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He grew up in Frankfurt, which, as he once explained, never even feels like home to Frankfurters. Amidst the exceptionally vibrant Frankfurt scene, Schmidt released a plethora of electronic music under various aliases in the s, from EBM to ambient to hardcore. Liedgut [Song Goods] and Winterreise He also became especially interested in the German language. As stated, though the GAS tour was a symbol of success in , the project in fact derived from a different period.

The four albums made between and were released during the early history of minimal. GAS was a key player in this trend, yet it was unlike anything Voigt had previously released. In it, Voigt links the acid experience of his youth to the legacy of the Romantic forest, the myth of the Zauberberg, and the s traditions of glam rock, pop, and cosmic Krautrock set against s minimal techno. However, though GAS sampled a range of classic compositions, the samples remained isolated sounds and chords, virtually impossible to identify: The neo-Romantic techno music that emerged caused a stir in the techno press and popular media outlets.

GAS is there to take you on a seem- ingly endless march through the under woods—and into the discotheque—of an imaginary, nebulous forest.


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However, their true innovation was the linking of ambient Krautrock and classical music with pop minimal. GAS as a name represents this mix: The second album, Zauberberg, offers a macrotrope of minimal history. Indeed, surface noise and crackling associated with records from shellac to vinyl accompany many of the GAS samples, evoking age and media history amidst digital culture. Forest catalogue and CD. To bring the forest into techno culture, usually considered a safely urban movement free from German roots, was a provocation. What interests Voigt, however, is the forest as psychedelic headspace and cultivated pop myth.

This forest is not a Wald but a Forst, which means a managed forest rather than wild woods. It has literally been uprooted and abused. Minimal Understandings The Wire May AtomTM in a Romantic mood. Liedgut comes at the end of the minimal continuum, whereas GAS is situated toward its beginning. Part of a humorous photo shoot only possible in united Germany, the image takes on a special bourgeois-Biedermeier significance to the extent that the piano, along with a Clara Schumann portrait, was featured on the Deutsche Mark banknotes issued upon unification in the Berlin Republic.

Robert Schumann House, Zwickau.

TECHNODROGE - Definition and synonyms of Technodroge in the German dictionary

Courtesy of Uwe Schmidt. This white noise is produced by an old piece of analog equipment: Yet text is scarce, and there is no actual art song. The list of tracks, structured like a table of contents, consists of sound media chapters rather than literary chapters. In sum, what Schmidt offers in is a return to multiple beginnings: Biedermeier, carnival, media theory, Kraftwerk, and minimal. And it is the first and oldest term on the list, Biedermeier, which proves key. His realization occurred upon visiting an exhibit in Vienna entitled Biedermeier: The Invention of Simplicity,37 a landmark in Biedermeier research.

The Biedermeier idea of simplicity, as previously mentioned, [is] a German theme that I probably would not have become aware of were I living in Germany. Simplification, minimalism, reduction in art, especially music, is quite an inflationary idea. There is an artificial, cultural superstructure of minimalism here that is not questioned at all and [that] has become a lifestyle. To borrow another Romantic metaphor inspired by ubiquitous DJ-producer laptops in Berlin and beyond: The minimal laptop is, rather, reduktive Universalpoesie.

In Liedgut, new possibilities emerge from and within the white noise. From the perspective of the minimal continuum in , it is hard to say how German minimal discourse will develop. The links explored here between the Frankfurt-Cologne- Chemnitz—and Santiago de Chile—engagements with Romanticism and Biedermeier help to set the musical history of the Berlin Republic in context. Whether our future will remain minimal is left for the international techno scene and, perhaps, the future Berlin Republic to decide.

Thanks to the Archiv der Jugendkulturen for use of its magazine archive.

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Thanks also to the external reviewers of this article for the helpful comments. The conclusions, opinions, and other statements in this publication are my own, and not necessarily those of my colleagues or sponsoring institutions. See also Schneider 5—7. By , the Berlin magazine De: As a prefix and as an adjective—especially in Germany—and with a special fervor in this newspaper— it has colonized the discourse on electronic music like no other: For debates on aesthetic hierarchies in Europe with specific regard to Detroit techno, see Schneider 80— I use iCulture here to indicate the everydayness of the internet, digital technologies, social media, and portable devices, through which minimal aesthetics have entered popular culture especially through Apple design.

