Hier liegt Italien in Potsdam. Das Orangerieschloss beziehungsweise die Neue Orangerie auf dem Klausberg entstand 1851 bis 1964 unter Friedrich Wilhelm IV im Stil der italienischen Renaissance nach dem Vorbild der Villa Medici in Rom und den Uffizien in Florenz. Nach dem Tod Friedrich Wilhelms IV 1861 ließ seine Frau Elisabeth zu seinem Andenken eine Statue des Königs vor der Orangerie aufstellen.

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Fotostrecke starten

Presso la sede Bovisa del Politecnico di Milano, sono in attesa dell'inizio del convegno con Philip Kotler, superguru mondiale del marketing (qui la sua pagina su Wikipedia), per iniziare la cronaca del convegno (live blogging se preferite...), come annunciato qui.

Non so ancora come sarà gestita la questione della lingua, credo ci sarà una traduzione simultanea. Vediamo.

Approfitto di questi attimi libero per ringraziare il bravissimo Andrea Boaretto che mi ha fatto trovare un posto nelle prime file, grazie Andrea!

Introduzione di Umberto Bertelè, Politecnico di Milano

Vedo che il nome Kotler ha attirato oltre 2600 iscrizioni... bene! Chiederei al prof. Kotler di entrare.

(applauso).

Philip Kotler:

Thank you, can you here me? (no) Ah, this is a matter of technology...

You're making me feel like a rockstar... it's a mixed audience from many kind of businesses. Let me make you a point... without powerpoint.

Some time ago, a CEO asked me to sign a book. I looked at it and... didnt't sign it. It was a book I wrote in 1967, I refused to sign it!

I asked him "do you like the chapter on the Internet?"

(risate)

He said: "Are you trying to sell me a new copy?"

I'm just saying to you one thing: "marketing changes".

Marketing passed through 5 stages:

1- Marketing, at first, really meant selling. A fancy name for selling. It's more than that, mktg starts before you've got something to sell.
2 - The four Ps, and the idea of the marketing plan, where we begin to create a brand management.
3 - Segmentation, targeting, positioning, STP. If you went to another country, you'd have to define very carefully your target...you have to recognize that markets are made of many different targets, and then create a position. Volvo = Safer.

These first 3 stages were still limited, about "how to get an order," but we don't want just that, we want "to own a customer"... that brings us to:

4 - Customer relationship mktg, it's very simple.
5 - Now we're moving towards a new idea: to create products together, we called them co-creation, most companies don't do that, they're engineer-driven, but now I ask the customer to help me buy the product.
Doritos mada a contest, "if you like Doritos shoot a video, a 30 secs" lovely. The ads were better than ad agencies'.
It's about building dialogue, a relationship.

New expression: CCDVTP (!).

CCD = Create Communicate Deliver
V = Value (seen from the customer)
T = Target
P = Profit

At first, I was always thinking about physical products, but later evolved into services. Some people would say, we're hotels, lawyers etc.
So we evolved from goods-centered to service - centered.
Everything is about service, goods are just a platform for service.
But even more important is experience. Going to a bank is an experience, is it good? Bad? What does it look like?
Dress the experience, stage it.

This is good also for B-to-B companies. Give your clients an experience. Have them try your thing.

Transformation is what happens to people: how do we go from "print guy" to "happy guy".

You can market places. In Ireland they have a ministry of marketing, he runs 3 groups: tourism, investment, export.

Sports, entertainment, you can market people: Madonna, Tiger Woods...

Now we're marketing ideas. The environment. Fitness. Stop smoking. In China I just read they have a new campaign because of the Olimpics. They want people to be nice: no spitting, non dropping cigarettes, wait for the green light to cross the street...

We also market information: Google is free - they make money on the adverts - but info can be sold. What the stock price is on the stockmarket? I would pay for that.
I might want to know the sport results. More people own cell phones than computer. This is called mobile marketing.

If you're dating a women you are marketing... for a wedding, or for something else (risate).

It's a basic process. It calls for sensitivity. Best marketers are empathetic, that's more than listening. Empathy. And marketers have to be more creative because they get copied very fast. Innovations are copied immediately.

One more point about Italy: many of your business are small. Small businesses don't use marketing, they're not sure they need it. Well...

1 - A marketing person is not there for the short term, but to plan the future, so you're forecasting the future business, as a guide and a business developer.
2: It's a guide for the sales people, mktg people make ads, go to trade shows, put up a website, so the sales people know where to head to. And also marketers help identify people's needs.

Take doctors, some of them - in the old days - were interested in effective medicines, others more in ski trips, That's a different need.

But, what's the "A-Ha! experience"?

Soemone makes dog-food. Four kinds of dog-food. One for the small dog, one for the medium-sized dog, one for the big dog, one for the very big one. Then someone comes along and says: stop demographics, it's the attitude towards the dog. People love their dog. Other people hate their dog. So, see, shifting the way you look at the market can get a new insight.

There are cultural differences. How do you read the cultural code? Interesting about basic mktg concepts. Years ago we were excited about the concept of positioning. Every product = one word. Volvo = Safety.

It gets boring, when you hear their adverts, after a while. So the ad agencies say: vary the way you say it.

Now the new view is: you should be ready to change what you say according to whom you are talking to, because all of it is true. Like a diamond, a company/product has many faces.

Points of parity vs. points of difference, as compared to your competitors.
Points of parity, you don't talk about; points of difference, you say some.
Sort of letting people figure. You have to be honest. Authenticity: real, genuine. So much marketing let that concept go.

Last thing, before conversation time.

It's strange to say you love a company. But, then: think about a sport team. "Fan" is a short for "fanatic".
Anyone in the audience can name a brand Italians love?
(Io rispondo)
Apple!
Right!
More... Google. Raise your hand if you would be sorry if Google disappeared...
(si alzano molte mani).

I would like to do a study about the companies people love in Italy. Maybe women would say Zara.

In a book about companies people love, Firms of Endearment, I found these evidencies:

They do a good job for clients, for employees, for suppliers, for stakeholders
They hire carefully, train well, keep their workers long
They spend less in marketing... that's interesting: you know who does the marketing? People do. Word of mouth!

What will the sales people of the future will be?
I don't need the salesman anymore, I can get info on the web, select the two brands I'm interested and then see just 2 salesman. That's it.

Salesforce will change.
And the price is becoming more and more important, because we are entering a recession.

So, keep your price where it is, but add more benefits, free.
Or, lower your price to create a second and third version, Good, Better, Best. Price points.

So maybe you'll have to figure out ways to lower your price, not necessarily under your brand.

Professor Pralahad - whose excellent work is focusing on poor people - is concentrating on how to make products cheaper. The 100 dollar computer, the 10000 dollar car, 1 cigarette at the time. Part of the future marketing will be marketing for the poor people, and make money in the process.

Fine dell'intervento. Parlano ora:

Carlo Rossanigo, Microsoft
Ingmar Wilhelm, Enel

Rossanigo:

It's a honor. About simplicity. It's becoming key Many companies put it at their center of positioning. It seems like complexity is becoming an obstacle. What do you think?

Kotler:

It probably is because a lot of engineer-designed products are excessively complex. Also perfectly and technically explained to the client. Too much, most of us don't use 10% of the features of our computer.

We are doing a study now, asking team of engineers/marketers "what are the frictions, what do you argue about?"
Engineers always feel forecasting are wrong, they want to know everybody will love their product.
Part of making better products is making them simpler.

Wilhelm:

My company is a newcomer on the energy market. Choice of energy supplier is something new. My question is about this double contradiction: we have a mission which is: sustainable products, lower consumption, increase business volumes. How can that be accomplished... sell less and earn more?!
Moreover, environmental issues are important now, so how can we promote our product, while convincing people to change their attitude towards consumption?

Kotler:

Other industries live the same contradiction: alcoholics. They want you to drink less, sensibly. Same contradiction as you. Kraft foods would like you to eat less fattening foods. In these cases you don't have a choice, you do the right thing.
You probably will have to raise your prices.

In the States we have an energy company that will charge you more if you're interested in getting energy which is produced with sustainable methods.

Prices are part of the solutions, but sustainability will have its costs. Tom Friedman, author of the book "The World is Flat" is happy to see gasoline prices go up, because prices are the real thing that will make us consume less.

Rossanigo:

A recent mantra we hear everywhere is "Markets are conversations". People in and outside companies talk about products. People talking to people. We in Microsoft have many internal bloggers, too. How do you see this evolution?

Kotler:

I compliment Microsoft for being brave enough of letting people speak up in corporate blogs.

Everyone can be a blogger now. Three types of bloggng:
1 - personal blogging, that's how it all started, private, family/friends things
2 - influential, when people that want to be influential
3 - corporate blogging

Switch from monologue to dialogue. True marketing is really a conversation, vocal or mental, but is a conversation.

Ford CEO started a blog about cars. It's fine. When you do blogging you discover other ways, like podcasting. Audio files of about 15 minutes, you can listen to podcasts about anything... and you download them, then you listen to it while you drive, whenever. That's a stronger selling approach, it's one-way not two-ways, but it should be part of the ways you use to approach your audiences. Worth considering.

Wilhelm:

Internet and blogging is also part of the energy world.
Lots of sales are accomplished through the web for us, surprisingly enough.
Developing internet services we get close to "domotics", organizing our homes in a technological way.
I wonder if it's a technical barrier or a cultural one, that keep people from adopting such solutions.

Kotler:

I'd advice you give price reductions to people with less consumptions. That's the contradiction we were talking before. Good citizenship approach.

This idea of giving metrics, the weighwatchers industry... metric-conscious, so anything we consume it is not so good, so the problem may be to engage people in consuming less or better... home automation is a brilliant frontier for new services and offerings.

Rossanigo:

Information overload. Lots of email, sms, IM, contacts... lot of noise and little relevancy. How can technology help both consumer and companies isolate relevant informations?

Kotler:

Some young people tell me they don't use email anymore, just IM. The real question is how do we filter? There's a movement called permission marketing, be ready to click on "unsubscribe".

Each of us should get involved in time management, There are courses. CEOs say: I want the marketing plan to be summarized in one page.

The head of a country, you wonder how much he should read before she takes a decision. Everybody is coping with this.

Wilhelm:

Marketing is considered from important to dangerous in our company.
Having just started, what would you recommend to a 45,000 people company willing to build a customer-centric organization?

Kotler:

How to you redesign your company to customer-centric? Many people tell me that if they started from scratch they would have built a different company. I suppose companies should be built around the customer from the beginning.

Take retailers. Take Zara. Company is customer-centric if salespeople are customer-centric.
They do mistery shopping, and see what you get as a customer when you walk in a Zara shop.

Take hospitals. Many of them are not patient-centric.

I think it's a general question: how do we get a better service, atmosphere? Do design. If you don't have a different way to differentiate yourself, do design. Bang & Oluflsen. There are positions called President of Design. That's esthetics.

Rossanigo:

The quest for free products, free services, free solutions. For how long people will ask for free contents... and how companies can handle this in a profitable way?

Kotler:

Yes, it's a problem that touches rights-management. There are issues about pricing, but the point is: when a free newspaper comes along, who is going to pay for a real newspaper?

It's gonna be a problem for companies making bits, not atoms. We would like to say to market: "please respect the fact that you'll be better off if you pay for something", but it's not going to work. I don't know.

