#michael deller

[lospesospluma]

Una enorme valla publicitaria a favor de la inmigración con los íconos del pop de los 80 Wham! ha aparecido en una calle de Dundee. El cartel de George Michael y Andrew Ridgeley (ambos provenientes de familias migrantes), dice "Gracias a Dios por los inmigrantes", y fue creado por el artista Jeremy Deller. ©️Fotos: James Simpson/DC Thomson y Alistair Heather en X

[learabeau]

2024 – Liste Culturelle

JANVIER

LIVRES

L'art et la psychanalyse de Freud à Lacan par Anita Izcovich

Rêves de paysage par Claudine Bertrand

Flipette & Vénère de Lucrèce Andreae

Lettres à une jeune Poétesse. Correspondance avec Anita Forrer (1920 – 1926) de Rainer Maria Rilke

Le joueur d'échecs de Stefan Zweig

Lettres à un jeune poète de Rainer Maria Rilke

Aurore, Ulysse … Les Centaures N°1 La porte du néant par Seron

FILMS

Diane Wellington d'Arnaud des Pallières

Rythmasspoetry de Jeremy Deller et Cecilia Bengolea

Les Yeux carrés de Louison Assié et Laure Massiet du Biest

What happened, Miss Simone ? de Liz Garbus

Patinoire de Gilles Carle

10 minutes de vie d'Herz Frank

Le Seigneur des anneaux : La Communauté de l'Anneau de Peter Jackson

Bedtime Stories : Trains de Harun Farocki

Bedtime Stories : Bateaux de Harun Farocki

What Men Want d'Adam Shankman

Bedtime Stories : Ponts de Harun Farocki

Le Passage du col de Marie Bottois

Ballerina de Lee Chung-hyeon

I Don't Feel at Home Anywhere Anymore de Viv Li

Mon beau-père et moi de Jay Roach

They Do Not Exist de Mustafa Abu Ali

FEVRIER

LIVRES

La Magie de la Nature. Se relier au pouvoir des éléments, de la Lune et des plantes par Lindsay Squire

Éditeurs de notre temps. Entretiens réalisés par Nicolas Querci

Mafalda 1 de Quino

Je suis un poltron de Johann Guyot

Mama Elefante es genial de Gabriela Keselman et illustré par Claudia Bielinsky

FILMS

Angle mort de Lotfi Achour

All Inclusive de Corina Schwingruber Ilic

Somme des choses de Mohammadreza Farzad

Indes Galantes de Philippe Béziat

Retour à Séoul de Davy Chou

Afrique 50 de René Vautier

Love, Dad de Diana Cam Van Nguyen

Sans toit ni loi d'Agnès Varda

La Vie sexuelle de mamie de Urska Djukic et Émilie Pigeard

Et les chiens se taisaient de Sarah Maldoror

O saisons, ô châteaux d'Agnès Varda

Plaisir d'amour en Iran d'Agnès Varda

Du côté de la côte d'Agnès Varda

Réponse de femmes d'Agnès Varda

Boy de Yalda Alsah et Ginan Seidl

MARS

LIVRES

Le style dans le cinéma documentaire entretiens recueillis par l'association ADDOC

Réensauvagez-vous ! D'Andreas Weber et Hildegard Kurt

De la tyrannie du cartel de Philippe Comar

FILMS

Un espagnol à Paris, Paco Ibañez de Bernard Bouthier

Hercules de Ron Clements et John Musker

The Silence of The Banana Trees d'Eneos Carka

In Flow of Words d'Eliane Esther Bots

I Don't Feel at Home Anywhere Anymore de Viv Li

Behemoth : or the name of God de Lemohang Jeremiah Mosese

L'indomptable feu du printemps de Lemohang Jeremiah Mosese

Mon beau-père et nous de Paul Weitz

Mobiliser de Caroline Monnet

Cinzas e nuvens de Margaux Dauby

REW-FFWD de Denis Villeneuve

Vampire humaniste cherche suicidaire consentant d'Ariane Louis-Seize

Nos plus belles années de Sydney Pollack

Immaculée de Michael Mohan

AVRIL

LIVRES

Azimut T.1 Les aventuriers du temps perdu par Wilfrid Lupano et Jean-Baptiste Andreae

Azimut T.2 Que la belle meure par Wilfrid Lupano et Jean-Baptiste Andreae

Azimut T.3 Les anthropotames du Nihil par Wilfrid Lupano et Jean-Baptiste Andreae

Sous les Arbres. L'automne de Monsieur Grumpf de Dav

Jade sauve la forêt fabuleuse d'Alexandre Jardin, Fred Multier et Stéphanie Ronzon

Azimut T.4 Nuées noires, voile blanc par Wilfrid Lupano et Jean-Baptiste Andreae

Azimut T.5 Derniers frimas de l'hiver par Wilfrid Lupano et Jean-Baptiste Andreae

Le Dialogue de Simon Johannin

Hallow T.1 La dernière nuit d'Halloween de Cazenove et Ood Serrière

500 affiches de Mai 68 par Vasco Gasquet

Ce monde-là. Voyage aux frontières du photojournalisme des éditions Loco / Emi

Mélusine T.1 Sortilèges de Clarke et Gilson

Intranqu'îllités N°5 Eros par auteurs multiples (magazine)

FILMS

Malcolm X de Spike Lee

Nosferatu, fantôme de la nuit de Werner Herzog

La Demoiselle et le Dragon de Juan Carlos Fresnadillo

Un taxi pour Reykjavik de Damien Peyret

La BM du Seigneur de Jean-Charles Hue

Dune de Denis Villeneuve

Fabbricante di lacrime d'Alessandro Genovesi

8 Mile de Curtis Hanson

Lil' Buck Real Swan de Louis Wallecan

LOL (Laughing Out Loud) de Lisa Azuelos

Pretty Woman de Garry Marshall

L'arrestation de C. d'Arthur Jaquier

Mon voisin Abdi de Douwe Djikstra

Five d'Igor Gotesman

Her Job de Nikos Labôt

Le Barrage d'Ali Cherri

La Grande Vadrouille de Gérard Oury

PODCAST

Dingue. Dépendance affective : attachement et réciprocité du journaliste Adrien Zerbini

MAI

LIVRES

Verdad de Lorena Canottiere

Une vie de Simone Veil

La légende de Saigyô traduit du japonais et présenté par René Sieffert

FILMS

Disneyland, mon vieux pays natal d'Arnaud des Pallières

Sound of metal de Darius Marder

Godzilla d'Ishiro Honda

Brisby et le secret de NIMH de Don Bluth

Madame Lulu de Morgane Lincy-Fercot

JUIN

LIVRES

Laura, Lizzie & les Hommes-Gobelins de Christina Rosseti, Clémentine Beauvais et Digiee

