Sir, the summer was very big, now it's time to feel again! And also to be mischievous! And compassionate, and... In any case, the lightness of summer is overwhelmed by the emotions of autumn. What a drama, baby!

The Impropheten, fresh and brave as always, dare to do that! They bring all the big, beautiful, ugly, and wild emotions to the stage.

Also yours, dear audience, if you want. Loudly give your emotions to the improv pros on stage. They create romantic, funny, touching, or creepy stories from them!

The chic & fearless group around the founder of the Linz improv scene, Andrea Schnitt, accompanied by the star musician Wiff Lagrange, will feel this evening full of playfulness.

Have fun in the big cinema of emotions!

Bruckner's 'First'

In the first decades of Anton Bruckner's career, Felix Mendelssohn Bartholdy was a kind of contemporary classic and, as such, significantly influenced the orchestral works from Bruckner's years of study, in which echoes of the themes and instrumentation of the Hebrides Overture can be found. In contrast, Bruckner was at least familiar with Symphony No. 3 in A minor, which became popularly known as the "Scottish." It was with Bruckner's Symphony No. 1 in C minor, first performed in Linz in 1868, that the composer documented his own highly individual symphonic style. At over 40 years old, Bruckner embarked on new worlds and confidently entered the musical territory that he declared to be the most important for him: that of symphonic music. When he subjected the work to a fundamental revision from 1890, resulting in the "Vienna version" that the Vienna Philharmonic premiered on December 13, 1891, he affectionately and humorously called it his "cheeky Beserl."

PROGRAM
Felix Mendelssohn Bartholdy (1809–1847)
The Hebrides. Concert Overture No. 2 in B minor, op. 26 (1829–30, rev. 1832 & 1835)

Symphony No. 3 ("Scottish") in A minor, op. 56 (1829–42)


-- Intermission --

Anton Bruckner (1824–1896)
Symphony No. 1 in C minor, WAB 101 (1865–66, rev. 1877, 1889–91) "Vienna Version"

CAST
Vienna Philharmonic
Christian Thielemann | Conductor

Wolfram Vertnik live with his Happiness Tour 2024

- Inspiring Stories: Immerse yourself in the captivating stories of extraordinary people who have overcome their biggest challenges through courage, determination, and know-how. These stories serve as a source of inspiration and show that it is possible to overcome obstacles and unleash one's full potential.

- Practical Insights: Wolfram Vertnik will not only inspire but also share practical tools based on the E.I.P Method®. These tools are designed to help you bring about positive changes in your life. Look forward to learning concrete steps to unleash your full potential and actively shape your life.

If you feel that life could be more benevolent in all areas and you are curious to discover the potential that lies within you, then you are in the right place with us. Our event opens doors to new possibilities and provides space for personal growth and inspiration.
If you want to experience an evening full of emotions, passion, joy, and inspiring stories that real life writes, you are warmly welcome! This evening is designed not only to experience life but to enjoy it to the fullest.
Every person deserves to be happy, regardless of age, background, social status, or past.

10 years of Suchtpotenzial, that’s 10 years of "Tits, Keys, Temperaments"!
On tour with the German Rail, digital shitstorms, and on top of that split ends, these two women have really been through a lot.
Nevertheless, the music comedy queens Ariane and Julia rock the nation, completely without Botox and autotune. And have incidentally cleaned up all the important prizes (including the German Cabaret Prize and the Bavarian Cabaret Prize).
Germany's most successful alcopop duo remains always hairy but fair despite all adversities. Because in a crisis-ridden world, in the face of the apocalypse, people long for a bath in captivating music, brutal puns, bittersweet feelings, and crazy ideas.
Suchtpotenzial is your musical antidepressant.
So jump into the jacuzzi of good vibes, into a ball pit from which you never want to be picked up.

Bach's Orchestral Suites

Johann Sebastian Bach's four Orchestral Suites, probably composed over a period of around 20 years from 1718 onwards, each consisting of a free sequence of dance movements with an opening overture, are among the most popular works of the Baroque era. They include some of the most well-known pieces in classical music, such as the Badinerie (jesting) that concludes the 2nd Suite and the Air (melody) in the 3rd Suite. The L'Orfeo Baroque Orchestra under the direction of Michi Gaigg presents this veritable hit parade in its original sound.

