Mirko Driller hat einen hervorragenden FAQ über Hörspiele geschrieben.

das einsame schuhe am straßenrand-projekt.

suppposé verlag + label: cds und lps von erwin schrödinger, konrad bayer, michael snow, hubert fichte u.a.

Google News Deutschland (beta)

this is a magazine issue 9: the revolver issue.

heal-west-germans man

• Richard Foreman: Now That Communism Is Dead My Life Feels Empty und andere pdf-Books in den /ubu-Editions

• Robin Rimbaud aka Scanner: BBC radio works @ ubuweb (mp3s)

The old sound was alcoholic. Spirit high. In the early 50's and early 60's pot high music. We're already past the A head, acid tripper stage. But plastic. You can hear it in the music. You can get high on the music, straight. Music's never loud enough. Taxi drivers listen to the news and worry about muggings. You should stick your head in a speaker. Louder, louder, louder. Do it Frankie do it. Oh, how, how. Oh do it, do it. The glops are wearing your clothes now and listening. Someone should paint them in azure stripes and mail them somewhere. It's like holding your arm rigid in a furry black sweater, with your hand bent so it seems amputated. When you straighten it out you get a present on two counts. The View from the Bandstand by Lou Reed

This is a web version of Aspen, a multimedia magazine of the arts originally published from 1965 to 1971. Each issue of Aspen was delivered to subscribers in a box, which contained a variety of media: printed matter in different formats, phonograph recordings, and even a reel of Super-8 film. About Aspen Magazine Aspen was conceived by Phyllis Johnson, a former editor for Women's Wear Daily and Advertising Age. While wintering in Aspen, Colorado, she got the idea for a multimedia magazine, designed by artists, that would showcase "culture along with play." So in the winter of 1965, she published her first issue. "We wanted to get away from the bound magazine format, which is really quite restrictive," said Johnson. Each issue had a new designer and editor. "Aspen," Johnson said, "should be a time capsule of a certain period, point of view, or person." The subject matter of issue number 1 and issue number 2 stayed close to the magazine's namesake ski spa, with features on Aspen's film and music festivals, skiing, mountain wildlife, and local architecture. Andy Warhol and David Dalton broke that mold with issue number 3, the superb Pop Art issue, devoted to New York art and counterculture scenes. Quentin Fiore designed issue number 4, a McLuhanesque look at our media-made society. The next issue, a double issue number 5+6, was an imaginative, wide-ranging look at conceptual art, minimalist art, and postmodern critical theory. Issue number 6A, a freebie sent to ever-patient subscribers, was a review of the performance art scene centered at New York's Judson Gallery. Next came issue number 7, exploring new voices in British arts and culture. Issue number 8, designed by George Maciunas and edited by Dan Graham, was dominated by artists of the Fluxus group. Issue number 9 plumbed the art and literature of the psychedelic drug movement. The last Aspen, issue number 10, was devoted to Asia and Asian art history. If Aspen was an art director's dream, it was also an advertiser's nightmare. The ads, stashed at the bottom of the box, were easily ignored. And although Aspen was supposed to publish quarterly, in reality the publication date of each issue was as much of a surprise as the contents. "All the artists are such shadowy characters," publisher Johnson said, "that it takes months to track them down." After issue 5+6, there were no more ads in the magazine. Perhaps Aspen was a folly, but it was a vastly pleasurable one, with a significant place in art history. The list of contributors included some of the most interesting artists of the 20th Century. And as an examplar of creative publishing, Aspen was a wonder. Its contents, however, are all but lost: few copies of Aspen have survived. The aim of this web site is to make these contents accessible again.

• Fluxus Anthology, 30th Anniversary: 26 mp3s

• Ubuweb: Sound:

  Originally focusing on Sound Poetry proper, UbuWeb's Sound section has grown to encompass all types of sound art, historical and contemporary. Beginning with pioneers such as reading his "Calligrammes" in 1913, and proceeding to current practitioners such as or, UbuWeb Sound surveys the entire 20th century and beyond. Categories include Dadaism, Futurism, early 20th century literary experiments, musique concrete, electronic music, Fluxus, Beat sound works, minimalist and process works, performance art, plunderphonics and sampling, and digital glitch works, to name just a few. As the practices of sound art continue to evolve, categories become increasingly irrelevant, a fact UbuWeb embraces. Hence, our artists are listed alphabetically instead of categorically. UbuWeb embraces non-proprietary, open source media. As such, most of our newer files are encoded in the universally readable MP3 format. However, when a recording is still in print and available, we only serve it in streaming RealMedia; we don't wish to take whatever small profits might be made from those taking the efforts to gather, manufacture and properly distribute such recordings. Instead, we hope that by streaming these works, it will serve as an enticement for UbuWeb visitors to support the small labels making this work available. All MP3s served on UbuWeb are either out-of-print, incredibly difficult to find, or, in our opinion, absurdly overpriced.

Lehmmoscheen in Mali, und wie jedesmal der wunsch, in fehler gäbe es häufiger updates.

jugendlichen-einheitshaarschnitt, schlecht gezupfte augenbrauen, nasenpershing, zuviel schminke, fake gucci-shades, polyacryl-neckholder ueberm wonderbra, stretchschlaghose in beige wo oben string mit schmetterlingsapplikation rauskuckt, billige sandaletten, unter-achsel handtasche.

das auge von frau mutant, und dass ich wünschte, man merkte, wie liebevoll sie dabei ist.

3. Bloggers Rise and Fall: For a few years, no one blogs alone. People come together all over the world to create an emergent international democracy. Dreams are put forward of a global civil society, and global governmental institutions that set limits on the power of wealthy families and large corporations. For a moment, it seems possible that democracy and the commons will prosper. Blogger Councils and organizations like Moveon, Changemakers, and Commonweal, reassert the rights of ordinary people. "Hyperlinks subvert hierarchy." Government and philanthropy become transparent and accountable to ordinary citizens. Heaven on earth. Then, it is discovered that the top 400 families and the top 500 corporations have been moving their wealth offshore, and have effectively defunded America, leaving bloggers with Paypal for pensions, medicare, and medicaid. The Bahamas are thriving. NY is not. Compromises are made, and wealth and industry flow back on their own terms, softened by largess, and trumpeted by captive media. Once again, justice is served and all are as happy as reasonably possible in the best of all possible worlds, where most things are a necessary evil.

Happy Tutor, Wealth Bondage via Rottweiler jr.

Madame G doesn't "live in Manhattan," she dwells in a 4,000 square foot marble palace on the East Side, except when at her country estate. I have been trying to recruit her to help us in our Philanthropic Efforts here at WB. If you would like to be instructed in the Perverse Joys of Giving by a whip-wielding scion of the Filthy Rich, let me know, and I may be able to set up a seance. If you are worth $10 mil or more Madame G might find you and your shrunken little net worth amusing. Strictly pro bono publico.

Candidia Cruikshanks, Wealth Bondage