Shadow-Sky and the Tempelhof Skylarks story EXCHANGES OF LETTERS BETWEEN CONCERNED PEOPLE: THE COMPOSER AND THE ECOLOGISTS ABOUT AN AUTHORIZATION GIVEN BY GRÜNBERLIN TO PERFORM OUTDOOR LONG DISTANCES SPATIAL MUSIC AT NIGHT IN TEMPELHOF OLD BERLIN AIRPORT AS HISTORICAL PREMIERE from past to now: Von: Mathius Shadow-Sky [mailto:centrebombe@gmail.com] Gesendet: Mittwoch, 14. November 2018 19:14 An: Info-Verteiler Gruen Berlin Cc: Vanessa Kliche Betreff: license requesting to use Tempelhofer Feld for a night spatial concert Hello, I received a message from Vanessa Kliche, telling me, as artists, we need from you: "the license to use the “Tempelhofer Feld” for our concert". How do we have to proceed to have the possibility of spatial music to exist at Tempelhof for a night with Die Internationalen Elektrisch Raum Orchester: Der Fliegenden Gitarren? All the Best Mathius Shadow-Sky spatial music composer Les Guitares Volantes = Der Fliegenden Gitarren http://centrebombe.org/livre/guitares.volantes.html From: THF Event To: "centrebombe@gmail.com" cc: "Krebs, Dr. Michael" Date: 22 November. 2018 16:07 Subject: license requesting to use Tempelhofer Feld for a night spatial concert Sent by: gruen-berlin.de Dear Mr Shadow-Sky Thank you for your Email. As we are the operator of the Tempelhofer Feld we always need to know if somebody plans any events on this spot. We do not really understand what kind of event you are planning. Could you give us a short schedule of the event? Or do you maybe have a concept? What exactly is “Die Internationalen Elektrisch Raum Orchester: Der Fliegenden Gitarren?” in detail? Questions like the following should be answered: How many visitors will be there? Are you planning to build up a stage? Will you have loudspeaker? Do you already have a date for the event? First of all we need to have all this answers before we can tell you if your concert is allowed or not. There are many restrictions we have to follow. Despide that it might be important for you to know that it is not allowed to stay on the Tempelhofer Feld at night. We are closing our gates when the sun goes down. Please do not hesitate to ask, if you have any further questions. Best regards i.A. Maren Möck (artecom Veranstaltungs GmbH & Co. KG) Im Auftrag für die: Grün Berlin GmbH Mariendorfer Damm 1 Ullsteinhaus D-12099 Berlin Tel.: +49 30 700 906 165 Fax: +49 30 700 906 9165 Mail: veranstaltungen@gruen-berlin.de USt-IdNr: DE 136 782 779 HRB: 15772 Amtsgericht Charlottenburg Geschäftsführer: Dipl.-Ing. Christoph Schmidt - Prokurist: Dipl.-Wirt.-Inf. Jörg Stohl Vorsitzender des Aufsichtsrats: Staatssekretär Stefan Tidow Der Inhalt dieser E-Mail ist ausschließlich für den/die bezeichneten Adressaten bestimmt. Wenn Sie nicht der vorgesehene Adressat dieser E-Mail oder dessen Vertreter sein sollten, beachten Sie bitte, dass jede Form der Kenntnisnahme Veröffentlichung, Vervielfältigung oder Weitergabe des Inhalts dieser E-Mail unzulässig ist. Bitte setzen Sie sich in diesem Fall mit dem Absender der E-Mail in Verbindung. From: Mathius Shadow-Sky To: veranstaltungen@gruen-berlin.de Date: 29 November. 2018 21:57 Subject: Re: license requesting to use Tempelhofer Feld for a night spatial concert Thank you Maren Möck for your answer, Here, is, in a dialogue, my firsts answers to your questions: MM - Despite that, it might be important for you to know that it is not allowed to stay on the Tempelhofer Feld at night. We are closing our gates when the sun goes down. MS - Well, the idea is to perform spatial polytrajectophonic music at night in the dark of shadowy! Why at night? To rest our eyes of seeing, and to be concentrated on hearing how flying instrumental sounds in Tempelhof space. About the ambient sound: at night, the rumour of the city is less intensive than during the day, night is better context to listen in deep spatial flying quiet music. For everybody the unique experience to live spatial flying music from dusk till dawn... which is unexpected, especially outdoor, for spatial (subtle) music under the stars. The purpose is to create a unique experience for everybody. Does any special dispensation are possible for this historical premiere? MM - We do not really understand what kind of event you are planning. Could you give us a short schedule of the event? Or do you maybe have a concept? What exactly is “Die Internationalen Elektrisch Raum Orchester: Der Fliegenden Gitarren?” in detail? MS - We wish to create a free spatial unheard music event. Sounds of music flying in space, on long distances that offers Tempelhof space. Spatial orchestral music. Where the sounds from each musical instrument of the orchestra fly independently in space. We use for that: spatializators technologies. I have at one's disposal 7 hardware spatializators with 2 input, means that 14 musicians can perform at the same time with 14 trajectories in 7 3D spatial paths. This gives, after the 14h century polyphony, the 21th century outdoor polytrajectophonic long-distance music (it will be a world premiere). Polytrajectophony means several audible trajectories flying together in space like a choreography