Program:

Johann Sebastian Bach (1685–1750)
Orchestral Suite No. 1 in C major, BWV 1066 (circa 1718)
Orchestral Suite No. 2 in B minor, BWV 1067 (1738–39)

– Intermission –

Orchestral Suite No. 3 in D major, BWV 1068 (1730–31)
Orchestral Suite No. 4 in D major, BWV 1069 (1725)

Line-up:

L'Orfeo Baroque Orchestra
Michi Gaigg | Conductor

Live. Love. Laugh.

How beautiful would a life be that is determined by these three words? That is exactly possible. But this happiness is not found anywhere in external things or other people... it can only be discovered within us. This show is intended to awaken this feeling within us again. It serves as a reminder of the truly important things in life... and it comes at just the right time for everyone.

With his typical humor and profound way, Biyon takes us on a journey to ourselves: we encounter our inner child, understand the people around us better, fall in love again with ourselves and life, and come back after all these times: in the here and now. And then we will live again... full of mindfulness and gratitude. We will love again... full of trust. And we will laugh again... because that's exactly what we deserve.

Bruckner's Symphonies in Original Sound
Begin

The comparison of the debut symphonies of two 'later symphonists', Anton Bruckner and Johannes Brahms, who were already 43 years old at the premiere of their 'First', makes it audible that the symphonic works of the supposed antipodes share a common root: Ludwig van Beethoven, on whose Coriolan Overture in C minor the symphonies, not coincidentally in the same key, follow attacca in the concert.

Although Brahms lamented in the early 1870s that he would probably "never compose a symphony" because he always heard "a giant (Beethoven) marching behind him", he repeatedly dealt with a "1st Symphony movement" drafted in 1862, on the basis of which he finally completed his Symphony No. 1 in C minor in 1876, a whole 14 years later. The influence of the "giant" on the work was so striking that conductor Hans von Bülow's bon mot soon circulated, referring to it as Beethoven's "tenth symphony".

Looking back, Bruckner called his Symphony No. 1 in C minor, completed in 1866 and premiered in Linz in 1868, "the bold maiden". And indeed, what a fierce work, what a revolutionary leap! By 1865, Bruckner had mastered his craft, internalized compositional tradition, and become acquainted with the music of Richard Wagner. Equipped with this arsenal, he embarked on new worlds with his first numbered symphony and confidently entered the musical territory that was declared most important to him: that of the symphony.

Under the direction of Christoph Spering, Das Neue Orchester presents two symphonic endeavors that prove to be milestones in the development of the genre and, therefore, worthy of the great example set by their creators.

Program:

Ludwig van Beethoven (1770–1827)
Overture in C minor to Heinrich Joseph von Collin's tragedy Coriolan, op. 62 (1807)

Johannes Brahms (1833–1897)
Symphony No. 1 in C minor, op. 68 (1862–76, rev. 1877)

– Intermission –

Ludwig van Beethoven
Overture in C minor to Heinrich Joseph von Collin's tragedy Coriolan, op. 62 (1807)

Anton Bruckner (1824–1896)
Symphony No. 1 in C minor, WAB 101 (1865–66) "Linz Version"

Line-up:

Das Neue Orchester
Christoph Spering | Conductor

How to Take Back the Future - Reading with Rudi Anschober

2040: Our lives have improved. A seemingly curious claim in the face of the many crises we are experiencing in the present. However, Rudi Anschober shows in his equally hopeful and realistic narrative of the future: We can make it happen. Anschober outlines the course of action needed in the next crucial years. Every day offers new opportunities for this: to explore new paths, to develop new strategies, to usher in a major turning point. Or, in the words of Oscar Wilde: Progress is merely the realization of utopias.

Therefore, Anschober is convinced: It is not a time for resignation, it is never too late for the dream of change. This vision, based on science, facts, and optimism, shows what a good life can look like with climate change - and how it can become a reality. Clear-eyed, facing reality, and encouraging. A book that we all need.

Rudi Anschober, born in 1960 in Wels, was a teacher and journalist, later serving as a longtime State Councillor for Climate Protection and Integration in Upper Austria. From January 2020 to mid-April 2021, he was the Minister of Social Affairs and Health in the turquoise-green Austrian federal government. In 2022, his bestseller Pandemia. Insights and Prospects was published. Since stepping away from party politics, Rudi Anschober has been active as a sought-after speaker, author, and consultant.

