Over 20+ years, CTM has been highlighting new strains of pop and fringe cultures that venture through the weird, the challenging, the cathartic, the esoteric, the contagious, and the ecstatic – simultaneously exploring sonic histories, contexts, and political and technological entanglements. Though international in its approach, CTM remains deeply rooted in and committed to Berlin’s DIY and club scenes, from which it emerged in 1999. [1]

Listening and dancing within the gaps between musics, communities, and scenes, CTM defies easy categorisation and tests the current possibilities and limits of sound and music. Programming supports a multitude of voices, backgrounds, experiences, and perspectives – CTM is for all forms of music as long as they dare to experiment, question, and demonstrate conviction. Our work reaches out to all corners of the globe to explore and explode wildly different, experimental, mutating global scenes. [1]

CTM is an independent, non-profit initiative built, from the very start, on constant collaboration. We work closely with artists, guest curators, and researchers to support them in realising new projects and to produce and transmit new knowledge across performances, exhibitions, talks and artistic labs, writing, and more. Through a multi-perspective approach, we aim to respond to the diversity of an increasingly polycentric, polychromatic, and hybrid (music) world, always with empathy, openness, and a desire to counter global asymmetries. [1]

Because of CTM’s mutually collaborative nature, activities highlight a large and ever-expanding range of practices in and around sound. Through yearly themes, the festival experiments with formats, locations, technologies, and ways of listening, creating multiple entry points from which to engage with sound and their contexts. [1]

Music is not a parallel world, but rather a seismograph of our current societies, a powerful force with which to cope with uncertainty and change, and a medium through which to imagine different futures. [1]

A MAZE. / Berlin is an international festival focusing on arthouse games and playful media. For the day experience A MAZE. / Berlin invites globally spread and diverse experimental game and VR creators, digital artists, musicians and other playful creatives from around different countries who share in an inspiring 5-day program of talks and workshops, idea market places and knowledge bazaar the art of video games making. [1]

Cashmere Radio is a not-for-profit community experimental radio station which was originally based in Lichtenberg, Berlin for the first six years of its existence before recently moving to Wedding. The ambition of the station is to preserve and further radio and broadcasting practices by playing with the plasticity and malleability of the medium. We do this by both honouring and challenging its inherent qualities: it is both a physical station open to the public and an online radio; it has regular shows, yet opens itself up to extended and one-off events; it features extended generative music performances and installations at the same time as working within radio’s typical durations. In short, it is an attempt to enhance and celebrate the performative, social and informative power of radio that we believe lies within the form itself. The radio can be heard 24 hours a day, seven days a week on our website, and on Friday and Saturdays via 88,4 Berlin and 90,7 Potsdam via the 24/3 Radio Netzwerk, a collaboration between six of Berlin’s independent radio stations — Reboot.FM, BLN.FM, WEAREBORNFREE! EMPOWERMENT RADIO, Savvy Funk, Radiomobil and Cashmere.[1]

Aram Bartholl’s work creates an interplay between internet, culture and reality. How do our taken-for-granted communication channels influence us? Bartholl asks not just what humans are doing with media, but what media is doing with humans. Tensions between public and private, online and offline, techno-lust and everyday life are at the core of his work and his public interventions and installations, often entailing surprisingly physical manifestations of the digital world, challenge our concepts of reality and incorporeality. Bartholl has exhibited at MoMA Museum of Modern Art NY, Skulptur Projekte Münster, Palais de Tokyo, Hamburger Bahnhof and the Thailand Biennale among other as well as conducting countless workshops, talks and performances internationally. Bartholl lives and works in Berlin.[1]

From julianoliver.com:

Julian Oliver is a New Zealander, Critical Engineer and artist based in Berlin. His work and lectures have been presented at many museums, galleries, international electronic-art events and conferences, including the Tate Modern, Transmediale, the Chaos Computer Congress, Ars Electronica, FILE and the Japan Media Arts Festival. Julian has received several awards, most notably the distinguished Golden Nica at Prix Ars Electronica 2011 for the project Newstweek (with Daniil Vasiliev). He is the co-author of the Critical Engineering Manifesto and co-founder of Crypto Party in Berlin, who’s shared studio Weise7 hosted the first three crypto-parties worldwide. He is also the co-founder of BLACKLIST, a screening and panel series focused on the primary existential threats of our time.

SPEKTRUM is a space of convergence for cultural communities and transdisciplinary groups emerging and operating in and off Berlin. The project aims to bring confrontation, open knowledge and a platforms for idealisation, realisation and presentation of technology-based artworks, science-focused events and futuristic utopias based on the principle “do-it-together-with-others”. Above all, we are an open organization promoting participatory processes to co-define and co-design a social and physical playground for curiosity and critical understanding. [1]

The venue is part of a monumental architecture in the heart of Kreuzberg/Neukölln realised by Franz Hoffmann and Bruno Taut, one of the main expressionist architects of the modernist period. The inner space is characterised by a multi-layered approach to heights, with an unusual 5 meter high ceiling for the event room and other sections organised as split-levels. These architectural qualities tell us a story of planes and volumes, offering guests a surprising walk around with secret spots to discover. [1]

Radical Networks is a conference that celebrates the free and open Internet, with hands-on workshops, speakers, and a gallery exhibiting artworks centered around radio and networking technology. It fosters critical discussion on contemporary issues that include surveillance, the spread of misinformation, ownership of personal data, and the increasing opacity of “The Cloud”.

Radical Networks is also an arts festival that considers networking technology as an artistic medium, featuring works that run the gamut from ethical hacks to creative experiments to live performances. [1]

transmediale is a yearly Berlin-based festival and cultural organization that facilitates critical reflection on and interventions into processes of cultural transformation from a post-digital perspective. In the course of its more than 30 year history, the transmediale/festival has turned into an essential event in the calendar of media art professionals, artists, activists, and students from all over the world. [1]

Annually it presents an extensive range of exhibitions, conferences, screenings, performances, and publications to more than 25,000 visitors. In bringing together artists, researchers, activists, and thinkers, transmediale offers new perspectives and approaches on how the digital and a general technological condition has become a factor of influence in practically all spheres of life. The broad cultural appeal of the festival is recognized by the German federal government who supports the transmediale through its program for beacons of contemporary culture. [1]

Since 2011, transmediale’s all-year activities include cooperation projects, networking activities, the Vilém Flusser Residency for Artistic Research, and special events. These activities provide a sustainable structure of feedback, research, and reflection that interacts with the annual festival. As part of this endeavor, the transmediale journal launched in 2016, providing a platform for ongoing reflections, reactions, and discussions in many different forms. [1]