Laurie Anderson online & on stage

VON Dr. Wolf SiegertZUM Sonntag Letzte Bearbeitung: 7. März 2017 um 13 Uhr 12 Minuten



This is the reference LINK to tonights program.

It is the follow-up of Saturday’s evening event [1]

This is the URL to Laurie Anderson’s website:


" I’m an artist because I wanted to be free"] the NIGHT LIFE - Project.

Coimbra, Teatro Académico de Gil Vicente 23/05/2012

A conversation with Laurie Anderson and Tom Leeser

Ernie Mannouse, Houston Public Media, Jan 12, 2015

Laurie Anderson interviewed by Christian Lund at the Louisiana Museum of Modern Art, Denmark in May 2016. "!’m an artist because I wanted to be free."

DJ Lance Rock (Yo Gabba Gabba)at Moogfest May 2016: "Dogs are absolute experts in empathy..."

Laurie Anderson playing human drums and sampled violin on German Televison bei Bio 17 Sept. 1984. Alfred Biolek interviewing Laurie Anderson talking about sampling techniques and music computer.


 Speaking with Alfred Biolek in Bio on September 17th. 1984 she is referring to all these installations that need "Lot’s of wires".

 In the interview with Tom Leeser, the first anchor-photo showed the wiring of a telephone-pole and she speaks about her dream of a wireless future.

 The most important desire as a composer? To make music that is understood by the birds... or by the mosquitoes.

 This Saturday it was not allowed to make any recordings or photos during the interview with Kristoffer Gansing or her evening-performance.

 On both occasions, the Trump-Elephant was in the room. Kristoffer’s first sentence in the afternoon: "She would have been a good president". And Laurie’s most impressive quote of this evening: "Even suicide is love".

 Any comments?
Let’s have a look what other sources are going to say first. Here are Links to the main newspapers in Berlin:





The Language of the Future (1st show)
Laurie Anderson
Sat, 04.03.2017
20:00 - 23:00

“Current runs through bodies and then it doesn’t.” This quote from Laurie Anderson’s first presentation of The Language of the Future, sums up the logic of our digital times as an “on-again, off-again” relationship. Anderson wrote this phrase in the early 1980s when digital technologies seemed futuristic, but today, from a post-digital perspective, the phrase holds equally true, viewed from the context of our ever-elusive entanglement with technology. Our bodies are networked in ways we do not fully command, as we both emit and are integrated into data currents. This is the ingenious part of Laurie Anderson’s creation: when talking about the future she already refers to it as the past, eschewing a linear perspective in favor of a world where “one thing instantly replaces another,” in no particular order. In the new solo piece of her ongoing performance, the artist mixes spoken word, electronics, and violin, crossing borders between dreams, reality, and the elusive world of information. This iteration of The Language of the Future marks Anderson’s first Berlin performance in over five years. Exploring the inextricable links between past, present, and future, Anderson’s performance is an exceptional conclusion to ever elusive – thirty years of transmediale.

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