ARTEETUDE is a West Cork–based podcast by visual artist Detlef Schlich, exploring the shifting intersections of art, culture, technology and the creative mind.Together with Sophia, his AI co-host, Detlef enters a conversational space where art history meets neuroscience, shamanic ritual encounters digital culture, and human imagination confronts artificial intelligence. Reflective, humorous and sometimes deeply personal, each episode investigates the forces shaping creativity, perception and contemporary life.
Drawing on his practice in performance, photography, painting, sound, installation, film and media archaeology, Detlef treats the podcast not simply as a format, but as an artistic space in its own right — a place for philosophical inquiry, cultural critique, guest conversations, listener questions and poetic speculation.
In a world driven by speed, distraction and surface-level connection, ARTEETUDE slows things down. It looks beneath the noise and asks: What does it mean to create today? How do technology and consciousness transform one another? What happens to spirituality in an increasingly digital culture? And where can the human soul still find resonance?
Whether you are an artist, a thinker, a technologist or simply curious about the mysteries of creativity, ARTEETUDE invites you into a conversation where art, mind, body and machine meet.
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#ArTEEtude 350 - Detlef Schlich returns to the beginning of his life in Ireland and reflects on his arrival in Lackavaun on the Northside of the Mizen Peninsula in 2003.
Season 1 · Episode 350
Sunday, September 6, 2026 • Duration 28:17
What if the house you bought was actually a time machine?
In 2003, I arrived in Lackavaun on the remote Northside of the Mizen Peninsula in West Cork.No running water.
Old jeans stuffed between roof and wall to keep the wind out.
Rats upstairs.
Dunmanus Bay outside the door.
And then I met Pat McCarthy.
What initially appeared to be simply a remote and beautiful part of West Cork gradually revealed itself as a place in which several historical layers were still visible at the same time. Through the story of an old house without running water, the late arrival of rural electrification, dramatic population decline after the Great Famine, and the isolation of everyday life, the episode paints a vivid picture of a landscape that was already entering the 21st century while still carrying traces of a much older rural culture.
At the centre of the episode is Patrick McCarthy, co-author of Northside of the Mizen, who personally welcomed Detlef to Lackavaun in April 2003. McCarthy becomes a symbolic link between oral storytelling, local history and a disappearing way of life. An old butter churn, a curious matchmaking story, and the Irish tradition of the Pioneer movement open wider questions about how knowledge, gestures and memories survive once their original cultural context begins to disappear.
Rather than romanticising rural hardship, the episode examines the tension between poverty and authenticity, isolation and beauty, tradition and technological change. Schlich reflects on how these five years in Lackavaun shaped his later artistic engagement with ritual, material culture, shamanism, technology and media archaeology long before he had a theoretical language for it.
ArTEEtude 350 is a journey into a landscape full of traces — and into the stories that continue to live when someone decides to tell them again.
About Detlef Schlich Detlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.
Research & Artistic Method
Detlef Schlich’s artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.
Download here for free:
Shamanism, Art and Digital Culture: Cause and Effect
Building on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.
Read here:
Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlich
Together, these texts form the theoretical backbone of Schlich’s ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.
WEBSITE LINKS Music ProjectsWAW / Wild Atlantic Way
WAW is the music project by Detlef Schlich and Dirk Schlömer.
From the forthcoming WAW album The Stories of Nil Young
Two songs from WAW’s developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.
AfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.
The Nile’s Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.
The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.
Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile’s Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.
In a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.
# ArTEEtude 349, Detlef Schlich reflects with Sophia on the aftermath of the WAW Keep Clear journey through Cape Clear and Ballydehob.The episode closes with the new Los Inorgánicos track: “Why Do We Still Do This?”
