#studio elfriede

[ebi-hime]

do you read other VNs? if no, then what are some reasons why? if yes, what are some favourites? im reading sakura succubus 6 right now and cant help but think of your great romantic dialogue when reading this completely unrelated harem romance story honestly

I read a lot of other VNs! I used to read longer Japanese VNs (Umineko is still my all-time fav VN, but I'm also partial to The House in Fata Morgana... I've also read a lot of moege based solely on how appealing I find the artwork, because I am a simple person lol), but I tend to read shorter EVNs now just because their narratives tend to be more streamlined and they don't get bogged down in too much slice of life. I'm particularly fond of Because We're Here by Studio Elfriede and several VNs by Hanako Games, but I recently read Our Wonderland by Carrot Patch Games and enjoyed that a lot, too! Now I'm waiting for the final part to come out! As for the Sakura VNs, I did read a bunch of them back in, like, 2016, when they were quite well-known. I've read all of the earlier Sakura VNs, like Sakura Spirit, Angels, Fantasy, etc, but I lost interest several years ago. I've also read a few of the yuri Sakura VNs (like Sakura Gamer), but most of the stuff Winged Cloud puts out doesn't seem like it'd be my cup of tea.

[mi4011ayodyarajakaruna]

More about Oskar Fischinger

Oskar Fischinger was born on the summer solstice in 1900 in Gelnhausen, Germany. He originally chose music as a career, studying violin and organ building (which attracted him because it combined precise knowledge of technical processes with mathematical harmonic theory) before 1914. Too young and unhealthy for war duty, he was trained in drafting, tool design, and engineering. Around 1920 in Frankfurt, he met Dr. Bernhard Diebold at a literary club. Seeing Fischinger's abstract scroll sketches, Diebold urged Oskar to take up abstract filmmaking. In April 1921, Fischinger was thrilled by the first performance of Walther Ruttmann's Lichtspiel Opus 1 (an abstract film with a live musical score) and vowed to devote himself to absolute cinema, which could best combine his skills in music and graphic art. He resigned his engineer's job and moved to Munich to become a full-time filmmaker. His first film experiments, made in the early 1920s, are among his most radical. In Wax Experiments and Spirals Fischinger designed visual patterns of extreme complexity which often develop in overlapping cycles, yet he interrupts these patterns with radical editing of single frames of contrasting imagery. Among Fischinger's form-breaking experiments of the era were the abstract multiple-projector performances (under the concept name of Raumlichtmusik or Raumlichtkunst with individual performances named Fieber, and Macht (and possibly other names). These were performed c. 1926-1927 using up to five film projectors and several slide projectors.

Early in his film-making career, Fischinger established a pattern of alternating commercial work with personal, experimental film-making. While it seems clear that he preferred working in an avant-garde way, commercial work afforded both income and access to the most advanced technology, and Oskar was, among all of the radical film-makers of the Twenties, the most technically knowledgeable and adventurous. Oskar supported himself during this period by making conventional animation, which demonstrates his mastery of realistic anatomy, perspective, and conventional story-telling. But his personal film Spiritual Constructions shows the same radical consciousness and experimental techniques as his abstract films: the slender tale of two drunks who argue and stagger home becomes an epic voyage of warping shapes and thwarted perceptions.

During the summer of 1927 he walked from Munich to Berlin, recording his journey in single-frame exposures - a premonition of the diary films two generations later. He was hired to make special effects of rockets, starscapes and planet surfaces for Fritz Lang's 1929 science-fiction feature Woman in the Moon. When he broke his ankle on the set, he began drawing animations on white paper in charcoal while recuperating, which led to his remarkable series of Studies, comprised of 14 short black-and-white film experiments tightly synchronized to music. A few of the later Studies were drawn by his brother Hans, most likely under Oskar's supervision.

In each of the Studies he set out to solve a different visual problem: in Studie Nr. 6, a flexible aerodynamic movement; in Studie Nr. 7 a deep-space perspective of hard-edged figures contrasted with a flat surface where sensuous art-nouveau shapes metamorphose; in StudieNr. 8 an orchestral multiplicity and density of figures, etc. These Studies screened widely in Europe, Japan and America, and created such demand that by 1932, Fischinger's studio had grown to include his brother Hans, Elfriede (who became his wife in 1933), and three other women. At this time, Fischinger was also pursuing a series of film experiments with drawn synthetic sound (Ornament Sound Experiments).

The close synchronization of the Studies with music (originally begun as ads for recordings, thus direct precursors of the music video) made them immensely popular with audiences worldwide, but after the advent of the Nazi regime, abstract works were classed as degenerate art, and it became more difficult to make any further experimental films.