Mes merveilles d'Else Lasker-Schüler traduit par Guillaume Deswarte

C'est comme ça qu'on fait un film de Tim Grierson

La conjecture de Karinthy de Michel Viegnes

FILMS

Grâce à Dieu de François Ozon

Average Happiness de Maja Gehrig

Claire, faire corps d'Arnaud Le Hesran

Mars Express de Jérémie Périn

Nathan, juste là d'Elya Serres

Supervision de Primitivi

JUILLET

LIVRES

Auguste Rodin de Rainer Maria Rilke

Un drôle de truc pas drôle de Giula Sagramola

Une certaine tendance du cinéma documentaire par Jean-Louis Comolli

La Mélodie de l'amour et de la mort du cornette Christoph Rilke par Rainer Maria Rilke

FILMS

Sainte Marie du Mont : kilomètre zéro zéro par Claude Goretta et Gilles Perrault

Non de Didier Nion

Backflip de Nikita Diakur

Letter to a pig de Tal Kantor

Kingdom of the Planet of the Apes de Wes Ball

Dune. Part Two de Denis Villeneuve

Pirates des Caraïbes : la légende du Black Pearl par Gore Verbinski

AOUT

LIVRES

160000 enfants. Violences sexuelles et déni social d’Édouard Durand

« On ne peut pas accueillir toute la misère du monde » En finir avec une sentence de mort de Pierre Tevanian et Jean-Charles Stevens

Désobéissance climatique de Sandra Laugier et Albert Ogien

Les écoféminismes d’Élise Thiébaut

FILMS

Pirates des Caraïbes : Le Secret du coffre maudit par Gore Verbinski

Pirates des Caraïbes : Jusqu'au bout du monde par Gore Verbinski

Pirates des Caraïbes : La Fontaine de Jouvence par Rob Marshall

Pirates des Caraïbes : La Vengeance de Salazar par Jooachim Ronning et Espen Sandberg

Super par James Gunn

Furiosa : A Mad Max Saga par George Miller

Doomsday de Neil Marshall

Shrek par Andrew Adamson et Vicky Jenson

Shrek 2 par Andrew Adamson, Kelly Asbury et Conrad Vernon

Pauvres Créatures de Yorgos Lanthimos

Élémentaire de Peter Sohn

Cowboy Bebop : Knockin' on Heaven's Door de Shin'ichiro Watanabe

Discours de bienvenue de Norman McLaren par Norman McLaren

Promising Young Woman par Emerald Fennell

Saltburn par Emerald Fennell

Zoom cosmique d'Eva Szasz

Memories of Murder par Bong Joon-ho

Venom : Let There Be Carnage par Andy Serkis

NDDJ (Notre-Dame-du-Jambon) par Grace D. Singh et Sita Singh

Aquaman et le Royaume perdu par James Wan

Vice-Versa 2 par Kelsey Mann

X par Ti West

MaXXXine par Ti West

Erin Brockovich, seule contre tous par Steven Soderbergh

SEPTEMBRE

LIVRES

L'âge d'or Volume 1 de Curil Pedrosa et Roxanne Moreil

Le féminisme ou la mort de Françoise d'Eaubonne

FILMS

Deadpool et Wolverine par Shawn Levy

Pearl par Ti West

The Witch par Robert Eggers

The Northman par Robert Eggers

Star Wars, épisode V : L'Empire contre-attaque par Irvin Kershner

Sortir de l'amour romantique comme seul modèle de société par la journaliste Salomé Saqué

Star Wars, épisode III : La Revanche des Sith de George Lucas

Harry Potter and the Philosopher's Stone par Chris Colombus

Una volta ancora par Giulia Di Maggio

White power, au cœur de l’extrême droite européenne par Christophe Cotteret

Barbare par Zach Cregger

Jeanne du Barry par Maïwenn

La Terre est habitée !, par Kaj Pindal et Les Drew

The Game par David Fincher

The Crow par Rupert Sanders

Petite Leçon de cinéma : le documentaire par Jean-Stéphane Bron

A Girl Walks Home Alone at Night par Ana Lily Amirpour

Under the Silver Lake par David Robert Mitchell

Strangers par Tony Dean Smith

Blink Twice par Zoë Kravitz

Histoire de mon pays d'enfance par Marine Mabila

L’illusionniste par Alain Cavalier

Outlaw King : Le roi hors-la-loi par David Mackenzie

Under The Lake par Thanasis Trouboukis

God Bless America par Bobcat Goldthwait

King of Thieves par James Marsh

Beetlejuice par Tim Burton

Astartes par Syama Pederson

Lady Bird par Greta Gerwig

The Killer par David Fincher

Finestkind par Brian Helgeland

Wolfs par Jon Watts

Trap par Night Shyamalan

Apartment 7A par Natalie Erika James

SERIE

Godless par Scott Franck

OCTOBRE

LIVRES

Lettres autour d'un jardin par Rainer Maria Rilke

Pour le droit de vote dès la naissance de Clémentine Beauvais

FILMS

Depuis, je vole par Aylin Gökmen

Speak No Evil par Christian Tafdrup

The Wasp par Guillem de Morales d'après une pièce de Morgan Lloyd Malcolm

The Green Knight par David Lowery

Reptile par Grant Singer

Just Mercy par Destin Daniel Cretton

Le Collectionneur par Gary Fleder

Essai de reconstitution des 46 jours qui précédèrent la mort de Françoise Guiniou par Christian Boltanski

