LOTTO MAGAZIN UND DAS SPIEL UMS GANZE. by Matthias Straub

There is an idea. It says: human identity consists o Lotto

Es gibt eine Idee. Sie lautet: die menschliche Identi

tity. Every individual human being tries its best to 1 aus 6

Mensch ist bestrebt, diese sechs Bereiche stets in O

firm. If one fails, the loss of identity is inevitabl

droht der Identitätsverlust. Zu den sechs Zonen geh

relationship to other people, an emotional conn

eine emotionale Verbindung zu bestimmten Orten, e

with objects and things, an integretion in certain

ständen, eine Integration in bestimmten Organisatio

relation to power and obsession and last a dynam

zu Macht und Beherrschung und nicht zuletzt einen d

And this is what the first issue is all about. The “

Wertesystem. Und darum geht es in der ersten Aus

values is looked into by as many different angle

tediskussion soll in möglichst unterschiedlichen A

ons as possible. Aspects like religion, philosoph

und künstlerisch dargestellt werden. Dabei werden

science and politics are considered within this co

be und Leidenschaft, Moral und Ethik, Wissenschaf

constitution, which is thereby explored and reck

des menschlichen Wesens, das wir neu entdecken

our complete identity and stability as an individu

gewinnen wir – mit etwas Glück – mehr Identität un

The theory of “six stable zones of human identit

Die Theorie der „Sechs Stabilen Zonen“ stammt v

and shall be the basis of the conceptual, asthetica

lage für das gestalterische und inhaltliche Grundge

Each issue is dedicated to one of the six zones. L gabe gewidmet sein. Das Spiel kann beginnen.

of six different zones, which fit together as an en-

ität setzt sich aus sechs Zonen zusammen. Und der

o keep these different areas of identity stable and

Ordnung, also stabil zu halten. Gelingt es ihm nicht,

le. The six zones mentioned consist of: a sound

hören: ein solides Verhältnis zu anderen Menschen,

nection to different places, a mental association

eine Beziehung zu persönlichen Dingen und Gegen-

organisations and communities, a well-balanced

onen und Gemeinschaften, eine wohldosierte Nähe

mic definition of ideals: ideas in a value system.

dynamischen Begriff von Idealismus: das Ideen- und

“idea” in a sense of a discourse about humanistic

sgabe. Die „Idee“ im Sinne der humanistischen Wer-

es, grades of abstraction and artistic interpretati-

Ausprägungen möglichst facettenreich, abstrahiert

hy, devotion and avocation, morality and ethics,

n auch Aspekte wie Religiosität, Philosophie, Hinga-

ontext as well. And each little part of the human

ft und Politik beleuchtet. Und mit jedem kleinen Teil

koned from another point of view helps us to find

n oder aus einem anderen Blickwinkel betrachten,

ual and within human society.

nd Stabilität als Individuum und in der Gesellschaft.

ty” was developed by Dr. Roswita Königswieser

von Dr. Roswita Königswieser und dient als Grund-

al and contentwise framework of Lotto Magazin.

erüst von Lotto Magazin. Jeder Zone soll eine Aus-

Let us gamble.

content

olaf breuning

Julia Neuhaus

A gregarious animal

Fading Tradition

MORALITY / page 10

Tradition / page 60

How differently do humans act if they appear in groups

How do we keep respect for the values of our ancestors?

larger than two persons?

Is there any worth in worshipping traditions?

Who sets the rules and standards of morality? michael straub marcel frey

A scientific approach ...

STATE OF THE ART

SCIENCE / page 66

politics / page 20

Is there a relation between science and art?

What are signs of possession?

If so, how can we link it to each other and generate

What are the meanings of symbols and simplicity

benefit from the characteristics of different disciplines?

if it comes to proclaiming a state? Kim Keever Bastian Steineck

Eroded Men/landscapes

A man, a country

Philosophy / page 68

politics / page 23

Is the creation of outer worlds in strictly

What does it take to create a new state?

defined spaces a way to overcome humanity?

Are there advantages in separation from a larger scale?

Do we believe in technical opportunites?

Markus Keibel

Lisa Jung

One Evolutionary Way to see

A PRIORI

PHILOSOPHY / page 26

PHILOSOPHY / page 76

How can we describe a neutral glimpse from the outside

How can we disctinct complex situations?

of our viewpoints?

Can we rely on the ideas of ancient philosophy?

Are there any ideas and systems larger than ours?

When does an abstract idea become non-fiction?

julien Berthier

Ruth Weigand

peu efficient

SEARCH FOR ASPIRATION

PHILOSOPHY / page 32

devotion / page 84

How much effort does it take to fulfill man’s deepest needs?

How long can we search for aspiration?

How much illusion do we demand – and deserve?

Do we seek meaning in emptiness?

Is there a salvation in effort?

Is there something helpful out in the white?

Aidin Zimmermann

Thomas Clausen

PHILOSOPHY / page 40, 58, 82, 114, 160

Gert Hof: Uplight

If it comes to building an utopia: which would be the

religion / page 90

rules of a phantastic self-made society?

Is there a connection between asthetics, work and religion?

How complex is human cohabitation?

Can we praise beauty by blowing up the sky?

Alexander Binder

Anthony Lycett

Gnosis

THE NEW OLD-FASHIONED

MORALITY / page 42

tradition / page 98

How much can we rely on spiritual beliefs?

How can we find stable values in the modern times?

Is believing in a higher constitution sustainable?

Is the tribute to timeless visuals an adquate answer to everyday problems?

Thomas Clausen & Katja Schloz Legends of the Fall

Johannes Wald

AVOCATION / page 48

ekphrasis

What have men in common who made history in the

avocation / page 106

same decades?

Is a perfect description more trustworthy than reality?

Why do we still believe in seniority? Peter Thomas David Spaeth

Fünf zweiunddreiSSigstel Zoll

Chris Hammer

halten die Welt zusammen

DEDICATION / page 56

DEVOTION / page 110

How much can we devote ourselves to our heroes?

Why do grown-up men spend hours and hours working

Are we incorporating identity by accepting signs and

on technical issues – using toy equipment?

symbols of our idols.

Is there a reason for being trapped in childhood?

minmin peng

Hannah Seven & David Spaeth

western world

HArry S. Morgan

TRADITION / page 118

morality / page 152

How is the Western world perceived by people in Asia?

Who is setting the standards for morality?

What are the common views on science, religion, art,

Can we define our own limitations for integrated actions?

politics and family values?

Can porn deliver a framework for relations?

MATTHIEU LAVANCHY

Adrian Witschi & Ivo Ruch

& JONAS MARGUET

Illuminati

BACH FLOWER THERAPY

religion / page 162

science / page 123

Are hope and expectations an adequate way to alter

If one creates a non-scientific cure for any kind of pain,

things?

how is it possible to attract believers and followers over

What happens if our goals are achieved – and nothing

the decades?

changes?

Do we need something to believe in to get healed?

When is a mission finally accomplished?

Stefan Hanser

valérie belin

The concrete ornament

Bodybuilders

science / page 130

devotion / page 166

Considering the most simple things in life, can I we find

Is our body the modern temple of our desires?

aspects of art in every little thing?

Can we distract ourslves from our deepest concerns by

Are there ways to automatically generate aesthetics and art?

worshipping a beauty ideal?

Dawin Meckel & Neale Lytollis

Tatzu nishi

LOST IN THE MAKING

FAILURE OF PERCEPTION

Tradition / page 138

religion / page 172

How deep can we get into something as

What is real and where does fiction start?

lifetime strangers?

Are we willing to believe in things we

Can single persons influence people‘s minds, cities,

see rather than in facts?

scenes and art?

Can we project our outside onto the inside?

ANDREA GRAMBOW & JOSCHA KIRCHKNOPF

benedikt rugar

THE JESI KNIGHTS

EXPLAIN, EXPRESS

religion / page 142

philosophy / page 180

Do we need a tale to believe in what we see?

What is the connection between industry and morality?

Is there a linkage between religious ideas and comedy?

Between succession and surrender?

How can we connect fashion, spirituality and

Between reasonability and delirium?

entertainment? Bogdan dragos & sebastian kubitschko Tobi Kirsch

EXPLAIN, EXPRESS

We shouldn’t be afraid of youth

philosophy / page 180

tradition / page 148

Where does order link to logic?

Is there any group of individuals that is digging deeper

Do we prefer emotions to intellectual matters?

for identification than teenagers?

Productivity to ethics?

Are young people blessed with their quest for identity? Luke gilford nina süsstrunk

the space between us

5 freunde und alle anderen

morality / page 186

tradition / page 148

What stands between us?

Which kind of vehicles are we allowed

Is it space, persons or the lack of everything?

to use to express ourselves?

How can we come together to achieve a solid

Could animals answer our questions adequately?

interpersonal connection?

Are horses the better humans? Imprint PAGE 196

Lotto Magazin content 2–3

FINDING AN IDENTITY IS LIKE LOTTO.

SOMETIMES.

Ippolito Fleitz Group – Identity Architects Stuttgart | Zürich | Seoul | www.ifgroup.org

ColleCtions by DolCe&GAbbAnA etRo PRADA yVes sAint lAURent botteGA VenetA MAison MARtin MARGielA toM FoRD CRUCiAni HoPe tonello bAlDessARini lAneUs boGlioli tHe WHite bRieFs RiVieRA ClUb DAnolis bRooklyn We Go HARD sAntoni ACne RiVieRAs sieGeR MonCleR blUM CHAtWin kitsUné MonCleR GAMMe bleU AGlini CoMMon PRoJeCts FAlieRo sARti PReVenti AnD MAny MoRe.

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Fotografien hinter entspiegeltem Museumsglas. Die Beschichtung des Glases mit speziellen Metalloxiden sorgt für einen Restflexionsgrad von weniger als 0,5 %. Dadurch werden die bei der Kaschierung hinter Acryl- oder Mineralglas auftretenden Reflexionen praktisch vollständig eliminiert. Dies macht sich besonders bei den dunklen Bildbereichen bemerkbar. Das Ergebnis ist ein extrem brillantes Bild mit maximalem Schärfeeindruck und einer enormen Tiefenwirkung. Durch den großen darstellbaren Kontrastumfang scheinen die Bilder förmlich zu leuchten. Die minimalen Restreflexionen sind farbneutral. Das UltraSec® M-Verfahren ist ein System aus exakt aufeinander abgestimmten Komponenten. Die mit einem LightJet-Laserbelichter erzeugten Großbilder werden mit einem silikonbasierten Klebstoff absolut schlieren- und blasenfrei mit dem Glas verklebt und dann mit einer rückseitigen Schutzschicht versiegelt. UltraSec® M Kaschierungen erhalten Sie exklusiv bei Prolab Fotofachlabor.

Christian Mader Fotografie / www.mader-fotografie.de

Photography: Frank P. Kistner

ARTARY Artary Gallery WilhelmstraĂ&#x;e 5 D-70182 Stuttgart T. +49 711 912 608 95 F. +49 711 912 608 96 info@artary.de www.artary.de

Alexander Binder Bora Tanay Clemens Schneider Johannes Tiepelmann Julia Koerner Julia Mueller Karima Klassen Katrin Hahner Markus Keibel Steff Loewenbaum Wolfgang Neumann

A gregarious animal by Olaf Breuning

above: Millenium right: Chris Croft next page: skeletons

Lotto Magazin MORALITY 10â&#x20AC;&#x201C;11

above: good news bad news below: horse farm right above: Bully right below: can someone tell us why we are here

Lotto Magazin A GREGARIOUS ANIMAL 14â&#x20AC;&#x201C;15

previous page: snowmen above: Princess left: its a menâ&#x20AC;&#x2DC;s world

State of the Art by Marcel Frey this page: Ohne Titel ( Flipper ), 2008 230 x 300 cm, Acryl on wall right: XXXX, 2006 332 x 332 cm, Ink

Lotto Magazin POLITICS 20â&#x20AC;&#x201C;21

Am I bound to political commitment ? Bin ich zu politischem Engagement verpflichtet?

Lotto Magazin A man, a country 22â&#x20AC;&#x201C;23

A man, a country BY Bastian Steineck

ay the aim to found your own country home for all their filesharing activities. One of the world tension through the exercise of humor” be rated as overconfident? In any case, the cruxes: Seland had never been a sovereign or – most likely it is the most liberal place on earth, it strongly appeals, not only reflecting recognized state in the sense of international law symbolizing the citizens’ displeasure about too strict drug and border controls at Key West. excessive self-worth or sparkling eyes. To be – and it would never become one either. There is no lack of reasons to found a miFollowing Georg Jellinek’s three-element king of the ring, defining the rules from scratch theory a country is sup- crostate – the mélange of independent freedom posed to have government, of choice and self-determined distribution of national territory and state power paired with political, artistic or emotional people. As simple as this needs is far too compelling. thesis might be understood, as little generality Akhzivland: comes up with it. Various For the optimists microstates around the Eli Avivi is not only the country’s superior, but globe have made their ex- also its only citizen. In the middle of Israel he perience with this issue. and his wife are in charge of a 10,117 square meTake free town Chris- ter area: Akhzivland. However, Avivi’s rise up to left above: gold , 2008 tiania as an example – his own country’s presidency run in a roundabout 40.5 x 39 cm, Canvas on wood, Gouache, Ink against its name teemed way: He had fought against British occupiers in with autonomy it is a Iran, bringing scattered Jews from Europe to Isleft: Airborne, 2009 housing complex in the rael. It was 1952 when he hit upon the rundown, 290 x 220 cm, Canvas, Ink Danish capital Copenha- abandoned village Akhziv – and it didn’t take gen where hippies, drop- long for him to decide to leave his tiring past outs and anarchists live back, to take possession of the only building that their alternative ideals. was left over, from then on reigning over his perThere is no authority of sonal self-titled state: Akhzivland. state; cars, leasing conIn a mixture of self-secured national pride, tracts and house proper- spontaneous hippie mood and with a large helpties are proscribed. The ing of self satisfaction Eli Avivi made himself at and independently – no wonder there were a few first deep hit from 2004 – the previously tole home without bothering about legal issues that who followed le Roi Soleil Louis XIV and his rated drug dealers were no longer to do business might follow. However, in 1970 the Israeli govultra-egomaniacal principle of “l’Etat c’est moi”. in public – was followed by an eviction notice ernment broke down some of Avivi’s tentative “You can’t be a real country unless you have from the Danish government in May 2009. The cabins – since the area had always been state a beer and an airline – it helps if you have some “social experiment” is considered to be stranded. property. Avivi’s initially spiteful, later-on thorkind of a football team or some nuclear weapons, With anarchistic entrepreneurial spirit being the oughly serious protest got him and Akhzivland a driving force in Christian- growing awareness: sightseeing tourists came to but at the very least you “There is no lack ia, other microstates are visit, rock bands played concerts in front of the need a beer”, is what muof reasons to found based on far more rational contemplative panorama, happy couples used the sician Frank Zappa once a microstate” manifested. However, history books prove that motivations: The Dominion of Melchizedek, an paradise as the background for romantic pictures. there had been the one or other microstate with- island group in the Pacific Ocean, was founded in From now on, the Israeli state would let Avivi out its own beer brand – not to mention nuclear 1986 – obviously with reckless abandon to mon- concede. ey laundering and to legitimizing tricky offshore In order to legitimize his claim to Akhzivland weapons. Family Brates led the way on Christmas banks. In the course of its existence the country permanently, Eli Avivi built up further shacks, Eve in 1966 when occupying an island off the has raised sovereignity claims to various islands. starting to collect local relics made of stone coast of Great Britain that had been built up for Melchizedek’s founding fathers don’t show up and ceramics, which he keeps up to today in his the purpose of defending the country. Son Mi- in public, but for all that they have a criminal very own national museum. Obviously, there chael was promoted prince, his mother became record in the U.S. due to deceptive activities. are no further cultural highlights to report – but the country’s princess and family patriarch Roy According to legends, the Republic of Whanga- Eli Avivi, dressed in a flowing white dress, still consequently awarded himself with the supreme momona in New Zealand’s uplands was founded welcomes guests of every description except for position. In 2007 the Swedish Bit-Torrent pirates as a consequence of protest against merging the churls, thieves, cads and misers. By the way: The lease contract will expire from PirateBay were about to snare the indepen- local rugby team with the nearby village’s playdent princedom in turn of a seven-digit amount, ers. And the Conch Republic, located at Flori- in 2051. supposing the extralegal zone to be the perfect da’s south coast, urges its citizens to “mitigate

this page: Ohne Titel (Edition, Die Hecke), 2008 Ink, 12 Shovels right: Scotch, 2008 290 x 270 cm, Flags, Ink

Lotto Magazin A man, a country 24â&#x20AC;&#x201C;25

Uzupis: For the world’s happiness

There is hardly any obligatory or restriction – only mere violence is not allowed. Consequently, the nation’s twelve soldiers were rather unemployed and thus put back into the blissful condition of being usual citizens of Uzupis within no time.

This Lithuanian place cannot praise itself with a glorious past. The opposite is the case: A large part of Uzupis’ residents did not survive the Holocaust while the Jewish graveyard was destroyed by the soviets; empty ruins became a meeting place for criminals, homeless people, whores. With the utmost probability this place would never become a hip living quarter for young and arty folks, even less would Uzupis attract tourists. This place did not have a future – until Romas Lileikis woke up one morning, deciding to become President of the independent republic of Ladonia: Uzupis. Fortunately, its national territory agreed For the fairwith the city district Lileikis had already been minded living in for years. The run-down place was Google Maps is about to become a hort filled with felicity, as Li- stumped for an answer, suggesting “Westmin- ian Romantic Literature and Washing Lines” or leikis framed his own claim to power; using an ster, London, UK” instead of giving proof to La- “Ministry of animals especially cows”. open mind and a lot of creativity he planned to donia’s location on the north shore of Kullaberg In the meantime, the struggle for sovereigncreate an artists’ quarter, assembled with galler- peninsula as Lars Vilks, founder of the country, ty is not overcome yet. “My idea is that replied ies, cafés and pubs. This year was 1997. puts it. Ladonia, with a triangle form put on an claiming will create reality”, says incurable On April 1st, 2001, an angels’ monument area of one square kilometer, is not supposed Vilks. A nationwide survey showed that 60 perwas uncovered at main square – the starting sig- to be a joke. “That’s what the Swedes believe. cent of all Ladonians speak out against Swenal of a new period with a unique constitution Many things start as a joke. But really, we are den’s right to get annexed by Ladonia. Which and a particular currency, four different flags serious”, Vilks clarifies. does not mean that Sweden would not exist any and a president: Romas Lileikis. It did not take Ladonia is considered to be a country, an art longer, as Vilks is willing to assure. Yet, the long until artists, visionaries and other interested project and a special form of protest. Swede issue has not been discussed at the Ladonian supporters were convinced to declare indepen- Vilks founded the state in 1996 as a reaction to cabinet for final decisions. dence from the Lithuanian state. The republic legal controversies about two large sculptures had been situated “beyond the river” – Uzupis’ that were placed in a conservation area, wait- What political statement underlies Ladonia? literal translation – anyway, since the waters of ing to get removed by local authorities. Nimis Lars Vilks: The ministers forming the inVilna were separating the quarter from the his- and Arx were not just a mere amount consisting ternational cabinet have their different political toric part of the city. of driftwood and stones towering up along the views, from left to right. But the idea of creati By founding the state Romas Lileikis who coast and weighing about 70 tons – Nimis and vity and humorous speculation holds us together. had a strong belief in the basic goodness of Arx were even the country’s largest cities. However, people get really angry on each other man created a piece of heaven on earth. And He would not consider himself to be a pow- from time to time, even though our conversation everyone is invited to er seeker. Lars Vilks rath- takes place via e-mail. “This place did not take part. “Our couner describes Ladonia to have a future try does not have too be the “realization of my Are you satisfied with Ladonia’s development over until Romas Lileikis many citizens, so there is woke up one morning” most aesthetic aims and the years? And what do you expect yet to happen? enough space for everyone to fit in”, he says. the way to boundless freedom”. The citizenLadonia is very recognized by thousands As soon as you confess yourself to the consti- ship does not cost a penny, an additional title and thousands of people. Every year there tution’s values, you become a veritable citizen. of nobility may be purchased online for 12 US are around 40,000 visitors. So, the message is However, this decision shouldn’t be too hard dollars. Currently there are about 15,000 La- spreading well. However, we are still waiting for to take since everyone has got the right to do donian citizens of which not a single one lives the official Swedish acceptance. whatever he wants to and vice versa: the river within the country’s frontiers. A variety of minis supposed to flow everywhere and all citizens isters provides for the state’s wellbeing – deWhy did you declare war to Sweden and to are allowed to live near the river; everyone may spite all seriousness, the founder of the country the US? make mistakes or have doubts, a dog is allowed has kept it with slightly fancy functions such as Sweden has been very rude trying to deto be a dog. “Ministry of Art & Jump”, “Ministry of Brazil- stroy the occupying works, so that was natural.