Fischinger was involved with the development of the three-strip GasparColor film process, a European rival to Technicolor. With his technical training and exceptional understanding of the fundamental processes of cinema, Oskar was one of the very few who mastered this difficult process. The use of three-color film was relatively new in the cinema in the early Thirties, and while in Europe it was still not possible to use three-color film on an entire feature, GasparColor did lend itself to short films that did not require a realistic image. Although "experimentation" was still proscribed, color opened up new venues for Fischinger's animated and abstract works in the field of commercial advertisement - a media-hungry world that thrived on sensation and novelty. Fischinger's 1933-34 film Kreise (Circles) was cleared as an advertising film, but it is essentially abstract imagery, and the ad text only appears in the last few frames. Fischinger then created an animated color advertising film, Muratti Greift Ein (Muratti Marches On), and another color film, Composition in Blue, using small geometrical models. He exhibited the Composition at foreign festivals. The critical and popular success of Muratti Marches On and Composition in Blue attracted a great deal of attention, and Paramount offered Oskar work in America.

Paramount brought Fischinger to Hollywood in February 1936, but did not allow him to continue his work in color film, and his tenure at the studio was short. A grant from The Museum of Non-Objective Painting (Guggenheim Foundation) allowed him to buy his short film Allegretto back from Paramount, and in 1943 he was able to complete it in color as he had originally intended. Fischinger used a cel-layering technique to animate formal visual equivalents of the musical concepts of rhythm, harmony and counterpoint. He implemented a "divisionist" technique of changing colors from frame to frame in order to achieve particularly luminous and chromatic hues that could not be produced by normal methods of animation photography. The film was shown at museums and centers of advanced art all over the world, and Allegretto (1936-43) eventually came to be recognized as one of the most accomplished pieces in the history of visual music.

Fischinger found it extremely difficult to work in studio situations, enduring episodes at Paramount (1936), MGM (1937), and Disney (1938-9). He composed An Optical Poem to Liszt's "Hungarian Rhapsody No. 2" for MGM. He designed the Bach "Toccata and Fugue" sequence for Disney's Fantasia, but quit because his designs were simplified and altered to be more representational. Hilla Rebay, curator of The Museum of Non-Objective Painting, supported Oskar's work during the difficult war years with several grants. Rebay commissioned him to synchronize a film with a Sousa march (to demonstrate loyalty to America; this film was An American March). Oskar then proposed a film without sound in order to demonstrate the artistic validity of non-objective imagery, but Rebay insisted that he make a film to Bach's "Brandenburg Concerto No. 3." While carrying out his commission for Rebay, Oskar discreetly composed the silent masterpiece Radio Dynamics.

Although The Museum of Non-Objective Painting specifically required a cel animation film, Fischinger made his Bach film as a radical documentation of the act of painting, exposing a single frame each time he made a brush stroke. The film parallels the structure of the Bach music without slavish synchronization, and rediscovers some of the playfulness inherent in Bach's sense of formal invention. Although Motion Painting No. 1 won the Grand Prix for Experimental Film at the Brussels International Experimental Film Competition in 1949, Fischinger never again received funding for one of his personal films (only a few ad films in the 1950s). He turned increasingly to oil painting as a creative outlet. During the last twenty years of his life, Fischinger worked on a few commercial projects, several unfinished film and multimedia projects, many unfinished animation drawings, and by the end of his life had completed a substantial body of graphic work including some eight hundred paintings. Oskar Fischinger died on January 31, 1967.

His films continue to be included in exhibitions at major museums and cultural institutions worldwide, recently at the Whitney Museum, New York; the Guggenheim Museum, NY; Centre Pompidou, Metz; Tate Modern, London; MoCA, Los Angeles; the Hirshhorn Museum, Washington DC; Reykjavik Art Museum; Barbican Centre, London; Lentos Kuntsmuseum, Linz; ICC Tokyo, Daelim Museum, Seoul, and many others internationally.

[becausewerehere]

Just a very quick post to mention that Acts I and II of bleak WW1 otome VN Because We’re Here are currently 30% off in the Itch Summer Sale! Act III is really coming along and so this seemed like a good time to push the first two acts for one last potential influx of new players before the next act is released, ideally sometime this year~ I’m hoping to get the store page up within the next couple of weeks!

If you’re interested, you can buy them - together or separately - HERE ON ITCH.IO!

[noriko-neko-xion]

I finished “Because we’re here-Mohnblume und Blauerose act II” some days ago and really enjoyed it! So here some Elfriede and Wolf! The sentence is not said in this scene but I like it so I don’t care XD

[mademoiselle-murasaki]

an Update:

my heart has been blown to bits.

spent two hours lying on the floor trying to recover emotionally.

still not emotionally recovered.

[eggwire]

Confession scene from “Because We’re Here”

[englishotomegames]

Because We're Here ~Mohnblume und Blauerose~ Act I

Release Date (Steam) English: July 19th, 2018

“1915, Wesslinger National Calendar. The Great War rages on. As neurotic Postal Corps volunteer Elfriede Rauss, you walk the trenches with the men of a lost generation. And amidst the chaos and brutality of the front lines, you encounter an obstacle that you are absolutely and categorically not prepared for: love. However. Love can be a difficult thing to hold on to at the best of times. And these are not the best of times...”

This is the first Act of Because We’re Here, released on Steam! You can get it here.

