#herbst 1998

[schwimmtagebuch]

Wollte mit ihm reden, aber er ist sofort weg gelaufen, ich sollte einmal zu ihm in die siebte Bahn schwimmen, denn es hat zu schneien begonnen! Bin ich deshalb so traurig, höre wieder Forever blue wie damals, als ich krank geworden bin und geglaubt habe, dass ich Adam nie wieder sehen werde. Heute hat es wieder geschneit, es war schon Viertel nach Eins, als ich im Wasser war, sah Adam schwimmen, nach ein paar Längen ist er aus dem Wasser gesprungen, ich war noch ganz weit oben, sah ihn winken, aber ich bin mit dem Zeitproblem nie fertig geworden, es wuchs und wuchs. Ingeborg Bachmann. Er hat Streckübungen gemacht, Entspannungsübungen, mit seinen Armen, ich habe ihm auch gewinkt, weiß aber nicht, ob er es gesehen hat, bin auf ihn zu geschwommen, er ist stehen geblieben, als er mich sah, habe ihn gefragt, ob er das sei, wieso? Ich sehe so schlecht, warum, weil ich myope bin, er lacht.

Dann hat er sich wieder darüber beschwert, dass die Menschen in seiner Bahn so langsam schwämmen und dass es immer mehr würden. Frag, ob sie eine eigene Bahn für dich auftun, er hat wieder gelacht. Dann ist er plötzlich ganz ernst geworden, hat an sich herunter geschaut, ich bin seinem Blick gefolgt und habe wieder seine süßen Zehen gesehen. Er hat mich wieder gefragt, ob ich mit der Dissertation weiter gekommen sei, habe ihn gefragt, wie es ihm bei der Prüfung ergangen sei, er hat mir erklärt, dass der Professor erst zu Weihnachten korrigiere, weil er so langsam sei, habe ihn gefragt, wer das sei, er hat mir den Namen gesagt und mit den Schultern gezuckt. Und dann: Ich bin schon fertig. Werde immer todtraurig, wenn er geht, aber das habe ich ihm nicht gesagt. Er ist verlegen geworden und hat na gut gesagt, wie ich immer, wenn ich nicht mehr weiter reden mag. Gestern war ich bei meiner Nachbarin essen und habe diese unsere Geschichte erzählt, Fritz, ein Freund von ihr, hat mich gefragt, ob ich ihm die Rechte für dieses Stück gebe, ich habe gesagt, dass es sehr schwer sei, wieder in die Kleider zu finden. Hat mir nicht mein Psychoanalytiker ununterbrochen erklärt, dass es das Ziel sei, sich auszuziehen und nicht sich anzuziehen? Aber was passiert, wenn du schon ausgezogen bist? Da gibt es ja gar nichts mehr zu tun….

The swimmer. Photo edited by Veniamin Kostitsin-Teterin

[mimijhozene]

Wer ist Mimi J. Hozene?

Mimi J. Hozene ist Filmregisseur*in und Drehbuchautor*in, geboren 1998 in Berlin. Hozene besuchte eine Europaschule. Von 2018 bis 2022 war Hozene Teil eines etwa 50-köpfigen Kollektivs, das sich künstlerisch-journalistisch mit der Gegenwart auseinandersetzt. Die jüngste filmische Arbeit wurde 2022 beim Dokfilmfestival Kassel gezeigt und für den Goldenen Herkules nominiert. Ab Herbst 2024 ist Mimi J. Hozene Artist in Residency im Filmhaus Basel, Schweiz.

[stivi-sahara]

Art - Party mit Pizza & Burger ..

wo kann man die besten Party´s feiern ... na auf oder bei den

Bahamas Inseln ..... by Stivi

20.05.2025

Art - Party with Pizza & Burgers ..

where can you celebrate the best parties ́ … well on or with the

Bahamas Islands ….. by Stivi

Disney Cruise Line wird im Juni diesen Jahres eine zweite Privatdestination auf den Bahamas eröffnen. Zur seit 1998 bestehenden Privatinsel Castaway Cay kommt die neue Privatdestination Lookout Cay at Lighthouse Point hinzu. Dort werden die Schiffe aus der Disney Cruise Line Flotte ab Juni 2024 regelmäßig auf ihren Karibik-Kreuzfahrten festmachen. 

Als erstes Disney Cruise Line Schiff wird die Disney Magic am 7. Juni 2024 Lookout Cay at Lighthouse Point anlaufen. In der Sommersaison 2024 wird die Privatdestination von Disney Magic und Disney Fantasy angesteuert. Ab Herbst 2024 kommt auch die Disney Dream regelmäßig nach Lookout Cay at Lighthouse Point. Die ältere Privatinsel Castaway Cay wird auch weiterhin von den Disney Cruise Line Schiffen genutzt. 

p.s. neues von Finland ... Mein Schiff 7 ist fertig und ist schon raus auf Probe fahrt ...

[craft2eu]

PAD: PARIS vom 05. bis 07.04.2024

Die 1998 ins Leben gerufene PAD war die erste Designmesse der Welt und meint auch nach 24 Ausgaben die führende Veranstaltung für internationale Designsammler zu sein. Die PAD bringt die besten internationalen und französischen Galerien für historisches und zeitgenössisches Design zusammen – und findet übrigens im Herbst jeden Jahres auch in London statt. Die PAD erkennt die ästhetischen…

[ladyaislinn]

In Dark City, einem Film, der teils Noir, teils Science-Fiction ist und vor zwei Wochen in die Kinos kam, spielt Sewell einen verwirrten Amerikaner, der neben der Leiche einer ermordeten Frau aufwacht und nicht weiß, wo – oder wer – er ist. Sewell sagt zwar, dass er den „seltsamen Stilmix“ in Dark City liebt, gibt aber zu, dass er Vorbehalte gegenüber seiner Rolle in Dangerous Beauty hat. Er glaubt, dass Marcos dunkle Seiten beim Schnitt verloren gegangen sind. Was Sewell wirklich am liebsten mag, sind Rollen, in denen er asozial, psychisch gestört und kriminell veranlagt sein muss. In Martha Meets Frank, Daniel and Lawrence, dessen Veröffentlichung bei Miramax für den Herbst geplant ist, spielt er einen ehemaligen Kinderstar, der Probleme damit hat, erwachsen zu werden. „Er ist ein Alkoholiker an der Grenze, Kettenraucher, Drogenkonsument, Frauenheld, bösartig, lügt, betrügt und bemitleidet sich selbst“, sagte Sewell glücklich. „Außerdem ist er extrem schlagfertig und witzig. Es hat mir wirklich Spaß gemacht, ihn zu spielen.“

~RS sun sentinel 1998

[carmenvicinanza]

Irmtraud Morgner

https://www.unadonnalgiorno.it/irmtraud-morgner/

Irmtraud Morgner è stata una scrittrice tedesca che ha utilizzato il genere fantasy e il recupero del mito per descrivere il reale.

In Italia è stata tradotta pochissimo e per questo resta ancora alquanto sconosciuta.

Nata a Chemnitz il 22 agosto 1933 in una famiglia di operai, dopo il diploma ha studiato letteratura a Lipsia. Dopo un periodo come assistente redattrice presso la rivista Neue Deutsche Literatur si è trasferita a Berlino dove, nel 1959, ha debuttato come scrittrice con Das Signal steht auf Fahrt.

Il suo libro del 1964, Rumba auf einen Herbst, censurato e pubblicato anni dopo è stato definito un documento di protesta contro la dottrina estetica e il controllo politico.

Nozze a Costantinopoli del 1968, coniuga lo sguardo realistico sul paese e la sua storia con una dimensione utopica che coinvolge la ricerca d’identità femminile, al di là dei confini tra passato e presente.

La consacrazione letteraria, che le è valsa l’appellativo di femminista della DDR, è avvenuta nel 1974 col romanzo Leben und Abenteuer der Trobadora Beatriz nach Zeugnissen ihrer Spielfrau Laura.

Il libro è la prima parte di una trilogia, di cui fa parte Amanda. Ein Hexenroman del 1983, il terzo capitolo, rimasto incompiuto, è uscito postumo, nel 1998 con il titolo Il Testamento eroico.

Temi centrali di questi scritti sono il divario tra aspirazione e realtà e la denuncia dei crimini della storia.