Two Choir Concerts in the Old Cathedral

Anton Bruckner explicitly saw himself as a "symphonist" and sought recognition as such, but it wasn't until the mid-1880s, when the success of Symphony No. 7 in E major finally led to increased interest in his symphonic work, that he was primarily perceived by the public as a famous organ improviser and composer of successful sacred music. This includes not only his large masses or the Te Deum, but also a variety of liturgical works created over a period of around 50 years for various occasions and diverse instrumentations.

With two purely, yet extraordinarily varied Bruckner programs, the Tenebrae Choir founded in 2001 by Nigel Short and still led by him today, one of the world's leading vocal ensembles, delves into this repertoire and presents over two consecutive evenings in the Old Cathedral the entire sacred a cappella choral work of the jubilarian, accompanied by organ (or piano) and/or trombone. In addition to popular motets like the Ave Maria, "Christus factus est," or "Locus iste," one can also hear some lesser-known pieces worth discovering, and some rarities to uncover, including the two responsories "Ecce quomodo moritur justus" and "Tenebrae" by Franz Joseph Aumann – who served as Regens Chori at St. Florian Abbey from 1755 until his death in 1797 – to which Bruckner added a three-part trombone setting in 1878.

Program:

Anton Bruckner (1824–1896)

“Pange lingua.” Hymn in C major for four-part mixed choir a cappella, WAB 31, No. 1 (1835–37)
“Tantum ergo.” Hymn in B major for four-part mixed choir and organ, WAB 41, No. 1 (1846)
“Ave Maria.” Offertory in F major for seven-part mixed choir a cappella, WAB 6 (1861)
“Ave Regina coelorum.” Marian antiphon for unison voices and organ, WAB 8 (circa 1886)
“Asperges” in F major for four-part mixed choir a cappella, WAB 4 (1843–44)
Missa in F major without Kyrie and Gloria (for Maundy Thursday = “Christus factus est” [I]) for four-part mixed choir a cappella, WAB 9 (1844)
Heart of Jesus Song in B major for soprano, tenor, and bass solo, four-part mixed choir and organ, WAB 144 (around 1845/46?)
Song of Mourning (I) in E flat major for four-part mixed choir a cappella, WAB 47, No. 1 (1852)
At the Grave in F minor for four-part men's choir a cappella, WAB 2 (1861)
“Ecce quomodo moritur justus.” Responsory in G minor for four-part mixed choir a cappella by Franz Joseph Aumann (1728–1797) with trombone setting by Anton Bruckner, WAB add 265 (1878)
“Os justi.” Gradual in Lydian mode for four to eight-part mixed choir a cappella, WAB 30, No. 2 (1879)
“Inveni David” (II) in Lydian mode for unison voices and organ, WAB 20 (1879)
Psalm 22 in E flat major for soloists, four-part mixed choir and piano, WAB 34 (around 1852)

– Intermission –

Anton Bruckner

“Tantum ergo.” Hymn in D major for four-part mixed choir a cappella, WAB 32 (1843)
“To You, Lord, I Will Submit.” Chorale in A major for four-part mixed choir a cappella, WAB 12 (around 1844/45)
“Tantum ergo.” Hymn in D major for five-part mixed choir and organ, WAB 42, No. 1 (1846)
“Ave Maria” in F major for contralto and organ, WAB 7 (1882)
“Tantum ergo.” Hymn in A flat major for four-part mixed choir and organ, WAB 41, No. 2 (1846)
“O Sweet Jesus Child.” Song in F major for solo voice and organ, WAB 145 (1845/46)
Missa in D minor without Gloria [and Credo] (“Kronstorfer Messe”) for four-part mixed choir a cappella, WAB 146 (1844)
Renunciation. Cantata in B major for soprano or tenor solo, four-part mixed choir and organ (or piano), WAB 14 (around 1851)
“Tantum ergo.” Hymn in A major for four-part mixed choir and organ, WAB 43 (1844 or 1845)
Obituary in C minor for four-part men's choir and organ, WAB 81a (1877)
“On that final night.” Chorale in F minor for solo voice and organ, WAB 17, No. 1 (1848)
“On that final night.” Chorale in F minor for four-part mixed choir a cappella, WAB 17, No. 2 (1848)
“Tantum ergo.” Hymn in B major for four-part mixed choir a cappella, WAB 41, No. 1 (1846, revised 1888)
“Deliver me.” Responsory in F minor for five-part mixed choir, three trombones and basso continuo (cello and organ), WAB 22 (1854)

