Farewell tour

Farewell Tour

I could write about Derrida right now. And his concept of ‘différance’. The shifting of boundaries. However, I don’t think it’s about shifting boundaries. In this case, I think the idea of the limes, or the boundary, is false. Or about Serres. But… These ideas don’t capture it. We’ve already written about this here. About transitions. Ethiopia represents a kind of transition. Its music is more reminiscent of the concept of the rhizome. It has different influences, branches and directions. It would be an overstatement to say that the whole country is like that. But the culture is. An interesting one. However, this isn’t a travel recommendation. Rather, it’s about saying goodbye. Or rather, it’s about music. With many influences. Shifts. Blends. It comes from a country whose culture is constantly changing and blending. There are no boundaries.

Mulatu Astatke is starting his farewell tour. Here (external link) are the dates.

Events 3

Events 3

Summer is coming to an end. Time is always like that. Sometimes it passes slowly. Other times, it stands still. Every second can be enjoyed. But sometimes, it races by. Fortunately, there is still time for a few events.

The International Summer Festival began last week and runs until August 24. As always, it takes place at Kampnagel in Hamburg, among other locations. Click here for the program (external link)
https://kampnagel.de/en/internationales-sommerfestival

Yesterday, there was an Old School Bongo concert in Mombasa. We were there, of course, and may even report on it.

From September 17 to 20, the Reeperbahn Festival will take place in Hamburg. For those familiar with it, it’s a must-see event. Click here for the program (external link) https://www.reeperbahnfestival.com/festival. Then it’ll be fall again.

Geruch

Der Geruch

Wir präsentieren hier den Fragment eines Textes der Sammlung “African Diaries” von Yuki K. Yuki ist ein Musiker und Autor, der in Hamburg lebt. 
Text ©by Yuki K. 
Pics ©by Zenvampires

Warum mit dem Geruch anfangen? Es ist das Erste, was uns in einem Land begegnet. Auf einem neuen Kontinent. In einer neuen Stadt. Oder auch an einem vertrauten Ort. Es hängt davon ab. Der Geruch also. Wobei – es ist nie nur ein Geruch. Es ist das Gefühl für die Luft. Für ihre Beschaffenheit. Ihre Trockenheit, wenn der Wind aus der Sahara herüberweht. Oder ihre Feuchtigkeit, wie sie einem am Flughafen in Mombasa entgegenschlägt.

Wie ist die Luft dort? Zunächst: feucht. Auch im Geruch. „Feucht“ alleine trifft es nicht. Die Luft klebt förmlich auf der Haut. Und es liegt nicht daran, dass du am Flughafen aus dem trockenen Inneren eines Flugzeugs aussteigst. Die Lust ist spürbar und schwer. Es ist feucht. Aber nicht, wie in einem Wald. Es hat nichts mit Wäldern zu tun. Manchmal gibt es einen Anflug dieses Gefühls in Hamburg. Aber nur manchmal. Und ich würde behaupten, in Mombasa ist die Feuchtigkeit tausendmal höher.

Ich habe nie ganz verstanden, wie Weine angeblich nach Schokolade oder Kaffee schmecken sollen. Für mich schmeckt Wein einfach nach Wein. Aber die Luft in Mombasa – die ist tatsächlich vielschichtig. Ganz oben, fast wie ein Akzent, liegt der Rauch. Du kennst den Geruch bestimmt. Wenn Holz brennt. Und auch der Rauch des gegrillten Fisches, gegrillten Fleisches, gegrillten Obstes. Der stärkste Geruch von allen. Dieser Rauch stammt von Lagerfeuern, an denen sich Menschen nachts wärmen oder Licht machen. Oder eben grillen. Er vermischt sich mit dem Duft des Ozeans. Und doch bleibt der Rauch dominant, schwebt über allem. Auch die Menschen dort riechen nach dem Rauch.

Darunter liegt die Feuchtigkeit – das Gefühl, das einem die Meeresluft vermittelt. Manche nennen es den Duft des Salzes. Interessant ist, dass ich dieses Gefühl an der Nordsee nie hatte. Obwohl sie angeblich mehr Salz beinhaltet als der Indische Ozean. In Mombasa. Zumindest. Die Feuchtigkeit umrahmt den Rauch, macht ihn weich, fast sanft. 

Und das alles nun vermischt sich jetzt mit all den anderen Gerüchen. Flüchtige, je nach Tageszeit und Szenerie. Parfum, das nur kurz in der Luft hängt. Frisch gebrühter Kaffee. Ein alter Mann in Bamburi. Gewürze. Der Duft des Regens am Morgen. 

Und immer, ganz fein, fast unsichtbar, wie kleine Partikel in der Luft: der Geruch von Öl, Benzin, Abgasen. Ein ständiger Begleiter. Dank offener Fenster, fensterloser Gebäude, TukTuks ohne Scheiben – allgegenwärtig. In verschiedenen Abstufungen, Mischungen, Nuancen. Jeden Tag. Jede Sekunde. Und wieder die Feuchtigkeit.

Und dann – der Strand. 

Summer vacation!

Summer vacation!

Summer vacation.