Miti e leggende si mescolano con nomi reali in una narrazione che pone al centro la dissonanza tra emancipazione, autocoscienza e realizzazione dell’identità femminile. Procedendo attraverso decostruzione e ricostruzione la scrittrice ha reinventato una sua mitologia. L’io viene frammentato, diviso, duplicato, moltiplicato in un gioco di specchi e rifrazioni, di cui ella stessa prende parte.

Nel 1977 ha fatto parte del consiglio esecutivo dell’Associazione degli scrittori.

Nel corso della sua attività ha ricevuto diversi riconoscimenti letterari, come il premio Heinrich Mann dell’Accademia delle Arti nel 1975, il Premio Nazionale della DDR nel 1977, il Premio Roswitha nel 1985 e il Kasseler Literaturpreis für grotesken Humor nel 1989.

Negli ultimi anni della sua vita ha tenuto una serie di lezioni in diverse università degli Stati Uniti.

È morta a Berlino il 6 maggio 1990.

[stanley-ballz]

Top "Die Ärzte Auflösungsmomente"

Platz 6 - Bela vs Sahnie Schon in der jungen Zeit der Ärzte kommt es zum ersten Mal zu größeren Problemen. Bela und Sahnie kommen vermehrt nicht klar und der Bassist beginnt, laut Aussagen der restlichen Ärzte, Bela aus der Band zu ekeln. Es gipfelt darin, dass Bela ihrem damaligen Manager ankündigt, die Band verlassen zu wollen. Der setzt sich für den Dialog ein und die Jungs raufen sich zusammen. Nicht zu denken, was sonst aus ihnen geworden wäre...

Platz 5 - Claudia hat keine Band Niedriger Platz, weil es nie ein konkreter Gedanke war, aber nach der Indizierung ihrer dritten und ersten Platte 1987 kommt es zu finanziellen Problemen und Existenzängsten. Laut Hagen war klar, dass sie vielleicht einfach nicht weiter machen würden. Es war weniger ein triumphales Ende als mehr ein Ersticken an ihrer Situation. Sie entschieden dann doch noch mal weiter zu machen und zu schauen, was passiert.

Platz 4 - Silvester statt Ärzte Eine lange Tradition der Ärzte - Ausbrennen. Nach dem Doppelalbum 'Geräusch' im Jahr 2003 folgt eine längere Tour. Bela litt in der Zeit an einem Burnout und die Tour machte der Band den Gar aus. Nach ihrem Ende war ganze zwei Jahre nichts von ihnen zu hören. Nur begann Bela nach Farin auch solo aktiv zu sein und beschührte damit Trennungsgerüchte. Tatsächlich beschloss die Band 2006 sich einen Traum zu erfüllen - an Silvester Open Air zu spielen. Und dann basierend darauf zu entscheiden, wie ihre Zukunft aussehen würde. So geschah es und in den ersten Minuten von 2007 beschenkten sie ihre Fans mit einer Ankündigung: Ein neues Album sollte schon im Herbst erscheinen. Nochmal die Kurve gekriegt.

Platz 3 - Unglückszahl 13 Zum Album 13 im Jahr 1998 gründeten die Ärzte eine eigenen Plattenfirma, um endlich alle Stränge in der Hand zu halten. Nur waren sie etwas übereifrig und häuften sich mit dem Ziel alles richtig zu machen eine zu große Menge Pressetermine und eine zu lange Tour auf. Gegen Ende gingen sie sich gehörig auf den Senkel. Laut eigenen Aussagen soll es auch hinter der Bühne mal gekracht haben. Deshalb, der altbekannte Satz im MTV-Interview: "Wir waren wirklich kurz davor uns aufzulösen." Tja. Vielleicht nächstes Mal.

Platz 2 - Auch nicht Jüngere Bandgeschichte! Wer Interviews zu 'Hell' angehört hat, wird dieser Erzählung nicht entkommen sein. Schon während den Aufnahmen zu 'auch' 2012 kam es zu Unstimmigkeiten, die bis in die folgende Tour reichten. Laut Farin haben sich er und Bela "richtig zerstritten" und redeten über Jahre kaum miteinander. Selbst ihr Biograph vermutete, dass es das Ende der Band sei, sie es nur nicht öffentlich verkünden würden. Bela ließ nicht locker und versuchte die Band zur Aussprache zu bringen. Farin hatte derweil mit der Musik abgeschlossen und seine Gitarren verscherbelt. Erst 2017, als Bela die anderen überreden konnte, auf einem Anti-Nazi-Festival in Jamel zu spielen, kam der Gedanke zurück, es nochmal zu versuchen. Als der Konten dann geplatzt war folgten Touren, Festivalauftritte und gleich zwei Alben. Und eine spürbare Freude, die die Band zurückbekommen hat.

Platz 1 - Nach uns die Sintflut Natürlich verdient auf dem ersten Platz - der Moment, in dem sie endlich die Reißleine zogen. 1988 verkünden die Ärzte ein letztes Album, eine letzte Tour und ihr dann folgendes Ende. Ein legendärer Moment. Laut Farin dachten sie schlicht, sie hätten alles erreicht, sie wären jung genug um neu anzufangen und es wäre schlicht das Überraschendste, was eine gerade wirklich erfolgreiche Band tun könnte. In ihrem Triumphzug durch Deutschland kippten reihenweise Teenager aus den Latschen bei dem Gedanken, dass alles vorbei sein sollte. Es gab eine Abschiedsendung im Fernsehen, ein legendäres Abschiedskonzert auf Sylt, bei dem sich auch ein gewisser Rodrigo Gonzalez herumtrieb und einen neuen Legendenstatus. Die Ärzte waren als Helden gestorben und Bela B schwor sogar noch Jahre später, erfolglos mit seiner Band und bereits mit dem Plan wohl bald beim Radio arbeiten zu müssen, dass es auch so bleiben sollte. Sie hatten sich selbst verewigt. Ach ja... und dann kam da dieser Brief.

[the-necessary-unnecessary]

A list of all the films, series and web series that have been recommended as hidden must sees during isolation and beyond. 

Note: I have divided them into films with happy endings or not, series that haven’t finished so the exact ending is unknown I have put an asterisk (*) next to

Note 2: the descriptions are a mixture of my own and of the reviews I was sent by anons

She gets the girl

A Date For Mad Mary, 2016 (needs a date for a wedding, more about her complicated reconnecting with friends after prison but romance is cute)

Almost Adults, 2016 (centers around the broader themes of growing up and friendship but one of them is a giant gay. There is a happy ending for both the gay one and the straight one, gotta give the straights some food because they so rarely get fed)

Anne+, 2018* (Dutch webseries with fresh and new vibes with a great mid-twenties actress about mid-twenties gay lives. Everyone in it is LGBTQ+ yet nothing about it is LGBTQ+, it’s all just treated as natural and normal)

Bound, 1996 (you can't beat the lesbian noir classic which should one day be inducted into the lesbian hall of fame)

But I’m A Cheerleader, 1999 (camp and a lot of fun despite the very serious themes, starring Natasha Lyonne- one of the gayest straights out there)

Carmilla, 2014-16 (webseries based on the groundbreaking 19th century book. Some great chemistry and a lot of breaking of the fourth wall)

Carol, 2015 (Cate Blanchett movie based on the book The Price of Salt which caused issue when it was realised in 1952 because it gave its lovers a open ended happy ending)

Couple-Ish, 2015-16 (cute Canadian web series, bit on the nose but important gay, bi and enby rep)

Desert Hearts, 1985 (the looks, the emotions, the gorgeousness of them both, the chemistry, oh god it was so good. Vivian Bell deserves all the orgasms)

Elisa Y Marcela, 2019 (A Spanish film based on the true story of two women who got married with one of them pretending to be a man in 1901. A tearjerker but ultimately their love is stronger than the adversaries they face)

Entre Nous, 1983 (a French 1983 film which has Jews & Nazi's but doesn't end in complete horror. There are straights who think it’s a friendship but we know better)

Fingersmith, 2005 (BBC drama based on a book by Sarah Waters)

Fried Green Tomatoes, 1991 (based on a more obvious book, they’re sold as best friends but if you know you know)

Fucking Åmål, 1998 (one of the first films aimed at teenagers about two girls falling in love and getting together.)