Look, how can Rolex stop people doing 1-dollar watches looking like Rolexes? I don't have any easy answers.

Chiara Terraneo:

In Italy, marketing is not so relevant to many small and medium companies, how can this be changed?

Kotler:

Look, if I were to start a bsuiness, production and salespeople would not be enough. Marketing started 80 years ago to help salesamen, by creating reaserch, creating advertising, creating names of people who may be interested in product. So, that's what you are going to need, no way.

Best way for small businesses is maybe buy a little marketing consultancy.
Getting some marketing-ness through a consultancy can be better than hiring a marketing team.

A lot of entrapreneurs are their own worst enemies.

Andrea Colaianni:

Multichannel marketing: customers are more and more asking for it, but Italian companies don't seem ready. What are your feelings about this?

Kotler:

Yes, there is an explosion of channels. Now, each place may create a different view of the product. Bu somehow you've got to protect consistency by trying to control in what kind of channel your product end up.

How can you do that? Now we call every channel a "touchpoint". One-to-one marketing, it's all about knowing a lot about your single customer, so the single touchpoint should furnish me data. Profitability of every single channel. You might be loosing money through a certain channel.

Luca De Felice:

Integration between marketing design and social networking: can it be the mix for future approach to the company-customer relation?

Kotler:

Future marketing is about experiential marketing.
Web is about to play a larger and larger role in our lives.
The magic word is metrics. Talking about websites, measure, you can get all kind of data. There'll be an increase in online selling, even dentists find dental chairs online.

So, that's going to hurt the stores. But you have to consider, whether your product is ok for the online, and your website is designed for it, pay attention to that.

Seconda parte.

Eugenio Perrier, Barilla.

Chi fa il nostro mestiere si sta interrogando sui nuovi strumenti, che a volte ci creano anche qualche imbarazzo.
Anche in Barilla, stiamo cercando di costruirci esperienze in questo tipo di mondo. Recentemente abbiamo approcciato una esperienza che ha dato risultati significativi, grazie alla tecnologia.

Il prof. Kotler ci parlava di co-creazione alla costruzione del marketing/comunicazione: noi abbiamo fatto un esperimento su un nuovo prodotto ancora non sugli scaffali, co-creandone il nome.

Abbiamo voluto provare a chiedere a 40.000 utenti di Mulino Bianco se ci aiutavano.

La risposta è stata superiore alle nostre aspettative. L'iniziativa "Un biscotto in cerca di autore" ci ha portato 21.000 proposte di nome, con un feedback dal 15% del database.

A questo punto li abbiamo fatti votare, e c'è stato un plebiscito a favore di uno dei nomi. Tutto questo a fronte di una piccola fornitura di biscotti e di un invito, per il vincitore, all'avviamento di produzione... nulla più.
Abbiamo scoperto la grande voglia della gente di partecipare.

Bertelè: C'era un notaio che controllava?

Sì, certo. Ero anche preoccupato per cosa sarebbe successo se avessero scelto un nome che a noi non andava bene... invece il nome scelto è stato perfetto.

Giuliano Noci:

Decisamente emblematico del potere della rete. A Dario Bassetti (CEO Indesit) chiedo di illustrarci l'esperienza di un CEO che vede le tecnologie cambiare.

Dario Bassetti:

Due punti di vista diversi. proverei a parlare di processi d'acquisto e poi dei prodotti, di come la tecnologia li impatta.

La definizione della tecnologia che mi piace: moltiplicatore di spazio-tempo. Ci fa fare le cose prima, ci mette in connessione da lontano ecc.

Tutto questo nel processo d'acquisto degli elettrodomestici è molto presente. Una volta si andava in un negozio, si sentiva il commesso e si seguiva lui. Oggi il consumatore cosa fa? Guarda il sito in rete, che è il primo venditore, (in Russia o UK ancora più che da noi), poi guarda i blog, per vedere cosa si pensa della lavatrice X del frigo Y. Quando arriva sul punto vendita, ne sa anche di più del commesso.

Prodotto: ci sono dei consumer insights molto forti.
Dammi una lavatrice che lavi sempre di più.
Un frigorifero che "ammazzi" germi e batteri.
eccetera.
Tutto ciò passa attraverso la tecnologia.

Design, personalizzazione, ergonomia, tutela dell'ambiente... per realizzare tutto questo serve tecnologia.

In conclusione, sia dal punto di vista del processo d'acquisto che da quello del prodotto, la tecnologia è assolutamente fondamentale.

Giuliano Noci:

Giorgio Brenna, CEO Leo Burnett: come cambia il vostro modo di comunicare con i vostri clienti? Come stanno cambiando il vostro lavoro, le tecnologie?

Giorgio Brenna:

L'unico legame tra Leo Burnett e Kotler è che sono entrambi di Chicago. Basta.

Nel marketing e della comunicazione, credo che la tecnologia sia sempre stata poco capita, vista come una minaccia allo status quo del business.

Questo sta cominciando ad applicarsi da qualche anno, le agenzie sono state le piu elefantiache nell'applicazione delle nuove tecnologie. Nuove tecnologia significa riorganizzare il processo di lavoro.

Se pensiamo a un 30 secondi, se lo giriamo in digitale inceve che su pellicola, vediamo che questo spot può avere un effetto interattivo, per arrivare a una co-creation.

Questa tecnologia richiede un utilizzo di professionalità diverse. La comunità non ha aiutato, ha pensato doprttutto a difendere le professionalità acquisite.
Ora il gap però non riesce chiudere la velocità di reazione. I consumatori non aspettano che le aziende si ristrutturino.

Le aziende e le agenzie devono organizzarsi in modo molto flessibile, le gerarchie classiche non possono affrontare queto tipo di sfide. Le competenze devono essere nuove e innovative ma non devono essere usate in maniera un po' cialtronesca, scusatemi.

Il prof. Kotler ha detto delle cose, fra le righe, importanti: bisogna tornare alle teorie, allo studio, alle professionalità.

Giuliano Noci:

Massimiliano Orsati, assessore del comune di Milano: il prof. Kotler ha detto come l'Irlanda abbia un ministero del marketing [qui ho perso qualche battuta per far uscire il mio vicino di posto...] cosa sta facendo lei per affrontare la sfida e l'opportunità per il comune di Milano rappresentata dall'Expo?

Massimiliano Orsati:

Facciamo marketing "interno", rivolto a chi abita Milano e a chi spesso non conosce la sua città, oltre che esterno. Io vivo in Bovisa da sempre e oggi sono felice che ci sia tutto questo. Partendo da un quartiere che esce da 20 anni terribili, oggi riesce a rilanciarsi e ad essere conosciuto nel mondo, sì la Bovisa inizia a essere conosciuta nel mondo.

Sono curiosissimo di sapere il nome del nuovo biscotto... comunque, a parte questo.

Expo: un grande strumento e acceleratore di processi, per tutto il paese, un inizio di politica seria di promozione e di marketing. Perché? Semplice: fino agli anni 70 l'Italia era il sogno di tutto il mondo, poi man mano tutti si sono mossi ma noi no.

Cosa deve fare l'Italia? L'Irlanda ha recuperato 40 posizioni nel ranking mondiale... con una storia infinetisimale rispetto alla nostra.
Qualcosa sta cambiando, grazie anche al modo di lavorare che abbiamo intrapreso per vincere l'Expo: tutti hanno capito l'importanza del progetto e lavorato gomito a gomito facendo squadra che coniugasse esperienze ed eccellenze di tutti i soggetti. E il risultato è arrivato.

Ricordiamo cosa è successo in Coppa America, anni fa: Napoli contro Valencia, Napoli troppo sicura di vincere, Valencia fa una rimonta pazzesca e vince.

Noi non abbiamo sottovalutato nulla. Abbiamo fatto 18 volte il giro del mondo in due anni, per il marketing abbiamo utilizzato la strategia di testimonial stranieri che ci sostenessero, quindi non autoriferita.

Dobbiamo sfruttare questi 7 anni per dotare il nostro territorio di tutti i servizi di cui ha bisogno, le strade, le piste cliclabili, e quant'altro.

Quindi ritengo fondamentale per la promozione di un territorio avere progetti bandiera che le unisca senza alcun tipo di distinguo, questa è la ricetta vincente.

Umerto Bertelè:

Eugenio Perrier: come interpretate il marketing esperienziale? A parte le 40.000 email dell'inziativa citata, avete un'idea di quela si a la vostra commnity e come interagite con blog eccetera?

Eugenio Perrier:

Un'esperienza molto interessante è stata quella del temporary shop fatta con Alixir, nuova marca, nuovo posizionamento.
Abbiamo deciso di utilizzare la sua originalità anche per provare cose diverse, come un temporary shop.

Se è vero che vogliamo creare un legame duraturo con il cliente, è importante avere un momento di confronto diretto.
Per fare questo abbiamo voluto andare al di là dei piani di mktg classici. Una cosa importante è credere, essere convinti di un prodotto che abbia la capacità di un beneficio diverso, fuori dall'ordinario.
Un contatto, quello del temporary shop, dove ci siamo messi a disposizione delle persone che sono venute a visitarci.

Il percorso all'interno dello shop verteva sulla salute, ma anche in modo piacevole, attraverso la leva del gusto.
Il tipo di rapporto instaurato è stato molto importante, e insieme allo shop abbiamo sviluppato un progetto scientifico, che vuol essere un sondaggio sullo stato di salute degli italiani in collaborazione con l'Istituto Regina Elena di Roma. Per dare rilevanza all'indagine servivano 5.000 risposte, che abbiamo raccolto nello shop, ma la cosa straordinaria è che dal sito di Alixir, senza nessuna spinta né incentivo, sono arrivate più di 30.000 risposte.

Bertelè:

Che strumenti di ritorno avete?

Perrier:

In termini di risultati, premettiamo che i 40.000 di cui parlavo prima si è trattato di un test che abbiamo voluto mantenere circoscritto. In realtà se volessi coinvolgere il pubblico su un piano allargato con una marca come Mulino Bianco forse dovremmo darci obiettivi nell'ordine delle centinaia di migliaia e forse milioni. Nel caso specifico non abbiamo misurato il ritorno, ma il test ci è servito per capirne il potenziale.

Bertelè:

Due curiosità per Bassetti di Indesit.
Voi siete un'impresa che si è estesa ad est, come avete giocato il tema delle marche in modo differenziato nei vari paesi?
Seconda cosa, il discorso dei blog. Vi conosco e so che vi comportate benissimo, ma avete la sensazione che qualcuno giochi in modo scorretto in questo ambito?

Bassetti:

Per le marche, Indesit è n. 2 in Europa e n. 5 al mondo. Ogni giorno 60.000 famiglie comprano un elettrodomestico, in tutto il mondo.

E' stato un bel rebus, dal punto di vista delle marche. In genere si procede in due modi: o come le coreane, costruendo sulla propria marca; oppure acquisendo aziende all'estero, come abbiamo fatto noi (acquisendo Hotpoint in UK) e trovandoci poi a gestire marche diverse.

Alcuni nostri concorrenti hanno 20-25 marche.

Oggi la pubblicità è cara, costa tantissimo. Giorni fa parlavo con il presidente di una grande multinazionale coreana, e gli ho chiesto qual era il suo principale problema di marketing al momento. Mi ha risposto: la pubblicità troppo cara.

Noi abbiamo creato tre marche, divise sui segmenti di mercato.