of sounds = a choreophony. To create spatial music, we use several different spatializators, 7 Orfeusz 206, (where 2 musicians can plug their electric musical instrument, this, to get an electric orchestra of 14 musicians playing together at the same time, with their sounds together flying in space) mixed with other spatializators, like "Trajectory" from Maxence Mercier andor The ICST Ambisonics Tools from the Institute for Computer Music and Sound Technology at the Zurich University of the Arts. The purpose, at the Tempelhof field, is to experiment for the first time in the history of music, the long distances sound trajectories with an electric orchestra. MS - The general idea is to mix some electric (cabled) European musicians to set up Die Internationalen Elektrisch Raum Orchester = The Space International Electric Orchestra = l'Orchestre Spatial International Electrique, to perform in a RELAY (from dusk till dawn) according to the composers' pieces proposed, to set up the program of different music. A night at Tempelhof under the stars to listen to different original spatial orchestral music. It is important to notice that we are creating instrumental music, performed by human beings, not by digital machines: this is important to not be confused with techno parties. We are creating a new way of listening to music outdoor with flying instrumental sounds in the space, close to people, without stage, without light-show, a discrete trajectorized instrumental music (with fortissimo too) written andor improvised music using multiple spatial trajectory sound technology with cabled musical instruments to realize what I am working for 40 years: the polytrajectophonic music (continuing what Karlheinz Stockhausen and Iannis Xenakis started in 1958, but with live musical instrument, not recorded electronic sounds). MS - The technology of moving sound everywhere in space needs several loudspeakers, set in the space at 6 different levels: in the sky, in the middle (ears level), on the floor for verticality, and in horizontality: in the centre, at peripheral and in the far horizon. "The far horizon" is the outdoor long distance to experience. A large space like the Tempelhof field is perfect to experience these first "take-offs" of orchestral sounds trajectories. MS - In Berlin, it exists an interest for spatial music at TU Berlin. Lead by Professor Stefan Weinzierl, head of TU Berlin, Audio Communication Group and his assistant Henrik von Coler who sent me a letter of intention (in attachment) to joint the spatial orchestral music event at Tempelhof. MS - to realize this spatial music event, we need before to experience the long distance flying sound in space, which will take some days before the public spatial concert. MS - there is a name for this event to identify it: "Spatial Music Take-off at Tempelhof". MS - My friend the film director Philippe Lacôte wished to join the event by mixing his science fiction script to our music spatial event, but seeing is not the major sense to excite, in contrary, deep listening is required to understand why and what about long distance instrumental music in space. He asked me to wrote the sense of intention about the spatial music especially at Tempelhof: here it is, 16 pages of explanation in the TEMPELHOF.2019_5b.pdf file, being in progress to fit with everybody wishes: this explain the version 5b. the journey of Les Guitares Volantes, the first polytrajectophonic choreosonic electric strings quartet history: http://centrebombe.org/livre/guitares.volantes.html (in French, and some English) In attachement: . TUBerlin.LetterOfIntention.pdf . TU Berlin + ICST Zurich + Les Guitares Volantes_ENGLISH.pdf . http://centrebombe.org/livre/TEMPELHOF.2019_5b.pdf . the spatial music score of "The Triumphant Beast" for Les Guitares Volantes electric quartet + spatial sound engineers: http://centrebombe.org/livre/Mathius.Shadow-Sky_THE.TRIUMPHANT.BEAST.electric.quartet.spatial.music-score.(2018).pdf All the best :) From: THF Event To: Mathius Shadow-Sky cc: "Krebs, Dr. Michael" Date: 17 December. 2018 14:40 Subject: AW: license requesting to use Tempelhofer Feld for a night spatial concert Sent by: gruen-berlin.de Dear Mr Shadow Sky, thank you very much for the long and detailed description of your project. Unfortunately we cannot allow you to have an event at night time at the Tempelhofer Feld. We are closing the gate through many important reasons: Firstly the Tempelhofer Feld is an urban green space, which is primarily used for recreation and leisure activities. Nature protection and species protection issues, such as the protection of skylarks, have a high priority. Secondly we have to make sure to have as little accidents on the Tempelhofer Feld as possible. Due to many holes, digs and stones it can be really dangers especially in the nighttime, when it is absolutely dark. There are no lights at all during the nighttime so that we cannot guarantee the safety of the visitors. In addition the necessary logistic and construction do not correspond to the protection goals of the law “Gesetz zum Erhalt des Tempelhofer Feldes – ThFG”, which