Getrieben, 2018 (they're ex's and share a dog and then maybe they're not so ex anymore)

I Can't Think Straight, 2008 (cute romantic comedy adapted from a novel about a London-based Jordanian of Palestinian descent preparing for a wedding before events take a gay turn)

If These Walls Could Talk 2, 2000 (some happy and some sad endings in this film which portrays three generations of lesbian storylines from the same house)

Imagine Me and You, 2004 (not my fav but a classic and has Queen Cersei playing a wlw)

Kyss Mig, 2011 (heart eyes, a lovely film, does have maybe a bit too much man in it but he's gone when we get to the nitty gritty)

Our Love Story, 2016 (Korean, subtle nuanced relationship story)

Rosebud, 1996 (a channel 4 short with Julie Graham and questionable fashion choices. Who needs words when you can have such tantalising and vivid visuals? Teeny bit of man but it's fitting in the particular setting and its very fleeting, although admittedly nude)

Saving Face, 2004 (romantic comedy which had less of an impact that Imagine Me and You due to lesser known actors and probably partly to do with race- the main characters are Chinese-American. But it's a gorgeous movie that has a lot more than just rom com elements. The Half Of It is by the same director.

Sjukt Oklar, 2018* (very Swedish, very lesbian, very very funny)

Supervoksen, 2006 (Danish teenage coming of age type thing)

The Carmilla Movie, 2017 (based on the webseries but still accessible to those that haven’t watched it. Quite sweet and the actresses seem very comfortable with each other. Plus there is a great sex scene in it where the muscles on one of the girl’s back are especially sexy)

The World Unseen, 2007 (period film during South Africa's apartheid era with great chemistry)

The Handmaiden, 2016 (extremely nsfw but its got some incredibly powerful meaning to it especially the final sex scene with the bells. It's also incredibly shot and the sex scenes were done very sensitively on set with only women around and the director even in another room.)

Thelma, 2017 (a supernatural thriller about a girl starting college who suddenly starts getting seizures but they don’t know why and she has a female love interest)

Tipping The Velvet, 2002 (BBC series, also has a Victorian era strap on in it and Keeley Hawes, what's not to love?)

When Night is Falling, 1995 (An uptight and conservative woman, working as a literacy professor, finds herself attracted to a free-spirited, liberal woman who works at a local carnival. It’s got quite a lot of a boyfriend in it so its not for everyone.)

Yes or No, 2010 (literally a ‘and they were roommates’ movie as well as an enemies to lovers plot)

Zwischen Sommer Und Herbst, 2018 (coming of age elements, does have a man involved especially at the beginning, who happened to be the brother of one of the girls, but overall it was okay, no lesbians die and it doesn't end in abject misery)

She doesn’t get the girl but neither does the trope

Aimée and Jaguar, 1999 (based on a true story. Beautiful but painful, it’s a Jew falling for a German housewife in Nazi Germany, hence its sad as hell ending)

Bloomington, 2010 (coming of age, teacher student thing which walks that line relatively well without being too icky)

Freeheld, 2015 (an extremely powerful and important story to tell)

Gia, 1998 (Angelina Jolie gets it on with Elizabeth Mitchell in a moving film about model and lesbian Gia Carangi)

Kontrola, 2019* (a masterpiece of a mini web series with a great soundtrack, aesthetic and storyline. Season 2 may present a better future for them)

Mädchen in Uniform, 1931 (German cult classic almost entirely produced by women. Sexual awakening/teenage coming out of her shell stuff, there is also a 1958 redo which is okay. She doesn’t get the girl but it’s still a positive portrayal of sexuality where the object of desire isn't disgusted or weirded out by it)

My Summer of Love, 2004 (At first glance a coming of age movie, but has a lot of phycological elements too. Emily Blunt with a girl, not happy but no lesbians die)

Portrait of a Lady on Fire, 2019 (spell-bounding french film with amazing rawness and visuals. One of my best cinematographic experiences ever)

Reaching for the Moon, 2017 (the love story of the poet Elizabeth Bishop and the architect Soares in the 60s)

Snapshots, 2018 (sad ending but great chemistry with no closed mouthed straight girl kisses)

Summertime, 2015 (French lesbian movie- dare I say more? Sad but no deaths)

The Hunger, 1983 (a gothic cult classic, vampires, its got David Bowie, Susan Sarandon and Catherine Deneuve in it)

The Miseducation of Cameron Post, 2018 (she doesn’t get the girl because there is no girl, but she does begin to find and accept herself. Based on a highly recommendable book by the same name)

Viola di Mare, 2009 (depressing as hell but beautiful to look and the couple have some good chemistry)

[chiseler]

The Old Masters: Kurt Kren

31/75: Asyl / 31/75: Asylum (1975)

Kurt Kren (1929-1998) was best known for his work with the unpleasant bodily-fluid ridden productions of the Vienna Aktionists, a group of Hitler’s children whose post-war adolescence did in art what Ulrike Meinhof did in direct action. The suffocating atmosphere of retooled Nazi industrialists and amnesia with a born-again uptightness produced predictable results: the state must not be allowed to retain a monopoly on violence. How many Blood Order members can you watch, parading sanctimoniously on television, grinning in deathsheads from podiums, telling everyone that they have always been good citizen democrats, without wanting to burn it all down?

The body is alienated by the rigid control systems of Nazi and post-Nazi Germany (a continuum by other means); the invisible bodies of the pulverized dead shadow the plants and office blocks; Tiergartenstraße No. 4, where Aktion T-4 (Aktionist?) was hatched—the extermination of the unfit and insane—is now a bus terminal; tourists marvel at the great modernist IG Farben complex, alone in an otherwise-erased Frankfurt (IG Farben’s American legal representative: John Foster Dulles, who also worked for Krupp). No wonder Kren and his friends Otto Muehl and Herman Nitsch wanted to cut off their fingers and smear themselves with vomit, filming it all straight on, just like the Nazis shot the Warsaw Ghetto.

Kurt Kren

Sitting through works like Kardinal, Self-Multilation, and Sodoma remains a chore, but for different reasons than in 1969, I hazard. The glaring bright colors now reflect Japanese game shows or late style millionaire pop art; the beatings, couplings, spurtings and evacuations have long been appropriated by gross-out horror shtick in mainstream Hollywood, likewise the flashing old film stock and jump cuts. What is left is a past-tense sense of the epic, a lofty Wagnerian pronouncement that the cinema is best equipped to investigate violence and that entertainment is really all just fascism. Shaking off the idea of gesamkunstwerk or the marble atrocities of Arno Breker proved harder than it looked, no matter how true every sickened pronouncement of Aktionist agit-prop was—and it was, it certainly is true.

If the ‘Baroque’ aspect of these films was once part of the attack, it has now become a sign of the long dreary reach of fetishism and managed hypocrisy. The problem with animal intestines, bodies wrapped in metal wire, and piles of soaking flesh is that the arrangement does not mirror the repressed psyche of a generation of sons of Gauleiters, born-again liberal bureaucrats and captains of industry, but a great cathedral of interlinked reactionary problems to be solved hermetically. From this point on, such problems were doomed to become wholly personal—as if the artists were unconsciously terrified of collective nihilism after Goebbels cornered the market. Austria is mainly Catholic, and the confessional is never far away from Aktionist agony. Redemption rears its bestial head—which also implies a second innocence, which is postmodern salvation.

To expose the unreality of what remained of the saccharine and morose Nazi regime via vitriol and bleeding flesh was clearly not enough. After the Aktionists called it quits and retired to their various castles and cultic fiefdoms, the Red Army Faction kidnapped former SS officer, then-CDU member, and Bundesverband der Deutschen Industrie head Hanns Martin Schleyer in 1977. When the German government refused to trade this grotesque relic for four captured RAF fighters (who were mysteriously found hanging in their cells afterward, á la the ANC in South Africa, and also like Ulrike Meinhof, a year earlier, another ‘suicide’—all of which shows the repulsive cynicism lurking under a supposedly ‘democratic’ state), Herr Schleyer was topped and left in the trunk of an Audi. No loss, but tears and outrage flowed from a middle class that forgot that it was a far, far greater executioner in ‘39. The late 1970s were dark, dark, dark. The very outrageousness of their ‘happenings’ show that the Aktionists were suckered in by hope ten years prior. The world remakes itself, oblivious.