[wonderfulwonderland]

Because We’re Here tutorial: remember, you’ll have multiple occasions where you can choose a different route, so no worries!! :)  Me, a naïve fool: huh that’s a cool game mechanic, I appreciate the flexibility

Because We’re Here: okay, here’s another opportunity to change your route! :) Me:  😭 😭 😭 😭 😭 😭

[letters-from-the-three-houses]

HI ALL THIS ISN’T THREE HOUSES RELATED BUT IF YOU LIKE

visual novels

war settings

angst

good writing

indie developers

angst

lots of pretty boys

a great mc/protagonist

angst

in other words, i’m calling all blue lions stans (you know who you are)

then i wholly recommend checking out @becausewerehere bc studio elfriede deserves to have more people cry in their face

because of act ii’s recent release, it’s on discount on itch.io (which you can get a steam key from; [act i] [act ii]) and steam ([act i] [act ii])!! 

[dermontag]

"Wer hat damals nachgezählt?" Jauch & Co. scheitern an Shakira und Napoleon Von Nina Jerzy 18.01.2022, 01:10 Uhr "Saublöde Aktion": Für Jauch & Co. läuft es beim "Gipfel der Quizgiganten" nicht rund. Eine Hürde ist der Altersunterschied von Shakira und Piqué. Beim Billard wird es etwas emotional: "Danach sind wir zum Brandenburger Tor gefahren." Die deutschen Vizekanzler unter Angela Merkel kann Johannes B. Kerner aus dem Ärmel schütteln. Bei Shakira aber muss der Moderator einräumen: "Die ganze Wahrheit ist: Ich weiß es nicht." "Das ändert nichts an der Verantwortung", meinte Günther Jauch bei der zweiten Ausgabe der neuen RTL-Show "Gipfel der Quizgiganten". Kerner und Jauch traten erneut mit Guido Cantz gegen Rate-Champions an. Aber gleich bei der ersten Frage ging ein Raunen durchs Studio. "Die wenigsten Haare, aber die größte Klappe", teilte Cantz gegen den Kontrahenten aus. Der hieß Ivan Buljan und hat mal 250.000 Euro in der Sendung "Der Quiz-Champion" geholt. "Mit dem Gewinn lässt sich hier gut leben", meinte der gebürtige Freiburger, der vor einigen Jahren in die Heimat seiner Eltern nach Split gezogen ist. "Ich liebe den Wettbewerb", freute sich der Medizinstudent, der mit seinem Enthusiasmus Gastgeberin Palina Rojinski schon beim Einzug ins Studio Respekt abnötigte. Aber in der ersten Runde erlebten sowohl Buljan als auch die erfahrenen Moderatoren einen Realitätscheck. Beide Lager waren sich sicher, dass die Weltbevölkerung die Milliardengrenze erst um die Einweihung der Freiheitsstatue herum erreicht hat. Tatsächlich geschah dies aber bereits im Zeitraum um die Kaiserkrönung von Napoleon Bonaparte. "Wer hat das denn damals nachgezählt?", gab sich Jauch skeptisch. Jauch scheitert an Shakira Bei Frage zwei lief es für die Moderatoren nicht viel besser. Sie sollten wissen, wer von diesen Popstars am 2. Februar 2022 den 45. Geburtstag feiert: Beyoncé, Lady Gaga, Britney Spears oder Shakira. Erst war Shakira im Gespräch. Da deren Lebensgefährte, der spanische Fußballer Gerard Piqué, aber altersmäßig in den 30ern verortet wurde, entschied sich das Trio schließlich für Spears. Buljan hingegen lag mit Shakira richtig. Die Kolumbianerin ist auf den Tag genau zehn Jahre älter als ihr Lebensgefährte, mit dem sie seit 2010 zusammen ist. Buljan schlug die Moderatoren schließlich souverän mit 5:3 und zog ins Finale ein. Dort leistete ihm schließlich der Informatiker Marcel Zumstein aus Bern Gesellschaft. Das Mitglied im Verein Mensa schreibt in der Freizeit Artikel bei Wikipedia und kennt nach eigenem Bekunden die Flaggen alle Länder der Erde. Dieses Wissen kam Zumstein tatsächlich in einer der sieben Fragerunden zugute. "Wenn du nicht mehr weiter weißt, bilde einen Arbeitskreis", lautete hingegen irgendwann das Motto der ratlosen Moderatorentruppe. Da wurde zur Not auch schon mal die Antwort ausgelost. Den Einzug auf den Gipfel verpassten in dieser verkappten Eurovision-Ausgabe hingegen die Autorin Elfriede Awadalla aus Wien sowie Diplom-Biologin Andrea Herrmann aus Hannover. Fast möchte man sagen: ein Glück. Denn der Jackpot wird bei dieser Show unter den siegreichen Finalisten aufgeteilt. Am Ende waren nur 66.500 Euro im Topf. Die Moderatoren hatten sich in den Spielerunden vor dem jeweils nächsten Kandidaten zwar alle Mühe gegeben. Das Studiopublikum lag mit seiner Prognose der Sieger zwischen Jauch, Kerner und Cantz allerdings meist daneben - und von dieser Treffsicherheit hing es ab, ob 15.000 oder doch nur 500 Euro zusätzlich in den bei 50.000 Euro gestarteten Jackpot wanderten. Zwischen Turmbau und Mauerfall In der ersten Spielerunde traten die Moderatoren gegen die Tischtennis-Jugendeuropameisterin Mia Griesel an. "Ich hab Bock", freute sich Kerner und konnte gegen die 15-Jährige immerhin zwei von zehn Angaben regelgerecht retournieren. "Shit!", rief er hingegen in Runde zwei, als sein Turm aus Bauklötzen unmittelbar vor Ablaufen der Zeit zusammenfiel. Ähnlich erging es Jauch. "Bisschen zittriger, die Kollegen", freute sich Cantz. "Ich bin nicht zufrieden. Oh Gott, wird ja immer schlimmer", grämte sich Kerner schließlich beim Kneipen-Billard. Er wurde aber zumindest an einen schönen Moment erinnert. Am 9. November 1989 habe er mit zwei Kollegen das letzte Mal richtig Billard gespielt, verriet Kerner: "Und danach sind wir zum Brandenburger Tor gefahren." Wie schon bei der Debüt-Ausgabe von "Gipfel der Quizgiganten" in der Woche zuvor traten also wieder zwei Finalisten gegen das Moderatorentrio an. Und erneut waren die Herausforderer in der Buzzer-Runde siegreich. Die fiel dieses Mal deutlich spannender aus. Denn jetzt war es offiziell erlaubt, die richtige Antwort ins Studio zu schreien, wenn Rojinski sie noch gar nicht bis zu Ende vorgelesen hatte. Das führte bei den Moderatoren zum einen oder anderen Schnellschuss. Kerner hörte lediglich "welche Politikerin wurde 2021...", drückte den Buzzer und konnte nur blind auf Merkel tippen. Gefragt wurde aber nach der US-Vizepräsidentin Kamala Harris. Am Ende profitierten die Kandidaten denn auch von einem Schnitzer der TV-Profis. "Von welchem Tier stammt die Milch für den Roquefort-Käse?", wurde in Runde 17 gefragt. Cantz tippte auf Ziege, richtig war Schaf. Buljan und Zumstein lagen sich trotz der eher bescheidenen Gewinnsumme von jeweils 33.250 Euro jubelnd in den Armen. Mit dem "Gipfel der Quizgiganten" ist es nach zwei Ausgaben in der kurzen "Wer wird Millionär?"-Auszeit erst mal vorbei. "Ich hoffe, wir sehen uns bald wieder", meinte Rojinski zum Abschied.