Julie and Julia par Nora Ephron

Mindscape par Jorge Dorado

Bloodshot par Dave Wilson

Hellboy : The Crooked Man par Brian Taylor

Fair Play par Chloe Domont

The Highwayman par John Lee Hancock

The Final Girls par Todd Strauss-Schulson

Come to Daddy par Ant Timpson

Spree par Eugene Kotlyarenko

Car Wash de Laïs Decaster

Beetlejuice Beetejuice par Tim Burton

Alien : Romulus par Fede Alvarez

Bad Genius par J.C. Lee

La Famille Addams par Barry Sonnenfeld

Carrie au bal du diable par Brian de Palma

Jennifer's body par Karyn Kusama

I Came By parBabak Anvari

Le Mangeur d'âmes par Alexandre Bustillo et Julien Maury

Addams Family Values par Barry Sonnenfeld

Une affaire de détails par John Lee Hancock

Scream par Wes Craven

Scream 2 par Wes Craven

Halloween : La Nuit des masques par John Carpenter

Massacre à la tronçonneuse par Tobe Hooper

A Nightmare on Elm Street par Wes Craven

La colline a des yeux par Wes Craven

Evil Dead par Sam Raimi

SERIE

Mercredi par Tim Burton, James Marshall et Gandja Monteiro

NOVEMBRE

LIVRES

Les idendités meurtrières d'Amin Maalouf

La haine du poil par Juliette Mancini, Sara Piazza et Alexia handon-Piazza

In Humus par Lina Sterte

Errance par Raymond Depardon

FILMS

The Irishman par Martin Scorsese

Don't Move par Adam Schinfler et Brian Netto

Vole, vole tristesse par Miryam Charles

I Care a Lot par J Blakeson

Halloween par David Gordon Green

Nocturnal Animals par Tom Ford

The Pale Blue Eyes par Scott Cooper

Zombie de George Andrew Romero

Le Comte de Monte-Cristo par Alexandre de La Patellière et Matthieu Delaporte

Vendredi 13 par Sean S.Cunningham

La colline a des yeux par Alexandre Aja

La Mécanique de l'ombre par Thomas Kruithof

Ephémères par Yuki Kawamura

In the Shadow of the Moon par Jim Mickle

Assassination Nation par Sam Levinson

The Substance par Coralie Fargeat

Harry Potter et la Chambre des secrets par Chris Colombus

Harry Potter et le Prisonnier d'Azkaban par Alfonso Cuaron

Harry Potter et la Coupe de feu par Mike Newell

Harry Potter et l'Ordre du Phénix par David Yates

Project X par Laura Poitras et Henri Moltke

Harry Potter et le Prince de sang-mêlé par David Yates

Harry Potter et les Reliques de la Mort, partie 1 par David Yates

Les cow-boys sont noirs de Serge Moati

Harry Potter et les Reliques de la Mort, partie 2 par David Yates

The Lord of the Rings : The Fellowship of the Ring par Peter Jackson

The Lord of the Rings : The Two Towers par Peter Jackson

The Lord of the Rings : The Return of the King par Peter Jackson

La Chapelle du Diable par Evan Spiliotopoulos

The Wonder par Sebastian Lelio

Le Roi Arthur : La légende d'Excalibur par Guy Ritchie

Le Dernier Voyage du Demeter par André Ovredal

Yannick par Quentin Dupieux

The Hunt par Craig Zobel

Elizabeth : L'Âge d'or par Shekhar Kapur

Glass Onion : Une histoire à couteaux tirés par Rian Johnson

Largo Winch : Le Prix de l'argent par Olivier Masset-Depasse

The Gray Man par Anthony et Joe Russo

DECEMBRE

LIVRES

Werner Bischof par Claude Roy

Elégie de Marienbad par Goethe

Le Doudou méchant par Claude Ponti

Histoires pragoises par Rainer Maria Rilke

FILMS

Le dernier des Mohicans par Michael Mann

Time Cut par Hannah Macpherson

SOS Fantômes : La Menace de Glace par Gil Kenan

Venom : The Last Dance par Kelly Marcel

Marie par D. J. Caruso

Sans identité par Jaume Collet-Serra

Heretic par Scott Beck et Bryan Woods

Reminiscence par Lisa Joy

An American Pickle par Brandon Trost

Renfield par Chris McKay

Carry-On par Jaume Collet-Serra

Céline (En français dans le texte) par Louis Pauwels et Yann Jouannet

Cold Blood Legacy : La Mémoire du sang par Frédéric Petitjean

Loups-garous par François Uzan

Le Seigneur des Anneaux : La Guerre des Rohirrim par Kenji Kamiyama

Oppenheimer par Christopher Nolan

SERIE

Stranger Things par Matt et Ross Duffer

[ripempezardexerox]

mus

ast I / East II - Z´EV & Psychic Tv - Direction ov travel  Beckoning - Lustmord Alter Summer - Peter Prautzsch Not is possible landing - Orfeon Gagarin  D - Kozo Inada Omsk 1939 - Orfeon Gagarin Amateur Doubles - Graham Lambkin Fuga en sol - Eduardo Falu Y - Kouhei Matsunaga Curio - Meicho Overture to a Symphony of Terror - Lysergic Earwax  Bladelores - Aurtechre Look over your shoulder - Aaron Dilloway Chaconne in f menor - John Butt

Cello Constellations - Clarice Jensen with Michael Harrison I am paper - Sensational & Kouhei Matsunaga The analyst - Arpanet Vreemde Landen - Enno Velthuys 521 - NHK´Koyxen Suono interno - Terry Fox Possession (a perfect restraint) - Thee Majesty Tableau 2 - Kjell Samkopf O solitude - Henry Purcell por Alfred Deller Jardin secret I - Kaija Saariaho

2001 effects tape 1 - Daphne Oram In touch - Coil Sax solo (for tape bow violin) - Laurie Anderson Sax duet - Laurie Anderson Olari - Vladislav Delay Petit air a dormir debout - John Chen Rhizome - Bendik Giske 13-73 (excerpt) - La Monte Young Kojo no tsuki - Yo-Yo Ma Spevy - Jonáš Gruska Only love can conquer hate - Ryuichi Sakamoto Hallowe´en + Echo Canyon - Sonic Youth

[heppimate]

Which Personalities Are Crafted for Reality TV Stars?

Yes, you heard it right. Most of the personalities in reality shows are actually scripted (´･ᴗ･ ` )

Reality TV: More Than Just “Reality”

Imagine Keeping Up with the Kardashians without drama or Single’s Inferno without love triangles - would it still be entertaining? Reality TV isn’t just about unfiltered interactions; it’s about storytelling. Scripted personalities ensure engagement, virality, and emotional investment.

Take Hiếu Thứ Hai - a Vietnamese idol, for example.

His portrayal of Hai Ngày Một Đêm as a humble yet strategic team leader solidified his image as a relatable and charismatic figure, enhancing his appeal both on and off-screen.

Scripted Archetypes: The Good, The Bad & The Viral

While marketed as unscripted, reality TV is often highly curated, with producers shaping narratives through selective editing and casting. According to Deller (2019), reality television operates on "the illusion of spontaneity," but in practice, it follows structured formulas designed to maximize drama and viewer engagement.

Contestants are not just participants; they are characters molded to fit archetypal roles that enhance the show’s storytelling. As Stewart & Mark (2020) argue, reality TV blends authenticity with performance, creating a hybrid space between real life and entertainment. Furthermore, social media amplifies these narratives, transforming contestants into public figures whose personas extend beyond the screen (Lovelock &Michael, 2019). While some embrace their roles, others find themselves misrepresented, reinforcing the power dynamics between production teams and audience perceptions.

Ultimately, reality TV is not a mirror of society but rather a constructed entertainment space that thrives on controlled chaos to maintain audience interest and commercial viability (Deller, 2019).

So, has anyone ever wondered what common character archetypes are often crafted for reality TV cast members? Here are some of the most iconic ones, along with insights into how they contribute to a show’s success.

🏆 The Hero: Everyone admires.

✔️ Hardworking, talented, and emotionally intelligent.

✔️ Often makes it to the finale (or at least becomes a fan favorite).

