Palais Schaumburg (band)
Palais Schaumburg was a new wave band from Hamburg, Germany. The style was classified as Neue Deutsche Welle, and strongly characterized by their avant garde music and dadaistic attitude, the band was originally formed in 1980, featuring Timo Blunck, Holger Hiller, Thomas Fehlmann, and percussionist F. M. The groups name stands for Das Palais Schaumburg in Bonn, the Cold War era residence of the German chancellor, shortly after it was released, Hiller left the band and started his solo career. He was replaced with Moritz von Oswald and vocalist Walther Thielsch, the group made several singles and albums throughout early 80s, where their avant garde sounds were heavily influenced by funk, especially in albums Lupa and Parlez-Vous Schaumburg. They eventually split up in 1984, all the members have been working on their solo careers. On Thursday November 21st,2013, Palais Schaumburg appeared live beside Laibach in Bern, albums Das Single Kabinett Palais Schaumburg Lupa Parlez-Vous Schaumburg. Singles Rote Lichter Telefon Wir bauen eine neue Stadt Hockey Palais Schaumburg biography Palais Schaumburg discography
Industrial music is a genre of experimental/electronic music that draws on transgressive or provocative sounds and themes. In general, the style is harsh and challenging, allMusic defines industrial as the most abrasive and aggressive fusion of rock and electronic music, initially a blend of avant-garde electronics experiments and punk provocation. The first industrial artists experimented with noise and aesthetically controversial topics and visually, such as fascism, serial killers and their production was not limited to music, but included mail art, performance art, installation pieces and other art forms. Prominent industrial musicians include Throbbing Gristle, Monte Cazazza, SPK, Boyd Rice, Cabaret Voltaire, Musicians cite writers such as William S. Burroughs, and philosophers such as Friedrich Nietzsche as influences. These artists expanded the genre by pushing it into noisier and more electronic directions, over time, its influence spread into and blended with styles including ambient and rock, all of which now fall under the post-industrial music label.
Electro-industrial music is a subgenre that developed in the 1980s. These three distinct genres are often referred to as simply industrial, Industrial music drew from a broad range of predecessors. Industrial music was created originally by using mechanical and electric machinery, monroe argues for Suicide as an influential contemporary of the industrial musicians. Groups cited as inspirational by the founders of industrial music include The Velvet Underground, Joy Division, genesis P-Orridge of Throbbing Gristle had a cassette library including recordings by the Master Musicians of Jajouka, Charles Manson, and William S. Burroughs. P-Orridge credited 1960s rock such as The Doors, Pearls Before Swine, The Fugs, Captain Beefheart, chris Carter enjoyed and found inspiration in Pink Floyd and Tangerine Dream. Boyd Rice was influenced by the music of 60s girl groups, Cabaret Voltaire cited Roxy Music as their initial forerunners, as well as Kraftwerks Trans-Europe Express. Cabaret Voltaire recorded pieces reminiscent of musique concrète and composers such as Morton Subotnick, Nurse with Wound cited a long list of obscure free improvisation and Krautrock as recommended listening.
23 Skidoo borrowed from Fela Kuti and Miles Daviss On the Corner, many industrial groups, including Einstürzende Neubauten, took inspiration from world music. Many of the industrial musicians preferred to cite artists or thinkers, rather than musicians. Simon Reynolds declares that Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism, John Cage was an initial inspiration for Throbbing Gristle. SPK appreciated Jean Dubuffet, Marcel Duchamp, Jean Baudrillard, Michel Foucault, Walter Benjamin, Marshall McLuhan, Friedrich Nietzsche, Cabaret Voltaire took conceptual cues from Burroughs, J. G. Ballard, and Tristan Tzara. Whitehouse and Nurse with Wound dedicated some of their work to the Marquis de Sade, another influence on the industrial aesthetic was Lou Reeds Metal Machine Music. Pitchfork Music cites this album as inspiring, in part, much of the contemporary avant-garde music scene—noise, the album consists entirely of guitar feedback, anticipating industrials use of non-musical sounds
A hammer drill, known as a rotary hammer, roto-drill or hammering drill, is a rotary drill with a hammering action. The hammering action provides a short, rapid hammer thrust to pulverize relatively brittle material and these tools are usually electrically powered, and increasingly powered by batteries. The same technology is used in electric demolition hammers, known as chipping guns or breakers. With cam-action drills, the chuck has a mechanism whereby the entire chuck and bit move forward and backwards on the axis of rotation, the motion is tied to the rotation of the chuck. This type of drill is used with and without the hammer action. These units are smaller and are commonly powered by cordless technology. They are not typically used for production construction drilling, but rather for occasional drilling of concrete or masonry, an EP hammer has two pistons—a drive piston, and a flying piston. An electric motor turns a crank, which moves the piston back. The flying piston is at the end of the same cylinder.