The case of Aktionist Kren is more curious and longer lasting than the King Ludwig-like careers of Nitsch and Muehl. His early films were stark or wiggly or frozen: trees, landscapes, little images, people in rooms doing hypnotized screen tests. Unlike his later direction in Sodoma et al, he seemed concerned with the medium’s archaic properties and the possibility of making still-life and landscape political. He returned to this program out of the Aktionist dead end.

31/75: Asyl, from 1975, a sequel to his 1960 3/60: Bäume im Herbst, is one of his best films. More Holbein than Kaspar David Friedrich, it shrinks the epic panorama down to an insect view. Using a simple form of time-lapse photography, a static shot shows farmland and a winding road in late autumn to early winter. By placing various filters over the lens, days pass in globules, wax drippings, thick polluted rain, condensation and gum. A man with a dog goes in and out of frame; the snow melts, it rains; light shifts. Not blood and soil but damp, oily mud like a Turner marsh. And no heroics with geysers of blood, iron crosses and milk, the exegesis of guilt. However, there is certainly something displacing the day here. The status quo of round-ups and tests? Isolation, inner migration? The ‘asylum’ of the title suggests a place of refuge but like in English, the German asyl can also mean a madhouse or political asylum. The film was shot in Saarland, West Germany, under French control after WW1 but returned to Germany in 1935. Saarland is border country, a place of several masters and populations on the move. Kren himself was sent off on one of the Kindertransport to Rotterdam, where he lived until the end of the war.

Wilhelm Reich, in his book The Mass Psychology of Fascism, showed that the mysticism of Nazi ideology was depicted foremost in pretzeled human bodies, a combination of Protestant asceticism and cheap porn cartooned in the figure of the swastika. Before landscape, Fascism uses bulky propaganda to conjure up the Fatherland and recites bad poetry about the holy relation between man, pig, earth and muck. Sacrifice is the Father’s cloying prayer, his own death extended by his sons’ dying—for most fathers in the Fatherland rented their land from wealthy landlords, rented rooms from good Aryans, worked for Herr NSDAP Millionaire Flick. Places of death are used over and over again; their industrial emptiness ensures that no birds sing. No birds sing, but not out of reverence for the dead so much as disgust for the living—the quiet living that made those dead, that signed contracts for transport expediency for a Jew, Gypsy or a Red.

Kren’s view from a windowsill does have some of this void mood, yet he rejects the trap of timelessness in favor of everyday decay. The immortal Frost Gods can only bury dogshit in deep snows, give you pneumonia, cake your axel with mud. The landscape lives on geologically and not mystically. It has beautiful things, extraordinary things, because its own microscopic changes are more fabulous than eternity. Kren’s little film avoids both faces of the same reactionary crisis: that of the epic-making National Socialists, and his own earlier anti-epics that attacked the drapery of the historical fasces. Fall and winter last a little over 8 minutes in the duration of this film, which took 21 days to shoot. The Third Reich was supposed to last for 525,600,000 minutes, which is a thousand years of unreal time. William Blake wrote: He who binds to himself a joy/ Does the winged life destroy.

All of Kren’s films are curious, even his old naughty routines. He moved to America in 1978 and travelled the country, stopping to show his films at universities before finally settling in Texas, where he split his time between Austin and Houston. There, he became a fixture in the punk scene, appearing with some of the best bands of the time, projecting his films behind the noisy vigorous music of Left agitators like Really Red and Culturcide. Always a workman, he made new films while employed as a security guard at the Houston Museum of Fine Arts. He died back in Vienna in 1998.

by Martin Billheimer

Links:

Technical details of the film here:  http://www.resettheapparatus.net/corpus-work/id-31-75-asylum.html

The film @ https://www.youtube.com/watch?v=cblbgbnE1wo

‘Ode to Kurt Kren’, fan video with photos, using the tribute song by his friends, Really Red, recorded 1982: https://www.youtube.com/watch?v=v3_RfD0Qv_k

[schwimmtagebuch]

Bin um die Mittagszeit ins Stadthallenbad gegangen, zum Frühstück habe ich einen Aufsatz über Kymlicka gelesen, war vor zwölf im Wasser, keine Sekunde später ist er gekommen, habe mich so wohl gefühlt, bin weiter und weiter geschwommen, um ein Uhr sah ich ihn auf mich zu schwimmen, er ist nie stehen geblieben, da bin ich auch weiter geschwommen. Dann ist er noch mit seinem Brett auf und abgepaddelt. Bin stehen geblieben, er ist auf der Seniorenseite aus dem Wasser gegangen, hat sich hinter mir zu mir herabgebeugt und gewinkt und Baba gesagt, ich habe ihn angeschaut, nein angelächelt oder hat er gelächelt, ja hat er und ganz liebevoll. Habe ihm nachgeschaut, bis er auf der Treppe zu den Umkleidekabinen verschwunden ist. Er geht immer noch so gerade, als er weg war, war ich verzweifelt. Warum schaffe ich es nie, ihn aufzuhalten? You’re left forever blue…. Bin noch ein paar Längen geschwommen und auch gegangen, warum sehe ich ihn nie nachher, geht er zur Stadtbahn oder duscht er so lange oder gar nicht? Setzt er sich in das Restaurant gegenüber und beobachtet mich, wie ich vorbeigehe? Diese Passivität werde ich nie verstehen. Ich könnte ins Deleuze-Seminar gehen, das amüsierte mich. Vielleicht ruft er immer an, wenn ich gerade nicht da bin? Dabei kann ich es gar nicht leiden, wenn mich jemand anruft, ich erstarre, weil es mich aus der Konzentration reißt. Er mag mich ja, daran gibt es keinen Zweifel. Oder doch? Vielleicht glaubt er, er darf nicht. Vielleicht hält er mich für seine Mutter. Er hat mir das Herz gebrochen.

[manek69]

Die Vergangenheit ist nie vorbei. © Walter Ludin (*1945), Schweizer Journalist, Redakteur, Aphoristiker und Buchautor, Mitglied des franziskanischen Ordens der Kapuziner Quelle: Ludin, Einfach ins Blaue, Brunner Verlag 1998 #landscape #land #nature #lake #autumn #landschaft #naturelovers #tree #herbst #see #sony #sonyalpha6000 #photography #photographer #photooftheday #photo #insta #instagram #instagood #instagramers #instabest #ikea #mural #pictureoftheday #picture #instadaily #november #landschaftsfotografie #niceday #beautiful (hier: Irgertsheimer Weiher ;)) https://www.instagram.com/p/B45st5dq52P/?igshid=108wuhq3na2gi

[abelkia]

La playlist de l'émission de ce jeudi matin sur Radio Campus Bruxelles entre 6h30 et 9h : Bernard Heidsieck & Christine Tsingos "Passe partout n°2 : La poinçonneuse" (Passe-Partout/EditionsAl Dante/1971-2009) Jean Hoyoux "Le mercurial" (Planètes/Cortizona/1981-2017) William S. Burroughs & Martin Olson "The Five Steps" (Myths. Instructions 1./Sub Rosa/1984) Loup Uberto "Hadra Tamerza" (Economat Redeyef - ا​ك​و​ن​و​م​ا ا​ل​ر​د​ي​ف/Bandcamp/2022) Clara Levy "A Singing Bowl of Steaming Soup" (13 Visions/Discreet Editions/2022) Alexis Degrenier "Epuiser" (La Mort Aura Tes Yeux/Murailles Music/2022) Léonore Boulanger & Jean-Daniel Botta "Der Morgen & Herbst" (Un lièvre était un très cher baiser/Slouch Hat - Le Saule/2022) Brannten Schnüre "Kerzen aus Belméz" (Geträumt hab ich vom Martinszug/Aguirre Records/2016-2022) Themselves "Poison Pit" (The No Music/Anticon/2002) The Lapse "Hide Your Daughters" (Betrayal!/Gern Blandsten/1998) Luke Haines & Peter Buck "Minimalist House Burns Down" (All The Kids Are Super Bummed Out/Cherry Red Records/2022) Dry Cleaning "Liberty Log" (Stumpwork/4AD/2022) Jacques Higelin "Pars" (No Man's Land/CBS/1978) Silver Jews "Dallas" (The Natural Bridge/Drag City Records/1996) Stella "Vingt ans" (Douée pour la récré EP/Disques Vogue/1963) Les Diamants Noirs "La Légende de Tarzan" (7"/Vedette Records/1967) Alfred Panou & Art Ensemble of Chicago "Je suis un sauvage" (Pierre Barouh and The Saravah Sound - Jazz, Samba and Other Hallucinatory Grooves/WEWANTSOUNDS/1970-2022) Kriz Kardiak "Zachte cadans" (Je quitte la groupe !/Autoproduction/1980-2022) The Divine Comedy "The Booklovers" (Promenade/Setanta/1994) Céline Lory, "Crever" (En direct du studio de Radio Campus) Entretien: Jeanne Moreau (musique d'ameublement Claude Coppens joue Erik Satie) (From Brussels With Love-40th Anniversary Edition/Les Disques du Crépuscule/1980) Eden Ahbez "Mongoose" (Eden's Island/Del-Fi Records-Munster Records/1960) https://www.instagram.com/p/Cl6I075N8Gl/?igshid=NGJjMDIxMWI=

