tag:blogger.com,1999:blog-50875513532941207222024-03-13T02:11:47.324+01:00POETRY by ETNEAMusings From An Amputated Head
- painting with words, painting with soundsgeorge henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.comBlogger121125tag:blogger.com,1999:blog-5087551353294120722.post-33362903629150385292010-07-02T14:32:00.003+02:002010-07-02T14:36:04.645+02:00Ausstellung Ray Rubeque 01. - 1.07.2010 im Railslide, Frankfurt<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5KlfRDTgvNPbJUercd1dXvO5Un66o8vnj_jeoWv31rGVYxWaxfxfmKe1AKPosesPR0w0tiG42drjl2c6uFHUK1BCeBpbQScfIk_CrCofgF9UKGnTxzyW_VqFgp2QtpIvb-bBDCnuQutuZ/s1600/railfront.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 285px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5KlfRDTgvNPbJUercd1dXvO5Un66o8vnj_jeoWv31rGVYxWaxfxfmKe1AKPosesPR0w0tiG42drjl2c6uFHUK1BCeBpbQScfIk_CrCofgF9UKGnTxzyW_VqFgp2QtpIvb-bBDCnuQutuZ/s400/railfront.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5489285986960345746" /></a><br /><br /><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8aAo6aGmJK9N-B3ZPh1WrDopmvYS4kyA5CboqIWeYwqLGeWOtFn5Bzwms01u0Po0oQcUH7vkFz5oNb0rrXXmDw94R0DbHNgVQhOT9QW45szEkSIMmsOixYeBgEbtU7sEGaNUcaXEiV48k/s1600/railback.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 285px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8aAo6aGmJK9N-B3ZPh1WrDopmvYS4kyA5CboqIWeYwqLGeWOtFn5Bzwms01u0Po0oQcUH7vkFz5oNb0rrXXmDw94R0DbHNgVQhOT9QW45szEkSIMmsOixYeBgEbtU7sEGaNUcaXEiV48k/s400/railback.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5489285831314291202" /></a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com4tag:blogger.com,1999:blog-5087551353294120722.post-47772924896855623702010-06-28T21:35:00.026+02:002010-07-14T17:41:52.507+02:00Poems You See Before You Die - Hörstück & Multimediales Spektakel am 30. Juli 2010, im Blauen Haus, Frankfurt<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1wqvT6LJzgDJF5B3SgIg_RmmcDH4CRmOj-GIFoF2Pv1OdWCbC7VXmDdZ37NWyWLcInQOgNkL2u7hlFJy5reXvZqNryMOVXWrLnAlXWh_mTIDASbc5pS64jSiyGt7sFtNZLCp6hcgO_hbE/s1600/blauepoems.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 282px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1wqvT6LJzgDJF5B3SgIg_RmmcDH4CRmOj-GIFoF2Pv1OdWCbC7VXmDdZ37NWyWLcInQOgNkL2u7hlFJy5reXvZqNryMOVXWrLnAlXWh_mTIDASbc5pS64jSiyGt7sFtNZLCp6hcgO_hbE/s400/blauepoems.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5487910603626160274" /></a><br />Präsentiert von <br />Sprechbude.de und der Glutton Group Frankfurt:<br /><br />GEDICHTE DIE MAN SEHEN-HÖREN-ERLEBEN KANN<br /><br />Das Projekt Poems You See Before You Die vereint die Bildende Kunst des Frankfurter Künstlers Ray Rubeque mit der von der japanischen Haiku- und Tanka-Formen inspirierte Lyrik des Frankfurter Autoren George Koehler. <br /><br />Seit der Zusammenarbeit der Glutton Group Frankfurt mit dem Internet-Vorleseforum Sprechbude.de wurde die Bild/Text-Verbindung um Rezitation und Musik erweitert. <br /><br />Am Freitag, d. 30. Juli 2010 erwartet den Zuschauer im Blauen Haus Frankfurt, Niederräderufer 2, eine Ausstellung (ab 18:00 Uhr) sowie eine multimediale zweisprachige Lesung mit Musik (um 21:30 Uhr).<br /> <br />Die Klanglesung führen Christoph Maasch und George Koehler (Stimmen) auf mit Mitgliedern der Free-Music-Surprise-Band "Petra Strohm" (Uschi Wentzell, Tenor-Saxophon; Clemens Mühlenhoff, Sopran- u. Bariton-Saxophon; Peter Kaiser, e-Bass; Matthias Kuhls, e-Gitarre)<br /><br />Das ganze Open-Air und in romantischer Lage direkt am Mainufer, mit Speis und Trank. Wir freuen uns auf euer Kommen! <br /><br />Alles um das Projekt: <a href="http://poemsyousee.blogspot.com/" target="_blank">Poems You See Before You Die</a><br /><br />Hier passierts! <a href="http://www.blaueshaus-frankfurt.de/index.php?option=com_content&view=article&id=1&Itemid=3" target="_blank">Blaues Haus, Frankfurt - Musik, Kunst, Events, Freizeit</a><br /><br />Schauspieler lesen Literatur: <a href="http://www.sprechbude.de/" target="_blank">DIE SPRECHBUDE</a><br /><br />Link to us: <a href="http://thegluttongroup.blogspot.com/" target="_blank">The Glutton Group, Frankfurt</a><br /><br />Rezension 1: <a href="http://schoener-denken.de/blog/index.php/tag/the-glutton-group/" target="_blank">SCHOENER DENKEN über Poems You See Before You Die</a><br /><br />Rezension 2: <a href="http://www.experimenta.de/pdf/2009/eXperimenta09_2009.pdf" target="_blank">EXPERIMENTA online-Kulturmagazin (Ausgabe Sept. 2009, Seite 24-29) über Poems You See Before You Die</a><br /><br />Gedichte zum hören: <a href="http://www.sprechbude.de/category/george-henry-koehler/page/2/" target="_blank">Poems You See goes Sprechbude</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com2tag:blogger.com,1999:blog-5087551353294120722.post-80912474506942194112010-06-14T19:05:00.007+02:002010-07-12T20:38:55.610+02:00Konzert mit Mikael Aslan Ensemble - Das Bett, Frankfurt/Mainmit dem Perkussionisten Günter Bozem! <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqs4a3W7eVyqw-J_bqGjRDbdXQ6vDQXKMXMV30VKU_LC6MsSH-xzIQGiepnF0YTZW3PXe6drnAkbPBvC5eh-iQUSQ5hHqrS2cdeiKikbtiDIWIZIA3d2Von2ZcoEsJlqkS57fWH0VZ65IS/s1600/MAE-Frankfurt-08-07-2010.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 283px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqs4a3W7eVyqw-J_bqGjRDbdXQ6vDQXKMXMV30VKU_LC6MsSH-xzIQGiepnF0YTZW3PXe6drnAkbPBvC5eh-iQUSQ5hHqrS2cdeiKikbtiDIWIZIA3d2Von2ZcoEsJlqkS57fWH0VZ65IS/s400/MAE-Frankfurt-08-07-2010.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5489283636643609202" /></a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com2tag:blogger.com,1999:blog-5087551353294120722.post-82578339880878941062010-05-05T18:00:00.017+02:002010-05-05T18:33:57.585+02:00Glutton Group auf dem Stimmenfang Festival im Blauen Haus<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqz63fr9AfGQd3vSbyZPIPrHFqZmHWSOSwE0oCJtq7cMkmUmdxq0ZbzhFqroRCj43xM3XALR0KKT9EyM6P5NTbwFj3Gu1BVkAlEQLykEamy6TQcYrPYUlMw9fsbekPehKmAC6wmz1fgjLy/s1600/Stimmenfang+Songwriter+and+Slam+Blaues+Haus.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 284px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqz63fr9AfGQd3vSbyZPIPrHFqZmHWSOSwE0oCJtq7cMkmUmdxq0ZbzhFqroRCj43xM3XALR0KKT9EyM6P5NTbwFj3Gu1BVkAlEQLykEamy6TQcYrPYUlMw9fsbekPehKmAC6wmz1fgjLy/s400/Stimmenfang+Songwriter+and+Slam+Blaues+Haus.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5467818111484295586" /></a><br /><br />Am <strong>15.05.2010</strong> treffen jeder Menge Poetry Slammer und Singer/Songwriter auf dem Stimmenfang Festival im Blauen Haus Frankfurt aufeinander. Für Unterhaltung und Vielfalt ist daher garantiert. <br /><br />Um <strong>21:00</strong> Uhr gehts los! <br />Mehr Info unter <a href="http://www.blaueshaus-frankfurt.de/index.php?option=com_content&view=article&id=1&Itemid=3" target="_blank">Blaues Haus - Begegnungsstätte für Kunst, Literatur, Musik</a><br /><br />Die Glutton Group ist dabei! <br />Gedichte + Stimme: George Koehler <br />Bilder: Ray Rubeque <br />mit Uschi Wentzell (Tenorsaxophon) <br /><br />See you there!<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyVvXVUXf2I9YUcAx7S4oWsDqbL-VAlIwn60OT4GTJs4SSoYkMtmvgIiY8OW8NoxWKNxYkGvrKUtqTJ3szPDwpZLfh1ubdgJSPUOf40JVdbLqSDKAhUfO4c3rmiTK0AJYK3dFIxA5aI5xu/s1600/poetry+slam+blaues+haus+mai+2010.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 318px; height: 281px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyVvXVUXf2I9YUcAx7S4oWsDqbL-VAlIwn60OT4GTJs4SSoYkMtmvgIiY8OW8NoxWKNxYkGvrKUtqTJ3szPDwpZLfh1ubdgJSPUOf40JVdbLqSDKAhUfO4c3rmiTK0AJYK3dFIxA5aI5xu/s400/poetry+slam+blaues+haus+mai+2010.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5467819148364293762" /></a><br />Ort: <br />Blaues Haus <br />Verein für Kunst und freie Zeit<br />Niederräderufer 2<br />60528 Frankfurt am Main<br /><a href="http://www.blaueshaus-frankfurt.de/"></a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com2tag:blogger.com,1999:blog-5087551353294120722.post-42350174608624376572010-04-26T19:19:00.034+02:002010-04-30T15:55:11.281+02:00Funky Buddha Popart Invasion 2 - Neue Ausstellung von Ray Rubeque<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJVSb_TxnHXPTXzWXN6KIihB9mWfwqSwSVDCefhWaxoBihyTwlZjrwiOmirzsHqBoixpGvYgdfBFj7qqdHnBpRzSUApY2DGU-d7rWi4DgvgavMwKeZraa5nDKEicyUJwh32yhHzDjRChr2/s1600/flyer+die+bruecke+front.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 286px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJVSb_TxnHXPTXzWXN6KIihB9mWfwqSwSVDCefhWaxoBihyTwlZjrwiOmirzsHqBoixpGvYgdfBFj7qqdHnBpRzSUApY2DGU-d7rWi4DgvgavMwKeZraa5nDKEicyUJwh32yhHzDjRChr2/s400/flyer+die+bruecke+front.