✔️ Loved by judges and audiences alike, often seen as a role model.

In this case, Hiếu Thứ Hai – known as “the nation’s husband,” is the figure adored by millions of female fans in Vietnam;’)

🔥 The Villain: Everyone loves to hate (or secretly just loves).

✔️ Highly competitive, aggressive, or manipulative.

✔️ Involved in the most conflicts, often edited to appear heartless.

In Love Paradise Vietnam 2024, sparked intense controversy over contestant Mạnh Kiên.

Mạnh Kiên was framed as a controlling, traditionalist figure, portrayed as the ultimate antagonist to female contestants. A key moment? His interactions with Yuna, where he repeatedly insisted she address him formally with "Yes, sir" during their conversations. This immediately triggered outrage on social media, leading to calls for his elimination. Eventually, he was voted out, but in an unexpected twist, audiences demanded his return, arguing that the show wasn’t as entertaining without him.

🤣 The Comic Relief: may not be the best at competing but is definitely the most entertaining.

✔️ Known for their hilarious reactions, witty remarks, and meme-worthy moments.

✔️ Rarely wins, but often becomes a fan favorite.

Lê Dương Bảo Lâm (Hai Ngày Một Đêm) - Constantly failing tasks but keeping the audience entertained.

💔 The Underdog: starts off underestimated but wins hearts over time.

✔️ Faces obstacles but perseveres.

✔️ Often has an emotional backstory that makes audiences root for them.

Many contestants in Rap Viet follow this arc, starting as overlooked contenders and evolving into top competitors. Many former contestants have revealed that villain edits are often crafted through selective editing rather than reflecting reality. While heroes and underdogs are beloved, it’s often the villain who drives the conversation. Being “hated” doesn’t always mean failure - some of the most controversial contestants become the most famous after the show.

So, How “Real” Is Reality TV?

However, there is a fine line between engaging in reality TV and harmful misrepresentation. Some shows go too far, using editing tricks to amplify negative traits for the sake of drama. At the end of the day, reality TV is a blend of reality and entertainment, where characters are shaped as much by producers as by the contestants themselves (Misha Kavka, 2018) 

📢 Who’s your favorite reality TV personality? Do you think they were playing a scripted role? Drop your thoughts in the comments!

Reference

Deller, R.A. (2019). Reality Television: The Television Phenomenon That Changed the World. [online] Emerald Publishing Limited. doi:https://doi.org/10.1108/9781839090219.

Stewart, Mark (2020) ‘Live Tweeting, Reality TV and the Nation’  Download ‘Live Tweeting, Reality TV and the Nation’23(3) International journal of cultural studies 352.

Lovelock, Michael (2019)  'Introduction' in 'Reality TV and Queer Identities: Sexuality, Authenticity, Celebrity' Download 'Reality TV and Queer Identities: Sexuality, Authenticity, Celebrity'Springer International Publishing AG.

L'Hoiry, X.  (2019) 'Love Island, social media, and sousveillance : new pathways of challenging realism in reality TV'. Frontiers in Sociology, 4. 59:  https://doi.org/10.3389/fsoc.2019.00059Links to an external site.

Misha Kavka (2018) ‘Reality TV: Its contents and discontents’,  Download ‘Reality TV: Its contents and discontents’, Critical Quarterly 60(4): 5-18; DOI: 10.1111/criq.12442

[sassenashsworld]

Thank you to Halla Rempt, Aaron J. Seigo, Adam Celarek, Adam Pigg, Adriaan de Groot, Adrian Page, Adrian Schroeter, Albert Astals Cid, Alberto Villa, Alexander Neundorf, Alexander Potashev, Alexis Ménard, Alfredo Beaumont Sainz, Allen Winter, Alvin Wong, Ana Beatriz Guerrero López, Andras Mantia, Andreas Hartmetz, Andreas Lundin, André Marcelo Alvarenga, Andrew Coles, Andre Woebbeking, Andrius da Costa Ribas, Andy Fawcett, Anne-Marie Mahfouf, Ariya Hidayat, Arjen Hiemstra, Bart Coppens, Ben Cooksley, Benjamin K. Stuhl, Benjamin Meyer, Benjamin Reed, Benoît Jacob, Ben Schleimer, Bernhard Rosenkraenzer, Bo Thorsen, Brad Hards, Bram Schoenmakers, Burkhard Lück, Carlo Segato, Carsten Hartenfels, C. Boemann, Christer Stenbrenden, Christian Ehrlicher, Christian Mueller, Christoph Feck, Chusslove Illich, Clarence Dang, Cyrille Berger, Daniel M. Duley, Daniel Molkentin, Dan Leinir Turthra Jensen, Dan Meltzer, Danny Allen, David Faure, David Gowers, Demetry Romanowski, Dirk Mueller, Dirk Schönberger, Dmitry Kazakov, Edward Apap, Elvis Stansvik, Emanuele Tamponi, Emmet O'Neill, Enrique Matías Sánchez, Eoin O'Neill, Fabian Kosmale, Frank Osterfeld, Frederik Schwarzer, Fredrik Edemar, Fredy Yanardi, Friedrich W. H. Kossebau, Gábor Lehel, Gary Cramblitt, Geoffry Song, Gioele Barabucci, Giovanni Venturi, Gopalakrishna Bhat A, Hanna Scott, Harald Sitter, Hasso Tepper, Helge Deller, Helio Castro, Hideki Saito, Hoàng Đức Hiếu, Hugo Pereira Da Costa, Inge Wallin, Ingo Klöcker, İsmail Dönmez, Ivan Yossi, Jaime, Jaime Torres, Jaison Lee, Jakob Petsovits, Jakub Stachowski, Jan Hambrecht, Jarosław Staniek, Jens Herden, Jessica Hall, Johannes Simon, John Layt, Jonathan Riddell, Jonathan Singer, José Luis Vergara, Juan Luis Boya García, Juan Palacios, Jure Repinc, Kai-Uwe Behrmann, Karl Ove Hufthammer, Kevin Krammer, Kevin Ottens, Kurt Pfeifle, Laurent Montel, Lauri Watts, L. E. Segovia, Leo Savernik, Lukáš Tinkl, Lukáš Tvrdý, Maciej Mrozowski, Malcolm Hunter, Manuel Riecke, manu tortosa, Marc Pegon, Marijn Kruisselbrink, Martin Ellis, Martin Gräßlin, Matthew Woehlke, Matthias Klumpp, Matthias Kretz, Matus Talcik, Maximiliano Curia, Melchior Franz, Michael David Howell, Michael Drueing, Michael Thaler, Michel Hermier, Mohit Goyal, Mojtaba Shahi Senobari, Montel Laurent, Moritz Molch, Nabil Maghfur Usman, Nick Shaforostoff, Nicolas Goutte, Olivier Goffart, Patrick Julien, Patrick Spendrin, Pavel Belskiy, Pavel Heimlich, Peter Simonsson, Pierre Ducroquet, Pierre Stirnweiss, Pino Toscano, Rafael Fernández López, Raphael Langerhorst, Rex Dieter, Rob Buis, Roopesh Chander, Sahil Nagpal, Salil Kapur, Samuel Buttigieg, Sander Koning, Sascha Suelzer, Scott Petrovic, Scott Wheeler, Sebastian Sauer, Shivaraman Aiyer, Siddharth Sharma, Silvio Heinrich, Somsubhra Bairi, Spencer Brown, Srikanth Tiyyagura, Stefan Nikolaus, Stephan Binner, Stephan Kulow, Stuart Dickson, Sune Vuorela, Sven Langkamp, Thiago Macieira, Thomas Capricelli, Thomas Friedrichsmeier, Thomas Klausner, Thomas Nagy, Thomas Zander, Thorsten Staerk, Thorsten Zachmann, Tim Beaulen, Timothée Giet, Tobias Koenig, Tom Burdick, Torio Mlshi, Torsten Rahn, Unai Garro, Urs Wolfer, Vadim Zhukov, Vera Lukman, Victor Lafon, Victor Wåhlström, Volker Krause, Waldo Bastian, Werner Trobin, Wilco Greven, Will Entriken, William Steidtmann, Wolthera van Hovell, Yann Bodson, Yue Liu and Yuri Chornoivan.

