{"id":3211,"date":"2013-02-26T21:27:35","date_gmt":"2013-02-26T20:27:35","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/zettelkasten\/symphonie-der-farben\/"},"modified":"2023-12-20T17:59:21","modified_gmt":"2023-12-20T16:59:21","slug":"symphonie-der-farben","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2013\/02\/symphonie-der-farben\/","title":{"rendered":"Symphonie der Farben"},"content":{"rendered":"<div class=\"shariff shariff-align-left shariff-widget-align-left\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Symphonie%20der%20Farben https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2013%2F02%2Fsymphonie-der-farben%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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background-color:#3b5998; color:#3b5998\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#3b5998\"><svg width=\"32px\" height=\"20px\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 18 32\"><path fill=\"#3b5998\" d=\"M17.1 0.2v4.7h-2.8q-1.5 0-2.1 0.6t-0.5 1.9v3.4h5.2l-0.7 5.3h-4.5v13.6h-5.5v-13.6h-4.5v-5.3h4.5v-3.9q0-3.3 1.9-5.2t5-1.8q2.6 0 4.1 0.2z\"\/><\/svg><\/span><span class=\"shariff-text\" style=\"color:#3b5998\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button info shariff-nocustomcolor\" style=\"background-color:#a8a8a8\"><a href=\"http:\/\/ct.de\/-2467514\" title=\"Weitere Informationen\" aria-label=\"Weitere Informationen\" role=\"button\" rel=\"noopener \" class=\"shariff-link\" style=\"; background-color:#999; color:#999\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#999\"><svg width=\"32px\" height=\"20px\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 11 32\"><path fill=\"#999\" d=\"M11.4 24v2.3q0 0.5-0.3 0.8t-0.8 0.4h-9.1q-0.5 0-0.8-0.4t-0.4-0.8v-2.3q0-0.5 0.4-0.8t0.8-0.4h1.1v-6.8h-1.1q-0.5 0-0.8-0.4t-0.4-0.8v-2.3q0-0.5 0.4-0.8t0.8-0.4h6.8q0.5 0 0.8 0.4t0.4 0.8v10.3h1.1q0.5 0 0.8 0.4t0.3 0.8zM9.2 3.4v3.4q0 0.5-0.4 0.8t-0.8 0.4h-4.6q-0.4 0-0.8-0.4t-0.4-0.8v-3.4q0-0.4 0.4-0.8t0.8-0.4h4.6q0.5 0 0.8 0.4t0.4 0.8z\"\/><\/svg><\/span><\/a><\/li><\/ul><\/div><p>Todestrieb der Zigaretten \u2026 zwischen K\u00fcnstlichkeit und Zeitvertreib.<br \/>\n<!--more--><\/p>\n<p>Dieser Aschenbecher geh\u00f6rt wom\u00f6glich zu den j\u00e4mmerlichsten seiner Art. Am Rande einer Begr\u00e4bnisfeierlichkeit fanden sich diese ertrunkenen Raucherstummel in der Symphonie eines Farbzweiklangs.<\/p>\n<p>Da flossen der Tr\u00e4nen reichlich vom Himmel herab. Drinnen besann man sich des Trauerns frei, w\u00e4hrend drau\u00dfen die ganze Welt zu jammern schien. Todestrieb der Zigaretten. Vom Tobaccoland ins Niemandsland.<\/p>\n<p>Ich glaube, es war Thomas Meinecke, der einmal K\u00fcnstlichkeit gegen Authentizit\u00e4t verteidigt hat. Der Drang nach Authentizit\u00e4t bringe einen um die M\u00f6glichkeit, seine Position zu verlassen. Das Schauspielern, das geht verloren &#8211; die M\u00f6glichkeit, jemand anderes zu sein, als man (angeblich) ist. Wie authentisch darf man \u00fcberhaupt sein, will man sich selbst noch ernst nehmen.<\/p>\n<p>Ein anderes Problem st\u00f6hnt von der anderen Seite: Die k\u00fcnstliche Authentizit\u00e4t, dass man eine Person zum besten gibt, die man nicht ist, war, sein kann. In der Musikbranche kommt das ohne Unterlass zur Geltung. Der musikalische B\u00f6sewicht, der nur den Dr. No spielt. Der in der Rolle seine <span style=\"text-decoration: line-through;\">neue<\/span> Identit\u00e4t findet bis er sie ist.<\/p>\n<p>Und ein Drittes: Die Zuschreibung dessen, was man ist, wenn sie von au\u00dfen erfolgt und man das wird, was anderen in einem sehen wollen. Die Chance des Ortswechsels, um dem zu entgehen.<\/p>\n<p>Was bleibt diesem Aschenbecher \u00fcbrig, er ist authentisch bis zum Umfallen. 