[utopia-dystopia-meganfmpwsc]

Christiano Tekirdali - Vienna Issue 410 - Editorial - Showcase May 2013 magazine

Viennese-born Christiano Tekirdali’s career began in 1985 as a photographer for the news publication Profil, which saw him involved in portraiture, ranging from politicians to personalities such as Elfriede Jelinek or Miles Davis. In 1989 he transferred to the monthly magazine Wiener, which marked his shift towards lifestyle and fashion photography. Finally in 1995, Tekirdali opened his own studio. The wide gamut of work spans from fine art to fashion and beyond, incorporating creative concepts for advertising clients, as well as celebrity and corporate portraiture. The inspiration for his personal work stems from his insatiable desire to shoot and create new visions in fashion and portrait photography.

Here I like the idea of using the colour gels layering the face with cuts outs and different shapes. I think its very different how he adds colours to to pieces and I feel like I could experiment in this way and using different colours gel colours together for one piece.

Some people may argue that the pieces are based on utopia because of the makeup and beauty part of the images but I believe that because of the serious facial expressions and the contrasts with the pale backgrounds contrast with the bright colour gels then I believe it portrays the theme of dystopia. 

[becausewerehere]

Hey, there! I thought I’d drop by with a little (long-overdue) update on Because We’re Here. I’ve just re-read the last devlog post (the, uh, February 2020 update) and oh gosh, it’s like unearthing a time capsule! I was very optimistic 2020 was going to be a productive year, wasn’t I? Uh. Whoops.

Like last time, please manage your expectations! :’D This isn’t a very big update at all, and it’s more talking about the process rather than the game itself - but I thought I’d check in and just let you handful of faithful devlog-checkers know that the project’s still ticking along, haha.

Act III Development Update!

Act III is taking a bit longer than I’d hoped back in February, but it’s coming along! I've been trying not to burn myself out like I did with Act II (those last few months before publishing it were rough! And took me a good few months to recover ^^;) but also, it’s obviously been a bit difficult to stay focused and energetic throughout most of this year, and I’ve had a couple of points where confidence wasn’t really in ample supply either. What a year. Hoo boy. (This probably isn’t a very professional tone of voice for a project update, but that’s fine, I’ve long since accepted what kind of shambolic operation I’m running here and I’m sure you have too. xD)

The good news is: I’ve been on a bit of a roll for the past couple of months! I'm feeling much more clearheaded while I write, and I’m starting to get back to the level of gamedev optimism and energy I had in February. Which feels great! Obviously all those other factors mean that Act III isn't going to be released in 2020 as I’d hoped, but I doubt many of you are expecting that at this point, hah. :') However, I really want to get it out in springtime. As any of you familiar with the project's development will know, I'm effectively working as a solo dev and timetables may change, so that's very far from a guarantee, but that's what I'm currently aiming for! So watch this space!