Season 1 · Episode 349
Sunday, August 30, 2026 • Duration 23:01
Two gigs. One island. Buses, ferries, instruments, rehearsals, carrying, setting up, tearing down — and not exactly a Rolling Stones budget.So why do we still do this?In ArTEEtude 349, Detlef Schlich reflects with Sophia on the aftermath of the WAW Keep Clear journey through Cape Clear and Ballydehob. With Dirk Schlömer back in Berlin and the equipment finally unpacked, there is time to ask a question that reaches far beyond two concerts: what keeps an artist moving when money, comfort and convenience clearly aren't the answer?The episode begins with one of the stories that never made it into the previous podcasts: two €50 notes disappearing on the way to Cape Clear — and unexpectedly returning aboard the ferry. From there, the conversation moves into ageing, physical exhaustion, artistic obsession, live performance and the difference between validation and resonance.Cape Clear becomes more than a gig destination. Encounters, landscape, weather and people generate ideas that could never have emerged inside the studio alone. Yet inspiration brings its own problem: every journey creates more possibilities, while time, money and energy remain finite.Perhaps artists don't necessarily need an audience to validate their work.Perhaps they need encounters.Because something changes when art leaves the protected space of the studio and meets real people in a real place.And maybe Dirk's joke about coming back “a hundred euros richer” wasn't entirely wrong after all.The episode closes with the new Los Inorgánicos track:“Why Do We Still Do This?”Not for money.Not for fame.Again. Again. Again.
About Detlef Schlich Detlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic MethodMusic ProjectsWAW / Wild Atlantic WayFrom the forthcoming WAW album WAW on BandcampYouTubeDetlef SchlichSupport this podcast at —
#ARTEETUDE 348 —Schlich and Schlömer reflect on the latest WAW journey through West Cork. At the end we listen to a beach version of "When the tide knocks at your door". Inspired by our latest journey to Cape Clear.
Season 1 · Episode 348
Sunday, August 23, 2026 • Duration 29:54
The Cape Clear adventure is over — but the tide is still moving.Detlef Schlich and Dirk Schlömer sit down at Garrylucas Beach for the final reflection on their WAW days in West Cork: two gigs, new songs, the Magic Forest, unexpected encounters, exhaustion, friendship and a packed Oasis Art Café.WAW played a full hour of original material before Go Like This took over the stage — two generations, two different sounds, one great night.And somewhere along the journey, WAW itself changed: tighter songs, increasingly intertwined voices and a growing collection of Stories of West Cork.
The episode ends where this chapter began: with Cape Clear — and the new WAW song inspired by the island. About Detlef Schlich Detlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.
Research & Artistic Method
Detlef Schlich’s artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.
Download here for free:
Shamanism, Art and Digital Culture: Cause and Effect
Music ProjectsWAW / Wild Atlantic WayFrom the forthcoming WAW album WAW on BandcampYouTubeDetlef SchlichSupport this podcast at —
#ARTEETUDE 347 Schlich and Schlömer take the microphone on Cape Clear after their WAW – Wild Atlantic Way adventure brought them across the water and onto one of Ireland’s most remarkable islands.
Season 1 · Episode 346
Sunday, August 16, 2026 • Duration 24:31
Cape Clear. An island at the edge of Ireland. A ferry, a gig, a few instruments — and two men who apparently still think jumping into the Atlantic is a perfectly reasonable form of post-production.This episode is not a polished travel report. It is the sound of actually being there.Detlef and Dirk talk about the journey to Cape Clear, arriving on the island, the people they met, the atmosphere surrounding the gig, performing their music far away from the usual circuits — and what remains when the instruments are packed away and the evening is over. The conversation moves between music, friendship, island life, improvisation and those unexpected moments that turn a gig into something much larger than a gig. And somewhere between land and sea, performance and memory, WAW’s KEEP CLEAR journey becomes exactly what it was meant to be: Not simply a tour. An encounter. An experience. A story worth bringing home.
Keep Clear. Come closer
About Detlef Schlich
Detlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic Method
Detlef Schlich’s artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.
Download here for free:
Music ProjectsWAW / Wild Atlantic WayFrom the forthcoming WAW album WAW on BandcampYouTubeDetlef SchlichSupport this podcast at —
#ARTEETUDE 346 - Detlef Schlich and his Co-Host Sophia carry their exploration of vibration, memory and reception across the Atlantic to Cape Clear Island — Oileán Chléire. The episode also looks ahead to the WAW Keep Clear Tour 2026, beginning at Club Chléire on Wednesday, 12 August, with Schlich and Dirk Schlömer.
Season 1 · Episode 346
Sunday, August 9, 2026 • Duration 22:24
Can a place listen?
