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    "A fast, complex, exhilarating roadster ride through history and time.... Kino is an intoxicating Euro-brew, written with enormous skill and dedication." — Frederick Barthelme

    "Jürgen Fauth's deft mashup of genre and historical period is both a full-throttle literary thriller of ideas and a contemplative examination of film and fascism. Kino is a debut of great intellectual  force."– Teddy Wayne

    "A surprising alternative history. Kino brings the golden age of German cinema to light with loving, sometimes gritty, detail and great precision." – Neal Pollack, author of Jewball.

    "A delirious melange of conspiracy, magic, sex, history, bad behavior, and cinema, Kino is a stellar entertainment, and Jürgen Fauth is a writer of rare, sinister imagination." – Owen King, author of Reenactment

    "A light-hearted romp that leads straight into darkness and back through the shadows on the wall."– Ben Loory, author of Stories for Nighttime and Some for the Day

    "Movie nuts arise! A happy and felicitous debut."– Terese Svoboda

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Playing the Building

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David Byrne’s installation transforms the Battery Maritime Building into a giant musical instrument, but the mysterious noises that emanate from all corners of the delightfully dilapidated industrial space have more in common with a late-80s Grateful Dead mid-set midi-freakout than whatever usually goes by “music.” Waiting and sweating in line for my turn at the tubed-up, souped-up organ, I decided that I’d blow all the other dilettantes away by laying down some serious maritime funk — this building needed a groove, and I was the man to do it!

But once I got my fingers on the keys, which trigger sound events through “wind, vibration, striking,” it became clear why everybody plays the building in exactly the same languidly tripped-out way: varying response times from button-push to noise don’t allow for a rhythm to emerge. Good-bye, funk! The lag undercuts any sense of control, and with the next eager punter breathing down your neck, there isn’t time to figure out how to use the instrument’s constraints to its advantage. The ferry terminal’s temporary transformation may be successful, but the title of the piece is fraudulent: in Lower Manhattan, the building plays you! Next time, can we skip “Space” and set up a giant industrial drum circle instead?

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