Concerning the US we had the suspicion that they had weapons of mass destruction. The war against the US was a very sensitive matter in the cabinet and I think that around five ministers living in the US left their position. They were afraid of getting into trouble with the FBI. At that time every American should have been a true patriot. The filesharing organization PirateBay wanted to take over Ladonia. How did it feel when Ladonia was about to become a “real” country? PirateBay was never any threat. If we want to become a more “real” country that could be done. But it takes a lot of work. A lot of people from Pakistan had tried to immigrate. Why did Ladonia become the place that they dreamed of living at? And why wouldn’t you let them enter? I am not cynical. Letting these people in would be extremely ruthless. But of course they could not enter unless they pass through either Denmark or Sweden. Would Ladonia be your first choice if you chose your favourite place to live at? No, it is too uncomfortable. It is a country to visit or a principle that is trying to conquer the world. Don’t move to Ladonia. Stay where you are. We are coming.

Lotto Magazin Politics 26–27

One Evolutionary Way to see by Markus Keibel

Lotto Magazin One Evolutionary Way to see 28â&#x20AC;&#x201C;29

Lotto Magazin One Evolutionary Way to see 30â&#x20AC;&#x201C;31

A meteorite, whatever its size, shape and consistance may be is a unique miracle of nature. Formed four and a half billion years ago after a trip of hundreds of billions of years and due to a hardly traceable chain of constellations it lands upon our planet, where it might be found and preserved. The very first thermal and gravitational forces in our galaxy, the collisions of gigantic objects as well as the cosmic velocity helped shaping the meteorite. Combined with the dense atmosphere of our planet and its flight through the atmosphere, it was transformed into a sculpture, which no artist can reproduce. Hence, a meteorite is one of the most dense and at the same time the most universal â&#x20AC;&#x153;memory of meaningâ&#x20AC;? for our existence that we have on hand. Dr. Sven Buhl

peu efficient by julien Berthier

Lotto Magazin Viganella PHILOSOPHY 32– 32–33

loveâ&#x20AC;&#x201D;love Loveâ&#x20AC;&#x201C;love is the permanent and mobile image of a wrecked ship that has become a functional and safe leisure object.

Lotto Magazin Viganella PEU EFFICIENT 34– 34–35

loveâ&#x20AC;&#x201C;love Loveâ&#x20AC;&#x201C;love is the permanent and mobile image of a wrecked ship that has become a functional and safe leisure object.

paradoxe de robinson Installation on request of the stereotyped exoticism of a

Lotto Magazin PEU EFFICIENT 36â&#x20AC;&#x201C;37

palm tree swaying in the wind, thus annexing a portion of public space for the privilege of a single person.

paradoxe de robinson Installation on request of the stereotyped exoticism of a

Lotto Magazin PEU EFFICIENT 38â&#x20AC;&#x201C;39

palm tree swaying in the wind, thus annexing a portion of public space for the privilege of a single person.

Balcon additionnel Service for installing a plastic Haussmannian-style balcony on all kinds of buildings. The additional balcony cannot be separated from the boom-truck that allows it to be quickly fitted/removed.

„Prolog“ Die Texte basieren auf architektonischen Entwurfszeichnungen zum erwünschten Hof. – Wie könnte der Platz aussehen, an dem ich speise? – Welche Todesart wäre am wünschens wertesten? – Wie könnte man einen Ausguck mit einem Unterwasser-Panoptikum verbinden? – Wie sähe eine gelungene Hauskommunikation aus? – Welche Sprachen würden nur hier beherrscht? – Durch welche Konstruktion wäre ein stattlicher Wasserfall umweltfreundlich zu realisieren? – Welche Möglichkeiten zum seelischen Ausgleich gäbe es? – Was für Eigenheiten würde der obligatorische Swimming- Pool benötigen, um aus der Masse der bereits existierenden hervorzustechen? – Worin läge der Lustgewinn, wenn man von unten in ein Kolosseum blicken würde? – Welche Apparatur würde nur der Rückbesinnung auf die Demut dienen, wäre also in der Lage, die eigene Rolle in der Welt kurzfristig auf das Wurmmaß herunterzuzoomen? – Wohin ginge man, wenn man weinen müsste? – Von welcher Eigenheit wären die Bücher im Palast? – Wie würde hier eine Hochzeit gefeiert werden? – Wie würde man mit seinen Feinden verfahren?

„felsentisch“

Man suche einen schönen schwarzen Felsen, der gerade so viele Olivinanteile aufweist, dass er nicht zu witterungsanfällig ist, jedoch genügend grünstichig glänzt. Diesen mächtigen Fels köpfe man ähnlich wie ein Frühstücksei, auf dass im Halsbereich des riesigen Steines eine plane Ebene entstehe. Man begibt sich nun auf dieses Hoch plateau und beginnt, den Kandidaten von innen auszuhöhlen. Dabei sei man stets gewahr, dass der dabei entstehende Mantel nicht zu dünnwandig oder sogar rissig wird. Im Idealfall erreicht man so einen parallelen Neigungswinkel zwischen Innen- und Außenoberfläche. Dort wo dies aus statischen Gründen nicht möglich ist und die Felswand einzustürzen droht, begnüge man sich mit der senkrechten Abtragung. Bei der Auswahl des Felsens hat man natürlich die für den Zweck nötige Form bedacht und längliche, allzu amorphe oder sonstig komplexe Exemplare abgelehnt. Das ausgehöhlte Objekt muss einen nahezu runden oder quadratischen Innenraum liefern, der trotz der eingrenzenden Wände genügend Sonnenlicht aufnimmt. In dieser Lichtung pflanze man einen Wald aus seltenen Seychellenpalmen (größter Samenerzeuger des Pflanzenreichs). Dort wo einst nach der Köpfung eine Hochebene entstanden war, decke man den Palmenwald mit einem planen Panzerglasboden ab. Glasgedeckelter Palmenwaldfelsenkäfig. Die bei der Aushöhlung entstandenen Felsenabfälle, nutze man zum Häuserbau. An den Felsen angrenzend, ihn berührend, in ihn übergehend, entstehe ein Basalthaus, eine komplett ausgerüstete Steinküche nach sizilianischer Bauart. Dieses Küchengebäude ist per Lift mit der gläsernen Hochterrasse verbunden. Der Lift ist ausreichend lang. Stellt man nun für ein Mahl einen rechteckigen, stabilen, großzügigen Tisch auf die Terrasse, so wird die Tischplatte herausgenommen und zur Garnierung des nächsten Ganges, mithilfe des passenden Liftes, hinunter in das Küchengebäude getragen. Die Gäste des Banketts können zwischen den Gängen im Sitzen einen Blick auf den Palmenwald unter ihren Füßen werfen.

„goldigung“

Ziel: von Goldbarren erschlagen werden, nach dem Wunsch zu sterben. Akkurat verschwinden. Genauer: Ein Verbund von losen Goldbarren besitze im freien Fall, ohne sich in der Luft in Einzelteile aufzuteilen, die gleiche Gestalt wie davor und danach. Er falle als kubischer Klumpen durch die Luft (mind. 10 m), erdrücke mich und komme in ei ner maßgeschneiderten Grube zum Stehen, immer noch derselben Gestalt. Ich spritze kurz auf, befinde mich nun in flüssiger Form zwischen den Goldbarren (es existieren Freiräume aufgrund der pyramidalen Form der Barren), welche aufgrund genauer Berechnungen, genau mit dem Fußboden abschließen werden. Es bilde sich kurzzeitig roter Schaum an der Oberfläche. Unterhalb der Barren entsteht ein hauchdünner Papp rückstand meiner festen Masse, welche sauber und vollständig vom Flüssigen getrennt wurde. >40–41, 58–59, 82–83, 114–117, 160–161

Gnosis by Alexander Binder

n the beginning, God created the heavens and the earth. 2The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters.

night – and the stars. 17And God set them in the expanse of the heavens to give light on the earth, 18to rule over the day and over the night, and to separate the light from the darkness. And God saw that it was good. 19 And there was evening and there was morning, the fourth day.

And God said, “Let the waters swarm with swarms of living creatures, and let birds fly above the earth across the expanse of the heavens.” 3 21 And God said, “Let there be light,” and there was light. So God created the great sea creatures and every living crea4 And God saw that the light was good. And God separated the ture that moves, with which the waters swarm, according to light from the darkness. their kinds, and every winged bird according to its kind. And 5 God called the light Day, and the darkness he called Night. God saw that it was good. 22 And there was evening and there was morning, the first day. And God blessed them, saying, “Be fruitful and multiply and fill the waters in the seas, and let birds multiply on the earth.” 6 And God said, “Let there be an expansea in the midst of the 23And there was evening and there was morning, the fifth day. waters, and let it separate the waters from the waters.” 7 And God made the expanse and separated the waters that 24And God said, “Let the earth bring forth living creatures were under the expanse from the waters that were above the according to their kinds – livestock and creeping things and expanse. And it was so. beasts of the earth according to their kinds.” And it was so. 8 And God called the expanse Heaven. And there was evening 25And God made the beasts of the earth according to their and there was morning, the second day. kinds and the livestock according to their kinds, and everything that creeps on the ground according to its kind. And 9 And God said, “Let the waters under the heavens be gathered God saw that it was good. together into one place, and let the dry land appear.” And it 26 was so. Then God said, “Let us make manh in our image, after our 10 God called the dry land Earth, and the waters that were gathe- likeness. And let them have dominion over the fish of the sea red together he called Seas. And God saw that it was good. and over the birds of the heavens and over the livestock and over all the earth and over every creeping thing that creeps 11 And God said, “Let the earth sprout vegetation, plantse yiel- on the earth.” ding seed, and fruit trees bearing fruit in which is their seed, each according to its kind, on the earth.” And it was so. 12The 27So God created man in his own image, in the image of God earth brought forth vegetation, plants yielding seed according he created him; male and female he created them. to their own kinds, and trees bearing fruit in which is their seed, each according to its kind. And God saw that it was good. 28And God blessed them. And God said to them, “Be fruitful 13 And there was evening and there was morning, the third day. and multiply and fill the earth and subdue it and have dominion over the fish of the sea and over the birds of the heavens 14 And God said, “Let there be lights in the expanse of the hea- and over every living thing that moves on the earth.” vens to separate the day from the night. And let them be for 29And God said, “Behold, I have given you every plant yielsigns and for seasons, and for days and years, 15and let them ding seed that is on the face of all the earth, and every tree be lights in the expanse of the heavens to give light upon the with seed in its fruit. You shall have them for food. 30And to earth.” And it was so. every beast of the earth and to every bird of the heavens and 16 And God made the two great to everything that creeps on the earth, everything that has the Lotto Magazin lights – the greater light to rule the breath of life, I have given every green plant for food.” And it MORALITY day and the lesser light to rule the was so. 31And God saw everything that he had made... 42–43 20

Lotto Magazin gnosis 44â&#x20AC;&#x201C;45

loTTo magaziN gNosis 46â&#x20AC;&#x201C;47

... and God laughed.

legends of the fAll by Thomas clauseN & KaTJa schloz The holy TriNiTy oF The excepTioNal. ecceNTric, excess bouNd aNd absoluTisTically exTreme iN absoluTely everyThiNg These geNTlemeN Touch. blixa bargeld, head oF The berliN-based souNd researchers oF The eiNsTürzeNde NeubauTeN. origiNaTor aNd midWiFe oF a Whole geNeraTioN. iNdividualisT aNd Time-TravelliNg gourmaNd. NicK cave, The bad seeds’ aNd griNdermaN’s good boy. selF-discovery beTWeeN romaNTicism, biblemaNia aNd diy-cold TurKey. aNd ulTimaTely breT easToN ellis, The persoNiFied scaNdal oN Three legs. The embodimeNT oF The seNTimeNTal sociopaTh aNd The NovelisTic iNcarNaTioN oF a super-ego coNFlicT. a research iN NomiNe paTris, eT Filii, eT spiriTus saNcTi. here We go.

loTTo magaziN avocaTioN 48–49

Part I

blixa bargeld: iN search oF The souNd Extraneous noise, extraneous noise, atmospheric heterodyne frequency. Extraneous noise. Atonal construction site groove, white noise. And at the end of all worldly covetousness, the longpromised word on air. Thundering eruptively, demanding, weathered whispers, bone-chilling squeaks. Christian Emmerich is more than aware of his role as the unintentional keeper of the Grail of Industrial Music. Distinctly he toys with his cosmopolitan image of an avant-gardist being a performing artist, composer, author and actor. He also toys with the role as the walking around-the-clock-Gesamtkunstwerk named Blixa Bargeld he has been playing for exactly 30 years. He ist the eccentric personal union of Lou

Reed and Andy Warhol, of H.P. Lovecraft, Franz Kafka and Nick Cave, whose legendary Bad Seeds he reinforced between 1984 and 2003 as a guitarist and old crony on-duty. An ingenious dilettante, a notorious lateral thinker among lateral thinkers who keeps shaking our very foundations and the consensus.

Nicolai. Playing what he himself has not heard yet. The songs are fast asleep inside the machine. Whoever runs it. Democracy in its purest form. “With ANBB I do not pretend to be some one else. Of course I have many strategies that result from my history and my vita especially when you consider my way of working. It is very important to play something, which is still unknown in the moment of the performance. I never found obstinate reproduction too exciting.” As has always been the declared goal was to create the Gamelan on urban terrain. Unrehearsed and with ripped-off sound material from construction sites and DIY stores.

ban nightmare that gave birth to songs like “Kollaps”, “1/2 Mensch” or “Haus der Lüge” in those days, which seem like an eternity ago. “The end. Start anew. Ten! We always refused simple decisions, which would have assured us a short and hefty success. Mostly I was the reason for that. There have always been offers that would have turned us into nasty persons. I never regretted anything although I must admit that the loss of profit bothers me every day. I allow myself to get angry about it, however I would make the same decisions again and again. After F.M. Einheit’s drop-out I was being presented as the one who actually would have loved to make pop-music. Although it is the exact opposite. Mufti and Marc always were the ones who wanted to sign with a major company. Andrew and me kept denying that. All those speculations about us were very annoying for me.” Commerce or not: What will become of the Einstürzende Neubauten after the tour is still written in the stars. An expiring contract, the decline of the music industry and other adverse factors take their toll on the probably most exciting and extreme German formation ever. Looking back towards the future. The return to the underground because the world above-ground was too trivial for the Einstürzende Neubauten.

During three decades of work with the cult band Einstürzende Neubauten Blixa Bargeld pushed doors open, blew up walls and expanded horizons with his collective psycho-acoustic field tests since the band’s portentous formation. And almost incidentally he defined an own genre. Death is a dandy, just as he is a bon vivant. Only with better taste, manners and tinnitus as well as “The direct result was a ride to a motorway bridge a frequent flier account within a five-digit range. which we crept into and started playing. What Poet, thinker and occasionally moody diva with worked for primitive desert tribes would work sithe rare gift to ignite processes. Ideally irrever- milarly in an urban environment on the Detritus sible processes. Forward motion as a matter of of consumer society”, one assured himself confident of victory. And was right. That was someprinciple. time in 1980 and can be heard on the first tape “Actually I keep reinventing myself in every inter- named “Stahlmusik”. In those ice grey days of view. Most of the things I reveal about myself are the Cold War the anxiety to please was embraced made-up completely. On the one hand it certainly by no one but Nena and the Spider Murphy Gang. has to do with some kind of self protection, but Not the Neubauten, not Blixa Bargeld. Ampheta on the other there is also something like an open mine-induced subjectivism between dreams and traumas. Back then in space for reconfigura- “Most of the things I reveal Kreuzberg they were tion. Perhaps it is not about myself are made-up anarcho-nomads in the “We played our first gig on 1st of April, 1980 at clearly defined who I completely.” actually am and what I do, where my work ends walled paradise. The lonely island of West-Berlin the Moon on Günzelstraße in West-Berlin. Admission five Deutschemarks. There were about and my private life begins. I could marvellously – a city that does not exist anymore. 50 people and Jim Rakete, who – unsolicited depict how I spend my days, however I could not “I can’t help it that I’m from Berlin. We did not – took pictures. One should ask him if he even describe what my private life is like.” Bargeld is en route all the time, undevia- build the Wall ourselves as a propaganda trick to knows that he took bootleg pictures of the tingly between the poles. Up and down, East wangle our way into the press! Our provenance Einstürzende Neubauten’s first gig. We don’t and West. Alone as a solo artist or with the was exploited by the media all alone. We could know what remains to be done. We will not Einstürzende Neubauten, his very own idea care less about the Wall. It was our reality, but have a record company anymore and would of a “civilised rock band”. Highly appreciated we always had to comment on it. We did not give have to start from scratch. We’ll see. It is not by the underground and the feuilleton both ali- a monkey’s about it! During childhood I never even sure that we will record another album. I ke. Peter Zadek, Wim Wenders, Heiner Müller. reflected on living in a special city. The ordinary don’t think we would dissolve the band. We’d Berlin, San Francisco, Beijing, Foligno, Krems, West-Berliner who was born after World War II rather stop working. One day people would Copenhagen, Bratislava, Bergen, A Coruña, Bei- and was raised with the Wall simply didn’t take wonder if we broke up but indeed we’d still jing, San Francisco, Berlin. Collecting sounds an interest in it. Today in interviews I’ll be asked exist. It is certain however that people will still like frequent flier miles. “Embryonic material” questions about Beijing instead. As is general- be able to enjoy my singing techniques”, Blixa as Bargeld calls it. Just like his latest minimal- ly known China also has a wall, the longest in says and smiles. He will cook dinner for his electro project ANBB with the renowned Chem- the world even”, he had recorded a few years family tonight, Italian for a change: Maccaroni nitz multi-media artist Alva Noto aka Carsten ago. He recently moved back to the German ca- with wild fennel and sardines. The field-tested pital together with his wife, the Chinese mathe- recipe for success of cultural diversity in the matic Erin Zhu, and his four-year-old daughter. Bargeld house. “I regard myself as an EuroLotto Magazin Right into the hot spot and battle arena of Mitte, pean. My wife in contrast considers me to be a Legends of the Fall Berlin’s downtown district. Not far from the ur- true German.” 50–51

Part II

NicK cave: gaNg raped by our oWN subcoNsciousNess “I woke up this morning and I thought what am I doing” – this is the long-term first reflex of getting up as well as a almost symptomatic plead for insanity in the grey zone of producing in which Nicholas Edward Cave has hovered as the Australian dark poet he never wanted to be. Self-discovery to go. On close examination the chronically unrecognised serial offender of avant-garde pop has always been his very own defence lawyer, executioner, turnkey, cellmate and, much more significant when speaking in such parameters, his own street worker without a cause. Fraught with almost manic ambition

from the outset Cave has just embodied the perfect role model of the melancholic bad boy between the Old Testament and squatter milieu, between morbid romanticism and excessive drug subsistence, between heartache and the electric chair. If in his hometown Warracknabeal with The Boys Next Door, in offbeat London of the late 70ies with the legendary Birthday Party and more than ever with the notorious Bad Seeds after he moved to the freak-enclave West-Berlin he advanced to become a parasuicidal underground Madonna. His arrival in the city of the Wall, the city without borders, spread like a bush fire. An unordinary exotic psycho-magnet and end time sermoniser dressed in black who magically attracted everybody: Blixa Bargeld, Anita Lane, Wim Wenders and the residual curiously gawking pan-European clique of lateral thinkers on top. Undesired. Wherever Cave was, there was the after-show party. And the party after that. After miscellaneous cult albums, featured parts, award-winning book publications, Kylie- Minouge-duets and other deeds of honour he is sitting there. A fifty-something, matured against his own will as an eccentric with his sparse hair coloured in black and his remarkably gangly stature. A subtle touch of heroin-chic remains although it has been a veritable age since the multiple detoxicated and married family man has chucked his former favourite hobby, the narcotic dragon chase. As he claims, he has relegated the beguiling morphine-monster once and for all to his inner limestone cave.