In turn, the focus on the new in technological development has lost a degree of novelty. The hardcore continuum will be discussed more thoroughly later in the essay. A party with diverse platforms, it has primarily been associated with issues of freedom and open access to the internet. See the video Real Scenes: Berlin in the filmography section. See the webpage of the aforementioned Real Scenes: See also Reynolds —04 for a discussion of minimal and microhouse histories. Once a niche proposition, now an increasingly bulky subset of house and techno—at least in name—the genre is suddenly ubiq- uitous.

For an account of the reception of American minimalism in Germany, see Beal especially — Regarding equipment, Frank Bretschneider recalled in a personal communication, for example, the difficulties of acquiring the Korg MS- 20 synthesizer in East Germany. This reaction against rave later caused counter-reactions against minimal. For example, by the mids, a popular saying, which I also witnessed at the trucks of the annual Fuck Parade in Berlin in and , was: See the thorough analysis of Oval in Kelly — For an aesthetic and historical account of the relationship between minimal, glitch, and microsound, see Demers 69— The last paragraph of the novel begins as follows: On top the De: Bug from December in which Achim Szepanski proclaims new tendencies in minimal house and techno.

Not just an ardent advocate of a kind of musical immanence, he claims that music is no longer representation—it copies nothing—is nothing but a free-floating form, something real that presents itself. And although music as a language is significant, it has no signified. For extensive discussion of Kompakt in the context of Schaffel, see Turenne.

For a multimedial consideration of the relationship between s minimal art, objecthood, and microsound, as well as their proximity to theories of absolute music, see Demers 69—89; see also 97— for analysis of Wolfgang Voigt and Basic Channel. Such rave artwork has been collected in the book Localizer 1. The original by Denk reads: If space allowed, Hamburg and Munich at least would also require extensive discussion.

Simon Reynolds on the Hardcore Continuum: Learn more about Amazon Prime. Get fast, free shipping with Amazon Prime. Get to Know Us. English Choose a language for shopping. Not Enabled Word Wise: Not Enabled Screen Reader: Enabled Amazon Best Sellers Rank: Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. AmazonGlobal Ship Orders Internationally.

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Forest catalogue and CD. To bring the forest into techno culture, usually considered a safely urban movement free from German roots, was a provocation. What interests Voigt, however, is the forest as psychedelic headspace and cultivated pop myth. This forest is not a Wald but a Forst, which means a managed forest rather than wild woods. It has literally been uprooted and abused.

Synonyms and antonyms of Technodroge in the German dictionary of synonyms

Minimal Understandings The Wire May AtomTM in a Romantic mood. Liedgut comes at the end of the minimal continuum, whereas GAS is situated toward its beginning. Part of a humorous photo shoot only possible in united Germany, the image takes on a special bourgeois-Biedermeier significance to the extent that the piano, along with a Clara Schumann portrait, was featured on the Deutsche Mark banknotes issued upon unification in the Berlin Republic. Robert Schumann House, Zwickau. Courtesy of Uwe Schmidt.

This white noise is produced by an old piece of analog equipment: Yet text is scarce, and there is no actual art song. The list of tracks, structured like a table of contents, consists of sound media chapters rather than literary chapters. In sum, what Schmidt offers in is a return to multiple beginnings: Biedermeier, carnival, media theory, Kraftwerk, and minimal. And it is the first and oldest term on the list, Biedermeier, which proves key. His realization occurred upon visiting an exhibit in Vienna entitled Biedermeier: The Invention of Simplicity,37 a landmark in Biedermeier research.

The Biedermeier idea of simplicity, as previously mentioned, [is] a German theme that I probably would not have become aware of were I living in Germany. Simplification, minimalism, reduction in art, especially music, is quite an inflationary idea. There is an artificial, cultural superstructure of minimalism here that is not questioned at all and [that] has become a lifestyle. To borrow another Romantic metaphor inspired by ubiquitous DJ-producer laptops in Berlin and beyond: The minimal laptop is, rather, reduktive Universalpoesie.