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5464927305683253122" /></a><br /><br /><strong>Funky Buddha Popart Invasion 2</strong><br />- tolle neue Bilder von Ray Rubeque<br /><br /><strong>Freitag, den 7. Mai 2010</strong><br />Vernissage um 20:00 Uhr<br />mit <br /><strong>True Confessions </strong>- Klanglesung / "Live-Hörspiel" - ab 21:00 Uhr <br />Text + Stimme: George Koehler <br />Musik: Mitglieder der Frankfurter Gruppe Petra Strohm, <br />und evtl. Gastmusiker<br /> <br /><strong>Ort:</strong><br />Cafe & Bar Die Brücke<br />Brückenstrasse 19<br />Frankfurt-Sachsenhausen<br /><a href="http://www.cafebarbruecke.de/" target="_blank">Link zu Die Brücke, Café und Bar in Ffm-Sachsenhausen</a><br /><br /><a href="http://thegluttongroup.blogspot.com/" target="_blank">Link to The Glutton Group, Frankfurt</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com1tag:blogger.com,1999:blog-5087551353294120722.post-5252246037127478642010-04-26T19:19:00.033+02:002010-04-30T15:54:00.513+02:00True Confessions - KlangLesung am 07.05.2010 von George Koehler & Petra StrohmDie Vernissage der <strong>neuen Ausstellung </strong>von <strong>Ray Rubeque </strong>bestreitet der Dichter "Ranting & Raving" <strong>George Koehler </strong>gemeinsam mit der Frankfurter free music Gruppe <strong>Petra Strohm </strong>- ein freak out der besonderen Art wird geboten! <br /><br />Ray Rubeques neue Bilder können im gemütlichen Sachsenhäuser Szene-Treff <strong>Die Brücke </strong>(Café und Bar) bis zum 04.06. bestaunt werden. <br /><br />See you there!<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizT1LDtSGIQqtpZWsenKRCgN-QrkaX5DSCFlMv-G1Qw65CoRp5lK63p1dd7DGMWp8jrOk1axBmEzY2z6l41o1dzRQUF1MHfi4pzk23YpfNGmBqWiLPpoBccT_02qf8VBtjM9cj1ht9HUSq/s1600/flyer+die+bruecke+rear.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 286px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizT1LDtSGIQqtpZWsenKRCgN-QrkaX5DSCFlMv-G1Qw65CoRp5lK63p1dd7DGMWp8jrOk1axBmEzY2z6l41o1dzRQUF1MHfi4pzk23YpfNGmBqWiLPpoBccT_02qf8VBtjM9cj1ht9HUSq/s400/flyer+die+bruecke+rear.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5464924261239996082" /></a><br /><br /><strong>Funky Buddha Popart Invasion 2</strong><br />- eine Ausstellung von Ray Rubeque, vom 7. Mai bis 4. Juni 2010<br /><br /><strong>Vernissage am Freitag, den 7. Mai 2010</strong> um 20:00 Uhr<br /><br /><strong>True Confessions </strong>- Klanglesung / "Live-Hörspiel" - ab 21:00 Uhr <br />Text + Stimme: George Koehler <br />Musik: Mitglieder der Frankfurter Gruppe Petra Strohm, und evtl. Gastmusiker<br /> <br />mit: <br />Uschi Wentzell (Tenorsaxophon), Peter Kaiser (e-Bass), Clemens Mühlenhoff (Bariton- u. Sopran-Saxophon, Stimme), Matthias Kuhls (e-Gitarre), Nuri Alamuti (e-Drums) und George Koehler (Stimme) plus ggf. musikalischer Überraschungsgast! <br /><br /><strong>Ort:</strong><br />Cafe & Bar Die Brücke<br />Brückenstrasse 19<br />Frankfurt-Sachsenhausen<br /><a href="http://www.cafebarbruecke.de/" target="_blank">Link zu Die Brücke, Café und Bar in Ffm-Sachsenhausen</a><br /><br />Wir freuen uns über euer Kommen! <br /><br /><a href="http://thegluttongroup.blogspot.com/" target="_blank">Link to The Glutton Group, Frankfurt</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com1tag:blogger.com,1999:blog-5087551353294120722.post-16927879164306660402009-04-03T19:33:00.012+02:002009-04-03T21:22:26.256+02:00Our Haiga RevolutionAn Introduction to POEMS YOU SEE BEFORE YOU DIE <br />by George H.E. Koehler (poems) and Ray Rubeque (pictures)<br /><br />Haiku as a literary form is something many Westerners are only vaguely familiar with, if at all. I first became aware of the existence of haiku in 1973, when I read Ian Fleming‘s <strong>You Only Live Twice</strong>, where a haiku is used as the motto and its first line originated the book‘s title. Whether Fleming simply put his words into Bashô‘s mouth to let his thriller appear grounded in Japanese culture, or whether Bashô really did create that poem, I could never clear up. Then, around 1974, I caught my first haiku virus proper in high school, when an English teacher playfully introduced his pupils to this originally Japanese form by challenging us to express ourselves within its restrictions.<br /><br />Haiku and its related forms senryu and tanka stand for <strong>compression and concentration</strong> – their formal restraints force the poet to present a maximum of information within a very limited number of syllables. The very compactness and structural clarity of haiku encourages succinctness, yet also leads to a high degree of symbolism in its more successful examples. Accomplished haiku always leave enough room for suggestion.<br /><br />Although there are several general rules, they are, increasingly, not always followed. <strong>Traditional Japanese haiku</strong> has 17 syllables (onji) divided into 3 lines counting 5 syllables, 7 syllables, and 5 syllables respectively. This arrangement is often ignored by writers in other languages, however, the basic sequence of 3 short lines, with a middle line slightly longer than the other two, is generally observed, though US haiku writers tend to dismantle even this.<br /><br />Haiku divides into two parts, with a break coming after the first or second line, so the poem seems to make two separate statements related in some unexpected or indirect way. This break is marked in Japanese by what is called a <strong>cutting word</strong> (kireji), whereas in English and other languages it is often emphasized by or even created with punctuation. This two-part structure is meant to provoke a sense of discovery, or a sudden insight, as one reads along, important for the blossoming of the poetic effect of haiku.<br /><br />Haiku is supposed to include a kigo – a word that gives the reader a clue to the season being dealt with. The kigo is also important to the haiku‘s effect, in that it may anchor the experience it describes in a poetic <strong>here and now</strong>, thereby helping to sharpen the imaginative focus. The poem`s reference to nature need not be a direct statement, it can take the form of an implied allusion, instead.<br /><br />Haiku must also refer to something concrete, not to an abstraction or generalisation and to something that exists now, not something from the past. Haiku poems present a snapshot of <strong>everyday experience</strong>, to reveal an unsuspected significance in a detail of nature or human life. The haiku poet finds his subject matter in the world around him, not in ancient legends or exotic fantasies. The aim of haiku is to make the reader feel what the writer has felt. He writes for a popular audience and gives it a new way to look at things they may have overlooked in the past.<br /><br /><strong>Daisetz Teitaro Suzuki</strong> (1870 - 1966) emphasized the importance of haiku‘s suggestive nature: When something is too fully expressed, there is no room for suggestion anymore. Suzuki wrote that when the greatest feelings are reached, there is silence because words do not suffice for expression. Looked at in this way, even 17 syllables may be too many words. <br /><br />Haiku‘s unique verse form has attracted the interest of many outside Japan. It is often difficult to retain the 17-syllable pattern, when <strong>writing in English</strong>. One reason is the syllable, as a unit, is defined differently in English than in Japanese. Another is that, in Japanese haiku certain words can be used for punctuation, as well, whereas this device is not available in English. Besides that, writers in English can reach no agreement on the use of rhyme or necessity of words and phrases alluding to nature. These and other difficulties suggest it may be impossible to limit English haiku to rules that defining the original Japanese form. Jack Kerouac, for instance, thought Western haiku need not necessarily subscribe to 17 syllables, just concentrate on 3 short lines that say a good deal free of poetic trickery. In Some of the Dharma he reworked the definition of the form, and called his version American haiku pop, presenting it as a 3-line poem of Buddhist connotation, a small meditation that may or may not rhyme, and which leads to enlightenment, with pop being the quick, abrupt noise that grabs your attention.<br /><br /><strong>Alan Watts</strong> (1915 - 1973) wrote that haiku seeks to evoke the sense of potentiality – indicating but not explaining. Haiku should evoke the mood of mystery that is yugen. Watts also described other moods that haiku try to bring out in the reader, such as Sabi, the feeling of being peacefully alone, and aware, which describes a sadness akin to nostalgia and a recognition of impermanence. According to Watts, aware is most powerful in poetry that describes this transience. <br /><br /><strong>Senryu</strong> is structurally identical to haiku, that is, a 5-7-5 syllable poem, but has a much more flexible content, particularly in discussing human emotions and relationships as opposed to nature themes. It does not require the inclusion of a seasonal word.