Lotto Magazin: Let’s talk about music. As a popicon who is getting a bit long in the tooth – how do you bridge the elevation gap and equalise the pressure between the saudade-moored Bad Seeds and the Roman Catholic atheism of current side-projects like Grinderman? Cave: I would assert that in a certain way we don’t have to switch from one band to another at all really. What is splendid about Grinderman is that in contrary to the Bad Seeds I am allowed to write much simpler lyrics. I love to write these incredibly rampant, complicated lyrics. Grinderman makes for a nice change from this kind of work. Like the zip of water during a wine tasting. Every band that has been existing as long as the Bad Seeds should found their own Grinderman! Regardless of what people expect: you should play what feels right. A band should not care about some public speculations about the upcoming album or potential changes compared to the 35 previous records. This is a very healthy and refreshing attitude. You can almost compare it to the feeling of giving yourself a good fix. Compared to the debut’s material the Grinderman songs appear harder, meaner, have an elevated temperature and noticeably have lost their innocence. Was it a planned defloration or a technical glitch? We were gang raped by our own subconsciousness. Absolutely nothing in this world works out as planned, doesn’t it? I’m afraid I must admit that we are not arrogant enough to claim that we could ever cut a controlled record. A record following a so-called master plan or something like that. We are making music, not plans. We are artists and no engineers or stress analysts. Everything on the album is practically a stand-up improvisation. It all originates from jam sessions. There are absolutely no discussions where we want to go or what we are heading for. We sit down together and play for a few days, listen to the results and pick the best parts. That’s how we cut a record. This is how we do it.

In his role as an artist Cave also proves to be multifaceted in so many ways that all attempts to characterise or to pidgeonhole him are completely unnecessary. Cave’s depiction is more like a balancing act between the eternal dandy with slighty disturbed eating habits and the former high-class junkie with an excellent taste in styles. Both would pass the theory test without being objected. Be assured: Nick Cave quarrels. All the time, constantly. After official hours, on After Blixa Bargeld, the mastermind of the Einweekends and even on holidays. He is at odds stürzende Neubauten, left a couple of years ago, violinist Warren Ellis seems to have taken the with himself and the world. part as your soul mate in crime and old crony: he now is premium member of the Bad Seeds, Lotto Magazin Grinderman and co-composer of miscellaneous Legends of the Fall soundtracks... 52–53

I cannot tell if Warren has replaced Blixa, will replace him or even should replace him. When I look back at the time with Blixa, it’s fair to say that after a particular time he did not identify with what happened with or among the Bad Seeds during the last recordings. I may be wrong and perhaps he has a different point of view. We never talked about this and we never will. None of us would ever suggest to talk things over. In my mind the Bad Seeds were never able to give him what Blixa wanted or needed as an artist. He was never really satisfied. This has nothing to do with Warren. It’s a fact that I prefer working together with others and not least I work more efficiently in collaboration. I’m not a solo artist and never was. Composing songs or writing books – which one’s easier? Innately the written word appeals to me. This artistic form of expression is in my nature. The words simply sputter out of me. When I wrote my novels, nothing and no one could keep me from writing. When I’m in my writing mode, it just doesn’t occur, that I only hang around and ask myself what I could write about. The same with my screenplays: Once I’m inspired, I write in one go. There is no such thing as the typical struggle. With song writing, in turn, it is different. Every single song is a struggle. But at the end of the day it was always worth it. The music has something to it that carries you away and touches you. Something that touches a string, which other art forms will never even come close to. It’s the magic of music that sometimes you listen to a song for five minutes and you will never be the same person as before! I read every day. In the last 40 years there was no day without reading a book. But books do not even come close to touching people so deeply like a song or a rock concert. Books just cannot arouse such a feeling. Not even the Bible? No. The Bible made me understand and broadened my mind just like other books as well. When I was a teenager I was fascinated by Beckett. He inspired me. But a book never touched me as deeply and directly as a song. This immediate effect, that it can abruptly change your life within a second – as if somebody performed an irreversible surgery on you…

Part III

Bret Easton Ellis: Traveller in the death zone “They had made a movie about us, based on a book by someone we knew.” This line opens Bret Easton Ellis’ novel “Imperial Bedrooms”. It is a book by Bret Easton Ellis about Bret Easton Ellis, just like all the novels the 46-year-old enfant terrible of American contemporary literature has released during his two and a half decades of eccentricism. Another lesson in hedonism, nihilism and brutally executed amorality, which appears like a caustic mist of sex, drugs and ineffable demoralisation. The introspective view of a neurotic Prince and the Pea in a lost kingdom. Bret Easton Ellis is the great catalyst of our time

and an extroverted distorting mirror who only Lotto-Magazin: Why don’t you want to talk about asked me why I wouldn’t write another book. knows one single counterpart: himself. He is a yourself and your work? Have you changed all Because I had no more ideas for another book, I replied. I thought about it and then realized, that meticulous observer, a reflector, who defies all of a sudden? Ellis: No. Yes. Of course I’ve changed. I maybe I would like to write another book about description while he’s dissecting himself and the surrounding world. He lays open the monstrous, feel less pretentious. In the past I wore expensi- Sean Bateman, Sean is Patrick Bateman’s brotlayer by layer by layer. Behind all this mirror five suits. Today I wear pyjamas. Both, I and the her in “American Psycho”. A gay novel with Sean Bateman as raconteur, a super-homo, who nish terror, the luxury, the meaningless sex, be- world have changed. lives his super-queer life in West Hollywood. hind all those drinks and drugs and the minutely staged terror with its glamorous appearance it With all your permanently sold-out readings, That would be quite interesting. Shortly after I realized that I had nothing will remain his closely guarded secret what is don’t you feel like a rock star among the writers? No, it’s not even close to the experience of to say whatsoever about gay life, the gay comfiction and what is autobiographical detail. Ellis is the mentally “damaged party boy who wande- being a rock star. I do not perform in front an munity or the gay scene. I would have to write red through the wreckage, blood streaming from auditorium of 50,000 people. None the less the a gay book that had nothing to do with being his nose, asking questions that never required adrenalin level remains the same, whether you queer. For the majority of gay men it seems to be all about sex. I answers.” He is the contemporary Modern Art perform in front “If I gave my opinion on the gay mutation of Rembrandt, Dostoyevsky and War- of 50,000 or 500 scene in West Hollywood I would do have a number of other interests hol. His novels resemble an obscene autopsy in people. Every be accused of homophobia.” glare yuppies’ lofts. The protagonists are nothing night it’s the same: reading first, autograph ses- even though I live in West Hollywood. If I gave but glazing shells in expensive couture. In con- sion next. Then back to the hotel and off to bed. my opinion on the gay scene in West Hollywood I would be accused of homophobia. It’s hard trast to his idol Stephen King, with Ellis’ figures Very unglamorous actually. enough for queers. But hey, a parade of Go-Gothe evil’s ugly head lurks behind the immaculate boys and transvestites dancing to techno – is that simpers of all the beautiful people in the gossip Aren’t you afraid of your critics? No, I’m not afraid. The older I get, the more supposed to be gay? Do you call that Gay-Pridecolumns and the well-off upper class’ offspring. His books show almost perfect jet set facades people disappoint me. Every day I can relate Day? Is there also a Gay-Shame-Day? Political behind which darkness and perdition live. If the more to the famous Sartre-quote “Hell is other correctness – come on. Everything in today’s insane Wallstreet ripper Patrick Bateman in the people.” In the past I still was patient with the America has to be pro-marriage, pro-Obama and temporarily indexed “American Psycho” (1991), people surrounding me and I had the ability to eco-friendly. Makes me feel sick. the schizophrenic lifestyle terrorist Victor Ward condone the different quirks and eccentricities in “Glamorama” (1998), the gloomy hallucina in my environment. Today I can’t do that any- Why are the characters in your books always tion of his alter ego in “Lunar Park” (2005) or, more. It’s all so disillusioning – my friends, my beautiful and rich? Are they? I usually don’t visualize the figulast but not least, the shady Hollywood hipster environment… res I’m writing about. I think they are beautiful, Clay Easton in “Imperial Bedrooms” as the sefor sure, but I do not define them down to the quel to his 1985 breakthrough work “Less than Because you are homosexual? Yes! And that’s the reason why I actually in- last detail. The only main character I really picZero”. It has been a long time since Bret Easton tended not to talk about it anymore. I’ll give it a tured was Victor Ward the protagonist in “GlaEllis has been the intemperate and excessive shot and see if it works. At least it worked out morama”. To really understand the book it was diva he used to be. Today, the former scanda- for a lot of people before. Especially the girls are very important to give the reader a most precise lous author is an established literate and only very disappointed with me. Just like with Chuck picture of Victor. Most of the time I only have a vague idea shows his eccentric side to a conformable de- Palahniuk. of my characters, a hint of an idea. Writing is gree and now receives love letters, thank-younot about the figures themselves. It’s all about emails and death threats on a daily basis. As it And Douglas Coupland. Douglas Coupland is gay? All these Ameri- the feeling, the pain, and the catharsis. Salvatiis suitable for someone who wrote not only one, but a half dozen of the most important books of can writers! What is it with our water that every- on. My books are about pain. You write books to find out what tortures you. his generation X, the thriftless and splendorous body becomes gay? Ciccone Youth. “No, I don’t want to talk about my books”, Ellis commences the interview for Has American pop-literature in general been Is the pain gone for the time being? Yes, for the moment it is. I wrapped up the which we had made an appointment at the for- queer? No, not at all. If you take a closer look it last book, “Imperial Bedrooms”, just like I mer SED-headquarter in Berlin. is in fact very un-queer. I would not go so far wrapped up the cause of the pain which made to say that Chuck’s or my books were queer by me write it. You could call it exorcism: a selfLotto Magazin any means. I have to admit that the issue never cleansing, a ghost-expulsion. I am a traveller in Legends of the Fall really appealed to me. An acquaintance recently the death zone. There is no way back. 54–55

HOW MUCH CAN I DEVOTE MYSELF ? CHRIS HAMMER BY DAVId SPAETH

Wie sehr kann ich mich einer Sache hingeben?

Lotto Magazin DEDICATION 56–57

„leuchtturm“

Ein Leuchtturm auf dem Meer: Der Meeresspiegel liefert die exakte Spiegelungsachse für den emporgehobenen Raum. So entstehen zwei Räume, der eine über dem Wasser, sein Pendant auf dem Meeresgrund. o V – ∆ o Die zwei Räume sind miteinander verbunden. Es sind zwei stählerne Kreiskegel, die fast hyperboloid an ihren Spitzen miteinander verbunden sind. Die dünnste Verbindungsstelle ist auf selber Höhe wie die Meeresoberfläche. Zu Wasser: Leuchtturm Unter Wasser: Leuchtturmspiegelung Die Räume sind die Bühne für Menschen, die in ihrem Leben eigentlich nichts tun, sondern nur abwarten und sich deshalb des Wollens entwöhnen, wachbleiben für die Gelassenheit. Sich niederzuknien und nur noch aufzunehmen, die Angst, vorgeschickt von der Beschäftigung, mit Leichtigkeit hinunterzuschlucken, anfangen zu sein. Auf die kleinen Unterschiede kommt es an, Unterschiede der anderen. Leuchtturm oben: Man schaut aufs Festland. Ist man diese doch so begrenzte und klar definierte Aussicht leid, so drehe man sich einfach um und sorge durch die Redundanz des Wellengangs für den ersehnten Lustgewinn. Der Wind fängt an zu peitschen und man denkt sich, „das muss ich mir nicht bieten lassen“. Leuchtturm unten: Auf der liftigen Flucht nach unten, befiehlt man auf dem Meeres spiegel anzuhalten und erfreut sich der dualistischen Bedeutungsträchtigkeit von Grenzung, Teilung, Außen, Innen, Oben, Unten. Dieses Bild, welches aufgrund seiner Tragweite für gehörige Gänsehaut sorgen sollte – ja, dieser Spiegel der ganzen Welt – lässt einleiten. Einleiten, in einen derart extremen Wandel der Dinge, der ohne Warnung nur erschrecken würde. Die Geräusche sind weg, doch die Augen schlagartig gefordert. Man sieht alle Wesen, die einem schwirrend aufzuzeigen scheinen, was Bewegung bedeuten kann. Die Flosse eines zu zahm gewordenen Hais könnte vom Fahrstuhl getroffen werden, oder auch nicht. Langweilen einen schon die Myriaden von Tieren, so sollte man – passend gekleidet und unvermittelt – einen Spaziergang im Tang unternehmen. Es kann nun sein, dass einem selber – oder einem Trottel – die Augen schmerzen: Unterwasserskulpturen: Langsam in der Strömung treibende und vom Meeresgrund mit Stahlseilen festgehaltene Lufttanks, welche die Dimensionen von Pottwalen zu erreichen scheinen, heben durch ihren Drang, an die Meeresoberfläche zu kommen, kleine jämmerliche Bleiformen empor. Ein plastischer Schwarm von Wildgänsen, abgegossen und zu Lande verzehrt, von Fischen noch nie erblickt. Oder nur der Reiz des Ungegenständlichen. Lotrechte Quadrate, künstliche Formen des Menschen, erschaffen, um die Tiere zu irritieren, gescheitert an der Indifferenz derselben. Oder nur

Meta: Verankerte Lufttanks, ohne den Drang nach Dienstleistung, selber zum Protagonisten auserkoren, industrielle Massenmaterialität der Seile und des Körpers. Fertig. Die Objekte sollen scheinbar schweben, mit Leichtigkeit im Unterwasserwind fliegen, sich zwischen Setzen und Emporsteigen auspendeln, doch die grobe Apparatur, welche hierfür nötig ist, wirkt in Wahrheit zu provisorisch und unsensibel. Solch fehlgeleitete Experimente, begonnen in kindlicher Euphorie und abgebrochen in wiederum kindlichem Konzentrationsmangel, sind nicht ganz ansprechend. Geltung verschaffen sie sich jedoch von selbst.

„bleisatzrohrpost“

„... mit dem Ziel, nicht nur gewisse veraltete Technologien im engen Kreis wieder aufleben zu lassen, sondern dies in hochmoderner Art zu tun.“ Man bringe ein selbst entwickeltes Spracherkennungssystem, eine Linotype Setzma schine und eine pneumatische Innenrohrpostanlage zum Transport von papiernen Informationsträgern zusammen und lege somit den Grundstein für eine besondere Kommunikationsform. Man besinne sich wieder auf die uralte Gewohnheit des Diktates, aus Abscheu vor der digitalen Form des Selbermachens. Eine Mixtur aus längst überholtem Aufwand, sorgfältiger Liebe zur Qualität und zeitgemäßer Übertragungsgeschwindigkeit. Ein direktes Mitteilungssystem, welches sich – trotz zeitgenössischer Sofortübertragung – der Technik des antiquierten Buchdruckes bedient und auf diesem höchst unökonomischen Wege qualitativ hochwertigste Druckerzeugnisse produziert. Man befühlt mit der eigenen Zunge die Rinderzunge. Beim Kauen spaltet sich die gummige, knackige Konsistenz des Fleisches entzwei als wäre es die eigene Zunge. Man bemerkt beim Mustern der Tafel, dass der Sohn immer noch abwesend ist und wird abrupt aus diesen Gedanken geworfen. Man möchte ihm eine Nachricht zukommen lassen. Um die Spracherkennung zu starten, ruft man ein verabredetes Credo in den Raum. Nun diktiert man die zu überbringende Nachricht „Essen fertig“, weist anschließend durch ein indizierendes Wort darauf hin, dass nun Anweisungen zur Form folgen, bestimmt die Auflage und gibt den Empfangsort an, nennt die gewünschte Schrift, Schriftgröße, das Papierformat, die Papiersorte, auf Wunsch detailierte Angaben zur Formatierung und Komposition – bis man, wiederum durch ein Codewort, die Spracherkennung beendet. Es werden nun die mitzuteilenden Laute automatisch in alphabetische Zeichen transskribiert. Die Linotype wird hierdurch angesteuert und liefert prompt die passenden Bleilettern. Die anschließenden Angaben zur Form werden von der Setzmaschine ignoriert und lediglich im Setzkeller ausgerufen. Der hierfür angestellte Setzer hört die typographischen Anweisungen, montiert den Satz wie besprochen, druckt die Nachricht und schickt sie per Rohrpost ab. Bei technischen Problemen ist er sofort zur Stelle. Personal: 1 Setzer ( in Personalunion Wartungsmeister der Rohrpostanlage) >40–41, 58–59, 82–83, 114–117, 160–161

fAding trAdition by Julia Neuhaus

For my work I purchased pictures on flea markets, which were offered as inheritance. I radically erased the portrayed people’s faces by painting them over, in order to show how little the individual identity counts. After death there is merely anything left apart from a few pictures, transient memories of the individual’s habits and material belongings. Mostly, the pictures do not have any sentimental value anymore for the following generations. Hence, the portrayed people’s lives seem to be meaningless and unreal so that those pictures can hardly be filled with life in one’s imagination. Julia Neuhaus

loTTo magaziN TradiTioN 60–61

What do my ancestorsâ&#x20AC;&#x2122; values mean to me ? Was bedeuten mir die Werte meiner Vorfahren?

A scientific approach ... by michael straub Are we emotionally able to do something that we cannot achieve intellec tually? Could emotions and passion be produced generically? And what about jazz, the probably most intuitional music, that also seems the most difficult to understand – might there possibly be a scientific approach to it? A research.

Lotto Magazin SCIENCE 66–67

here are two scientists who are interested in Especially harmonics of jazz, which is based on what happens in the brain of jazz musicians, classical music but enriched with more complex while they are jamming: Charles Limb and chords (“higher” third- and fourth-chords) and Allen Braun from the Hopkins University of Bal- substitutes (advanced functionality), are a more timore suppose that certain regions in the brain, complex set of rules. The outcomes of this are which are responsible for self-control and -cen- also new possibilities for chord changes. Furthermore, jazz is, like every type of sorship are suppressed, while regions for creativity and self-expression are reinforced. Studies with music, based on physical-mathematical fundamagnetic resonance tomography (MRT) have mentals, which determine for example the used shown activity as well as inactivity in the corres scales, intervals and chords. Also metrics (meponding areas of the prefontal cortex. For these ters with and without changes), its tempo or the studies musicians played a keyboard that was de- rhythm organizes the pulse and therefore the signed especially for the MRT. In the beginning time schedule of the pieces of most of the jazz they played just a scale, than they jammed. But styles. But jazz carries us away especially when we should though keep in mind that there is still it gets mathematically incorrect. By shortening, no explanation for the process itself, just because delaying and special accentuations of note values there occurs a phenomenon that is described we know, where it takes place in the brain. How and where could this interest be clas- as “swing” and makes the special emotional efsified culturally and scientifically? The crea- fect in many jazz styles. Although musicians play the “swing” diffetion and development of jazz and its different styles were the most important incidences for rently, depending on the piece of music and the the history of music “The creation and development tempo, it is possible to analyze it and to in the 20th century of jazz and its different worldwide. It is as styles were the most important describe it through complicated matheimpossible to defiINCIDENCIES for the history ne jazz within a few of music in the 20th century matical algorithms. Anders Friberg, sentences as it is with worldwide.” traditional European music that is often just re- a Swedish physician and jazz musician, brought duced to classical music. A comparison of these this analysis to such a perfection that it is in the two types of music could emphasize correspon- meanwhile possible to produce jazz on the comdences and differences between the two, but this puter in a way that it sounds nearly like being shouldn’t be the topic of this article. We rather played live by real musicians (audio examples will try to answer a few specialized questions, can be found on YouTube). This is not compar which match with the concept of the current is- able to drum rhythms, accompaniment features and sequence techniques that are nowadays insue of this magazine. There are scientific efforts for a better un- cluded in keyboards. At the moment Friberg is derstanding of jazz music in many countries of working on possibilities to make music with the America and Europe. Therefore jazz institutes computer in real-time and to make it possible to have been founded, as for example the Jazz In- put expressions and feelings into computer mustitutes in Darmstadt (Germany) and Graz (Au- sic. But this computer jazz is rejected by many stria), just to name two examples in the Germanmusicians or is at least regarded as experimenspeaking area. Jazz is often described as emotional and in- tally vanguard. There have always been attempts tuitional music, but this doesn’t mean that it just to exclude what should not be called jazz. The subliminal fear, that computers just expresses feelings and emerges out of the moment. For most of the styles of music there are have to learn all necessary rules for a comporules, for the structure of a piece of music (e.g. sition (and they can) and that they can therefore intro – theme – solo chorus – theme – extro), replace composers and musicians, plays a role for the processing of musical motives, themes here for sure. But like this, there are no compoand melodies, as well as for the harmony of the sitions done that can be regarded as ingenious. Bruno Spoerri, a Swiss saxophonist, did a musical instruments (harmonics), just to name a few essential aspects that are regulated by rules. great job by developing the electronic based “ma-

thematical” jazz (audio examples on the internet). However, there is still enough leeway for a jazz musician to individualize his music with intonation and improvisation. Improvisation hasn’t been an invention made by jazz. It has been there ever since, also in the so-called classical music (e.g. in baroque music while Bach was composing or later, when still interpreters themselves improvised cadences in solo-concerts). In pieces of jazz the improvisation is an essential characteristic, which cannot be left out. There are several techniques to improvise in jazz, which differ from the ones of traditional European or non-European music culture. An immense number of new and antique European, but also exotic scales serve as a broad inventory of tones out of which, consistent to the chords, ever new melodies can be created. Thereby, at a certain moment, already heard and practiced combinations of tones are spontaneously linked to each other in a new way. Thus improvisation exists in the moment, in the present, and is determined by memories and experiences from the past. Real improvisations are therefore unique and are not repeatable in an identical way. This doesn’t mean that jazz musicians have to be mathematics or natural scientists. But there is a link between the rational mathematical way of thinking and intuitional spontaneous procedures. The art of playing good jazz lies within the skill to make rational structures look like intuitive e.g. by improvisation. Probably this is the reason why many mathematics and natural scientists are good musicians, of classic music as well as of jazz. The pianist and physician Vijay Iyer (US citizen of Tamil origin, audio examples on the internet) can be named as one such example. He says about himself, that he imagines sounds as physical processes, from which he can benefit to understand harmonies and to strive for a certain mathematic elegancy in his compositions. Does that imply that you need a natural scientific education or at least a certain intellectual maturity to be able to enjoy jazz? – No, but it can help to gain more personal profit from hearing as well as understanding the music.

eroded men/lAndscApes by Kim Keever

loTTo magaziN philosophy 68â&#x20AC;&#x201C;69

page 68: eroded maN 80d, 27 x 24, 2010 page 69: eroded maN 88g, 27 x 24, 2010 page 70â&#x20AC;&#x201C;71: palm 39b, 30 x 44, 47 x 71, 2005 page 72 (above): WiNTer 18, 32 x 47, 47 x 73, 2006 page 72 (below): WildFloWers 52i, 53 x 70, 61 x 81, 2008 page 73: WaTerFall 104F, 80 x 64, 2010 this page: sTudio vieW For WesT 91r

A PRIORI by Lisa Jung

The “A priori” project is based on the idea to visualise Kant’s philosophical system as a tribunal. In infographics the central categories on historical classification, epistemology, aesthetics and ethics were processed. The objectuality enhances the feeling of order, of rigidness. Thereof develops an overall structure in which every single concept has its permanent place. The three-dimensionality of the cubes-model allows the viewer to discover new, more comprehensive relations between the categories. Lisa Jung

Lotto Magazin PHILOSOPHY 76–77

Lotto Magazin A PRIORI 80â&#x20AC;&#x201C;81

„lautschriftsystem“ Ziel: Eine neue Lautschrift.