In Liedgut, new possibilities emerge from and within the white noise.

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From the perspective of the minimal continuum in , it is hard to say how German minimal discourse will develop. The links explored here between the Frankfurt-Cologne- Chemnitz—and Santiago de Chile—engagements with Romanticism and Biedermeier help to set the musical history of the Berlin Republic in context. Whether our future will remain minimal is left for the international techno scene and, perhaps, the future Berlin Republic to decide. Thanks to the Archiv der Jugendkulturen for use of its magazine archive.

Thanks also to the external reviewers of this article for the helpful comments. The conclusions, opinions, and other statements in this publication are my own, and not necessarily those of my colleagues or sponsoring institutions. See also Schneider 5—7. By , the Berlin magazine De: As a prefix and as an adjective—especially in Germany—and with a special fervor in this newspaper— it has colonized the discourse on electronic music like no other: For debates on aesthetic hierarchies in Europe with specific regard to Detroit techno, see Schneider 80— I use iCulture here to indicate the everydayness of the internet, digital technologies, social media, and portable devices, through which minimal aesthetics have entered popular culture especially through Apple design.

In turn, the focus on the new in technological development has lost a degree of novelty. The hardcore continuum will be discussed more thoroughly later in the essay. A party with diverse platforms, it has primarily been associated with issues of freedom and open access to the internet. See the video Real Scenes: Berlin in the filmography section.

See the webpage of the aforementioned Real Scenes: See also Reynolds —04 for a discussion of minimal and microhouse histories.

Once a niche proposition, now an increasingly bulky subset of house and techno—at least in name—the genre is suddenly ubiq- uitous. For an account of the reception of American minimalism in Germany, see Beal especially — Regarding equipment, Frank Bretschneider recalled in a personal communication, for example, the difficulties of acquiring the Korg MS- 20 synthesizer in East Germany.

This reaction against rave later caused counter-reactions against minimal. For example, by the mids, a popular saying, which I also witnessed at the trucks of the annual Fuck Parade in Berlin in and , was: See the thorough analysis of Oval in Kelly — For an aesthetic and historical account of the relationship between minimal, glitch, and microsound, see Demers 69— The last paragraph of the novel begins as follows: On top the De: Bug from December in which Achim Szepanski proclaims new tendencies in minimal house and techno.

Not just an ardent advocate of a kind of musical immanence, he claims that music is no longer representation—it copies nothing—is nothing but a free-floating form, something real that presents itself. And although music as a language is significant, it has no signified. For extensive discussion of Kompakt in the context of Schaffel, see Turenne. For a multimedial consideration of the relationship between s minimal art, objecthood, and microsound, as well as their proximity to theories of absolute music, see Demers 69—89; see also 97— for analysis of Wolfgang Voigt and Basic Channel.

Such rave artwork has been collected in the book Localizer 1. The original by Denk reads: If space allowed, Hamburg and Munich at least would also require extensive discussion. Simon Reynolds on the Hardcore Continuum: I realize that positing a minimal continuum will likely cause many objections. However, I propose it in part as a gesture of maximal blasphemy: In , Philip Sherburne noticed the prominence of general criticism of, and frustration with, minimal.

See his entries in Pitchfork at http: Minimal Understandings Images from the tour can be found on the Kompakt website. For exam- ple, see http: The political history of Chile plays an important role in German techno. Producers Ricardo Villalobos and Dandy Jack both grew up in Germany because their families were political exiles from the Pinochet regime. For the original German, see Bunz. See the Voigt description on the Kompakt website: Voigt confirms this reference in an interview at http: The piano, which Clara Schumann received in , is de- scribed on the Robert Schumann House website: The introductory essays in the catalogue emphasize that the main idea of the exhibit is to explore Biedermeier as form across media and culture, as reflected in the exhibition title, The Invention of Simplicity.

Form contrasts, for the authors, with the emphasis on bourgeois taste, which is how Biedermeier has primarily been received.