<br /><br />Karai Hachiemon (1718 -1790) was a government official in the Asakusa district of Edo (now Tokyo). Under his pen name Senryu, meaning River Willow, he was also a noted poet, who acted as judge at <strong>contests of maekuzuke</strong> (verse capping). In this traditional form of literary amusement, a given short verse of 14 syllables (7+7) was capped by a longer verse of 17 syllables (5+7+5) to produce a 31-syllable poem similar to the traditional waka form. The many anthologies of these capping portions, known as tsukeku, that Senryu compiled under the title Yanagidaru, led tsukeku to become read and appreciated by themselves, and they sparked off a new genre with the editor‘s pen name now inseparably linked to it.<br /><br />The main difference between <strong>senryu and haiku</strong> is one of tone. The meaning and structure of a haiku can be brilliant, but they can often be conventionally serious and sentimental, offering few surprises. One has to be a near genius to write good haiku, whereas almost anyone can write reasonably good senryu – this form seems somehow to have escaped the structural restrictions that bind and, perhaps, limit haiku too much. Whereas haiku often call for analysis, a typical response to senryu is often a laugh or a chuckle or an exclamation like That‘s so true! Expressing everyday truths, in succinct verse – that‘s often the appeal of senryu.<br /><br />The <strong>first ever Japanese poem</strong> was probably written during the 6th century. Prior to that, Japanese had not existed as a written language. Developing out of trade relations, Koreans, acting as go-betweens between Chinese and Japanese culture, set a development of Japanese characters out of Chinese characters in motion, leading the Japanese to turn from a purely oral culture to a written culture. <br /><br />The <strong>choka</strong> poems from the 6th and 7th Century had between 50 and 100 lines with alternating lines of 5 and 7 syllables and a last line with 7 syllables.<br /><br />By the 9th Century, the shorter <strong>waka</strong> had evolved out of the choka and arisen to great popularity as a courtly pastime. Waka were composed of 5 lines with a total of 31 syllables in a 5-7-5-7-7 sequence.<br /><br /><strong>Renga</strong> is the poetry contest form of waka, it came into being around the 11th Century. One person would provide the last 2 lines of a poem, then another person had to compose the first 3 lines. Put together, all lines had to make a meaningful 31-syllable poem.<br /><br />Approximately 500 years ago, <strong>haikai</strong>, a social phenomenon of the then new urban masses, finally emerged out of this courtly contest form. Haikai, the predecessor of haiku, consisted of the first 3 lines of the 31-syllable renga poems. The first important representative of this form, who remains revered to this day, was Matsuo Bashô (1644 - 1694). It was, however, Masaoka Shiki (1867-1902) who gave haikai the name under which it is now famous – haiku.<br /><br />The expression <strong>tanka</strong> is the modern term for waka, applied to those 31-syllable poems written since the early 20th Century. Waka refers to the pre-20th-Century 31-syllable poems, written in an older idiom. Tanka are often composed of 2 parts: the 5-7-5 choku part and the 7-7 tanku part, though this division varies, as opposed to its predecessor, the waka. Unlike haiku, they are not generally restricted to nature or to the use of season words.<br /><br />In writing a haiku the aim is, essentially, to achieve the depiction of a firsthand experience of the world around you, by encapsulating the feeling of a scene as accurately as possible, using only a few simple elements. Ideally, from a <strong>Zen point of view</strong>, a haiku should bring the reader directly to the experience in an intimate sharing of an ordinary moment, presenting the whole of life in that one event. The real experience is conveyed in the present tense, working to promote insight or satori and evoke feelings like awe, surprise, and joy in the reader.<br /><br />The haiku of the japanese poet <strong>Bashô</strong> achieve this in a particularly exemplary manner. To this day, he is considered the finest writer of this genre, particularly during its formative years. Bashô (real name Matsuo Munefusa) was born into a samurai family prominent among nobility, but he rejected that world and became a wanderer, instead. Studying Zen, history and classical Chinese poetry, he lived in apparently blissful poverty under a modest patronage and from donations by his many students.The structure of his haiku reflects the simplicity of his meditative life. When he felt the need for solitude, he withdrew to his basho-an, a hut made of plantain leaves (bashô) which his students had originally built for him – hence his pseudonym. He infused a mystical quality into much of his verse and attempted to express universal themes through simple natural images, from the harvest moon to fleas in his cottage.<br /><br />Bashô brought to haiku the <strong>Way of Elegance</strong> (fuga-no-michi), deepened its Zen influence, and approached poetry itself as a way of life (kado, the way of poetry) in the belief that poetry could be a source of enlightenment. Achieve enlightenment, then return to this world of ordinary humanity, he advised. His attention to the natural world transformed the haikai verse form from a formerly frivolous social pastime into a major genre of Japanese poetry, creating a door to meditation and contemplation.<br /><br />Other equally <strong>remarkable and worthwhile</strong> poets to explore are Yosa Buson, Issa, Kikaku, Masaoka Shiki and Shoichi.<br /><br />Traditional haiga is a haiku-inspired art, and originally evolved from nanga art which flourished in Japan during the late Edo period, from the 17th to mid-19th century. Just as many Japanese artists and writers of this period were heavily influenced by Chinese culture, so was nanga patterned after a Chinese school of painting, known as the <strong>nanzonghua</strong>.<br /><br />In <strong>the haiga format</strong>, textual and visual elements are presented together in such a way that they share a common document. Traditionally, despite combining them, the aim is to have the haiku text and the accompanying picture executed so that they can function on an equal footing – and thus have two worlds coexist on a common surface. The challenge, here, for the artist was in finding the ideal manner of execution, to express the respective rules and aesthetic embodied in each haiku, but create a content that is independent of the poem.<br /><br />Usually, calligraphic illustrations of traditional haiga were done by the person who wrote the haiku, though the picture was supposed to remain a <strong>self-contained</strong> piece of art and not become a too literal illustration of the idea embodied in the haiku.<br /><br />Towards the end of our work on this book, we realized we had not only amassed a collection of haiku, senryu and tanka, but had in effect, created a <strong>collection of interactions</strong> very akin to the Japanese haiga, where the content of a text is complemented by a visual language that is supposed not to echo it. At this point, however, we differ from traditional haiga, since textual context in our work is transformed into a visual language, and vice-versa. In addition, the picture titles are designed to contextually bridge the meaning of the picture with the poem.<br /><br />The <strong>pairing of the written word with b&w drawings</strong> leads to a further development of a pictorial language of suggestion and stringency that haiku, senryu and tanka automatically embody. Although the pictures were evolved out of the poems, they are not mere illustrations, they exist in their own right, though they touch on ideas, sometimes focusing on aspects of the poems, sometimes commenting on and developing ideas in the poems, often expanding their meanings beyond the original intention, sometimes offering satirical comment on the lyrical tone of a poem. The aim is to invite the reader to embark with us upon this stretching out within the haiga genre. Hopefully, this book will make you smile, reflect upon life, and allow the realization that poetry can be found in anything.<br /><br /><strong>"Seek not the paths of the ancients; seek that which the ancients sought."