Status quo: Die gewöhnliche Computerlinguistik, welche die spracherkennende und künstlich sprechende Technik vorantreibt, ist uninteressant. Sie soll ihre Fortschritte machen und die Welt verändern. Durch sie ist ein Text irgendwann nicht mehr, wie er so offen da steht, ein Angebot zur Selbstreflexion, er dient nur noch als schriftliche Vorlage für väterlichen Rat, wird ausschließlich hinter den Kulissen vom Informatiker verwendet, gewinnt durch seine gesprochene Personalisierung beträchtlich an Autorität. Man liest nicht mehr, nein, man kann nicht mehr lesen, man hört. Wo kein Platz ist für Imagination, für die schriftlich abgefasste Offenheit, dort ist der Ort der Erziehung. Hilflos und unvorbereitet suhlt man sich in der spontanen Reaktion auf die Beschallungen des Alltags. Ansatz: Mir kommt es darauf an, einen Sonderweg der Sprechkunst für den kleinen Kreis zu entwickeln. Eine eigens entwickelte, maßgeschneiderte Haussprache aus schließlich zum privaten Lustgewinn. Ein Zeichensystem von visueller Schönheit, ökonomisch völlig irrelevant, ausschließlich erschaffen für das Spezialinteresse an überdrehten Artikulationen. Das Gegenteil eines offenen Textes, welcher in beliebiger Geschwindigkeit und Kontinuität, Stimme und Lautstärke gelesen werden könnte und somit eine fast beliebige Imagination in Gang setzen würde. Ein Schrei. Eine Maschine hört das und dient. Sie generiert eine Syntax. Dabei bleibt sie stumm, sie ergreift nie das Wort, da sie kein Sprechorgan besitzt. Sie bleibt Diener. Der Mensch liest diesen transskribierten Schrei: Nach einiger Übung erreicht er die Fähigkeit, in sich dessen exakte Stimme zu erzeugen. Er konsumiert Zeichen, die sprechen, genießt umständlich gespeicherte Reden. Er hört mit dem Geist, statt mit dem Ohr. Außer wenn er selbst schreibt: Dann lässt er sprechen, spielt den Herrn der Rede. Die Lust an der Gestaltung von mündlicher Ausschweifung (in vitro), der Dehnung vorhandener Sprechmaßstäbe. Sonderbar neue Schreie, erfundene Personen, welche in der Natur nicht vorkommen können, unzählige hohe Cs in Reihe, Udo Jürgens aus der Schreibfeder. Sowohl beim neuen Lesen, wie auch beim Schreiben von den schwerwiegenden Ver zerrungen der eigenen geistigen Vorstellungskraft entzückt, entgleitet er mehr und mehr in die Synthese sprechender Mixturen.

Der Kommunikationskreislauf: 1. Produktion von Lauten: a. Eine verbale Äußerung. b. Auf Einsatz der Stimme folgt die maschinelle Produktion einer Syntax, die wiederum maschinenlesbar ist. c. Dennoch kein Scan und Auslesen des Textes durch Maschinen, sondern ausschließlich die menschliche Rezeption. 2. Rezeption dieser Laute: d. Der Mensch erblickt diese synthetischen Ausrufe. e. Festgelegte Interpretationsanweisungen zu Tonlage, Lautstärke, Betonung und Dauer, welche in ihrer Gesamtheit diese synthetische Stimme konstruieren. f. Konkrete Klangbildung im Kopf. Wie eine Tonbandaufnahme. g. Kontrollierte, minder beanspruchte Imaginationsbildung. h. weiter bei 1. Wichtig hierbei: – Die schriftliche Darstellung der mündlichen Sprache in deutlich schlankerer und ästhetisch festgelegter Form. – Keine Abbilder. Eine bildhafte, gegenständliche Sprache, wie die „Isotype“ von Otto Neurath wäre zwar sehr schnell erlernbar, jedoch aufwendig niederzuschreiben und somit nur zur Reaktion geeignet. – Einfache, abstrakte Zeichen. – Keine aus Einzelsymbolen zusammengesetzten Zeichengruppen für einen menschlichen Laut, sondern für jeden machbaren Laut ein einziges stellvertretendes Zeichen. – Die Integration aller messbarer Parameter eines menschlichen Ausrufes in den zu erschaffenden Zeichensatz. Das heißt: Festgeschriebene Anweisungen zur Lautstärke, Tonhöhe (Frequenz), Betonung und Dauer der Laute. – Die Synthese von Schrift, Lautschrift, Notenschrift und grafischer Notation. – Normierung der mündlichen Aussprache. – Die bestmögliche Abbildung von mündlichen Aussprachen konkreter Personen. – Kulturelle Unabhängigkeit. – Gestaltungsmöglichkeiten zur Erweiterung der menschlichen Stimme. >40–41, 58–59, 82–83, 114–117, 160–161

seArch for AspirAtion by ruTh WeigaNd

above: uNTiTled Mixed Media on Paper 21 cm × 27 cm

below: uNTiTled 21 cm × 15 cm

right: uNTiTled Photography

loTTo magaziN devoTioN 84–85

above: uNTiTled Photography

below: uNTiTled Screenprint on Paper, 26 x 18 cm

right above: uNTiTled Mixed Media on Paper, 42 x 50 cm

right below: uNTiTled Photography

loTTo magaziN search For aspiraTioN 86â&#x20AC;&#x201C;87

Ohne Titel, Mischtechnik auf Papier 21 cm × 27 cm

Ohne Titel Fotografie

Untitled Porcelaine, 23 x 35 x 28 cm

right: Untitled Photography

Lotto Magazin SEARCH FOR ASPIRATION 88–89

Lotto Magazin AVOCATION 90–91

GERT HOF: UPLIGHT BY THOMAS CLAUSEN

left: Atlantic City Photography: Guido Karp above: The Concert of Light Jerusalem Photography: Ralph Larmann next page: Aidadiva Photography: Anja Pietsch

Lotto Magazin UPLIGHT 92â&#x20AC;&#x201C;93

Lotto Magazin Viganella 94â&#x20AC;&#x201C;

e turns the whole planet into a voyeur of purgatory, the humans into burning people in the Great Fire. Gert Hof, the famous Berlin light-architect, arouses with blazing battles of material, four-dimensional lightning wars of epic dimension upon the roof of the world. He is an eccentric director and dramatic advisor of operas and plays, rock shows and video clips, “and also of these huge things”, how Hof puts it. In cooperation with Pink Floyd, Gottfried Helnwein, Lou Reed, Mike Oldfield and many others, Gert Hof composes monumental mountains of megalomania, which beggar all description, writes scores with pyrobombs, lasers and light. During his worldwide mega-event spectacles at the Acropolis in Athens, on the Red Square in Moscow, in front of the Semper Opera House in Dresden, he sends his audience of millions regularly on ascension. The ejaculations of a fire god with light as the probably purest form of transiency. A seeker, who got lost from the world and his perfect art of the irrational. Highlight galore. “When I was a child, I always wanted to be a wizard,” Hof says “Apart from that, I was always fascinated by locomotives; the sight, when the heart of a machine lay open. That is also what it is about today: How to transform a driving force into beauty”. Gert Hof: workaholic, perfectionist, romancier. Insights of a (self) illumination.

left: MOSCOW RED SQUARE Photography: Sabine Wenzel previous page: Malta Photography: Sabine Wenzel

THE NEW OLD-FASHIONED by Anthony Lycett

Lotto Magazin TRADITION 98–99

loTTo magaziN The NeW old-FashioNed 100â&#x20AC;&#x201C;101

above: VON MORGON, artist below: ESME BIANCO, performing artist right: JOE MILLER, fashion stylist

Lotto Magazin THE NEW OLD-FASHIONED 102–103

above: SANE PHOENIX, fashion stylist below: TONY SILVESTER, music promoter right: AMICHI IHENACHO, designer

Can I define myself through my job ? Kann ich mich 端ber meine Arbeit definieren?

above: DAVID CARTER, interior designer

right above: ALBION GEOVICTWARDIAN, lawyer right below: FIONA DEFFENBAUGH, shop owner

ekphrasis by Johannes Wald

ekphrasis #1 2008 Hot Type Print on Vat Paper 47 °— 35 cm Courtesy: Konrad Fischer Galerie

Lotto Magazin AVOCATION 106–107

Eine geschmiedete Stahlskulptur, bestehend aus einem sich leicht verjüngenden Kegel, der am oberen Ende mit einer kuppelartigen Wölbung abschließt und unten flach auf dem Boden aufliegt. Sie ist ca. 140 cm hoch und misst an ihrer Standfl äche einen Durchmesser von knapp einem Meter. Ihre Oberfläche setzt sich aus tausenden kleinen Flächen zusammen, die in metallischen Blau- und Schwarztönen schimmern; sie ist durch unzählige Hammerschläge gespannt und ihr kompaktes Aussehen lässt eine enorme Materialdichte vermuten. Sie erscheint unendlich hart und verschlossen. Bereits auf den ersten Blick zeigt sich, dass die Arbeit aus massivem, tonnenschwerem Stahl gefertigt ist. Trotz der eindrücklichen Erfahrbarkeit ihrer Oberfläche, wirkt es, als wäre eine solche nicht existent – als würde die ganze Skulptur nur aus Kern bestehen. Es scheint eine unsichtbare, aber deutlich spürbare Kraft von ihr auszugehen; die Dichte ihres Kerns und die dort hinein geflossene Energie breiten sich fast körperlich in den Raum aus. Die Arbeit ignoriert die natürliche Grenze zwischen sich und ihrer Umgebung und nimmt einen Platz ein, der weitaus größer ist, als der, den man ihr aufgrund ihrer messbaren Ausmaße zuschreiben kann. Ihre Präsenz ist von sonderbarer Intensität. In ihrer unmittelbaren Umgebung lässt sich auf nahezu telepathische Weise ihr Entstehungsprozess erschließen; es wird deutlich, dass sie aus einer ungleich größeren Masse heraus verdichtet ist. Eine riesige Kraft muss mit roher Gewalt und schier endloser Ausdauer in sie übergegangen sein. Es scheint, als habe ihr Urheber seine gesamte Lebensenergie aufgebracht, um mit seiner Hände Arbeit eine unspezifische Masse an Stahl zu diesem fast magischen – aber dennoch unspektakulären – Objekt zu verdichten.

Fünf zweiunddreiSSigstel Zoll halten die Welt zusammen by Peter Thomas Spätviktorianische Ideenmechanik und der Traum vom Getriebe: Der Metallbaukasten ist mehr als 100 Jahre alt, seine Glanzzeit in den Kinderzimmern ist längst vorbei. Doch eine verschworene Gemeinde von Konstrukteuren hält das Spielzeug am Leben und verleiht ihm immer wieder neue Tiefen.

Lotto Magazin DEVOTION 110–111

rößer, stärker, komplizierter: Auch das keineswegs synonym mit dem Metallbaukasten Konstruieren mit dem Metallbaukasten ist. Vielmehr gab es besonders in der westlichen kann sich dem allgemeinen Trend zum Welt eine ganze Reihe von Mitbewerbern, die Superlativ nicht ganz entziehen. Nichts aber ist sich mit ihren Produkten am Erfolg von Meccano an diesem Spielsystem größer als die Idee, die orientierten: In Deutschland dominierte Märklin dahinter steht. Die Öffentlichkeit hat das spä- – bis zum Ersten Weltkrieg Kooperationspartner testens im Sommer 2009 einmal mehr wahrge- von Meccano – mit seinem zum englischen Originommen, als James May einen Kanal in Liver- nal voll kompatiblen System den Markt. Andere Marken waren beispielsweise Conpool auf einer aus Meccano gebauten Brücke struction, Mekanik, Mignon, Stabil, Thale und überquerte. Da spannte sich eine filigrane, silbrig glän- Trix mit seinen charakteristischen dreifachen zende Konstruktion über das Wasser: Halb Lochreihen mit zueinander versetzten PerforatioKipp- und halb Drehbrücke, zusammengebaut nen. Heute ist von dieser Vielfalt nur noch das aus Elementen eines ikonischen Spielzeugs und 10-Millimeter-System Construction unter dem verbunden mit Schrauben im ehrwürdigen briti- Markennamen Eitech auf dem Markt vertreten. schen Maß 5/32 BSW. In der gleichen Liga spie- Weltweit dürften aber die zu Meccano kompatiblen Systeme überlen riesige Kranmodel- „Feinheiten der Steuerung le, die nur in Räumen und genaue MaSSe müssen wiegen. Neben Märklin mit überhohen Decken aus historischer Literatur sind das beispielsweise Bral (Italien), Erector aufgebaut werden könrekonstruiert werden.“ nen oder sogar gleich eine Werkstatthalle als Ar- (USA), Exacto (Argentinien), Stokys (Schweiz) und Temsi (Niederlande). beitsplatz brauchen. James May und seiner BBC-Sendung ist es zu Der Brückenschlag mit dem Metallbaukasten war eine tiefe Verneigung des britischen verdanken, dass Meccano derzeit in GroßbritanTechnikjournalisten, als er für seine Sendung nien wieder Konjunktur über die eingeschworene „Toy Stories“ diese etwas wacklige Brücke über- Szene der Schrauber und Konstrukteure hinaus schritt: Eine Verneigung vor der Stadt Liverpool, hat. In Liverpool selbst erinnert aber heute nicht vor ihrem Bürger Frank Hornby und vor dessen mehr viel an das Goldene Zeitalter der BaukäIdee für ein Konstruktionsspielzeug aus Metall, sten. Die backsteinernen Hornby-Fabrikhallen in das sich in schier unendlicher Vielfalt zu Ma- der Binns Road sind seit 1979 verwaist. Und mit schinen, Fahrzeugen, Gebäuden und vielem an- den ikonischen Baukästen vergangener Jahrzehnderen mehr zusammensetzen lässt. „Meccano“, te haben viele der aktuellen Meccano-Sets, die der erste moderne Metallbaukasten, wurde hier heute in Frankreich und China hergestellt werden, in Liverpool geboren. Und in der Stadt am Mer- wenig gemeinsam. sey entstand aus Hornbys Idee die größte Spielwarenfabrik des Vereinigten Königreichs. Seit Hornbys Baukasten zunächst unter dem Namen „Mechanics Made Easy“ 1901 auf den Markt kam, hat die Welt Löcher bekommen: In Blechstreifen gestanzte Löcher, von Mittelpunkt zu Mittelpunkt jeweils einen halben Zoll (12,73 Millimeter) voneinander entfernt. Verbunden werden die Streifen mit Schrauben und Muttern. Was Kontinentaleuropäern dabei ziemlich exotisch anmuten dürfte ist das bis heute verwendete Gewindesystem „British Standard Whitworth“ (BSW) im Maß 5/32 inch. Es sind diese fünf Zweiunddreißigstel Zoll, Wer auf der Suche ist nach der Idee von Meccano, welche die Welt von Meccano zusammen halten. der verlässt deshalb die großen SpielwarengeWobei die englische Marke zwar als Beschrei- schäfte und betritt eine eigene Welt, das „Mecbung für das Genre fast überall auf der Welt be- canoland“. So hat Hornby diese Sphäre, in der griffen wird, aber in der Wirtschaftsgeschichte ein Spielzeug zu einem System heranwächst, mit

dem sich die Welt der Mechanik und Industrie begreifen lässt, bereits 1925 in einem Buch genannt. Die Meccano-Welt war einmal bevölkert von braven Knaben in kurzen Hosen und karierten Pullovern. Sie sind längst erwachsene Männer geworden, die Faszination für den Metallbaukasten hat sie aber nie ganz losgelassen. Das gilt für Meccano genauso wie für Märklin und Construction/Eitech.

Ortswechsel vom Mersey in ein Tagungshotel am Rande von Magdeburg. In den Räumen liegt dieses typische Meccano-Geräusch in der Luft, ein sinfonischer Sound aus Metall und Geschichte: Da laufen Zahnräder und Ritzel aus Messing, massiv und doch seidig. Da klingt Blech auf Blech, rollen Räder auf Vollgummireifen, arbeiten Getriebemotoren surrend und summend unter Last. Hier treffen sich im Spätherbst 2010 die Mitglieder des deutschen „Freundeskreises Metallbaukasten“ und stellen ihre neusten Modelle aus: Vom genial einfachen Windkraft-Wagen der 15 Jahre alten Schülerin Rike Ahlbrand bis zum hoch komplexen Dampfschlepper von Norbert Klimmek. Es ist eine Form der experimentellen Indus triearchäologie, die der 63 Jahre alte Elektrotechnik-Ingenieur Klimmek mit diesem Großmodell betreibt, das derzeit ganz aus MessingElementen und schwarz lackierten Blechteilen entsteht: Die Ära der Dampfschlepper auf dem Rhein ist lange vorbei, Feinheiten der Steuerung und genaue Maße müssen aus historischer Literatur rekonstruiert werden. Und schließlich gilt es, die so gewonnenen Informationen für das eigentliche Modell in eine abstrahierte Form zu fassen. Denn Modellbau im eigentlichen Sinn, die äußerliche Nachahmung des Originals im kleinsten Detail, ist nie das Ziel der Arbeit und des Spiels mit dem Metallbaukasten gewesen. Es

sind vielmehr mechanisch korrekt arbeitende Skizzen in drei Dimensionen, die auf den Werkbänken der Märklin-Konstrukteure entstehen: Die Idee der Maschine steht im Vordergrund, und stolz zeigt das Modell deshalb auch seine Schrauben und Perforationen – wichtig ist, dass Funktion und Proportionen stimmen. Historische Bauanleitungen von Märklin oder Meccano nennt Wilfried von Tresckow aus diesem Grund auch eher eine Partitur denn einen strikt zu befolgenden Plan. Der Modellbauer ist der Dirigent, der Baukasten mit seinen Teilen das Orchester. Deutlich macht das der 66 Jahre alte Betriebswirt am Dampfmotor von Märklin, eingebaut in ein Lokomobil: „Das war so, wie es in der Anleitung dokumentiert ist, nie wirklich zu betreiben“, sagt von Tresckow. Erst mit einer anderen Übersetzung und einem veränderten Zugang zum Brenner ließ sich das Lokomobil überhaupt anwerfen.

schine gegenüber der Version von Tresckows noch einmal weiterentwickelt: Der komplette Antrieb ist modular mit dem Chassis verbunden, das macht die Bedienung endlich so einfach, wie es der Göppinger Hersteller vor Jahrzehnten schon versprach.

restlichen Kosmos der über die Jahrzehnte entstandenen Spezialteile: Einerseits meint es das tatsächliche Greifen und Zupacken, weil hier klassische Handarbeit mit Schraubendreher und Schraubenschlüssel verlangt wird – kompliziertes Werkzeug ist nicht unbedingt notwendig. Andererseits steht der Metallbaukasten auch für das Begreifen im Sinn des Verstehens technischer Zusammenhänge von ganz unterschiedlicher Komplexität: Wer zum ersten Mal an einem stark abstrahierten Modell die Funktion eines Differentials versteht, die Arbeitsweise eines Baggergreifers, die Steuerung eines Krans: der staunt über diese elegante Simplizität in der Nachahmung mechanischer Prinzipien genauso, wie der Betrachter hoch komplexer Maschinen von der labyrinthischen Vielfalt der Teile und Funktionen fasziniert ist.