The pistons do not actually touch, but the air pressure in the EP cylinder allows for a more efficient transfer of hammering energy than springs in the cam-action style tools. The majority of modern rotary hammers as well as all electric-powered chipping guns or jack-hammers all utilize this EP technology, modern units allow the hammer and rotation functions to be used separately or in combination, i. e. hammer mode, drill mode, or both. When used in the mode, the tool provides a drilling function similar to a jackhammer. Hammer drills of both working principles are well suited for drilling holes in masonry or stone and they are both used to drill holes in concrete footings to pin concrete wall forms and to drill holes in concrete floors to pin wall framing. Larger rotary hammers can be used for doweling, and through-holes in concrete, the hammering action helps to break up the masonry so that it can be removed by the drill bits flutes. A hammer drill has a specially designed clutch that allows it to not only spin the drill bit, the actual distance the bit travels in and out and the force of its blow are both very small, and the hammering action is very rapid—thousands of BPM or IPM.
For this reason, a hammer drill drills much faster than a drill through concrete or brick. Holes in hard materials are needed for anchor bolts, concrete screws, hammer drills almost always have a lever or switch that locks off the special hammer clutch, turning the tool into a conventional drill for wood or metal work. Hammer drills are more expensive and more bulky than regular drills, for example, an electrician would use a hammer drill for attaching items to either wood studs or masonry walls
Alfred 23 Harth
Alfred Harth, now known as Alfred 23 Harth or A23H, is a German multimedia artist, band leader, multi-instrumentalist musician, and composer who creatively mixes genres. Harth founded a free improvisation band, Just Music, which in 1969 was recording number 1002 on the Munich based label ECM. In 1967 he opened the platform centrum freier cunst in Frankfurt/Main — a meeting point for free music, art exhibitions, experimental poetry, action. He formed the group E. M. T. with artist and pianist Nicole Van den Plas from Belgium, implemented Dada elements, integrating European Music Tradition by using fragments of composers. Harth’s activities became more & more diversified, In 1980 he recorded a meeting of mixed styles from jazz and classical music for the label JAPO/ECM. He invited Christoph Anders, Paul Lovens, composer Rolf Riehm and this records musical program led to more focused work in the group Cassiber from 1982 on. The Duo Goebbels/Harth had become a highly creative nucleus for lots of enterprises, in 1983 Burkhard Hennen asked Harth to form an all star“ combination for the Moers Festival.
This group became Duck and Cover for which he conceived a main structural composition idea in relation to contemporary politics, in 1984 the Duo Goebbels/Harth created a musical theatre piece, Nach Aschenfeld together with the author and director FK Waechter and actors Heinz-Werner Kraehkamp and Michael Altmann. In 1987 the Duo Goebbels/Harth had been recorded live at the Festival International de Musique Actuelle de Victoriaville in Canada and came to an end in 1988. In 1992 Harth managed to put out an album in Japan, Goebbels Heart. In 1985 Harth adapted the number 23 in his name and short name A23H, in 1986 A23H cooperated at the first under water concert organized by Micky Remann in a pool in Frankfurt. Harth had a duo with John Zorn, and a trio with Peter Brötzmann,1993 to 1995 Harth worked out his art project Gedankenhotel that had no audiences, but just events with 10 guests that had been documented in 10 maps. Also in 1993 he formed the FIM a platform for many local avantgarde music activities including the group Imperial Hoot, in 1996 he produced a re-mix CD album Pollock using out-of-print Alfred Harth LPs, and triggered an internet label recout.
