»I am really unable to talk about my life—I don’t know my life. I’ve traveled a lot and this is the life that I have lived, but that doesn’t mean that I know myself.« Ousmane Sembene, so called grandfather of African Cinema, talks to the writer Bonnie Greer. It's 2005, he has finished his last oeuvre »Mooladé«. The volume »Ousmane Sembene Interviews« is about talking and questioning. Questioning african film, colonial and postcolonial history, somehow an oral history. Interviews from 1965 until 2005, from Senegal periodicals and french, american or german Ciné-Magazines. The book project took quite some time and efforts but now it's out in the world thanks to University Press Mississippi and we are very happy about it. Find the preface and the contents list at the missing image site.

»Hi, I am a ...ehn? I am a...what?« Die Referenz wird mit dem ersten Ton klar und mit dem zweiten Wort verschoben. Aus »Hi! My name is...« wurde ein »Hi! I am a...«, nicht ein Name, sondern ein Zustand wird hier verhandelt. Als Antwort bekommen wir ein Land genannt, das in Projektionsfläche, Größenwahn und Schizophrenien aller Art der Kunstfigur, die Eminem einst erfand in nichts nachstehen soll. »I am a Nigerian.«

Here you see Paul D. Miller a.k.a. DJ Spooky at the Herodian Theater, Acropolis. At this place, in mai05, he was performing the Remix of Grifith's »Birth of a Nation«. Below you'll find a very interesting interview, postet on nettime, with Carlo Simula for his book »Millesuoni. Omaggio a Deleuze e Guattri« (Cronopio Edizioni) - about the potential of remixing and concepts. With Deleuze/Guattari Dj Spooky invents an understanding of music as tool for reflection.

»Being a working girl means understanding economics in sexual as well as business terms.« As secretaries or stenographers, showgirls or shop girls, young women with new self-confidence, also known as Working Girls, became a glamourous mass phenomenon in the 20ties. Now they seem to celebrate a comeback as favourite objects for young academics searching for PHD subjects.

The movie »Klassenverhältnisse« (1984) by Straub/Huillet is based on Kafkas unfinished novel »Der Verschollene«. But first of all: the context of a film is the film. »We didn't picturize the book. We are not interpreting. Verfilmen ist wie verwursten.« Titels Expert REMBERT HÜSER in conversation with Straub/Huillet, about »Amerika«, where Kafka is hiding, class and pictures.

»Herr K. aus H.« is a bizarre music compilation based on sound documents accidentally found during the clearing out of an appartement somewhere in Germany. Over five years a pensioner commentated the sounds of his neighbours. Musicians from Munich, Cologne and Vienna transformed these comments into noise and melodies. Out now on the so called »Bodensatz« Label in Munich.