Quindi una brand architecture corretta, quella che diceva il prof. Kotler: good, better, best. Può sembrare semplice ma non lo è.

Seconda domanda: sicuramente noi siamo attenti per ciò che riguarda i nostri blog. Ci succede a volte di trovare sui siti tipo Youtube filmati dove gli elettrodomestici funzionano male, e chi sia chi mette questi filmati non si sa.

Bertelé:

Brenna, ho una sensazione curiosa, su professionalità non proprio giuste nella vostra impresa, o sbaglio? Inoltre, può portarci qualche confronto e qualche caso interessante e operativo di comunicazione di marketing?

Brenna:

Sono d'accordo che la pubblicità è cara, purtroppo o per fortuna. Purtroppo perché... ne possiamo parlare, per fortuna perché crea delle barriere all'ingresso. Inoltre è cara quando non dà i risultati sperati. Troppo spesso non ci sono metriche. Anch'io faccio una citazione: Henry Ford diceva che fermare la pubblicità vuol dire fermare il tempo.

Le misurazione dei click, delle pagine viste, degli spettatori dell'auditel... queste non sono metriche proprio giuste, vanno create delle medie.
Qualcuno dice che il vero ritorno sono le vendite. Io faccio anche un passo in più: dico che sono i profitti.

Parlerò del caso del lancio di Fiat 500, 9 milioni di utenti registrati.
In fase di lancio, il dott. Marchionne disse la Fiat 500 può essere personalizzata in 500.000 modi. Era vero. E' stato un caso di co-creation, francamente inaspettato.

Anche qui, il ritorno di questo investimento è stato calcolato in modo innovativo, in pratica è stato ritoccato verso l'alto il prezzo, questo è secondo me il ritorno vero.

Per rilanciare la palla a Dario, un'operazione analoga anche se più piccola, è stata fatta sul frigorifero Graffiti, co-creato da Indesit, dalla nostra agenzia e da una piccola comunità di utenti.

In Italia ci sono grandi eccellenze, anche nel settore della pubblicità, ma non valorizzate. Ma all'estero fanno merchandasing delle loro cose in modo molto migliore del nostro.

Bertelè:

Ultimo intervento dell'assessore. Come gestite il fatto che la maggior parte delle leve per la promozione del territorio non dipendono da voi? E in generale, come pensate di utilizzare le nuove tecnologie per gli obiettivi del comune di Milano?

Orsati:

Sulla prima domanda, vi racconto un aneddoto. Il giorno prima dell'assegnazione dell'expo, i nostri competitor (turchi) hanno distribuito a tutti i commissari una autorevole rivista inglese che riportava in copertina i rifiuti di Napoli, e all'interno il primo servizio era sulla mozzarella alla Diossina.

Per le tecnologie, stiamo sviluppando un portale innovativo dal qule gestire direttamente tutte le prenotazioni aereo-hotel-shopping, e secondariamente la Tourist Card provvista di chip ricaricabile via internet.

Intervento di chiusura lavori di Giuliano Noci:

"Processo al marketing tradizionale, perché scappare dal fortino".

Un fortino è senz'altro quello dell'advertising.

L'altro è il fortino della segmentazione. E' ancora valido?

Cosa c'è che non va?

Quali sono le cause per cui il mktg è prigioniero di questo fortino?

Come uscire dalle secche del mktg tradizionale? E dove dirigerci?

E infine, di cosa ci dovremo ricordare, quando saremo liberi.

Vediamo.

La realtà è diversa da quella che il marketing pensa. Prima di tutto: le tecnologie digitali stanno diventando Caput Mundi.
L'adv online cresce del 40%. 25 milioni di italiani navigano 41 minuti al giorno (Nielsen).
Anche i numeri sui blog sono impressionanti: 3 milioni in Italia, l'italiano è la 4a lingua piu parlata nella blogosfera.

Kotler diceva: i telefoni cellulari sono già ora 2 miliardi e mezzo. Noi abbiamo voglia di inventare tutti i subnotebook da 200 dollari che vogliamo, ma dobbiamo pensare che se potremo dare a un miliardo di indiani telefoni da 40 dollari, il mobile diventerà un canale pesante.

Ma non c'è solo tecnologia, le tematiche ambientali sono molto molto sentite (seguono dati).

La società cambia, il marketing no. In altre parole, la società ha modalità più veloci di quelle implementate dalle aziende.

In particolare, quello che non funziona è in questa chart: l'80% degli investimenti pubblicitari è ancora su tv e stampa. Qualcosa non torna. Le imprese sono al palo.

Altra chart: Il 44% dei consumatori europei afferma che le proprie esperienze di consumo sono anonime.

Tasso di fallimento dei novi prodotti negli USA: 95%.

Tuttavia i CEO sostengono (chart) che le customer experience sono soddisfacenti nell'80% dei casi.
Percentuale di clienti che concorda: 8%.

Percentuale di italiani irritati dalla pubblicità: 47%.

Questo mi fa dire: sicuri che il futuro del marketing sia ancora nell'advertising?

Come scappare dal fortino:

1 - interrompere la sequenzialità del processo di marketing

2 - cambiare i sistemi di misurazione delle performance

3 - demolire i silos organizzativi (= isolamento di chi fa marketing e il reto dell'organizzazione) e competenze non adeguate

4 - risolvere la frammentazione delle filiere (manifattura e retail ad esempio, oppure frammentazione tra chi gestisce la comunicazione, chi ci dà la tv, chi ci dà internet adv ecc)

Piano di fuga.

Abbiamo acquisito alcune consapevolezze. Driver di tipo tecnologico:
- tutto andrà su internet mobile, con l'"internet of things" (possibilità di integrare diverse tecnologie bluetooth, wifi, tcp/ip ecc)
- come cambia il rapporto impresa/mercato - il 60% delle persone ritiene che la fonte più affidabile sui prodotti siano i peers, informazioni reperite soprattutto nei canali digitali
- numero di canali abitualmente usato dai giovani italiani (dato censis): 6.
Solo 4 anni fa c'era solo la televisione.

Dove scappare: i 4 punti cardinali.

1 - organizzazione e competenze (suggestione: quanto marketing in un'impresa deve essere fatto dal reparto marketing e quanto da tutti gli altri?)
2 - la metrica, le misurazioni: serve qualche grimaldello che ci permetta una visione più allargata, con un set di variabili
3 - multicanalità
4 - network di valore - we is more than I

La meta.

- Creare esperienze di marca, con la consapevolezza che l'individuo prende decisioni nel 70% dei casi su basi emotive

Cosa fare da uomini liberi?

C'è indubbiamente di che divertirsi. Parliamo di marketing open-source. Il cliente può essere protagonista dell'innovazione. La vera domanda è come farlo.

Cosa ci possiamo portare via da questa ciacchierata?

Il marketing assume una prospettiva ad alta definizione.
Perché deve diventare un marketing real time, dobbiamo cercare di raggiungere l'individuo quando è più vicino a noi.

Inoltre, il marketing deve essere discreto. Dobbiamo evitare quel pushing esasperato che stiamo vedendo fare, perché la gente non ne può più.

E poi generare coinvolgimento.
L'engagement diventerà l'elemento cruciale per vincere la partita.

Mi sbilancio.

Il marketing in futuro sarà molto meno advertising, e dovremo sviluppare quella capacità di ascolto che si sta dimostrando fondamentale.
Infine, la fossa che ha portato i marketer ad Alcatraz: l'accountability, la dimostrazione che non stiamo spendendo ma stiamo investendo, e infine un'accountability di tipo ambientale.

In chiusura, ci viene proposto il video tratto da YouTube:

"DEATH OF A TRADITIONAL MARKETING MODEL".

Ore 17:40, fine dei lavori.

als im kühlen Deutschen Land,
und erwartete der Wilden Dank,
für Religion, Kultur und Kaiserkron',
für Sauerkraut und Zivilisation.

Denn auch der Fritz führt gern Regie
und fordert seine Kolonie.

Doch es sollte anders kommen,
als die Generäle planten,
es sind die tückischen Bananen,
die dem Fritz den letzten Nerv genommen.

- ach es ist doch wirklich nur zu dumm!-
denn jene standen niemals stramm,
sondern stets nur krumm.

Das hat man nun davon,
vom Kampf für Zivilisation.

Las técnicas han cambiado notablemente, pero todavía se utilizan los llamados "Sonidos de Stock". Los Sonidos de Stock son sonidos tales como disparos, pasos, gritos, explosiones, etc... que se graban para alguna película y quedan archivados en los estudios. Dichos sonidos se pueden utilizar después en peliculas nuevas.

Pues bien, al grano, en el año 1951, se grabó una película llamada Tambores lejanos, en la que uno de sus personajes, era alcanzado por una flecha. Ese grito, que se supone que fué grabado por Sheb Wooley, actor y cantante que participaba en el filme, fue archivado en la Warner Bros., y utilizado multitud de veces en posteriores películas.

Ahora nos remontamos al 1977 , año en el que se rodó Star Wars. El técnico de sonido que andaba mezclando los efectos, Ben Burtt, encontró un sonido etiquetado como "hombre comido por cocodrilo". El sonido en cuestión era un grito, y Burtt lo volvió a etiquetar como "Pvt. Wilhelm", ya que ese sonido fué utilizado en la película "The Charge at Feather River", por el personaje del soldado Wilhelm. Éste sonido era el que se grabó para tambores lejanos.

A partir de aquí se empezó a documentar todas las películas en las que se utiliza ese grito, y la verdad es que la lista es interminable. Todo buen director que intente tener el componente freak, ha utilizado el grito wilhelm en alguna de sus películas. Lo ha hecho Spielberg en Indiana Jones, George Lucas en Star Wars, Quentin Tarantino en Reservoir Dogs y Pulp Fiction... La lista es bastante extensa.

Si buscamos en IMDB información sobre "Wilhelm Scream" nos aparecen un montón de coincidencias. Incluso lo podemos buscar en la wikipedia.

Ahora, un vídeo donde podemos ver extractos de películas donde se utiliza el susodicho. Si alguna vez hago una película, lo meto 7 u 8 veces seguro.

Aquí, películas que deberían tener el Grito Wilhelm y no lo tienen. Quizá en el "Director's Cut" de la "Special Edition" en DVD...

History of the Wilhelm

And a compilation of Wilhelms in case you missed them:

 

Nombre: William Sánchez Coronel

Nickname(s): [Wilhelm/William/Guillaume/Guillermo/Guilherme/Guglielmo/ヴィルヘルム/Gulielmus/Вильгельм /ויליאם / 威廉 / ウィリアム / Γουλιέλμος/Wilkin ]....y orejon (Rios y Rayner!) xD

Edad: 18

Caracteristicas: Explosivo, Honesto, nervioso, dedicado....etc xD

Estilo de Musica Favorita:  Acid Jazz, Electronic, Metal, Punk, Ska-Punk, Dance, Disco, Funk.