was the result from the referendum in 2014. Good luck for searching a location for your event. Best regards i.A. Maren Möck From: Mathius Shadow-Sky To: THF Event cc: "Krebs, Dr. Michael" , "Angelika Schöttler, Burgmeister of Tempelhof-Schöneberg" , Astrid Barnekow , Diedrich Wulfert , Franziska Hofmann , Henrik von Coler , Julia Gutierrez Peris , Julian Heinrich , Marie von der Heydt , Marina Kuehl , "Herrmann, Marlis" , Maxence Mercier , Michael Karcher , Nicolas Jobet , Patrick Faubert , "Pr. Stefan Weinzierl head of TU Berlin Audio Communication Group" , Sandra Tabbert-Keske , Sebastian Kessler , Vanessa Kliche , "Dr. Yvonne Markgraf" , Stéphane Marcaillou , Stéphane Barascud , Laurent Avizou , Jean-François Pauvros , Azoulay Gerard , Gerard Azoulay , Martin Latour , Frédéric Acquaviva , Guillaume Siffert Date: 7 January. 2019 13:50 Subject: Re: license requesting to use Tempelhofer Feld for a night spatial concert I understand completely your point Maren Möck :) Les allouettes de la cour du temple doivent être préservées The skylarks of the temple court must be preserved Jardin de décollages Takeoffs Garden Paradis des oiseaux Birds paradise Inaccessible aux êtres humains, la nuit. Inaccessible to human beings, at night. La nuit, l'espace se ferme ; At night, the space closes; comme les esprits dans le sommeil de l'inconscience, like spirits in the sleep of unconsciousness, pour ne plus entendre, rien. to stop hearing, nothing. Safety of visitors in (side of) An absolutely dark space, is a marvellous opportunity to bring discreet lights in space (as spatial discreet light path to give positions and directions to people) to also avoid visitors to fall in black holes, digs and unexpected falling stones in Tempelhof field. Outdoor spatial music does not exist to hurt people and to trample nests. Instrumental polytrajectophonic outdoor space music does not exist to hurt people or to trample on nests. We know that skylarks avoids wooded areas. We know that skylarks live: nest and nourish on the ground. We know that the danger for skylarks lies is in trampling of Tempelhof lawns where nests are located. We know that to feed themselves, skylarks searches the ground, looking for food at sight, a little squatting and advancing as and when. We know that its plumage makes it almost invisible on the ground. We know that skylarks couples are formed each February of the year. We know that at that moment, the males begin their nuptial flights, spiralling up from the ground and singing loudly. We know that once at a good height, the male descends in a spiral, alternating wing beats and slipped, always singing. We know that when he reaches a lower height, he drops to the floor like a stone. We already know that the skylark nests on the ground. We know that the female lays 3 to 5 eggs. We know that incubation lasts about 11 days. We know that the chicks are fed by both parents and grow up quickly. We know that they leave the nest at about 9 to 10 days old and stay in the surrounding vegetation. We know that they fly away 10 days later, at the age of three weeks. We know that skylark nesting period is from April to the end of July. We propose our outdoor polytrajectophonic music in August andor September at Tempelhof. 2019? 2020? ** There will be no construction at all: Loudspeakers in balloons Balloons at the temple courtyard Des ballons à la cour du temple Balloons at Tempelhof with inside loudspeakers Balloons on the floor Balloons in the sky to make sound trajectories between them. Why sonic balloons? To preserve what it should be preserved with air on the floor with helium* in the sky (as meteorological balloons) L'hélium ne s'emflamme pas Helium does not ignite. This is what we do: respecting life. Tempelhof as free space, as the hof of temple, inside the city, cannot forbid Shadow-Sky spatial outdoor music. The skylarks and the dark cannot censor Shadow-Sky outdoor spatial music (or it's a lark=joke!). A concert of polytrajectophonic outdoor music in August or September can not disturb Tempelhof's skylarks who no longer nest on the ground. We have to find an accommodation to prove to ourselves, human beings that we are capable of a natural mutual understanding. We have to be inventive to respect each others. Mathius Shadow-Sky censored spatial music composer? http://centrebombe.org/livre/guitares.volantes.html PS I suppose also that Grün Berlin manages all parks in Berlin to allow or not a permit to perform outdoor spatial music? in attachment: the sound of skylarks in Tempelhof, also a testimony of continuous background sounds on site, generated mostly by cars driven around. Notes *A wo/man of 80 kg (+ 20kg) so 100kg needs 100 m³ of helium to fly. If we estimate the volume of a balloon to 4 litres, it will take: 25.000 balloons. It will take about 100/2 = 50 balloons which is about the number needed to make an antigravity man and woman. Un homme ou une femme de 80 kg (plus 20kg) donc 100kg a besoin de 100 m³ d'hélium pour s'élever de la pesanteur. Si on estime le volume d'un ballon de baudruche à 4 litres, il faudra : 25 000 ballons pour soulever la