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Dezember 2003","format":false,"excerpt":"Vom frischgebackenen Schirmherren des \u0084Deutschen Musik-Exportb\u00fcros\u0093 kann man unter \u0084Kunst & Leben bei ARD.de\u0093 eine gro\u00dfe Schimpftirade auf die Geschichte des Deutschen Schlagers in Deutschland lesen. Nach dem Zweiten Weltkrieg habe sich Deutschland in einer Identit\u00e4tskrise befunden und man sei daher nicht zu einem eigenst\u00e4ndigen Genre gekommen. Damals, in den\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":991,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2005\/01\/when-jesus-calls\/","url_meta":{"origin":3211,"position":3},"title":"When Jesus calls","author":"huflaikhan","date":"1. Januar 2005","format":false,"excerpt":"Das neue Jahr anarchisch beginnen. Am besten mit Joseph Spence. Und keine Sachen vornehmen. Niemals. Die Pl\u00e4ne sind verwunschen. \u201eWhen Jesus calls\u201c hei\u00dft dieses St\u00fcck mit der Pinder Familiy. Spence ist im Ba\u00df zu h\u00f6ren und an der Gitarre zu h\u00f6ren. Die drei Stimmen dazu mit Spence zusammen ergeben eine\u2026","rel":"","context":"Mit 3 Kommentaren","block_context":{"text":"Mit 3 Kommentaren","link":"https:\/\/www.kritische-masse.de\/logbuch\/2005\/01\/when-jesus-calls\/#comments"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":9455,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2024\/03\/welttage-holz-wald-theater-fuer-elise-corona-version-stoppelfeld\/","url_meta":{"origin":3211,"position":4},"title":"Welttage: Holz, Wald &#038; Theater \/ F\u00fcr Elise (Corona-Version) \/ Stoppelfeld","author":"der huflaikhan","date":"21. M\u00e4rz 2024","format":false,"excerpt":"Welttag des Holzes und Internationaler Tag des Waldes (21.03.) +++ Welttheatertag (27.03.) mit der Kampagne Theater f\u00fcr Demokratie +++ \u201eMindestens eine gro\u00dfe Terz Abstand halten!\u201c \u2013 Ludwig van Beethovens \u201eF\u00fcr Elise\u201c (Corona-Version) +++ Stoppelfelder und Birkenw\u00e4ldchen","rel":"","context":"In &quot;die Kunst&quot;","block_context":{"text":"die Kunst","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-kunst\/"},"img":{"alt_text":"Musikalischer Kalender 2024 21.03.24","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/03\/Musikalischer-Kalender-2024-21.03.24-11.png?fit=1019%2C577&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/03\/Musikalischer-Kalender-2024-21.03.24-11.png?fit=1019%2C577&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/03\/Musikalischer-Kalender-2024-21.03.24-11.png?fit=1019%2C577&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2024\/03\/Musikalischer-Kalender-2024-21.03.24-11.png?fit=1019%2C577&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":946,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/12\/kinder-musik-schau-i-sepp-depp-hennadreck\/","url_meta":{"origin":3211,"position":5},"title":"Kinder-Musik-Schau I \u0096 Sepp, Depp Hennadreck","author":"huflaikhan","date":"10. Dezember 2004","format":false,"excerpt":"Es geht ja auch anders. Vor Jahren legten die Bierm\u00f6sl Blosn eine Scheibe mit lutigen bayerischen Kinderliedern auf. Die hie\u00df \u201eSepp, Depp, Hennadreck.\u201c Reinh\u00f6ren und schmunzeln Was unterscheidet diese Art des Musizierens von den andern Horror-Bildern der Musik? Erstens, es handelt sich um die richtige Besetzung mit den richtigen Instrumenten.\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/3211","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=3211"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/3211\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media\/3212"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=3211"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=3211"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=3211"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}