Culture vital for development progress, Deputy Secretary-General tells meeting

The International Congress "Culture: Key to Sustainable Development" will be held in Hangzhou (China) from 15 May to 17 May 2013. This is the first International Congress specifically focusing on the linkages between culture and sustainable development organized by UNESCO since the Stockholm Conference in 1998.  As such, the Congress will provide the very first global forum to discuss the role of culture in sustainable development in view of the post-2015 development framework, with participation of the global community and the major international stakeholders.

Culture, as exemplified by thriving creative industries around the world, has many positive spillovers for human development, UNCTAD’s Deputy Secretary-General has said in China.​


"Culture has to feature prominently in global thinking about the world we want," Deputy Secretary-General Petko Draganov told the Hangzhou International Congress on 15 May. The theme being explored by the Congress is Culture: Key to Sustainable Development.

Speaking at a high-level discussion on culture in the post-2015 sustainable development agenda, Mr. Draganov emphasized the role of culture and the creative industries in promoting inclusive development growth and poverty reduction.

He highlighted recent UNCTAD statistics on markets for creative goods and services that are based on local culture, which indicate that the sector has grown dramatically in recent years, at a rate of more than 10 per cent annually. "Creative industry exports reached $624 billion in 2011," Mr. Draganov said.

"While developed countries continue to dominate the market for high-value creative products, exports of creative goods from the South climbed to $184 billion in 2011, underlining the clear potential that this sector has for future growth," the Deputy Secretary-General told the meeting.
He noted that creative industries were often small businesses based on traditional cultural resources and operating at low investment levels. Therefore, he said, governments needed to support the growth of such creative industries, including by instituting policies, and public and private partnerships, as well as strategies to provide access to advanced technologies.

Petko Draganov, Deputy Secretary-General of UNCTAD speaking with  Jean Michel Jarre

Mr. Draganov said that culture and the creative industries had many positive spillovers for human development, which included poverty reduction, gender and youth empowerment, and the sustainable use and conservation of natural resource and ecosystems. Hence, culture was key to inclusive sustainable development.

"Collaboration at the international level is important for building on these strengths, including through joint work by UNCTAD, the United Nations Educational, Scientific and Cultural Organization (UNESCO) and the United Nations Development Programme (UNDP)," he said.
Collective work between these agencies had gone into the preparation of the Special Edition of the Creative Economy Report 2013, Mr. Draganov noted. He also underlined that UNCTAD, UNESCO and other United Nations agencies could offer a platform through which governments could exchange best practices and highlight policies to foster creative industries in developing countries.

The panel session was chaired by Irina Bokova, Director General of UNESCO, and included His Highness the Aga Khan, and Fazle Hasan Abed, Founder and Chairperson of the BRAC Foundation.

UNCTAD was invited to the conference by UNESCO, the Government of the People's Republic of China, and Hangzhou Municipality. The organization is contributing to deliberations at the meeting that will result in the adoption of an outcome document on The Hangzhou Agenda: Placing Culture at the Heart of Sustainable Development Policies. The aim of the Congress is to inform and influence policymakers with regard to fully integrating culture into the post-2015 United Nations development agenda.


      

 Source: unesco.org
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Apollo 8 Mission (Book of Genesis Reading - December 24, 1968)

Music: Jean Michel Jarre - "Second Rendez-Vous" Part I / Part II
Apollo 8 was the first human spaceflight mission to leave Earth & voyage to another celestial body, The Moon.

            

Jean Michel Jarre - Unesco Theme / Japan - * Featuring Tetsuya 'TK' Komuro* ‎-- Paris Live "Electronic Night" 199

           

Unesco Theme / Japan

Written-By -- Jean Michel Jarre*, MARC, Olivia Lafkin*, Tetsuya 'TK' Komuro*

Tracklist ▼

En Attendant Cousteau  5 :53
Together Now  5 :47
Oxygene 7  4 :53
Unesco Theme / Japan
Written-By -- Jean Michel Jarre*, MARC, Olivia Lafkin*, Tetsuya 'TK' Komuro* 5 :44
Oxygene 8 (Hani Mix) Remix -- Hani 5 :51
Paris Underground - Written-By -- MARC 6 :42
Oxygene 13  4 :38
Oxygene 8 (Sunday Club) Remix -- Sunday Club 13 :40
Oxygene 12  5 :53
Revolution, Revolutions  3 :42
Rave-Olution  4 :44
En Attendant Cousteau 4 :15

Credits▼
Composed By -- Jean Michel Jarre*, Tetsuya 'TK' Komuro* (tracks: 2, 6)
Notes▼
Live CD of the Electronic Night concert which was performed at the Eiffel Tower on 14/7/98 for the World Cup.
Part of TK 1998 Latest Works Tetsuya Komoro boxset.

