#dieter hermann

[rwpohl]

männer ohne bart, rainer simon 1971

[mycstilleblog]

"Richtigstellung!" von Michael Ballweg, Ralf Ludwig - Rezension

Erinnern Sie sich noch? Wir Menschen sind ja bekanntlich ziemlich vergesslich. Auch wenn wir alle nicht Olaf Scholz heißen und einen auf Cum und ex machen. Drum noch einmal, um die Erinnerung(en) wachzurufen: «Die drei Jahre Corona-Zeit waren düster und beängstigend. Nicht nur weil man uns seitens der Regierung und ihr als servile Komplizen gedient habende Medien – die auch noch Staatsknete…

[schibborasso]

INFRArot #1 by DeePee (Dieter Hermann), 1983

[personal-reporter]

Le grandi auto: Golf GTI

Uno delle auto più amate di sempre, per il design semplice  e perfetto al tempo stesso… Il progetto della Volkswagen Golf GTI fu avviato negli anni Settanta da Anton Konrad, Responsabile Ufficio Stampa e P.R. della Volkswagen, anche se l’idea di un modello sportivo della Golf  non era molto ben vista, perché si temeva fosse in grado di incoraggiare comportamenti pericolosi al volante. Così Konrad invitò quattro esperti della Volkswagen a casa sua che iniziarono a collaborare al progetto fuori dall’orario d’ufficio e nei weekend ed erano il Responsabile del Progetto Golf Hermann Hablitzl, l’esperto di Telai Herbert Horntrich, l’ingegnere dello Sviluppo Alfons Löwenberg e Horst-Dieter Schwittlinsky del Marketing, poi si aggiunsero lo specialista d’Interni Jürgen Adler, Gunther Kühl del Motorsport ed Herbert Schuster, nominato intanto Responsabile per lo Sviluppo. Il giugno 1976 vide l’avvio della produzione in serie della prima Golf GTI,  un’auto compatta e leggera, con un motore potente e un assetto sportivo. Nel 1983 arrivò l’edizione speciale Pirelli equipaggiata con il 1.8 da 112 CV e resa celebre dai cerchi in lega con i caratteristici fori a forma di P che montavano appunto pneumatici Pirelli e anche l’interno era d’impatto con tessuto tartan a quadri per la fascia centrale dei sedili sportivi neri, cielo dell’abitacolo nero e pomello del cambio a forma di pallina da golf. Un anno dopo fu il momento della seconda generazione della Volkswagen Golf GTI, che montava il 1.8 da 112 CV, che aveva equipaggiato gli ultimi esemplari della prima generazione, poi con diversi motori di potenza compresa tra 107 e 160 CV. Nel 1991 ci fu la terza generazione della Volkswagen Golf GTI, in produzione fino al 1997, dove il 2.0 benzina a due valvole per cilindro da 115 CV, disponibile al lancio, venne sostituito dopo circa un anno con un 16V che erogava 150 CV. Poi nel 1996, vent’anni dopo a GTI originale, venne presentato il modello celebrativo GTI Edition 20, caratterizzato dai cerchi in lega BBS e disponibile in tre motorizzazioni, 2.0 115 CV, 2.0 16V 150 CV e, per la prima volta, un 1.9 TDI da 110 CV capace di far accelerare la Golf GTI da 0 a 100 km/h in 10,3 secondi e di raggiungere i 193 km/h di velocità massima. La quarta generazione GTI fu introdotta nel 1998 ed è rimasta in produzione fino al 2003, con i cerchi in lega BBS, i fari posteriori bruniti e, all’interno, i sedili sportivi anatomici della Recaro. Nel 2004 debuttò la quinta generazione della Volkswagen Golf GTI, in produzione fino al 2008, che richiamava in modo deciso gli elementi della prima GTI, come il profilo rosso attorno alla calandra anteriore e il rivestimento dei sedili a quadri. La sesta generazione della Golf GTI arrivò nel 2009 e rimase in produzione fino al 2012 ed era equipaggiata con il differenziale a bloccaggio elettronico trasversale XDS di serie. Nel 2012 debuttò la prima Golf GTI Cabriolet, dotata di capote elettrica in tessuto, che copriva lo 0-100 km/h in 7,3 secondi e raggiungeva i 237 km/h, oltre alla settima generazione GTI in due diverse potenze. All’inizio di marzo 2020 fu presentata l’ottava generazione della Golf GTI, spinta dal 2.0 TSI da 245 CV, con all’interno il tasto start/stop dell’avviamento dotato di una luce rossa, il volante sportivo con comandi touch e la leva shift-by-wire del cambio DSG dotato di curve caratteristiche, oltre all’interfaccia totalmente digitale Digital Cockpit, così come i servizi We Connect che introducono a bordo streaming, web radio e ulteriori funzionalità online. Read the full article

