent years. Consumer demand for unique and exotic beverages is one of the primary drivers of this expansion. Bubble tea, also known as boba tea, is a refreshing blend of tea, milk, fruit tastes, and chewy tapioca pearls that appeals to a wide range of palates.

The market is driven by the growing popularity of Asian cuisine and the influence of social media, which has played a significant role in promoting and popularizing bubble tea globally. The visually appealing presentation, customizable options, and innovative flavors have made bubble tea a trendy and sought-after beverage choice.

There are, nevertheless, some constraints and hazards to consider. Some bubble tea versions have a high sugar content, which has generated concerns about their influence on health and wellness. Furthermore, the market’s expanding competition, with several bubble tea brands emerging, presents a challenge for new and established businesses.

Despite these obstacles, the bubble tea market offers numerous potential. Sugar-free and fruit-based bubble tea varieties have been developed in response to increased customer demand for healthier options. Furthermore, growing market presence through online delivery platforms and cooperation with other food and beverage companies can assist in reaching new client groups and increasing market reach.

The bubble tea sector has numerous potential for expansion and innovation. Market players can continue to capitalize on the popularity and demand for bubble tea and drive the market’s expansion by addressing consumer health concerns, adopting new taste profiles, and employing digital marketing methods.

Information Source: https://www.futuremarketinsights.com/reports/bubble-tea-market

Key Takeaways

In the United States, the market is growing at a CAGR of 23.9% in 2022.

The United Kingdom is expected to develop at a CAGR of 5.1% by 2033, suggesting a strong industry outlook and rising consumer interest in novel beverage options.

The increased popularity of specialty beverages and the influence of global food trends are predicted to push India’s Bubble Tea market to a CAGR of 4.7% by 2033.

China’s Bubble Tea market is expected to develop at a CAGR of 11.4% by 2033, driven by the country’s growing urban population and changing customer preferences for creative and refreshing beverages.

Japan’s market has a compound annual growth rate of 4.8% as per the forecast for 2022.

Key companies proliferating in the bubble tea market

Bobabox Ltd.

Bubble Tea House Company

Fokus, Inc.

Gong Cha

ChaTime

Lollicup USA, Inc.

Bubble Tea Supply, Inc.

T Bun International

Ten Ren’s Tea Time

Troika JC

Recent Developments:

CoCo Fresh Tea & Juice is a global bubble tea franchise that stresses using fresh, high-quality ingredients. Their distinctive fruit teas combine fresh fruits with tea to create refreshing and tasty beverages.

Tiger Sugar is known for its distinctive and visually appealing cocktails with a “tiger stripe” pattern. They specialize in brown sugar bubble tea, which is made with slow-cooked brown sugar syrup for a rich, caramelized flavor profile.

[nitasonwane]

Advancements in Dental Technology Fuel the Growth of Dental Caries Detectors Market

The Dental Caries Detectors Market is experiencing remarkable growth as the dental industry embraces innovative technologies to enhance oral healthcare. A recent market report by Fortune Business Insights sheds light on the burgeoning market for dental caries detectors, which are revolutionizing dental practices worldwide. The market is poised for significant expansion due to the increasing prevalence of dental caries, rising adoption of preventive dentistry, and advancements in dental technology.

For More Information: https://www.fortunebusinessinsights.com/industry-reports/dental-caries-detectors-market-101134

The report provides a comprehensive analysis of the market, highlighting key market players, market dynamics, and emerging trends. Dental caries detectors, such as laser fluorescence devices and digital imaging systems, offer dentists non-invasive and accurate methods for early detection of tooth decay. With a growing focus on preventive care and patient education, these innovative devices play a crucial role in identifying caries at an early stage, allowing for prompt intervention and treatment.

Digital dentistry is also driving the adoption of dental caries detectors, enabling dentists to provide precise diagnosis and treatment planning. Furthermore, factors such as the expanding geriatric population and increasing disposable income contribute to the market's growth, as individuals seek advanced dental technologies for improved oral health. Market players are investing in research and development activities to introduce cutting-edge dental caries detectors, catering to the evolving needs of dental professionals and patients alike.