Artistas/Grupos Favoritos: Gigi di agostino/ Dj Tiesto/ Paul Oakenfold/ Paul Van dyk/ Dj Tiësto/ IIO/ Origa/ Black eyed Peas/ JAMIROQUAI/ Depeche mode/ Megadeth/ Rammstein/ Maximum The Hormone/Silverchair/ Green Day (un poco)/ Nofx/ Pennywise/ The Offspring (solo los primeros cd's)/ Ramshackles/ My Chemical Romance/ Placebo/ The red jumpsuit apparatus/ Franz Ferdinand/ Panic! at the disco!/ Fall out boy/ 30 Second to mars/ L'-Arc-En-Ciel/ Sum 41/ Die Ärzte/ The Kooks!/ TheThrills/DalerMehndi!/BryanAdams/LuisMiguel/LosRodriguez/Децл/

Universidad: Universidad de Especialidades Espiritu Santo (UEES)

Membresia: Miembro Activo

Miembro desde: 2005

Mini Bio: Nace en Guayaquil un 12 de octubre de 1989, Hijo de su papa y de su mama. desde pequeño quizo ser Oficial de Marina, pero fue creciendo y se dio cuenta que en realidad no lo queria, ya que queria ser piloto comercial, pero por un problema en su vision no pudo lograr su sueño. Miembro de LC desde 2005, es miembro fundador y el que ha dedicado mas tiempo a mantener a este grupo unido y entretenido. hoy estudia en la UEES en la facultad de Ciencias empresariales y aspira ser algun dia dueño del mundo! See :D

Firma:    

Perfiles:

E-Mail: Williamsanchezcor@hotmail.com 

Fonos: si los necesitan pidanlo a mi mail :D!!!

Fotos:

As a teaching intern at the Detroit School of Arts, a performing arts high school in Detroit, I find that one of my biggest struggles is recognizing that my students are individuals rather than a collective whole, with a shared body of cultural capital and growing body of knowledge. While I know that each student comes to the classroom with their own strengths and weaknesses, attitudes and biases, which may promote or hinder their individual learning in my classroom, I also recognize that this awareness is not consistently reflected in my teaching practice. Consequently, it is essential for me to recognize these differences and to determine how to adapt my teaching to ensure optimal learning for all of my students.

In a school of around 850 students, I have the opportunity to work with around 80% of the senior class, which is composed of about 180 students overall. In addition, while all of my students are African American, they come from an array of socioeconomic backgrounds. On one end of the spectrum, I have students who come from upper to middle class families, with parents who work in the medical, legal, and educational sectors. On the other end, I have many students who come from lower income households, where parents may not have finished high school let alone attended college.

This socioeconomic diversity prompts me to question what learning dispositions and cultural capital my students have—and whether my instruction is promoting the experiences, knowledge and skills of certain students over others, thus leading to inequity in the classroom. This is particularly relevant when considered in the context of “cultural reproduction,” which suggests that “curricular content tends to glorify the acts, practices, and activities of the upper classes while ignoring or denigrating those of the lower or working classes” (DeMorrais and LeCompte 14). In evaluating the Detroit Public Schools pacing chart, this certainly seems to be true for the 12^th grade English curriculum, which suggests that it focuses on British and World Literature—but places a much greater emphasis on British literature. In scanning through the pacing chart, the required texts include Macbeth, Gulliver’s Travels, excerpts from the King James Bible, and poetry by John Keats, Samuel Coleridge and William Wordsworth—all canonical texts written by “dead, white men.” Likewise, the tasks my students are expected to accomplish focus largely on formal writing such as an editorial essay, handbook, and research paper, which should all reflect Standard English semantics and syntax. Certainly, such texts and tasks are commonplace in an American English classroom—and in light of what cultural capital will make my students most successful in college and beyond, are very much necessary. However, they fail to reflect the home literacy practices and capital of many of my students.

Because of my educational background and literacy experiences, I know that my teaching practices also tend to promote the literacy practices of middle and upper class students—simply because I am most familiar with such practices. Growing up in a middle class, European American, Christian household and community, I have been a member of several dominant groups in American society, whose literacy practices and cultural capital have consistently been promoted in my educational experiences. As a result, I know that I often assume that my “own [literacy] behaviors and beliefs as the way it’s ‘supposed to be,’ as unbiased, objective, universal, or at least as ‘American’” (Kucer 198). While I am very much aware of these assumptions and the negative consequences they have for my diverse body of students, I know that they undoubtedly continue to infiltrate my teaching practices. Therefore, it is critical for me to not only be aware of these tendencies, but also to push myself to disentangle them from my teaching practices in order to ensure that I am not handicapping or devaluing my students because their home literacy practices and cultural capital do not align with the pacing chart or my own instinctive tendencies in instruction.

Unearthing these biased practices from my teaching in order to ensure that my instruction reflects awareness of my individual students’ backgrounds, needs, and capital must be a gradual process, and consequently, I will be focusing on two male students in my first period English 8 class, Eric Green and Jeff Cupples, who are not as successful as I believe they can be in my class. Period 1 has 29 students, with seven male students and 22 female students. It is also important to note that 14 of the students are dance majors, eight are radio/television production majors, five are visual arts majors, and three are band majors. The fact that half of the class is dance majors means that these students are together for the majority of the day—and have been since they were freshmen. Consequently, they are a very cohesive group of outspoken and energetic students who need to get on their feet frequently. This dynamic coupled with the fact that Period 1 starts at 8:05 a.m. helps explain why Period 1 tends to be my most difficult and unfocused class of the day.

My two focus students are very similar with regard to their low classroom engagement and academic success as well as their backgrounds, gender, and ethnicity. Eric and Devon come from working class homes, with parents who did not complete high school. In addition, Eric and Devon have limited computer and internet access. Eric must go to the library or a relative’s home in order to get online or type papers whereas Devon can only get online at his father’s home, where he is every other weekend. Finally, Eric and Devon share similar deficiencies in their literacy practices, particularly in their writing. Both students received a 2 on the MME Writing test, which suggests that their writing is below grade level. Specifically their essays “[show] little understanding of the issue in the prompt, or takes an unclear position. Support may be so minimal or unclear that organization may not be apparent. Language may be simple. Errors may interfere with meaning.” These statements also apply to their in-class writing, which is often very brief, with many grammatical and spelling errors as well as undeveloped ideas.

In evaluating Eric and Devon’s literacy practices further, it is also evident that both boys tend to use African American Vernacular English in both their spoken and written language. The use of AAVE in the hallways and during discussions in class is not an uncommon practice among my students; however, the majority of them seem to be adept at code switching between AAVE and what is considered Standard English in formal talk and writing. Eric and Devon, on the other hand, do not transition between the two dialects in their writing or formal in-class discussions, tending to use AAVE, which is grammatically inconsistent with Standard English. While I accept informal language in discussions and creative writing assignments, I must enforce the use of Standard English on formal writing assignments since it is the vernacular that is valued by society. Consequently, Eric and Devon are marked down on their writing assignments when their writing does not align with the semantic and syntactical rules of Standard English.

Outside of these similarities, Eric and Devon are very different. Eric is a visual arts major who tends to be more reserved than some of the other students. In addition, Eric has been diagnosed with a learning disability, which affects his reading comprehension, math and logical skills, and ability to express himself clearly in writing. Eric is very respectful inside and outside of the classroom, but noticeably disengages from the lesson during reading and writing activities. In addition, according to Eric’s special education teacher, Mrs. B., Eric tends to avoid doing his work when it appears to be too difficult—and seems to be doing this more this school year, perhaps because it is his senior year. This was particularly apparent during a recent writing assignment, where my students were asked to write a satirical short story. I had provided a great deal of structure for this assignment, giving students two weeks to brainstorm, draft, revise, and publish their stories. Despite Mrs. B.’s assistance and additional support that I provided in class, Eric did not complete the assignment, only publishing a portion of the story to his blog. This instance demonstrates Eric’s tendency to disengage in class, particularly with writing tasks.

Devon, on the other hand, is a very outspoken dance major who enjoys having the spotlight, explaining in his personal narrative essay that he wants “to be remembered by more then just the frown on my face or the volume of my voice.” Devon’s outgoing nature seems to explain his disruptive nature in class; I have had to have several one-on-one conversations with him to quell his side conversations in class as well as his tendency to be off task, reminding him that his behavior disrupts his learning as well as his classmates’. In addition, Devon has also demonstrated in his behavior and his writing that his one and only priority is dance; consequently, his academic classes tend to be pushed to the back burner. When pushed, Devon has shown that he has the aptitude to do very well in class; during the first term, he went from an F to a C. However, his performance during this term have demonstrated that he is slowly slipping back into his old habits of disrupting class, neglecting his homework, and not giving 100% to the assignments he does complete.

Interpretation, Stakes, Plan, and Assessment to come...

Ihre Musik zu „Die Nibelungen“ ist sichtlich im Stil von Miklos Rozsa komponiert. Wie schwer ist es für einen Komponisten, zwischen Stil und Plagiat zu unterscheiden?

Der erste Satz dieser Frage, obwohl möglicherweise ein verstecktes Kompliment (Rozsa ist einer der besten Filmkomponisten), bedarf doch einer generellen Richtigstellung: Der Stil einer Filmmusik hängt zunächst einmal vom Stoff ab, das heißt Genre, Zeit und Ort der Handlung. Es ist klar, dass eine heitere Komödie, in New York der Gegenwart spielend, einen anderen Stil verlangt, als ein in Verona an Originalschauplätzen gedrehter Romeo-und-Julia-Film, in dem sich Elemente der italienischen Renaissancemusik finden werden. Westernfilme, orientalische Märchenstoffe, Heimatfilme, historische Themen - jeder Stoff hat seinen kulturhistorisch vorgezeichneten Rahmen, innerhalb dessen sich die Musik logischerweise bewegen wird, von allen persönlichen Modifikationen einmal abgesehen. Eine gewisse historische Treue des Stils wird in jedem Falle auch die Atmosphäre des Films bereichern und unvermeidbar bleiben. Spielt der Film nun in einer Zeit, die musikalisch indifferent ist, also entweder in der Frühzeit oder in ferner Zukunft, wird die Sache kitzliger und der Komponist wird sich einen einleuchtenden Stil ausdenken müssen, um mit seiner Musik nicht „neben dem Film zu liegen“. Die „Nibelungen“ gehören zu dieser Sparte von Filmen; historisch sind sie etwa um 450 nach Christus anzusetzen, die Niederschrift der Sage entstand um 1250. Musik dieser Zeit ist kaum erhalten, es gab außer den ersten Kirchengesängen auch nur noch die Lieder der Spielleute. Also muss ein passender Stil, der zum Bildgeschehen passt, gefunden werden. Und hier unterliegt wohl jeder Komponist, der dramatische Musik für große Orchester schreiben will, gleichermaßen dem Einfluss der Entwicklung der Orchestersprache, die mit dem Beginn der Oper einsetzt und mit der Programmmusik (Liszt, Berlioz, Strauß) einen Höhepunkt erreicht. Die Summe dieser Entwicklung, vielleicht kann man von musikdramatischen Errungenschaften, archetypischen Klangbildern sprechen, wird seine Aussage in irgendeiner, oft unbewussten Weise beeinflussen und er wird zu ähnlichen Ergebnissen gelangen, wie ein von gleichen Überlegungen ausgehender Kollege. Daher die von Ihnen festgestellte Stilähnlichkeit mit Rozsa. Die Meister der Vergangenheit haben die musikalische Sprache auch unserer Tage entscheidend geprägt.

