Samstag, 20. Dezember 2014

FOR A WORLD WITHOUT PRICKS

This a text by GRUPPE M (Claudia Basrawi, Michael Horn and Mario Mentrup 1996) ...We translated it from german to english and in 1997 it was released in a shortened version by Stewart Home in his Compendium MIND INVADERS and in the whole german version by the Magazine SKLAVEN. In 1999 it was released in the book PRINT IDENTITÄTEN (maas media). The text is today very contemporary again: For a world without pricks By Gruppe M, 1996 M1: First of all we try to make clear how theoreticians of conspiracy work. Of course I mean those who occupy themselves intensively with theories of conspiracy, in contrary to those who chat in their local pub about the connection between the seventeenth of june, the third of october and Hitler's birthday (seventeen plus three=twenty/ten minus six = four and that means the twentieth of April). The theoreticians of conspiracy that I mean are seldom scientists but they could study as extensively on a subject. By the way you could not deny that some scientists could be taken as theoreticians of conspiracy. I think for example about the filthy stringing together of textbook phrases, a method that is applicable a lifelong and therefore it is extremely popular among the arrogant losers of university professors. The parallel to our amateurish theoreticians of conspiracy is not only a coincidence as we will see later. Although theoreticians of conspiracy don't entitle themselves scientists, science serves their line of argumentation. They try to support their conjecture by logical connections and use therefore exemplary natural sciences, that means they put up simple arithmetic. Above that – and there is the contradiction- they have a tendency to occultism. They are attracted by everything spiritual and metaphysical, although they would deny the existence of the supernatural. Theoreticians of conspiracy are not afraid of proving esoterically theories by installing the tape measure. The starting point of every scientific reflection is the study of nature and the description of the object. For the scientific description one measures length, with and temperature. Theoreticians of conspiracy for example try to make us believe the existence of angels through divergence of oscillations. M3: . The Theoreticians of conspiracy mixes suchness (Sein) with representation. The discourse becomes magic or becomes marginal again. This divided research expects the solution of the mystery. But to be satisfied with the private property, this fictional or ideal good – the represented imagined suchness this exactly is the ontological seduction. Everything is right – magic, occultism, even scientism. This is my idea of what Henry Lefebre could have written about conspiracy theory in his work "Introduction to modernity"... M1: All I need is a meaningful theory and a fitting method to emulate the theoreticians of conspiracy. My theory will be: THEORETICIANS OF CONSPIRACY ARE MALE. I will prove it with a relatively young scientific discipline psychoanalysis. To make it simple I’ll only read Sigmund Freuds lectures on femininity. Here I will find everything I need as you will see. Peter Gay the famous Freud biographer is very right adding that we all "talk Freud" nowadays. We are talking freely about oedipal conflicts and sublingual rivalries. Vulgarized psychoanalysis offers explanation for societal failure. The people (vulgus) use science to explain the incomprehensible and non materialistic. Nothing can be more fitting for my hypothesis than psychoanalysis in its vulgarized form. I assume that the freudian lecture about femininity is not very well known in all its details. So I think it would be a good idea to give a brief summary of the most important theories. First of all Freud talks about the mystery of femininity. People have brooded over this mystery for generations provided they were male, Freud said. Even Friedrich Nietzsches "Zarathustra" says: "Everything in the woman is a mystery." No one expects women brooding about it, because they are the mystery themselves. This statement really astonishes me. Wouldn't it be possible to question women about their existence as a mystery, whether they are a mystery for themselves and if so, are they interested in the solution? In his lecture Freud mentions three women by name whom he is thankful for their contributions to the mystery of femininity. This proves the existence feminine brooders although it has never been expected from them. M2: You are right. the woman is a mystery. Like every mystery she produces space for fantasy and myth. The man confronted with the woman has lost all trump cards of the materialistic gambler of thought. He would consult the occult to solve the mystery. M1: Let us go back to the Freud lecture. Freud discovered that infants of both sexes first of all act the same, and so called male characteristics like activity or aggressiveness are developed on the same level. He asks himself when and why there is a break (schism) which leads to the specific behavior of the sexes. According to Sigmund Freud at a certain point the female infant discovers that she has no penis unlike her father and brother. Even its mother must live without phallus. According to Freud the little girl turns away from her mother, the person to whom the small child is related most closely. She overcomes this experience by turning to her father and is filled by the desire of giving birth to a child as a Penis ersatz (penis substitute). Friedrich Nietzsche, a contemporary of Freud wrote in Zarathustra:" Everything in a woman is a mystery and for everything in a woman is a solution and that is pregnancy." Finally the typical feminine characteristics like passivity and masochism can be developed. The female is castrated and therefore impotent, she does not feel to have a vocation to contribute to human society by acting/action. Freud did not go into detail of the development of the male infant. The male infant copes with this shock quite well, although the fear of castration stays the most powerful motor of his further development. Let us go further