Mime & music show at the Tollwood Festival in Munich 1992 & 1993.

Most percussion sounds use noise samples from transports and sports

Live & studio recordings remastered in 1999

Argument :

"Secular science, always mechanistic since Descartes, became more especially materialistic from the second half of the eighteenth century, and was in its successive theories to become more and more exclusively quantitative, at the same time as materialism, insinuating itself into the mentality, was able to determine this attitude, independent of any theoretical assertion, but all the more diffused and finally passed to the state of a kind of "instinct" which we have called "practical materialism" and this very attitude was to be further reinforced by the industrial applications of quantitative science, which had the effect of attaching men more and more completely to "material" achievements.

Man "mechanized" all things, and finally he came to "mechanize" himself, falling little by little to the state of the fake digital "units" lost in uniformity and the indistinction of the "mass", that is to say, ultimately in pure multiplicity; it is certainly the most complete triumph we can imagine of quantity over quality."

René Guénon - The Reign of Quantity and the Signs of Time - 1945

Max Bauer, percussions
Suzanne Bunz, vocals
Angelo Kaunat, scenic designer, photos
Burkhard Kienzler, baritone and soprano-saxophone, flute
Ellen Raab, mime and dance, choreography
Sophie Wendt, dance and mime
Gilles Zimmermann, composition, programming, bass, piano, keyboards, percussions

Additional studio musicians:

Cornelia Fröschl, cello (solo in Auftauchen)
Michael Kurz, cello, bass clarinet, bass flute

Recorded Live at Tollwood Festival Munich, June 91 & at Studio Vates 92/93

Sound Engineer (live & studio):
Gerhard Vates

Digital Mastering:
Gilles Zimmermann 99