</strong> Readers, heed the poet Bashô‘s challenge: Oppose the pre-ordained roads and preconceptions that elders, and societies set up before you. Don‘t simply imitate others without thinking, in the hope you may become like your idols, no, do your own thing. Search for that which your precursors sought, just as Bashô urged.<br /><br />George H. E. Koehler<br />March 2009george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com3tag:blogger.com,1999:blog-5087551353294120722.post-66903188035668402942009-04-03T19:31:00.006+02:002009-04-03T20:24:17.276+02:00PYSBYD worry-stone edition Issue #1 on sale at T3 in Frankfurt !<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8VuLXobMTmJpacpnym1FDeMOqjh0G24QmJXZy57cmOFquApD9leL57GfYjUBWJeRm6oAWN6j2o4uu-0JecWW1WT4Js_oZp2Ug9u8NaGbepPtnuN1qPX3sqWXLbIZnHBQXVjQPH5CUuwA/s1600-h/PYSBYD+No+1+worry+stone+edition+Cover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 282px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8VuLXobMTmJpacpnym1FDeMOqjh0G24QmJXZy57cmOFquApD9leL57GfYjUBWJeRm6oAWN6j2o4uu-0JecWW1WT4Js_oZp2Ug9u8NaGbepPtnuN1qPX3sqWXLbIZnHBQXVjQPH5CUuwA/s400/PYSBYD+No+1+worry+stone+edition+Cover.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5320527138485815410" /></a><br />Issue #1 of the POEMS YOU SEE BEFORE YOU DIE pocket magazine is on sale at T3 TERMINAL ENTERTAINMENT in Frankfurt on Main, for a bargain EUR 2,00. <br />Grab your worry-stone edition right now! <br /><br />T3 is a great comics and more shop located at <br /><blockquote>Große Eschenheimer Str. 41 A<br />60313 Frankfurt am Main<br /><br />Phone: (0 69) 28 75 69</blockquote><br />LINK TO <a href="http://www.t3ffm.de//" target="_blank">T3 website</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-31405994133655357802009-04-03T18:33:00.006+02:002009-04-03T21:43:36.317+02:00Companion Pictures to the poems from PYSBYD on show at deviantART<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7IWgi-MX7R-sA4OFYIGow8rjJWnHqjx0uc1z08Aphd6E6F1znPmD99WPbdb3Tv4WaD3fVHIr5cdVpM8K8w7DOPxW1Ii9fzwwSmuTPt817U0uYGb633rePMgnYpBPWpZABuKt7eEuteEY/s1600-h/Rektozhan+myskull+logo.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7IWgi-MX7R-sA4OFYIGow8rjJWnHqjx0uc1z08Aphd6E6F1znPmD99WPbdb3Tv4WaD3fVHIr5cdVpM8K8w7DOPxW1Ii9fzwwSmuTPt817U0uYGb633rePMgnYpBPWpZABuKt7eEuteEY/s400/Rektozhan+myskull+logo.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5320499925586059650" /></a><br />A Selection of the companion pictures to the poems from POEMS YOU SEE BEFORE YOU DIE is on show at Rektozhan's online Gallery at deviantART.<br /><br />LINK<br /><a href="http://rektozhan.deviantart.com/" target="_blank">Rektozhan's Gallery</ageorge henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-36553832350751759102009-03-28T22:21:00.005+01:002009-04-03T19:41:17.839+02:00Owning thousands of unread books (Gabriel Zaid)<blockquote>"Those who aspire to the status of cultured individuals visit bookshops with trepidation, overwhelmed by the immensity of all they have not read. They buy something that they've been told is good, make an unsuccessful attempt to read it, and when they have accumulated half a dozen unread books, feel so bad that they are afraid to buy more. In contrast, the truly cultured are capable of owning thousands of unread books without losing their composure or desire for more." </blockquote>— from Gabriel Zaid, So Many Books (Los demasiados libros, 2003), 2003, translated by Natasha Wimmer, 2004.george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-76044177544455391582009-03-01T23:31:00.005+01:002009-03-01T23:41:25.188+01:00Ohne Titel [Kopflos] (Hermann Hesse)<blockquote>Man nehm den Deckel nur vom Topfe<br />Und sieh, wie froh der Dampf entweicht!<br />Wie lebt nach abgeschnittnem Kopfe <br />Das schwere Leben sich so leicht!<br />Kein Schnupfen mehr, kein Nasentropfen, <br />Kein Zahnweh und kein Augenbrand <br />Noch Stirnkatarrh noch Schläfenklopfen, <br />Es ist wie im Schlaraffenland.<br />Zwar gibt es ohne Kopf kein Denken, <br />Doch ist es darum nicht so schad, <br />Man kann mit Wein die Kehle tränken, <br />Es ist das beste Gurgelbad. <br />Und ach, wie lebt es sich so stille: <br />Kein Wort, kein Lärm, kein grelles Licht!<br />Und nie mehr sucht man seine Brille <br />Und nie mehr macht man ein Gedicht. <br /><br />(Februar 1947)</blockquote><br />- Hermann Hesse, aus <em>Die Gedichte</em> (Insel Verlag, it 2762, <br />Hg. Volker Michels, Ausgabe 2001, Seite 781)george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-68364301610390054062009-01-31T22:08:00.016+01:002009-02-25T22:46:35.450+01:00John will never die - John Martyn in MemoriamJohn Martyn (born Ian David McGeachy in England on September 11, 1948) has died in Irland on January 29, 2009 at the age of 60 – an indescribable loss to the music world. <br /><br />An absolutely iconoclastic guitarist, he was also an idiosyncratic singer possessed with a highly original and hauntingly soulful style, which he utilized to great advantage on many of his pieces. He leaves behind a treasure trove of atmospheric and remarkably touching compositions, a body of work highly recommended to dip into time and time again. <br /><br />A trailblazer with a mind of his own, he often served listeners up a carefree stew of genres that cheerfully exploded musical narrow-mindedness in an era then already known for experimentation, though he was indeed ahead of his time – particularly in the early 70s, which also saw him pioneer the use of echoplex in guitar playing, to great effect. <br /><br />In the late 1960s and early 70s, the exploratory blending of all that interested him led him to become a forerunner of forms of experimentation which would later bleed into and develop into a part of what I will - in my helplessness - term "world fusion", for want of adequate terminology. At the time I thought it a continuation of what groups like Fairport Convention and Jethro Tull and the many other knights of British electric folk & classical-folk-rock fusions had birthed, though to me it seemed on occasion also to be heading into Brand X and even Soft Machine regions - very adventurous, and open for anything. But that was the fertile cross-pollinated English musical landscape of the 60s and 70s, it was anything goes. Sometimes his singing can even remind me of Phil Minton. Looking back, the cornucopia of what all happened still seems unbelievable. <br /><br />All musicians and music lovers who've ever had the pleasure of being exposed to his music, pause in stunned dismay as word of his death spreads. For each, the world stands still for a moment, and then, yes, it continues, but ... what a drag. A lovely man, we will miss him terribly in the years to come. <br /><br />LINKS<br /><a href="http://www.slidetone.net/wordpress/2009/01/29/john-martyn-small-hours-rip/" target="_blank">video showcase - some lovely pieces and interviews</a><br /><br /><a href="http://en.wikipedia.org/wiki/John_Martyn_(musician)" target="_blank">John Martyn Bio & Discography - Wikipedia</a><br /><br /><a href="http://news.bbc.co.uk/2/hi/uk_news/scotland/glasgow_and_west/7858458.stm" target="_blank">BBC News Obituary</a><br /> <br /><a href="http://www.timesonline.co.uk/tol/comment/obituaries/article5613933.ece" target="_blank">The Times Obituary</a><br /><br /><a href="http://www.johnmartyn.nl/" target="_blank">Big Muff, The John Martyn Pages - great fan site from the Netherlands</a><br /><br /><a href="http://www.johnmartyn.info/?q=node/36" target="_blank">John Martyn Pages (deutsche version)</a><br /><br /><a href="http://www.johnmartyn.com/" target="_blank">John Martyn artist website</a><br /><br /><a href="http://de.wikipedia.org/wiki/John_Martyn" target="_blank">John Martyn Bio & Discography - Wikipedia (deutsch)</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-21008026127350609702008-12-16T23:14:00.010+01:002009-04-22T21:21:18.573+02:00Die Wirklichkeit Ist Nicht Real: 80.ter Geburtstag von Philip K. Dick am 16. Dez.<blockquote>"Für mich zählt einzig und allein das Schreiben, die Herstellung eines Romans, denn während ich das tue, in diesem speziellen Moment, bin ich in der Welt, über die ich schreibe. Sie ist für mich wirklich, ganz und gar. Wenn ich dann fertig bin und aufhören muß, mich für immer aus dieser Welt zurückziehen muß – daß zerstört mich. (...)