Really

[tfblovesmusic]

Countertenor Core! On Spotify!

First - there was HARDCORE.

Then, there was Cottagecore.

And then - PATOOIE - Balletcore.

Let's add another word that deserves the "-core" suffix. How 'bout -

COUNTERTENOR CORE?

I crafted this playlist for the aficionados of male alto voices - falsetto and modal. It's a potpourri of various vocalists - from Alfred Deller to Alex Chance! I included a variety of excerpts from most eras of classical music.

But the tracks aren't limited to Renaissance and Baroque music. Paul Esswood singing a Robert Schumann romantic lied? It's in here. How about Jochen Kowalski crooning "Bei Mir Bistu Shein" with a big band? I included it.

But be forewarned. If you have kids under 18 and aren't listening to the playlist through earbuds, I STRONGLY advise you to skip over "Gravity" from Donna McKevitt's Translucence. Seriously - even if Michael Chance happens to be one of your favorite countertenors. (Read the lyrics in the CD booklet via the Internet Archive, and you'll see why.)

Anyways - if you have a Spotify account, give it a listen!

[yeohchernyeong]

Week 4 Reality TV Case Study

The rise of social media has dramatically changed the reality television landscape. In the early 2000s, forums and blogs were the main platforms for discussion of reality TV shows, with mainstream sites like The Guardian and Vulture joining fan blogs and audience-facing sites like TWOP in sharing humorous takes on the show. However, by the mid-to-late 2000s, social media platforms such as MySpace, Facebook, and Twitter became competitors for audience attention. These platforms provide space for the formation of online communities, allowing viewers to not only interact with friends and family but also share content related to their interests, including reality shows (Deller, 2019).

In recent years, reality television has played a significant role in shaping the visibility of queer identities and cultural ideas. These programs provide a platform for lesbian, gay, bisexual, transgender and other queer groups in British and American popular culture to express themselves and share their stories. The rise of social media has further reinforced this trend. Through broader norms and ideals of personhood, behavior, and acceptability associated with reality television and social media, these shows make queer identities more accessible and reflect society's diversity and inclusion. Through these media, queer communities can display their lives and stories to a wide audience, promote social understanding and recognition of queer identities, and promote social diversity and inclusion (Michael, 2019).

Live tweets from reality TV shows form identifiable communities on Twitter, and live tweets based on the show give viewers a deeper understanding of a country's cultural identity. Taking The X Factor NZ as an example, live discussions among viewers on Twitter often involve New Zealand, New Zealand culture or New Zealand's place in the world, reflecting the characteristics of New Zealanders and "New Zealanders". This use of social media not only enhances the interaction and participation among viewers, but also provides wider dissemination and influence for reality shows. By sharing their opinions, viewers not only watch the show, but participate in a larger community. This real-time interaction not only connects the audience more closely, but also provides opportunities for immediate feedback and interaction between program producers and participants, deepening the audience's understanding of the program and the cultural and identity issues involved (Stewart, 2019 ).

Social media has become the primary place for viewers to engage in discussions about reality shows, replacing traditional forums and blogs. Twitter, in particular, has become a key platform for real-time interaction during television broadcasts, allowing viewers to tweet as programs unfold, enhancing the public viewing experience. The rise of social media has extended the reach and lifespan of reality shows, providing participants with the opportunity to extend their fame and generate revenue through endorsements and advertising by sharing memes, GIFs and other content. In addition, social media strengthens the credibility of reality shows by giving reality show participants the ability to express their opinions and correct misrepresentations that may appear on the show. Overall, the rise of social media has changed the way audiences participate in and discuss reality shows, providing new possibilities for the spread and influence of programs (Deller, 2019).

Reference

Deller, R. A. (2019). Reality television in an age of social media. Reality Television: The Television Phenomenon That Changed the World, 141–175. https://doi.org/10.1108/978-1-83909-021-920191007

Stewart, M. (2020). Live tweeting, reality TV and the nation. International Journal of Cultural Studies, 23(3), 352–367. https://doi.org/10.1177/1367877919887757

Lovelock, M. (2019). Queerness as authenticity in reality TV. Reality TV and Queer Identities, 63–92. https://doi.org/10.1007/978-3-030-14215-5_3

[mda20009blogassignment]

Week 4: Digital Community and Fandom: Reality TV Case Study

With the advent of the internet, reality television has gone digital, spawning thriving fandoms and communities online. We are redefining our relationship with reality TV on platforms like Tumblr, where viewers analyse, debate, and share their favourite episodes.

By focusing on how social media has made reality TV more participatory, Ruth A. Deller's 2019 piece in "Reality Television: The TV Phenomenon That Changed the World" analyses this phenomena. The mutually beneficial connection between these shows and their online viewers is illuminated by Deller's observations.

Research on reality TV subreddits conducted by Chen and McCabe in 2022 sheds new light on the ways in which these sites encourage political discussion, demonstrating the breadth and depth of ideas brought up by programmes like "The Bachelor"​​.

One way that real-time social media interactions can foster a feeling of national community is through Mark Stewart's investigation of live tweeting during reality shows. The ability of reality TV to bring people together, as described in his 2020 study, is seen in this occurrence.

In her essay from 2022, Helen Wood talks about how reality TV shows nowadays need to be more empathetic and on how "Big Brother" is coming back. This is a reflection of the rising expectation for sensitive and genuine reality television.