[docrotten]

THE HEAD (1959, DIE NAKTE UND DER SATAN) – Episode 164 – Decades Of Horror: The Classic Era

“The professor is a genius and it’s a pleasure to work with him. But he’s now beginning some experiments that, in my opinion, … exceed certain ethical limits.” Ethics are such a bother, don’t you agree? Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, Doc Rotten, and Jeff Mohr – as they take in Die Nackte und der Satan (1959), also known as The Head, a German film neck-deep in head transplants.

Decades of Horror: The Classic Era Episode 164 – The Head (1959)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

A scientist invents a serum that keeps a dog’s head alive after its body dies. When the scientist dies of a heart attack, his crazed assistant cuts off his head and, using the serum, keeps the doctor’s head alive and forces it to help him on an experiment to give a hunchbacked nun a new body.

  Writer/Director: Victor Trivas 

Music: Willy Mattes (composer); Erwin Lehn (arranger/conductor)

Weird Lab Music: Lasry-Baschet (Baschet Brothers, Yvonne and Jacques Lasry)

Cinematographer: Georg Krause

Art Director: Hermann Warm 

Makeup Department: Karl Hanoszek, Susi Krause (as Susanne Krause)

Selected Cast:

Horst Frank as Dr. Brandt – alias Dr. Ood

Karin Kernke as Schwester Irene Sander

Helmut Schmid as Bert Jaeger

Paul Dahlke as Police Commissioner Sturm

Dieter Eppler as Paul Lerner

Kurt Müller-Graf as Dr. Walter Burke

Christiane Maybach as Stella – alias Lilly

Michel Simon as Prof. Dr. Abel

Osman Ragheb as Franz – the Bartender (uncredited)

Maria Stadler as Mrs. Schneider (uncredited)

Barbara Valentin as Animierdame und Tänzerin in der ‘Tam Tam’ Bar (uncredited)

This little German sci-fi horror B-movie may have slipped past many a monster kid’s radar. In the film, one crazed scientist gets one-upped by an evil scientist who takes not only the first scientist’s life – reducing his life to a head on a plate – but also uses his discoveries to perform some head-swapping shenanigans. This film is strange, bizarre, weird, silly… yet, oddly entertaining. The Grue-Crew has so many thoughts to share regarding The Head (1959).

At the time of this writing, The Head can be found streaming from the Classic Sci-Fi Movie Channel, the Classic Horror Movie Channel, Tubi, and Dark Matter TV. The film is currently available on disc as The Head (1959) (Die Nackte und der Satan) [Blu-Ray, Reg.A/B/C Import – Germany] from Anolis. 

(NOTE: Currently, all of the streaming options are the American version with roughly five minutes cut from the runtime, music substitutions, and English dubbing as the only language option. The Blu-ray has German and English language and subtitle options, the original music, and a commentary by Tim Lucas. The German language version delivers far more emotional impact to the viewer while the English dubbing comes off as a bit flat with awkward and simplified phrasing. And since the music is one of the attractions for me, the Blu-ray is a far better experience, although a bit pricey. – JLM)

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by Doc, is The Revenge of Frankenstein (1958), Peter Cushing as the Baron in a Hammer FIlm? And of course, Michael Ripper? Yay!