Related Reports:

https://lnkd.in/du35yf5B

https://www.fortunebusinessinsights.com/de/industrie-berichte/markt-f-r-kariesdetektoren-101134

[ciathyzareposts]

Game 329: Darklands (1992)

When you start up the game, this woman says “Welcome to Darklands” in a digitized voice.

          Darklands

United States

MicroProse (developer and publisher)

Released in 1992 for DOS Date Started: 24 May 2019

Excited about killing orcs and finding treasure, I fire up a game and crack open the manual. Three hours later, I could give a university lecture on political intrigue in the court of Emperor Frederick III in the 1470s. If it hadn’t already been made clear by the box and title screen, I would know for certain: I am playing a MicroProse game. One of these days, I’m going to add a column to my game rating sheet indicating whether the game manual comes with a bibliography, and thus determine whether it has a correlation to the GIMLET. I suspect it will.   Darklands is perhaps the most anticipated game on my blog, so much so that when I went to do my customary pre-game search of player comments, there were far too many to review. Readers were telling me that they were looking forward to the game back in my first year. There are many who feel that it marks the beginning of a new era in both mechanical complexity and quality of role-playing.            

A brief animated scene shows a gargoyle awakening and flying through a medieval city.

          The game is set in the Holy Roman Empire, staring in 1400. For those who haven’t had much excuse to think about the Holy Roman Empire since high school, it was a political organization in central Europe that existed for about 1,000 years, between 800 and 1806 or between 962 and 1806 depending on what you regard as the beginning. (Pope Leo III revived the Roman title of “Emperor” for Charlemagne in 800, but his empire fractured afterwards and wasn’t put together until 962 under Otto I.) At its height, it included modern-day Germany, the Netherlands, Belgium, Austria, Switzerland, Czechia, Slovenia, most of Italy, and parts of France and Poland. The Holy Roman Empire and its emperor never had the centralized authority of the earlier Roman Empire; kings and dukes and princes existed within it and sometimes had more real power than the putative emperor. The HRE was universally Catholic (Martin Luther wouldn’t vandalize any doors until 1516), feudal, and caste-obsessed. Its political machinations are the stuff of legend, and thus it serves as a great place for an RPG. Kingdom Come: Deliverance (2018) will later be set in the same era.

The gimmick of Darklands is that the game isn’t really set in historical reality, but in the era as the people of the era believed it to be. Thus, witches and demons are real, werewolves prowl the forests, mixing alchemical ingredients produces results, and saints occasionally deliver miracles. Otherwise, the game adopts realistic terms and concepts from the era. Money consists of florins, groschen, and pfenniges. Knowledge of Latin is an asset. And the player has to get comfortable with terms like schulz (local leader), dom (cathedral), raubritter (robber knight), and zeughaus (barracks).            

The game map reduces the complex borders of the HRE into a convenient square.

            The player controls a party of four characters, generated through a complex system that recalls MegaTraveller. After specifying a name and sex, the player choose the character’s social background, from nobility down to rural peasantry. He then spreads a pool of points among six attributes: strength, endurance, agility, perception, intelligence, and charisma. I would note that these are the same attributes as the later Fallout, minus luck, but there is a “luck” statistic in the game in the form of “divine favor.” Attributes exist on a scale of 0-99, although only a range of 10-40 is available on starting. They are dynamic throughout the game, as wounds cause direct damage to strength, endurance decreases with fatigue, and agility goes down with encumbrance.

Next, the character can take one or more occupations for blocks of 5 years. Available occupations are limited by skill, attributes, background, and previous occupation choices. After each 5-year term, the player can allocate a pool of points among the game’s 19 skills. These skills are organized into three groups: martial (e.g., Edged Weapon, Throwing Weapon), intellectual (e.g., Alchemy, Religion, Latin), and crafts (e.g., Stealth, Riding). Some of these skills are adjusted automatically based on occupation. They exist on a 0-99 scale. Since the game does not have levels as such, I assume increases in these skills are the primary means of character development.           