into the direction that Sigmund Freud did not follow. Could not the cognition of the possibility of a life without penis become a secret initial for the further life? Secret because of its unconsciousness. The male infant deals unconsciously with things that basically reflect the female mystery. M2: Let us keep in mind that according to our thesis conspiracy theory is male. The male materialism is the sum of all definitions of all world events. Order safety, power, brightness, the male sun god, the god of light and rationality outs the moon goddess, the lunaric knowledge – fundamental for all accent religions. The male can only achive the symbolic and classical age of the male maturity under the bright light of day and total acceptance of government and power. Night and darkness can only arrive precariously into daylight. Everything else means castration, symbolicaly spoken the female adolescence. According to Henry Lefebvre in "Introduction to Modernity" , the antic image of the female mystery was a mixture of terror and hope. The lost mystery has become bizarre in modern times, a coincidental stimulus for fatigued nerves and the impotent thinking. The victorious religion of christianity has changed the gods of the ancient religions into devils. Aradia the witch goddess and Baphomet the mythical creature with ample breasts – falsely described by Leo Taxil as a symbol for the women lodge of the free masonry – both female creatures threatening the paternalistic society through feminine irrationality, compulsive exercise of power, envy buggery, homosexuality, castration, sterilization, child murder and sexual satisfaction without reproduction. The theoretician of conspiracy, the man symbolically devoted to his potency, gives rise – with romantic lust and satanic fear – to the oedipal Fall of Man. M3: The Sphinx, the terrifying singer of theben, the older sister of the other Attic dark virgin, goddess of the owl, is mastered by Oedipus. Oedipus realizes that he himself is the Sphinx, a mysterious monster and not the solution of the miracle, three times matricide: the Sphinx, the consciousness, Sphinx equal Oedipus, that is the symbol for the male and for mankind. The devil himself passed Eve the fruit of knowledge. Faust and Oedipus and even the conspiracy theorist they all can live without penis. But the lost faith in the omnipotence of the often proclaimed method under the light of the sun god and the angst of ones own romantic forbids women to employ some fast grasps on the zipper. M1: This reminds me of Valerie Solanas. In her S.C.U.M. Manifesto she presents herself as a man-eating castration machine, just like the theoreticians of conspiracy would have expected it from an intriguer. Solanas demands from the secret women society S.C.U.M. to creep up cool and secretly to their victim. S.C.U.M. is the masculine fear of castration par excellence, the abolition of man, penis and power. M3: all right, all right, but let us go back to the question, how do theoreticians of conspiracy think and act. M2: First of all let us go back to the question: where do conspiracy theories come from? Most conspiracy theories of the last two hundred years are considered waste products of enlightenment and revolution of the eighteenth century. Science then there is a fear of dark powers and conspirators, coming out of the ambush causing chaos and demolish the existing order. The dark powers we all know are: Witches Alchemists, Gnostics, Templers of the Sun, Illuminates, Jacobites, Free Masons, Jews, Communists, Neonazis, Muslims and Satanists. A Paranoia like this represents the pure fear of expropiation and impotence which means fear of castration. So here again for the record: the male is the theoretician of conspiracy par excellence. Ergo every theoretician of conspiracy is acting in a masculine way. How can one understand this theory? Let us begin very simply. It is clear that the theoretician of conspiracy always appears like a twelve year old boy who is devouring novels by Alexandre Dumas, Arthur Conan Doyle or Robert Louis Stevenson. It is also clear that the theoretician of conspiracy always tries to force complex incoherent events into a mold. He plays detective. He acts like a paranoid child that does not understand that there is no simple explanation for social and economical interrelations. "Sherlock Holmes", the romantic individualist, believes that he discovered the last peace of the jigsaw, leading to a definite solution of a mystery. Basically he is nothing else than a pseudo religious mystican, a christian-ascetic-calvinsitic-paranoid twelve year old boy. M3: Who said that a complex world can only be explained in a complex way? I can't recall the name, but a secret route in life's confusion through the multilayered turmoil of everyday life can be very tempting. Finally we all are forced – and I don't want to exclude myself and you ladies and gentlemen – we are all forced to be our own employer instead of playing an important part in the system. We are forced to lead an independent life and to stand on our own two feet. Day in day out the simple employer or worker has to be responsible for himself, a fact that is almost socially sanctioned. Selfresponsibility and responsibility for the system – every employer is responsible for the entire enterprise. What once was a human gesture to overcome the agony of the worker on the production line – more motivation through responsibility – became the defined element of capitalism at the bottom – leads to a situation where everyone has the same problem with organizing live – private inventions, tax declaration, protection of vested rights. It is not difficult to determine that this has no validity for every member of the society. The simple evidence for this is the continuous rise of society's sediment. This class, of which some say it come to a third of society, is not at the bottom of the pyramid anymore – at this is new – it is outside. They didn't accept the offer from the system – a gift of selfresponsibility inherited into the cradle. They didn't manage it. "I'm a looser baby so why don't you