"Reality TV and Queer Identities" is Michael Lovelock's 2019 book that explores the portrayal of LGBTQ+ people on reality TV and how the genre influences how people view sexuality and authenticity.

Studying "RuPaul's Drag Race" from 2017 by Brennan and Gudelunas highlights the impact of reality TV on cultural narrative formation and how the show has contributed to the globalisation of drag culture.

L'Hoiry's 2019 study on "Love Island" provides a new angle on viewer participation by highlighting how sousveillance and social media have questioned long-held assumptions about the authenticity of reality television.

Finally, "a tumblr book: platform and cultures" has a roundtable discussion about 2020 that sheds light on the fan cultures on Tumblr and how digital platforms are now fundamental to reality TV.

Overall, these resources show how online communities and fandoms have changed the way we watch reality TV. The way these shows and their internet viewers engage with political discourse and cultural representation reflects how media consumption is changing.

References:

Brennan, N., & Gudelunas, D. (2017). Drag Culture, Global Participation and RuPaul’s Drag Race. The Author(s) 2017. file:///Users/hanhtrang/Downloads/Brennan-Gudelunas%202017%20Drag%20Culture%20Global%20Participation.pdf

Chen, A., & McCabe, K. T. (2022). Roses and thorns: Political talk in reality TV subreddits. New Media & Society, 146144482210991. https://doi.org/10.1177/14614448221099180

Deller, & A, R. (2019). Reality television: The tv phenomenon that changed the world. Emerald Publishing Limited. file:///Users/hanhtrang/Downloads/Deller%20Reality%20TV%20in%20the%20Age%20of%20Social%20Media%20week%20four%20reading.pdf

L’Hoiry, X. (2019, August 2). Love Island, Social Media, and Sousveillance: New Pathways of Challenging Realism in Reality TV. Frontiers; Department of Sociological Studies, University of Sheffield, Sheffield, United Kingdom. https://www.frontiersin.org/articles/10.3389/fsoc.2019.00059/full

Lovelock, M. (2019, April 25). Reality TV ang Queer Identities. SrpingerLink; Srpinger Link. file:///Users/hanhtrang/Downloads/Lovelock%20Reality%20TV%20and%20Queer%20Identities.pdf

McCracken, A., Cho, A., Stein, L., & Hoch, I. N. (2020). a tumblr book: platform and cultures. In ACLS Humanities EBook. University of Michigan Press. https://www.fulcrum.org/concern/monographs/x346d608w

Stewart, M. (2019). Live tweeting, reality TV and the nation. International Journal of Cultural Studies, 23(3), 352–367. https://doi.org/10.1177/1367877919887757

Wood, H. (2022, August 9). Big Brother is coming back – the reality TV landscape today will demand a more caring show. The Conversation; THE CONVERSATION. https://theconversation.com/big-brother-is-coming-back-the-reality-tv-landscape-today-will-demand-a-more-caring-show-188313

[craftycamouflaged]

Reality TV and Social Media

Married at First Sight, Love Island, Survivor…the landscape of modern reality TV is almost endless. And despite how much you may deny it, you’ve definitely watched at least one episode. But how much of it is actually real? And better yet; how much of that ‘reality’ is influenced by us viewers?

(Lovelock, 2019) states that reality programming was born in the early 1990s as the result of the television industry’s change in how its production, distribution and reception operated. It started to take off in the early 2000s, and since then its popularity has skyrocketed. But what if you wanted to talk about your new favourite show with someone other than your family? Fortunately, with reality TV’s success spawned countless fan blogs and forums dedicated to talking about these shows. 

If you’ve ever searched through the #MAFS hashtag on Twitter while the show’s been on air, you’d have at least some idea of how social media can go absolutely crazy over a show. Fan responses to reality shows on social media sites like this are largely what keep engagement high throughout a show's airtime. Meanwhile, the liveness of these shows can also be increased by official social media accounts run by producers and show runners. (Deller, 2019) These people can offer special content that fan-accounts don’t have, like clipped moments from their show and exclusive Qs and As, which can also boost the visibility of a show. 

Of course, occasionally shows intentionally blur the line between the screen and the audience to foster a deeper connection. According to a study in 2014, audiences generally exhibit a positive relationship between parasocial relationships and the viewer's perception of a brand's credibility. (Chung, 2014) This phenomenon has resulted in certain shows fostering parasocial relationships between fans and audiences in order to boost engagement. Something to keep an eye on if you're a fan!

References:

Lovelock, Michael (2019)  'Introduction' in 'Reality TV and Queer Identities: Sexuality, Authenticity, Celebrity'. Pp. 5

Deller, Ruth A, (2019) Extract:  'Chapter Six: Reality Television in an Age of Social Media' in Reality Television: The TV Phenomenon That Changed the World (Emerald Publishing). Pp. 156

Chung, SiYoung and Hichang Cho (2014), ‘Parasocial Relationship via Reality TV and Social Media: Its Implications for Celebrity Endorsement’ Pp. 47

[nyahdigitalcommunities]

Exploring the Relationship between Social Media and Reality TV

This week's reading 'Reality Television: The TV phenomenon that changed the world' by Ruth Deller explores the relationship between reality TV and social media (Deller 2019). Deller analyses two areas related to this relationship, the self and online communities (2019).

Reality TV and The Self

Prior to participatory media, reality TV was the only media platform ordinary individuals had access to for self-branding (Deller 2019). Microcelebrity practices, which refers to the purposeful branding of oneself online, is suggested by Deller to have originated from reality TV (2019). Modern microcelebrity has developed as technologies have afforded ordinary individuals with the tools to brand themselves (Djafarova & Trofimenko 2019). Vlogging and self-disclosure closely mimic the practices conventional to reality TV, with each attempting to portray a sense of authenticity (Deller 2019).

Reality TV participants become famous to the specific audience who watch the season, and participants can utilise social media to convert these fans into their own supporters post-broadcast (Hargraves 2018).

Married at First Sight couple Martha Kalifatidis and Michael Brunelli exemplify this.

After featuring on the 2018 season, the couple have amassed a combined total of 1 million followers on Instagram. Both figures engaged in microcelebrity practices to continue to brand themselves after the season aired. Kalifatidis, in particular, self-discloses elements of her life such as her pregnancy and experiences with Brunelli through posting day-in-the-life style vlogs. 

The couple also receive promotional deals with brands, similar to influencers.

Social media has transformed reality TV into a pathway to a career as a public figure that extends beyond the show (Deller 2019).

Social media has also afforded reality TV participants more agency over their presentation during and after broadcast (Deller 2019). Participants can adopt their platforms to share their perspectives on their representations in reality TV, and provide a seemingly unfiltered presentation of themselves that is perceived as more reputable by the audience (Deller 2019). Whilst both reality TV and social media are curated, participants have agency over their own presentation on social media (Deller 2019; Djafarova & Trofimenko 2019). 