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Jean Michel Jarre in Concert Houston - Lyon (Full Album)

          


En Concert is an energetic live album with half the tracks played in front of Houston, TX, and the other half played to a crowd in Lyon, France. Jarre ignites the crowd in both cities, letting loose on a multitude of synthesizers and sequencers while playing his classics like "Oxygene V," "Magnetic Fields I," and "Equinoxe V." His sonic display in front of the French crowd is the more spirited of the two, since Europe is where his fan base is the largest. Jarre kept many of his slower mood pieces off of this album, which is rightly so. His quicker, more robust pieces seem to gain momentum as he dazzles the audience with his electronic sweeps and sharp stabs of brilliant synth. The lasers and lights can almost be heard piercing the night sky on "Rendez-Vous II" as Jarre ceases to limit himself to only a few instruments. Both performances are outside, so there are no walls restricting the music, which, believe it or not, can be felt throughout the album. The sounds that radiate from Jarre's keyboards sound large and expansive, capturing the live atmosphere and dynamically unleashing it onto disc.

Tracklist ▼
Oxygene V  1 :17
Ethnicolor  9 :31
Chants Magnetiques I / Magnetic Fields I  4 :10
Souvenir De Chine / Souvenir Of China  3 :13
Equinoxe V  3 :18
Rendez-Vous III (Harpe Laser) / Laser Harp  3 :29
Rendez-Vous II  10 :38
Ron's Piece  4 :16
Rendez-Vous IV 3 :54
Credits▼

Alto Saxophone -- Kirk Whalum
Bass [Lyon] -- Guy Delacroix
Choir [Houston] -- High School For The Performing Arts, The, Singing Boys Of Houston, The
Choir [Lyon] -- La Cigale De Lyon
Conductor [Choir] -- Christian Wagner (5)
Drums -- Joe Hammer
Executive-Producer [Houston] -- Francis Dreyfus, Michael Woolcock
Horns [Lyon] -- Joël Nicod, Michel Molinaro
Keyboards [Houston], Synthesizer [Houston] -- Dominique Perrier
Keyboards, Synthesizer -- Francis Rimbert, Pascal Lebourg, Sylvain Durand
Percussion [Lyon] -- Dino Lumbroso
Producer, Composed By -- Jean-Michel Jarre
Recorded By, Mixed By -- Denis Vanzetto, Michel Geiss
Soprano Vocals -- Christine Durand
Synthesizer -- Michel Geiss
Trombone [Lyon] -- Jean Gotthold, Jean-Michel Bardet, Marc Desseigne, Philippe Cauchy, Pierre Girard (2), Raymond Patry
Violin [Lyon] -- Aloyo Tsuzuraki, Anne Ménier, Anne Rouch, Claudie Boisselier, Cécile Molinaro, Francoise Guiriec, Marianne Pollin, Marie-Caroline Mathias
Voice [Female Voices] [Lyon] -- Le Cantrel De Lyon

Notes▼

Recorded and Mixed on Digital Otari 32-Tracks DTR 900.
Made in West Germany.
Published by Francis Dreyfus Music/Jean-Michel Jarre.

(P) 1987 Disques Dreyfus, Paris

Centerlabels has the title named "In Concert Lyon/Houston", i.e. reversed the cities.

Jean Michel Jarre cree que la cultura es tan importante como el medio ambiente

UNESCO MÚSICA | 16 de maio de 2013

El músico francés Jean-Michel Jarre (d) pionero y revolucionario de la música electrónica en los años setenta y ochenta, junto a Jan Pronk (i), profesor holandés y presidente de la Sociedad para el Desarrollo Internacional, durante su participación en el congreso sobre cultura y desarrollo sostenible que celebra esta semana la Unesco. EFE

El músico francés Jean-Michel Jarre (d) pionero y revolucionario de la música electrónica en los años setenta y ochenta, conversa con un asistente al congreso sobre cultura y desarrollo sostenible que celebra esta semana la Unesco en la ciudad china de Hangzhou. EFE 

 

 

Hangzhou (China), 16 may (EFE).- El músico francés Jean-Michel Jarre, pionero y revolucionario de la música electrónica en los años setenta y ochenta, dijo a Efe hoy en China que algún día la "cultura debería ser considerada tan importante como lo es hoy el medio ambiente".