Den Metallbaukasten nicht als reines Spielzeug begreifen, sondern als ein Instrument zur Interpretation echter Mechanik – ist es das, was die internationale Gemeinde der Meccano-Modellbauer antreibt? Das Konstruieren mit dem Metallbaukasten kann jedenfalls eine fast schon transzendentale Klarheit haben. Dieses Argument taucht in Gesprächen mit den Modell-Maschinenbauern aus Deutschland und anderen Ländern immer wieder auf. Selbst das größte und komplizierteste Modell lässt sich schließlich zurückführen auf die Idee des streng modularen und damit unendlich flexiblen Spielzeugs. Die gekapselten Antriebe, verborgenen Steuerungen und Schaltschränke, wie sie in der realen Maschinenbauindustrie heute vorherrschen, gibt es im idealen Meccano-Modell nicht. „Meccano ist viel mehr als ein Spielzeug“, sagt Der staunende Blick in die Maschinenräume der deshalb Willy Dewulf, „denn man lernt, mit den Krane und Lokomotiven, der Ballmaschinen Händen zu denken“. Der 79 Jahre alte Südfranund Traktoren gehört deshalb zu den Treffen der zose ist mit seiner Frau aus Marseille nach MagIn Magdeburg tritt von Tresckows Modell in ei- Metallbaukasten-Szene dazu: Wie wird es ange- deburg gekommen, den Kofferraum des Autos nem freundschaftlichen Wettbewerb gegen das trieben, wie gesteuert? Und wie sind Verfahren voll beladen mit Meccano-Modellen. Durch den Lokomobil von Stephan Ahlbrand an, das nach nachgeahmt, die der Metallbaukasten so nicht Metallbaukasten hat er als Schüler zum ersten der gleichen Vorlage „wie wird eS angeTrieben, bietet – an erster Stel- Mal begriffen, wie ein Differenzial funktioniert, le der lineare Antrieb erzählt der pensionierte Hochschullehrer für und mit einem ähnliwie geSTeuerT?“ Maschinenbau. Und so, wie damals sein Lehrer chen Märklin-Dampfmotor entstanden ist: Das durch Hydraulik? Eines hat den Metallbaukasten – und mit Meccano als Werkzeug zur anschaulichen Wiszischt und summt und tröpfelt auf dem Parkplatz vor dem Hotel, bis die erste Maschine mit der ihm neuere Konstruktionsspielzeuge wie Fi- sensvermittlung einsetzte, so arbeitete der in Kraft des Dampfes loszieht. Der 43 Jahre alte schertechnik und Lego Technic – stets von Tunesien geborene und aufgewachsene Dewulf chemisch-technische Assistent Ahlbrand hat anderen Spielzeugen unterschieden: Mit ihm später selbst damit in seinen Seminaren: „Ein seine Version der selbstbeweglichen Dampfma- kann man sich die Welt der Technik mit simp- guter Ingenieur muss auch instinktiv wissen, ob len Mitteln wirklich begreifbar machen. Zu be- eine Konstruktion funktioniert“, gab er seinen greifen, das hat hier eine doppelte Bedeutung Studenten mit auf den Weg. loTTo magaziN Frank Hornby wäre glücklich gewesen, beim Umgang mit Blechstreifen, Schrauben, zWeiuNddreissigsTel zoll Zahnrädern, Gewindestangen und dem ganzen wenn er den Unterricht von Willy Dewulf erlebt 113–114

hätte. Oder wenn er einen der Workshops hätte besuchen können, die Michael Röhrig für Kinder anbietet: Der Pfarrer im Ruhestand gehört zu den Märklin-Freunden des Schrauberstammtischs Rhein-Main und hat in diesem Sommer im hessischen Freilichtmuseum „Hessenpark“ Kinder und Jugendliche eingeladen, die Welt des Metallbaukastens wieder für sich zu entdecken. Ähnliche Projekte gibt es in Großbritannien und anderen angelsächsischen Ländern an Schulen. Die Ausstattung der Kästen entsprach dem Typ 100 von Märklin aus den 1950er Jahren, die Modelle reichten „von ganz leicht bis relativ kompliziert“, sagt Röhrig. Das Interesse der Kinder und die Geduld, mit der sie sich einem Spielzeug widmeten, das eine hohe Konzentration und gute Feinmotorik verlangt, begeisterte nicht nur den Theologen. Auch Museumsdirektor Jens Scheller sah in diesem Angebot einen guten Baustein für ein lebendiges Museum, das die Balance hält zwischen attraktivem Programm und wissenschaftlichem Anspruch.

borene Buchhalter eines Fleischimporteurs aus Liverpool war als Jugendlicher zum begeisterten Anhänger von Samuel Smiles geworden.

Vor allem trieb ihn das Buch „Self Help“ des schottischen Schriftstellers und Sozialreformers an: Der kleine Angestellte Hornby wollte mit Erfindungen – also durch die Kraft der eigenen Arbeit – seine wirtschaftliche und soziale Position verbessern. Gleichzeitig sollte der Metallbaukasten den damit spielenden Kindern und Jugendlichen das notwendige Rüstzeug mit auf den Weg geben, um sich früh in der Welt von Industrie und Ingenieurwissenschaft zu orientieren. Dieser pädagogische Ehrgeiz schlug sich über das Spielzeug hinaus wohl am stärksten im „Meccano Magazine“ nieder. Die Zeitschrift erschien von 1916 bis 1981 und war zeitweilig das auflagenstärkste Jugendmagazin Englands. Die Publikation trug maßgeblich dazu bei, dass Meccanoland zum Staat ohne Grenzen wurde: Wie auch die Vereinigung „Meccano Guild“ war das Magazin ein starkes Werkzeug, das Hornby zur Kundenbindung einsetzte. Der Inhalt war jedoch nie bloße Werbung. Das betont auch Hubert Lansley, langjähriger Redakteur der Zeitschrift und erster Kolumnist unter dem Pseudonym „Spanner“ (Schraubenschlüssel) in Neu ist die Idee allerdings nicht, den Metall- seinem Rückblick „My Meccano Days“: Reporbaukasten als Lernmittel einzusetzen. Denn tagen und Berichte aus verschiedenen Bereichen letztlich ist Meccano von Anfang an ein päd- der Technik wechselten sich ab mit Bauanleitunagogisches Spielzeug gewesen, eine Methode, gen für Meccano-Modelle und Nachrichten aus Kindern die Grundfunktionen von Mechanik der internationalen Gemeinschaft der Clubs und und Maschinenbau ohne das starre Korsett des Gesellschaften. Die einzelnen Ausgaben vermittelten Wissen über Schulunterrichtes nä„MeCCano iST viel Mehr technische Innovatioher zu bringen. Dass alS ein Spielzeug“ diese Idee nicht von einem Pädagogen und auch nen ebenso, wie sie die Technik- und Kulturgevon keinem Ingenieur stammt, ja nicht einmal schichte ausloteten. So ist das Meccano Magazine heute eine von einem Spielwarenfabrikanten, hat mit der Biografie Frank Hornbys zu tun: Der 1863 ge- wichtige Quelle, um die Rolle des Spielzeugs in

den ersten beiden Dritteln des 20. Jahrhunderts zu verstehen. Für viele Jungs war das Magazin schon bei seinem Erscheinen weit mehr als nur irgendeine Zeitschrift: Sie sammelten die einzelnen Ausgaben und ließen sie am Ende des Jahres beim Buchbinder zu schwergewichtigen Kompilationen im festen Einband fügen. Die schönsten Exemplare aus der Mitte des 20. Jahrhunderts kommen im ochsenblutroten Leder mit Goldschrift und den Narben eines halben Jahrhunderts daher. Heute sind die gebundenen Jahrgänge längst zum Objekt für Sammler geworden – genauso wie die Baukästen selbst. Was daran fasziniert, die Baukästen so zusammenzutragen, wie sie von Märklin, Meccano, Trix und den anderen Marken auf den Markt gebracht wurden? Es geht um Momentaufnahmen, um das Dokument einer bestimmten Epoche, aber auch darum, die Entwicklung des Systems nachvollziehen zu können, erklärt Karl Bopp. In Magdeburg zeigt der 57 Jahre alte Elektrotechnik-Ingenieur einen Ausschnitt seiner Sammlung – die Themenbaukästen von Märklin mit orange lackierten Teilen aus den 1980er Jahren. Seit dem Jahr 2002 trifft sich die deutsche Metallbaukasten-Szene jährlich einmal. Entstanden ist die Zusammenkunft aus einer EMail-Liste zum Thema Märklin Metall. In angelsächsischen Ländern, aber auch in Frankreich und der Schweiz, ist das Hobby durch Vereine und Verbände organisiert. An der Spitze dieser Organisationen steht die 1989 von Michael Adler gegründete „International Society of Meccanomen“ mit mehreren hundert Mitgliedern. Und wer heute die Anstecknadel der ISM trägt, der bekennt sich damit zur selben Idee, der früher jeder Junge folgte, der sich die Badge der „Meccano Guild“ ans Revers seines Jacketts heftete.

„eselbetriebener wasserfall“

Um auf Wunsch einen künstlichen Wasserfall anzuschalten, ohne den Eindruck von einem Brünnlein zu vermitteln, müssen zwanzig hart arbeitende Esel einen kontinuierlichen Wassertransport gewährleisten. Die mühlenartige Maschinerie muss hinsichtlich der Lärmreduzierung (Plätschern beim Transport, maschinenbe dingte Geräusche) optimiert werden. Das Gehöft ist günstig zu wählen, idealerweise mit einem hohen Felsen, nach vorne hin an ein Gewässer angrenzend. Der seitliche Rand des Felsens liefert die Wand zur Anbringung des Mühlrades, welches in das Gewässer ragt. Neben dem Rad ist eine flache Ebene mit genügend Platz für die Zugtiere. In den Felsblock sollte von oben ein Becken gehöhlt werden, wo sich das hochtranspor tierte Wasser sammeln kann. Auf halber Höhe des Beckens ist der Spalt angebracht, der das Austreten des Wassers verursacht. Die Transportkraft der Esel muss die Austrittsgeschwindigkeit des Wassers deutlich übersteigen, so dass der Wasserspiegel im Becken den Spalt übersteigen kann und ein kurzer Puffer entsteht. Am Fuß des Wasserfalles ist ein klarer Tümpel, der zum Baden einlädt. Personal: 1 Eselhirte

Alternative: Esel glauben eine Mühle zu drehen, diese wird aber zu 80% (Tierschutz) elektrisch angetrieben.

„katapult“

Beschleunigung und das euphorisierende Erlebnis in angemessener Optik. Ein katapultartiges Gerät am Boden, welches den Menschen in vierstellige Höhen schießt – ohne übermäßigen Ruck, damit auch ältere Menschen in den Genuss kommen können. Kostenlos und so häufig wie nötig, kann so der Bürger sein Gemüt aufhellen und bei regelmäßiger Benutzung seine Leistungsfähigkeit im Alltag langfristig steigern. Um die Angelegenheit seriös abzusichern, setzt die Aktivierung des Katapultes das Tragen eines verriegelten und selbst zündenden Fallschirmes voraus.

„indoorstrand“

Der überdachte Strand, ein innen befindliches Meer, eine Natur, welche in einem Nest Platz findet. Fern des Regens und des Windes, der einzige Strand, der sich auch nachts im Tag befindet. Eine Sandweide, mal hell erleuchtet, mal voll des Sonnenlichts. Das Wasser, grobmaschig den Raubtieren entzogen und dennoch der Strömung nicht beraubt, verhält sich der menschlichen Laune entsprechend kalt, lau oder heiß. Die Wände, größtenteils gläsern, hin und wieder Projektionsfläche spezieller Präsentation, meist jedoch klassisch zu stummen Barrikaden reduziert, ermöglichen durch ihre Macht der völligen Undurchlässigkeit das Gedeihen einer Schattenwelt. Einer Welt, ständig darauf erpicht, trotzend der Realität das Gegenteil zu beweisen. Ein riesiges Fischernetz, eine Tierfalle mit Köder und verschließbaren Öffnungen.

„deckenkolosseum“ ________ Circensi ------------- Panzerglas Menschen ________ Ich meine von unten. Von unten gucken. Den Blick nach oben richten. Gespannt. Oder entspannt. Inszenierung oder Untermalung. Wie lange dauert der Kampf unter männlichen Oktopoden? Das stundenlange Katz- und Mausspiel, wie geht es vonstatten? Wirkt die Betrachtung von Fischschwärmen beruhigend? Beeindruckt ein Rauchkabinett? Kann es einen Wolkenhimmel illustrieren? Haben Sie so schon mal eine Katze sitzen sehen? Haben Sie so schon mal einen Walzerball gesehen? Verhöhnt man missliebige Gäste, indem man abgeschieden, weil unter ihnen weilt? Sorgt ein schlichter Wellengang für mehr Temperament? Kann ein nervöser Tiger zieren, oder überträgt er seine Nervosität? Ist ein Schwarm Hornissen ein spannungsfördernder Reiz? Wirkt er aphrodisierend? Wie sieht Feuer von unten aus? Völlig geflutet: Wird soviel Bowle getrunken?

„krafterinnerung“

Die dunkle Nacht ist vom Weiß des Mondes und des frischen Schnees sanft erhellt. Der Schnee schluckt allen Lärm. Die Straßen büßen an Ernsthaftigkeit ein, die Härten verwischen, ihre Pedanterie verschafft sich kein Gehör. Als der Wind sein Spiel mit den Bäumen beginnt, ändert das alles. Wo vorsichtige Stille war, presst nun wahrer Klang. Ein Kanon zwischen Baum und Wind. Zum perfekten Zeitpunkt. Eine unsichtbare Entladung, an die Ohren preisgegeben durch das Peitschen der Äste. Eine Kraft, eine erhabene Kraft, an die man sich erst wieder erinnern musste – diese Macht man im Sumpf der Stadt vergessen hatte. Das stolze Rascheln und Heulen schert sich nicht um den Menschen. Es ist sich knisternd seines Glanzes bewusst. Bar jeder Würde lechzest du nun nach einer Teilhabe. Ein Teil der nachsichtigen Urgewalt hallt in dir wieder, der Rest weist dich in deine Schranken. Es hört wieder auf, um erneut toben zu können. (Ein hausgroßer, nahezu lautloser Ventilator entrichtet auf Wunsch seinen Windstrahl auf eine Eiche. Um seine Kraft besser zu kanalisieren und seine Umwelt nicht unnötig zu beeinträchtigen, erfüllt ein zwischengeschalteter Felsen eine Trichterfunktion. Vorne ein großes Auffang- und gegenüber ein kleines Abgangsloch.) (Kraft erzeugt sowohl Demut als auch Ermutigung. Der eine peitsche sich selber aus, um so seine Wehrlosigkeit spüren zu können. Der andere schöpfe, in Kenntnis seines Unvermögens, Mut für den Kriegseintritt. Hierzu dient beiderlei diese Form der Krafterinnerung.)

„DREHORGELRAUM“

Wenn einem zum Heulen zumute ist, begibt man sich in den Drehorgelraum. Man setzt sich still und ehrfürchtig auf eine Bank, als beginne sogleich der Gottesdienst. Der Orgelspieler beginnt zu drehen. Es wird freimütig geheult.

„GEKÜHLTE BÜCHERREGALE“

Hat ein Mensch schon einmal aus temporären Platzgründen den halbleeren Kühlschrank zur Buchablage zweckentfremdet, so wurde er Zeuge eines seltenen Schlüsselerlebnisses. Kostbare und leider kurzweilige Minuten des beschwingten Glückes sind ihm geschenkt, der nun zufällig und zum ersten Male in einem gekühlten Exemplar blättert. Die Seiten scheinen zu kleben (der steif gewordene Leim gaukelt dies deutlich hörbar vor), tun dies aber doch nicht, nein, sie erfrischen die Fingerkuppen, erwecken den Verstand und schärfen die Sinne. Doch das Papier ist zum Leidwesen des Lesers schnell wieder aufgewärmt. Er fragt sich traurig, warum die ermüdende Gemütlichkeit eines temperierten Zimmers bisher nicht den Sinn einer Handkühlung erkannt hat. Denn welch intensive Stimulation – nahezu eiskalte Seiten am Kamin umzublättern. Er hat Blut geleckt und wünscht sich gekühlte Bücherregale. >40–41, 58–59, 82–83, 114–117, 160–161

Western World by miNmiN peNg

BACH FLOWER THERAPY by MATTHIEU LAVANCHY & JONAS MARGUET

Lotto Magazin SCIENCE 124â&#x20AC;&#x201C;125

Lotto Magazin BACH FLOWER THERAPY 126–127

CAN I ALTER THINGS BY JUST BELIEVING IN CHANGE ?

Kann ich Dinge ver채ndern wenn ich fest daran glaube?

Lotto Magazin SCIENCE 130â&#x20AC;&#x201C;131

The concrete ornament by Stefan Hanser “Looking is not as easy as it looks like” Ad Reinhardt

n this study different systematic work methods for designing nets and dynamic structures are investigated. By using mathematically based methods, signs and graphical elements are set into relation to a complete form, a prior structure or a graphical pattern to create a reduced aesthetic information, which can be perceived by the viewer by active analysis. Already 50 years ago artists have tackled perception phenomenon and theory of form; e.g. François Morellet who created series of form defining systems like overlapping, succession or interference using simple geometrical forms like lines, squares and grids; or Victor Vasarely who studied visual phenomenon of dynamics and illusions of dimensionality.

Making use of systematic operations is a fundamental of visual design. By researching into visual processes the ability to capture complex creation and mental models is enhanced.

Technical realization and methodology The images consist of thin black lines of a standardized line diameter of 0.3 mm on white surface to precisely perceive the objects or processes. The specific works are printed on boards sized 75 x 75 cm making use of digital imaging prints. By reducing the production means a homogeneity is given that allows to compare different versions. The computer with its charateristic sobriety mechanical precision is the perfect means to realize the visualization of the objects. In addition, complex procedures like succession and transformation can be made systematically feasible. The applications are not put into effect using computer controlled mechanisms, but calculated mathematic algorithms. In this case mathematics is the methodology to convey systematic principals without reproducing itself. The mathematical structure challenges the viewer to

find out about the systematic of the presentation to re-enact the creation process. Although the system is based on simple numeric successions, the initial structures are significantly distorted making even mathematicians wondering at first. Comments on the construction theory are thereby very helpful and may enable the viewer to perceive the objects in another way.

Algorithm and concretion The visual structures are obtained by applying different operations like translation (shifting, displacement, transference), rotation, reflection and deformation of a specific initial structure. The basic structures are geometrical forms like square, rectangle, circle, point or line. A systematization of operational methods is achieved by applying a specific algorithm (in mathematical terms a calculation method, which is finite after a certain number of mathematical measures is defined as algorithm). The operations applied can be traced mainly according to a systematic sequence of numeric successions. The numeric succession, which is used mostly – and which is the favourite succession in systematic design pattern – is the actual numeric order (1, 2, 3, 4, 5, 6, ...). In another graph an initial geometric form is systematically rotated by 10° steps, resulting in 18 steps of a 180° rotation. An algorithm is applied finitely by stepwisely performing the instructions. Thereby series of images can be formed. By studying a single image a succession of subsequent images can be concluded in case the algorithm becomes obvious. Not by using arbitrary instructions, but deliberate utilization of a repeatable procedure of geometric and thereby initial forms of indigent associativity a new aesthetic object is created. This analytical and methodological procedure is an expression of concretion). Irrespective of utilization and material this study presents purely artificial, concrete nets and structures with out being abstractions of imaginary elements or thoughts.