[leyhejuhyunghan]

Die Pinakotheken Giuseppe Arcimboldo (Italian, 1526 or 1527–1593), Vertumnus, Antonio Vivaldi (Italian, 1678–1741) The Four Seasons Summer, Microcosms: A Homage to Sacred Plants of the Americas, and Ernst Haeckel (German, 1834–1919), ley, ley line, law, religion, Antonio Vivaldi (Italian, 1678–1741) Winter, Alfred Watkins (English, 1855–1935), The ancient network that links Britain, Des'ree Supernatural 1998 What's Your Sign?, Joseph Christian Leyendecker (German-American, 1874–1951)'s Illustration

Die Pinakotheken Giuseppe Arcimboldo (Italian, 1526 or 1527–1593), Vertumnus, Antonio Vivaldi (Italian, 1678–1741) The Four Seasons Summer, Microcosms: A Homage to Sacred Plants of the Americas, and Ernst Haeckel (German, 1834–1919), ley, ley line, law, religion, Antonio Vivaldi (Italian, 1678–1741) Winter, Alfred Watkins (English, 1855–1935), The ancient network that links Britain, Des'ree Supernatural 1998 What's Your Sign?, Joseph Christian Leyendecker (German-American, 1874–1951)'s Illustration

Die Pinakotheken Giuseppe Arcimboldo (Italian, 1526 or 1527–1593), Allegorie: Der Sommer, Bayerische Staatsgemäldesammlungen - Alte Pinakothek München., Giuseppe Arcimboldo (Italian, 1526 or 1527–1593), Vertumnus, the Roman god of the seasons, 1591, Skokloster Castle, Sweden., Antonio Vivaldi (Italian, 1678–1741) The Four Seasons (Le quattro stagioni) were composed around 1718−1720, when Vivaldi was the court chapel master in Mantua., Summer, Institute for the Preservation of Medical Traditions “Microcosms: A Homage to Sacred Plants of the Americas”, and Ernst Haeckel (German, 1834–1919) Kunstformen der Natur (Art Forms in Nature) 1899-1904, ley, an area of land where grass is grown temporarily instead of crops, ley line, an imaginary line that is believed to follow the route of an ancient track and to have special powers, lēx from *leǵ- (“to gather”) law, religion, lea, an open field, meadow, Antonio Vivaldi (Italian, 1678–1741) Winter, Ley line, Alfred Watkins (English archaeologist, 1855–1935) in 1921 he noticed on the British landscape an apparent arrangement of straight lines positioned along ancient features., “These Supernatural Lines Supposedly Connect The Universe Through Monuments And Landforms” and a map showing the St. Michaels Ley Line, BBC Travel The ancient network that links Britain by Chris Griffiths, Des'ree Supernatural 1998 What's Your Sign?, Des'ree - Feel So High (Official Video), Life (Official Video), You Gotta Be, J. C. Leyendecker (Joseph Christian Leyendecker (German-American, 1874–1951))’s December 28, 1907 cover of The Saturday Evening Post, Illustration for The Arrow Collar Man, 1907

https://blog.naver.com/artnouveau19/222891419576

https://www.facebook.com/pinakotheken/photos/a.115193691908078/5692091377551587/

https://en.wikipedia.org/wiki/Ernst_Haeckel

https://en.wikipedia.org/wiki/Kunstformen_der_Natur https://en.wikipedia.org/wiki/Giuseppe_Arcimboldo https://en.wikipedia.org/wiki/Vertumnus_(painting) https://en.wikipedia.org/wiki/Antonio_Vivaldi

https://en.wikipedia.org/wiki/The_Four_Seasons_(Vivaldi)

https://youtu.be/KY1p-FmjT1M

https://www.microcosmssacredplants.org/introduction/

https://en.wikipedia.org/wiki/Ernst_Haeckel

https://en.wikipedia.org/wiki/Kunstformen_der_Natur https://www.oxfordlearnersdictionaries.com/definition/english/ley https://www.collinsdictionary.com/dictionary/english/ley https://en.wiktionary.org/wiki/ley https://en.wiktionary.org/wiki/lea#English https://youtu.be/TZCfydWF48c

https://en.wikipedia.org/wiki/Ley_line https://en.wikipedia.org/wiki/Alfred_Watkins https://allthatsinteresting.com/ley-lines

https://www.bbc.com/travel/article/20191104-the-ancient-network-that-links-britain?ocid=ww.social.link.twitter https://en.wikipedia.org/wiki/Supernatural_(Des%27ree_album) https://youtu.be/Ov-zR9sPyqU https://youtu.be/1jNNwbuDXsA https://youtu.be/BKtrWU4zaaI https://youtu.be/pO40TcKa_5U https://en.wikipedia.org/wiki/J._C._Leyendecker https://en.wikipedia.org/wiki/J._C._Leyendecker#/media/File:Babynew.jpg https://en.wikipedia.org/wiki/J._C._Leyendecker#/media/File:Leyendecker_arrow_color_1907.jpg

Die Pinakotheken 

Mit Pfirsichbäckchen und Gurkennase 

Der Sommer ist zu Ende, die Ernte eingefahren und der Herbst mit seinen kühleren Temperaturen hat uns nun endgültig eingeholt.

Zum heutigen Erntedankfest blicken wir mit einer zum heutigen Fest passenden Darstellung der Allegorie des Sommers von Giuseppe Arcimboldo nochmals auf den Sommer zurück. Das kunstvoll arrangierte Obst und Gemüse bildet zusammen das Porträt eines Mannes mit Weizenkragen, Birnenkinn und Erbsenmund. Die antike Tradition fantastischer Mischwesen setzte Arcimboldo mit seinen bizarren Kompositköpfen fort. Das bereits 1598 in München dokumentierte Gemälde entstand vermutlich noch in Mailand, vor Arcimboldos Zeit als Hofkünstler der Habsburger in Wien und Prag.

 Giuseppe Arcimboldo, Allegorie: Der Sommer, Bayerische Staatsgemäldesammlungen - Alte Pinakothek München

With peach cheeks and cucumber nose chen

Summer is over, harvest has begun and Autumn with its cooler temperatures has finally caught up with us.

For today's Thanksgiving, we're looking back on summer with Giuseppe Arcimboldo's Allegory of Summer, fitting for today's celebration. The artfully arranged fruit and vegetables form the portrait of a man with a wheat collar, pear chin and pea mouth. Arcimboldo continued the ancient tradition of fantastic mixed creatures with his bizarre composite heads. The painting, already documented in Munich, was probably still created in Milan, before Arcimboldo's time as court artist of the Habsburgers in Vienna and Prague.

 Giuseppe Arcimboldo, Allegory: The Summer, Bavarian State Painting Collections - Old Pinakothek Munich https://www.facebook.com/pinakotheken/photos/a.115193691908078/5692091377551587/ Giuseppe Arcimboldo (Italian, 1526 or 1527–1593), Summer, 1563, Kunsthistorisches Museum, Vienna. https://en.wikipedia.org/wiki/Giuseppe_Arcimboldo#/media/File:Giuseppe_Arcimboldo_-_Summer_-_Google_Art_Project.jpg

Giuseppe Arcimboldo (Italian: [dʒuˈzɛppe artʃimˈbɔldo];[1] also spelled Arcimboldi) (1526 or 1527 – 11 July 1593) was an Italian painter best known for creating imaginative portrait heads made entirely of objects such as fruits, vegetables, flowers, fish and books.