kill me". Now everybody in the audience will ask themselves – "what has this to do with conspiracy theories?" – And I will say that the individual that has been forced to selfresponsibility has an unquenchable desire for truth, clarity and order. That is the condition for getting up every morning. The petit bourgeois hates nothing more than the untamable chaos. I'm sorry to ask, but isn't everyone of us a petit bourgeois? M2: I like to quote Carl Einstein's Text from 1926 "Der Verfall der Ideen in Deutschland" (The Decline of Ideas in Germany): Opposite the protestant paranoid bootlicker stands the romantic individualist. To the crawling monstrous product on parade grounds comes the safely cellar locked pseudo individualistic omnicriticism." M1: The dark systems of the Hell's Angels of the seventies are very interesting. Their offense against property was simply antisocial. I mentioned the Hell's Angels because they remind me of a novel by Anatol France called "Uprise of the Angels" where furious anarchists, who were hunted at the turn of the century, are described as heavenly creatures. The Hell's Angels are the Fallen Angels. The impotent conspiracy theorist is fascinated by these activists. In his imagination they become mythical creatures. Through this demonology he can reconquer the control over the forbidden world. The Freudian male infant discovers that one can live without penis, later as a paranoid petit bourgeois he is longing for complete castration. It is the desire for giving up oneself. But the fulfillment of the theory is the death of the conspiracy theorist. Out of the paranoia of the man with fear castration arises the desire for oppression, the longing for impotence and passivity in the masses. The neurotic suffers again and again from the self-inflicted denial. He suffers from self infected masochism. With the help of conspiracy theory he escapes any power and action. M1: The female, the freudian castrated male, appears as a passive subject in everyday life. In the masses of obedience she accepts the same denial and anti motivating force (Antitrieb/anti-drive) as the so called patriarch. Again i like to refer to Valerie Solanas. She gives a very important conclusion of the thesis "one can live without penis" by standing Freud's theories on their heads. In S.C.U.M she claims that men are incomplete woman and therefore are mentally crippled. Men should be active, but he is passive because he wants to be female. M2: To complete the picture I like to argue with Anti Oedipus. I proclaim that the theoretician of conspiracy does not want his wish of castration come true. The result is, that every inflexible subjectifying leads into a system of rule, a repressive existence. The one who speculates whether he could live without penis and interprets the loss of penis as impotence, for the penis is a synonym of power, is probably already living without a penis. In the economy of desire where everything is centered around the individual, the repressively driven theoretician of conspiracy celebrates his angst of the loss of an object that he never ever possessed. The penis is in possession of the sun god and the state (authorities). Everything else remains the religious revolt of a romantic character with phantom limb pain. The jewish-christian education has led to a certain kind of asceticism- to power – to represent a proper image: that is the anti-drive (Antitrieb). So what can a poor boy do? As a theoretician of conspiracy he recreates himself by uncovering secrets. M2: Referring to the headword recreation, I'd like to go far afield: without doubt every living thing carries the sprout of its own decline. It can help to differentiate between two kinds of death: biologic death and symbolic death. The term biologic death is self explaining, the term symbolic death is therefore of much more interest. It means that the person has to overcome something, to achieve success in order to look at live as fulfilled. Only then he is able to die peacefully. The biological death can follow with clear conscience. But the sequence (Reihenfolge) is very important. One should think about 19th century horror literature and contemporary horror movies where we can see the devastating effects of false biological dead. In the end death becomes a release – death as a Happy End. What is all this symbolic death about? It can be helpful to use an art production model, that is not contemporarily discussed, but often often proclaimed by artists when they are interviewed about their work: I want to create something that survives the ages." An immense energy is used to leave a legacy that is inextricably linked with the artist's existence. This legacy has a meaning for the posterity. Centuries later the name should speak for itself. Vermeer – a name an enigma. Now a break (jump): from Vermeer to the petit bourgeois. According to the simple formula: what is true for Mister Vermeer is true for Mister Normal only in a smaller dimension. We already know that the petit bourgeois intents to work in impotence. The longing for significance of the petit bourgeois is not achievement orientated, it is a longing for desire itself. Desire is an equivalent for "house/wife/dog". We could define the creation of conspiracy theories as some kind of hobby. It is a closed system and it gives simple answers to complicated questions. Simple solutions in a complicated world can be very helpful when you want to define your own image to protect yourself. There is no doubt that this makes sense in the world of let's say petty minded peoples. M1: I think it is time to come to a conclusion. I'll try to make another psychoanalytical approach: The male who is afraid of castration could leave his state of privation. It is possible to overcome the permanent sacrifice of desire, but the fear of castration is actually a longing for castration. The paranoid male changes real desire into a symbolic representation: he creates a conspiracy theory. That's what gives him back power. As Valerie Solanas has written in her S.C.U.M. Manifesto: "The greatest desire in a man's live is to un mask others."