In präzisierter Form, ebenso geistreich wie treffend, hat das mit entwaffnender Offenheit Dimitri Tiomkin bei der Verleihung des Oscars für seine Komposition zu „The High An The Mighty“ dargelegt als er sagte: „Ich möchte mich hiermit bei folgenden Herrn bedanken: Beethoven, Brahms, Wagner, Mahler, Strauß, Rimski-Korsakov...“. Ich schließe mich ihm voll an und möchte nur noch die Namen Ravel, Debussy, Strawinsky und Bartok hinzufügen, die bei Tiomkins Dankesrede vielleicht schon im Beifall und Gelächter untergegangen waren.

Das Plagiat ist eine bewusst vorgenommene Anleihe am geistigen Eigentum anderer und insofern blanker Diebstahl. Nun ist es kein Geheimnis, dass Filmkomponisten von unsicheren Regisseuren, Produzenten, Verleihern, oder Verlegern mitunter unverblümt zum Plagiat angestiftet werden, eine erfolgreiche Vorlage kräftig „nachzuempfinden“. Das weltberühmte „Harry-Lime-Thema“, der River-Kwai-Marsch (also vor allem erfolgreiche Titelvorspann-Themen) waren klassische Beispiele für solche Vorlagen, die in den Besprechungen immer wieder auftauchten und es den Komponisten oft schwer machten, dieses unlautere Ansinnen abzuweisen und mit einer eigenen Vorstellung wirkungsvoll dagegen anzugehen. Weil wir schon beim Thema sind - es gibt noch eine weitere Erscheinung: Das Zitat, also das Verwenden eines fremden Themas oder Motivs. Damit kann man herrliche literarische und parodistische Anspielungen erzielen, Parallelen augenzwinkernd kommentieren und dem Kenner ein Schmunzeln entlocken. Derlei musikalische Späße leiste ich mir, wo sie sinnvoll und ironisch wirken, sehr gerne.

Ihre Scores wurden in den 70er-Jahren auch zusätzlich für billige Sexfilmchen verwendet. Kann ein Komponist sich dagegen wehren?

Das klingt gewaltiger, als es wohl ist. Natürlich werden nicht ganze Scores vom Verlag als Archivmusik unter diese Filme gelegt, es sind wohl Popnummern, musikalische Brücken, wie sie in Unterhaltungsfilmen vorkommen, die sich zur beliebigen Weiterverwendung eignen. Die Musikmeldungen solcher Filme weisen einen ganzen Katalog von Urhebern auf, und mein Anteil daran beschränkt sich meist auf wenige Sekunden. Wehren kann man sich naturgemäß gegen alles auf der Welt, wenn man will. Ich hielte es für besser, wenn es keine Musikarchive gäbe und alle Musik neu geschrieben und aufgenommen werden müsste. Schließlich leben nicht nur Komponisten, sondern auch Musiker, Studios, Kopisten, Arrangeure und viele andere von Aufträgen, die bei Verwendung von Archivmusik wegfällt.

Haben Sie Vorbilder aus dem Soundtrack-Bereich?

An sich ist jede Filmmusik interessant für mich und gibt Impulse, positive wie negative, denn auch, wie man sie nicht machen darf, muss demonstriert werden. Und dann gibt es natürlich unvergessliche Eindrücke wie F. Doelles „Amphitrion“ und die Musik von Disneys Hauskomponisten Paul Smith, mit ihrer unglaublichen, fast schon überperfekten Synchronität, Mancini-Sounds und -Songs, Tiomkin, Rozsa, aber auch Grothes „Wirtshaus im Spessart“, immer wieder besonders gelungene Arbeiten in Film und TV; man sollte vielleicht gar keine Namen nennen und damit die Zahl der vorbildlich arbeitenden Kollegen nicht eingrenzen. Im Übrigen sei vermerkt, dass sich die Einstellung zu solchen Vorbildern nach zwanzig bis dreißig Jahren gerade bei den alten Filmen oft ändert; manches davon ist überholt, überladen, kitschig, enttäuschend und wirkt fatal. Die Entwicklung der Aufnahmetechnik und der instrumentalen Möglichkeiten haben das Klangbild unserer Tage enorm verändert und gegenüber dem alten üblichen Filmorchester wesentlich differenziert.

Was halten Sie von „gängigen Kompositionen“, die Verkaufserfolge erzielen sollen?

Natürlich ist ein solcher Erfolg eine Wunschvorstellung sowohl des Produzenten, als auch des Komponisten, aber eben nicht programmierbar. Die wesentliche Rolle dabei spielt neben dem Erfolg des Films die Platzierung der Musik im Film. Aufwändig grafisch durchgestaltete Vorspanntitel sind eine günstige Ausgangsposition. Einen unerwarteten Erfolg hatte in dem Fernsehfilm „Hiob“ ein Thema, das sich durch seine dramaturgische Bedeutung  dem Hörer einprägte und einen wahren Sturm auf die Musikläden verursachte. Leider gab es keine Veröffentlichung davon, der Erfolg war nicht vorgesehen und kaum ist die Sendung vorbei, ist sie ja auch schon wieder vergessen - wir leben in einer schnelllebigen Zeit.

Eine weitere Form von kommerzieller Musik ist die zu Werbespots…

Werbespots zu schreiben ist ein Heidenspaß für jeden, der das Handwerk beherrscht, sonst kann es sauer werden, in 20 Sekunden eine Unzahl von Synchronpunkten unterzubringen. Ich finde es anregend, Musik zu erfinden, der man die Arbeit mit Stoppuhr, Metronom und Bildauszählungen nicht anmerkt. Ich habe etwa 300 Werbemusiken geschrieben und dabei viel gelernt.

Hatten Sie schon einmal eine Leerphase, in der Sie befürchteten, dass Ihnen die Ideen ausgehen?

Letzten Endes beginnt jede Arbeit mit einer solchen Leerphase, obwohl der Ausdruck irreführend depressiv klingt. Aber jede neue Arbeit ist ein neuer Beginn - noch ist alles offen und ich sitze vor dem berühmten leeren Notenblatt. Die Fälle, wo sich Inspiration auf Anhieb einstellt, mit Motiven und Themen, die einem spontan einfallen, kommen meist nur in kitschigen Musikerfilmen vor: Kaum sieht der Komponist die blonde Protagonisten, notiert er beflügelt eine ganze Sinfonie in einer Nacht, die am nächsten Tag - ohne Hinzuziehung eines Kopisten - von einem 60-Mann-Orchester aufgeführt wird und zur bedingungslosen Hingabe der Angebeteten führt. Also, so einfach ist das nicht!

Wie also der Bildhauer den Steinblock, der Maler seiner Leinwand, steht der Komponist dem Notenpapier gegenüber, auf dem sich bekanntlich vom genialsten Werk bis zum übelsten Schund alles notieren lässt. Zweifel, ob es gelingen wird, wird und muss es immer geben, denn ohne sie verfiele man in Routine und Massenherstellung. Je nach Laune, Gesundheitszustand, Zeitnot, in München auch Föhnlage, können diese Zweifel mitunter ein beträchtliches Ausmaß annehmen und sind nur durch konsequente, voll konzentrierter Arbeit zu beseitigen. Keine Leerphase zu empfinden, wäre aus oben genannten Gründen gefährlich und würde deprimierenden Ergebnissen Vorschub leisten. Also: ein Lob der Leerphase!

Komponieren Sie ausschließlich, oder sind Sie im Bereich der Filmmusik noch anderweitig aktiv?

Gelegentlich bittet mich einmal ein Kollege, für ihn seine Aufnahmen zu dirigieren, wenn er es vorzieht, in der Tonregie die Realisierung seiner Vorstellungen zu überwachen. Mir macht das großen Spaß und es ist angenehm, sich nur auf diese Aufgabe zu konzentrieren, denn die Doppelfunktion ist schon einigermaßen anstrengend.

Als Richard Kummerfeldt 1981 mit der Produktion der Nibelungen-LP an sie herantrat, mochten sie nicht an einen Erfolg glauben?

Vor der Premiere des Films hatte der Verlag bereits eine fast gleichlautend zusammengestellte LP angeboten, war aber erfolglos geblieben. Eine Single mit den beiden Hauptthemen kam zwar heraus, ging aber vollkommen unter. So hatte ich Bedenken, ob sich die Musik behaupten würde, nachdem der Film in Vergessenheit geraten war. Das Herr Kummerfeldt mit seinem Optimismus Recht hatte, freut mich besonders für ihn und bedeutet für mich eine Genugtuung: Es ist schön, dass meine Anstrengungen bei einem fachinteressierten Publikum Anerkennung finden.

Letzten Endes gleicht kein Film dem anderen so sehr, dass man zum Fließbandarbeiter würde; die Chance, beweglich und handlungsfähig zu bleiben, ist immer gegeben.

Rolf Wilhelm wurde am 23. 6. 1927 in München geboren und erhielt ab seinem 6. Lebensjahr Klavierunterricht. Als er zwölf Jahre alt war, siedelte die Familie nach Wien über. Mit 14 Jahren besuchte Wilhelm die dortige Musikhochschule. Er belegte die Fächer Klavier und Komposition unter Josef Marx, einem seinerzeit in Österreich bekannten Komponisten. Das Studium in Wien währte zunächst nur zwei Jahre, denn es wurde durch die Einberufung des nun Sechzehnjährigen zum Kriegsdienst unterbrochen. Mit Kriegsende kehrte die Familie nach München zurück. Bereits 1948 wurde der junge Wilhelm mit Kompositionen für den neu geschaffenen Sender „Radio München“ beauftragt. Parallel dazu beendete er in der Zeit zwischen 1946 und 1948 an der Hochschule für Musik in München das unterbrochene Studium. Seine Lehrer zu dieser Zeit waren Josef Haas in Komposition und Hans Rosbaud in der er Dirigentenklasse. Während dieser Zeit hat Wilhelm ständig an eigenen Kompositionen gearbeitet. So erklärt es sich auch, dass in der Zeit bis 1954 etwa 350 Hörspiele musikalisch von ihm betreut wurden. Mit der Einführung des Fernsehens begann auch seine Arbeit für dieses Medium. 1954 erhielt Wilhelm seinen ersten Filmmusik-Auftrag („08/ 15“). Es war der erste deutsche Film nach dem Kriege, der das Thema Militär behandelte, für die damalige Zeit ein gewagtes Unterfangen. Im gleichen Jahr entstand die Musik zu  „Phantom des großen Zeltes“.

In den folgenden Jahren teilte Rolf Wilhelm seine Aktivitäten zwischen Rundfunk, Fernsehen und Film auf. Bis Ende der 60er-Jahre entstanden in Deutschland noch Filme, die es den Komponisten ermöglichten, Musiken für große Orchester zu schreiben. In diese Zeit fallen auch Wilhelms Kompositionen für episch angelegte Heimatfilme, wie zum Beispiel „... und ewig singen die Wälder“ (1959), „Das Erbe von Björndal“ (1960), „Via Mala“ (1961), und eine ganze Reihe von Werken verfilmter Literatur, zum Beispiel „Tonio Kröger“ (1964) und „Wälsungenblut“ (1964). Der letzte große sinfonische Auftrag war der zwei Teile umfassende Streifen „Die Nibelungen“,1966, dessen Musik 1981 erstmals auf Schallplatte erschien. Rolf Wilhelm kreierte eine groß angelegte, epische Musik, reich an Klangfarben und von mitreißender Ausdruckskraft. Er erzählt aus dieser Zeit gerne die Geschichte über die finanziellen Diskussionen, die es mit dem Berliner Produzenten Arthur „Atze“ Brauner gab. Für den ersten Teil hatte Wilhelm eine Partitur geschrieben, die von einem 80-Mann-Orchester gespielt wurde. Die Aufnahmen kosteten die Produktion rund 15.000 DM - im Grunde genommen also eine recht günstige Filmmusik. Für den zweiten Teil der „Nibelungen“ wollte Atze Brauner dann nur noch 5000 DM herausrücken. Rolf Wilhelm musste also, um die Musik für den Folgefilm realisieren zu können, den Bittgang um mehr Geld antreten. Nach einigen Verhandlungen gab der als geizig verschriene Produzent noch 2000 DM dazu. Insgesamt musste Wilhelm also mit 7000 DM auskommen - er löste diese Aufgabe meisterhaft: Der zweite Teil des Films bestand aus zahlreichen Kriegsszenen und der Komponist setzte zum Teil recht exotische Blas- und Schlaginstrumente ein, die dem Score einen harten, kompromisslosen Charakter verliehen und der ausgezeichnet die Grausamkeit des Filmgeschehens kommentierte.