These works form a distinct category from his other productions. He was a conventional court painter of portraits for three Holy Roman Emperors in Vienna and Prague, also producing religious subjects and, among other things, a series of coloured drawings of exotic animals in the imperial menagerie. He specialized in grotesque symbolical compositions of fruits, animals, landscapes, or various inanimate objects arranged into human forms.[2]

The still-life portraits were clearly partly intended as whimsical curiosities to amuse the court, but critics have speculated as to how seriously they engaged with Renaissance Neo-Platonism or other intellectual currents of the day.

https://en.wikipedia.org/wiki/Giuseppe_Arcimboldo

Vertumnus, a portrait depicting Rudolf II, Holy Roman Emperor painted as Vertumnus, the Roman god of the seasons, c. 1590–91. Skokloster Castle, Sweden.

Giuseppe Arcimboldo (Italian, 1526 or 1527–1593), Vertumnus, the Roman god of the seasons, 1591, Skokloster Castle, Sweden. https://en.wikipedia.org/wiki/Vertumnus_(painting) Vertumnus is an oil painting produced by Giuseppe Arcimboldo in 1591 that consists of multiple fruits, vegetables and flowers that come together to create a portrait of Holy Roman Emperor Rudolf II. Although Arcimboldo's colleagues commented that Vertumnus was scherzo, or humorous, there were intentional political meanings behind the piece, particularly regarding the choice of fruits, vegetables, and flowers. Arcimboldo's choice to include these items was also an intentional reference to the Roman god, Vertumnus.

Vertumnus was presented to Rudolf II after its completion. Its ownership shifted to the Swedish army after the Thirty Years' War. Although art historians lost track of Vertumnus after this shift, it reappeared in 1845 in Sweden in Skokloster Castle, where it is currently located.

Theme[edit]

Giuseppe Arcimboldo was well known for his unique combination of flora, fruits and other various objects in his paintings. Vertumnus has become one of Arcimboldo's most popular paintings that he produced,[10][11] and this particular art style was encouraged while he was employed in Rudolf II's court. Arcimboldo created a series of works that utilized these still life images such as the Four Seasons, Four Elements, and The Librarian. Ultimately, Arcimboldo would create Vertumnus which drew on much of his experience in the royal court.

Fruits, vegetables & flowers[edit]

The portrait of the emperor is created out of plants, flowers and fruits from all seasons: gourds, pears, apples, cherries, grapes, wheat, artichokes, beans, peas, corns, onions, cabbage foils, chestnuts, figs, mulberries, plums, pomegranates, various pumpkins and olives.

Arcimboldo's choice of fruits, vegetables and flowers not only alluded to Emperor Rudolf II's reign, but also referenced his power and wealth. During the Renaissance, collections of oddities and foreign luxury goods were status symbols for the rich. Great families of the Renaissance such as the Medici collected flora, foods, animals (both living and dead) and other materialistic objects to display their wealth and reach (as many people in those days could not afford such luxuries)[15] and thus, goods from the New World began to trickle into the kunstkammer or wunderkammer of many elites.[16] Arcimboldo's use of corn as Emperor Rudolf II's ear (a crop originating from the New World) thus can be seen as a pointedly political decision.[17] By putting in these particular foreign crops, Rudolf II is revealing that he has access to these items showcasing his power and wealth. https://en.wikipedia.org/wiki/Vertumnus_(painting)

Antonio Vivaldi (Italian, 1678–1741)

Antonio Lucio Vivaldi[n 2] (4 March 1678 – 28 July 1741) was an Italian composer, virtuoso violinist and impresario of Baroque music.[4] Regarded as one of the greatest Baroque composers, Vivaldi's influence during his lifetime was widespread across Europe, giving origin to many imitators and admirers. He pioneered many developments in orchestration, violin technique and programatic music.[5] He consolidated the emerging concerto form into a widely accepted and followed idiom, which was paramount in the development of Johann Sebastian Bach's instrumental music.

Vivaldi composed many instrumental concertos, for the violin and a variety of other musical instruments, as well as sacred choral works and more than fifty operas. His best-known work is a series of violin concertos known as the Four Seasons. Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà, a home for abandoned children. Vivaldi had worked as a Catholic priest for 18 months and was employed[clarification needed] from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died in poverty less than a year later.

After almost two centuries of decline, Vivaldi's musical reputation underwent a revival in the early 20th century, with much scholarly research devoted to his work. Many of Vivaldi's compositions, once thought lost, have been rediscovered – in one case as recently as 2006. His music remains widely popular in the present day and is regularly played all over the world.

https://en.wikipedia.org/wiki/Antonio_Vivaldi

The Four Seasons (Le quattro stagioni) were composed around 1718−1720, when Vivaldi was the court chapel master in Mantua. The Four Seasons (Italian: Le quattro stagioni) is a group of four violin concertos by Italian composer Antonio Vivaldi, each of which gives musical expression to a season of the year. These were composed around 1718−1720, when Vivaldi was the court chapel master in Mantua. They were published in 1725 in Amsterdam, together with eight additional concerti, as Il cimento dell'armonia e dell'inventione (The Contest Between Harmony and Invention).

The Four Seasons is the best known of Vivaldi's works. Though three of the concerti are wholly original, the first, "Spring", borrows patterns from a sinfonia in the first act of Vivaldi's contemporaneous opera Il Giustino. The inspiration for the concertos is not the countryside around Mantua, as initially supposed, where Vivaldi was living at the time, since according to Karl Heller[1] they could have been written as early as 1716–1717, while Vivaldi was engaged with the court of Mantua only in 1718.

They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters' and the prey's point of view, frozen landscapes, and warm winter fires.

Unusual for the period, Vivaldi published the concerti with accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called program music—in other words, music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines themselves directly into the music on the page. For example, in the middle section of "Spring", when the goatherd sleeps, his barking dog can be heard in the viola section. The music is elsewhere similarly evocative of other natural sounds. Vivaldi divided each concerto into three movements (fast–slow–fast), and, likewise, each linked sonnet into three sections.

https://en.wikipedia.org/wiki/The_Four_Seasons_(Vivaldi)

Antonio Vivaldi - Summer (Full) - The Four Seasons

https://youtu.be/KY1p-FmjT1M

Institute for the Preservation of Medical Traditions

There’s now a new website, “a project at the juncture of art, science and technology with an emphasis on traditional ethnobotanical knowledge and biocultural heritage.

For this website, plants considered sacred by indigenous groups of the Americas were scanned at St. Lawrence University’s Microscopy and Imaging Center.”

𝙈𝙞𝙘𝙧𝙤𝙘𝙤𝙨𝙢𝙨: 𝘼 𝙃𝙤𝙢𝙖𝙜𝙚 𝙩𝙤 𝙎𝙖𝙘𝙧𝙚𝙙 𝙋𝙡𝙖𝙣𝙩𝙨 𝙤𝙛 𝙩𝙝𝙚 𝘼𝙢𝙚𝙧𝙞𝙘𝙖𝙨 (website available in English, Spanish, Portuguese, French and German):

https://www.microcosmssacredplants.org

#ethnobotany #indigenousknowledge #biodiversity #sciencetechnology https://www.microcosmssacredplants.org/introduction/

Microcosms: A Homage to Sacred Plants of the Americas

Introduction

Confocal microscopy, also known as confocal laser scanning microscopy, is a specialized optical imaging technique that provides contact-free, non-destructive measurements of three-dimensional objects.

For this website, plants considered sacred by indigenous groups of the Americas were scanned at St. Lawrence University’s Microscopy and Imaging Center.

The procedure gathers information from a narrow depth of field, while simultaneously eliminating out-of-focus glare and creating optical sections through layers of biological samples. Images are built over time by gathering photons emitted from fluorescent chemical compounds naturally contained within the plants themselves, creating a vivid and precise colorimetric display.

To pay homage to sacred plants revered by indigenous groups throughout the Americas is a way of honoring the entire world in a time of environmental emergency. The website—at the juncture of art, technology, and science—magnifies life in ways that may alter how humans perceive other living entities from our shared and threatened biosphere in more egalitarian terms. 

The plants reveal themselves as 21st-century extensions of biomorphic forms that were the genesis of abstract works by artists such as Wassily Kandinsky and Paul Klee one hundred years ago. 