Jarre, ahora también embajador de buena voluntad de la Unesco, participa esta semana en un congreso de esta organización en la turística ciudad china de Hangzhou, con el que se espera conseguir que la cultura entre en la agenda política internacional como un pilar básico para el desarrollo sostenible de la humanidad.

El músico, convencido del poder del arte y la educación en ese sentido, asegura que "lo más importante (de este congreso) es llegar a convencer a la comunidad internacional de que la cultura no es una noción abstracta, sino que debe ser considerada hoy como hemos podido considerar la ecología y el medio ambiente hace 30 años".

"Más o menos en la época en la que compuse 'Oxygène' (su disco de 1976 con el que revolucionó la música sintética), se nos consideraba un poco como unos iluminados que hablaban de defender el planeta", dijo, pero "poco a poco nos hemos dado cuenta de que (la naturaleza) se estaba convirtiendo en una preocupación cada vez más importante".

"Y hoy en día, aunque no todo el mundo separa aún sus desechos correctamente al tirar la basura, todos somos conscientes de que tenemos que prestarle un poco de atención a nuestro planeta para las generaciones futuras", y auguró que algo parecido ocurrirá con la toma de conciencia de la importancia de la cultura.

"La noción de cultura interesa a todo el mundo y al mismo tiempo no interesa a nadie, porque es demasiado abstracta".

"Cuando ya no queda nada -continúa-, cuando los países y la moral de la gente están en ruinas, ya sea por guerras, por catástrofes naturales o por los problemas de todo tipo que debilitan a una sociedad, al final la cultura y las formas de expresión son el oxígeno del alma, el último cimiento que al final nos reúne".,

Jarre fue en su día el primer músico extranjero autorizado a dar un concierto en la República Popular China desde su fundación, en 1949, y esa experiencia, dijo hoy, "es un ejemplo muy bueno de cómo la cultura y la expresión artística pueden reunir y reconciliar".

En 1981 Radio Pekín recibió de una embajada extranjera varios discos de Jarre, incluido su emblemático "Oxygène", y aquel mismo año el músico francés fue invitado a dar dos conciertos en Pekín y Shanghái, que fueron publicados en Europa en 1982.

"La primera vez que vine a China fue justo después de la caída de la Banda de los Cuatro, que vino después de la época de Mao, a comienzos de los ochenta", recuerda Jarre de aquel país tan distinto de la China actual.

"De un solo golpe, todo un pueblo al que se había cortado todo contacto con el exterior en materia cultural, ya que había mucha gente que no tenía ni idea de lo que era nuestra música, nuestro cine, nuestra literatura en Occidente, pudo abrir, de alguna manera, una puerta, o una ventana, al resto del mundo", dijo.

Lo mismo se ha demostrado en Sudamérica, señaló, "donde hay una cultura tan importante y donde en momentos de una crisis económica enorme, la música, el cine, la pintura, la literatura, son las últimas murallas de la civilización, que nos permiten saber que seguimos vivos y que pertenecemos a una comunidad".

"Por eso creo que el interés de este foro es que todo el mundo tome conciencia de que la cultura es una prioridad absolutamente tan importante como el medio ambiente", por lo que "diría que tendríamos que empezar a hablar de cultura sostenible".

"Para que los gobiernos lo comprendan hace falta que las calles lo comprendan, y para eso es necesario que los medios lo pongan de relevancia", añadió.

De esta manera, es importante que "tanto nosotros, los artistas, como ustedes, la prensa, contribuyamos a que la gente de la calle comprenda que la cultura, para sus hijos, para sus padres, y para las generaciones que vienen detrás, es algo esencial", concluyó.

Source: 
efe.ikuna.com

Jean Michel Jarres Aero, Hamburg 2013

Jean Michel Jarres Aero – Das Surround-Erlebnis.