It’s a time to relax and let our minds wander. It’s a time for reflection, perhaps. Here, we present various pictures of the Zenvampires collective’s holiday. Enjoy!

Events2

Events II

It seems that the ‘last summer of peace’ has a lot to offer. We don’t know if the war has started yet. Or whether we should wait. Either way, the mood is reminiscent of the Titanic. But maybe nothing will happen. After all, hope dies last. In the meantime, we have many festivals. The one in Poznań continues. Until 28 June. You can find out more here (external link): https://malta-festival.pl/en/

Termine

TERMINE

Ab dem 18.05. startet das Japanische FilmFest in Hamburg. Es dauert bis zum 22.05. 
Nähere Informationen findet Ihr hier (externer Link): https://jffh.de/

Das Blurred Edges Festival dauert bereits seit einigen Tagen. Organisiert, wie immer, vom Verband für aktuelle Musik Hamburg. Nähere Informationen zu den Ereignissen findet Ihr hier (ebenfalls externer Link): https://www.vamh.de/blurred_edges/info

Imaginary Portraits

IMAGINARY PORTRAITS

We are proud to present Imaginary Portraits by Jahreakh Jarosław Klejnberg. 

Jahreakh Jarosław Klejnberg ia a writer (“Cud nad Wisłą”, 2005), cartoonist, patient, a little drug addict, anthropologist by vocation, music lover etc etc etc. 

All pics ©by Jahreakh Jarosław Klejnberg 

Born in 1970 in Swiecie.

On Blurring

On blurring

As is almost always the case, this is not intended to be a philosophical essay. It is more about pointing out a phenomenon or condition. However, the term “condition” is not the right term here. In this case, however, it can be interesting. I am interested in the current criticism of postmodernism and the idea that postmodern considerations have destroyed values. The question is whether the world would correspond to postmodernism’s postulations anyway. The general model in which we live and act recognizes black and white. It knows demarcations. It knows sharp divisions. However, the division is not always so clear-cut. It is permeable. Like postmodernism was.

In the movie:

Maybe it’s not about the blurriness. Or maybe it is. It’s about the blurring of what we see. Perhaps it’s about how we look at the movie. The blurriness in “Grand Tour” refers to the shots. The movie is set in the 20th century in a region that we would call the Far East. That’s what it’s about: It’s about a journey. However, the film’s images were taken in 2023. Therefore, we see the Far East as it is today. The scenes in the film blend with documentary footage. The boundaries disappear.

In anthropology:

The book The Dawn of Everything: A New History of Humanity, by David Graeber and David Wengrow, is precisely about blurring. It discusses how societies have changed their social orders multiple times. For example, societies transitioned from more authoritarian structures during the hunting era to more democratic structures afterwards. This change was not guided by values, although I’m still unsure what values entail, but rather by society’s pragmatic attitude towards the respective form. Since, as Malinowski wrote, the constitution is a cultural act, it can vary.

At war

What is it? The war? We have a certain idea of it: Missiles flying overhead. But we are currently discussing hybrid warfare. The invasion of “green men.” Or paralyzing infrastructure. This is done without the military or missiles. Without the “green men.” Exerting pressure. Perhaps creating fear? A war under the brimstone. Just a blur. Not in a postmodernist book. In reality.

On Fear

On Fear

We are doing something we have never done before. But there’s always a first time! Until now, we’ve always tried to publish new articles. We had an idea for this article. We had started writing down ideas and making initial notes. Yesterday, however, we realized that we had already published an article on this topic some time ago. In German. It was about fear. The topic is so relevant that we are repeating ourselves. This time, it’s in English. So it’s not really a repetition.

We need to talk about feelings. About emotions. About the one, perhaps. We should talk about fear. Fear is a very important experience for Europeans. We are raised with an ontology of fear. In other words, the world we inhabit as beings is full of fear, to paraphrase Heidegger.

1. Heidegger and Fear

I don’t want to analyze Martin Heidegger at this point. It would probably be too complicated. It would also take up too much space. Besides, perhaps I didn’t understand him. As always, these are just a few thoughts. Perhaps a suggestion. Or maybe not. 

Heidegger distinguishes between anxiety and fear. He says anxiety is what we feel before the unknown, before something we don’t know. Fear, on the other hand, is what we would feel if we knew what was coming. (Heidegger connoisseurs may forgive the abbreviation at this point; I am more concerned with the occurrence of the term than with the precise translation.)

Fear, then. Since we always stand before the horizon of knowledge and do not know what will happen or what tomorrow will be like, we can constantly remain in fear. 

Conversely, European culture has produced many “fearless” heroes, whose only merit was not being afraid of the future. 

The concept of time is not the only thing that gives us a tomorrow. It is the daily experience of life that makes Europeans fearful.

2. The fear of death

Death does not exist. We have banished it from our culture. When death is in the news, we are all horrified. It no longer plays a role in our daily lives. We have confined death, just as Kant once confined God. We now hope that we can escape death this way. Do Europeans also want to escape the fear of death? Heidegger wrote about this, too. 

The dilemma is that we cannot clearly describe when death occurs, either ontologically or medically. Medically speaking, perhaps it never occurs, which means we could live forever (connected to apparatuses that supply our bodies with everything vital). 