personne. Il faudra environ 100/2 = 50 ballons, ce qui est à peu près le nombre de ballons pour réaliser l'antigravitationnel d'une femme ou d'un homme. Sulphur hexafluoride is a colourless and odourless gas with amazing properties: unlike helium, it gives a deep voice to the person who inhales it. ** Sécuriser les visiteurs dedans Un espace totalement sombre, est une merveilleuse opportunité d'apporter des lumières discrètes dans l'espace (comme chemin de lumière spatiale pour donner les positions et les directions aux gens en déplacement) éviter également aux visiteurs de tomber dans des trous noirs, des trous de bêche ou d'inattendues pierres tombantes, dans le champ de Tempelhof. La musique spatiale polytrajectophonique instrumentale en extérieure n'existe pas pour blesser les gens ni pour piétiner les nids. Nous savons que les alouettes évitent les zones boisées. Nous savons que les alouettes vivent: nidifient et se nourrissent sur le sol. Nous savons que le danger pour les alouettes réside dans le piétinement des pelouses de Tempelhof où se trouvent les nids. Nous savons que pour se nourrir, les alouettes explorent le sol, à la recherche de nourriture à vue, un peu accroupis et avancent au fur et à mesure. Nous savons que son plumage le rend presque invisible sur le sol. Nous savons que des couples de alouettes sont formés chaque février de l'année. Nous savons qu’à ce moment-là, les mâles commencent leur vol nuptial, s’enroulant du sol et chantant très fort. Nous savons qu’une fois à bonne hauteur, le mâle descend en spirale, alternant battements d’ailes et glissements, chantant toujours. Nous savons que lorsqu'il atteint une hauteur inférieure, il tombe sur le sol comme une pierre. Nous savons déjà que l'alouette nidifie sur le sol. Nous savons que la femelle pond de 3 à 5 œufs. Nous savons que l'incubation dure environ 11 jours. Nous savons que les poussins sont nourris par les deux parents et grandissent rapidement. Nous savons qu'ils quittent le nid vers l'âge de 9 à 10 jours et restent dans la végétation environnante. Nous savons qu'ils s'envolent 10 jours plus tard, à l'âge de trois semaines. Nous savons que la période de nidification des alouettes va d’avril à fin juillet. Nous proposons notre musique polytrajectophonique extérieure en août et septembre à Tempelhof. From: Mathius Shadow-Sky To: THF Event Date: 10 January. 2019 15:01 Subject: Re: license requesting to use Tempelhofer Feld for a night spatial concert Hello Maren Möck, I am worried that I mismeant (mistake) the last sentence of my last letter (about Tempelhof Skylarks and Shadow-Sky) by mixing up the word "accommodation" with the word "agreement". The meaning of "accommodation" in English is linked with comfort (to sleep and to eat well), in French "accommodation" is: to find mutual understanding and interest by adaptation, to satisfy our desires by fitting our differences and similarities. A Ying fitting perfectly with a Yang. (the word "Agreement" in French is closer to something "decorative" and "ornamental"). Most politics words are taken from music as harmony, concord (chord = accord), tuning, etc. Because the fundamental role of music is to create sympathies among beings (not just between humans). So the right meaning of the sentence is: "- What it is important? - It is important to find an agreement to prove to ourselves, human beings, that we are capable of a mutual understanding by being inventive to respect each other, animals included." And not: "We have to find an accommodation to prove to ourselves, human beings that we are capable of a natural mutual understanding." I know your duty to protect the Tempelhof field from aggressive businessmen entrepreneurs who disrespect lives, up to destroy everything on Earth for their own selfish satisfaction. Most of these people are driven by their ego. A suffering ego who despises any being on Earth. These people are suffering the intensive fear. It is why their ego takes the relay driving their mind to revenge, by sharing their deep pain with all others. Most of these people are governing people. That explains why our societies are living in suffering, cultivating hostilities in insane competition and permanent war. I know and I understand: in this context, it is important to preserve quite places on Earth, especially in big cities where exhausted people need to breathe = to rest from these permanent aggressions. As an artist, I am living in a shame poorness. This shows how it is forbidden to live free in our Western societies (an artist cannot create without freedom), forbidden to invent new works to evolve human intelligence. Intelligent, we human beings would never obey in exchange of an illusory comfort. To not obey what dominant people demand, you pay it by surviving among others in comfort. This is my paradoxical life like for many other respectful people: we are giving to others, mutual sympathies with music to evolve our human intelligence (it seems does not work, seeing our short human history, how we stay in a loop). My writings are mostly in French (some in English) make understandable my approach to life with music