(I will also mention that, with the work that’s been done so far, Act IV is unliiiikely to take a full year after Act III, and it's very plausible that that'll also be out in 2021 (albeit late 2021). But again, I really can't talk timings with any degree of certainty just yet!)

Anyway, the main thing I wanted to say today is: I'm actually going to start this devlog up again in the new year, and open with a proper, detailed update in earlyish 2021 -  looking more at where Act III (and IV!) are at that point. I’m aiming to have work on Act III almost complete and it sent off to my handful of beta-readers by then! But in any case, I’ll be able to give a much more concrete estimate of timings and so on.

It feels good to have broken the seal on posting again - this is me trying to slowly return to the world of Being Online. But for the most part, I'm staying true to my online nature (which is: hermit) and I’m going to keep quietly working on Act III for the rest of this year. And by January I’ll have done more of the programming and integrating the graphics, so I ought to be able to give some nice screenshots, and I’ll actually tell you a little bit about the act. And maybe launch the Steam page shortly after!! Exciting.

Though in the meantime, I might try and be around a little more than I have been. I was thinking of posting some more fanart up on here - I’ve had some really nice pieces come in on Discord and Twitter since Act II was released, and I’d like to keep them collected here with the rest! ;D

The Leftfield Collection

A really cool thing that happened (that I teased in the February update but ended up going a bit quiet on social media and didn’t get around to properly announcing on here) is Because We’re Here got accepted into the avant-garde Leftfield Collection showcase for the EGX Rezzed expo in London! It was supposed to be in March, but obviously fate had other ideas. Although BWH was briefly in a digital Rezzed showcase that got featured on the Steam front page and I got a couple hundred extra wishlists from it, so that was a really nice boost!

There was a neat article written about the collection on Rock Paper Shotgun here! I was very excited to go and exhibit there because I had such fun at AdventureX last November, so it was quite a disappointment that Rezzed couldn’t go ahead! But, I mean... by that point, it was definitely for the better. So, c’est la vie. In any case, I was super honoured to have had BWH selected for it, and it was really lovely to be included on a lineup with so many cool and interesting games! ^^

Alrighty, Then.

So that’s the Act III update. Thank you all for your patience! It's (QUITE OBVIOUSLY) been a strange old year. I know that a good amount of my setbacks this year have been shared by basically everyone in the world, ha. And I’m aware of how lucky I am that 'unproductivity and nerves' is roughly the extent of my 2020 troubles, so I can’t really complain. I hope you're all doing okay with everything the year has thrown at us so far.