<br />Ich verspreche mir selbst: nie mehr schreibe ich einen Roman. Nie mehr denke ich mir Menschen aus, von denen ich letztlich doch wieder abgeschnitten sein werde. Ich sage es mir ... und fange heimlich, still und leise ein neues Buch an." – Philip K. Dick (aus: <em>Notes Made Late at Night by a Weary SF Writer</em>, 1968)</blockquote><br />Der schreibende Triebtäter Philip K. Dick (1928-1982) erschaffte trotz seines frühen Todes mehr als 40 Romane und über 100 Erzählungen, im Laufe seiner verbissenen Versuche im Science-Fiction Genre seine schriftstellerische Existenz zu bestreiten. Da Bücher und Magazine im Science-Fiction Bereich in den 50ern und 60ern lange als Dutzendware betrachtet ("pulp fiction") und sehr schlecht bezahlt wurden, ungeachtet der Originalität vieler Werke, erhöhte er seine Produktion auf manische Weise. Sein Ehrgeiz brachte ihn zeitweilig dazu 60 Seiten pro Tag zu schreiben, was für längere Strecken nur noch unter Einnahme von Aufputschmitteln wie Amphetaminen zu bewerkstelligen war – Selbstausbeutung pur. Später kamen Halluzinogene wie LSD dazu. Ein Leben als andauernde Erforschung, Selbsterkundung, und – im wahrsten Sinne des Wortes – Über-Forderung. Seine Obsessionen gebaren denn auch ein Katalog aus Problemen, der ihn Zeitlebens begleitete und heimsuchte. <br /><br />Er schrieb auch Romane die als Gesellschaftsromane bezeichnet werden – wie wohl es auch hier um Identität und Wahrnehmungsfähigkeit ging – in der Hoffnung einen Zugang zum mainstream Markt zu erhalten, aber sein Stil war wohl zu eigenwillig um einen Risikobereiten Verleger mit großem Werbe-Etat anzulocken, die Vorurteile der Branche nagelten ihn auf das Science-Fiction Genre fest. Bücher wie <em>Confessions of a Crap Artist</em> bleiben dennoch lesenswert. <br /><br />Öffentliche Anerkennung für seine fekunde schriftstellerische Leistung erfuhr er zu seinen Lebzeiten nur spärlich, der Erfolg stellte sich erst kurz vor seinem Tod ein. Seine zahlreichen Scheidungen dürften seinem Konto auch nicht gut getan haben. Ironischerweise zählen viele seiner Bücher mittlerweile zu den sogenannten Klassikern der amerikanischen Moderne. Nach seinem Tode. Dieser Modus kommt Einem bekannt vor, nicht wahr? Rückblickend waren Schlaganfall und Herzversagen wohl eine zu erwartende, heraufbeschworene, wenn auch traurige, Konsequenz des erschöpfenden Auf und Ab dieses unter chronischen Selbstzweifeln, paranoiden Schüben und Alkohol- und Medikamenten-Abusus leidenden, schöpferischen Menschen. Schreiben als Zwang, als Kampf um Existenz, als Ventil, und als Therapie? Ich kann mir nicht vorstellen, dass das Schreiben für Dick eine Tätigkeit der Freude gewesen ist. Aber in seiner Biographie schildert Lawrence Sutin das dem doch so war. Dick war vom Schreiben besessen. Offensichtlich wurde er geboren, um zu Schreiben. <br /><br />Dick's eigenwillige Romanaesthetik empfinde ich als derart genre-übergreifend, daß man bei ihm nicht von Science Fiction im technoiden Sinne sprechen sollte, sondern viele Bücher eher zu einer Gattung von <em>"inner space"</em>-Abenteuerromanen zählen könnte, so man denn unbedingt eine Schublade haben muss...<br />Für mich stellen viele seiner Romane und Erzählungen ohnehin Psychodramen im übergreifenden Sinne dar, manche mit einem derart prägnanten Schuß <em>noir</em> oder auch des Grotesken, dass man viele der Geschichten aus seinem Universum auch als psychotische soap operas begreifen kann. <br /><br />Persönlich, kann ich nur jedem neugierigen Leser Dick's Roman <em>UBIK</em> (geschrieben 1966, Erstveröffentlichung 1969) an's Herz legen. Ein absolutes Lesevergnügen. Grossartig!<br /><br />Es hat zwar ein wenig gedauert, bis sich die Filmindustrie an Philip Kindred Dicks komplexen Geschichten über Identitätskrisen und Realitätsverlusten herangetraut hat, aber seit <em>Blade Runner</em> im Jahre 1982 (nach dem Roman <em>Do Androids Dream of Electric Sheep?</em> – geschrieben 1966, Erstveröffentlichung 1968) in die Kinos kam, haben seine Erzählungen und Romane mit ihrem "nichts ist wirklich so, wie es erscheint"-Blick auf illusorische Realitäts- und Wahrnehmungserfahrungen, zunehmend entweder die Stoffentwicklung für Drehbüchern befruchtet oder als direkte Vorlage für Filme wie <em>Total Recall</em> (nach <em>We Can Remember It For You Wholesale</em>), <em>Confessions d'un Barjo</em> (nach <em>Confessions of a Crap Artist</em>) und <em>Screamers</em> (nach <em>Second Variety</em>) gedient. <br /><em>Matrix</em>, <em>eXistenZ</em> und <em>The Truman Show</em> aus 1998 (siehe Dick's <em>Time Out of Joint</em> (1959), dt. <em>Zeit Aus Den Fugen</em>) beruhen ebenso auf seine Arbeiten und Ideen. <br />In den letzten Jahren hat eine weitere Flut von Verfilmungen eingesetzt: <em>Minority Report</em> (2002), <em>Imposter</em> (2002), <em>Paycheck</em> (2003), <em>A Scanner Darkly</em> (2006), <em>Next</em> (2007, nach <em>The Golden Man</em>) und, in diesem Jahr, <em>Radio Free Albemuth</em>. Für 2009 ist die Verfilmung von <em>The Owl in Daylight</em>, ein Roman den Dick nicht mehr fertigschreiben konnte, geplant. <br /><br />Es folgt ein Ausschnitt aus der Wikipedia Biographie über P. K. Dick:<br /><br /><blockquote>"Das Erkennen der Wirklichkeit ist immer wieder zugleich Problem wie auch Spannungsmoment in seinen Romanen, viel mehr als etwa die Entwicklung einer Story zum passiven Konsum. Im Stil des Philip K. Dick wird der Leser szenenweise von der Gedankenwelt des einen Protagonisten in die des nächsten geführt. Auf diese Weise entsteht ein Pluralismus, der eine kategorische Absage an den Ich-Erzähler verkörpert und dennoch die Protagonisten nicht unreflektiert von außen betrachtet, sondern ihre teilweise gegensinnigen Ansichten aber auch Weltvorstellungen nebeneinander stellt. Viele Geschichten enden weder glücklich noch tragisch, sondern lassen den verwirrten Leser am Ende des Buches allein. Er muss sich seine eigene Wirklichkeit aufbauen, nachdem er eine gewisse Zeit mit Dicks Figuren verbracht hat.<br /><br />Dick ist gelegentlich als Drogen-Autor beschrieben worden. Damit verbunden ist die Loslösung des Realen von der individuellen Wirklichkeit. Denn im gewissen Sinne – so Dick – verdrängt jeder Mensch Teile der Realität. Aber Dick beschäftigt sich immer wieder mit dem Glauben oder Geist als Bindeglied oder Barriere zwischen den Menschen, im Zusammenhang mit einer der Religionen, mit der Philosophie (Existentialismus) oder der Wissenschaft. Drogen, Konsum, Kapitalismus, Gesellschaft, Medien, Machtmissbrauch, Verfolgungswahn, Psychoanalyse, Überwachungsstaat, und immer wieder der 2. Weltkrieg in alternativen Szenarien (Deutschland gewinnt und besetzt Amerika, z.B. in Das Orakel Vom Berge) mischen sich mit den "klassischen" Themen (Raum- und Zeitreisen, Telepathie, genetische Mutationen, Außerirdische, ...) des Science-Fiction. <br /><br />Das besondere bei Dick ist dabei, dass alle Handlungsstränge einer typischen Dick-Logik folgen, die zur Katastrophe führen, die aber keine Katastrophe ist, sondern nur das Erkennen des ganz normalen Wahnsinns. Die Erkenntnis als Dauerthema in Dicks Werk ist also ein zweischneidiges Schwert."</blockquote><br />Des Weiteren sei jedem neugierigen Dick Erforschenden die Biographie von Lawrence Sutin ans Herz gelegt – <em>"Philip K. Dick, Göttliche Überfälle"</em> (Frankfurter Verlagsanstalt, 1994, bzw. Haffmans Verlag, Zürich, 1994) – sehr empfehlenswert!<br /><br />Die amerikanische Originalausgabe erschien 1989 unter dem Titel <em>"Divine Invasion: A Life of Philip K. Dick"</em> bei Harmony Books, New York. <br /><br />Zuletzt noch einen selbstironischen Auszug aus einem von Dicks Selbstdarstellungen:<br /><br /><blockquote>"Philip K. Dick (...) lebt jetzt in San Rafael und steht auf Halluzinogene und das Schnupfen. (...) Er ist verheiratet, hat zwei Töchter und eine junge, hübsche, nervöse Frau namens Nancy, die sich vor Telefonen fürchtet. (...) Die meiste Zeit verbringt er damit, erst Scarlatti, dann Jefferson Airplane und anschließend in einem Versuch alles unter einem Hut zu bringen, die Götterdämmerung zu hören. Er hat zahlreiche Phobien und geht selten aus, läßt sich in seiner netten , kleinen Bleibe am Wassser aber gern besuchen . Er schuldet seine Gläubigern ein Bermögen, das er nicht hat. Warnung: Leiht ihm kein Geld. Außerdem klaut er einem die Tabletten." <br />– Philip K. Dick (aus:<em>Biographical Material</em>, verfaßt 1968, wahrscheinlich auf Wunsch eines Verlags)</blockquote><br />LINKS<br /><a href="http://de.wikipedia.org/wiki/Philip_K._Dick" target="_blank">P.K. Dick Bio & Bibliographie - Wikipedia (Deutsch)</a><br /><a href="http://en.wikipedia.org/wiki/Philip_Kindred_Dick" target="_blank">P.K. Dick Bio & Bibliography - Wikipedia (English)</a><br /><a href="http://www.philipkdick.com/" target="_blank">P.K. Dick official site (English)</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com1tag:blogger.com,1999:blog-5087551353294120722.post-87766530222962774812008-12-16T22:57:00.007+01:002008-12-17T20:30:02.648+01:00"An extension of my work as a novelist" (Paul Auster)This is an excerpt from a 2006 interview, re. Auster's new film <em>The Inner Life of Martin Frost</em>:<br /><br /><strong>Céline Curiol:</strong> You wore two hats on this movie: writer and director. What are the advantages of doing both? What are the disadvantages?