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. . PRESS .
. Comments from the press.

Animax Community

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. General-Anzeiger

"With its decision to adopt the term ‘multimedia’ as the Word of the Year, the Society for the German Language has pointed out the importance of the new media. Mostly, however, the word is only used in connection with the ever increasing number of ways to use a home computer. That multimedia can be something more than a PC with a CD-ROM drive, a keyboard and two active loudspeakers has been creatively demonstrated time and again in the last ten years by the Bonn Development Workshop for Computer Media (BEC), based in the "carpet factory" in Beuel. Because of the inadequate conditions that prevail there, however, the non profit making BEC has been searching for a new home for quite some time. ‘We need a continuously available performance arena, above all because of the large-scale technical structure of a multimedia theatre’, says BEC chairman Bodo Lensch.

"From Kintopp to multimedia art is only a short journey" in the General-Anzeiger, 22/11/1995, Bernhard Hartmann

 

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General Anzeiger

Animax has found its home under the roof of Kinopolis where it stands shoulder to shoulder with cinema Hollywood-style, showing the way to new worlds of computer, film, dance and sound. And the way to the future: the Bonn Development Workshop for Computer Media has proved its worth with this current collaboration with GMD in St. Augustin to an up and coming telecommunications city such as Bonn. During EXPO 2000, Animax will carry the names Bonn and Bad Godesberg to the computer world.

"Bon Voyage for the journey into the future" in the General-Anzeiger, 23/7/1999, Sylvia Schmitz

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Bonner Rundschau

"But what exactly is meant by multimedia theatre? The artist, ‘actor, singer or dancer’ appears in interaction with computer media. So it was for example with a scenario (1996) ‘Observation Suite’. In the setting of the Beuel "carpet factory", the computers projected seemingly three dimensional eyes on to the dance floor. Then they caught the movements of the dancer, and in a fraction of a second made the eyes dance too. Productions of this sort are already planned for the end of the year. Above all, the intention is that the public also be drawn into the action.

"A ‘laboratory’ of computer culture" in the Bonner Rundschau, 9/4/1999, Marc Hoffmann

 

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Rhein-Sieg Anzeiger

The future has already come so close: A three metre high cube, not much to look at. Unknown worlds secreted away in there? Fire and ice? Dancing spoons? Living comic book characters? Walk right up! All aboard for the future! The visitor enters obediently, along with six other fellow sufferers, all looking around somewhat worriedly. Inside all is grey and smooth surfaces - quite harmless. Just as the time travellers dare to draw breath, the walls, the floor and the ceiling spring to life, with atmospheric crackling and humming. Involuntarily the humans in the middle of the cube crowd together. An artificial counterpart to the human original suddenly appears out of the blue: the guide to the future - a creation of pixels and energy, but still lifelike enough to win the trust of the marvelling visitors from the real world.

"Balancing on a bridge in space" in the Rhein-Sieg Anzeiger, 24/6/1999, Christine-Felice Röhrs

 

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General-Anzeiger

"Ten, nine, eight - the countdown has begun, the rockets of the spaceship ignited. Seven, six, five - the astronauts wait, crouching, for blast off. Four, three, two, one - the floor vibrates and the astronauts jump. The spaceship lifts off, and the journey to far away galaxies can start. A virtual journey, that has its starting point in Animax in the Bonn suburb of Bad Godesberg (...) But "Story Machine" isn’t just children’s games or gadgets. Before and after the children see the machine, they are instructed by media education officer Birgit Günster."

"In the spaceship, the majority decides." in the General-Anzeiger, 20/10/1999, Peter Schneider

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Frankfurter Rundschau

"Thereby Animax’s legal structure is not without style. It is operated by the BEC, the Bonn Development Workshop for Computer Media, which as a registered society has enlivened the crossroads of computer and art with many attractive projects for the last twelve years. This advance party of the media arts operated, nearly hidden away on the far side of the Rhine, in the "carpet factory", whither hardly any feature writers ever fought their way. To its experience of cultural politics belonged that of having to vacate its rooms now and then for the Bonn City Playhouse, that institution whose manager now purports to be convinced that in ten years a director in normal theatre will have to give his audience the possibilities of virtual perception. How that is going to be happen, Jochem von Uslar has to admit he doesn’t know. But just like the mayor of the city, Bärbel Dieckmann, he is now thankful to the pests from the BEC that they didn’t give up. With the BEC, they get to hold a little corner of the digital future."

"Things Cologne and Ludwig van" in the Frankfurter Rundschau, 3/7/1999, Michael Rüsenberg.

 

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Frankfurter Rundschau

"Thereby Animax’s legal structure is not without style. It is operated by the BEC, the Bonn Development Workshop for Computer Media, which as a registered society has enlivened the crossroads of computer and art with many attractive projects for the last twelve years. This advance party of the media arts operated, nearly hidden away on the far side of the Rhine, in the "carpet factory", whither hardly any feature writers ever fought their way. To its experience of cultural politics belonged that of having to vacate its rooms now and then for the Bonn City Playhouse, that institution whose manager now purports to be convinced that in ten years a director in normal theatre will have to give his audience the possibilities of virtual perception. How that is going to be happen, Jochem von Uslar has to admit he doesn’t know. But just like the mayor of the city, Bärbel Dieckmann, he is now thankful to the pests from the BEC that they didn’t give up. With the BEC, they get to hold a little corner of the digital future."

"Things Cologne and Ludwig van" in the Frankfurter Rundschau, 3/7/1999, Michael Rüsenberg.

 

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Bonner Rundschau

Even before entering the room, the spectator is catapulted into a tale of modern loneliness, seduction, terror, death, manipulation. The horror of life unfolds, not in a chronological story, but rather in an abundance of impressive film and computer sequences, slides, installations and picture montages, from the staged and orchestrated beauty of the advertising world to the desperation of the individual. ‘Puppet Master’ is a bleak commentary for the closing millennium and for a century in which more people have been killed than ever before. Fright coalesces from time to time directly to image - in a sort of chamber of horrors terrorists and other criminals are seen, their facial features displaced and exchanged with one another.

One can already imagine the strength of choreograph Martin Butler’s project, even if it was merely a "workshop performance".

"Held by threads" in the Bonner Rundschau, 7/12/1999

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