Bits

More than two thirds of all people on this planet live in cities today – and the tendency is rising. Cities made of stone, concrete and asphalt. Cities in which the air is difficult to breath and where the chirping of a bird is drowned out by the noise of traffic.  Cities in which streets and parking places take up many times the amount of space available for parks, playgrounds and sports fields. This brings up the question of whether the city of the future will, and should, look like this.

This film is simple and difficult at the same time. It’s a joy for the eye, for the ear, and above all for the soul. In times like these. Nomadland – the first film I’ve seen in the cinema for over nine months when the cinemas in Germany were closed because of the pandemic. A great cloud of longing hung over this time. It evaporated for a brief moment after a few minutes in the cinema and then turned into a cloud of happy melancholy that accompanies this film from its beginning to its end.  

"Nature does not know extinction; it only knows transformation. All that science has taught me, and continues to teach me, strengthens my belief in the continuity of our spiritual existence after death." - Wernher von Braun

Long time ago, at twelve years old, I sat in front of our tube radio, my big brother's tape recorder on my lap, microphone in hand, ready to record a new song from the only station that broadcast pop music for an hour every day at 6 p.m. After each announcement, I pressed the record button. This was also the case when a voice unexpectedly reached me from the loudspeaker and electrified me. It was the voice of Bob Dylan.

Who doesn’t know them, the lively R2D2 and the stiff highly polished 3-CPO? They’re the companions and helpers of the Star Wars heroes, sometimes even their saviours when the going gets really tough. A lot more than just machines, they have their own personalities which make them not only friends of the heroes but favourites with the audience too. The Hubble Space Telescope is real and has nothing of all this. Even so, it has become the darling not only of scientists but of an interested world audience.  

A palm tree extends its full length, from the root ball to the tips of its fronds, diagonally across an appropriately sized exhibition space. Anselm Kiefer has called this impressive installation "Palm Sunday".

Since Plato at the latest, we have been asking ourselves what we actually see when we look at things that are of this world. Which of the things that make up our image of the world exist independently of what we actively perceive; that is when we are awake? And what happens when we are sleeping?

Hardly anything else determines our lives and also our attitudes towards life as much as this thing we call time. It is therefore all the more difficult to imagine that there was once a time when there was not even a name for what we refer to as time today.

What does a human being feel when looking at a piece of art? What thoughts, associations, and emotions does it stir up? These are the questions the MINDKISS Project have been researching in different ways for ten years now. An entirely new path has opened up for the project’s Art of Resonance Show, which recently premiered in Leipzig.

After a five year break, the MINDKISS Project is now moving on to the next stage. From 28 October to 8 November OUBEYs Art in the Digital Resonance Space will be premiered in Germany. In September this year the presentation already wowed visitors to the Science&Fiction/Science&Art festival in Moscow. So just more trendy surfing on the zeitgeist wave? Far from it.

In a conversation on 25 November 1991 OUBEY was asked what piece of music he would be, if he was a piece of music at all. He promptly answered: “Take A Pebble – By Emerson, Lake and Palmer, 1970.”
 

Over the past ten years since it's been active in the public eye, the MINDKISS Project has constantly sought out untrodden paths and unexplored territory in its efforts to bring OUBEYs art to the attention of people everywhere in the world. And now in the tenth year of the project – which is actually its fifteenth - all the signs point to its embarking on a highly promising next stage.