<br /><br /><strong>Paul Auster:</strong> To tell the truth, I can't think of a single disadvantage. I'm not a full-time filmmaker, after all, and I tend to to think of my occasional forays into the world of movies as an extension of my work as a novelist, as a storyteller. Not all stories should be novels. Some should be plays. Some should be films. Some should be narrative poems. In the case of <em>Martin Frost</em>, it was conceived as a film from the start – just as Smoke and Lulu on the Bridge were. By directing my own screenplay, I profit from the fact that I know the text better than anyone else. I know the rhythm of the words, the rhythm of the images, and I can communicate these things directly to the actors and the crew. <br /><br />– Taken from <em>The Inner Life of Martin Frost</em> by Paul Auster, published by Picador/Henry Holt and Company, New York, 2007, page 10. The excerpt is from an interview conducted on August 22, 2006, which precedes the screenplay in this edition.<br /><br />LINK<br /><a href="http://en.wikipedia.org/wiki/Paul_Auster" target="_blank">Paul Auster Bio & Bibliography - Wikipedia</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-4417787829550255912008-12-01T18:46:00.008+01:002008-12-17T19:40:25.634+01:00The artist's world (Paul Strand)"The artist's world is limitless. It can be found everywhere, far from where he lives or a few feet away." <br />– Paul Strand (1890 - 1976)<br /><br />LINKS<br /><a href="http://www.masters-of-photography.com/S/strand/strand_articles2.html" target="_blank">Profile Paul Strand from "A World History of Photography"</a><br /><a href="http://en.wikipedia.org/wiki/Paul_Strand" target="_blank">Paul Strand - Wikipedia Bio (English)</a><br /><a href="http://www.amazon.com/gp/product/images/0789200287/ref=dp_image_0?ie=UTF8&n=283155&s=books" target="_blank">Some images from "A World History of Photography"</a><br /><a href="http://www.amazon.com/exec/obidos/ISBN=0789200287/texasnetmuseumof/" target="_blank">"A World History of Photography" by Naomi Rosenblum - at Amazon</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-20203339499422636852008-12-01T18:45:00.008+01:002008-12-17T19:44:11.899+01:00Gegenseitig Zuhören – Zwei Geschichtenerzähler (Köhlmeier & Ratzer)Im Covertext von <em>Das Märchen und der Blues</em> (1999, Blue Danube Records) einer gemeinsamen CD mit dem Gitarristen Karl Ratzer, vermerkt Michael Köhlmeier zu der Entstehung dieser Aufnahmen folgendes: <br /><br />"Bevor wir zum ersten Mal ins Studio gingen, machten Karl und ich einen langen Spaziergang am Bach entlang. Damals kannten wir uns noch nicht sehr gut. <br />Wir wußten nicht, wie wir arbeiten, Wir kannten nur die Ergebnisse, wußten aber nicht, wie sie zustande kamen. Ich hatte Angst, daß ich schlecht vorbereitet bin. Das heißt, ich befürchtete, Karl versteht unter Vorbereitung etwas anderes als ich; daß er sich denkt, ich habe die Geschichten, die ich erzählen will, haarklein aufgeschrieben und lese sie vor dem Mikrophon vom Papier. <br />Er fragte, ob ich ihm ungefähr sagen könnte, wovon die Geschichten handeln. Das hat mich dann etwas beruhigt. Ich dachte: Wenn er wirklich die befürchteten harten Erwartungen an mich hatte, dann würde er nicht so konjunktivisch formulieren. <br />Ich sagte: "Nein, ich weiß es nicht."<br />"Gut," sagte er.<br />"Ich bin überhaupt nicht vorbereitet," sagte ich.<br />"Sehr gut," sagte er.<br />"Ich weiß zwar nicht, was ich erzählen werde," sagte ich, "aber ich habe eine Ahnung davon, ich rieche das Aroma der Geschichten."<br />"Ich weiß, was du meinst," sagte er. Und dann sagte er, er habe befürchtet, ich sei haarklein vorbereitet, mit Papier und so. "Die Vorbereitung," sagte er, "das ist das, was wir bereits gemacht haben." <br />"Was meinst du mit bisher?" fragte ich ihn.<br />"In unserem bisherigen Leben," sagte er.<br />Und dann gingen wir ins Studio und haben uns gegenseitig zugehört."<br /><br />– Michael Köhlmeier (<em>Das Märchen und der Blues</em>, 1999, CD Covertext)<br /><br /><br />Ein anekdotischer Begleittext der mir sehr gut gefällt. Ebenso die Aufnahmen, welche eine sehr angenehme Wärme und Nähe ausstrahlen. Ein gänzlich unprätenziöses und verschmitztes kleines Schmuckstück. Köhlmeier besitzt eine Stimme, der man gerne zuhört. Ratzer ergänzt und improvisiert absolut kongenial. Nichts ist überflüssig, alles sitzt genau am richtigen Fleck. Herrlich! <br />Die CD ist eine sehr geglücktes Beispiel für die Verbindung von gesprochenem Wort und Musik, von Spontaneität und Einfühlungsvermögen. Zwei Geschichtenerzähler, grossartige Erzählkunst. <br /><br />Wunderbar. <br />SO wird Kunst gemacht. <br />In dem man aufmerksam ist. <br /><br /><br />LINKS <br /><a href="http://de.wikipedia.org/wiki/Michael_K%C3%B6hlmeier" target="_blank">Michael Köhlmeier, Bio & Bibliographie - Wikipedia </a><br /><a href="http://www.amazon.de/s/ref=nb_ss_m_1_4?__mk_de_DE=%C5M%C5Z%D5%D1&url=search-alias%3Dpopular&field-keywords=k%F6hlmeier+michael&sprefix=k%F6hl" target="_blank">Von Köhlmeier erhältlich (Auswahl)</a><br /><a href="http://de.wikipedia.org/wiki/Karl_Ratzer" target="_blank">Karl Ratzer Bio & Auswahl-Discographie - Wikipedia</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-4689898042714587412008-11-29T19:57:00.007+01:002008-12-17T20:31:05.957+01:00The oscillation between humour and drama (Paul Auster)"Life is both tragic and funny, both absurd and profoundly meaningful. More or less unconsciously, I've tried to embrace this double aspect of experience in the stories I've written – both novels and screenplays. I feel it's the most honest, most truthful way of looking at the world, and when I think of some of the writers I like best – Shakespeare, Cervantes, Dickens, Kafka, Beckett – they all turn out to be masters of combining the light with the dark, the strange with the familiar. <em>The Inner Life of Martin Frost</em> is a very curious story. A story about a man who writes a story about a man who writes a story – and the story inside the story, the film we watch from the moment Martin wakes up to find Claire sleeping beside him to the moment Martin stops typing and looks out the window, is so wild and implausible, so crazy and unpredictable, that without some doses of humour, it would have been unbearably heavy. At the same time, I think the funny bits underscore the pathos of Martin's situation. The tire scene, for example. The viewer knows that Claire has just left the car and run off into the woods, and here comes Martin pushing a tire down the road, unaware that the woman he loves has just disappeared – and suddenly the tire gets away from him. It's classic silent comedy: man versus object. He runs after the tire – only to have it bounce off a stone and knock him to the ground. Funny, but also pathetic. The same goes for Fortunato, with all his weird comments, bad jokes, and ridiculous short stories. He shows up when Martin is at his most abject, suffering over the loss of Claire, and amusing as I find this character to be, his presence underscores the powerful loneliness that has enveloped Martin."<br /><br />– Paul Auster, in an interview which Céline Curiol conducted with him on August 22, 2006, to be found in <em>The Inner Life of Martin Frost</em> by Paul Auster (Picador/Henry Holt and Company, New York, 2007, page 16). <br /><br />LINKS:<br /><a href="http://en.wikipedia.org/wiki/Paul_Auster" target="_blank">Paul Auster Bio & Bibliography - Wikipedia</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-47042509033535508932008-11-28T22:43:00.011+01:002008-12-01T20:30:39.991+01:00"Tu was du liebst, und liebe was du tust": Ray Bradbury im Gespräch<a href="http://www.flickr.com/photos/alan-light/332925230/" target="_blank">Photo by Alan Light 1975</a><br /><br />"Ich wache jeden Tag auf und sage, heute ist schon wieder Weinachten: ich bin am Leben, und kann schreiben." (Ray Bradbury)<br /><br />Ray Bradbury, am 22. August 1920 in Waukegan, Illinois (USA) geboren, nähert sich bald seinem 90.ten Geburtstag. Als Denis Scheck ihn nach seinem Rezept für ein erfülltes Leben fragte, entgegnete Bradbury, u. a., mit folgendem Rat: "Tust du was du liebst? (...) Wenn nicht, dann ändere das, sofort."<br /><br />Auf Deutsch liegt sein Werk im Verlag Diogenes vor.