Dienstag, 16. Dezember 2014

FROHER MAN AUF DEM PLANET, 2. und letzte Strophe

die erste Strophe war: Ich bin ein froher MAN auf dem Planet, ich hab einen mich liebenden Sohn, ich danke es ihm , so dass mein ganzes Leben sich um ihn dreht . Und ich habe mich liebende Frauen. Ich trinke auf all das, allein an dem Biertisch, ein ungefiltertes Helles und auf die Sonne, die jetzt untergeht, Herbstabend bricht an, mein Favorit, der steht mir gut, denn einem Hohepriester wie ich es bin, wurde geraten, Waldbeeren, Waldpilze, Nüsse, Wild und dunkles Fleisch als Main Feed,wie dem auch sei, Ich höre nun ersteinmal "Fairy Tales forgotten" von John Carpenter auf Repeat. die neue und zweite und letzte ist: Ich bin ein froher MAN auf dem Planet, warum in die Wüste, wenn es vom Hügel aus an den Pazifik geht? Ich denk an Dich,wie es wär mit Dir durchs Museum of Jurassic Technology zu streifen, leckere Kekse, mein Sohn, und in diesem Cinema of Attraction altruistisch abzuschweifen. Draussen da wollen alle hier FREUD, REICH und JUNG sein, das sollen sie ruhig , solange es auf der Yacht oder in der Villa, wo ich Gast sein darf, große Steaks gibt und kalifornischen Wein. Der Song, der 2015 augenommen wird endet dann mit: Ich bin ein froher MAN auf dem Planet, warum in die Wüste, wenn es vom Hügel aus an den Pazifik geht? Ich bin ein froher MAN auf dem Planet, ich hab einen mich liebenden Sohn, ich danke es ihm , so dass mein ganzes Leben sich um ihn dreht . froher MAN Planet froher MAN Planet