I’ve had fewer people getting in touch and asking me about Act III than I did about Act II, and I think that’s a combination of ‘pandemic; delays understandable’ and hopefully ‘Act II left people a lot more sated than Act I’ ahaha. But fear not... Act III is definitely still on its way. And things are going well! I hope you have a good rest of the year, and I’ll update you properly (and if things have gone to plan, maybe start on a longer run-up to release this time around) next year! :D 

~~~~~~

Because We’re Here is a bittersweet otome visual novel in an unforgiving WW1-inspired setting.

Acts I + II are out now on itch.io and Steam!

You can also support Studio Elfriede on Ko-Fi! You’ll help towards the cost of the new Act III artwork, and get in the Special Thanks if you’re not already~

[intellectures]

Eine knisternde Sensation

Er gehört zu den lebenden Mysterien der amerikanischen Literatur. Nun hat Thomas Pynchon erstmals einer Bearbeitung seines Hauptwerks »Die Enden der Parabel« zugestimmt. Das Ergebnis macht Staunen. Die Literatur von Thomas Pynchon ist alles andere als zugänglich, denn sie verätselt all das, was man Wirklichkeit nennen könnte. Und zugleich ist gerade sie, die Wirklichkeit, selten so gut eingefangen, wie in Pynchons komplexen Welten, der noch vor David Foster Wallace und Don DeLillo als die Ikone der postmodernen amerikanischen Literatur gilt. Dass er seit 1953 die Öffentlichkeit strikt meidet, fördert seinen Ruf als Legende. Selbst bei den Simpsons trug Pynchons gezeichnetes Alter Ego eine Einkaufstüte über dem Kopf, um inkognito zu bleiben. Dass es ihn gibt, beweisen allein sein acht Romane und ein dutzend Erzählungen umfassendes Gesamtwerk, das er hütet wie seinen Augapfel. Die Handlung seines Opus Magnum »Die Enden der Parabel« kann man im Grunde nicht zusammenfassen, sie kreist aber im Grunde irgendwie um den Raketenkrieg und den Niedergang des Dritten Reiches. Pynchons Erzähler betrachtet dabei vor allem die Ereignisse rund um den sexsüchtigen GI Tyrone Slothrop, dessen Libido irgendwie mit den Einschlägen der deutschen V2-Raketen in Verbindung steht. Als er diesem Rätsel nach Kriegsende in Deutschland nachspürt, trifft er nicht nur auf Täter und Opfer, sondern auch auf die Profiteure und Manipulationskünstler, die die ebenso gesetzlose wie sinnentleerte Nachkriegsgesellschaft prägen. Paranoia und Konspiration greifen um sich und auch nach Slothrop, der der Rolle der deutschen Großindustrie in der Vernichtungsmaschine Nazideutschlands immer näher kommt.

Das Taschenbuch in der Übersetzung von Elfriede Jelinek und Thomas Piltz ist bei Rowohlt für 16,99 Euro erhältlich. Die taz warnte einst, die Pynchon-Lektüre nicht mit »Die Enden der Parabel« zu beginnen, weil es »für den Anfang schlicht zu viel« sei. Das ist nicht völlig falsch, denn Pynchon trieb die literarische Verschlüsselung in diesem Roman auf die Spitze, indem er Traum- und Wahnvorstellungen mit den für die damalige Zeit typischen Mitteln von Hypnose, Bestrahlung und Intoxikation kreuzt. So ist es zwar unmöglich, zu unterscheiden, wo in dieser von mehreren hundert Figuren bewohnten Erzählung Wahrheit aufhört und Fiktion anfängt (das gelingt nicht einmal dem ständig wachsenden Anmerkungsuniversum auf pynchonwiki.com), zugleich entsteht aber eine kaum fassbare Unmittelbarkeit, in der alles mit allem verbunden ist und einer ganz eigenen Logik folgt. Das hat auch dazu beigetragen, dass der Roman 1974 den National Book Award gewann und auch die Jury des Pulitzer-Preises überzeugte. Das Vergabekomitee empfand den Roman jedoch als obszön und setzte die Preisvergabe aus. Ein Skandal, der sich bis heute fortsetzt – zumindest für Elfriede Jelinek, die den Roman 1981 gemeinsam mit Thomas Piltz übersetzte. Als sie 2004 den Nobelpreis für Literatur erhielt, kommentierte sie mit einiger Fassungslosigkeit: »Ich kann doch den Nobelpreis nicht kriegen, wenn Pynchon ihn nicht hat!« Thomas Pynchon: Die Enden der Parabel. Ein Hörspiel von Klaus Buhlert mit Franz Pätzold, Golo Euler, Bibiana Beglau u.a. Hörbuch Hamburg. 14 Std. 79,99 Euro. Hier bestellen Über zwei Jahre hat sich Klaus Buhlert in die Erarbeitung und Produktion einer akustischen Version des fast 1.200 Seiten umfassenden Werks gekniet, nachdem Pynchon erstmals der Vertonung seiner Literatur zugestimmt hat. Der Umfang des Romans wird ihn dabei nicht abgeschreckt haben, schließlich hat Buhlert bereits umfangreiche Klassiker wie Homers »Ilias« und James Joyce »Ulysses« vertont. Die Auflagen des amerikanischen Autors, die politisch brisanten und als obszön inkriminierten Passagen nicht zu kürzen und Gedichte sowie Songtexte aus dem Roman nicht zu vertonen, waren schon eher herausfordernd. »Anfangs haben wir das bedauert, aber irgendwann auch begriffen, dass Pynchon sich wieder einmal selbst treu geblieben ist«, erinnert sich Buhlert. »Manchmal ist ein geschlossene Tür eben nicht nur das Problem – manchmal ist sie die Lösung. Einmal mehr hat sich der Hörspielregisseur, der Pynchons Hauptwerk für den SWR adaptiert hat, selbst übertroffen, sein Hörspiel und die daran beteiligten Sprecher:innen bewegen die Welt von Pynchons Roman in erstaunlicher Souveränität durch unsere akustischen Rezeptoren. Zugleich schlägt der Ton eine Sortierung vor, wo der Text rätselhaft bleibt, ohne den Roman zu dechiffrieren. Das ist durchaus gewinnend. Pynchon beschreibe in seinem Roman die ganze Welt, erklärt der vielfach ausgezeichnete Hörspielmacher Buhlert seine Faszination für den Text. »Die Zeit, ihre Verrücktheit, ihren Wahnsinn und natürlich die unvermeidliche Paranoia«, zeige er fürchterlich genau, unsentimental. »Hier agieren 400 Figuren, die das Nervensystem eines Regisseurs regelrecht besetzt halten. Sie haben dort permanent und bewusst gegen alle Regeln verstoßen, unverschämt schamlos agiert und reagiert. Das fühlte sich manchmal verdammt körperlich an, war ansteckend im Studio und kaum auszuhalten.