Improving a characters’ skills between occupations.

          You can stop the character’s career at any time. Older characters will start the game with more skills but will also age and die. My understanding is that the player may end up replacing characters several times throughout the game, particularly since there’s no such thing as resurrection, so I didn’t waste too much time trying to get it right the first time. I came up with:            

Chestremagne: Her to a noble house, strong and fit, schooled in edge and impact weapons, Latin, reading and writing, and riding. From ages 20-25, he was a student and developed all his skills a little more. He is presently 25.

Lothair the Lender, an unscrupulous trader and moneylender. He comes from a background of urban commoners but used his high intelligence, perception, and charisma to work his way up from peddler to trader to traveling merchant to merchant-proprietor, along the way developing skills in both common language and Latin, streetwise, woodswise, and artifice. He is now 35.

Tabitha, the child of a wealthy urban family pledged to a religious and healing order. She worked for 5 years as an oblate and then 5 as a novice nun. She is moderate in all attributes and skilled only in religion, healing, virtue, and alchemy. She is 30.

Adelaide the Ant, a famous thief. Ugly but shrewd, perceptive, and agile, skilled in streetwise, artifice, stealth, and the use of edged and thrown weapons. She has alternately been a thief and bandit for several decades, and is the oldest of the group at 40.

              I can see a couple of weaknesses in the party. First, I have no one obvious “warrior.” Chestremagne was headed there, but I stopped his education early. Second, I have no one particularly strong in alchemy. I tried to get Tabitha there, but I guess there really isn’t a lot of affinity between alchemy and the religious occupations; I should have moved her along a more “student” track. I probably have too much duplication between Lothair and Adelaide; there really aren’t that many thief-specific skills, and I could have combined what I was attempting with the two characters into a single character. Nonetheless, I’ll go with this party for now.            

The first party.

            Darklands has no particular backstory, so you have to decide for yourself how this weird crew came together and what they’re trying to accomplish. The game has them starting at table in an inn. I think the location is randomized; in my case, it was the Rheinischer Hof in the city of Dortmund. Anyway, as the game begins the group has just sworn “a pact as blood brothers, to seek good and avoid evil, and to bring everlasting honor and glory to our names.” They then spend some time debating next steps, such as getting jobs locally to acquire more training, improving their equipment, or hunting for street thieves at night.            

The party unites in a vague quest for fortune and glory.

        The game then hands control over to you, and you can start exploring the city via a series of nested menus. For instance, if you head out to the main street, you have options from there to visit the stadtplatz (the political center), the alter markt (central market), the churches, the guilds, an inn, a scenic grove, various side alleys, and the city gates. Each of those locations opens up a new series of options. For instance, in the stadtplatz, you can view local notices, listen for rumors, or go to the stadthaus and try to get an audience with a local official. Each option costs time, and the days pass quickly. There are different options at night than during the day.           

Some of the options specific to an inn.

        My party first went to the market to check things out, but I was a bit too concerned about finances to make any purchases. We then went into a back alley and nearly immediately entered combat with a group of thieves. Darklands features a real-time-with-pause combat system that I’m still figuring out, but it anticipates the Infinity Engine titles. You basically hit SPACE to pause, select each character and issue orders, and then hit SPACE to watch them carry out those orders to the best of their abilities. At the beginning of the game, I can’t do much more than attack.           

The party and the thieves engage in the very definition of “melee.”

          With the thieves, that was enough. I killed them without taking much damage and looted their bodies for some useful pieces of armor and excess weapons to sell in the market. The game is pretty light on types of equipment, incidentally. You get a melee weapon, a missile weapon, “vital” armor, “limb” armor, and a shield.          

Hear that? My massacre of the thieves was ordained by God.

         The next day, I visited the stadthaus and got an audience with the ältere herren. He confided that there is a plot to take over the city. His men had intercepted some reports going to the fugger (banker) in Fürstenberg. He wants me to go to that city and “steal prior reports.” From the map, Fürstenberg is quite a distance to the east. My understanding is that you might get similar quests from churches, guilds, and other important people in the town.           