Befragt man Rolf Wilhelm nun hinsichtlich seiner Ambitionen zu so genannten „ernsten Musik“, so erhält man von ihm eine eigentlich überraschende Antwort. Er, Rolf Wilhelm, der sich in Partituren wie eben „Die Nibelungen“, „Via Mala“, „…und ewig singen die Wälder“, „Das Erbe von Björndal“, „Tonio Kröger“, usw. als ein Meister der der großen sinfonischen Musik erweist, gesteht dann, dass er selbst, so wörtlich, „den Konzertsaal“ als einen „heiligen Tempel“ ansieht. Seine Kompositionen für Film, Fernsehen und Rundfunk betrachtet er als „Kunsthandwerk“. Ende der 50er bis Anfang der 60er-Jahre fand in Stuttgart alljährlich die „Woche der leichten Musik“ statt. Rolf Wilhelm gehörte zu dieser Zeit als Gastdirigent zu den ständigen Betreuern  dieser Veranstaltungen. Zur Aufführung kamen hier Lieder, Ouvertüren und Suiten. Diese Musiken basierten oftmals auf Fernseh- und Spielfilmmusiken. Für eine solche Woche brachte er als Gastdirigent (neben anderen Kompositionen aus eigener Feder) einen „Kriminalroman in 5 Kapiteln für großes Orchester und 5-schüssigen Revolver“ mit. Augenzwinkernd erklärt er, dass dies bis dahin sein einziges Orchesterwerk für den Konzertsaal gewesen sei.

Schaut man nun die Filmographie Rolf Wilhelms durch, so finden sich mit Ausgang der 60er-Jahre lediglich Aufträge wie „Allerneueste Lausbubengeschichten“ (1966), „Die Lümmel von der ersten Bank“ (1968), und, und, und… Die Liste dieser platten deutschen Filmchen wird eigentlich erst rund 10 Jahre später durchbrochen und in der Folge auch beendet (mit Ausnahmen). Der „Junge Deutsche Film“ etablierte sich zunächst überwiegend im Ausland, was danach auf das Ursprungsland zurückstrahlte. Rolf Wilhelm erhielt zu dieser Zeit auch wieder akzeptable Angebote („Abelard“, 1975). Im folgenden Jahr drehte der weltbekannte Regisseur Ingmar Bergman in München den Film „Schlangenei“. Rolf Wilhelm, der auch schon die „Szenen einer Ehe“ musikalisch abstinent betreut hatte, stand hier vor dem Problem, die 20er-Jahre Deutschlands musikalisch auferstehen zu lassen. Er trug zunächst einmal Originalmusiken dieser Zeit zusammen, also bereits Komponiertes. Daneben schrieb er eigene Kompositionen - und Ingmar Bergman bekam schließlich alles ohne Autorenangabe vorgelegt. Er entschied sich für die Kompositionen seines Komponisten, quasi anonym. Die Arbeit an dieser Musik machte Rolf Wilhelm viel Spaß, und in dem Drang, die Musik so originell klingen zu lassen wie irgend möglich (was auch Wunsch und Wille des Regisseurs war), wurden solche Musiker verpflichtet, die auf dem jeweils zu spielenden Instrument nicht so fit waren (ein guter Trompeter muss nicht notgedrungen auch gut Geige spielen), denn in einem drittklassigen Varietee spielten und spielen nicht gerade Virtuosen von Weltklasse. Weiterhin wurde mit verhältnismäßig primitiven Geräten in den Originaldekorationen aufgenommen. Die Arbeitsweise und das Ergebnis begründeten eine auch weiterhin gute Zusammenarbeit zwischen Ingmar Bergmann und Rolf Wilhelm.

Rolf Wilhelm hat inzwischen das 80. Lebensjahr überschritten, sein filmmusikalisches Schaffen fand in den 90er-Jahren u. a. in seinen Arbeiten für die Loriot-Kinofilme einen würdigen Abschluss.

The Clinton Machine is losing parts.  Bill Clinton's campaign chair in the 1992 Presidential election, David Wilhelm is throwing his experience, support, and superdelegate vote behind democratic front-runner Barack Obama.  His support of Obama is important as Wilhelm's base is Ohio.  Ohio is one of the two states Hillary Clinton is focusing all of her attention.  In a conference call with reporters today Wilhelm said, "He has out-worked her, out-organized her and out-raised her.  I know organizational excellence when I see it, and the Obama campaign, win or lose, will serve as a model of execution of strategy, message discipline, application of new technology and small-donor fund raising."  This is one endorsement that comes with some meat.  Obama will need Wilhelm's muscle to add Ohio to his win column.  Though, Wilhelm cautioned that Obama does not have to win Ohio to get the nomination but if he does he almost certainly is the democratic nominee for president.  He also promises to lobby other superdelegates to vote Obama.  Developing.

On the call, Wilhelm explained why he is backing the newcomer Obama over his old boss' wife. "He has momentum, perhaps undeniable momentum among Democratic primary voters," he explained. "We should embrace the candidate who owns change, who owns optimism, who owns the future, who owns idealism, who knows that change is is competitive advantage and is prepared to drive that message of discipline and enthusiasm at every opportunity," he said.

As a former campaign manager, Wihelm said he especially appreciates organization - and the Obama campaign clearly impressed him. "It has been a masterful campaign - he has out-worked, out-organized and out-rasied his opponents every step of the way. As a former campaign manager, I know organizational excellence when I see it. And the Obama campaign, win or lose, will serve as a model for future generations to come." He added, "The Obama campaign has overcome truly daunting organizational odds, not to mention the aura of inevitability and that should provide Democrats with confidence."

Aside from the symbolic value of his support, Wilhelm will also provide tangible tactical help. He explained that the campaign has not been shy about asking for advice - and help with the race for superdelegate support. Wilhelm, also an Ohio superdelegate himself, decided in part to announce his support now "to begin the process that, I think it's inevitable, of evening up the superdelegate count," in other words, help spark some kind of domino effect.

Acknowledging the potential superdelegate pitfall for Obama - one where he might win a majority of pledged delegate support, but lose the superdelegate vote, Wilhelm stated, "If superdelegates overrule the choice of Democratic primary voters, that would be a very difficult and divisive scenario for the party. I think it's unlikely scenario at the end of the day. I think it's one we should work hard to avoid."

Which is why Wilhelm will be working the phones to start convincing other superdelegates to support Obama.

Wilhelm Georg Berger

Notes from Reading:

• We are most fully engaged and happy when we are in the flow--when we are experiencing something so intensely that nothing else matters.
• FLOW
  • Competence and control - make choices, state opinions, create something in order to display individual identity (creating independent learners)
  • Appropriate challenge and assistance to meet the challenge (scaffolding; zone of proximal development)
  • Clear goals and immediate feedback
  • Immersion in the immediate (relevancy)
  • The importance of the social (well they are teenagers after all...)
• "As teachers, we must:"
  • structure instruction to directly and explicitly address issues of genuine importance
  • expand notions of text and curriculum, and what counts as meaningful reading and learning
  • expand notions of competence, especially student competence, and find more ways to celebrate, name, and extend it

Building the Textual Lineages of African American Male Adolescents (Tattum)

Notes from Reading:

• African American male adolescents are among our nation's poorest readers.
• The same rules of engaging disinterested readers still apply; engage by using relevant texts, share purpose, etc.

Breaking It Down:

During our last TE 802 class of the semester, we discussed some of the reasons we write--to communicate, to explore, to connect, to digest, to argue, etc., etc. Likewise, in thinking about why we read, many of these reasons continue to apply; according to Wilhelm/Smith's essay and Tatum's reading we read based on the relevancy and importance of the reading material to our lives. Our learning is increased when it is relevant and challenging--something that certainly seems to have motivated my own literacy learning. It is essential for students to see themselves, to see their lives and obstacles and joys reflected in the texts they read.  Unfortunately, however, the connection between the texts used in a classroom--typically canonical texts written by "dead white men"--and students' lives is not immediately apparent for the student being forced to read them.This seems particularly true in my senior English classroom, where, according to the Detroit Public Schools pacing chart, I'm expected to teach the history of British literature from the Anglo Saxon period to today to my students, who are allAfrican America.  Certainly this does not mean that the texts we study are irrelevant; to a certain extent Beowulf, Canterbury Tales, Macbeth, and Gulliver's Travels have lasted this long because of their universal relevance (although something may be said about the fact that they became a part of mainstream literature because they were (a) British, and (b) written by people in positions of power or in close proximity to those in positions of power).  However, this does not mean that my students' see themselves and their lives reflected in the texts at first glance.  And according to Wilhelm/Smith and Tatum, it's no wonder that engaging them in this pieces is difficult at times.   Nevertheless, I am gradually learning how to climb over this enormous obstacle--one that I imagine I will face consistently throughout my career--thanks to a little bit of inquiry in the classroom.

With each unit of study, I have gradually tried to push against my students' resistance to reading the assigned texts by trying to incorporate the components of FLOW.  With Beowulf, we did a lot of reading in class, connected their experience with the text with the new movie with Angelina Jolie and Anthony Hopkins, and used small group work regularly for literary analysis.  This was fairly successful--for some of my students.  I had one student several weeks later explain her level of anger by saying she was about to go "Beowulf" on someone.  Recently, as we began discussing Macbeth, I was excited to see another female student compare Beowulf to to Macbeth.  Obviously, they had definitely engaged in the text and were continuing to connect with it.  As we moved into Canterbury Tales, I continued to use similar techniques, incorporating Shrek as a hook to illustrate satire and then building on this.  Despite the excitement that I saw in class, I was surprised at the end of the unit to have several students comment on how much they didn't like Canterbury Tales (I like it after all--why shouldn't they!?).  And these students were several of my male students.  Thinking about this in relation with Wilhelm/Smith and Tatum reminds me that even when my students appear engaged in class, appear to be excited about a text--that does not necessarily mean all of them are.  As I evaluate the gender composition of my class, about 30% of my 95 students are male and of that percentage, about 50% consistently demonstrate familiarity and interest in the texts we read--meaning that between 15-20 of my students are disengaging at some point.  And this is just for my males...consequently, reading Wilhelm/Smith and Tatum is certainly relevant to my teaching at this time.