Some of the plants contain the most potent psychoactive agents on the planet and serve as intermediaries that have enabled native communities to communicate with their ancestors, wage war on the enemies of their land and their traditions, conceptualize entire cosmogonies, and maintain a nearly impossible ecological equilibrium.

Each stoma, each trichome, each patterned fragment of xylem and vascular tissue, as well as each grain of pollen in these vital portraits is not only a way into previously unseen vegetal realms, but also a potential way out of our collective crisis. 

Ernst Haeckel (1834-1919), who coined the word ecology in 1866, is the artist who produced the influential work Kunstformen der Natur in 1904. His precise drawings of microscopic radiolarians (1862) were particularly influential in the architectural symmetries that emerged from the Art Nouveau movement and in Jugendstil artists of the late nineteenth century, thereby linking aesthetics to Darwinian theories of evolution.

Wassily Kandinsky (1866-1944), one of the founders of abstract art whose biomorphic forms are derived from his knowledge of biology, wrote the following in 1935: “This experience of the hidden soul in all the things seen either by the unaided eye or through microscopes or binoculars, is what I call the internal eye. This eye penetrates the hard shell, the external form, goes deep into the object and lets us feel with all our sense its internal pulse.” These ideas are abundantly evident in “Colourful Ensemble” (1938), “Striped” (1934) and “Dominant Curve” (1936) from the Solomon R. Guggenheim collection.

Other artists who incorporated biomorphs as an attempt to capture strange new microscopic landscapes in their work include Hans Arp (1886-1966) and Joan Miró (1893-1983) in his painting “Carnival of Harlequin” (1924-25). 

After he became fascinated with the pioneering research on contagious illness published by French microbiologist Louis Pasteur (1822-1895) and began to collaborate with botanist Armand Clavaud (1828-1890), Odilon Redon (1840-1916) painted microorganisms with human features.

For Richard Verdi, many paintings by Paul Klee (1879-1940) portray “the secretive world of microscopic life.” Examples include “Pflanzlich-Seltsam” (Plant-like Strange) (1929) and “Vorhaben” (Intention) (1938) with its juxtaposed macrocosm and microcosm, external and internal worlds mediated by the human form.

The Decorative Photo-Micrographs (1931) by Laure Albin-Guillot (1879-1962) are an especially noteworthy antecedent in terms of their attention to pattern and abstraction of vegetal forms through the amplifier of the microscope, thereby breaking down the barriers between science and the visual arts.  

In the early decades of the 1900s, the artistic obsession with science and new technology led Italian writer F. T. Marinetti (1876-1944) and the Futurists to support Fascism while other artists such as the renowned Mexican muralist Diego Rivera (1886-1957) embraced utopian communist ideals, especially in Rivera’s “Man, Controller of the Universe” with its depiction of a series of plants, a microscope and cellular life at the center of the painting. 

Regarding Karl Blossfeldt (1865-1932), whose close-up photographs of plants in Urformen Der Kunst (1929) redefine originary forms of nature as abstraction, Walter Benjamin wrote the following in 1928: “Whether we accelerate the growth of a plant through time-lapse photography or show its form in forty-fold enlargement, in either case a geyser of new image-worlds hisses up at points in our existence where we would least have thought them possible.”  

Lázló Moholy-Nagy (1895-1946), the pioneer of Bauhaus biofunctionalism, is characterized by Oliver A. I. Botar as the “prototype of the progressive, avant-garde, techno-optimistic and media-optimistic artist.” His works The New Vision: From Material to Architecture (1932) and Vision in Motion (1947) remain visually compelling and provocative. His flower photograms from the 1920s are particularly evocative abstractions based on organic forms.

Gyorgy Kepes (1906-2001), the Hungarian artist, photographer, designer and educator, who collaborated with Moholy-Nagy, is the author of the still highly-relevant The New Landscape in Art and Science (1956) as well as the Vision + Value series (1965-1972). Art theorist Charissa N. Terranova believes that Kepes’s photographs recast “scientific utility as abstract art.” She believes his work is best described as “vision exteriorized by technology.” 

His photograms, for example, produced in Chicago from 1938-1942, were made without a camera by arranging natural objects directly on light-sensitive paper in a darkroom. Additionally, one should not underestimate the influence of French philosopher Henri Bergson (1859-1941), whose concept élan vital from Creative Evolution (1907) was instrumental in defining how Bergsonian time links biological production and the generation of works of art.

https://www.microcosmssacredplants.org/introduction/

Ernst Haeckel (German, 1834–1919) Kunstformen der Natur (Art Forms in Nature) 1899-1904

Ernst Heinrich Philipp August Haeckel (German: [ɛʁnst ˈhɛkl̩]; 16 February 1834 – 9 August 1919[1]) was a German zoologist, naturalist, eugenicist, philosopher, physician, professor, marine biologist and artist. He discovered, described and named thousands of new species, mapped a genealogical tree relating all life forms and connected many terms in biology, including ecology,[2] phylum,[3] phylogeny,[4] and Protista.[5] Haeckel promoted and popularised Charles Darwin's work in Germany[6] and developed the influential but no longer widely held recapitulation theory ("ontogeny recapitulates phylogeny") claiming that an individual organism's biological development, or ontogeny, parallels and summarises its species' evolutionary development, or phylogeny.

The published artwork of Haeckel includes over 100 detailed, multi-colour illustrations of animals and sea creatures, collected in his Kunstformen der Natur ("Art Forms of Nature"), a book which would go on to influence the Art Nouveau artistic movement. As a philosopher, Ernst Haeckel wrote Die Welträthsel (1895–1899; in English: The Riddle of the Universe, 1901), the genesis for the term "world riddle" (Welträtsel); and Freedom in Science and Teaching[7] to support teaching evolution.

Haeckel was also a promoter of scientific racism[8] and embraced the idea of Social Darwinism.

https://en.wikipedia.org/wiki/Ernst_Haeckel

Kunstformen der Natur

Kunstformen der Natur (known in English as Art Forms in Nature) is a book of lithographic and halftone prints by German biologist Ernst Haeckel. Originally published in sets of ten between 1899 and 1904 and collectively in two volumes in 1904,[2] it consists of 100 prints of various organisms, many of which were first described by Haeckel himself. Over the course of his career, over 1000 engravings were produced based on Haeckel's sketches and watercolors; many of the best of these were chosen for Kunstformen der Natur, translated from sketch to print by lithographer Adolf Giltsch.[3]

A second edition of Kunstformen, containing only 30 prints, was produced in 1924.

https://en.wikipedia.org/wiki/Kunstformen_der_Natur

ley, an area of land where grass is grown temporarily instead of crops, ley line, an imaginary line that is believed to follow the route of an ancient track and to have special powers, lēx  from *leǵ- (“to gather”) law, lea an open field, meadow, Antonio Vivaldi (Italian, 1678–1741) The Four Seasons (Le quattro stagioni) were composed around 1718−1720, when Vivaldi was the court chapel master in Mantua., Winter https://www.oxfordlearnersdictionaries.com/definition/english/ley https://www.collinsdictionary.com/dictionary/english/ley https://en.wiktionary.org/wiki/ley https://en.wiktionary.org/wiki/lea#English

https://en.wikipedia.org/wiki/Antonio_Vivaldi

https://en.wikipedia.org/wiki/The_Four_Seasons_(Vivaldi) ley

(also ley line) an imaginary line that is believed to follow the route of an ancient track and to have special powers (specialist) an area of land where grass is grown temporarily instead of crops

https://www.oxfordlearnersdictionaries.com/definition/english/ley 1.  arable land put down to grass; grassland or pastureland 2.  Also called: ley line

a line joining two prominent points in the landscape, thought to be the line of a prehistoric track

https://www.collinsdictionary.com/dictionary/english/ley

ley

Alternative spelling of lea A ley line. (agriculture) Fallow; unseeded.

(agriculture) Rotated to pasture instead of cropping.