How do we know that Fürstenberg won’t rule the city better than you? Which of you favors universal health care?

        I left the city to check out the wilderness. (Entering and leaving the cities involves a bunch of options depending on whether you want to pay the associated fees or hide from the guards or whatnot; I’ll cover that later.) Outdoor travel takes place on a world map full of landscape features and roads. There are miscellaneous encounters with friends and foes every few minutes. I was able to bluff my way past a couple of hostile parties as I headed east.            

Lothair bluffs his way past some bandits or worse.

             Everything I’ve described adds up to a game that’s an awful lot like a medieval RPG version of MicroProse’s Pirates! There are direct analogues in the menu towns and the randomization of quests. Just like the earlier game’s Spanish Main, here were have a rich backcloth in which somewhat random events transpire, with or without the player’s involvement, thus creating a different experience for every player.          

Hiking around central Germany replaces sailing the Spanish Main.

         Even the goals are similar. It appears that as I solve quests and slay thieves and whatnot, I’ll gain fame and reputation specific to each territory. I can “retire” the party at any point with that fame score, just as you can with the main character in Pirates! There’s also a main quest to find, lurking somewhere. Still, it’s clear that part of the game’s legendary length is related to the dynamic, somewhat random way the game world evolves.

I may roll a new party and choose to stay more local before getting a quest, or just go with it and see what happens. There are lots of things I have not yet explored, including the alchemy system and the praying system. Since the plot can’t really be spoiled (I assume), I’ll be happy to take plenty of opinions on this one.

Time so far: 3 hours

source http://reposts.ciathyza.com/game-329-darklands-1992/

[fassicranes]

Fassi’s Spanish distributor in Interempresas

The digital handling magazine Interempresas publishes an article featuring Ian Trenzano, commercial director of Fassi’s distributor for Spain, the company Transgrúas Cial S.L. Lliçà de Vall (Spain) – The online lifting and construction sector publication Interempresas has recently published an interview with Ian Trenzano, the commercial director of Transgrúas Cial S.L., Fassi’s Spanish distributor. The article focuses closely on the condition of the market for lifting equipment and the role that Fassi plays within it. Mr Trenzano summarises Transgrúas’ performance over the last year and provides insights on the market trends which have become apparent; namely that, overall, customers in the construction sector have a slight edge on numbers, Fassi’s heavy-duty models have become increasingly popular and the crane’s reaching distance is the key factor when making a purchase. Mr Trenzano also mentions Fassi’s latest technological innovations and the goal of always looking to increase performances, the advantages of the Internet of Cranes (IoC) technology and its effects on crane security, and Transgrúas’ most popular Fassi sellers. The article concludes talking about the company’s 40th anniversary this year and its expectations for 2018. (Courtesy of Interempresas) Read the full interview here: http://www.interempresas.net/Elevacion/Articulos/208515-Entrevista-a-Ian-Trenzano-director-comercial-de-Transgruas.html

Ian Trenzano, direttore commerciale di Transgrúas Cial S.L., distributore di Fassi, rilascia un’intervista a Interempresas, portale dedicato al sollevamento Lliçà de Vall (Spagna) – Interempresas, rivista online dedicata a edilizia e sollevamento, ha recentemente pubblicato un’intervista con Ian Trenzano, direttore commerciale di Transgrúas Cial S.L. (distributore di Fassi per il mercato spagnolo), in cui sono illustrate nel dettaglio le condizioni del mercato delle attrezzature per il sollevamento e il ruolo che Fassi gioca nel settore. Dopo aver riassunto brevemente le prestazioni ottenute da Transgrúas nel corso dell’ultimo anno, il direttore Trenzano ha fornito un’analisi approfondita dei più evidenti trend del mercato, come l’importanza, in termini quantitativi, dei clienti del settore edile, il crescente successo dei modelli appartenenti alla gamma pesante di Fassi e lo sbraccio delle gru come fattore fondamentale per l’acquisto. Oltre a ciò ha citato le più recenti innovazioni tecnologiche a marchio Fassi, l’incessante volontà di migliorare le prestazioni, i vantaggi del sistema IoC (Internet of Cranes) e gli effetti che ne conseguono in termini di sicurezza delle gru, oltre che i prodotti Fassi di maggior successo tra quelli venduti da Transgrúas. Infine l’articolo ricorda il compimento, quest’anno, del 40° anniversario dalla fondazione dell’azienda e presenta le aspettative che quest’ultima serba per il 2018. (Per gentile concessione di Interempresas) L’intervista intera è disponibile consultando il seguente link: http://www.interempresas.net/Elevacion/Articulos/208515-Entrevista-a-Ian-Trenzano-director-comercial-de-Transgruas.html