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

[poste-aerienne]

How to make Graphic Novels

The renowned Verlag Hermann Schmidt has now published "Von der Idee zur Graphic Novel - Erzählen in Bildern". In fact, a guide on how to make graphic novels, asking (and answering) questions like "Where do the stories come from?", "How do you get your own style?" and "How do you find your audience - and a publisher?". Journalists are already calling the book a "standard work“. Not bad. In addition to many well-known authors and illustrators of graphic storytelling, the book naturally also includes publications by artists from Poste Aérienne!

Best, Dieter

[fabiansteinhauer]

Überwachungsbilder

1.

Kontrolle und Zufall in der Cam Era, so schön und witzig nennt Thomas Hermann im Untertitel seinen Beitrag zur der Schriftenreihe Digitale Bildkulturen. Die Polizeistation Idstein hat eine Überwachungskamera, deren Bilder wurden letztens gelöscht, das fanden dann alle Verantwortlichen bei der Polizei schade bis bedauerlich, aufregend bis ärgerlich. Aber solche Bilder lassen sich rekonstruieren, oben sieht man einen Teil der Rekonstruktion. Das machen dann andere als die Polizeistation Idstein. Ooops, na haben wir ja gerade nochmal Glück gehabt und müssen nicht mehr bei Eyal Weizman und forensic architecture anrufen. Was man Überwachungskamera nennt, entpuppt sich in solchen Momenten als Unterwachungskamera, wie es luhmannistisch heißt.

2.

Die Reihe zu den Digitalen Bildkulturen vermehrt noch einmal die Thesen von der Bildvermehrung, noch einmal sollen die Bilder schon wieder wichtiger geworden sein. Das erinnert mich ein bisschen an Dieter Grimms Thesen zur Geschichte der Souveränität, wenn man da nicht genau aufpasst, dann verpasst man in den Wiederholungen des Auf- und Abstiegs, vor allem der Wanderschaften und der Pendelei den genauen Zeitpunkt und den Ort, seit dem und wo es Souveränität wirklich gab und wann und wo sie wirklich verschwunden ist.

Also jetzt zumindest soll der iconic turn wirklich stattgefunden haben, so die These der Herausgeber. Die These hat was, vor allem die Erklärung: durch Digitalisierung seien Bilder nicht mehr nur Bilder, sie würden nichtmehr nur zeigen und (ab-)bilden, sondern zum Beispiel auch zählen. Die Wende hat die Bilder zu wendigen Objekten gemacht.

Man kann diese Formulierung ("Iconic Turn") zweifach verstehen. Entweder versteht man Iconic Turn als Begriff für ein historisches Datum, an dem sich die Geschichte den Bildern zugewendet hätte, so verstehen vielleicht auch Kohout und Ullrich den Begriff. So verstehen ihn viele, auch Röhl zum Beispiel. Oder man versteht ihn als Begriff für eine Kulturtechnik, die mit Hilfe von Bildern etwas wendet, also als Begriff für ein Wenden, Kehren, Drehungen oder Kippen, die durch, an, mit und/oder gegen Bilder vollzogen werden.

Nehmen wir an, jemand wendet in einer Pfanne einen Pfannkuchen vorbildlich, dann wäre diese Wendung im zweiten Sinne ein iconic turn. Nehmen wir an, jemand stülpt seinen Mantel um, und das auch noch mit Augendienerei, also so, als ob Leute zuschauen, dann wäre auch das ein iconic turn. Nehmen wir an, eine Frau dreht sich um, blickt Dich an, während Du sie anblickst: Das wäre unbedingt ein iconic turn, aber nicht unbedingt ein historisches Ereignis.