Performers:

Tenebrae Choir
James Sherlock | Organ
Nigel Short | Conductor

Moderation by Stefanie Jaksch
Zitronen
August Drach grows up in a house on the outskirts of the village, which is both hell and paradise. Disappointed in himself and in life, the father abuses his son, reserving his tenderness only for the dogs. August finds solace in his mother, who lovingly cares for him. But when the father leaves the family, the mother's affection changes: she secretly mixes medication into August's food, weakens the child, makes him sick; she hopes to gain attention and admiration from taking care of him. Years later, August finally manages to break free from his mother's clutches, to live an independent life, to experience first love. But how does an adult learn to solve the puzzle of a childhood where cruelty and love are inseparably intertwined? How can he break the cycle of lies and deceit? And what happens when this person, years later, dares to return to the origin of their pain?
In powerful language, using gripping images and episodes, Valerie Fritsch tells in her new novel of the enormity of a love that renders one helpless and weak, holding the other in mental and physical dependence. Escape is not provided for unless at the price of becoming guilty oneself.

Leyya are back. A sentence that winks into motion. With their new song "Half Asleep," the indie-pop band consisting of Sophie Lindinger and Marco Kleebauer showcases a new kind of honesty and openness and shares the experience of how healing it can be to come back to oneself.

Back to the beginning, or at least a re-turn: What started in 2010 in Eferding, Upper Austria, as a small pebble rolling between shoe soles on the asphalt of a garage, quickly evolves into a self-runner. In the following years, a duo project emerges—characterized by mutual exchange—and a sound that in the 2010s is somewhat or more of a novelty in the European music scene.

With "Superego," they convince an international audience beyond the borders of their homeland; the small pebble starts rolling. First concerts follow, the single "Butter" (2016) teases new musical impacts, everything happens quickly: "Spanish Disco" (2016) is followed by "Sauna" (2018), two Amadeus Music Awards (2017 & 2018), and the UK Music Video Award (2018). In between, Leyya found themselves as the first Austrian band among the top 10 most booked newcomers in the annually published "European Talent Exchange Program ETEP" list.

Save to say: Leyya made it! International success: Check. The duo tours, plays at small venues and even the biggest festivals, and is highly praised by critics. In 2021, Leyya released their EP "Longest Day of my Life," addressing depression, melancholy, and mental overwhelm, followed by the double single "Someone/Fix it" (2022) along with the announcement that the band would not play any concerts for the time being.

What may initially suggest a negative tone, upon closer examination, is actually the exact opposite: "We have finally come back to ourselves and it feels right," says the duo, who, to emphasize the statement, produced almost an entire album within a week. This will also be experienced live on selected dates. So, Leyya are back and perhaps more at home with themselves than ever before.

Two Choir Concerts in the Old Cathedral

Anton Bruckner explicitly saw himself as a "symphonist" and sought recognition as such, but it wasn't until the mid-1880s, when the success of Symphony No. 7 in E major finally led to increased interest in his symphonic work, that he was primarily perceived by the public as a famous organ improviser and composer of successful sacred music. This includes not only his large masses or the Te Deum, but also a variety of liturgical works created over a period of around 50 years for various occasions and diverse instrumentations.

With two purely, yet extraordinarily varied Bruckner programs, the Tenebrae Choir founded in 2001 by Nigel Short and still led by him today, one of the world's leading vocal ensembles, delves into this repertoire and presents over two consecutive evenings in the Old Cathedral the entire sacred a cappella choral work of the jubilarian, accompanied by organ (or piano) and/or trombone. In addition to popular motets like the Ave Maria, "Christus factus est," or "Locus iste," one can also hear some lesser-known pieces worth discovering, and some rarities to uncover, including the two responsories "Ecce quomodo moritur justus" and "Tenebrae" by Franz Joseph Aumann – who served as Regens Chori at St. Florian Abbey from 1755 until his death in 1797 – to which Bruckner added a three-part trombone setting in 1878.