Following The Skin That Listens, Detlef and Sophia carry their exploration of vibration, memory and reception across the Atlantic to Cape Clear Island — Oileán Chléire.
An island has no ears, yet it continuously receives: waves, weather, footsteps, languages, stories, warnings and songs.
In this episode, Cape Clear becomes a living archive. Its ancient stone markings, oral traditions and maritime signals reveal how places preserve traces even when their original meanings have been partially lost.
A former lighthouse once transmitted a warning from the island’s highest cliffs, but mist often prevented the signal from being seen. That contradiction becomes the philosophical centre of the episode:
A lighthouse says: Keep clear.A story says: Come closer.
The episode also looks ahead to the WAW Keep Clear Tour 2026, beginning at Club Chléire on Wednesday, 12 August, with Detlef Schlich and Dirk Schlömer—Detlef’s “better WAW half.”
WAW reached No. 1 in Neil Quinn’s Cork Playlist last year and No. 2 this year. Their new song, When the Tide Knocks at Your Door, receives its spoken-word premiere in the podcast before being performed musically for the first time on Cape Clear.
The closing track by Los Inorgánicos, After the Signal, remains deliberately atmospheric:
#Arteetude 345 – Schlich and his AI co-host Sophia explore the relationship between hearing, touch, vibration, bodily rhythm and memory. The episode concludes with the new song by Los Inorgánicos: When Silence Moves
Season 1 · Episode 345
Sunday, August 2, 2026 • Duration 23:47
Can sound be felt before it is heard?
Arteetude 345 – The Skin That Listens grew directly from responses to our previous episode.
Listener Wendy Chivers questioned whether feeling had been treated merely as an unusual side effect of hearing rather than as an essential form of perception. Pastora Braghini then shared a childhood memory of her deaf grandfather, who could detect the children approaching his armchair through vibrations travelling across the old wooden floor.
Together with my AI co-host Sophia, I explore the territory between hearing and touch. The ear translates vibration into sound, while skin, bones, muscles and balance translate the same physical event into pressure, movement and spatial awareness.
Perhaps listening has never belonged to the ear alone.
Perhaps music enters a body already filled with rhythms—heartbeat, breath, memory and movement—and becomes part of us before language can explain what happened.
The episode concludes with the new song by Los Inorgánicos:
When Silence MovesResearch & Artistic Method
Detlef Schlich’s artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.
Download here for free:
Shamanism, Art and Digital Culture: Cause and Effect
Building on this foundation, Schlich developed , an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.
Music ProjectsWAW / Wild Atlantic WayFrom the forthcoming WAW album WAW on BandcampYouTubeDetlef SchlichSupport this podcast at —
#Arteetude 344 – Schlich and his Co-host Sophia move beyond the ear and discover the body as the true receiver of music.
Season 1 · Episode 344
Sunday, July 26, 2026 • Duration 14:49
Where does sound become meaning?
In the latest part of The Future Has Ancestors, Sophia and I move beyond the ear and discover the body as the true receiver of music.
If every listener brings memories, expectations and lived experience into every note, then musicians don't simply compose sounds—they compose possibilities. The body completes the final arrangement.
Episode 344 explores resonance, embodiment, perception and asks one simple question:
What if the most important instrument has always been ourselves?
The episode closes with the brand-new Los Inorgánicos song:
Where We ResonateResearch & Artistic Method
Detlef Schlich’s artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.
Download here for free:
Shamanism, Art and Digital Culture: Cause and Effect
Building on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.
Read here:
Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlich
Music ProjectsWAW / Wild Atlantic WayFrom the forthcoming WAW album WAW on BandcampYouTubeDetlef SchlichSupport this podcast at —
#Arteetude 343 - Detlef Schlich and his AI co-host Sophia travel much further back and ask - What existed first: sound or the receiver? Can sound exist without someone—or something—capable of perceiving it? Was the first instrument a body?
Season 1 · Episode 343
Sunday, July 19, 2026 • Duration 32:01
About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic Method
Detlef Schlich’s artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.
Download here for free:
Shamanism, Art and Digital Culture: Cause and Effect
Building on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.