creation: http://centrebombe.org/dansleciel,lebruitdel'ombre.html http://centrebombe.org/biblio.html All the best for 2019 :) Mathius Shadow-Sky From: Mathius Shadow-Sky To: THF Event cc: all others concerned Date: NOT SENT Subject: Re: license requesting to use Tempelhofer Feld for a night spatial concert Grün Berlin Tempelhof: argumentation #3 Do you really intent, Maren Möck with Grün Berlin, to forbid serious spatial music to perform at Tempelhof? Because it is really an un-be-lie-vable social and political matter and a serious issue!Because it is really an un-be-lie-vable social and political matter and a serious issue! Forbidding music, is a heavy serious charge. And an unpleasant social consequences generator! Harming the fundamental sense of living together in a city. Especially, Berlin the European capital of music. The most financed capital by European Union, and the main stage for its cultural events. This is very serious. I hope your are aware about the consequences of your decision? Not for me, but for the society you believe to protect. You know also, that your arguments to forbid serious music at Tempelhof are inadequate and easy to solve: 1. skylarks nest period........................ we perform outside nesting period 2. holes in the ground.......................... the sound installation is on the runway, and for injuries there is first aid people tent 3. unlighted space.............................. our spatial music is discreet and important to be listen in the dark with some discreet art light 4. inexistent constructions (for music)... Knowing that the audio device can not stays on the field, but has to be on the runway (as same as public first aid tent). Knowing the loudspeakers will be on the floor and in the sky carried by sounding balloons (4 meters diameter helium balloons as the simplified sounding balloon Eole who carried meteorological satellite in the stratosphere). To prohibit music [the innovative and exploratory one, which is abused for decades, weakened and ignored for decades, where its composers live in a state of unbelievable poverty in the rich European countries (reflecting the poverty of original music creation) artists living below the poverty line, a state of art and music that should shame European people driving the cultural policies] in the open larger space in Berlin, for the sake of preserving skylarks in town (knowing that the music creation proposal, with the first historical choreosonic polytrajectophonic orchestra, from August to September is outside the nesting period, which is between February and July) for a single night with audience (night that gives to an artist of light, the possibility to create his/her original art) with no public lighting at night on Tempelhof field, which risks sprains to audience (a danger?); is it not, a slight argument to ban, to censor non-commercial serious original music already in economical and social pain in the bigger Berliner open free space? You forbid, like a concert hall director, who closes the conducive space to innovative spatial outdoor music? You can not confuse innovative artists impoverished by their courage continuing to create in this massive and global censorship, with enriched destructive promoters because of their contempt and hate to others. This is a deep unfair scorn against composers and artists who stay authentic and incorruptible in front of our massive wave of mediocracy, which attract our societies in a volontary unseen dystopia. Would you forbid the world premiere of Sternklang by the composer Karlheinz Stockhausen at Tempelhof? One of the pioneer of spatial music with Iannis Xenakis; both my professors. Instead of positioning yourself as a censor, should you not position yourself as a mediator? This to tune differences so that everyone could find her/his place to act in respect between each other? Your unbelievable decision inspired me this text: DYSTOPIA DARLING Finished, the big totalitarian dictatorships of the 20th century, we have entered to the dystopian society, the one whose appearance reassures, even amazes, but the one whose ideological engine terrorizes. But this engine remains carefully concealed with a sustained effort (censorship of language, confused senses, forbidden words to publish, obligatory smiling face, censorship of original arts and music, entertaining propaganda, etc., this, only to hide the truth). The actors of this dictatorship are no longer the politicians, nor the unstoppable destructive visionaries dreaded and admired as: Hitler, Mussolini, Stalin are today senseless petrified busts. Politicians no longer have the power, they exchanged it to financial benefits.