Le magazine digital dédié au secteur de la manutention Interempresas publie un article qui présente Ian Trenzano, directeur commercial du distributeur de Fassi pour Espagne, la société Transgrúas Cial S.L. Lliçà de Vall (Espagne) – Interempresas, le magazine en ligne spécialisé dans les secteurs du levage et de la construction, a récemment publié une interview de Ian Trenzano, le directeur commercial de Transgrúas Cial S.L. (distributeur espagnol de Fassi). L'article s’intéresse de près aux conditions du marché des équipements de levage et au rôle qu’y joue Fassi. Monsieur Trenzano offre un résumé de la performance de Transgrúas au cours de la dernière année et donne un aperçu des tendances du marché qui se sont manifestées ; à savoir que, dans l'ensemble, un nombre légèrement plus élevé de clients appartiennent au secteur de la construction, que les modèles de la gamme lourde de Fassi sont devenus de plus en plus populaires et que la portée de la grue est le facteur clé lors d’un achat. Monsieur Trenzano mentionne également les dernières innovations technologiques de Fassi et son objectif de toujours chercher à augmenter les performances, les avantages de la technologie IoC (Internet of Cranes) et ses effets sur la sécurité des grues, ainsi que les produits Fassi les plus populaires de Transgrúas. L'article conclut en évoquant le 40ème anniversaire que l'entreprise fêtera cette année et ses attentes pour 2018. (Avec l’aimable autorisation d'Interempresas) Vous pouvez lire l'interview complète à cette adresse : http://www.interempresas.net/Elevacion/Articulos/208515-Entrevista-a-Ian-Trenzano-director-comercial-de-Transgruas.html

Ian Trenzano, kaufmännischer Leiter beim spanischen Fassi-Vertreiber, Transgrúas Cial S.L., hat der Online-Publikation Interempresas ein Interview gegeben Lliçà de Vall (Spanien) – Die Online-Publikation für den Hebe- und Bausektor, Interempresas, hat kürzlich ein Interview mit Herrn Ian Trenzano, kaufmännischer Leiter beim spanischen Fassi-Vertreiber, Transgrúas Cial S.L., veröffentlicht. Der Artikel beschäftigt sich mit der Situation am Markt für Hebeausrüstungen und die Rolle, die Fassi darin spielt. Herr Trenzano fasst die Leistung von Transgrúas im letzten Jahr zusammen und gibt einen Einblick in die sich abzeichnenden Markttrends: Insgesamt ist der Kundenstamm aus dem Bausektor etwas größer, die Modelle des schweren Sortiments von Fassi erfreuen sich wachsender Beliebtheit und die Reichweite der Krane ist der ausschlaggebende Faktor für den Erwerb. Ferner erwähnt Herr Trenzano auch die neuesten technologischen Innovationen von Fassi und das Ziel, stets die Leistungen zu steigern, die Vorteile der IoC-Technologie (Internet of Cranes) und ihre Auswirkungen auf die Kransicherheit sowie die von Transgrúas meist verkauften Fassi-Modelle. Zum Abschluss wird über das 40-jährige Firmenjubiläum, das heuer stattfindet, und über die Erwartungen für 2018 gesprochen. (Mit freundlicher Genehmigung von Interempresas) Lesen Sie das ganze Interview hier: http://www.interempresas.net/Elevacion/Articulos/208515-Entrevista-a-Ian-Trenzano-director-comercial-de-Transgruas.html