Seine größten Hits als 360 Grad-Klang- und Bildlandschaften Jean Michel Jarre ist seit Jahrzehnten der große Pionier der elektronischen Musik mit über 60 Millionen verkauften Alben und sensationellen Konzerten. Mit seinem Album Aero setzte er die Sound-Revolution fort. Im Planetarium Hamburg wird dieser Meilenstein zum Hör- und Seherlebnis! Die größten Hits des Meisters als unvergleichliches Aerospace-360-Grad-Erlebnis im Planetarium Hamburg. Alle AEROnauten an Bord zum Eintauchen in Klang- und Bildlandschaften! Das Album Aero ist bei Warner Music erschienen und im Planetariumsshop erhältlich.

Das Programmheft des Planetarium Hamburg für das 2. Quartal 2013

JEAN MICHEL JARRE SITE: 23



       

Planetarium Hamburg

Hamburg, Germany

Das Sternentheater im Hamburger Stadtpark ist nicht nur ein Reisebüro für Exkursionen ins All, sondern auch ein Kreuzfahrtschiff für die Sinne. Hier erleben Kinder und Erwachsene lehrreiche und spannende Reisen ins Universum, genießen Musik-Liebhaber Live-Konzerte unter Sternen, gehen Literaturbegeisterte auf poetische Ausflüge in die Sternenwelt und heben Rockfans ab in Musik- und Lasershows. Als erstes in Europa zeigt das Planetarium Hamburg auch Produktionen im 360-Grad-Rundum-3D-Format.         

Jean Michel Jarres Aero Tour 2013 - Termine, Tickets, Karten

5 Termine vom 18.05.2013 bis 29.06.2013 

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Paris Match No.3336 April 25 2013

Site 18

Peter Vogel (computer designer)

 Official Company Website

 Peter Vogel (born 30 August 1954, Sydney, Australia) is an Australian inventor and technologist.

Peter showing Jean-Michel Jarre how this contraption works

Jean-Michel Jarre with his Fairlight, taken in JMJ's studio in France.

Front page of Series 3 brochure

Fairlight- The Whole Story
anerd.com 

FAIRLIGHT CMI ((Computer Musical Instrument)) IMAGES: 
ghservices.com

Fairlight CMI History
egrefin.free.fr

Peter Vogel's Fairlight Story
anerd

WERGO Vogel DVD trailer

       

You can buy the full 40 min documentary film on DVD through paypal here:

soundbasis.eu 

Nostalgic music buffs embrace the return of the Fairlight

May 5, 2013
Chris Johnston

Meet The Man Who Revolutionized Music

Peter Vogel, co-invented the Fairlight Computer Musical Instrument in 1979 and its sampling technology Revolutionized Music. More than 30 years after its birth he's bringing out a retro version for collectors.

                    


For A Certain Kind of a music nerd, or a music nerd of a Certain Age, Australian Peter Vogel is a messiah figure. To them, he is the'' man who changed the world''.


With an old school friend called Kim Ryrie, Vogel invented a strange and important musical instrument (of sorts) called the Fairlight in 1979. The ungainly keyboard, processor and huge clunky old green-screen monitor was hailed as the world's first sampler - a digital sampling synthesizer.

Its full name was the Fairlight CMI, with Those letters standing for'' computer'' musical instrument. The pair developed it in Ryrie's grandmother's house in Point Piper, Sydney. And it was popularized by the household names of international pop music through the 1980s, Peter Gabriel, Duran Duran, Devo.

Stevie Wonder bought the first Fairlight.

John Farnham's Whispering Jack is basically a Fairlight album. Herbie Hancock played one on Sesame Street in 1983.


Vogel and Ryrie's first commercial sale was to no less than Stevie Wonder and shortly after was John Paul Jones of Led Zeppelin.


The machine's workings, and size, seem obsolete now - floppy discs, primitive software and memory and a light-pen instead of a mouse. But it worked, and it allowed musicians and Producers to take existing sounds and manipulate them into entire sonic universes years before sampling would have been thought possible.

A Fairlight cost between $ 50,000 and $ 100,000.

The Fairlight esd co-invented by Peter Voge.     

Police's Stewart Copeland. Photo: Dallas Kilponen

Jean Michel Jarre at the controls.

Says Vogel, still in Sydney and still an inventor:'' It was the object of a lot of musicians' wet dreams.''

Paul Doornbusch, the associate dean of Melbourne's Australian College of the Arts and author of a book on Australian electronic music,'' says the Fairlight certainly helped popup and sophisticated sound design studio musicians '80s''.