* But compared to the formed dystopia, these pickpocketing are just junk. The true actors of this states of mind order infection is? You. Dystopia invades our societies by your mind. It is you who are acting (by being acted) to its fulfilment. How is it possible? And, how is it possible that you are not aware of it? Why choose the path of dystopia in Europe? Europe that wants to be a unified continent, which is not, as long as the Americans (creators of Europe after the Second World War as the 51st state of the United States who like the others, pay his tax to the winner ) are the leaders. Europe must show the example of its independence that will never happen. In Brussels and Strasbourg, politics work hard for their own private interests. And the political and economic interests of European public and private leaders are too much tied to American interests. The European community which showed in 2008 that when the inhabitants of a country of the community are in difficulty, well? They are abandoned to their fate. Community? No, none of this. Through our last experience (the forbidden Berlin Tempelhof concert of spatial music), we know that the European capital of culture: Berlin (the most funded European capital by the European community which is its platform event) gives the voice to obey the way to follow. Prohibit the concert of serious spatial music in a virgin space of 4km² (runways of the former Berlin Tempelhof airport) with the argument of the presence of sky larks (birds)? What does it really mean? A society that prohibits music is a society who lives its decline. The green guardians of the temple court (Grün Berlin) are they the guarantors of the Berlin dystopia (keep the mask of the outdoor peaceful recreation in Berlin's park)? Prohibiting (serious) music, is the first step of the human mind regression, towards a certain social death. Indeed, in this continuity, in this logic, the cities states of mind, are closing on themselves, wanting to disappear through insipidity (they are so scared!). And the cities (of arts) will disappear. The cement of the cities is held by arts and music, not by the market, that feeds arts and music. The corruption of human necessities by the confusion of senses (by creating a hidden one with an other one visible in the opposite sense creates the negationist's minds) acts the regression of our European species. Now the feeling of death of self-abandonment is more powerful than the one to live. You cannot stay silent without answering me a proper argument why to forbid spatial serious music outdoor in the city being the European capital of music. Mathius Shadow-Sky De: Baier, Martina à: "centrebombe@gmail.com" Date: 24 janv. 2019 13:39 Objet: Um111-Veranstaltung/ Event Tempelhofer Feld Envoyé par: ba-ts.berlin.de Sehr geehrter Herr Shadow-Sky, zu Ihrer Anfrage vom 07.01.2019 für ein im August oder September 2019 geplantes Event namens „polytrajektophone Elektro-Konzert“ auf dem Tempelhofer Feld teile ich Ihnen Folgendes mit: Zuständige Behörde für die Genehmigung von öffentlichen Veranstaltungen im Freien ist das Umwelt- und Naturschutzamt. Anträge auf Erteilung einer Genehmigung nach dem Landes-Immissionsschutzgesetz Berlin (LImSchG Bln) sind dem Umwelt- und Naturschutzamt vier Wochen vor Veranstaltungsbeginn vollständig zur Prüfung des Vorhabens vorzulegen. Die Übermittlung der vollständigen Unterlagen –hier bitte in Deutscher Sprache- ist möglichst elektronisch und mittels Antragsformular auf der Seite https://www.berlin.de/umwelt/themen/laerm/formular.80865.php durchzuführen. Weiterführende Informationen zu einem Antrag auf Genehmigung bzw. Ausnahmezulassung nach den Berliner Lärmschutzvorschriften finden Sie auf der Seite https://www.berlin.de/umwelt/themen/laerm/artikel.254516.php. Genehmigungen ergehen grundsätzlich widerruflich und unbeschadet sonstiger Rechtsvorschriften oder Rechte Dritter, nach denen Sie noch weiterer Erlaubnisse oder Genehmigungen bedürfen. Die Erteilung einer Genehmigung seitens des Umwelt- und Naturschutzamtes ist gemäß § 2 Abs. 1 des Gesetzes über Gebühren und Beiträge (GebBetrG) in Verbindung mit § 1 Abs. 1 der Umweltschutzgebührenordnung (UGebO) gebührenpflichtig. Die Gebühr ist auch dann zu entrichten ist, wenn die Veranstaltung –beispielsweise wegen fehlender Zustimmung Dritter- nicht durchgeführt wird oder werden kann. Auch die Ablehnung, Änderung, Rücknahme oder der Widerruf eines Genehmigungsbescheides ist gebührenpflichtig. In Ihrem Fall wäre eine Zustimmung der Grün Park Berlin als Bewirtschafterin des Tempelhofer Feldes erforderlich. Diese hat mir jedoch mitgeteilt, dass Ihrem Vorhaben aus den Ihnen bereits benannten Gründen, wie der Verkehrssicherungspflicht und den nächtlichen Schließungszeiten der Parkanlage, nicht zugestimmt werden kann. Ich bedauere, dass ich Ihnen keine andere Mitteilung machen kann. Mit freundlichen Grüßen Im Auftrag Baier Bezirksamt Tempelhof-Schöneberg von Berlin Abteilung Jugend, Umwelt, Gesundheit, Schule und Sport Umwelt- und Naturschutzamt Sachgebiet Umwelt- und Naturschutz - Um 111 - Strelitzstr.15, 12105 Berlin Tel.: 90277-4480 Fax.: 90277-7386 De: Mathius Shadow-Sky à: "Baier, Martina" Date: 24 janv. 2019 19:50 Objet: Re: Um111-Veranstaltung/ Event Tempelhofer Feld Thank you for your letter Martina Baier, and for all the precisions about processes to fulfil the duties regarding the established rules. But the negociation between we artists-composers-musicians and Grün Berlin is not done yet. Indeed: Berliners do really want to forbid music in Berlin parks? I don't think so. Indeed, we have to