La revista digital dedicada a la industria de la manipulación Interempresas publica un artículo con Ian Trenzano, director comercial del distribuidor de Fassi para Espana, la empresa Transgrúas Cial S.L. Lliçà de Vall (España) – Interempresas, la publicación en línea de los sectores de la elevación y la construcción, ha publicado recientemente una entrevista con Ian Trenzano, director comercial de Transgrúas Cial S.L., el distribuidor español de Fassi. El artículo se centra en la situación del mercado de equipos de elevación y en el papel que Fassi desempeña dentro de él. El Sr. Trenzano resume el resultado que obtuvo Transgrúas el año pasado e informa sobre las tendencias del mercado que se han hecho evidentes; más concretamente declara que, en general, los clientes del sector de la construcción destacan ligeramente en cuestión de cifras, los modelos de la gama pesada de Fassi se han vuelto cada vez más populares y la distancia de alcance es el factor clave a la hora de comprar una grúa. El Sr. Trenzano también menciona las últimas innovaciones tecnológicas de Fassi y el objetivo de mejorar cada vez más las prestaciones. Además, habla de las ventajas de la tecnología IoC (Internet of Cranes) y de sus efectos en la seguridad de las grúas, así como de los productos Fassi más populares vendidos por Transgrúas. El artículo concluye con el tema del 40.° aniversario de la empresa, que se celebrará este mismo año, y de sus expectativas para el 2018. (Cesión de Interempresas) Consulte el siguiente enlace para leer la entrevista completa: http://www.interempresas.net/Elevacion/Articulos/208515-Entrevista-a-Ian-Trenzano-director-comercial-de-Transgruas.html

[deutscheshausnyu]

INTERVIEW WITH WRITER-IN-RESIDENCE NORBERT NIEMANN

Norbert Niemann, born 1961, is an author based in Munich and Chiemsee. His most recent novels are "Willkommen neue Träume“ (2008) and "Die Einzigen“ (2014). Niemann received the Ingeborg-Bachmann-Prize (1997), the Carl-Amery-Prize (2015), the Music Theatre Now Award for "Musicophilia,“ a stage version based on Oliver Sacks' book (2016), and the German Literaturfonds’ New York Stipend (2016). His essay "Erschütterung. Literatur und Globalisierung unter dem Diktat von Markt und Macht" appeared as a part of the series "Einsichten“ by Alfred Kröner Publishing in May 2017.

Please join us for our public event on Monday, October 23 at 6:30pm at Deutsches Haus at NYU, Norbert Niemann will be joined by Eric Jarosinski to discuss his new book Disruptions: Literature and Globalization under the Rule of Markets and Power. The conversation will investigate how economic and digital globalization are reflected in international contemporary writing, including examples from Teju Cole's “Open City”, Don DeLillo's “Cosmopolis” and Chimamanda Ngozie Adichie's “Americanah.”

Throughout your career as a writer, you have written works of fiction as well as non-fiction books about politics, society, literary theory, and art.  How do you decide whether to address a topic through fiction or non-fiction?

It’s more a question of necessity than of decision. Mostly it depends on actual political, social and cultural developments in society. Germany is known as the home of “Dichter und Denker” [poets and thinkers], and I always defined myself as a Dichter AND a Denker. To close the cardinal gap between reality and thinking, present time and language, sometimes it’s necessary to approach this gap in a more rational or philosophical way, sometimes with fictional structures. Fiction and non-fiction are different forms of awareness. Fiction shows both writers and readers how it is to be someone else who lives under different (or even lives differently under similar) circumstances. Especially the novel is a place for what Robert Musil called “Möglichkeitsform.” Fiction goes on where non-fiction has to stop. But also the other way around: non-fiction becomes essential when fiction starts becoming false.

Can you tell us a bit about your creative writing process? What inspires you? Where and when are you most productive? Do you have a favorite place to write?