As we have moved into Macbeth, I have definitely tried to incorporate greater levels of inquiry in the class as well as thinking about how to scaffold students' learning with a difficult text.  How do I ensure that those 15-20 male students are connected with the text?  How do I continue to pull in my remaining students?  In evaluating which students are typically disenchanted with reading, it is useful to note that the majority of them are either dance majors or music technology majors at my school (demonstrating higher levels of kinesthetic and audio intelligence?).  Fortunately for me, Aileen recently shared Flocabulary with me and as I dug around online, I found their rap version of Macbeth.  Playing this for my students this past week worked as a very successful hook into Macbeth and allowed to incorporate the prereading strategy of prediction.  What was even more exciting was the fact that several of my male students that I know have checked out in the past were very interested, asking me, "Who is this?" when I played the song.

As I have moved into this unit, I have also tried to think about how to ensure that a unit on the Renaissance and Shakespeare is relevant to students' lives as well as to ensure that our purpose in the unit was not just to understand Renaissance history or Macbeth, but examine something that seemed a little more relevant--and examining power in society and how power affects people seems to have struck a chord with my students, particularly in relation to the upcoming elections and the Kilpatrick fiasco in Detroit.  Last week, I used the idea of an opinonaire to get my students to start thinking about the essential questions in our unit--and as I wrote in a previous entry, it led to such an excellent class period and an engaging discussion between students--where I know I was spending the majority of my time listening and facilitating to ensure everyone engaged in the discussion.  As a quick run down of that lesson, I wrote eight sentences on butcher paper with an "Agree" and "Disagree" column under each and then posted them around the room.  Students then spent about eight minutes rotating between posters marking how they felt.  And then we discussed--with students understanding that at some point, I wanted to hear all of their voices.  Anyway.  This discussion laid an important foundation for our unit, and so after compiling the results recently, I distributed them to my classes--with the Macbeth scene guide printed on back (thanks Christine!).  Hopefully, we will be able to consistently come back to this and to use that discussion to frame our reading of Macbeth.  And hopefully that means I can tap into some of the energy and engagement from that lesson as we read Macbeth in order to ensure FLOW in my classroom--by showing my students--especially those disengaged males--how relevant Macbeth really is.

Other ways I will be incorporating FLOW and Tatum:

• Scaffolding reading of Macbeth to build my students' ability to read independently
• Acting!  Allowing my student to construct skits of their own using prewritten scenarios and later using Macbeth.
• Coming back to the essential questions: (1) How does power and ambition influence people? and (2) How will you achieve your ambitions?
• Engaging in the text in large and small group discussions
• Continuing to incorporate the rap song, technology (podcasts and blogs), and other online resources to develop relevance of text and our writing about the text
• Incorporating important relevant current issues--the election and Kwame Kilpatrick situation to demonstrate relevance

Rainald Goetz

Rainald Goetz wurde 1954 in München geworden.

Studium
Er studierte Geschichte, Theaterwissenschaft und Medizin in München und in Paris.In Geschichte und Medizin hat er promoviertl. Im Jahre 1977 schrieb er in seiner Geschichtsdoktorarbeit über Freunde und Feinde des Kaisers Domitian. In seinen Roman Kontrolliert nimmt er auf die Entstehung dieser althistorischen Doktorarbeit bezug und erwähnt auch, dass ihm eine Stelle als Assistenzprofessor angeboten wurde. 1982 folgte dann seine Promotion in Medizin. Hierbei schrieb er über Jugendpsychatrie. Auch sein literarischer Stil wird schon erkennbar, so kommentiert er zum Beispiel das Verhalten von Kindern mit: „Punk Anarchie Okay.“
Ausserdem studierte er noch Soziologie brach dieses Studium jedoch schnell wieder ab

Arbeit
Ab 1976 fing er an zu arbeiten, zunächst rezensierte er Kinder und Jugenbücher für die Süddeutsche Zeitung, bald jedoch veröffentlichte er eine dreiteillige Artikelserie mit dem Namen "Aus dem Tagebuch eines Medizinstudenten". Ein Jahr später veröffentlichte er den Verlauf seines Studiums und seiner Isolation in einem Werk namens "Der macht seinen Weg".

1983 erlangte er dann Berühmheit, indem er sich bei seiner Lesung beim Ingeborg Bachmann Preis, wo er aus seinen Debütroman "Irre" vorgelesen hatte, die Stirn mit einen Rasiermesser aufschnitt und seine Lesung blutüberströmt beendete. Laut libri.de tat er dieses um gegen die Jury des Preises zu protestieren, jedoch war dieses auch eine für damalige Verhältnisse einzigartige Schaueinlage. Auf Grund dieses Auftrittes und seiner Bücher hat er den Titel "Genie der Selbstvernichtung" erhalten.

Kurz darauf gewann er jedoch auch durch seine Literatur, hauptsächlich Bücher und Theaterstücke, den Respekt der Kritiker. Er veröffentliche auch in der Musikzeitschrift Spex diverse Artikel diese wurden später in Bände zusammengefasst so entstand zum Beispiel das Buch "Hirn". Götz veröffentliche außerdem in dieser Zeitschrift seine Erzählung Rave, in der er auf seine Abneigung gegenüber Merkur, einer Kulturzeitschrift deren Artikel häufig auf akademischen Niveau liegen. 1998 wird er eingeladen die Frankfurter Poetik-Vorlesungen zu halten. Diese Vorlesung ist seit 1960 Tradition an der Johann Wolfgang Goethe-Universität, und wurde als erstes von Ingeborg Bachmann gehalten. Weitere Dozenten waren Günter Grass, Christa Wolf, Hans Magnus Enzensberger und Heinrich Böll. Im selben Jahr fing Götz an seine Tagebucheinträge unter dem Namen "Abfall für Alle" im Internet zu veröffentlichen. Ein Jahr später dann wurde dieses in Buchform gedruckt. Ausserdem beteiligte er sich in diesem Jahr auch an dem Internet-Literaturprojekt Pool.

Seine Themen für seine Romane waren "der deutsche Herbst" (Buch: Kontrolliert), seine Erfahrung bei der Arbeit in der Psychatrie (Buch: Irre) und die Techno Bewegung. Alle Schriften vereint jedoch eins und zwar, dass der Erzähler meistens ein Einzelgänger, der hauptsächlich geistige Arbeit zu tun hat, ist und das sein Eintreten in die jeweiligen Musikszenen in "Irre" der Punk und in "Rave" der Techno als Einschnitt für den Erzähler wirkt.

In den letzten Jahren schrieb Götz kaum noch Bücher. Sein letztes Buch veröffentlichte er 2001 mit den Namen: "Jahrzehnt der schönen Frauen". Desweiteren wurde 2001 das von Goetz entworfene Fernsehformat „nothing special“, welches er in einem Buch beschrieb, vom ZDF realisiert. Hierbei handelte es sich um eine Gesprächsrunde mit drei festen und einem stets wechselnden Diskussionsteilnehmer, die über Fernsehsendungen sprachen. Unter anderem waren "Der große IQ-Test", "Herrchen gesucht", "Sabine Christiansen" Gesprächsthemen des ZDF-nachtstudios. Die festen Diskussionsteilnehmer waren Volker Panzer, Moritz von Uslar und Rainald Goetz. Seit 2007 nun schreibt Rainald Goetz einen Blog mit dem Namen "Klage" auf den Seiten von Vanity Fair. In diesen Essays schreibt er hauptsächlich über die "Bösheit der neuen Bürger". So ist zum Beispiel sein Artikel vom 10.01.2008 mit "Aufklärung als Massenbetrug 2" überschrieben. Sein Blog ist nachzulesen unter folgende Adresse : http://www.vanityfair.de/extras/rainaldgoetz/.

Er veröffentliche bisher folgende Werke:
- Irre (Roman, 1983)
- Krieg (Theaterstück, 1986)
- Hirn (Essays, 1986)
- Kontrolliert (Roman, 1988)
- Festung (Theaterstücke und Materialien, 1993)
- Word I (12", 1994, zusammen mit Oliver Lieb)
- Word (Doppel-CD, 1994, zusammen mit Oliver Lieb und Stevie B-Zet)
- Mix, Cuts & Scratches (1997, zusammen mit Westbam)
- Rave (Erzählung, 1998)
- Jeff Koons (Theaterstück, 1998)
- Abfall für Alle (Online-Tagebuch, 1998/99. In Buchform erschienen 1999)
- Celebration. Texte und Bilder zur Nacht (1999)
- Dekonspiratione (Erzählungen, 2000)
- Jahrzehnt der schönen Frauen (Texte, 2001)
- Heute Morgen (Hörspiel, 2001, zusammen mit Westbam)
- Heute Morgen (Zusammenstellung aus Rave, Jeff Koons, Dekonspiratione, Celebration,
Abfall für alle; 2004)

Ausserdem erhielt er während seiner Karriere diverse Auszeichnungen unter anderem dreimal den Mülheimer Dramatikerpreis, den Heinrich-Böll-Preis den Else-Lasker-Schüler-Dramatikerpreis und den Wilhelm-Raabe-Literaturpreis.

Überleitung:
Das seine Bücher sehr auf einen inszenatorische Charakter sieht man schon an seinem ersten Buch, namentlich "Irre". In diesem Buch spaltetete er die klassische Erzählerrolle "in eine multiper-spektivische Vielzahl von Figuren auf: Rainald, Raspe, Goetz, ich, der Dichter etc.". Das behauptet zumindest Dr. Petra Gropp, eine Autorin, die Momentan als Lektor für den Fischerverlag arbeitet.

Irre
Da das Thema meines Referats das Buch "Irre" ist, welches 1983 erschien, werde ich nun das Buch versuchen zusammenzufassen. Dieses ist jedoch nicht allzuleicht, da Rainald Goetz seinen Erzähler verschiede Rollen zuweist und dieser über verschieden Patienten berichtet und der Zusammenhang nicht sehr klar ist.

Wie gesagt schreibt Rainald Goetz also über die Psychatrie und einem "Helden unsere Tage" wie er selbst seinen Erzähler nennt. Er schreibt auch über die blinde Vernunftglaubigkeit der sechsziger und siebziger Jahre. Während des Buches lernt der Erzähler, der Arzt in der Psychatrischen Klinik ist kennen, dass der Realismus in einer solchen Klinik anders ist, als das was man glaubt. Außerdem verwandelt sich während des Buches der Erzähler vom Arzt zum Irren, also praktisch zu seinem eigenen Patienten. Mit den Eintritt in die Punkmusikszene, erholt er sich jedoch von seinem Schock über die Patienten.
Das besondere an diesem Arzt namens Raspe ist, dass er sehr idealistisch ist und versucht was zu bewirken, so arbeitet er zum Beispiel die meiste Zeit während seine Kollegen Caffee trinken und darauf warten das was passiert.

Er konnte wohl nur deshalb die Psychatrie und das Nachtleben so genau wiedergeben, weil das Buch teilweise Autobiographisch ist, denn Rainald Goetz hat sowohl in einer Psychatrie gearbeitet, als auch das Nachtleben von Berlin intensiv genossen.