In 1997-8 he re-arranged and performed the West Side Story at the theatre in Frankfurt. In 2000 Harth formed the Trio Viriditas in New York together with Wilber Morris, there in the years 2003 to 2006, he produced a Mother of Pearl-CD series of five editions including a DVD containing animated sequences of his drawings. Each disc devoted to a specific Korean theme, inviting many Korean musicians to contribute their sound sources to this project, in 2004 Harth became a member in Otomo Yoshihide’s Japanese formations for almost five years. o. In 2007 Harth created the European quartet 7k Oaks together with Massimo Pupillo, Fabrizio Spera, in 2008 he had a premiere on a tour in Switzerland with the trio Taste Tribes together with Guenter Mueller and Hans Joachim Irmler from the legendary group Faust. In 2009 Harth formed the duo Gift Fig together with composer Carl Stone by the premiere of Adler_Kino 1166 –1215 in Frankfurt/Main, in 2013 Torsten Müller and A23H toured in North West America including a performance at the Vancouver International Jazz Festival
Ulrike Haage is a German pianist and composer, producer for radio plays and a sound artist. Ulrike Haage spent her childhood in Ruhr and she grew up listening to the big jazz record collection of her parents and trained to play piano listening to masters as Bill Evans and Thelonious Monk, improvising. As a teenager she started singing and playing guitar in a garage-band, after studying music and music therapy at Musikhochschule Hamburg, she stayed on an taught improvisation and orchestra direction from 1985 to 1989. During this time she begins to compose and starts playing piano for the first German Female Jazz band, while working with Peter Zadek on the theatre play Andi, she meets FM Einheit. With him, Alfred 23 Harth and Phil Minton, the group Vladimir Estragon is founded, a year later, because of the departure of Alfred Harth, the quartet becomes the trio GOTO, with the vocal acrobatics of Phil Minton. In 1990, she joins Katharina Franck in the pop group Rainbirds and they release Two faces and In A Different Light.
In addition she becomes the director of the concert’s program Nachtmahr. With the translator and publisher Sylvia de Hollanda, she founds Sans Soleil, in 2003 Ulrike Haage becomes the first and up to the youngest woman to win the German Jazz Award. Markus Müller, presenting the award, pays tribute to her outstanding and he emphasizes her artistic way through pop and avant-garde. Sélavy, her first instrumental album is released in 2004. In the next two years, the Goethe Institut of Moscow invites her to tour the cities along the Wolga and Siberia, playing concerts, in 2006, she records her second solo album Weißes Land. For example, Alles aber Anders, a play for the Bavarian Radio, Bayerischer Rundfunk. For the celebration of the 90th Anniversary of the Bauhaus, she performs her radio play Der Kreis ist rot, the opera radio play Amnesie der Ozeane in collaboration with Stephan Krass, is produced in 2010, as is the music for the sound-book Heimsuchung. Between concerts and conferences her third solo album In, finitum is in the making, in 2012 Ulrike Haage spends 3 months at the artist-residence Villa Kamagowa in Kyoto, Japan.