find an agreement, yet not found between us: politicians and artists. I suppose, all the local demands will be fulfil by a Berlin organization as TU Berlin TU Berlin department of communiction and spatial music is commited in our spatial live music creation in Berlin park, including the most appropriate: Tempelhof. All the Best Mathius Shadow-Sky From: Mathius Shadow-Sky To: THF Event cc: Angelika Schöttler, Burgmeister of Tempelhof-Schöneberg , Astrid Barnekow , Julian Heinrich , Marina Kuehl , Martina Baier Maxence Mercier , Nicolas Jobet , Patrick Faubert , Pr. Stefan Weinzierl head of TU Berlin Audio Communication Group , Sandra Tabbert-Keske , Sebastian Kessler , Sophie Aumüller , Vanessa Kliche Stéphane Marcaillou , Stéphane Barascud , Laurent Avizou , Date: 24 January. 2019 20:15 Subject: Re: license requesting to use Tempelhofer Feld for a night spatial concert To Grün Berlin and all concerned people about outdoor original spatial music creation in Berlin Well well well... no answer since December 17, 2018, 14:40 Maren Möck? after my 2 conciliating letters, the 7th and the 10th of January... Why to not answer us, Maren Möck? Do you really intent, with Grün Berlin, to forbid to censor spatial inventive serious music to perform at Tempelhof? If so, it is an unreal un-be-lie-vable decision from ecologists who respect nature! Music for humans environment (with animals) is a necessity who creates sympathy, Censorship creates hostility. To forbid music in the city, is to forbid communication in sympathy (= to forbid common vibration between humans). It is a heavy serious charge and an unpleasant social consequences generator By harming the fundamental sense of living together in a city, where this role is given to music. Especially in Berlin, the elected European capital of music, the most financed capital by European Union (and the main stage for its cultural events). This is very serious. I hope your are aware about the consequences of your decision? Not for me, or musicians (we are living 1/2 century of strong censorship) but against the society you believe to protect. You know also, that your arguments to forbid serious music at Tempelhof are easy to resolve: 1. skylarks nest period........................ We will perform outside nesting period 2. holes in the ground......................... The sound equipment will be on the runway, and for injuries there will be the first aid people tent 3. unlighted space.............................. Our spatial music is discreet and important to be listen in the dark with some discreet art light 4. inexistent constructions (for music).... You know that for our spatial music as I said, there is no stage and no light show. Knowing also that the audio device can not stays on the field, but has to be on the runway (as same as public first aid tent). Knowing that 7 loudspeakers will be on the floor and 7 in the sky carried by sounding balloons (4 meters diameter helium balloons as the simplified sounding balloon Eole who carried meteorological satellite in the stratosphere). So, what is the real point to forbid our inventive spatial music in a huge 4km² space of Tempelhof? Would you forbid the world premiere of Sternklang by the composer Karlheinz Stockhausen at Tempelhof, one of the pioneer of spatial music with Iannis Xenakis; both my professors? Instead of positioning yourself as a censor, should you not position yourself as a mediator? This, as park guardian who tunes differences so that everyone could find her/his place in the city park to act in respect between each other? We are artists, not promoters. We are creators, not destructors. We are humans, not economical killing machines. You cannot stay silent without answering us with a proper serious argument to: why to forbid spatial serious outdoor music in the largest park in the city being the European capital of music, arguing easy problems to resolve? Also, as the Green Guardians of the Berlin parks, you know exactly which park in Berlin fits with our inventive outdoor long distance orchestral spatial music. After to forbid spatial music at Tempelhof, your role as Grün Berlin is not to alowed us to find a solution to not kill the newborn long distance orchestral spatial music? Because anywhere else, we will need your agreement? We have to find a mutual agreement to prove to ourselves, human beings, that we are capable of a mutual understanding by being inventive and to respect each other acting in the same city, animals included. Mathius Shadow-Sky Please have a look in the last created indoor spatial music score: The Extraction of the Triumphant Beast for electric spatial strings quartet: http://centrebombe.org/livre/Mathius.Shadow-Sky_THE.TRIUMPHANT.BEAST.electric.quartet.spatial.music-score.