Thanks to death—and the unresolved problem of when it occurs—we have found the possibility of experiencing infinite fear.

3. And politics

Or should I say, religion? Europe, at least, is built on fear. For a long time, it served as a form of legitimization. Those who claimed to have contact with higher authorities (in the European narrative, it was gods) also determined the image of the afterlife. Therefore, they can also determine what we fear, even if it is something we will never experience. Heidegger is right that we cannot experience our own death, even though death marks the end of life.

4. And politics

We have written about this extensively. However, fear seems to be an effective political tool. When societies (and individuals) are afraid, they have difficulty making decisions, narrow their perspectives, and end up following simple solutions to complicated problems. As we have seen throughout history, leading with emotions does not produce good solutions. What should happen instead? Are European societies already so focused on fear that they expect it? This is not a political issue. These are simple questions because fear knows no left or right. Fear knows desired reactions.

5. And life in fear.

That’s what Europeans (and North Americans) are ultimately left with. Fear is their constant companion. This fear is both religiously and politically intentional, and ontologically explained, although I find European ontologies to be confused, to say the least. In other words, it’s a normal state. Religions, politics, and metaphysics have emerged from this state.

Jeszcze się raz obudzić V

Jeszcze się raz obudzić

We proudly present the fifth part of a text by Luiza Poznańska. She lives and works in Poznan and Sopot. The first one you can find here. The second one here. The 3rd here. The fourth here.

Nie mogła sobie przypomnieć tytułu. Ani nazwiska autorki. Tylko samo imię, Noami. Choć nie dalej jak dwa dni temu skończyła ją czytać. Pomyślała wtedy, że to zapowiedź jakiejś zmiany. Poważnej, ale nie wiadomo, czy na lepsze, czy na gorsze. Bo to był dzień dwójek, dwudziesty drugi dzień drugiego miesiąca dwa tysiące dwudziestego drugiego roku, i numerolodzy nie byli co do tego zgodni. Wiedzieli tylko, że coś ważnego się wydarzy. Ale co? Nieważne, teraz trzeba się przede wszystkim wysikać. I to natychmiast. Tylko jak? Może jeszcze raz się obudzić? Ale jak, jeśli już jest obudzona? Musiałaby pierw zasnąć, a na to nie pozwoli jej ten narastający hałas, który z jej pęcherza płynie. Niczym alarm, który się włącza, gdy reaktor dochodzi. Bo mu ciśnienie skacze, wartości krytycznej sięga.

Wyłączę to, pomyślała. I tak zrobiła. To znaczy nacisnęła wyłącznik, który w tym momencie namacała w kieszeni bluzy od pidżamy. Znaczy, włącznik. Jak się okazało. Bo nie poczuła ulgi. Zamiast tego najpierw głos. Jakieś słowa, po rosyjsku. Ich sens? Długo do niej nie docierał. A potem zobaczyła tę przykrą, wybotoksowaną mordę. Niby spokojna, ale pod powierzchnią buzująca jakimiś niekontrolowanymi emocjami, jakimś szaleństwem targana. Już od 2014 bała się tego narcystycznego psychola. Tak jak wcześniej tego swojego nauczyciela chemii z liceum. Po raz pierwszy zdała sobie sprawę, jak ci kolesie byli do siebie podobni. Również z wyglądu. Ten sam rodzaj gęby. Jak u jakiegoś ufoludka. Bo taka trójkątna, wąska i wydłużona. Niepokojąco goła. No i te oczy, jak u węża, zimne, nieruchome, nieprzeniknione. Wewnętrznie sprzeczne. Mające w sobie coś z weneckiego lustra i jednocześnie czarnej dziury. Niby szkliste, ale nie pozwalające światu się w nich przejrzeć. Czego się bała? Że mu coś w końcu puści. I go poniesie. To jego szaleństwo. Jak dziki koń. I doprowadzi do takiej katastrofy, że kamień na kamieniu nie pozostanie.

Spojrzała na wyświetlacz ponad obrazem. Kilka minut po piątej. Ni to noc, ni poranek. Przedłużona pora wilka. Czas, w którym ludzie najchętniej umierają. Czwarta fala pandemii. Albo może już piąta? Nieważne. Teraz nikt nie będzie o tym pamiętał. Teraz – teraz wszyscy będą się tylko chcieli obudzić. Albo chociaż zasnąć. Telefon wyleciał jej z ręki i z hałasem upadł gdzieś pod nogi. Nadal coś stamtąd mówił. Nadal po rosyjsku. Słowa układały się w sens, który nie miał sensu. Jak we śnie. Ale przecież to już nie był sen. Sprawdziła. Więc co robić? Nie mogła już dłużej czekać. Mięśnie zwieraczy odmówiły posłuszeństwa i zaczęła z impetem oddawać mocz. Wprost pod siebie, na podłogę. Na telefon. W instrukcji pisali, że wodoszczelny. Do iluś tam atmosfer. W iluś tam językach. Przez chwilę czuła się wolna.

Text ©Luiza Poznańska
Pics DALL•E
Prompts by Zenvampires

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