Here the idea for the composition of For all my walking takes root,2015 saw the release of her fourth solo album Maelstrom. Also showing at the 2016 Berlinale was the film Landstück by German filmmaker Volker Koepp featuring music by Ulrike Haage, when you listen to her music, you can go to the quest for the different musics which have had a strong influence on her style. Of course, there is the jazz – since her debuts with the records of her parents and her compositions, even today leave a big part to improvisation. Oft one could find on her partitions only an indication of chord on which she will improvise during the concert and her very thorough and classic training of music brings an instrumental acuteness and sharpness to her music
KMFDM is an industrial band led by German multi-instrumentalist Sascha Konietzko, who founded the group in 1984 as a performance art project. The groups earliest incarnation included German drummer En Esch and British vocalist Raymond Watts, the trio recorded the bands earliest albums in Germany before Konietzko and Esch moved to the United States, where they found much greater success with seminal industrial record label Wax Trax. German guitarist Günter Schulz joined in 1990, both he and Esch continued with the band until KMFDM broke up in 1999, Konietzko and Cifarelli moved back to Germany in 2007, while the rest of the band stayed in the U. S. Critics consider KMFDM to be one of the first bands to bring music to mainstream audiences. The band is fiercely political, with many of its lyrics taking stands against violence, war, KMFDM normally tours at least once after every major release, and band members are known for their accessibility to and interaction with fans, both online and at concerts.
Members, singly or working together and with musicians, have recorded under many other names, primarily Watts Pig, Konietzkos Excessive Force. In the original phrase, the preceding the nouns Mehrheit and Mitleid are inflected for the wrong gender. Swapping the two nouns yields the grammatically correct Kein Mitleid für die Mehrheit, which translates directly as no pity for the majority. In a 2003 interview, Konietzko explained the origins of the phrase, On the morning of February 29th,1984 I woke up and we had a show that night opening for an exhibition for young European artists. We needed a motto for the night so that we could make up some fliers, There was a German newspaper on the table and so I started cutting out words and threw them all into a cap. We picked a few of them out and it read Kein Mehrheit Für Die Mitleid and its kinda improper German in regards to its translation but in the DA-DA-esque mindset of the early morning it made perfect sense. So when I was on my way back to Hamburg Id mentioned it to Raymond and he liked it but he was having difficulty pronouncing it correctly.
So finally he said, Why dont you just call it KMFDM, sturm left early on, but Konietzko continued performing, at one point having twenty people in his troupe, which by was engaged in antics such as fire eating and throwing entrails at audiences. Konietzko returned to Hamburg, where he joined up with Peter Missing in his new band Missing Foundation, drummer Nicklaus Schandelmaier, who had recently moved to Hamburg from Frankfurt, joined the group, and took the stage name En Esch. Cassette copies of the bands first album, began circulating through the underground clubs, KMFDM released its next album, What Do You Know, Deutschland. in December 1986. It was recorded from 1983 to 1986, with some of the songs recorded by Konietzko and Watts before Esch was a member of the band, and indeed, before the band officially existed. Skysaw Records gave the album a second UK release in 1987 and introduced the band to visual artist Aidan Hughes, Hughes redesigned the albums cover, and went on to design almost every KMFDM album cover.
Watts left the group working on just three songs on 1988s Dont Blow Your Top to start his own project, Pig
Radio drama is a dramatized, purely acoustic performance, broadcast on radio. Radio drama achieved widespread popularity within a decade of its development in the 1920s. By the 1940s, it was an international popular entertainment. With the advent of television in the 1950s, radio drama lost some of its popularity, recordings of OTR survive today in the audio archives of collectors and museums, as well as several online sites such as Internet Archive. As of 2011, radio drama has a presence on terrestrial radio in the United States. Much of American radio drama is restricted to rebroadcasts or podcasts of programs from previous decades, other nations still have thriving traditions of radio drama. In the United Kingdom, for example, the BBC produces and broadcasts hundreds of new plays each year on Radio 3, Radio 4. Like the USA, Australia ABC has abandoned broadcasting drama but New Zealand RNZ continues to promote, podcasting has offered the means of creating new radio dramas, in addition to the distribution of vintage programs.
Thanks to advances in recording and Internet distribution, radio drama was experiencing a revival in 2010. The terms audio drama or audio theatre are used synonymously with radio drama, however. Audio drama can be found on CDs, cassette tapes, Radio drama traces its roots back to the 1880s, In 1881 French engineer Clement Ader had filed a patent for ‘improvements of Telephone Equipment in Theatres’. English-language radio drama seems to have started in the United States, a Rural Line on Education, a brief sketch specifically written for radio, aired on Pittsburghs KDKA in 1921, according to historian Bill Jaker. Newspaper accounts of the era report on a number of other experiments by Americas commercial radio stations. In February 1922, entire Broadway musical comedies with the original aired from WJZs Newark studios. Actors Grace George and Herbert Hayes performed a play from a San Francisco station in the summer of 1922. Aware of this series, the director of Cincinnatis WLW began regularly broadcasting one-acts in November, the success of these projects led to imitators at other stations.