Program:

Anton Bruckner (1824–1896)

“Pange lingua.” Hymn in C major for four-part mixed choir a cappella, WAB 31, No. 1 (1835–37)
“Tantum ergo.” Hymn in B major for four-part mixed choir and organ, WAB 41, No. 1 (1846)
“Ave Maria.” Offertory in F major for seven-part mixed choir a cappella, WAB 6 (1861)
“Ave Regina coelorum.” Marian antiphon for unison voices and organ, WAB 8 (circa 1886)
“Asperges” in F major for four-part mixed choir a cappella, WAB 4 (1843–44)
Missa in F major without Kyrie and Gloria (for Maundy Thursday = “Christus factus est” [I]) for four-part mixed choir a cappella, WAB 9 (1844)
Heart of Jesus Song in B major for soprano, tenor, and bass solo, four-part mixed choir and organ, WAB 144 (around 1845/46?)
Song of Mourning (I) in E flat major for four-part mixed choir a cappella, WAB 47, No. 1 (1852)
At the Grave in F minor for four-part men's choir a cappella, WAB 2 (1861)
“Ecce quomodo moritur justus.” Responsory in G minor for four-part mixed choir a cappella by Franz Joseph Aumann (1728–1797) with trombone setting by Anton Bruckner, WAB add 265 (1878)
“Os justi.” Gradual in Lydian mode for four to eight-part mixed choir a cappella, WAB 30, No. 2 (1879)
“Inveni David” (II) in Lydian mode for unison voices and organ, WAB 20 (1879)
Psalm 22 in E flat major for soloists, four-part mixed choir and piano, WAB 34 (around 1852)

– Intermission –

Anton Bruckner

“Tantum ergo.” Hymn in D major for four-part mixed choir a cappella, WAB 32 (1843)
“To You, Lord, I Will Submit.” Chorale in A major for four-part mixed choir a cappella, WAB 12 (around 1844/45)
“Tantum ergo.” Hymn in D major for five-part mixed choir and organ, WAB 42, No. 1 (1846)
“Ave Maria” in F major for contralto and organ, WAB 7 (1882)
“Tantum ergo.” Hymn in A flat major for four-part mixed choir and organ, WAB 41, No. 2 (1846)
“O Sweet Jesus Child.” Song in F major for solo voice and organ, WAB 145 (1845/46)
Missa in D minor without Gloria [and Credo] (“Kronstorfer Messe”) for four-part mixed choir a cappella, WAB 146 (1844)
Renunciation. Cantata in B major for soprano or tenor solo, four-part mixed choir and organ (or piano), WAB 14 (around 1851)
“Tantum ergo.” Hymn in A major for four-part mixed choir and organ, WAB 43 (1844 or 1845)
Obituary in C minor for four-part men's choir and organ, WAB 81a (1877)
“On that final night.” Chorale in F minor for solo voice and organ, WAB 17, No. 1 (1848)
“On that final night.” Chorale in F minor for four-part mixed choir a cappella, WAB 17, No. 2 (1848)
“Tantum ergo.” Hymn in B major for four-part mixed choir a cappella, WAB 41, No. 1 (1846, revised 1888)
“Deliver me.” Responsory in F minor for five-part mixed choir, three trombones and basso continuo (cello and organ), WAB 22 (1854)

Performers:

Tenebrae Choir
James Sherlock | Organ
Nigel Short | Conductor

Bruckner's Symphonies in Original Sound
Appropriation

Anton Bruckner's symphonies are undisputed masterpieces of the 19th century. We have become accustomed to hearing them performed on modern instruments whose sound does not correspond to the intentions of their creator. Bruckner wrote for string instruments with gut strings, which sound softer and are more mixable, and from 1868 specifically for Viennese woodwind and brass instruments, whose colors were different from those we know from today's common instruments. The result is a completely different overall sound that presents Bruckner's music in a new light. For the first time in the world, during the International Bruckner Festival Linz 2024, all eleven of Bruckner's symphonies will be performed in their original sound, an exploration in eleven concerts that can only be heard as a cycle at the Brucknerhaus Linz and exclusively in Austria. The symphonies are always performed in their original version, the version Bruckner originally intended for each work, still unaffected by the reactions of his contemporaries. They are combined with compositions that owe their creation to a similar impulse or were of exemplary importance to Bruckner, and will be played by eleven of the most renowned original sound orchestras in Europe under the direction of famous conductors. A unique listening experience that only the Bruckner city of Linz has to offer in the Bruckner Year 2024.

