Uploaded October 2019 | Updated September 2026, 1 week ago
Vostell's large-scale happening '9 Nein Décollagen' ('9 No – Dé-coll/ages) took place on 14 September 1963 in nine different locations in Wuppertal, and was organized by the Galerie Parnass. The audience was ferried by bus from location to location, including a cinema that screened 'Sun in your head' while people lay on the floor. The film transfers to the moving image Vostell’s principle of ‘Décollage’. While up to then Vostell had altered TV pictures as they were being broadcast, he was now able to compose the temporal sequence. Since no video equipment was available in 1963, Vostell instructed camera-man Edo Jansen to film distorted TV images off the TV screen. The film was re-edited and copied to video in 1967.
Made for Vostell’s '9 Nein Dé-coll/agen' (9 'No Dé-coll/ages') happening, the film was subsequently shown in a separate context, for instance in Amsterdam in 1964.
Vostell's large-scale happening '9 Nein Décollagen' ('9 No – Dé-coll/ages) took place on 14 September 1963 in nine different locations in Wuppertal, and was organized by the Galerie Parnass. The audience was ferried by bus from location to location, including a cinema that screened 'Sun in your head' while people lay on the floor. The film transfers to the moving image Vostell’s principle of ‘Décollage’. While up to then Vostell had altered TV pictures as they were being broadcast, he was now able to compose the temporal sequence. Since no video equipment was available in 1963, Vostell instructed camera-man Edo Jansen to film distorted TV images off the TV screen. The film was re-edited and copied to video in 1967.
Made for Vostell’s '9 Nein Dé-coll/agen' (9 'No Dé-coll/ages') happening, the film was subsequently shown in a separate context, for instance in Amsterdam in 1964.

![Karlheinz Stockhausen: Stop • Ylem
Composed By, Conductor – Karlheinz Stockhausen
Engineer [Recording] – Klaus Hiemann, Stuart Eltham
Orchestra – The London Sinfonietta*
Photography By [Photo] – B. Perrine*
Producer, Recording Supervisor – Dr. Rudolf Werner
Stop for orchestra, composed in 1965.
Ylem for 19 players, composed in 1972.
Recorded 20/21 march 1973, EMI Studios, London. Karlheinz Stockhausen: Stop • Ylem](https://i.ytimg.com/vi/o4oDwAQ_q3A/mqdefault.jpg)





![Vladimir Mayakovsky: Hymn to Judge (1920)
Vladimir Vladimirovich Mayakovsky (b. Bagdalia 1893 - d. Moscow 1930) was a poet, dramatist and painter and the leader of the Russian cubo-futurist group - the equivalent of Marinetti in Italian futurism. At nineteen, he signed the first cubo-futurist manifesto A Slap in the Face of Public Taste (1912) which proclaimed the right of poets to extend the volume of vocabulary with arbitrary and derived words (neologisms). After that, he figured in a whole series of public performances along with other cubo-futurists who painted their faces, wore top hats and velvet jackets, carried wooden spoons and radishes and recited verses with a serious, solemn and unsmiling demeanour. He designed his own futurist suit from the idea of a yellow tie, astutely making it enormous: I change the tie into a blouse and the blouse into a tie. With the arrival of the October Revolution, he made it his own, proclaiming: it is our revolution, founding the group The Futurist Communists (KomFut) and writing verses like: The streets are the brushes well use, our palettes the city squares . In his poetry recitals his physical presence was monumental, and he moved like a pugilist. His voice was similarly powerful, as a newspaper of the time said, f rom his quadrangular mouth there fly, not words but thundering stones from an Alpine torrent. In 1923, he published For the Voice which comprised a number of his poems laid out as visual poetry and made into in a book-object by the artist EI Lissitzky, in which the language floats somewhere between constructivism and suprematism. The poem Naval Romance was included in the book, although it had been written in 1915, in his earlier, futurist period. This poem can be translated literally from the Russian as Military-Naval Love [Voenno-morskaia liubov], an untraditional play on war and romance, love and sexual passion. Mayakovsky makes great use of puns, verbal pirouettes and absurd mixtures of sounds and this poem is also very rich in rhyme; at times he creates half-invented words in a cubistic jigsaw puzzle (Juliette Stapanian-Apkarian). At other times he plays with words for their sonorous- visual character as in, for example, the repetition of the letter r (in the Russian text of the poem r-r-r-astakaia) - a letter in the Russian alphabet Mayakovsky advised was good to use, although it wasnt very common. The poem is recited by Mayakovsky and was recorded onto a wax cylinder phonograph in 1920, along with four other works. The originals have been lost, but fortunately, they were transferred to sound film some time in the 1930s, and have thus been preserved. Mayakovsky committed suicide in 1930, possibly a combination of a failed romance and his increasing difficulties with adapting to the rules imposed by official authorities. He left a letter: ... as they say, the incident has ended, the boat of love ran up against daily life. Vladimir Mayakovsky: Hymn to Judge (1920)](https://i.ytimg.com/vi/rFEuLK-tzhQ/mqdefault.jpg)