Das eine Verständnis schließt das andere nicht aus. Man kann Kalender darüber führen, an welchen Tagen jemand bildlich etwas wendet, zeichnet man zur Zeit noch den Ort auf oder die involvierten Personen und Dinge, dann führt man schon Protokoll solcher Bildwendungen, Bilddrehungen, oder Bildkippen, die durch die Zeit gehen. Manchmal erzählen Leute eine Geschichte und drehen dann in der Geschichte etwas mit einem Bild, dann übersetzen sie vielleicht mit einem iconic turn den iconic turn so, wie die meisten iconic turn verstehen, nämlich als Zeitenwende (Röhl), die durch Bilder, in Bildern und mit Bildern und für Bilder sich ereignet haben soll.

Nur, weil Texte behaupten, die Bilder seien jetzt wirklich immer wichtiger geworden, sind die Texte nicht schlecht. Manche sind sogar gut. Der Text von Thomas Hermann ist sehr gut, auch weil er nochmal die Absurdität der Machtphantasien so schön ausbreitet, wie in der Bildgeschichte von Gottes Auge, das zwar alles sieht, aber nichts verhindern kann. Dafür braucht Gott schon Augendienerei. Will er bestimmen, braucht er eine Stimme. Hermann spricht von wohlklingenden Versprechen, die Macht der Bilder ist eines davon.

Nicht, dass es keine Macht gäbe, nur sie ins Bild zu verlegen ergibt ein Bild, das nicht jeden hypnotisiert. Man muss sich Bilder vielleicht wie Autoren denken. Sagt man ihnen, die seien sehr mächtig, dann ärgern sie sich so, wie wenn man Autoren sagt, ihre Texte seien sehr gut. Das könnte nämlich eine sehr hohle Beschreibung sein.

3.

Der Fall in Idstein ist nicht sehr gut. Er ist zu verfolgen.

[genevieveetguy]

Johanna D'Arc of Mongolia, Ulrike Ottinger (1989)

[banffcentrelibraryandarchives]

Artists’ Books for the week of February 3rd, 2020

Gesammelte Werke Band 9: stupidogramme by Dieter Roth; Stuttgart : Edition Hans

Automatic ambiance by Elzze Wellze- Seattle 1979.

How to liberate Marx from his eurocentrism : notes on African/Black marxism = wie man Marx von seinem Eurozentrismus befreit : Anmerkungen by Salah M. Hassan- Ostfildern : Hatje Cantz, 2012.

Stadt leben = City life Rosa Lachenmeier- Basel Switzerland : BookArt, 1996

Kunstlerbucher buchobjekte By Hermann Havekost- Oldenburg : Bibliottheks- und informationssystem, Der Universitat Oldenburg, 1986.

[bauerntanz]

Lookentor verkauft

Lookentor verkauft. Das ist nicht gut für #Lingen und, dass es so gekommen ist, hat sehr persönliche Gründe.

Im Rahmen einer Pressekonferenz haben gestern das Investorenehepaar Hermann und Anne Klaas bekannt gegeben, ihre Gesellschaftsanteile an der Eigentümerin des Lookentor an die Emsländische Volkbank eG verkauft zu haben. Die Lookentor-Passage gilt mit ihren 50 Läden auf 15.000 m² Verkaufsfläche als bedeutender Standort im Emsland.  Das Shopping-Zentrum war nach acht Jahren Vorbereitungszeit im März…

[renest]

Der Turm. / 19.01.2018

[the-head-in-the-clouds]

Recs mas 2017 & 25 days of booklr: a non-fiction book

It’s been several years since Dieter Hermann Schmitz moved from Germany to Finland. He has a Finnish wife and with her two wonderful children, but still doesn’t feel completely finnish and ‘arrived’ in his new homeland. This is the story about his seven-point-plan to finally become a real Finn.