Read here:
Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlich
Music ProjectsWAW / Wild Atlantic WayFrom the forthcoming WAW album WAW on BandcampYouTubeDetlef SchlichSupport this podcast at —
#Arteetude 342 — While sitting in Bantry, Detlef Schlich overhears a conversation that becomes the starting point for a media-archaeological investigation. A frustrated street musician blames AI for the end of creativity, while his girlfriend answers with humour, irony and unexpected wisdom. Together with AI co-host Sophia, Detlef asks whether artificial intelligence is truly the greatest threat to music—or simply the latest suspect in one of humanity's oldest stories. The episode ends with the new Los Inorgánicos track “The Future Has Ancestors.”
Season 1 · Episode 342
Sunday, July 12, 2026 • Duration 21:45
Is artificial intelligence really destroying music?Or are we simply repeating one of humanity's oldest conversations?In this episode of Arteetude, a chance encounter in a café in Bantry becomes the starting point for a media-archaeological investigation. A frustrated street musician blames AI for the end of creativity, while his girlfriend answers with humour, irony and unexpected wisdom.What begins as an amusing dialogue gradually unfolds into a much larger philosophical question:Has every generation feared the newest medium?From streaming and digital recording to radio, the gramophone and the earliest attempts to preserve music beyond human memory, this episode argues that today's AI debate may be only the latest chapter in a much older story.Together with Sophia, Detlef Schlich explores not only technology, but also fear, memory, economics and our persistent tendency to believe that history begins with our own generation.Perhaps the future has ancestors.The episode concludes with a brand-new Los Inorgánicos track:"The Future Has Ancestors." About Detlef SchlichDetlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.Research & Artistic Method
Detlef Schlich’s artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.
Music ProjectsWAW / Wild Atlantic WayFrom the forthcoming WAW album WAW on BandcampYouTubeDetlef SchlichSupport this podcast at —
#Arteetude 341 — Detlef Schlich speaks with musician, artist, designer, project manager and builder Buko Pan Guerra, also known as Buko Sinigayan, about her vision for Golden Mirage Ranch in Leona Valley, California. This conversation explores rejection, resilience, land, animals, music, community and the courage it takes to keep building when life has already asked too much. The episode ends with Buko’s powerful song “In Search for Power”.
Season 1 · Episode 341
Sunday, July 5, 2026 • Duration 36:12
In Arteetude 341, Detlef Schlich welcomes back musician, artist, designer, project manager and builder Buko Pan Guerra, also known as Buko Sinigayan, for a deeply human conversation about survival, rejection, land, animals, music, community and the strange courage it takes to keep building when life has already asked too much.
Buko has spent decades helping other people’s visions become real — working across art, music, construction, education, entertainment, design, theme-park environments and complex project management. Now she is building something of her own: Golden Mirage Ranch in Leona Valley, California.
But Golden Mirage Ranch is not just a ranch. It is a place for rescued animals, nature, music, workshops, food, learning, healing and community. It is where many of Buko’s lives come together: the artist, the musician, the project manager, the daughter, the caretaker, the survivor and the dreamer.
This episode is not simply about a fundraiser. It is about dignity. It is about creative resilience. It is about what happens when an artist refuses to disappear. It asks: How does an artist survive rejection and still build a place of care, land, animals, music and community?
The episode ends with Buko’s powerful song “In Search for Power” — a fitting musical closing for a conversation about vulnerability, survival and the search for strength. You can Donate here on Bukos Websitehttps://goldenmirageranch.com/ https://www.instagram.com/goldenmirageranch/ https://www.gofundme.comAbout Detlef SchlichResearch & Artistic MethodTogether, these texts form the theoretical backbone of Schlich’s ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.Music ProjectsWAW / Wild Atlantic WayFrom the forthcoming WAW album WAW on BandcampYouTubeDetlef SchlichSupport this podcast at —
Detlef Schlich’s artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.
Download here for free:
Shamanism, Art and Digital Culture: Cause and Effect
Building on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.
Read here:
Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlich
Together, these texts form the theoretical backbone of Schlich’s ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.
WEBSITE LINKS
WAW is the music project by Detlef Schlich and Dirk Schlömer.
Two songs from WAW’s developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.
AfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.
The Nile’s Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.
The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.
Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile’s Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.
In a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.
Building on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.
Read here:
Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlich
Together, these texts form the theoretical backbone of Schlich’s ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.
