What if we needed more techno?

In fact. Nevertheless, independent radios and above all pirates such as the DJ The Electrifying Mojo (born as Charles Johnson) to spread techno so quickly in North America and Europe, in particular in the west Berlin of the eighties. Consequently, Its sound. Nevertheless, its creative call were so powerful that they were made illegal in Soviet Germany, and Stasi often led to now reigned not only in the abusive clubs of East Berlin but also and above all in private apartments or in cellars: simply listening to Techno was a crime punishable with imprisonment. However, On the other hand. Similarly, the city’s free enclave continued to play and metabolize this new sound to transform it into the soundtrack of the fall of the wall in 1989. In addition, The techno became one of the symbols of the reunification. Therefore, Clubs like the what if we needed more Treasureborn in 1991. Consequently, saw the best names of the time alternate and above all saw the transformation from Techno to Tekno. In addition, THE Tekknozide party organized by Dimitri Hegemann In the abandoned warehouses of the East Berlin they were crucial for. Furthermore, the spread of the genre. However, These illegal events. Similarly, characterized by high volume music, stroboscopic lights, powerful individual aesthetics and a liberating atmosphere, quickly became a point of reference for the Berlin underground scene.

Playing Techno meant playing future. However, freedom, dressing to listen to Techno meant making his own aesthetic adhere to that of the community. Nevertheless, The aforementioned Tresor. Nevertheless, theUfo of the nineties were, in addition to the aggregators of these new communities, one and parent two of the Mountain grove of the 2000s. As quickly ascended to the international limelight as the most exclusive club in the world. it is a place what if we needed more where social media are banned and where the bar descends to paradise in low Sync frequencies from the panorama bar.

Techno. in its essence and in its mannerism, shares deep affinities with other creative forms, reflecting common themes of innovation, rebellion and futuristic. Over time. this musical genre and cultural movement has crossed and has been crossed by the languages ​​of art, design, fashion, technology, writing and management. Exploring some examples: Jeff Mills plasma. through sounds, cosmic and dystopian visions similar to the universes described by the science fiction writer J.G. Ballard. Nerio Alessandrifounder of Technogymhas forged an aesthetic of well -being with the same creative tension as Mills: both generators of worlds. both visionaries capable of transforming intuitions into totalizing experiences. Citing other visionary entrepreneurs. in François Pinault It is embodied that liminal figure that crosses the territories of capitalism as a flâneur crosses the modern city: start from the what if we needed more wood, living, organic, terrestrial matter, has reconfigured its existential trajectory up to founding an empire of luxury (Dry) and consecrate one’s inheritance to aesthetic contemplation with an art foundation. His metamorphosis is not dissimilar from that of Carl Craigwho has been able to transfigure the mechanical pulsation of dancefloor into an almost symphonic language. bringing techno from underground clubs to the avant -garde theaters. Techno lives the same creative dimension of figures such as Nina Kraviz. Tartt woman e Leonora Carringtonall three bearers of an emotional, raw and universal vision. In the same creative dimension you can register a talent like Ryan Murphydirector. producer and author of disturbing and magnetic television universes. Some of its best series, «Nip/Tuck» To name one, they are like visual DJ sets: they recombin, distort, overturn. Their techno (manner) is visceral narration built on vertigo. As Aphex Twin upsets the ear, Olafur Eliasson The visual what if we needed more perception is subverted. As Helena Hauff deconstructs beat, Kathy Acker the language deconstructed with its metharrative pastiche. Additionally, As Duran Lantinkrecently climbed to the creative guide of Jean Paul Gaultiercontaminates high fashion, Hauff contaminates electronic music. Landink creates clothes that seem born from a digital glitch: provocative, iconoclastic, impossible to replicate. Further on, on the edge, there are Sven Marquardt e William S. Burroughs: one photographs the faces of the abyss, the other tells them. Both portray humanity as living and mutant meat, both use art as scalpels.

In the cinema of Lynne Ramsay and in the sound landscapes of Red Headurban is a living and wounded subject. Ramsay represents the collision between personal trauma and the environment: dirty stairs, neon trembling, saturated silences. Rødhåd creates sounds with concrete and steel, where every kick reverberates like a step in the subsoil. This post -industrial aesthetic transforms the sound landscape into an what if we needed more inner, cold but human map. Both explore urban ruin, where the noise is testimony and the residual rhythm of consciousness in the metropolis.

And finally. speaking of techno manner in different eras, Richie hawtin (better known as DJ Plastikman), Renzo Rosso (owner of diesel and the OTB group) e Camillo Olivetti (legendary entrepreneur of Ivrea): three very distant figures with each other, but united by the same emotional approach to work. Three men who believe in an accessible. innovative future, in which technology and inclusiveness are not in conflict but allies. Their techno is an articulated thought: opening, listening, precision, dedication, evolution.

All of them. designers, musicians, artists, managers, visionaries, collaborate to create a new constellation: a map of creative signs that arise spontaneously and that, as urgent and generative, feed on the experiences lived and progress constantly.