« Wie genau sich das im Studio angefühlt hat und wie Buhlert das Team dazu gebracht hat, den besonderen Sound von Pynchon hörbar werden zu lassen, zeigt eine FAZ-Reportage. Da wird beispielsweise beschrieben, wie Golo Euler, der Sprecher von Tyrone Slothrop, den Drogenrausch sprechen soll oder wie man akustisch eine Totenwelt nachbildet. Mit zahlreichen Tricks und Kniffs ist es Buhlert gelungen, dem Text eine körperliche Gestalt zu geben, die atmosphärisch knistert, rauscht, flüstert und singt. Die Tonspur dieser vielstimmigen Roadnovel ist wie der Roman selbst: eine Sensation. Die Ausstrahung des Hörspiels findet am 17. und 18. April 2020, jeweils zwischen 20 Uhr abends und 3 Uhr morgens auf dem SWR2 statt. Bereits am 16. April wird um 22 Uhr das Feature Jenseits der Null. Das Hörspielprojekt »Thomas Pynchon: Die Enden der Parabel« ausgestrahlt. Read the full article

[mademoiselle-murasaki]

THAT. SCARED ME. Act II is going to be the death of me I swear.

[kraamstuff]

Killu Sukmiti näitus “K aed” 5. september – 6. oktoober 2019 Kraam artist-run space Aadress: Ülase 16 / Madara 22 K-R 16-19, L-P 12-18 Olete oodatud näituse avamisele 5. septembril kell 19.00. Kunstnik Malle Leis maalis 1994. aastal oma ateljee aknast välja vaadates maali “Hr. Sukmiti aed”. Juhuslikult asub samas majas juba mõnda aega ka minu ateljee, mille aknast saan vaadata sama aeda, mida Malle Leis tollal. Selliseid maale on Leisil tegelikult veel. Kui 1994. aasta maalil on talvine aed, siis 2003. aasta “Hr. Sukmiti aed” pakub kevadist vaadet. Sama aia motiiviga, kuid teise pealkirjaga on veel “Vaade Rästa tänavale” (1993), “Rästa tänav V” (1993), “Kased” (2003) jt. Viimasega võrreldes on vaade vahepeal muutunud, üks kask on maha saetud. Aiast vasakule jääv naaber on püstitanud sildi “Kummikunstnikud”. Tegemist on rehvitöökojaga. Palju õnne, Joseph Beuys. Feministliku liikumise eestkõnelejale ja akivistile Gloria Steinemile ei meeldinud mõte aiast. Rohelisus mõjus talle rusuvalt. Seda niikaua, kui ta otsustas, et teeb oma sõbra Alice Walkeri jaoks aia, mis on 100% kontseptuaalne: juhul, kui Alice juhtub külla tulema, saavad nad seal koos Gloriaga ja tema kassi Magritte’ga aega veeta. Raamatus “In Search of Our Mothers’ Gardens” (1972) kõrvutab kirjanik ja aktivist Alice Walker oma kogemust Virginia Woolfi raamatuga “Oma tuba” (1929). Walker räägib naistest, kellel ei olnud loominguks vajalikku oma tuba ega äraelamiseks piisavalt raha. Või olid nad vale nahavärviga orjad, kes ei omanud isegi iseennast, kuid tegelesid sellegipoolest loominguga. Alice Walker küsib, mis oleks saanud, kui ka näiteks laulmine oleks seadusega ära keelatud. Rael Artel räägib Malle Leisi tööde kataloogi sissejuhatuses katsest defineerida ümber traditsiooniline lillevaikelu ning tänapäevasest sootundlikust vaatajast, kes “võib panna pähe queer-prillid”. Näitus “K aed” on soov astuda dialoogi nii Malle Leisi aiamaalidega kui ka “feministliku huviga naiste maailma vastu”, millest kirjutab samas kataloogis Katrin Kivimaa. „K aed“ on käsitöönäitus, mis on saanud lähtepunkti Malle Leisi maalidest, oluline kõrvalteema näitusel on kunstniku ja tema töö käsitlemine. Killu Sukmit Näitusel on kaastegev Urve Sukmit (tekstiil, käsitöö). Biograafia Killu Sukmit on graafikaharidusega kunstnik ja muusik. Kraam artist-run space’i kaasasutaja alates 2015. a. (koos Minna Hindiga). Ta on olnud ka üks Ladyfest Tallinn organisaatoreid (2016); koostegev rühmitustes Valie Export Society, The Elfriede Jelinek School of English Language ning Feminismiehitaja, mille tegevus keskendus naiste õiguste ja võimaluste artikuleerimisele Eesti ühiskonnas 1990.-te lõpus ja 2000.-tel. Mänginud trumme bändides Dr. Dorothee & Why, Extrafine, Paul Cole & Ring My Bell, Punane. Alates 2012. aastast lo-fi esteetikaga ning punkrokiliku helikeelega eksperimenteerivas duos Hello Killu (koos Hello Upaniga). https://www.instagram.com/killusukmit/ Näitus jääb avatuks 6. oktoobrini 2019.

Üritus FB-is: https://bit.ly/349d5NM. ** Evendi illustratsioon: Killu Sukmit, detail tööst "Times New Romans" / "Aegade uued romaanid", 2019 Näituse installeeris Roosa Kuup Tänud: Malle Leis, Urve Sukmit, Kaarel Kressa, Minna Hint, SYS Print. Näitust toetavad Eesti Kultuurkapital ja Eesti Kunstnike Liit. Kraam artist-run space tegevust toetab Eesti Kultuurkapital. Rohkem infot: e-mail: kraamspace@gmail.com https://www.instagram.com/kraamstuff/ http://kraamstuff.tumblr.com/ https://www.facebook.com/thekraam/