(2018).pdf all info about Les Guitares Volantes at Tempelhof: http://centrebombe.org/livre/guitares.volantes.html De: Mathius Shadow-Sky à: "Pr. Stefan Weinzierl head of TU Berlin Audio Communication Group" Date: 27 janv. 2019 18:16 Objet: The future of spatial music Dear Pr. Stefan Weinzierl, The final decision by Grün Berlin to forbid spatial music at Tempelhof is quite unexpected! Unexpected, because the arguments to forbid spatial music at Tempelhof are quite not serious: 1. skylarks nesting 2. closing at night because of lack of public lighting 3. hole and stones on the ground 4. any construction is forbidden 4 arguments easy to solve: 1. in August/September no skylarks nesting 2. darkness is profitable, favourable to listen long distance spatial instrumental music during night, and favourable for artistic light creation 3. the listening areas are easy to light up (discreetly on the ground) and a first aid tent has to be present 4. there is no construction at all for our polytrajectophonic music (no stage, no light show), just loudspeakers suspended in the the sky by balloons and audio equipment on the tarmac (not on the grass field) So, I am curious about the real true argument to forbid spatial music at Tempelhof. Do you have an idea? Also, representing the spatial music research in Berlin with the Audio Communication Group at TU Berlin, how do you think it could be possible to request an other outdoor place in Berlin or elsewhere to our spatial audio polytrajectophonic experimentations and choreosonic instrumental music ? With all my respect, Mathius Shadow-Sky http://centrebombe.org/livre/guitares.volantes.html PS Henrik von Coler does not work any more at TU Berlin? His email: henrik.voncoler@tu-berlin.de has been erased? De: Weinzierl, Stefan, Prof. Dr. à: Mathius Shadow-Sky Date: 28 janv. 2019 08:14 Objet: AW: The future of spatial music Dear Mr Shadow-Sky, I’m afraid we cannot help you with this issue. With best regards Stefan Weinzierl ************************* TU Berlin Audio Communication Group Prof. Dr. Stefan Weinzierl Sekr. EN-8 Einsteinufer 17c 10587 Berlin Tel. +49 (0)30 314 22236 Fax +49 (0)30 314 21143 http://www.ak.tu-berlin.de De: Mathius Shadow-Sky à: "Weinzierl, Stefan, Prof. Dr." Date: 28 janv. 2019 18:57 Objet: Re: The future of spatial music I understand you cannot, and I do not understand why you cannot? I feel that there is something strange happening in Berlin. People are changing job position too often. The consequence is that any engagement cannot be sustained! There is a strong absence of valuable arguments accompanying the decisions who forbid and censor spatial music in the city. Or perhaps, there is a basic racism against every non German outdoor original music creation? Who knows? There is no answers at all, to all questions we are asking! Please, Stefan Weinzierl, tell me something And also, how we cannot joint our researches on spatial music? Regards, Mathius Shadow-Sky De: Mathius Shadow-Sky à: "Weinzierl, Stefan, Prof. Dr." Date: 30 janv. 2019 19:57 Objet: Re: The future of spatial music Let me rephrase Dr. Prof. Stefan Weinzierl, what I have in mind, and to be well understood: if TU Berlin has opened a department to work spatial music, starting with Sygma with Stockhausen in 90s, how it is possible? that there is no possibilities to test the results of spatial sound researches outdoor in Berlin? Since 1958 sound trajectory is mostly conceived for and by electroacoustic music. Since 1980, I am using different devices to fly performed instrumental sounds by musicians "in real tridimensional space in real time". That is my proposal with Les Guitares Volantes in addition to create the first outdoor long distance polytrajectophonic music. How it comes if there is no means for that? Is the result of a paradox. It is why I am asking you, what is going on in Berlin? Berlin being the elected city by the European Community as the permanent European capital of culture... I feel, there is something quite strange happening in Berlin now about art and music and especially concerning the serious spatial music. It is why I am begging you, to tell me something about what is going on in Berlin about spatial music. By being yourself in the center of this spatial audio interest. We know, that to make the live spatial music to exist is difficult in our societies, because there is many psychological barriers and political obstacles (Tempelhof is one of them). Nevertheless, spatial music was born with Stockhausen and Xenakis in 1958 (with the Philips pavilion for Xenakis, and Kontakt for Stockhausen with his quadraphonic moving sound) 60 years ago ! The evolution of spatial music in real time has too many resistance to flourish. Look at all technologies in history to make a sound moving in space. Most of the machines I am working with, are made by enthusiast people, which become obsolete by lack of interest. The music industry stays in stereo format for its massive selling. The cinema industry imposed spatial format that does not fit with music : the ugly 5.1 and now the false "immersive" device in fixed dome shape! Since 1980, I try to open the spatial instrumental music to choreosonic creativity. The concept is simple: moving several sounds together everywhere in space, but to make it exists, in our societies, stays as being impossible! Does not sound strange to you? Kind Regards Mathius Shadow-Sky http://centrebombe.org/livre/1982a.html http://centrebombe.org/livre/guitares.volantes.html