Aesthetics in perception Contrasts like light-dark, inner and outer forms are related to each other and are causing a process-like perception of the viewer, which is stating the actual visually perceived message. Instead of a riskless passivity the viewer perceives an active analysis of the image. The sheer perception) is supported by cognitive and reflexive processes, whereas the concentration of the viewer skips from a part object to the next and thereby their relation is relativated. Based on addition and subtraction single elements may be perceived as holistic and complex forms), as super sign. For the semiotician Umberto Eco this kind of ambiguity represents a precondition for an aesthetic message). For Eco the second characteristic feature to perceive an aesthetic information is autoreflexion. Different levels of interpretation, which are dynamically perceived as super sign by the viewer represent the meaning and the completion of the images. Beyond the perceival experiences of the recipient the objects do not transmit any content. Historical and art specific references are meaningless to confirm the recipients’ visual experiences. From an objective point of view the viewer criticizes the image and thereby at the same time the generator of the image, too.

left: Interference of straight lines Initial structure: a straight, horizontal line. Construction: By switching from increasing to decreasing actual numeric order of the initial structure by translation and rotation, a compressed and widened order of lines evolves. A net of intersecting linear structures evolves by congruental translation and reflection of the linear structure at the vertical axis.

Lotto Magazin Viganella The concrete ornament 132â&#x20AC;&#x201C; 132â&#x20AC;&#x201C;133

Is it possible to explain my world scientifically ? L채sst sich meine Welt wissenschaftlich erkl채ren?

Transformation from point to line Initial structure: 21 x 21 points positioned in standardized pattern.

Construction: In a certain succession of actual numeric order (6, 5, 4, 3, 2, 1, 0, 1, 2, 3, 4, 5, 6, 7, 8, 7, 6, 5, 4, 3, 2)

the points are transformed to lines from left to right and top to bottom.

Lotto Magazin The concrete ornament 134â&#x20AC;&#x201C;135

above (1â&#x20AC;&#x201C;3): Progression of straight lines Initial structure: a straight, horizontal line. Construction: By switching from increasing to decreasing actual numeric order of the initial structure by translation and rotation, a compressed and widened order of lines evolves. A series of images evolves by translation and reflection of the order of lines at the vertical axis and horizontal shift. below (1â&#x20AC;&#x201C;3): Progression of curves Initial structure: a straight, horizontal line. Construction: By switching from increasing to decreasing actual numeric order of the initial structure by translation, deformation and rotation, a compressed and widened order of twisting lines evolves. A series of images evolves by translation and reflection of the linear order at the vertical axis and by horizontal shift.

Lotto Magazin The concrete ornament 136â&#x20AC;&#x201C;137

Progression of straight lines Initial structure: a straight, vertical line. Construction: By switching from increasing to decreasing actual numeric order of the initial structure by translation and rotation, a compressed and widened order of lines evolves.

LOST IN THE MAKING Talking Berlin with Marc Reeder BY NEALE LYTOLLIS & DAWIN MECKEL

PUNK IN EAST GERMANY To the East German communist government, punk was the result of the failures of capitalism and resulting unemployment – and as East Germany officially had neither, it also didn’t officially have punk.

JOY DIVISION

Touring with Joy Division was adventurous! Imagine travelling in a cramped, cold van full of farting, boozing, substance abusing, chain-smoking practical jokers. But I suppose the most memorable thing on tour with Joy Division was experiencing Ian Curtis having an epileptic fit next to me during a night drive. Very disturbing.

Lotto Magazin TRADITION 138–139

SO36 MEMORY The worst moment in SO36 was the horror of playing my first gig there – but also seeing Einstürzende Neubauten drill holes in the wall and stage with a pneumatic drill.

MONEY Yes certainly, I’m absolutely swimming in cash. Another villa in the South of France blackers old boy?

early Tresor Club It was small, cramped, damp and dingy and stank of foul musty air that was mixed with an overdose of smoke from a smoke machine.

TEChno in the beginning It seemed Berlin was the only place in the world where you could take ecstasy and literally dance on the street all day without getting arrested, then go out and party until you dropped dead three days later.

Lotto Magazin LOST IN THE MAKING 140â&#x20AC;&#x201C;141

Berlin Wall As the old communist regime folded, so did all their Stalinist rules and regulations â&#x20AC;&#x201C; so there were no laws and no rules. It gave thousands of young East Germans the freedom to do something that their parents had never been allowed to do: go bonkers, take loads of drugs and listen to music of their own choice. Without the fall of the Berlin wall, there probably would have been no mass techno movement as we know it today. All the buildings that had previously been a part of the dreaded death strip became accessible party locations. For certain, techno was the sound of the fall of the Berlin wall.

Read more: wikipedia.org/wiki/Mark_Reeder

THE JESI KNIGHTS by ANDREA GRAMBOW & JOSCHA KIRCHKNOPF

clothes: Carin Wester, HUGO Men’s Collection, Cheap Monday, Dinkel thanks to: Christian Stückl, Frederik Mayet, Andreas Richter

Lotto Magazin RELIGION 142–143

Lotto Magazin Viganella THE JESI KNIGHTS 144– 144–139

Lotto Magazin Viganella THE JESI KNIGHTS 146– 146–147

We shouldn’t be afraid of youth A conversation with Jon Savage BY TOBI KIRSCH & NINA SUESSTRUNK

Jon Savage became wellknown for his Sex Pistols biography “England’s Dreaming”. In his current book “Teenage” he focuses on the development of the Teenager phenomenon. Hereby, he explains questions of independency and possible threads of youth cultures until the end of world war two. He sees youth as a phase of life that was always infiltrated and manipulated by commercial or political interests.

Lotto Magazin tradition 148–149

Lotto magazine: How do you think about youth a form of death cult. That’s not my stuff, most today? Are there striking differences between of all because the church does not accept me as a homosexual person. now and the past? Jon Savage: It’s all the same if you look at the fight for acceptance. Every generation of Which moral values and images are central for youth has to find its own way of integration into today’s teenagers? In my perspective many young people society. In this process, different types of youth cultures are involved. Today, there have to be care a lot about ecological problems, climate change, the cencreative solutions for “Young people care about this. It is obviously the topics of their peer group, tral aspects of future. Next to all more and more diffiit’s about Sex, criticism of the cult for youths to be Culture, Recognition. term “teenager”, recognized seriously. That’s in a way traditional.” I am full of hope. Youth is our future, we How do young people respond to religion and shouldn’t be afraid of the youth. In this perspective, there’s nothing new. Older generatiphilosophy? Difficult to say, I can fairly make a statement ons fear their ancestors. about English teenagers. For me, it looks like that it’s all about consuming nowadays. But the How traditional are young people today? It’s all the same game. Young people care fact that Christian religion isn’t that important anymore, is no problem for me. Christian religi- about the topics of their peer group, it’s about sex, on is a form of control over people and besides culture, recognition. That’s in a way traditional.

Lotto Magazin We shouldn’t be afraid of youth 150–151

For you personally: Is it a good thing to fight for a “fair thing”? Yes, absolutely. The youth of today is much more idealistic than many people believe. But youths should be aware that they could be instrumented how it happened with the “Wandervogel” movement (a youth movement at the beginning of the 20th century). Youth is always in danger to be politically used for several interests. How passionate are today’s teenagers about music and art? I believe, they are a little bit less enthusiastic than me in my youth. Music shaped my whole life in this time, it stood for a lifestyle, an attitude towards many things. That’s different today without naming that bad. Today, other things are more important like mobile phones for example. Youth is often seen in a direct connection to rebellion, how do you personally think about that? Look, I have many people of different ages

around me today. I personally don’t believe that youth is an expression of rebellion. Youth is forced by so many different strategies, from marketing of the major companies or the diversity of media. In former times, youth was against the mainstream, I can’t really see this today. To what extent is youth a “victim of its own success”? That’s crucial to my statement before where I said that youth was instrumented for commercial and political issues. Youth alone has no progressive potential for society. Youth cultures could be lived in nationalistic or racist tendencies, how it is actually happening in Russia. At that point, it’s always important to look at the details and try to see the complexity of it. Can society use the potential of youth in a progressive way? In general, this is possible. But it should not be institutionalised; it should be just supported,

not controlled. I’m not that big fan of institutions because they often limit freedom in general. Do you see a progressive potential in the internet? Every technical invention has it’s good and bad sides. Neither is the net a “Messiah” nor the end of the world. I’m personally not interested in social networks; I don’t want to be in contact with many people there. I have many good friends in the real world. Additionally, I believe that the ability to concentrate is declining when people are active there for a longer time. Which project do you actually work on? I’m working on a possible movie project about the book “Teenage” and I’m curating an exhibition about Joy Division. I have also illustrated a punk rock book and there is a new compilation called “Black Hole” with Californian punk rock music out on Domino Records. Read more: jonsavage.com

Harry S. Morgan BY HANNAH SEVEN & DAVID SPAETH

Lotto Magazin MORALITY 152–153

Extract from a Wikipedia entry, updated October 12, 2010 at 9:15 p.m.: Harry S. Morgan (born as Michael Schey on August 29, 1945) is a German director and producer amongst others of pornographic movies. The trained journalist is famous for directing classic-style movies. Morgan studied photography at Folkwang-Academy in Essen with Professor Otto Steinert and is a co-founder for the „Visum” group. In 1991 he directed the crime thriller “Pommes Rot-WeiSS” with Michael Lesch. His first actions as a director and producer in the porn industry are traced back to 1988. Morgan´s trademarks are extreme sexual practices like double penetration, fisting and urination. In a journalist’s pose he interviews the (amateur) actors before and after the scenes. A conversation about morals and responsibility. Lotto Magazin: Hello Harry. You became really famous with skin-flicks. Congratulations! Did you never find anything despicable about your work? Harry S. Morgan: Nah, never. I’m pleasuring other people with it. It’s all about the fun and blast I’m having with it. I work a lot with young people, which keeps me young as well. If you don’t like my work, you don’t have to watch it. Put that in your pipe and smoke it. Do you have children? I myself don’t have any children. Creative people often are too selfish to start a family. Their head is full of wishes and dreams so they forget about marriage, having children, building a home.

Was sexuality an issue in your upbringing? different situation. And this is the exciting thing bies. Never try to blend business with pleasure I enjoyed a very liberal upbringing. My about it – on your way to school you glimpse a because you won’t be able to focus on your mother was a journalist, my grandmother was girl you like and you don’t know how to address work. You need to put some daylight bet in the film business. I grew up among artists. her. And then, thank God, you run into her on the ween yourself and your job to bring forward Sex was an issue that was addressed very frank- tram and you finally get to talk to her. I find this new ideas. I walk through the city looking at ly, there were no forbidden experiences and I kind of romance a perfect dream, which I also people, watching them on the tram: Where do the young girls get on? Where do the boys sit? wasn’t talked into believing that masturbation process in my movies, limited to 90 minutes. What happens next? I am observing and try to would make me dull. I never had problems with reproduce it in the movie. Those are the scenes talking about sex or with asking questions. I How important are family and friends to you? wasn’t raised as a catholic. Very important. I am a very active person in that make the spectators think: “Ah, he knows You have to talk about sex with children. Most my circle of friends and family. I’ve been with what he’s doing. I’ve been there before.” I get adults don’t want to admit that it is increasingly my girlfriend for 27 years and we are a good my inspiration from everyday life. Coming up urgent to talk about sex with ever younger chil- match because she has her own career. We share with perverted details late at night alone at your dren. They are convinced that it’s too early for our hobbies like horse-riding and the work at the desk – it doesn’t work that way. You have to go their 13-year-old daughter because they started stables. As a result we made a lot of friends. How- out, get in touch with people and talk to them. doing it when they were just 17. A lot of parents ever I’m on the road quite often. By now I get Sometimes when I get invited by female socioldon’t get it, but the generation Facebook is noth- invitations from universities, even from the cath- ogists to prepare a lecture, I listen very closely ing like themselves. I’m also on Facebook and I olic students’ parish of Frankfurt University. The because I take a great interest in their questions. know how important this modern community is. Catholics by now warmed to sex as a theme to Thus you find out what people want to hear and Even at my age I have no problem at all to keep their students happy. I receive a lot of invita- see in porn. In porn movies a happy ending is talk about sex with young people. And I advise tions to Zurich, Bochum and so on. You are being very important. I like a classic storyline: A couall parents: Talk about it with your kids as early handed around – same effect as with talk show ple is together, then jealousy comes up, they break up and go separate ways. After a while as possible! My parents taught me the facts of guests who have a cracking good story to tell. life when I was 15, which was quite early back Writing my biography last year meant the they realise that this is bullshit due to the lack then. They gave me good advice regarding con- break-through to respectability for me. When of emotions and then it comes to reconciliation. traception for instance. you write a book, you suddenly become repu- An ideal conception I also follow in porn movies. However, with my first girlfriend I was only table and get invited everywhere. I even had a holding hands for the first three months. That’s reading at the Leipzig book fair and the audience Actually you are a trained journalist. Please tell some advise I always “Learn to sit on a bench comprised of young us more about your background. After a two-year training as a journalist at the tend to give young peo- at a lake and hold hands. people and retired teachple, when they ask me ers who are interested “Neue Ruhr Zeitung” I worked three years for Then try to kiss each questions on Facebook. in literature. After the “Bild”. The fact that I ended up in the porn indusother with caution. Learn to sit on a bench reading they applauded. try was rather a coincidence. I was working on Don’t spread your legs at a lake and hold hands. The program maker of a report about “Underground porn filmmakers in right away, you’re not Then try to kiss each a public service broad- Ruhr”. It was well received and so I was asked ready for this!” other with caution. Don’t spread your legs right caster then addressed me and said he had never to take some photos for a contact magazine. Givaway, you’re not ready for this! seen anything like that before and he would like en that I was also into working with the camera, And young people are grateful, when you tell to do a feature story with me. One thing led to I worked as a cable puller in the early days of them that they are allowed to have sex, but start another and all of a sudden the culture channels the German private channel RTL. To learn camwith petting, like in the old days and fathom the approached me, ZDF-Neo for instance, to shoot era work from scratch I became a trainee at the other person. The quest for the buried treasure. a telecast about me as a book author. It is a thrill- Bavaria studios in Munich. I got to know porn The other sex is complicated, so take your time, ing development to see that now even the “posh filmmakers and this is how I became part of the even when it’s difficult nowadays. Return to ro- channels” show interest in me while before I was industry. Camera operators always had financial mance! If you want to find a partner, you won’t barely good enough for private channels. I find problems, so they worked as dubbing speakers find him at the club. this very pleasant. It acknowledges that I was not to have an extra income. Til Schweiger also I would not want to be a teenager at present mistaken with the decisions I have made. Never- started out like that. As I had done those photime. In the past we had another social struc- theless I am not after awards. I rather know that tos for the contact magazine I wasn’t unfamiliar with the business. Well, and there was no money ture. You went to school, to the sports club, you my fans are backing me all the way. for other, non-pornographic movies. were actively inIt was hard back then to slip into the Bernd volved in the lo- Do you consume porn yourself? Lotto Magazin Nah, I never have. As a private person I Eichinger clique. If you were not boozing Harry S. Morgan cal parish. That was a completely have a completely different life, different hob- with them in Munich every night, you had no 154–155

chance. Our porn film clique was united by the joy of filmmaking and the debonair way we dealt with pornography. In society and even in our environment we certainly had to face misunderstanding. You were allowed to have sex, but porn was frowned upon and forbidden. In the few porn movie theatres you were always scared to get caught by a neighbour. This attitude towards sex did not change until after Lilo Wanders. After the refusal I met for my work in the beginning all the more I am pleased when 18-year-olds come up to me at a fair and thank me for sweetening their adolescence with my work.

housekeeping and child-rearing. By now I have interviewed more than 1,000 couples. I filmed them regardless of whether they were fat or skinny, beautiful or unattractive. I left the course during sex totally up to them. Sometimes I didn’t even see a thing. I didn’t want it to work like at a porn set where I give

Where do you get your inspiration from for your movies? Actually I always choose stories like in classical Hollywood flicks: boy meets girl, boy falls in love with a girl, will they find true love? It is an ancient subject, which still holds a fascination for young people. They are interested in the opposite sex and don’t really know what to do, so they catch up on it. I always set a great score by putting this information across in a blitheful way, not as if sex was nothing but perverted crap. I always put great value on a respectful display of man and sex. “Happy-Video-Privat” exists for more than 25 years and is the most successful porn-series in the world. While working on it I learned a lot about normal sex. Due to the journalistic situation I put myself into by interviewing normal couples instructions like “Spread your legs!” The ordibefore sex, I learn a lot. Curiosity makes up the nary moments made the series so thrilling. The charm of it: You are always wondering what the viewers saw me as the guy who shows sympathy neighbours are doing in the bedroom. So I put an and knows what they want. Some refer to me as ordinary couple on the sofa and ask them about the successor of Oswald Kolle. their sex-life. What counts for me is the interview, not the subsequent action and it becomes a sure- Are there any taboos for you? What is contradicfire thing because the viewers realise: “Hey, they tory to your morals in the porn industry? I hate the humiliation of women. I’m not the are people like you and me with the same problems, the same desires.” This project displays a type for S&M. I never could do anything with cross section of our nation’s erotism. I show nor- this “Kneel down, slave!”, it’s not my world. mal people with normal households who, for in- Through those interviews I learned that women stance, have troubles finding time for sex between are the driving forces in men’s lives. We are the

poor birds who try to achieve a certain veneer of rigor, which only lasts ten minutes after all. I admire women and I want to express this admiration in my movies. I always try to present women in a positive, desirable way. Pornography is becoming even more tough and ruthless. What trends do you observe in the porn industry? Sure, many consumers expect that there always has to be something unprecedented, something that has not been seen before. Apart from that I also see a shift back to quality. The wide range of internet porn does not offer any quality, which is a strain for the end-consumer who does not know where to turn to with this excessive supply. The internet bears the great risk of social isolation in front of the computer. The user drowns in dream worlds, which are very frustrating. Porn movies have to display dreams, of course, incredible women having orgasms in front of the camera. Sensuous women are part of porn, but the viewer has to be satisfied so you can earn money with it. I advise against limiting yourself to dream worlds. The excessive supply of internet porn is the same case as with the automotive industry. The more that hits the High Street, the less the consumer can focus on what he really wants. He is seduced by yet another alloy rim, yet a bigger exhaust pipe and then comes the day when he is not able to drive his car anymore because it became too expensive or the technique is knackered and he therefore has to concentrate on the basics. It is the same with porn: In the end the consumer does not know anymore what to reach for… “Pornography is dreams” you once said. What are your unfulfilled dreams? Actually I achieved everything. I’m not chasing any illusory objectives. With age I’m getting more and more laidback and relaxed and I have more freedoms. I am not considerate anymore concerning financial backers or the market. If the audience wants to see anal, I don’t care. Meanwhile the industry supports all my decisions. But there is still a dream I have to fulfil: to cross the Alps with my horses. You have to take your time to do something different. Obituary: Harry S. Morgan died in April 2011. Rest in peace.

Lotto Magazin MORALITY 158–149

„Frei nach Petronius“ Speiseplan: Vorspeise: - Ein Esel aus Erz trägt in einem Quersack auf der einen Seite grüne und auf der anderen schwarze Oliven - auf einer Silbertafel in Honig eingemachte und mit Mohnsamen bestreute Haselnüsse - auf silbernem Rost rauchende Bratwürstchen - unter dem Rost Pflaumen, Granatäpfelkerne - Pfaueneier, darin Ammern und Eidotter - Honigwein - Starker Wein, um die Stimmung anzufachen, dazu warmes Wasser. Erster Gang: - Kichererbsen - Ochsenfleisch - gedünstete Hoden und Nieren - Schinken, Feigen - Törtchen - Seefische (Barben und Pangasiuswelse) - Hummern - gebratene Gans - Honigkuchen. Zweiter Gang: - Nach den Sternzeichen servierte Speisen: u.a. Mastgeflügel, Spanferkel, Saueuter, Hasenbraten mit Flügeln (Pegasus), verschiedene Seefische. Dritter Gang: - Ein im ganzen gebratenes Wildschwein mit Hut, an den Hauern je ein Korb mit Datteln, links schwarze, rechts weiße - an den Zitzen kleine Ferkel aus Kuchenteig hängend (als Geschenk für die Gäste) - lebende Krammetsvögel im Bauch der Sau, welche eingefangen und serviert werden. Vierter Gang: - Drei unterschiedlich alte (2, 3, 6 Jahre) Schweine lebend im Saal vorführen und abstimmen lassen, welches gegessen wird und es anschließend im Ganzen braten - Brat- und Kochwürste als Pseudoeingeweide im Inneren. Fünfter Gang: - Ein im ganzen gebratenes Kalb - Früchte und Weintrauben - Kuchen - knochenlose Masthühner - gefüllte Gänseeier.