All I can say is that I’m NOT ABLE to write in subways or buses, at marriages, in concert halls or jazz clubs, but I have no favorite places, except a special calm and lucid place inside of me. My inspiration comes from that never-ending doubt about the real dynamics of our present time. I have no language for it. Nobody has it. I would like to find this language, which is constantly lost. I want to think, to “speak” it. This is my idea of the task of a writer.

How did you become a writer? Have you always known you wanted to pursue that career?

In my first life I was a musician and composer, and when I was a young man I thought I would continue for the rest of my days. But in the early 80s, I sang and played guitar in a New Wave Band and began writing lyrics for our songs. When I recognized that pop music became more and more a pure business thing and that there is no longer a way out of all these growing commercial structures, I left this kind of stage forever and started to write prose.

Has your musical past influenced your writing?

Of course, the influence is immense. Especially in my last novel that tells the story of Marlene Krahl, an experimental electronic composer, I’ve tried to bring music and literature together as near as possible. I generally think that there are two types of writers (and even moviemakers): one is guided primarily by musical structures, the other by visual structures. But music is no language, as Oswald Wiener, the famous head of the Austrian “Wiener Gruppe,” said. The relationship between literature and music is a complex act of transformation. Exactly this act inspires me. How can I say what music sounds about?

We understand you’re a member of the PEN-Zentrum Deutschland. Could you explain what that means exactly? Does it involve specific responsibilities? How do you become a member?  

The PEN is an important organization, especially for foreign political affairs. It advocates for persecuted writers around the world. With its writers-in-prison program, it takes care of imprisoned authors. It also has a number of asylum apartments in Germany. Its voice on domestic issues, however, is currently weak. You become a member by proposing two members for election.

Is this your first time visiting New York? If you have been here before, how are things different now from the last time you were here?

It’s my first time in New York, but not my first time in the U.S. About fifteen years ago I visited Los Angeles with Thomas Meinecke and Nobel Prize Winner Herta Müller for a German-American writers meeting. I can’t say yet whether there are any differences with my former visit, I just arrived here a little over a week ago. I’ve expected something like signs of the new Trump-America. So far, I haven’t found them. Perhaps New York—this huge, obviously quite well-functioning migrant product—is also the wrong place for it.

How do you plan to spend your residency in New York? Will you take advantage of the cultural scene or do you plan to mainly focus on your writing and research for future projects?

I want to see and hear as much as possible in New York. Maybe I’ll write a few small texts about my impressions for “Freitext” on “ZEIT online”. Another thing I have to do this year is write an essay for the “Punctum” series at Matthes & Seitz with the working title “The Responsibility of the Writer and his Allies”. Last but not least, I want to start a new novel, but I cannot give you any information about it yet. I hope I have enough time and power with all my heart to do both: enjoy NYC and do my work.

Would you say you are particularly influenced by a specific author and, if so, how? May we ask what you are reading at the moment?

Not just one specific author, but a huge number of authors! However, the older I get and the longer I write, the more the role models fade into the background. They become like colleagues and reading their work becomes a dialogue, whether they are still alive or have already died.

In your most recent book Erschütterungen, you examine how economic and digital globalization are reflected in international contemporary writing. What inspired you to write this book? How did you select the authors you included?

There are two aspects. First, my experiences as a reader showed me that authors all over the world write about similar social and cultural phenomena of this new time with comparable literary expressions. Second, I couldn’t find anything to read about it! Soon I thought that this fact may also be related to the ideology of the pure market. So it was a kind of fight against this ideology. I have tried to counter commercial thinking, which destroys sociocultural structures, with a form of cultural thought that both recognizes and creates life-relations. In this respect the book is politically motivated. My selection of authors had no scientific approach. It follows the traces of a reader who is passionate about the texts of his contemporary colleagues after their lived and written present. Or, as I wrote in the introduction: the book “is not written out of the methodically secure viewpoint of a scientist, but from a writer who assures himself of the literary orchestra in which he himself is an instrumentalist among many, and who wants to try out how this orchestra might sound in harmony when it is not directed by a conductor appointed from the market.”