<br /><br />"Ich glaube nicht an Lehrer, ich glaube an Bibliotheken." (Ray Bradbury)<br /><br />Die vollständige Deutschlandfunk (DLF) Sendung vom 27.11.2008, aus deren "Büchermarkt" Reihe (Sendezeit 16:10 - 16:30 Uhr, täglich!), kann man unter www.dradio als PODCAST anhören:<br /><a href="http://ondemand-mp3.dradio.de/file/dradio/2008/11/27/dlf_20081127_1609_1ae985c0.mp3" target="_blank">Podcast - Ray Bradbury im Gespräch mit Denis Scheck</a><br /><br />"Ich habe mehr Freunde durch Automobilunglücke verloren, als durch Kriege." (Ray Bradbury)<br /><br />WEITERE LINKS:<br /><a href="http://www.raybradbury.com/" target="_blank">Official Ray Bradbury author site</a><br /><a href="http://www.raybradbury.com/at_home_clips.html" target="_blank">Ray in conversation in his L.A. home (videos)</a><br /><a href="http://en.wikipedia.org/wiki/Ray_Bradbury" target="_blank">Wikipedia entry (English)</a><br /><a href="http://de.wikipedia.org/wiki/Ray_Bradbury" target="_blank">Wikipedia Eintrag (Deutsch) mit Auswahl-Bibliographie</a><br /><a href="http://www.diogenes.ch/leser/autoren/a-z/b/bradbury_ray/biographie" target="_blank">Ray Bradbury bei Diogenes Verlag</a><br /><a href="http://www.literaturblatt.de/heftarchiv/heftarchiv-2007/62007-inhaltsverzeichnis-der-gedrucken-ausgabe/ray-bradbury-und-die-maenner-des-herbstes.html" target="_blank">Ingrid Mylo über ihre Begenung mit Ray Bradbury</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-22600791881084052842008-11-28T22:29:00.008+01:002008-12-17T20:32:02.887+01:00Writing can certainly be dangerous (Paul Auster)<strong>Céline Curiol:</strong> (...) Do you think writing is a dangerous weapon. Can it kill? <br /><br /><strong>Paul Auster:</strong> Writing can certainly be dangerous. Dangerous for the reader – if something is powerful enough to change his view of the world – and dangerous for the writer. Think of how many writers were murdered by Stalin: Osip Mandelstam, Isac Babel, untold others. Think of the fatwa against Salman Rushdie. Think of all the imprisoned writers in the world today. But can writing kill? No, not literally. A book isn't a machine gun or an electric chair. And yet, strange things sometimes happen that make you stop and wonder. The case of the French writer Louis-René des Fôrets, for instance. I first heard about it when I was living in Paris in the early seventies, and it haunted me so much that I wound up incorporating it into one of my novels years later, Oracle Night. Des Fôrets was a promising young writer in the fifties who had published one novel and one collection of stories. Then he wrote a narrative poem in which a child drowns in the sea. Not long after the book was published, his own child drowned. There might not have been any rational link between the imaginary death and the real death, but des Fôrets was so shattered by the experience that he stopped writing for decades. A terrible story. It's not hard to understand how he felt. <br /><br />– Paul Auster, interviewed by Céline Curiol in 2006, excerpt taken from the interview that precedes the screenplay in <em>The Inner Life of Martin Frost</em> by Paul Auster (Picador/Henry Holt and Company, New York, 2007, page 18). <br /><br />LINKS: <br /><a href="http://en.wikipedia.org/wiki/Paul_Auster" target="_blank">Paul Auster Bio & Bibliography - Wikipedia</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-61020741957391180252008-11-17T22:44:00.011+01:002008-12-01T19:03:22.151+01:00Pebbles in Ice (George Mackay Brown / Gunnie Moberg)<a href="http://www.georgemackaybrown.co.uk/gmb/images/Icepebbles2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 184px; height: 285px;" src="http://www.georgemackaybrown.co.uk/gmb/images/Icepebbles2.jpg" border="0" alt="" /></a><br />© Gunnie Moberg, Stromness, Orkney (from <em>Orkney: Pictures and Poems</em>, 1996)<br /><br /><br /><strong>Pebbles in Ice</strong><br /><br />A glacier dragged us<br />All the way from the north.<br /><br />Did he dump us like a dustman?<br /><br />No, he dropped us<br />Here, from his hand, like a<br />jeweller.<br /><br />© George Mackay Brown (from <em>Orkney: Pictures and Poems</em>, 1996) <br /><br /><br />Little could Gunnie Moberg know, that <em>Orkney: Pictures and Poems</em> would become the swan song of the poet with whom she'd already collaborated on several book projects in the 1980s, when she asked him, in the mid-nineties, if he would write short captions for those photographs that were to be gathered together for a new book accompaning a retrospective exhibition at Piers Arts Centre in Stromness. <br /><br />His reply, that he thought he could find something to say about them, turned out to be quite an understatement... <br /><br />Over a period of about half a year, both looked at a display of the pictures set up in his sitting room together. All this time, she had no idea that he was not writing captions, but remarkable poems instead. <br /><br />The 48 poems, that Brown surprised her with, interact marvelously with Moberg's photographic aptitude at capturing patterns and textures in the natural world. The project turned into a beautiful combination of the word and the visual. <br /><br />He died before the book was published, but the collaboration was complete, and has been published as <em>Orkney: Pictures and Poems</em> (1996, hardcover and paperback) by Colin Baxter Photography Ltd, Scotland. <br /><br />GMB was not only a gifted storyteller, but a very perceptive poet as well. The remarkable interaction documented in this book is a moving closure to his life as "the singer of the islands". <br />He left behind a nourishing and astonishing body of work, a gift that remains well-worth exploring, and that the generations that follow should continue to treasure. <br /><br />LINKS<br /><a href="http://www.colinbaxter.co.uk/Home_files/2008Catalogue.pdf" target="_blank">Website Colin Baxter Photography Ltd (Publisher of Orkney: Pictures and Poems)</a><br /><br /><a href="http://www.georgemackaybrown.co.uk/" target="_blank">GMB official author site (very good, has an exhaustive bibliography!)</a><br /><br /><a href="http://www.independent.co.uk/news/obituaries/gunnie-moberg-399132.html" target="_blank">The Independent - Obituary Gunnie Moberg</a><br /><br /><a href="http://www.shetland-news.co.uk/opinion/Obituary%20Gunnie%20Moberg-McPhail.htm" target="_blank">Shetland News - Obituary Gunnie Moberg</a><br /><br /><a href="http://www.timesonline.co.uk/tol/comment/obituaries/article2834663.ece" target="_blank">The Times Obituary - Gunnie Moberg</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-66037104836103713512008-11-17T15:59:00.014+01:002008-12-01T19:00:51.093+01:00Shags: Mother and Chick (George Mackay Brown / Gunnie Moberg)<a href="http://www.georgemackaybrown.co.uk/gmb/images/Shags2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 285px; height: 183px;" src="http://www.georgemackaybrown.co.uk/gmb/images/Shags2.jpg" border="0" alt="" /></a><br />© Gunnie Moberg (from <em>Orkney: Pictures and Poems</em>, 1996)<br /><br /><br /><strong>Shags: Mother and Chick</strong><br /><br />Young one,<br />You are to thank the artificer of birds always<br /><br />You have not swan's beauty<br />Nor kestrel's cruel plummet and strike<br /><br />Nor lark's broken<br />Scattering necklace of notes<br />Along the red west<br /><br />Nor duck's clown procession<br />From barn to farmyard<br /><br />Nor gull's blizzarding<br />After ploughs and fishing boats.<br /><br />To be a cormorant <br />Is to sit on a sea rock<br />A lean dark tide-watcher;<br />Of passing interest<br />To photographer and poet only.<br /><br />© George Mackay Brown (from <em>Orkney: Pictures and Poems</em>, 1996)<br /><br /><br />Gun Margoth ("Gunnie") Moberg and George Mackay Brown published several collaborations in the eighties, among them <em>The Loom of Light</em> in 1986, prior to the publication of <em>Orkney: Pictures and Poems</em>, in 1996. <br /><br />Moberg, artist and photographer, was born in Göteborg, Sweden on 8 May 1941. She moved to Orkney with her husband Tam MacPhail in 1976. Her substantial body of work included photographs of the people of the islands, as well as landscape and wildlife photography. She died in Stromness, Orkney on 31 October 2007. <br /><blockquote>"Her pictures reflected the stark beauty of their wind-stripped landscapes and wave-scoured stones. In images of a ruined neolithic village outlined by driven snow, of white geese teetering across an expanse of grey ice, of a green field cut geometrically by the pencil-black shadow of a lighthouse and by a line of pale sheep glowing in the setting sun, she achieved an almost Japanese spareness of pattern and colour. (...) what marked her out was the way she caught the patterns made by treeless hillsides and jagged coastlines, and used the low, rapidly changing, northern light — a nightmare for most photographers — as confidently as a studio lamp." (Excerpts from The Times, November 9, 2007 obituary)</blockquote><br />Brown was born on 17 October 1921 in Stromness, where he died on 13 April 1996. As poet, author and dramatist, he spent most of his life in his native islands and from them drew most of his inspiration. He was deeply interested in history and archaeology and immersed himself in the traditions and myths of the islands. He also drew upon the Icelandic <em>Orkneyinga Saga</em>, especially in novels and short stories. His collections of essays include reflections of life in the Orkneys and on the history of the islands. <br />Several books also collect those observations from the weekly column that he wrote in <em>The Orcadian</em> for several decades, thus he has become a chronicler of life of these Scottish islands in more than one way, in his battle against loss of traditions and memory. Even several official tourist guides to Stromness and the Orkney Islands boast texts of his. He left behind a wealth of work, more than 80 rewarding books, waiting to be explored and cherished. <br /><br />LINKS<br /><a href="http://www.georgemackaybrown.co.uk/" target="_blank">GMB official author site (very good, has an exhaustive bibliography!)