PROGRAM
Richard Wagner (1813–1883)
A Faust Overture in D Minor, WWV 59 (1839–40, rev. 1843–44 & 1855)

Five Poems for Female Voice and Orchestra ("Wesendonck Lieder"), WWV 91 (1857–58, 1893) [orchestrated by Felix Mottl (1856–1911)]

– Intermission –

Anton Bruckner (1824–1896)
Symphony No. 3 in D Minor, WAB 103 (1872–73) "Version 1873"

ENSEMBLE
Kate Lindsey | Mezzo-Soprano
Anima Eterna Brugge
Pablo Heras-Casado | Conductor

Twelve years is quite a long time, but then again not really, considering that children are born, relationships come and go, pandemics and wars break out, careers are pursued - and songwriting can be complicated. After all, it took Tobias Poetzelsberger twelve years to present a new album. Long in calendar time, short in feeling. Hello, Life! This life is now the subject of "Prudence," the new work of the native Upper Austrian. It is a collection of songs that have been created in these twelve years. And they mark a transformation: moving away from the previous band name "The More Or The Less," on the one hand, towards a broader musical color palette. Of course, we are still fundamentally talking about folk-pop, which can be reminiscent of Glen Hansard as well as Fleetwood Mac or Gregory Alan Isakov. But compared to the previous albums "We, the people" (2009) and "Keep Calm" (2012), we hear more drums, more drive, more shades in the arrangement, much sounds more open and grander. The campfire guitarist of the past has grown up. More is more, at least sometimes. Because it can be said: some of the strongest songs we know from Poetzelsberger are gathered here: The single "Carry you," that pops and propels and at the same time engages in a loving examination of fatherhood. Or "Play it cool," this gem with a delicate bossa-nova feeling that discusses a serious topic in its lightness, namely dealing with one's own failures. Thematically related, equipped with a world-spanning chorus: "Old man’s heart." Then "Fool on the hill," the song that clearly addresses self-proclaimed pandemic experts and evolves from a delicate duet into a piece full of drive and feeling. And yes, it may not be unintentional that the Beatles fan Tobias Poetzelsberger references both song and album titles to the Fab Four. That’s where it all comes from in the end. But "Prudence" also means more. Poetzelsberger wants it to be translated as "Prudence," because: "The world is currently lacking this tremendously. Gazing at each other, showing more openness or even leniency towards others. And additionally, a cautious process with one's own soul and state. Because as people age, they also carry more with them." Perhaps an attitude that is partly fueled by Poetzelsberger's bread-and-butter job as a TV producer, because delivering bad news is not always pleasant. But let's focus on the good news: This album is excellently produced, Mastermind Niklas Apfel (also known from OEHL) has once again done a great job. Warm, clear, and nuanced, these nine songs sound. Or, as Tobias Poetzelsberger once stated as the band motto: "It’s music to make your heart shine."

Rolf Miller's 8th program! The definitive breakthrough came with "Kein Grund zur Veranlassung" and "Tatsachen" - with "Primär" and "Obacht" the brilliant satirist not only builds on his success, but also reaches an even larger audience - and with "If not when, then now" Rolf Miller will undoubtedly once again achieve: gracefully stumbling past the elephant in the room. Because that's his character: stubborn as a sack of cement - which can only be allowed thanks to his humor. Magnificently ignorant, vitally dull, and completely half-knowledgeable.

As always, the comedian stoically embodies the rock in the surf, confidently looking away, saying everything and absolutely nothing important on important topics; and of course, noticing everything but not his own failures. The more everything collapses around him, the more we can't believe how this rooster doesn't realize what's happening. "He simply doesn't notice it," one would say in real life. Thankfully, this dangerously silly vehicle remains on a stage.

"Konträrfaszination" is what Roger Willemsen once said: the observer may look down on the jungle camp and take pleasure in it. In contrast to the perpetrator. Miller manages the "narrow balancing act", as he would mistakenly call it; presenting his character on one hand, but also reflecting our own failures on the other hand; fortunately with his registers of only slightly exaggerated satire, with the exact lightness that we know from him - and therefore we don't immediately notice how he at least stuns the elephant: "... if not when, uh then ... now ... so uh ... in terms of the thing ... practically ..." It is not enough to not think, one must also be unable to express it. Part 8!!!