“K´s Garden”. Exhibition by Killu Sukmit September 5th- October 6th 2019 Kraam artist-run space Address: Ülase 16 / Madara 22, Tallinn Wednesday to Friday 16-19, Saturday to Sunday 12-18 You are welcome to the opening of the exhibition on September 5th at 19.00 The artist Malle Leis painted her work “Mr Sukmit´s Garden” in 1994 while looking through her studio window. Coincidentally, my own studio is located in the same house for quite some time and through the window I can see the very same garden that Malle Leis was looking at. Actually, Leis had more than one painting on the same subject. While the painting from 1994 depicts the garden during wintertime, the other “Mr Sukmit´s Garden” (2003) offers a springtime view. “A View of Rästa Street” (1993), “Rästa Street V” (1993), “Birch Trees” (2003) and others share the same motive. Today the landscape has changed, one birch tree has been cut down and the neighbor to the left of the garden has set up a sign “Tire Artists.” It´s a tire workshop. Congratulations, Joseph Beuys.   The feminist organizer and activist Gloria Steinem didn´t particularly like the idea of a garden. The green expanses felt depressing for her. At least until she decided to create a 100% conceptually-laden garden for her friend Alice Walker, so they could spend time together in the garden with Gloria and her cat Magritte when Alice happened to visit. In her book “In Search of Our Mothers’ Gardens” (1972), the writer and activist Alice Walker compares her experience to Virginia´ Woolf´s book “A Room of One's Own” (1929). Walker writes about women who didn´t possess a room of their own where they could do creative work, neither did they have enough money to pay for their basic needs. Indeed, some of them were colored slaves who didn´t even have possession rights for themselves, but were still involved in creative work. Alice Walker raises the question what would have happened if the slaves were forbidden to sing by law, just like they were forbidden to read and write. The art critic Rael Artel explains in her introduction to Malle Leis´ exhibition catalogue how the artist tried to redefine the still life tradition and how the modern gender-conscious viewer could very well see these paintings through “queer-colored glasses”. The exhibition “K´s Garden” tries to build a dialogue with the garden paintings of Malle Leis as well as with “the feminist interest towards women´s world” that the art critic Katrin Kivimaa considers in her article in the aforementioned catalogue. „K´s Garden“ is an exhibition of handicraft that has Malle Leis´s work as its starting point. An important side theme is how we think of artist and her work.   The exhibition is made in collaboration with Urve Sukmit (textile art, handicraft). Biography Killu Sukmit is an artist and a musician, educated as a graphic artist. In 2015 she was one of the co-creators of Kraam artist-run space (together with Minna Hint). She was one of the organizers of Ladyfest Tallinn in 2016 and has participated in groups like Valie Export Society, The Elfriede Jelinek School of English Language and Feminismiehitaja (Feminism Builder) whose aim was to articulate women´s rights and opportunites in Estonian society during the 1990-s and 2000-s. She has played drums for bands such as Dr. Dorothee & Why, Extrafine, Paul Cole & Ring My Bell and Punane. Since 2012 she is part of the duo Hello Killu (with Hello Upan) that experiments with lo-fi esthetics and punk-rock sound.   https://www.instagram.com/killusukmit/ The exhibition will be open until October 6th 2019. ** Illustration: Killu Sukmit, Excerpt from "Times New Romans", 2019 Exhibition installed by Roosa Kuup. Thanks: Malle Leis, Urve Sukmit, Kaarel Kressa SYS Print. The exhibition is supported by the Cultural Endowment of Estonia and the Estonian Artists' Association. Kraam artis-run space is supported by the Cultural Endowment of Estonia. Additional info: e-mail: kraamspace@gmail.com https://www.instagram.com/kraamstuff/ http://kraamstuff.tumblr.com/ https://www.facebook.com/thekraam/

[atlanticcanada]

Changing face of photography forces Truro business to shutter its doors

The digital age is forcing another Nova Scotia photography business to close down for good.

Carsand-Mosher Photographic is one of the few Maritime studios that sells and processes film. Next month, the owners will close their doors after 47 years of operation.

The company has eight owners, all family members, and 15 employees.

“Fewer people are getting prints made,” said part owner Lee Yorke. “The online market, it's very difficult for a brick and mortar store to compete with.”

Photographer Elfriede Budgey says she can't imagine how she'll get her pictures developed once Carsand-Moshers is closed.           

“I was so horrified,” Budgey said. “I confess that I suddenly got teary-eyed and I still feel that way. Terribly, terribly sad.”

Truro pawn shop owner Terry Sack says their store only keeps a few film cameras, with lenses that are compatible with newer models.

“But the day of the old film is gone,” Sack said. “People don't want them. They're bringing them in here left and right trying to sell the 35 millimetre cameras.”

The store will officially close on Feb. 28.

With files from CTV Atlantic’s Dan MacIntosh.

from CTV News - Atlantic http://ift.tt/2jHxGkW