FROHER MAN (final) in super raw version and more handicaps from Mario Mentrup on Vimeo.

Mittwoch, 5. November 2014

Sterbenslangeweile

Bin auf alte Kurzprosa von mir gestossen, Zeugnisse von Begegnungen mit der Subkultur West und Ostberlins kurz vor Mauerfall, sowie eines regen Interesses an Literatur der Weimarer Republik und der Beatnik-Ära, aber auch Auseinandersetzungen mit dem, was damals passierte auf der Weltkugel und mit mir und uns und was nicht passierte. Mit "Billy & Ernie" sind W.S . Burroughs & Ernst Jünger gemeint gewesen, zwei Zentralfiguren des maskulinen Spätbohemians, damals immer noch, bis zum Abwinken... Die Abarbeitung meinerseits dieser Themen mündete u.a in den KNOCHEN= GIRL Song ALLE.(nachzuhören u.a. via Youtube) BILLY und ERNIE , der erste Text 1990 Erstabdruck in einer Zeitung im Basisdruckverlag, ich kann mich nicht an den Namen derer erinnern, Redaktion für Pop und Literatur von Bert Papenfuß-Gorek, mein Text war auf einer Seite mit einer Huldigung von A R PENCK an Don van Vliet (Captain Beefheart) Dies Album cover und der Sound von BOY DIRT CAR- WINTER war der Aufhänger für den Text:
BILLY und ERNIE Er hatte zu viel getroffen, die großkotzten, Luft mit neuem Stoff versorgten, versucht, hatte aber nichts haben wollen. Zog mit nem Kumpel aufs Land, mit Pulli, Jeans, Anoraks, Boots, Lebensmittel. Mit Gewehr- Kaliber, alt, schoß er, ziellos, nachmittags bestaunte er Insekten. Wenn langweilig, schlugen sich die Kumpels. Global, die Welt voll Ereignis, nachwievor. Einer spielte stundenrum Gitarre, elektrisch mit Fuzz. Puls der Zeit war dies nicht. Verschüttetes kam auch nicht hoch. Armeespinds hatten sie nicht, um Köpfe dagegenzuschlagen. Aber Ameisen in Marmeladegläsern. Beim Schießen zog einer sich eine Muskelzerrung zu. Regte sich maßlos auf. Schlimmer wurde es , als ein Verletzter um Hilfe bat. Nachdem Bergung vonstatten, der nunmehr Dritte im Bunde Stück Seife zum Abwaschen gekriegt, sich abgedankt, fragte Einer von Zweien, ob Philosophie, Politik oder weiteres P: psychologische Kriegsführung- er geht auch. Zurückgebliebener blieb klein und die Welt groß- hier wie dort. Aber nur weiter. Er hörte moslemisches Beten auf Tape, freute sich, weil Verstehen tat er nicht- dann Arzttermin- egal Arzt musste sein. Es kam die Zeit des dreckigen Winters: Interesse für Insekten schwand. Seine Phantasie reichte nicht. Seine Naturkenntnisse hatte er längst den Insekten preisgegeben, sie sie ihm postwendend zurück. So blieb er in der Hütte bei Action Painting und Bebop. Der Andere hatte in der Öffentlichkeit wieder und mehr unfreie Assoziationen und Begriffserneuerungen- mit ihm das erste P: Philosophie. Hätte es man ihm weniger soziologisierend und technisiert offengelegt, hätte er das Vertrauen zu der Raumerfassung der Mathematik vielleicht fassen... so gab's doch Zahlen, die sich nicht als ganze Zahl, Wurzel oder Bruch ausdrücken lassen. Dem Gestrauchelten blieb nichts anderes als Rache. Er baute in die von ihm erwollte Welt eine autarke Vernetzung mit eigenen Wirkungen bis Folgen. Weil es doch bitter in ihm grub. So blieb nach all der folgenden Transzendenz- Mystik- Schwachsinn- Theorie das Dritteste der P's: psychologische Kriegsführung.................................................................................................... Dieser Text lag einem Booklet zu einem Tape: Dotoressa , ein Projekt von Bernd Jestram (heute TARWATER) und mir 1989 bei: Der Abend war sterbenslangweilig. Es wurde viel getrunken, geredet, eher gelallt, und... sonst nichts. Klaus P. gab wieder eine inhaltsschwangere Geschichte zum Besten. Alle guckten ihn an. Rainer, der Prolet, tat, wie es Proleten oft tun, das Richtige. Er schlug Klaus............................................................................ Auch aus dem Jahr 1989 ist dieser Text, der für ein Booklet zu einem Tapesampler verfasst worden war, wo wir - "Knochen= Girl"- mit unserem Seitenprojekt für zwei Nichtmusikstücke als DIE SCHEISSE brillierten: Die Langspielplatte hat einen Sprung- das Fernsehprogramm ist zum Erbrechen- das Büchlein bereits gelesen- Das Telefongespräch hat ihn sehr erniedrigt- Er mag jetzt kein Abendbrot- Er möchte hinausgehen- ABER... WOHIN???... Und plötzlich ist der Krieg ausgebrochen- Er bekommt eine Wunde am Bein- die Eltern, die Krankenschwester, selbst wildfremde Menschen- ham Mitleid.
Videostill einer Aufnahme aus dem ICA London, 1990, wo ich als Gitarrist für Bert Papenfuß-Gorek und Kiev Stingl auftrat, Ronald Lippok: Gesang & Drums, Bernd Jestram: Bass