[mact-cact]

VISIONÄRE SCHWEIZ (Aloïse (Aloïse Corbaz), Esther Altorfer, Adolphe Appia, Karl Ballmer, Karl Bickel, Arnold Böcklin, Christian Boltanski, Johann Michael Bossard, Gilbert Clavel, Max Daetwyler, Martin Disler, Henry Dunant, Niklaus von Flüe, Johann Heinrich Füssli, Alberto Giacometti, Augusto Giacometti, Werner Hertig, Ferdinand Hodler, Franz Huemer, Ettore Jelmorini, Paul Klee, Emma Kunz, Richard Paul Lohse, Bernhard Luginbühl, Ingeborg Lüscher, Annemarie von Matt, Mario Merz, Marisa Merz, Otto Meyer-Amden, Heinrich Anton Müller, Robert Müller, Auguste de Niederhäusern-Rodo, Hermann Obrist, Meret Oppenheim, Walter Peter, Markus Raetz, Dieter Roth, Ernst Georg Rüegg, Armand Schulthess, Louis Soutter, Daniel Spoerri, Walter Arnold Steffen, Robert Strübin, Sophie Taeuber-Arp, Jean Tinguely, Niele Toroni, Albert Trachsel, Félix Vallotton, Ben Vautier, Bruno Weber, Ilse Weber, Walter Kurt Wiemken, Eva Wipf, Caspar Wolf, Adolf Wölfli) A cura di Harald Szeemann Testi di Harald Szeemann, Theo Kneubühler, Aurel Schmidt. Verlag Sauerländer Aarau, 1991. ISBN 978-3-7941-3437-0 https://www.instagram.com/p/Ck0lCnno1v_/?igshid=NGJjMDIxMWI=

[socheritage]

Dear all, We are happy to announce that ”Socialist Modernism in Germany”, the second photo album of @_BA_CU 's planned series, is available in a second publication in 800 copies. The photo album includes landmarks of socialist modernist architecture in Germany – from 1955 to 1990. B.A.C.U. Association explains socialist modernist tendencies, it presents – in color photographs – a functional image of the buildings and their often original elements that synthesize local culture and traditions, while bringing you up to date with their current state of conservation. The 71 landmarks included in this volume have been organized by function, into five sections. The book contains the authors’ view on Eastern German modernist architecture. Print run 800 Pages 194+ 1 Spread/ GERMANY-SOC MOD Map German and English Size 26×28.5 cm Weight 1.25 kg Designed and published by @_BA_CU Association Those who are interested in #SocialistModernism are able to order the book on @UrbanicaGroup distributor page, (Link in our profile) ; link: http://urbanicagroup.ro/ushop/ or AMAZON: https://www.amazon.com/s?me=A33QJE9SPOCVM4&marketplaceID=ATVPDKIKX0DER by selecting the Photo album from among the books listed. (Shipping worldwide) #SocialistModernism #_BA_CU 2 pic: S-Block (a.k.a. ”The Snake”), precast panel housing building in Lenin Square Berlin, Germany built in 1978 architects: Heinz Mehlan, Hermann Henselmann et al. 1 pic: Terraced high-rise apartment building in Kaulsdorf-Nord residential area Berlin, Germany built in 1985 architects: Peter Schweitzer, Wandgestaltung von Inge Jastram 3 pic: House of the Teacher Berlin, Germany built in 1964 architect: Hermann Henselmann 5 pic House of Travel Berlin, Germany built in 1971 architects: Erich John, Hans Joachim Kunsch 7 pic Konsument-Warenhaus Brühl, Leipzig, Germany, built between 1966/68, Architect: G.Walther, N. Bohme, L.Graf, P.Dick, S.Kurth, E.Winzer (aluminum elements were designed between 1967-68 by Harry Müller ) 9 pic Pavillon at Fernsehturm's base, (Berlin TV-Tower - Fernsehturm), Alexanderplatz, Berlin, Germany, constructed between 1965 and 1969, Architect: Hermann Henselmann, Jörg Streitparth, Fritz Dieter, Günte https://www.instagram.com/p/CaZ2AUzM_96/?utm_medium=tumblr