By the spring of 1923, original pieces written specially for radio were airing on stations in Cincinnati, Philadelphia. That same year, WLW and WGY sponsored scripting contests, inviting listeners to create original plays to be performed by those stations dramatic troupes
Faust are a German krautrock band. Faust formed in 1971 in the setting of Wümme. After Meifert was sacked, the band recorded its second, slightly more accessible album So Far, Faust became one of the premier bands in the international appreciation of the genre that would eventually be known as krautrock. Faust became one of the first acts to sign to Richard Bransons Virgin Records, the Faust Tapes was a cut-and-paste album, which spliced together a large number of bits and pieces from their extensive collection of private recordings not originally intended for release. Virgin issued it at the price of a single,48 pence. The Faust Tapes reportedly sold over 100,000 copies but its low price tag rendered it ineligible for a chart placing, after collaborating with Tony Conrad on the album Outside the Dream Syndicate, Faust recorded Faust IV at Virgins studios in England. Faust experimented with the presentation of their early records and their first album was originally released on clear vinyl, in a clear sleeve with an X-ray of a human fist silkscreened on the outer sleeve.
Their second album, So Far, made use of the color black. The Faust Tapes had a visually unsettling op art cover design by Bridget Riley, after Fausts breakup, the groups whereabouts were unknown, the Recommended Records catalogues talked about the groups disappearance. In 1990 and 1992, members Irmler, Diermaier and Péron reunited for performances, in 1994, Faust toured the United States for the first time, with Péron and Diermaier assisted by Steven Wray Lobdell and with members of Sonic Youth as an opening act. Irmler did not participate in the 1994 US tour, but took an active role after that, producing the groups records. He compiled and edited the Patchwork remix album in 2002, sosnas chronic alcoholism ended a brief reunion with Faust after four or five exhausting days, and he died on 10 November 1996. Gunter Wüsthoff has not taken part in any of the reunions and they have continued to perform in various combinations and with various additional musicians ever since, with Diermaier always behind the drum kit.
In 1996, Diermaier and Péron met Olivier Manchion and Amaury Cambuzat from French group Ulan Bator and they performed for the first time together as Collectif Met in November 1996. A few days after, Faust performed at the Garage in London and at the Transmusicales de Rennes, after two studio albums, Péron left the group in June 1997. From mid-1997 to 2004, Faust toured as Zappi W. Diermaier, Hans Joachim Irmler, Steven Wray Lobdell, Lars Paukstat and Michael Stoll, releasing many more studio and live albums. Diermaier and art-errorist Péron reunited in 2005, when Zappi proposed that they start a new Faust together with Olivier Manchion, Faust now exists in two completely different incarnations, both active and each reflecting different aspects of the original group. Uwe Nettelbeck died on 17 January 2007 and they recorded Trial and Error, released on DVD in 2007 by the Fuenfundvierzig Label
In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music.
In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments.
He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them
A mufti is an Islamic scholar who interprets and expounds Islamic law. Muftis are jurists qualified to give legal opinions known as fatwas. Historically, they were members of the ulama ranking above qadis, with the introduction of the secular court system in the 19th century, Ottoman councils began to enforce criminal legislation, in order to emphasize their position as part of the new executive. This creation of the hierarchical secular judiciary did not displace the original Sharia courts, until the Qadi’s Ordinance of 1856, the qadis were appointed by the Porte and were part of the Ottoman religious judiciary. This Ordinance recommends the consultation of muftis and ulama, in practice, the sentences of qadis usually were checked by muftis appointed to the courts. Other important decisions were checked by the mufti of the Majlis al-Ahkdm or by a council of ulama connected with it and it is said that if the local qadi and mufti disagreed, it became customary to submit the case to the authoritative Grand Mufti.