Dienstag, 4. November 2014

Poplinke müssen leider draussen bleiben

"Swans" Fan- Jens Balzer findet in der Berliner Zeitung das Konzert von DIE ANTWOORD nicht gut und auch "nicht geil", und seine Begründung warum, ist LOL, (oh mann ist das jetzt vom Poplinken übriggeblieben?- Opa versteht die Tiefe von Gira & Swans (klar Gira hat ja auch jahrelang mit der Schippe aufm Bau Kuhlen ausgegraben )und kann DIE ANTWOORD dagegen ja nuneinmal überhaupt nicht "geil" (achtung Jugendsprache!) finden, weil (LOL): "In den Videoschleifen über der Bühne sah man dazu beispielsweise, wie aus Vi$$ers geöffnetem Mund Schmetterlinge oder Würmer entfleuchten; wenn man das RTL-Dschungelcamp für eine Manifestation des kollektiv Unbewussten hält, kann man darin einen tieferen Sinn erkennen. Sonst aber nicht. Ergänzend wurden wieder und wieder kindchenschematisch knubblige Spielzeugfiguren mit sehr großen Penissen kombiniert. Gähn! Den Gipfel der Cleverness erklomm die Semiotik des Abends, als Die Antwoord eine Variation von Edvard Munchs „Schrei“ mit einem schreienden Afrikaner projizieren ließen; ich vermute, das sollte nun die verdrängte Schuld der Apartheid symbolisieren. Aber wie genau? Wem gegenüber? Und mit welchem Ziel? Nirgendwo in dem tristen Beat- und Bildergeballer fand sich eine Struktur, eine Brechung, ein metaphorischer Mehrwert, aus dem Selbstironie, Humor oder gar eine Haltung erwachsen wäre. " Ja. Poplinker, , mit welchem Ziel wohl? Mit dem , dass Du leider draussen bleiben musst!