Nachtisch: - Krammetsvögel - kretische Äpfel mit Stäbchen gespickt wie Igel - gebratene Mastgans, Fische und Singvögel aus einer einzigen Masse: Schweinefleisch - Austern, Schnecken und Muscheln - Süßigkeiten, serviert aus den zertrümmerten Vasen zweier sich streitender Diener. Peripherie: + Für den Bräutigam ein rotes Kleid und rote Schuhe. Scharlachmantel und Sänfte. + Das Ballspiel vor dem Mahl. + Ein grüngekleideter Pförtner mit kirschfarbenem Gürtel, in einer silbernen Schüssel Erbsen waschend. Über ihm ein goldener Käfig, in dem eine gesprenkelte Elster die Eintretenden willkommen heißt. + An der Schwelle des Speisesaals muss mit dem rechten Fuße eingetreten werden! + Im Speisesaal Aufschriften wie „Den dritten und letzten Tag vor dem Januar speist unser K nicht zu Hause.“ + Eine Uhr auf dem Tisch mit bestelltem Trompeter, damit man immer wisse, wieviel schon vom Leben verloren ist. + Ebenfalls dort ein Büchschen, in dem der erste Bart des Bräutigams aufgehoben wird. + Diener verschenken Geldmünzen an die Gäste. + Flötchenspiele. + Es wird einem Schnee in die Hände gegossen. Bei Bedarf bekommt man seine Füße und Nägel damit gereinigt. + Der Bräutigam trägt Sprüche in die Runde, wie: „Ach, ach, also lebt der Wein länger als ich Menschlein? Trinket Freunde, soviel ihr könnt! Verwandeln wir uns in ihn! Wein ist Leben! Auf meine Ehre, es ist echter X!“ + Diener tragen Trauben herum und stellen sich mit wechselnden Namen vor. „Nicht die Speisen allein machen die Mahlzeiten aus, wir müssen auch essen!“ + Auf dem Tisch ein silbernes, bewegliches Totengerippe, womit der Bräutigam herumspielt, Figuren erzeugt und dazu singt: „Ach, wir Armen! So ist das Menschlein nichts, o weh! Ein Gerippe sind wir, des frechen Orcus Beute. Drum lasst uns lustig leben, solang es geht, juchhe!“ Beifall. + Die Diener reden mit falscher Stimme. + Auf das Kommando „Leg vor!“ kommt ein Vorschneider und schneidet unter Gaukeleien und im Takte der Musik die Speisen. + Ein Narrenauftritt. + Abschlussgeschenke. + Das anschließende Bad.

„Verlies“

Man halte einen Gefangenen, im wahrscheinlichsten Falle ist es ein schwerer Betrüger oder schlicht ein Feind. Den entstandenen Schaden, den er verursacht hat, muss er begleichen. Man sauge wöchentlich per Blutspende an seinem Arm (500 ml). Zu den Essenszeiten, bekommt der Gefangene immer das Mahl seiner Wahl. Er wird sich mit zunehmender Zeit schlechter fühlen – die Blutarmut wird greifen, bis er schließlich dahinscheidet. >40–41, 58–59, 82–83, 114–117, 160–161

illuminAti by adriaN WiTschi & ivo ruch TraNslaTioN by claudio baldi a medieval sayiNg goes ThaT god leTs The suN shiNe oN The bad as Well as oN The good. Whoever said This, seems To have ForgoTTeN vigaNella. a sTory abouT shadoW, lighT aNd The humaN QuesT For eNlighTeNmeNT.

loTTo magaziN religioN 162â&#x20AC;&#x201C;163

iganella is a small, dark mountain village in the Northern Piemont. Enligh tened people is the last thing, you expect to find here. Surrounded by mountainsides that are up to thousand meters high, the about 200 villagers of Viganella live in scary shadow from November the 11th till February the 2nd. During the period of 83 days not one single beam of sunlight reaches the old stonewalls of the adorable rustic houses.

The sun of grace

village. Why exactly, he cannot say. Nothing much seems to have changed in the daily life of the Viganellians since the installation of the mirror. Also Maria Teresa, a local housewife does not seem to be overwhelmed, in opposition to her epic name. It is a good thing, more tourists come here, she argues. But neither in her daily life nor in the structure of the village many things have changed.

Light is life

The mirror-project may have had practical reaIt was at least like that till December the 17th sons. The village was supposed to become more in 2006. On the aforesaid day a small girl called popular, the social life in the village during the Alba (i.e.: break of dawn) released the pale vil- winter months had to be refreshed and the quality of life of the inhabitants was supposed to lagers from their existence in the shadow. Pale and shy she stood on the overcrowded improve. On an abstract level, all this stands for the piazza, glanced full of expectations up from her rainbow-coloured knitted hat and turned on the human pursuit of light in the tradition of histomain switch of the computer that would from ry of religion and philosophy. Heliolatry has now on control the mirror. The mirror is made been an inherent part of numerous old cultuout of stainless steel, is 8 times 5 meter big and res – from the Egyptians and the Persians to the Maya and Inca, to the Celts and the Germanic is installed on a ridge in the North of Viganella. Navigated by the already mentioned compu- peoples – they all knew about the constructive ter, it follows the “If you visit the village yourself, power of sunlight and praycourse of the sun things seem quite different.“ every day and has been reflecting now for four ed consequently for the grace of the fiery star. years the sunlight down to the village square. Akhenaton, the ancient Egyptian Pharaoh, even This “materialized enlightenment” did cost reached the point where he negated vehement100,000 Euros and was paid by local banks. In ly the existence of an antagonist of the sun god the media one can find several pictures of ple- Aton that had been accredited until then. He ased people with thick, black sunglasses sitting let the name of Amon, the god of darkness, be on the piazza, smiling into the reflected sun- gouged out all over the country. Worshipping the sun was indeed forbidden light. If you visit the village yourself, things in the bible, though her light, standing for the seem quite different. The village square is completely deserted work of God, has played also an important role and the reflected light is cold, milky and un- in Christianity ever since. Directly after heaven and earth God created charitable.When you look up to the mirror, you do not get rid of the feeling that an evil-minded light and he “saw that the light was good.” The mountain-giant points his oversized flashlight New Testament is also “full of light”. Both in directly into your eyes. And you do not really the text and in the religious historical paintings feel anything from the apparently “noticeable Jesus is often presented as light. Yet not just priests and believers, but also warming of the square” that exists according to philosophers and litterateurs quest for light by Wikipedia. Sergio Bionda, pensioner und passionate tradition. Subject of their discussion is though goat farmer, has been a habitant of Viganella not the natural light (lux), but the spiritual one now since 52 years. He regularly measures (lumen). Kant and Lessing talked about “the Enthe temperature on the enlightened square lightenment” in the course of the homonymous and couldn’t notice any noteworthy warming era and it dawned to one or another thinker in to now. He is though happy about the mirror his dark parlor in the middle of his dusty books. and the few light, which it brings into the dark Humans desire light! Light is life, creation, ori-

entation and truth. With their mirror, the citizens of Viganella tried to get a step closer to these values.

Bordo, Buddhists and the mayor The path from Viganella to Scajola, where the mirror is placed on a ledge, is old, rocky and just walkable by foot. Fire salamanders run after green lizards, the trees remind of mythical creatures. And when the sun goes down, one can hear Gandalf and Harry Potter saying good night to each other. Here, at the assumed end of the world, halfway to Scajola, Bordo is located. The little village consists of about 20 rustic houses and a deconsecrated church that is about to collapse. Wrought iron bolts commemorate the time of kilns and melting furnaces during which iron was successfully extracted here for centuries. Compared to Viganella, Bordo is located above the shadow border and on clear winter days the sun draws worn out shadow faces on the torn wooden doors until the late afternoon. Nevertheless people quest for light and enlightenment here as well. Since they are blessed with plenty of lux, it is mainly the spiritual light they are trying to receive. What’s the mirror for the Viganellians is their stupa for the habitants of Bordo. Surrounded by colorful prayer banners, it is rising from the grey dry-stone walls, all in white and gold. Bordo is not an ordinary village, it is a Buddhist community. In the 1980s a group of dropouts who were tired of the society found the deserted village and turned it into a commune with a fundamental orientation in Buddhism and Spirituality. Since then, women who sing Tibetan mantras and whistle on shells, men, covered in white robes with long grey hair smile blissfully, and a lama called Luigi have been living here. Bordo is a member of an international organization of Buddhist Centers called “Bodhi Path”. Being translated, the name means something like “the path of enlightenment”. Compared to the Christian experience of enlightenment, which is represented as the reunion with God, as Unio mystica, the Buddhist can reach enlightenment without the existence of a god. He just has to eliminate the causes for his own suffering. Of course this is not a simple venture.

Felice, a charismatic man of Swiss origin, has been working on his personal enlightenment for 31 years here in Bordo. Unsociable and savaged he flits through one of the small valleys. He does not like to speak much; this is why Edith conducts the conversation. She has been there for nine years and is apart from Felice the only one who also stays in Bordo over the winter months. She tells about her nonprofit association “Amici a Bordo”, which supports, inter alia, the social, artistic and spiritual growing of the inhabitants as well as the visitors of Bordo. By coincidence, one of these visitors today is Pierfranco Midali. He is a 47-year-old Italian, whose childishness would baffle even Peter Pan. He did not come to grow up, but to improve his rusty French in a dialogue with Edith. In three days French journalists will be coming and until then he has to be prepared, he says with sparkling eyes. Midali is the former mayor of Viganella and father of the mirror project. From the initial idea to the setting up of the mirror, everything took place under his leadership. Gratefully I accept the invitation to visit him in his apartment.

a village oF depressive people? “Franco”, Midali’s wife calls and asks him to put the book, covered in red velvet, aside. It is time for coffee. She brings espressi and a carboy of local grappa. The mayor’s apartment is located directly beneath the piazza in Viganella. The house is colored in optimistic rose. Inside the house weak fire flames flicker in one of these modern cast iron stoves and colorful stuffed animals are piled up on a couch that has seen better days. Midali puts the coffee mug away, takes the book back in his hands, opens it and starts to tell the story. The whole presence of the mirror project in the media is collected in this book. The book is several hundred pages thick. He points out on an article in which a certain professor called Pagnamenta, pediatrician and colorpunctuloTTo magaziN rist, is mentioned. This professor had illumiNaTi sent him one of 164–165

his studies on lack of light. Lack of light can FiNal eNlighTeNmeNT cause temporary depressive disorders. “The actual benefit of the mirror is limited, we In the medical field of abnormal psycholo- always knew that,” states the mayor. Carefully, gy the terms SAD (Seasonal Affective Disor- as if the pages were out of brittle parchment pader) and autumn- or winter depression are often per, he continues to thumb through his book. used for this phenomenon. “One of the first international journals that reported on our project was the Guardian”, he mentions proudly and points at the article. With every page that Midali turns, it gets more obvious what the mirror project is really about. CNN, Herald Tribune, Time Magazine, Süddeutsche Zeitung, the Spanish ambassador, Dutch photographers and Japanese camera crews. They all have been here and reported. The journalists of BBC even rented a helicopter to fly up to the mirror. “We wanted to make Viganella famous in the world”, Midali says and shows a press picture on which he smiles into the camera, standing next to a female Iranian Al-Jazeera journalist. “But furthermore we wanted to show the world to the people here in Viganella. For me, it was about the discourse, the cultural exchange,” he says and tells how fascinating it was to watch the Japanese journalists. “I wanted to bring all these different cultures of the world to Viganella. I wanted to show to the people here that there are other humans with other ideas, another notion of things, another lifestyle.” – “This sounds like enlightenment”, I reply. “Enlightenment, indeed, it is about Sunlight has an immense influence on the enlightenment”, Midali echoes and bursts into melatonin level and thus on the whole chrono- one of these crazy laughters, which encourage biology. The blue spectrum activates receptor you to think apart from the common standards cells, when getting in contact with the retina, and to try things, which seem fantastic and unwhich block the release of melatonin. Mela- realistic on the first sight. Finally, I ask him whether he has found sitonin is a hormone that causes tiredness. Thus someone who does not see the sun a milar projects, from which he could have gotten lot has a high melatonin level and feels there- inspired. According to him, he has just found fore always tired and powerless. This does not one comparable project in which sunlight gets count at all for Pierfranco Midali. He seems reflected. And this is “Nel Topolino” – from a full of vitality and ardent optimism. But also in Mickey Mouse magazine. other households in Viganella one wouldn’t find therapeutic daylight lamps or dawn simulators. “The people here are not sadder than anywhere else”, Midali says, “and if they miss the sun too much, they climb up the mountainside until they passed the shadow border”.

What puts the meaning in my life ?

below: A mirror on the other side of the valley is supposed to bring light â&#x20AC;&#x201C; and enlightenment.

Welchen Sinn gebe ich meinem Leben?

Lotto Magazin Viganella 166â&#x20AC;&#x201C;

Bodybuilders by valérie belin

Gelatin silver print, 161 x 125 cm Courtesy Galerie Jérôme-de-Noirmont, Paris.

Lotto Magazin AVOCATION/DEVOTION 168–169

FAILURE OF PERCEPTION by Tatzu nishi

Lotto Magazin RELIGION 172–173

War aNd peace aNd iNbeTWeeN Photography by Carley Wright & Sharrin Reese

loTTo magaziN Failure oF percepTioN 174â&#x20AC;&#x201C;175

WhAt cAn i believe in ? woran kann iCh glauben?

goTT erscheiNT am KopFKisseN

(Sculpture: Christ, 1926, Joseph Cornelis) Photography by Dirk Pauwels

loTTo magaziN Failure oF percepTioN 176â&#x20AC;&#x201C;177

The merlioN hoTel Photography by Yusuke Hattori & Tatzu Nishi

loTTo magaziN Failure oF percepTioN 178â&#x20AC;&#x201C;179

explAin, express by beNediKT rugar & bogdaN dragos, sebasTiaN KubiTschKo experimeNT aNd Failure. successioN over surreNder?

loTTo magaziN philosophy 180–181

he whole of prehistory, as Nietzsche used to say, is the great work of man onto himself, its gradual self-assembly. Our capacity to defer what is affecting us, to slow down the flow of existence. To react instantly to whatever is affecting us would give us no time to think. But if things could be “slowed down”, that is to say if we could do more in that few milliseconds before a reaction occurs, a space would open up for the distinction between the necessary and the contingent, between means and ends. Reason and logical procedure consisted precisely in this very hard earned capacity, which among other things gave us the belief of a privileged disposition. This view was a cosmological one, and for the Greeks, the world was always somehow around us, a Cosmos both ordered and beautiful. But this is

nothing new, for this procedure is as old as civilization itself, that is to say, the deduction of categories, the carving up of reality into well arranged boxes and neatly fitting everything inside. The ancient name for this procedure is hylomorphism, which is to say giving form to inert matter. It is a thought that rest on the binary opposition between form and matter and leads us to put a principle of order before the actual process of becoming. What we mean is that this old habit leads us to apply an already formed image of thought onto the world, overcoding it. In time, this image begins to see itself as the only possible image, as the Image itself, the one and only possible explanation for the production of the phenomenon that is the world. As our story continues, people living in Europe between the 17th and18th centuries rekindled

producTioN aNd evoluTioN. reasoN over delirium?

The fundamental aim of modern science perthis tradition and slowly but surely began to see things differently. These people were, as tains to the task of reducing and ordering the denoted by their period, enlightened. They had complex intensity of reality, that is to say, of awakened from a long sleep, the sleep of rea- analyzing it into homogenous patterns or behason, and were now able to make history. A great vior, which latter come to be called laws. In the work was at hand, the “becoming-human” of case of physics, which is the model and wager nature, and at the same time a “becoming-ma- of any exact science of nature, a quite small and chine” of man. As the story goes on, man de- manageable number of laws or principles tell us velops an unprecedented capacity of production, what might happen if we assume certain simplified conditions that is, of exten“The Modern SubjeCT iS born, and eliminate all ding himself in in all of iTS glory disturbing factors. time and space, and unChallenged SuCCeSS ...“ and by that same act, controlling those very di- These simplified conditions include charactemensions. The modern subject is born in all of ristics such as dimensions, mass, shape, rigidity, its glory and unchallenged success, for he was elasticity and other general properties produced the first mode of existence to relatively under- through reification. These specifications are stand the laws of nature and to use these laws impossible to realize in “reality”, but absolutely necessary to make, while the elimination of against her, subduing nature to his own ends.

any disturbing factors is just as impossible to realize, and, again, just as necessary to assume in theory. In this sense, science is a “discipline”, it is a way if disciplining matter, that which must be ordered and given form. There is no greater sentence bestowed upon matter than ordering structures such as the great table of elements of Mendeleyev. Each section of intensive and “disorganized” matter must somehow conform to the table, it must accept the pre-given classification, and decide whether it wants to be oxygen, or helium, or whatever. Populations of molecules need to reduce their differentiation and stabilize around a few pre-given categories. The world as a beautiful and disciplined mechanism is now behind us. Contemporary man learns that he can no longer hide behind the ab-

archiviNg aNd obJecTioN. order over logic?

stractions and the limitations that have so effectively sheltered him for millennia. Disturbing factors have become way too disturbing for them to be put under the rug and matter seems to be more and more reluctant in conforming itself to our “traditional” mental structures. Subatomic particles seem to be playing their own crazy melody, in a meshwork of order and chaos, reason and delirium. Strings and black wholes, paradoxes and indeterminacies form the scientific jargon of the day. To explain the world today is to be transported in a place of partial causes, imperfect conditions, never present certainties and unpredictable outcomes. But if this is the case, loTTo magaziN explaiN, express it is not because something has 182–183

happened to the “world itself”; more likely it is us who have lost the potency or the will to discipline it. Our impotence is the recognition of the fact that the world is not an object given to us (religion) nor is it just a place into which we are thrown (phenomenology) but a place which we are part of. We are not just in the world, we are of the world, that is to say we become alongside it, and it accompanies us every step of the way. From a play of subjects and objects we have arrived at the point where only partial-objects and partial-subjects can connect and make sense. To explain the world can’t be the description of a process of events by a lone observer anymore; but it’s more and more a way of understanding the way we change with and through something like the “world” (a word, which seems likely that we’ll have to abandon).

ie gesamte prähistorische Geschichte, wie Nietzsche es formulierte, ist bestimmt von der umfassenden Arbeit des Menschen an sich selbst, seiner sukzessiven Selbst-Erschaffung. Unserer Fähigkeit zu verzögern was uns ergreift, den Existenzfluss zu verlangsamen. Auf alles was uns ergreift augenblicklich zu reagieren würde uns keinen Freiraum zum Denken geben. Wenn die Dinge jedoch „verlangsamt“ werden, wenn wir in den wenigen Millisekunden bevor eine Reaktion eintritt mehr machen könnten, würde sich ein Raum öffnen, der eine Unterscheidung zwischen Nötigem und Kontingent, zwischen Mittel und Zweck ermöglicht. Vernunft und logische Abläufe bestanden aus eben jener schwer erarbeiten Kompetenz, welche uns unter anderem den Glauben in eine privilegierte Bestim-

laughiNg aNd ThiNKiNg. emoTioN over iNTellecT?