Abbie Chatfield utilised social media to both share her experiences and rebrand after her debut on reality TV. Chatfield was presented as the villain of the 2019 season of The Bachelor and received significant hate on social media.

After the season finale's air, Chatfield utilised Instagram to share her experience of the show which heavily contrasted her portrayal on air. This is written in the caption of her post below.

View this post on Instagram

A post shared by ABBIE CHATFIELD (@abbiechatfield)

Chatfield utilised her social media platform to separate herself from The Bachelor and currently has a career as a radio presenter, TV personality, and podcaster. She now presents herself on social media as a body-positive, sex-positive mental health advocate.

Reality TV and Online Communities

The use of social media has shifted reality TV consumption into a communal activity in which viewers can actively participate (Stewart 2020). A key element of watching reality TV is its liveness (Stewart 2020). Watching live broadcasts creates a sense of unity amongst viewers because they know that others in the community are watching at the same time (Deller 2019).

The following tweets are from a live broadcast of a recent scandal in the current Married at First Sight Australia season.

Social media has connected these viewers and enabled them to form online communities where they can discuss what they're watching as it happens (Stewart 2020). Social media discussions are the tangible product of live reality TV's collective viewing experience.

The adoption of social media as a space for fans to congregate has created digital communities which extend past the liveness of reality TV (Deller 2019). Online communities of reality TV fans stay active for continued discussion and sharing of memes and reactions to the content viewed prior. Fans usually adopt fan-created spaces online and approach these spaces with humour (Deller 2019).

'Love Island Memes' is a fan-created Facebook group in which the Love Island UK community can continue to discuss the series outside of the show's broadcast times.

These accounts depict how social media has extended the congregation of fans into communities which now exist beyond just second-screen commentary.

References @abbiechatfield 2019, Abbie Chatfield, 24 September, viewed 25 March 2023, <https://www.instagram.com/abbiechatfield/?utm_source=ig_embed&ig_rid=65466b16-5ece-4797-9efe-afa2fb8ebcd4>.

@bloblobloblobbb 2023, jonathon, 28 February, 8:42PM, viewed 25 March 2023, <https://twitter.com/bloblobloblobbb/status/1630503599125200898>.

@marthaa_k 2022, Martha Kalifatidis, 1 July, viewed 25 March 2023, <https://www.instagram.com/reel/CfdxhPrgvTg/?utm_source=ig_web_copy_link>.

@marthaa_k 2023, Martha Kalifatidis, 9 February, viewed 25 March 2023, <https://www.instagram.com/reel/CobwYRMt6lM/?utm_source=ig_web_copy_link>

@PK_APOSTOLI 2023, Apolo, 28 February, 8:53PM, viewed  25 March 2023, <https://twitter.com/PK_APOSTOLI/status/1630506519556128769>

@shanaedanii 2019, ♡, 19 September, 9:02PM, viewed 25 March 2023, <https://twitter.com/shanaedanii/status/1174639848474300416>.

@tpwklany 2019, alyssa, 19 September, 9:08PM, viewed 25 March 2023, <https://twitter.com/tpwklany/status/1174641524329480194>.

Deller, R A 2019, Reality Television: The TV phenomenon that changed the world, Emerald Publishing, eBook Central (ProQuest), pp. 153-175.'

Djafarova, E & Trofimenko, O 2019, ''Instafamous' - credibility and self-presentation of micro-celebrities on social media', Information, communication & society, vol. 22, no. 10, pp.1432-1446.

Hargraves, H 2018, ''For the first time in ________ history...': microcelebrity and/as historicity in reality TV competitions', Celebrity Studies, vol. 9, no. 4, pp. 503-518.

Home 2023?, It's a Lot Podcast, viewed 25 March 2023, <https://www.itsalotpodcast.com>.

Rhodes, C 2021, Chelsea Rhodes, 19 August, viewed 25 March 2023, <https://www.facebook.com/groups/loveislandmemes/permalink/1367573150364046/>.

Stewart, M 2020, 'Live tweeting, reality TV and the nation', International journal of cultural studies, vol. 23, no. 3, pp. 352-367.

[rainingmusic]

Charles Bradley - Stay Away 

[aarifwaqarr]

"If paris deserves a minute of silence, then syria deserves that the whole world falls silent forever." Via ~ Michael John Deller

[sunskate]

Ice Dance 2022-23 season

Molly Lanaghan/ Dmitre Razgulajevs (CAN): RD: FD: Micmacs à Tire-Larigot soundtrack by Raphaël Beau- Droit De Cité; Micmacs a la Gare, Saint Eustache, Larrons en Foire

Carolane Soucisse/Shane Firus (CAN): RD: FD: Nahko and Medicine For The People- Aloha Ke Akua

Natalie Taschlerova/Filip Taschler (CZE): RD: Shakira- Hips Don't Lie; Enrique Iglesius- Hero FD: Max Richter- On the Nature of Daylight; Ludovico Einaudi- Run; Jacob Shea, Jasha Klebe- Early Morning Fog (coaches: Matteo Zanni, Barbora Reznickova; choreo: Matteo Zanni)

Yuka Orihara/Juho Pirinen (FIN): RD: Cardi B.- I Like it Like That; Klaus Hallen Tanzorchester- Dancing with a Stranger; Instruction

Eleanor Hirst/Anthony Currie (GBR): RD: Gypsy Kings- Hotel California FD: Evita (coaches: ?)

Jennifer Janse van Rensburg/Benjamin Steffan (GER): RD: J Balvin, Pharrell Williams- Safari; Pentatonix- Havana; Reel 2 Real- Move It FD: Balazs Havasi- Prelude Age of Heroes (coaches: Rostislav Sinicyn, Natalia Karamyseva; choreo: Mariia Tumanovska-Chaiika)

Charlene Guignard/Marco Fabbri (ITA): RD: Grace Jones- This Is, I'm Crying; Monica Naranjo- Pantera en Libertad

Kana Muramoto/Daisuke Takahashi (JPN): RD: Conga, Rhythm is Gonna Get You, Ahora, Move FD: (choreo: Marina Zoueva, Ilia Tkachenko, Maxim Kozhevnikov, Sarry, 矢内康洋 Randi Strong)

Paulina Ramanauskaite/Deividas Kizala (LTU): RD: Celia Cruz- La Vida Es Un Carnaval; Perez Prado and Rosemary Clooney- Sway; Sergio Mendes- Magalenha FD: AC/DC- Highway to Hell; Gary Moore- Still Got the Blues; AC/DC- Demon Fire (coaches: Maurizio Margaglio, Neil Brown)

Oona Brown/Gage Brown (USA): RD: Imagine Dragons, Tony Evans and his Orchestra, Gnarls Barkley- Bones FD: Annie Lennox- Big Sky; Joe Bonamassa- No Good Place for the Lonely (coaches and choreo: Inese Bucevica, Joel Dear)