DIE ANTWOORD - PITBULL TERRIER from Julien von Dawson on Vimeo.

Sonntag, 2. November 2014

listening to contemporary music like this

via Julian Cope Kraurocksampler i learned to know John Carpenter ( no not that one!): for two years now i am listening to THE OSCILLATION, neo psychedelia Drone.. very good rhythm patterns: and PURE X:

Dienstag, 26. August 2014

Dienstag, 3. Juni 2014

Premiere in Berlin, erste Film-Kollaboration von Rouzbeh Rashidi & Mario Mentrup

Premieres at Brotfabrik, Berlin 2014 on June 16th and also play on the 17th and 18th, start: 21.00 evening Location: Kino in der Brotfabrik Caligariplatz 1 13086 Berlin Investigating the Murder Case of Ms. XY. is a challenging and provocative new experimental feature film. It is the first in a series of proposed collaborations between renowned experimental filmmaker Rouzbeh Rashidi and Berlin-based actor Mario Mentrup. Combining searingly intense ciné-portraits of Mentrup and actress Olympia Spanou with hallucinatory passages of found footage, it cuts its single hint of narrative adrift in a cosmic void that equally questions human relationships and the cinematic image itself. Rouzbeh Rashidi is an Iranian independent filmmaker based in Ireland. He works completely apart from any mainstream conceptions of filmmaking, striving to escape the stereotypes of conventional storytelling and instead rooting his cinematic style in a poetic interaction of image and sound. He generally eschews scriptwriting, seeing the process of making moving images as exploration rather than illustration. His work is also deeply engaged with film history. Over the past decade, he has completed 27 features and over 200 short works. Mario Mentrup lives and works as an actor, writer, musician and filmmaker in Berlin. He is co-editor of the Fantome (ex Maas Media) book series. Kurze persönliche Anmerkung: Dies ist die Premiere dieses Filmes. Rouzbeh Rashidi wurde Ende März aus Dublin von Michel Freerix nach Berlin eingeladen, um im AUSLAND, Berlin und WEST GERMANY, Berlin zwei seiner neuesten Filme zu zeigen. Damit stellte Freerix die Möglichkeit bereit für die Ein-Mann-Filmproduktionsindustrie Rouzbeh Rashidi, (seit 2004 stellte er 26. Experimental Feature Filme fertig und ist Gründer und Organisator der experimental film society) die bereits 1 Jahr vorher verabschiedete Kollaboration zwischen Rashidi und mir als Hauptdarsteller in Berlin zu realisieren. Wie das vor sich ging, kann ich an den zwei Abenden am 16. und 17. (da bin ich anwesend) erzählen. Das Kino in der Brotfabrik hat einen schönen Innenhof-Biergarten und ich freue mich, wenn ihr kommt. Eines noch, Kino ist die Couch der Armen, meinte mal Felix Guattari, okay, ich sage zu den Filmen (vorallem die neuesten) von Rashidi : Kino ist Yoga für die Armen. Rashidi hat inzwischen mehere Projekte, die er mit seiner Ein-Mann-Filmindustrie mit mir verwirklichen will. Ich habe ihn und sein Werk im Netz kennengelernt, wie er zeitgleich meines kennenlernte. Ausgelöst durch die Texte zum Kinomatographen und die Filme von Jean Epstein sehe ich seit einigen Jahren gern halluzinatorische Filme eben von diesem oder sowie zum Beispiel von Frans Zwartjes oder Jerzy Skolimowski. INVESTIGATING THE MURDER CASE OF MISS XY ist keine leichte Kost, aber im Kino kann dieser Film strahlen (sowieso er wurde ausschliesslich in der Single Lightining Technique gedreht, die Technik des Serie Noir). So wie in diesem Film, im übrigen, bin ich noch nicht zu sehen gewesen oder habe so gearbeitet bzw mich vorbereitet.