[peashooter85]

Luxury shotgun crafted by L. Dieter of Munich, from the property of Prince Ludwig Ferdinand of Bavaria, late 19th century

from Hermann Historica

[pricescigar]

Dietrich Wolff

Born: 1st January 1921

Deceased: 1st December 1979

Age: 58

Marital Status: Widow

Born: 4th January 1921

Height: 6'6 (198cm)

Nationality: German

Gender: Male

Hair colour: Black

Parent(s): Ludwig Wolff & Ingrid Wolff

Brother(s): Zelig, Blaz, Frederick

Eye colour: Green

Nicknames: The Wolff, The monster of Berlin, Wolff & Dieter

_________________________________________

Personality: Prone and known to his unpredictable fits of rage, violence and anger he inspired and speaded fear all throhgh out Berlin, America & Russia itself. Perseus most loyal man till the day he died.

Likes: Working for Perseus, collecting weapons, making arms deals, people obeying him, using different methods of torture, playing the piano, smoking, drinking alcohol

Dislikes: Captialists, Russell Adler, The CIA, anyone interfering with his private life, America

Goals: Kill Russell Adler & Assist Perseus in winning (Failed)

_________________________________________

Backstory:

The oldest out of four brothers, the big brother who would protect his younger siblings right? A man of high expectation, a figure to his younger siblings. . . What could possibly go wrong in life hm?

The CIA speaks of this man fondly, very fondly. They mark him with the nickname no other as "The monster of Berlin." Lieutenant Dietrich Wolff, once a war Hero in the Second World War. With a deep dark secret like every other man, his great knowledge in the battlefield, taskmanship, weaponry, tactical measures. He was your man for the job on the front line of the battlefield.

Along side of his brothers, all being deployed to the Battlefield in the Second World War. Blaz, Zelig soon went missing after the second World War ended, their wearabouts and appearances may remain unknown. The younger brother, Frederick dying in the battlefield through artillery strikes.

In 1944, Dietrich had become interested in the Gestapo. Proving himself worthy, he quickly got a job in the headquarters along side with Hermann Freisinger and Jannick Richter; Clearly he was the second oldest amongst there. But it didn't affect him too much, he did his job. And did his job very well, and quickly became second head of the Gestapo.

Reuniting with his Cousin Ulrich in the Gestapo, he was relived to know his cousin was ok and safe.

After the Second World War, rumors sparked of the Spyring and the man Codenamed: Perseus his curiosity sparked, interested he decided to see what all the fuss was about, after surrounding himself with the most powerful and well known people all of Russia— His deep connections, and aquatiences of no other than:

Jürgen Köhler, Stefan Müller, Klaus Schneider, Alphonso Krüger, Anton Volkov, Franz Kraus, Lev Kravchenko, Quasim Javadi, Arash Kadivar, Imran Zahkaev and Anton Charkov.

Dietrich dubbed himself as "The Wolff." And made a name of himself in Vietnam, to which intrigued Perseus. And with enough convincing he waisly became a member, and right hand man of Perseus.

(He was honorably discharged by the German army,  as a Lieutenant and soon to be General. Since he hasn't done any harm to his soldiers, he still kept his title)

There he made a promise to Perseus he will get him his right hand. Even after getting honourably discharged he still secretly worked with the KGB and Perseus himself.

Around that time Mia was pregnant with Elvira at 20 years Old. The pregnancy was unexpected, as Dietrich never worn protection. So Mia had no other choice to marry Dietrich because Elvira would've been a bastard child. And Dietrich forced Mia to marry him, so they got married immediately in early March 1960.

In the space of five years, Mia knew what Dietrich was up to. And what he wanted to do with Elvira, out of anger, and spite. And not to let Elvira being taken away from him, he killed Mia when she was 22 in 1963 while he was 42 at the time.