Lorraine McNamara/Anton Spirodinov (USA): RD: George Michael- Careless Whisper, arr. Hugo Chouinard FD: Ezio Bosso- Rain in Your Black Eyes (coaches: Alexei Kiliakov, Elena Novak, Jimmie Manners; choreo: Novak, Manners)

Eva Pate/Logan Bye (USA): RD: Rio- Barbatuques- Beautiful Creatures; Jamie Foxx- Fly Love; Rio singers- Real in Rio FD: Riverdance- Bill Whelan- Reel Around the Sun (coaches: Igor Shpilband, Pasquale Camerlengo, Natalia Deller, Adrienne Lenda; choreo: Igor Shpilband, Pasquale Camerlengo, Renee Petkovski, Oksana Zolotarevskaya, Zachary Donohue)

[bekkerarchives]

i would just like to point something out about the taylor swift controversy atm -

brendon urie / panic at the disco, his most recent album was pray for the wicked

the first three songs on it:

(Fuck a) Silver Lining, written by Brendon Urie, Jake Sinclair, Morgan Kibby, Scott Chesak, Johnny Funches, Marvin Junior Say Amen (Saturday Night), written by Urie, Sinclair, Lauren Pritchard, Sam Hollander, Toby Wincorn, Tom Peyton, Imad Roy El-Amine, Suzy Shinn, Thomas Brenneck, Michael Deller, Daniel Foder, Andrew Greene, Brian Profilio, Jared Tankel, Nathan Abshire Hey Look Ma, I Made It, written by Urie, Dillon Francis, Michael Angelakos, Hollander, Sinclair, Kibby

uries also a massive artist, and no one really says anything about the fact he seems to not be able to write a song without six other people

i wonder why taylors getting called out and not him?

could it be... misogyny?

[bm-contemporary-art]

Untitled (Lying Pose with Details of Arm) from Iggy Pop Life Class by Jeremy Deller, Michael Grimaldi, 2016, Brooklyn Museum: Contemporary Art

Size: 18 x 12 in. (45.7 x 30.5 cm) Medium: Graphite pencil and powdered graphite on paper

https://www.brooklynmuseum.org/opencollection/objects/222682

[paula-mierzowsky]

VANITAS21 - THE PRESENT

Eine Konzertinstallation zu Musik von Monteverdi und Avantgarde zusammen mit einem Chor. Einmal in einer Kirche und einmal in einer Festhalle. Mit den Mitwirkenden und für das Publikum sollte ein Fest der Gegenwart gehört, gespürt und gefeiert werden.

"Die Gegenwart als Geschenk zu feiern, mit Musik aus der Vergangenheit, der Zukunft und vor allem aus der unmittelbaren Gegenwart – das ist Anspruch dieses Konzertprojektes der Jungen Kantorei. Es verbindet die Musik Claudio Monteverdis für Solisten, Chor und Instrumentalisten mit der Avantgarde-Musik des Trios Dell/Lillinger/Westergaard. Wie genau passt Vanitas ‚Vergänglichkeit‘ zu unserer Gegenwart, zu Present, Präsenz oder Präsent, und was hat all dies mit Monteverdi, einer Installation und Improvisation zu tun? Die Antwort nimmt uns mit in ein Konzert, in ein Ritual, das für sich eine Antwort auf die Vergänglichkeit gefunden hat,

In den letzten Monaten haben wir gespürt, wie machtlos und verletzlich wir gegenüber den Gefahren unserer Umwelt sein können. Musik eröffnet eine Möglichkeit mit dieser Situation umzugehen, und schon Monteverdi hat diese elementare Situation vertont. Er hat mit „Selva morale e spirituale“ eine Sammlung geschaffen, die uns die Vergänglichkeit eindrücklich spürbar und hörbar macht. Den Moment der Gegenwart zu genießen und sich den Schönheiten des Lebens intensiv zu widmen, kann eine Antwort und Reaktion auf die Gefahren sein.

Das Konzert „Vanitas – The Present“ ist ein Projekt innerhalb der Reihe „Neues Hören“, das den ganzen Raum um die Musizierenden einbezieht und sich mit Videoinstallation, Licht und Ausstellungen dem Thema digital, hybrid und analog stellt. Anwesenheit und Abwesenheit werden mittels Videos, Livekamera und einem beeindruckenden Bühnenbild verschwimmen. Die Musik ist dabei gänzlich live, mit Monteverdis a capella-Messe und einem konzertanten Gloria, die einen Rahmen über Vergänglichkeit und Gegenwart hinaus bilden. Improvisation als die intensivste und unvorhersehbarste musikalische Form verbindet und verwebt alles miteinander.

Ein Sextett aus Gesangssolisten, solistische Instrumentalisten und die Junge Kantorei gestalten die facettenreiche Musik Monteverdis. Das renommierte Trio Dell/Lillinger/Westergaard aus Berlin improvisiert, und das Team um Paula Mierzowsky und Johann Diel sind für die räumliche und visuelle Installation verantwortlich. Jonathan Hofmann agiert als künstlerischer Leiter der Jungen Kantorei."

https://junge-kantorei.de/konzerte/

Installation/Regie: MUDAFI - Paula Mierzowsky und Johann Diel, Agentur für Interventionen

Video: Christoph Neugebauer, Michael Gärtner

Vokalensemble: Heike Heilmann, Simone Schwark (Sopran), Ulrike Malotta (Alt), Christian Rathgeber, Fabian Kelly (Tenor), Florian Küppers (Bass). Im Gloria à 7 dazu Martin Hirsch (Bass) aus dem Heidelberger Teilchor.

Avantgarde-Trio: Christopher Dell (Vibraphon), Christian Lillinger (Schlagzeug), Jonas Westergaard (Kontrabass)

Instrumentalensemble: Marie Deller (Violoncello und Flöte), Mikiya Kaisho (Theorbe), Torsten Mann (Truhenorgel), Hanna Visser (Violine), Alexandra Wiedner-Lorenz (Violine)

Junge Kantorei

Leitung: Jonathan Hofmann

Mit tatkräftiger Unterstützung der Firma Kyritz

Gefördert durch: Georg und Franziska Speyer´sche Hochschulstiftung, Sparkassen-Kulturstiftung Hessen-Thüringen, Stiftung Polytechnische Gesellschaft Frankfurt am Main, aventis foundation, EKHN Stiftung (Die Kulturstiftung der Evangelischen Kirche in Hessen und Nassau), Kulturfonds Frankfurt RheinMain, Johanna-Quandt-Stiftung, Evangelisch-lutherische Wartburggemeinde Frankfurt am Main, Universität Heidelberg, Kulturamt Frankfurt am Main