Later, in 1880, the new Sharia Courts Ordinance introduced the hierarchical judiciary, through the Ministry of Justice, parties could appeal to the Cairo Sharia Court against decisions of provincial qadis and niibs. Here, parties could appeal to the Shari’a Court open to the Shaykh al-Azhar and the Grand Mufti, judges were to consult the muftis appointed to their courts whenever a case was not totally clear to them. If the problem was not solved, the case had to be submitted to the Grand Mufti, in the 1800s, and still seen today, Muslims relied on building trust with people and forging partnerships, a very important aspect of Islamic life. The Mufti was an example of this, in a time where people were often self-financed and independent, kinship often substituted for markets where preexisting bonds of trust facilitated cooperative ventures. These kin-based partnerships had many limitations, for example, if seeking a Muftis advice, the wealth and relationship of the family to the Mufti can cause seniority and sentiment to dictate decisions.
Hence, there was social gains from institutions supportive of these cooperative ventures across these groups and this dependency on trust, and personal relationships has been said to have been the cause of the Middle Easts descent from its Golden Commercial Age. According to him, this was the highest level of academic credentials in classical Islamic academic tradition, above mudarris, allamah Grand Mufti Imam Muftiate The ethics of Muftī by Imam Ibn Khaldûn Muftī
The settings are usually post-industrial dystopias but tend to feature extraordinary cultural ferment and the use of technology in ways never anticipated by its original inventors. Much of the genres atmosphere echoes film noir, and written works in the often use techniques from detective fiction. Primary exponents of the field include William Gibson, Neal Stephenson, Bruce Sterling, Bruce Bethke, Pat Cadigan, Rudy Rucker, John Shirley. Blade Runner can be seen as a example of the cyberpunk style. Video games, board games, and tabletop role-playing games, such as Cyberpunk 2020 and Shadowrun, often feature storylines that are influenced by cyberpunk writing. Beginning in the early 1990s, some trends in fashion and music were labeled as cyberpunk, Cyberpunk writers tend to use elements from hardboiled detective fiction, film noir, and postmodernist prose to describe an often nihilistic underground side of an electronic society. The genres vision of a future is often called the antithesis of the generally utopian visions of the future popular in the 1940s and 1950s.
Gibson defined cyberpunks antipathy towards utopian SF in his 1981 short story The Gernsback Continuum, in some cyberpunk writing, much of the action takes place online, in cyberspace, blurring the line between actual and virtual reality. A typical trope in such work is a connection between the human brain and computer systems. Cyberpunk settings are dystopias with corruption and internet connectivity, multinational corporations have for the most part replaced governments as centers of political and even military power. The economic and technological state of Japan, in the 80s influenced Cyberpunk literature at the time, of Japans influence on the genre, William Gibson said, Modern Japan simply was cyberpunk. Cyberpunk is often set in urbanized, artificial landscapes, and city lights, receding was used by Gibson as one of the genres first metaphors for cyberspace and virtual reality. The cityscapes of Hong Kong and Shanghai have had influences in the urban backgrounds and settings in many cyberpunk works such as Blade Runner.
Ridley Scott envisioned the landscape of cyberpunk Los Angeles in Blade Runner to be Hong Kong on a bad day. The streetscapes of Ghost in the Shell were based on Hong Kong, mamoru Oshii felt that Hong Kongs strange and chaotic streets where old and new exist in confusing relationships, fit the theme of the film well. Hong Kongs Kowloon Walled City is particularly notable for its disorganized hyper-urbanization, one of the cyberpunk genres prototype characters is Case, from Gibsons Neuromancer. Case is a cowboy, a brilliant hacker who has betrayed his organized criminal partners. These anti-heroes—criminals, visionaries and misfits—call to mind the private eye of detective fiction and this emphasis on the misfits and the malcontents is the punk component of cyberpunk