mung verlieh. Diese Sicht auf die Dinge war zip der Ordnung vor den eigentlich Prozess des eine kosmologische, und so war für die Grie- Werdens positionieren. Mit anderen Worten, chen die Welt ständig irgendwo um uns herum, diese alte Gewohnheit veranlasst uns dazu, ein bereits (vor)geformtes Gedankenbild auf die ein geordneter und zugleich schöner Kosmos. Neu ist eine solche Sichtweise jedoch kei- Welt anzuwenden, sie zu überkodieren. Im Launeswegs, schließlich ist dieses Vorgehen so alt fe der Zeit beginnt dieses Bild sich als das einwie die Zivilisation selbst. Gemeint ist hiermit zig mögliche darzustellen, als das Bild an sich, die Deduktion von Kategorien, die Zerstük- die einzig denkbare Erklärung für die Produktikelung der Realität in wohl angeordnete Be- on des Phänomens das wir Welt nennen. Erst im Euhältnisse in die „neu iST eine SolChe SiChTweiSe ropa des 17. und alles passgenau jedoCh keineSwegS, einsortiert werSChlieSSliCh iST dieSeS vorgehen 18. Jahrhunderts den konnte. Der So alT wie die ziviliSaTion SelbST.“ formen die Menaltertümliche Begriff für dieses Vorgehen ist schen diese Tradition um und sehen die Dinge Hylemorphismus; was soviel bedeutet wie trä- langsam aber sicher aus einer anderen Perger Masse Form zu geben. Es ist ein Gedanke, spektive. Diese Menschen waren, bezeichnend der auf der binären Opposition von Form und für den Name der Epoche, aufgeklärt. Erwacht Masse beruht und dazu führt, dass wir ein Prin- aus einem langen Schlaf, dem Schlaf der Ver-

nunft, waren sie nun dazu fähig, Geschichte zu machen. Ein gewaltiges Erzeugnis stand bevor, das „Menschwerden“ der Natur, und zugleich das „Maschinenwerden“ des Menschen. Im Fortlauf der Geschichte entwickelt der Mensch eine noch nie dagewesene Produktionskapazität, das heißt, die Eigenschaft, sich selbst in Raum und Zeit auszudehnen und dadurch eben diese Dimensionen zu kontrollieren. Das moderne Subjekt ist geboren, in all seiner Pracht und seinem unangefochtenen Erfolg, da es die erste Existenzform darstellt welche die Gesetze der Natur annähernd verstand und wie man diese gegen sie verwenden konnte, wie man die Natur seinen eigenen Zwecken unterwerfen konnte. Das fundamentale Ziel moderner Wissenschaft besteht in der Aufgabe die komplexe Intensität der Realität zu verringern und zu

scieNce aNd iNdusTry. producTiviTy over eThics?

ordnen, sprich, sie in homogene Modelle oder die „Realität“ übertragbar sind, ebenso unab- um einige wenige vorgegebene Kategorien herum stabilisieren. Verhaltensmuster zu zergliedern, die nachträg- dingbar ist ihre Annahme für die Theorie. Die Welt als ein schöner und disziplinierter In diesem Sinne ist Wissenschaft eine lich dann Gesetze genannt werden. Im Falle der Physik, die das Leitbild jeder akkuraten „Disziplin“, eine Herangehensweise um das Mechanismus liegt nun hinter uns. Der zeitgeNaturwissenschaft ist, erklärt uns eine über- was geordnet und geformt werden muss – Ma- nössische Mensch erfährt, dass er sich nicht schauliche und gut handhabbare Anzahl an terie – zu „disziplinieren“. Keine Satzung wid- länger hinter der Abstraktion und Abgrenzung verstecken kann, die Gesetzen und Prinzipien was passieren wird, met sich dieser Ord„daS Moderne SubjekT iST wenn wir bestimmte vereinfachte Konditio- nung von Materie geboren, in all Seiner praChT ihn über Jahrtausende nen voraussetzen und jegliche Störfaktoren mehr als sogenannte und SeineM unangefoChTe- hinweg so wirksam beschützt haben. Störbeseitigen. Diese vereinfachten Bedingungen Systematiken, wie neM erfolg ...“ beinhalten Eigenschaften wie Dimensionen, zum Beispiel das Periodensystem Mendele- faktoren sind weitaus zu beunruhigend geworMasse, Form, Härte, Elastizität, und weitere, jews. Jede Sektion konzentrierter und „desor- den, um sie unter den Teppich zu kehren und durch Verdinglichung erschaffene, allgemei- ganisierter“ Materie muss sich irgendwie dem Materie scheint der Bestätigung durch unsere ne Merkmale. Ebenso wie diese Festlegungen System anpassen, muss die vorbestimmten altherkömmlichen mentalen Strukturen zunehund die Besei- Klassifizierungen akzeptieren, und sich ent- mend abgeneigt. Subatomare Partikel spielen tigung jeglicher scheiden, ob es Sauerstoff, Helium oder sonst- allem Anschein nach ihre eigene verrückte loTTo magaziN explaiN, express S t ö r f a k t o r e n was sein möchte. Molekülkulturen müssen Melodie, in einem Geflecht aus Ordnung und unmöglich in ihre Unterschiedlichkeiten reduzieren und sich Chaos, Vernunft und Delirium. Strings und 184–185

mobiliTy aNd progress. improvemeNT over religioN?

schwarze Löcher, Paradoxe und Unbestimmtheiten formen heute den wissenschaftlichen Jargon. Gegenwärtig die Welt zu erklären, bedeutet an einen Ort gebracht zu werden der bestimmt ist von unvollständigen Ursachen, bruchstückhaften Gegebenheiten, niemals gegenwärtigen Gewissheiten und unvorhersehbaren Folgen. Wenn dies jedoch der Fall ist, so ist der Grund dafür keineswegs in der Tatsache zu suchen, dass der „Welt an sich“ etwas zugestoßen ist; vielmehr sind wir es, denen die Fähigkeit oder der Wille zur Disziplinierung abhanden gekommen ist. Bedingt wird unser Unvermögen durch die Anerkennung, dass die Welt weder ein uns gegebenes Objekt ist (Religion) noch lediglich ein Ort in den wir geworfen sind (Phänomenologie), sondern ein Ort von dem wir Teil sind.

Wir sind nicht einfach nur in der Welt, wir sind von der Welt, das heißt wir „werden“ Seite an Seite mit ihr, und sie begleitet jeden unserer Schritte auf diesem Weg. Von einem Spiel zwischen Subjekten und Objekten sind wir an einem Punkt angelangt, an dem lediglich Teilsubjekte und Teilobjekte sich verbinden und Sinn ergeben können. Die Erklärung der Welt kann nicht länger die Beschreibung zusammenhängender Begebenheiten eines einzelnen Beobachters sein; es ist zunehmend ein Verständnis der Entwicklung wie wir uns mit und durch etwas wie „die Welt“ (ein Begriff den wir wahrscheinlich ablegen werden müssen) verändern.

the space between us by Luke gilford

Lotto Magazin MORALITY 186â&#x20AC;&#x201C;187

Lotto Magazin the space between us 188â&#x20AC;&#x201C;189

Lotto Magazin the space between us 190â&#x20AC;&#x201C;191

Contributors

Valérie Belin

Thomas Clausen

*1964, lives in Paris

*1974, lives in Berlin

The photographs of the bodybuilders

After his successfully completed field

Andrea Grambow & Joscha Kirchknopf *1986 / 1984, live in Berlin

bear witness to an ambivalence, which is always present

tests in jurisprudence, Thomas turned onto the true rogue-

in Valérie’s work: the things and beings are photographed

ries and developed an unrestrained penchant for the stars

beyond themselves, for their power to turn their own image

and starlets of the entertainment business. Ever since

in autumn 2010 backstage during the performances of the

into a form of evocation of a body, which is between two

he has felt drawn towards toughies and It-girls from the

41st passion play in Oberammergau. Fake blood, inju-

The photographer couple met their two Jesus performers

opposing states. Freud refers to that ambiguity when he

showbiz and commutes between New York, Los Angeles,

ries from the prop spear and designer clothes included.

quotes as “a perfect case of the uncanny when we doubt

London and Paris. He is working in Berlin for lifestyle-

All false gods we are worshipping keep up with fashion

whether an apparently animated being is alive and, vice ver-

und music magazines. His favourite song quote: “Happy

after all. The Jesi Knights were also part of the exhibiti-

sa, when a lifeless object seems in some way to be anima-

people have no stories”. (p. 48, 90)

on “Traummänner” at the Deichtorhallen in Hamburg, a

ted.” [Sigmund Freud] Valérie perceives and photographs

project that gathered the international elite of fashion and

bodies of the bodybuilders are not very different in their

Bogdan Dragos

tives – modern men who reflect more than the social ide-

plasticity and denial of flesh from wrecked cars. (p.166)

Bogdan researches as a Ph.D. student at

al, enabling something from the substance of their being

the bodies and things in equivalence. The bulky, metallic

the Centre for Cultural Studies, Golds-

Julien Berthier

gical inventions and their relation to specific socio-econo-

*1975, lives in Paris

mic assemblages. Under the supervision of Scott Lash and

miths, University of London on the history of technolo-

portrait photography to show men from various perspec-

to emerge. They were also displayed in Rankins Annroy Gallery in Kentish Town/ London, UK. (p. 142)

Bernard Stiegler he currently works at a “mechanologic”

Stefan Hanser

or to a gallery – that is the premiss of Julien Berthier’s

history of Capitalism. Bogdan holds a Bachelor’s degree

*1974, lives in Berlin

works. They ought to be both, down-to-earth and as

in international relations (Babeş-Bolyai University, Ruma-

Via computer-based mathematical me-

hyper-realistic as possible. The objects and the situations

nia) and a MSc in political sciences (Université Paris-Est

thods he interrelates icons to a superior, overall picture.

they create in real life are to be conceived of as part of our

Marne-la-Valée, France). (p. 180)

Being part of an operational concept that is theoretically

First in real life, then off to the museum

social and economic reality. They respond to certain ne-

Marcel Frey

cessities no matter how inefficient the objects might turn out then. (p.32)

*1980, lives in Karlsruhe

Alexander Binder

pes and rasters. After completing his studies at the Acade-

*1976 Black Forest, lives in Stuttgart

my of Fine Arts in Karlsruhe in 2007 he had exhibitions

Marcel’s works require geometrical sha-

and mathematically expandable, his serial process visualisation is based on a common initial structure line that combines all his works. Through the process-like, intellectual perception of sensible line structures they form an aesthetic message. (p. 130)

In his works the autodidact conducts the

all over Germany. His works are predominantly kept in

Lisa Jung

viewer to sinister, occult sceneries full of fantastic inhabi-

black and white and characterised by strong contrasts and

* 1976, lives in London

tants and magical phenomena. His photographs were not

clear geometrical division. Hence the depicted or painted

Lisa studied graphic design at the Acade-

only exhibited in New York, London, Denver, Toronto,

objects are aestheticised without being abstracted beyond

my of Fine Arts in Saarbrucken and philosophy and lite-

Rennes and Stuttgart but also featured at international

all recognition. (p. 20)

rature at the Freie Universität Berlin. After several long

photography festivals. In addition to photography as his

Luke Gilford

major medium he takes regular side trips to the fields of video art and computer rendering. (p. 42)

Olaf Breuning *1970, lives in New York

*1986, lives in Los Angeles The popular whippersnapper of the Ameri-

stays in Melbourne and Stuttgart, she currently works as a graphic designer in London. Her project is based on the idea to visualise Kant’s philosophical system as a tribunal. In infographics she processed the central categories on historical classification, epistemology, aesthetics and

can art scene graduated from University of California Los

ethics. The objectuality enhances the feeling of order, of

Angeles in 2008. Since then his works have been hanging

rigidness. Thereof develops an overall structure in which

Swiss-born, Olaf learnt about photogra-

at the MoMA in New York, the MUSAC in Spain, the

every single concept has its permanent place. The three-

phy in Winterthur and Zurich. After his graduation from

FOAM in Amsterdam and other hip galleries worldwide.

dimensionality of Lisa’s cubes-model allows the viewer to

the Zurich Academy of Fine Arts in 1996 he continuously

He has released books and films alongside and has been

discover new, more comprehensive relations between the

participated in more and more exhibitions. Meanwhile

working as a visiting scholar at different universities in the

categories. (p. 76)

he is able to look back at several solo exhibitions at the

US. (p. 186)

Metro Pictures Gallery in New York. His bizarre, colourful works comprise photography as well as installations, films, sculptures and drawings. (p. 10)

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Kim Keever * 1955, lives in New York Perhaps it were his engineering studies that provoked his miniature topographies in glass basins. Full

Matthieu Lavanchy & Jonas Marguet *1986 & 1982, both live in Lausanne

Julia Neuhaus * 1982, lives in Dortmund For her work Julia purchased pictures on flea markets, which were offered as inheritance. She

of inventive talent he stages elaborate landscapes and pre-

Lavanchy studied in Lausanne, then in New York and

radically erased the portrayed people’s faces by painting

sents life in a fish bowl in his photographs and thus gives

already has been writing and photographing for well-

them over in order to show how little the individual iden-

a new definition of landscape painting. The viewer is not

established magazines like Wallpaper* or Sang Bleu ma-

tity counts. After death there is merely anything left apart

told what can be seen in the picture and therefore the back-

gazine. Together with Jonas he worked at the book “Neu-

from a few pictures, transient memories of the individual’s

ground of Kim’s works only reveals at the very end. (p. 68)

ve Veltes Remplissent un Quartaut”. Now the new Swiss

habits and material belongings. Mostly, the pictures do not

artist duo put their heads together for the photography

have any sentimental value anymore for the following ge-

project “Camphora”. (p. 123)

nerations. Hence, the portrayed people’s lives seem to be

Markus Keibel *1964, lives in Berlin Human nature and the relations between individuals, their manners of communicating and their

Anthony Lycett

meaningless and unreal so that those pictures can hardly be filled with life in one’s imagination. (p. 60)

Tatzu Nishi

*1973, lives in London

perceptions are core topics in Markus Keibel’s glass

Anthony Lycett finds his exotic city slic-

works and installations. Source of inspiration for his mi-

kers through friends and friends’ friends, in nightlife or

nimalist installations have been his work with the follo-

simply on the streets of London. Among them are hedo-

Parts of Tatzu Nishi’s art keep referring

wing media: photography, language, every day objects as

nists, musicians, lawyers or just people who stand out

to the heritage of his native country Japan. But it also

well as current social discourse. (p. 26)

from the crowd and make London an even more colourful

reflects German culture as Tatzu Nishi has been working

city. Do you dare to be different, is his motto. For two

in Germany since 1997. Many of his works that observe

years he has documented individual characters and their

our image of society and its heroes with a wink were ex-

own, significant style. (p. 99)

hibited in Hiroshima, Los Angeles, Columbia, Guatemala

Tobi Kirsch *1976, lives in Berlin Tobi became a certified social scientist, but he does not perform this job. After several years of moonlighting in the local and transregional subculture in poetry slams, jazzclubs and the limited boundaries of his

Neale Lytollis

*1960, lives in Berlin

and Switzerland. (p. 172)

Minmin Peng

*1984, lives in Berlin

* 1949, lives in Shanghai

Mark Reeder moved to Berlin from Man-

university town’s nightlife he ended up in the German

chester, UK in 1978 and has been a fixture in the German

Minmin was born the same year as his

capital. He keeps afloat in Berlin’s creative scene as a

music business ever since. In “Lost in the Making”, he

home country, the People’s Republic of China. He has

music promoter and throws down tracks once in a while.

showed Neale some of the locations around Germany’s

worked as propaganda poster painter, illustrator, newspaper

If he is not busy writing articles. (p. 148)

capital, which have had an impact on his career. (p. 138)

Sebastian Kubitschko

Dawin Meckel

*1982, lives in London

*1977, lives in Berlin

After completing his studies of philoso-

After his graduation in Bielefeld in 2004

phy and literature at the Freie Universität Berlin and a

Dawin spent some time in South Africa since then and

Master’s degree in global journalism at the University

also started working at OSTKREUZ, a Berlin based agen-

art director and designer for retails. The papercut technique has been Minmin’s personal passion for more than 40 years. After his retirement he spent most of the day doing papercuts and telling stories with the help of a knife and paper. (p. 118)

Benedikt Rugar * 1984, lives in London and Berlin

of Melbourne, Australia, Sebastian currently works as a

cy for photographers. In his photo series he keeps ram-

Ph.D. student at Goldsmiths, University of London. His

bling all over the globe to India, Alaska, the USA, Ma-

Graphics, animations and zines cover:

research at the Media & Communications Department

lawi, Berlin or Greenland. His portraits are very intimate

Benedikt Rugar creates his pieces ranging from comics

focuses on interfaces of media and communications tech-

shots, which are still able to reflect a place, its society and

to cinematics by using classical means such as Indian ink,

nologies and socio-political practises of civil actors with

people’s lives. (p. 138)

a special reference to proto-political articulation and institutionalisation processes. (p. 180)

marker pen and pencil. If he is not busy studying at the Art Academy Weißensee in Berlin, he works as a freelance illustrator and animator and is also a member of the “BamBam Collective”. Benedikt likes organic, flowing forms and clear, expressive lines. (p. 180)

Katja Schloz

Nina Suesstrunk

Adrian Witschi

* 1980, lives in Stuttgart

*1976, lives in Santa Fe, New Mexico

*1981, lives in Zürich

All things have their own worth if you are

Nina is a travelling girl. Not only she

Maximising your personal well-being is

willing not to look, but to see. Katja has the gift to really

takes her work as a journalist photographer serious, she

the mainspring of post-modern consumer culture. Men

feel materials entirely, feel their alienation, to see and to

also uses the taking of pictures as a reason to see diffe-

seek their personal salvation and strive for peace by rea-

experiment with them. This way she generates her own

rent places in the world – and meets interesting characters

lising what a “good life” is all about. Madonna has the

typographies. She plays with the viewer’s viewing habits

such as the “horse loving girlies” that she photographed

Kabbala, Mike Shive turned to esotericism and the inha-

and with the final product she offers to see and to unmask

during a stay in Switzerland. (p. 148)

bitants of Viganella have a mirror. In his quest of light and

the looker. She worked in Paris and London, has won the featured in national and international exhibitions with her

Peter Thomas

bills. Among others she was awarded at the Type Direc-

*1972, lives in Rüsselsheim

sponsorship award for young book designers 2008 and is

tors Club New York. (p. 48)

First he started out in studies in cultu-

enlightenment Adrian ended up in the remotest corner of Piemont. (p. 162)

Aidin Zimmermann

Hannah Seven

ral science, photography and journalism. Today Peter

*1981, lives in Berlin

works as a journalist and cultural scientist with special

After completing his studies of communi-

focus on technology, history of technology and cultural

cations design at the Academy of Fine Arts in in Stuttgart

*1983, lives in Berlin

history. His essays and articles have been published in

Aidin wound up in Berlin as a freelance book designer.

Hannah’s elaborate preparations for the

cultural anthropological, technologic history and litera-

Due to a scholarship he is able to spend all his time with

interview with Harry S. Morgan were badly needed be-

ry science magazines and anthologies. The construction

literary work and artistic books. He is well known for his

cause she never had seen a skin-flick before. This piece

set (such as Erector or Meccano sets) pictures the me-

transboundary approaches at the interface of font and art

was a great challenge for the author. In the end she was

chanics and aesthetics, which shaped engineering and

such as his complementary work “100”, a transmedial

able to say the word “orgasm” out loud without blushing.

architecture of the 19th century. Toy construction sets

project. (p. 40, 58, 82, 114, 160)

Since this interview Hannah knows that porn can bring a

were invented in 1901 in England. 110 years later an

whole lot of pleasure and relief to a majority of her fellow

international scene of model makers keeps the spirit of

men. Hannah feels very sorry about Harry’s sudden death

construction sets alive. (p. 110)

in April. (p. 152)

Bastian Steineck *1987, lives in Mainz

Johannes Wald *1980, lives in Berlin He challenges the approach to sculpturing

At the age of four Bastian decided to

in principal. How can processes be retained in a work and

mark his territory. The ambitious plan to define the fron-

from which point can a work be regarded as finished? Do

tiers of his pygmy state by means of his model railway

the classical standards of aesthetics still apply to sculptu-

was doomed to failure due to a merciless mother and her

res today? Furthermore, Johannes Wald is famous for his

sense of order. Older and wiser, but still stateless, Bastian

plaster sculptures, which originally had been used as ne-

threw a glance at the world of micro nations and mini

gative moulds only. Now he exhibits them as artwork and

states for Lotto Magazin. (p. 23)

thus newly defines the concept of sculpturing. (p. 106)

Michael Straub

Ruth Weigand

*1946, lives in Tettnang

*1978, lives in Cologne

Michael is a passionate musician, mathe-

She lays colour on bodies and lets the

matic, nature lover and natural scientist who loves jazz

material merge with the surrounding space. In her works

and hiking, cycling and he is a true gourmet. For his son’s

sculpting becomes drawing and drawing expands into

sake he attended to the interface between art and calcu-

space. She uses photography to document a pictorial or

lation. (p. 66)

sculptural view, and restores it in a different way. Ruth takes a great interest in subtly breaking with conventional viewing habits. (p. 84)

Lotto Magazin und das Spiel ums Ganze. 1 aus 6

Lotto Magazin

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70180 Stuttgart, Germany

Online:

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Peng, Spaeth, Straub, Wessinger GbR Editor-in-Chief:

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