</a><br /><br /><a href="http://www.independent.co.uk/news/obituaries/gunnie-moberg-399132.html" target="_blank">The Independent - Obituary Gunnie Moberg</a><br /><br /><a href="http://www.shetland-news.co.uk/opinion/Obituary%20Gunnie%20Moberg-McPhail.htm" target="_blank">Shetland News - Obituary Gunnie Moberg</a><br /><br /><a href="http://www.timesonline.co.uk/tol/comment/obituaries/article2834663.ece" target="_blank">The Times Obituary - Gunnie Moberg</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-84974862656604139002008-11-17T15:24:00.002+01:002008-11-17T15:34:11.308+01:00Instruction Pieces No. 7INSTRUCTION PIECES No. 7<br /><br />1.<br />The multitude of images continuously projected of God, must turn us all <br />into television receivers perpetually on the blink, <br />like so many bullets in a discarded brain.<br /><br />2.<br />Are we really all eyes in the same head, <br />like so many stars perceived as belonging to one firmament?<br /><br />3.<br />Or are we, each of us, on loan <br />from one plane of existence to another reality?<br /><br />© George H.E. Koehler, 2002george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-17439409861659330062008-11-15T01:03:00.013+01:002008-11-29T19:50:38.421+01:00Openness to all forms of being, and to all manner of perception (Henry David Thoreau)<strong>Tolerance accepts plurality:</strong><br /><br />"Why should we be in such desperate haste to succeed, and in such desperate enterprises. If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away." – Henry David Thoreau (1817-1862)<br /><br />LINKS<br /><a href="http://onlinebooks.library.upenn.edu/webbin/gutbook/author?name=Thoreau%2C%20Henry%20David%2C%201817-1862" target="_blank">Various books by Thoreau available online - at Project Gutenberg</a><br /><br /><a href="http://eserver.org/thoreau/mewoods.html" target="_blank">The Maine Woods by H. D. Thoreau - available online</a><br /><br /><a href="http://en.wikipedia.org/wiki/Henry_David_Thoreau" target="_blank">Thoreau Biography (Wikipedia)</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-54720845714953688322008-11-15T00:01:00.003+01:002008-11-17T15:29:59.650+01:00Instruction Pieces No. 6INSTRUCTION PIECES No. 6<br /><br />1.<br />Peddling a broken heart is an indescribable waste <br />of life energy and time. <br />Learn to become a mountain; <br />a mountain always seems to be at peace, <br />even in the most tormenting environment. <br /><br />2.<br />Try to nourish, without striving, like water does.<br /><br />3.<br />Securities are imaginings – to hold onto <br />wishes for a secured life <br />is living within a dream of life, <br />and not a real life.<br /><br />4.<br />Expect thunder from a quiet sky.<br /><br />© George H.E. Koehler, 2001george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0tag:blogger.com,1999:blog-5087551353294120722.post-53986395913913268202008-11-14T19:48:00.010+01:002008-12-17T19:59:15.901+01:00HÖRTIPP: Aufgepaßt, Philip K. Dick Fans! Hörspiele im Dezember<a href="http://upload.wikimedia.org/wikipedia/commons/8/8b/Philip_k_dick_drawing.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 233px; height: 307px;" src="http://upload.wikimedia.org/wikipedia/commons/8/8b/Philip_k_dick_drawing.jpg" border="0" alt="" /></a>Portrait Philip K. Dicks von Pete Welsch<br /><br />Den 80.ten Geburtstag des – am 02. März 1982 bereits mit 54 Jahren verstorbenen – eklektischen Schriftstellers, nimmt der Deutschlandfunk zum Anlaß einige radiophonische Zuckungen aus dem <em>conspiracy theory</em>-Universum des PHILIP KINDRED DICK (geboren 16. Dezember 1928) zu wiederholen. <br /><br />Mit diesen 3 Hörspielen beschert das Dezemberprogramm des DLF seinen Zuhörern einen Jahresausklang mit typisch mißtrauischem Dick'schen Blick auf die Wirklichkeiten, die der Mensch im Stande ist wahr zu nehmen... <br /><br />Mit der <em>Mitternachtskrimi</em> Sendereihe begleitet der DLF seine Zuhörer bereits seit ca. 4 Jahrzehnten in den Frühmorgen vom Freitag zum Samstag, und dies mit sehr unterschiedlichen Kriminalhörspielen, Psychodramen, Sozialstudien, und Kriminalgrotesken. Dabei beglückt uns der Kölner Sender nicht nur mit neueren Produktionen, sondern auch mit Wiederholungen diverser Klassiker und skurrilen Fundstücken aus den Archiven. <br /><br />Zum Jahresende 2008 machen - wie im letzten Jahr - die Krimis den Sendeplatz für einen Science-Fiction Schwerpunkt frei. In diesem Jahr können wir einige akustische Splitter von Dicks phantasievollen paranoiden Welten erlauschen, dessen erfindungsreicher Weltenschöpfer wohl einer der originellsten, wenn nicht der wesentliche Entwickler von Verschwörungstheorie-Romanen schlechthin betrachtet werden kann. <br /><br />Die Sendetermine (mit Sendebeginn stets um 00:05 Uhr) sind wie folgt: <br /><br /><strong>06.12.2008</strong> Die Kolonie<br /><strong>13.12.2008</strong> Zeit aus den Fugen<br /><strong>20.12.2008</strong> Träumen Androiden?<br /><br />Genießen! Und am besten die Finger über eure Aufnahmetasten bereit halten! <br /><br /><br /><strong>Nähere Angaben zu den Hörspielen:<br /><br />06.12.2008 • 00:05 Uhr<br />Die Kolonie</strong><br />Science-Fiction-Hörspiel nach Philip K. Dick<br /><br /><strong>Regie:</strong> Andreas Weber-Schäfer<br /><strong>Produktion:</strong> SDR, 1986<br /><strong>Dauer:</strong> 51'40"<br /><strong>Erstsendung:</strong> 02.06.1986<br /><br /><strong>Sprecher:</strong><br />Lawrence Hall - Klaus Herm<br />David Friendly - Peter Rühring<br />Stella Morrison - Eva Garg<br />Major Wood - Claus Boysen<br />Gail Thomas - Hedi Kriegeskotte<br />Robert Hendricks - Siegfried Gressl<br />u.a.<br /><br />Die Kurzgeschichte "Colony" erschien 1953.<br /><br />---------------<br /><br /><strong>13.12.2008 • 00:05 Uhr<br />Zeit aus den Fugen</strong><br />Science-Fiction-Hörspiel nach Philip K. Dick<br />Aus dem Amerikanischen übersetzt von Gerd Burger und Barbara Krohn<br /><br /><strong>Komposition:</strong> Thomas Bogenberger<br /><strong>Bearbeitung und Regie:</strong> Marina Dietz<br /><strong>Produktion:</strong> BR 2001<br /><strong>Dauer:</strong> 53'35<br /><strong>Erstsendung:</strong> 29.04.2001<br /><br /><strong>Sprecher:</strong><br />Ragle Gumm - Martin Umbach<br />Victor Nielson - Michael Tregor<br />Margo Nielson - Christiane Rossbach<br />Junie Black - Tanja Schleiff<br />Bill Black - Thomas Meinhardt<br />Kay Kesselmann - Elisabeth Endriss<br />u.a.<br /><br />Die Romanvorlage "Time out of Joint" erschien 1959. Sie diente dem Film "The Truman Show" (1998) ebenfalls als Vorlage, auch wenn Dicks Name nicht in im Nachspann erwähnt wird.<br /><br />--------------------<br /><br /><strong>20.12.2008 • 00:05 Uhr<br />Träumen Androiden?</strong><br />Science-Fiction-Hörspiel nach Philip K. Dick<br />Aus dem Amerikanischen übersetzt von Norbert Wölfl<br /><br /><strong>Bearbeitung und Regie:</strong> Marina Dietz<br /><strong>Komposition:</strong> Thomas Bogenberger<br /><strong>Produktion:</strong> BR 1999<br /><strong>Erstsendung:</strong> 25.10.1999<br /><br /><strong>Sprecher:</strong> <br />Rick Deckard - Udo Wachtveitel<br />Ireen - Annette Wunsch<br />Isodore - Arne Elsholz<br />Bryant - Michael Mendl<br />Rachael - Sophie von Kessel<br />Phil - Max Tidorf<br />u.a.<br /><br />Die Romanvorlage "Do Androids Dream of Electric Sheep?" erschien 1968. Der Roman wurde 1982 unter dem Titel "Blade Runner", mit Harrison Ford in der Hauptrolle, von Ridley Scott verfilmt.<br /><br />LINK<br /><a href="http://www.dradio.de/dlf/vorschau/" target="_blank">Deutschlandfunk - Programm Vor- und Rückschau</a>george henry etnea koehlerhttp://www.blogger.com/profile/13933143510650610385noreply@blogger.com0