WEBSITE LINKS
WAW is the music project by Detlef Schlich and Dirk Schlömer.
Two songs from WAW’s developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.
AfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.
The Nile’s Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.
The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.
Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile’s Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.
In a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.
Building on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.
Read here:
Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlich
Together, these texts form the theoretical backbone of Schlich’s ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.
WEBSITE LINKS
WAW is the music project by Detlef Schlich and Dirk Schlömer.
Two songs from WAW’s developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.
AfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.
The Nile’s Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.
The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.
Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile’s Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.
In a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.
Together, these texts form the theoretical backbone of Schlich’s ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.
WEBSITE LINKS
WAW is the music project by Detlef Schlich and Dirk Schlömer.
Two songs from WAW’s developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.
AfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.
The Nile’s Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.
The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.
Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile’s Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.
In a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.
Together, these texts form the theoretical backbone of Schlich’s ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.
WEBSITE LINKS
WAW is the music project by Detlef Schlich and Dirk Schlömer.
Two songs from WAW’s developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.
AfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.
The Nile’s Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.
The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.
Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile’s Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.
In a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.
Together, these texts form the theoretical backbone of Schlich’s ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.
WEBSITE LINKS
WAW is the music project by Detlef Schlich and Dirk Schlömer.
Two songs from WAW’s developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.
AfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.
The Nile’s Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.
The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.
Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile’s Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.
In a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.
Building on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.
Read here:
Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlich
Together, these texts form the theoretical backbone of Schlich’s ongoing work as a visual artist, media archaeologist, ritual designer, musician, and host of the Arteetude podcast.
WEBSITE LINKS
WAW is the music project by Detlef Schlich and Dirk Schlömer.
Two songs from WAW’s developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.
AfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.
The Nile’s Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.
The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.
Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile’s Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.
In a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.
Detlef Schlich is a rock musician, podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork, Ireland.
His artistic practice moves between performance, photography, painting, sound, installation, film, music, podcasting, and digital image-making. Across these fields, Schlich reflects on the human condition, the relationship between ritual and technology, and the changing role of the artist in digital culture.
As a media archaeologist, he explores how media shape perception, memory, culture, politics, and artistic expression. His work often uses the figure of the digital shaman as an alter ego — a method for navigating the space between ancient ritual structures, contemporary media, and technological transformation.
Detlef Schlich’s artistic research is rooted in his essay Shamanism, Art and Digital Culture: Cause and Effect, which investigates the relationship between ritual, artistic transformation, media, and digital culture.
Download here for free:
Shamanism, Art and Digital Culture: Cause and Effect
Building on this foundation, Schlich developed Multilayerism: A New Paradigm in Contemporary Art – A Manifesto, an artistic method and conceptual framework for understanding contemporary art through layers of media, memory, technology, ritual, emotion, misunderstanding, and lived experience.
Read here:
Multilayerism: A New Paradigm in Contemporary Art – A Manifesto by Detlef Schlich
Two songs from WAW’s developing album project The Stories of Nil Young form part of a mythopoetic journey along the Nile, where river, memory, loss, cooperation, and hope flow into music.
AfricaSmile follows the Nile as an imagined journey from its sources to the Mediterranean Sea — a river of memory, movement, rhythm, and myth. The song turns the meeting of the White Nile and the Blue Nile into a fragile image of cooperation. It is not a naïve peace anthem, but a wounded musical hope: two different currents meeting, listening, and still moving forward together.
The Nile’s Bittersweet Song is the first official single by WAW / Wild Atlantic Way — Detlef Schlich and Dirk Schlömer.
The song follows the Nile as a river of memory, beauty, loss, and contradiction: a life-giver, but also a force that can take away what it once nourished. Through the story of Kamau, it becomes a poetic reflection on childhood, fragile hope, and the emotional landscape carried by a river that is both kind and cruel.
Inspired by East African storytelling traditions and shaped along the Wild Atlantic Way in West Cork, The Nile’s Bittersweet Song is a mythopoetic musical journey about water, grief, resilience, and the deep human longing to keep moving with the current.
In a world shadowed by conflict and unrest, Dirk Schlömer and Detlef Schlich felt compelled to reinterpret Silent Night to reflect the complexities and contradictions of modern life.