In many ways it defined the '80s That sound is now back in vogue, especially in dance music.

In 1986, with the pop charts full of songs featuring his instrument, Vogel's company went bankrupt. The hand-built machines were expensive to make, with parts couriered around the world for repair.


'' It was a financial disaster,'' Vogel says. '' We spent more on support than we made on sales.''

Yet now it is back. Despite the music production software Pro Tools dry as being commonplace - and despite GarageBand being bundled free with every new Apple computer - it has returned, a testament to the cyclical nature of fashion and culture.

This time around, Vogel (now without Kim Ryrie) is selling an updated version of his Fairlight CMI on what he calls the'' nostalgia'' market. '' The retro market for collectors,'' he says. '' It's not cutting-edge and futuristic any more. It's a big, clunky, heavy piece of furniture. But it looks and works the same. It even smells the same.''


But Vogel had to fight through the courts to get his Fairlight back on sale. He originally wanted to get them out for the 30th anniversary - in 2009 - of Stevie Wonder's first purchase. He had also noticed renewed demand and prices of up to $ 10,000 for Fairlights on eBay.

His primary markets are overseas, so he applied for Austrade grants through the Australian Trade Commission for export marketing. Applicants can get half of Their expenditure back: he would have been due $ 40,000, mostly for a launch at a big music trade show in California in 2011.

Yet he was knocked back. Austrade told him he had already got the maximum number of grants in the '80s and he could not have any more.

Vogel asked for an internal review - and was knocked back again.

Then in February, he fronted the Administrative Appeals Tribunal in NSW, representing himself, to make the case:'' It is a radically different business to what it was in the '80s. It has a different ACN and different people. It's not a cutting-edge product any more, it's for collectors who want to be in the '80s.''

This time he won and has since sold 20 Fairlights for $ 20,000 each in Brazil, America, Japan, Switzerland, Austria and Spain.

At the trade show in California in 2011, when he first unveiled the prototype, Vogel says people cried. '' More than one person shed a tear when they saw it. They said the instrument Changed Their Lives. It was the first real home studio.''

During his musical hiatus he invented medical and TV equipment, Including an electronic TV programming guide That the Nine Network tried to stop him from making. But he still got calls from Fairlight tragics''''. This continues to happen because his name, email and phone number are easy to find online. Most mistake the phone number for a help line, so often his phone rings in the night with someone in Europe wanting a part, or support.

Source: canberratimes.com.au 

Jean Michel Jarre - "Light My Sky" (Original "Tout Est Bleu")

Métamorphoses is an album by Jean Michel Jarre, released on Sony Music in 2000. It was released in the U.S. on Disques Dreyfus in 2004. It is his tenth overall studio album.
This album was, to fans, a surprising break from his previous works, as it makes extensive use of vocal elements, as well as house, techno, trance, dance-pop, breakbeat, and downtempo sounds. The vocal elements are not short, sampled pieces as highlighted in his album Zoolook, but longer, more integral parts of the work, and thus quite surprising for an artist known for his instrumental works. Métamorphoses is also Jarre's first album to contain actual songs with lyrics. Jarre's own voice is heard through a vocoder in many of the songs, but the album contains several other singers as well, mostly female singers. "Rendez-Vous à Paris" features Sharon Corr on violin. "Rendez-Vous à Paris" and "Bells" are the only largely instrumental tracks on the album; in the former only the track title is repeated in rhythm, the latter does not have intelligible lyrics. Although the album was generally not badly received by critics, and despite the collaborations and a number of single releases ("C'est la Vie" and "Tout Est Bleu"), Jarre did not achieve great mainstream success with this album.

            Jean Michel Jarre  - "Light My Sky"

        

         Jean Michel Jarre - "Tout est Ble"

                  

Lyrics:

Pas d'amélioration
Des nuages
Du mauvais temps en prévision
No signs of any clearance
before the end of next week
il y a du sable jaune dans le vent
Gale force winds are to be expected
at high altitudes
Cloudy
Mais tout est bleu
Dans tes yeux
Des nuages sont attendus
pour la fin de journée
Rain and hail storms
should be no surprise
late afternoon
Low temperatures
Chorus
Le soleil n'apparaitra
Pas du tout
Pas du tout
Pas du tout