Die Sprache in dem Buch sagt viel über die Personen aus, so beschreibt er den Geisteszustand und das empfinden der Personen auch durch den Satzbau. Teilweise bestehen die Sätze aus einer aneinanderreihung von Halbsätzen bzw. aus einer aneinander von kurzen Sätzen und teilweise aus relativ klar strukturierten aber längeren Sätzen. Der Beginn des Irrewerdens in dem Buch wird durch die Sprache gekennzeichnet, denn diese wird dann selbsreflektiv, so hängt zum Beispiel wenn Dr. Röder was sagt "...sagt Dr.Röder" am ende des Satzes herangehangen. Götz greift auch hier die Gesellschaft an, so griff er das Motto des Sozialistischen Patienten-Kollektivs auf, welches lautete "Nicht der Kranke sei krank, sondern die Gesellschaft sei es, die ihn krank mache." Jedoch möchte er nicht die Psychatrien öffnen, wie es viele Vertreter Anti-psychatrie Bewegung wollen, denn dieses ist ihm zu extrem. An dem Text erkennt man schon die ersten Zuneigungen zur Systemtheorie nach Luhmann, der er sich kurz danach zuwendet. Denn die Praxis ist ein geschlossenes System und so kann diese Theorie angewendet werden, in dieser Theorie wird das System nicht als von Personen, sondern von Ereignissen abhängig beschrieben.

Das Buch selbst wurde unter anderem von der FAZ sehr gut rezensiert, so titelten sie "Das Buch denkt und bleibt im Hirn wie ein Popsong".
(DVD zur Lesung)

"Über das Stück, beziehungsweise den Auftritt gab es verschiedene Meinungen, so schrieb zum Beispiel der Spiegel: "Wie weiland Peter Handke in Princeton mit seiner Beschimpfung der Gruppe 47, so war Rainald Goetz nun mit seinem Klagenfurter Blutauftritt bekannt geworden.
Seinen ersten Roman kann eine Literaturredaktion jetzt nur noch vorsätzlich ignorieren."
(Christian Schultz-Gerstein im Spiegel vom 26.09.1983)

"Jedoch stand im gleichen Artikel auch, dass Rainald Goetz "ohne einen Preis bekommen zu haben, der mediale Sieger von Klagenfurt".
(Christian Schultz-Gerstein im Spiegel vom 26.09.1983) ist.

Der Roman wurde inzwischen auch versucht im Theater aufzuführen, nämlich in Hannover. Jedoch begeisterte diese Aufführung keinen Rezensenten, so schrieb die Wochenzeitung "Jungle World" , dass das Stück zwar für 1983 modern ist, aber heute nicht die 80er Jahre mehr sind und Punk auch nicht mehr aktuell ist. Die Zeit schrieb sogar :"All das ist grauenhaft, aber es langweilt. Rainald Goetz' Irre sterben in Hannover einen weißen, kalten Schneetod."

Anhang:

Rezension aus dem Spiegel (Irre)

Faz zum Blog von Rainald Goetz

Blog von Rainald Goetz

Rainald Goetz "Irre" (FAZ Rezension)

Rainald Goetz "Abfall für Alle" (FAZ Rezension) 

Rainald Goetz "Abfall für Alle" (FAZ Rezension2)

NMZ über Goetz 

Wikipediaartikel über Rainald Goetz 

Systemtheorie nach Luhmann

Rainald Goetz "Irre" (JungleWorld Rezension)

Goethe.de über Rainald Goetz

Petra Gropp über Rainald Goetz (Goethezeitportal) 

Rezension Theaterstück "Irre" (DIE ZEIT)

Rezension Rainald Goetz "Irre" (Sueddeutsche Zeitung)

As I have been planning this current unit, “The Triumph and Corruption of Ambition,” I have been very preoccupied with thinking about how to design a cohesive inquiry-based unit. This has been very challenging due in part to the fact that we are just beginning to talk about this idea in TE 804 (although it is very much grounded in what I have learned over the past couple of years). In addition, framing my teaching around inquiry has been somewhat cumbersome as I attempt to merge the district expectations based on the pacing chart, my teacher’s expectations, and even the textbook with what I would like to do with my students. Granted, I realize that this is exactly what Jeffrey Wilhelm says many teachers say in protest, but I think thereis some grain of truth—how to you reformulate a coverage-based unit of study into one of inquiry?

Thinking about this takes me back to why I think studying English language and literature is important to begin with; we study language and literature in order to understand ourselves and our world better, to develop our critical thinking in a way that will aide our future growth and learning, to learn how to communicate. Therefore, these are overarching objectives that should be guiding all of my lessons.

Looking back at today’s lesson, I can see how I tried to push towards these goals—as well as towards my lesson goals—but definitely didn’t quite get there. In the case of today’s lesson, this makes me wonder if my goals for today should have been reformulated to focus on building students’ understanding of the Renaissance and then to use that to push them to think about the power dynamics and connections of the period in the next lesson (so maybe my goals were too lofty for one lesson?). At the same time, however, I definitely think that I didn’t weave my objectives into every step of the lesson the way I could have. For example, I could have explicitly told my students the lesson objectives as a start. I could then have come back to this to ask them to hypothesize how the opening activity would tie to the other activities in the lesson, to come back to the objectives and opinionaire after establishing the background information for the Renaissance, and finally to return to them at the very end after the discussion thread to see if we accomplished the objectives (and to do this as a group).

Another thing that I think is interesting about teaching with an inquiry focus is that I automatically do not have all the answers to my questions since they are not clear cut and that I am learning right along with my students. This could have been a valuable tool to tie into my lesson today—to say to my students that I need help answering a question: “How do the power dynamics during the Renaissance connect to other events and movements during the period?” Then together, we could answer the question; while I certainly have my own ideas and opinions, my students could know that I value their contributions as we examine this together. This also makes me think that rather than telling my students the specific objectives for the day, I could frame the objectives as questions—and I could come back to this question throughout the lesson and build on our thoughts about it (e.g., have a butcher paper on the side of the board that we keep adding to). This would build continuity throughout the lesson and push towards higher order thinking.

After Period 7 and 2...Reflecting on Period 1 really helped to think more thoroughly about the kinds of questions I needed to ask to push my students further in their thinking--particularly after my discussion with field instructor. Based on our discussion and this reflection, I knew I need to think about how to make connections in my instruction between the activities (or rather to have the students make connections), to make my objectives more transparent, and to force the students to do the thinking. I have to be honest--I'm soooooooo proud of my Period 7 and Period 2 kids after our lesson--I wish I videotaped our large group discussion based on the opinionaire question activity. They were all so engaged and were doing such a fantastic job of building off each other; they were connecting personal experiences, mentioning the text, thinking critically--man, it was so good. And they all told me after how much they enjoyed the lesson. It's really making me tear up right now... Knowing how well it went, I know it's critical for me to reflect on today if I want to make it a part of my lessons regularly. For one, I think the gateway activity was so important; it was exciting and fun--and the kids could really connect to it personally. Even though it went longer than I would have liked in all three of my classes (taking up about 45-60 minutes), I feel like it established an excellent foundation for the rest of the lesson. And I can use to build off in future lessons. I think it also helped that I told all of them that they would have to contribute at some point--and that I would call on them randomly towards the end if I didn't hear from them. I also told them what my objective was after the activity--to bridge their understanding of power to the period we were studying. I gave high fives when they brought in the text and told them how happy they would make me if they kept doing it. The discussion after that continued to carry this momentum, even though we were talking about a less familiar and less personal topic, the Renaissance. But they all had something to build off of.... The bell is going to ring in a moment and I know that no matter how much I write, I won't be able to capture yesterday and today's lesson here. But I just want to be able to look back on this entry when I have much less encouraging days--and to be able to smile.

• "Both the conceptual knowledge and...procedural knowledge are developed and used as tools in the context of solving a problem...This "toolishness" is essential: information and facts must become concepts and strategies that have heuristic value. Heuristic, which comes from the same Greek root as the word "eureka," simply means that what has been learned has become part of a problem-solving repertoire and can be used to do something." (24).
• "Inquiry inducts students into a community of practice; they come to think and act more like people who work with the disciplines of math, science, social science, ethics, literature, philosophy, government" (24).
• "If we want to make the reading, writing, and learning kids do in school more like the reading, writing and learning adults do in the world, we need to connect assignments to what matters to students. We need to show them how the material relates to their lives and their needs, and we need to provide them with opportunities to engage with and use what they learn" (25).
• Teaching How to Inquire (26)
  • Model/assist students in using accurate and relevant discipline-based talk
  • Promote/model discipline-based thinking and learning
  • Join knowledge and thinking with learning new disciplinary understandings
  • collaborate with students in joint problem solving the kind used in the community of practice
  • Engage in appropriate critical inquiry and knowledge production, which is the work of a community of practice
• "All learning in all semiotic domains requires identity work" (Gee). We must use the identities and knowledge our students already possess as a bridge to the new identity and knowledge to be learned. (27).
• Context, connection, interaction
• "The teacher who apprentices students into doing the discipline must not only know how to read, write, learn, and converse as an expert, but must know hot to assist and support students to do the same. Those who teach, must do!" (28).
• Classroom Discourse
  • Problem/task-orientation; builds off big, initial question that provides clear purpose
  • Generate new, compelling open-ended questions posed/pursued by teacher and students
  • Invite exploration
  • Encourage hypotheses
  • Allow collaboration; students do work
  • Focus on compelling ideas and significant processes
  • Entertain various perspectives and cultivate students' appreciation of complexity
  • Support discovery of definable patterns
  • Involve real-world application
  • Encourage piggy-backing
  • Teacher as facilitator, guide, and supporter
  • Teacher offers challenges to clear up misconceptions
  • Mapped by teacher
  • Provide the time
• Three Steps:
  • Identify an essential question and associated enduring understandings.
  • Identify a final project
  • Create a backwards plan

Ch. 3: Asking the Guiding Question - Reframing the Existing Curriculum into Inquiry Units

• "Problem orientation makes learning personally relevant and socially significant. The guiding question reaches into students' lives" (42).
• Planning steps:
  • What is our focus and why does it matter?
  • Where do we want to go with it?
  • Why do we want to go there?
  • How can students be helped to get there?
  • How will we know when we have arrived?
• "The important thing to remember is that any curricular standard can be reframed into an essential question. A good standards-based guiding question will address many other standards and curricular topics and bring them together as a coherent, integrated whole" (45).
• Ten Tips for Generating Guiding Questions
  • Reframe a required standard, topic, or text so it matters.
  • Consider the heart of the matter.
  • Look around the community.
  • consider the principal organizing questions of the discipline you are studying.
  • Ask questions like those practitioners use to to guide their own work.
  • Ask questions about quality that require students to make judgments.
  • Ask ethical or moral questions that require judgment about particular concepts, issues or the pursuit of particular kinds of knowledge.
  • Ask questions of application.
  • Solicit students' help to generate a guiding question or sub-questions.
  • Historica periods can be reframed as inquiry by focusing on the major issues or "contact zones"--geographical
• Asking a big guiding question immediately makes a unit a social project of exploration in which the students are active participants.
• "The people who are talking, discussing, thikning, struggling, and using new ideas and tools are the ones who are learning" (63).

First, frame the text or topic as an essential question:
So my upcoming unit focuses on the Renaissance period and Macbeth. Why has Macbeth continued to be popular for 400 years? It addresses common human problems and conditions, from good/evil to the draw of power to gender roles. Possible questions include:

• Are humans inherently evil?
• Are curses real?
• What leads to evil?
• What is evil?
• What leads people to evil?
• How does ambition/power influence people?
• What sort of power do you want to have--or rather what are your greatest ambitions? How will you