Old Occitan

From Latin lēgem, accusative of lēx. Compare Old French lei, loi.

ley f (oblique plural leys, nominative singular ley, nominative plural leys)

law

Spanish

Etymology

From Latin lēgem, singular accusative of lēx (whence English legal and legitimate), from Proto-Italic *lēg-, from Proto-Indo-European *leǵ-s, from *leǵ- (“to gather”). Noun[edit]

ley f (plural leyes)

law (a well-established characteristic of nature)

law (body of rules issued by a legislative body)

law (particular piece of legislation)

religion, credence, worship of a god

https://en.wiktionary.org/wiki/ley

Etymology 1

Alternative spelling of lea

lea Etymology 1[edit]

From Middle English legh, lege, lei (“clearing, open ground”), from Old English lēah (“clearing in a forest”) from Proto-West Germanic *lauh (“meadow”), from Proto-Germanic *lauhaz (“meadow”), from Proto-Indo-European *lówkos (“field, meadow”).

Akin to Old Frisian lāch (“meadow”), Old Saxon lōh (“forest, grove”) (Middle Dutch loo (“forest, thicket”); Dutch -lo (“in placenames”)), Old High German lōh (“covered clearing, low bushes”), Old Norse lō (“clearing, meadow”).

Alternative forms[edit]

leigh, ley, lay

Noun[edit]

lea (plural leas)

1 An open field, meadow. https://en.wiktionary.org/wiki/lea#English

Antonio Vivaldi (Italian, 1678–1741) The Four Seasons (Le quattro stagioni) were composed around 1718−1720, when Vivaldi was the court chapel master in Mantua. 

https://en.wikipedia.org/wiki/Antonio_Vivaldi

https://en.wikipedia.org/wiki/The_Four_Seasons_(Vivaldi) Antonio Vivaldi - Winter (Full) - The Four Seasons

https://youtu.be/TZCfydWF48c

The Four Seasons: Winter in F minor, RV 297 / Op. 8 No. 4 - Allegro non molto - Largo - Allegro https://youtu.be/pPqUjH7zsug

Ley line Ley lines (/leɪ/) are straight alignments drawn between various historic structures and prominent landmarks. The idea was developed in early 20th-century Europe, with ley line believers arguing that these alignments were recognised by ancient societies that deliberately erected structures along them. Since the 1960s, members of the Earth Mysteries movement and other esoteric traditions have commonly believed that such ley lines demarcate "earth energies" and serve as guides for alien spacecraft. Archaeologists and scientists regard ley lines as an example of pseudoarchaeology and pseudoscience.

The idea of "leys" as straight tracks across the landscape was put forward by the English antiquarian Alfred Watkins in the 1920s, particularly in his book The Old Straight Track. He argued that straight lines could be drawn between various historic structures and that these represented trade routes created by ancient British societies. Although he gained a small following, Watkins' ideas were never accepted by the British archaeological establishment, a fact that frustrated him. His critics noted that his ideas relied on drawing lines between sites established at different periods of the past. They also argued that in prehistory, as in the present, it was impractical to travel in a straight line across hilly or mountainous areas of Britain, rendering his leys unlikely as trade routes. Independently of Watkins' ideas, a similar notion—that of Heilige Linien ('holy lines')—was raised in 1920s Germany.

During the 1960s, Watkins' ideas were revived in altered form by British proponents of the countercultural Earth Mysteries movement. In 1961, Tony Wedd put forward the belief that leys were established by prehistoric communities to guide alien spacecraft. This view was promoted to a wider audience in the books of John Michell, particularly his 1969 work The View Over Atlantis. Michell's publications were accompanied by the launch of the Ley Hunter magazine and the appearance of a ley hunter community keen to identify ley lines across the British landscape. Ley hunters often combined their search for ley lines with other esoteric practices like dowsing and numerology and with a belief in a forthcoming Age of Aquarius that would transform human society. Although often hostile to archaeologists, some ley hunters attempted to ascertain scientific evidence for their belief in earth energies at prehistoric sites, evidence they could not obtain. Following sustained archaeological criticism, the ley hunter community dissipated in the 1990s, with several of its key proponents abandoning the idea and moving into the study of landscape archaeology and folkloristics. Belief in ley lines nevertheless remains common among some esoteric religious groups, such as forms of modern Paganism, in both Europe and North America.

Archaeologists note that there is no evidence that ley lines were a recognised phenomenon among ancient European societies and that attempts to draw them typically rely on linking together structures that were built in different historical periods. Archaeologists and statisticians have demonstrated that a random distribution of a sufficient number of points on a plane will inevitably create alignments of random points purely by chance. Skeptics have also stressed that the esoteric idea of earth energies running through ley lines has not been scientifically verified, remaining an article of faith for its believers. https://en.wikipedia.org/wiki/Ley_line

Alfred Watkins (English archaeologist, 1855–1935) in 1921 he noticed on the British landscape an apparent arrangement of straight lines positioned along ancient features. Alfred Watkins (27 January 1855 – 15 April 1935) was an English author, self-taught amateur archaeologist, antiquarian and businessman who, while standing on a hillside in Herefordshire, England, in 1921 experienced a revelation. He noticed on the British landscape an apparent arrangement of straight lines positioned along ancient features. For these he subsequently coined the term "ley", now usually referred to as ley line, because the line passed through places whose names contained the syllable "ley".

https://en.wikipedia.org/wiki/Alfred_Watkins

These Supernatural Lines Supposedly Connect The Universe Through Monuments And Landforms

By Katie Serena

Published March 14, 2018

Ley lines were first theorized in 1921, and since then, the debate has been over whether or not they exist, and if they do, what purpose they serve.

A map showing the St. Michaels Ley Line. https://allthatsinteresting.com/ley-lines

The ancient network that links Britain

By Chris Griffiths

6th November 2019

Alfred Watkins’ theory on “ley lines” – ancient tracks used for navigational purposes – captured the imagination of a nation but later became the subject of much controversy.

Tucked amid the UK’s glorious Welsh Marches region, the English county of Herefordshire glows a rich golden green. Talk to any local and he or she will likely refer to it as “God’s own country”. And rightly so – much of the earth here is made up of red sandstone clay that makes the area blossom into a Garden-of-Eden-like land of plenty every summer.

Crumbling abbey and castle ruins, historical market towns and churches all lie along the banks of the county’s idyllic River Wye, which breaks up into picturesque springs and streams that run into unspoiled valleys and ancient woodland.

It is hardly surprising, then, that famed authors have conceived of some of the world’s most famous fantasy literature here. JRR Tolkien imagined the White Mountains between Rohan and Gondor from The Lord of the Rings while walking in the bordering Malvern Hills, and CS Lewis saw Herefordshire as a real life Narnia.

But beyond its links to famed fiction writers, the county and its surroundings also inspired a much more mysterious and controversial piece of British literature.

Mysterious mounds

In the British countryside, a mound is a natural or man-made hump of rounded earth that stands higher than its immediate surroundings. These often pre-Roman glimpses into ancient Britain have shaped the nation’s cultural identity, although no-one really knows what many of them were used for.

Silbury Hill (pictured) is possibly the most quintessential example of an ancient British mound. Similar in height and volume to the Egyptian pyramids, the site was likely completed in around 2400BC and apparently contains no burial artefacts – casting doubt among historians and archaeologists as to whether it was ever used as a tomb.

There are hundreds of mounds dotting the British countryside, varying in shape and size and harking back to different periods of British history. For Watkins, they also represented terminal points, along with early Iron Age settlement camps and ancient castle ruins built on top of a motte and bailey – a raised earthwork that held an enclosed courtyard and was surrounded by a defensive ditch.

Leys in other lands

Although Watkins’s study was focused on the UK, particularly in England and Wales, he believed ley lines could be sighted in other parts of the world. From the Western plains of Texas to the pagodas of Burma, Watkins outlined potential terminal points and ley lines by citing everything from the Bible to National Geographic Magazine.

Whether or not one agrees with ley lines, Watkins’s theory spoke more to people’s imagination and a universal desire to know more about our ancient ancestors than logic and reason. Even Watkins admitted that The Old Straight Track is imperfect as it doesn’t account for the order of historical events and the fact that many of these sites have been moved or otherwise changed over the years.

For many, his ideas represent a leap of faith that draws from the concept of innate ancestral memory and lie in plain sight – only visible to those who know how to look. https://www.bbc.com/travel/article/20191104-the-ancient-network-that-links-britain?ocid=ww.social.link.twitter

Des'ree Supernatural 1998 What's Your Sign?, Des'ree - Feel So High (Official Video), Life (Official Video)

Desirée Annette Weekes[1][2] (born 30 November 1968), known by her stage name Des'ree (/ˈdɛz(ə)reɪ/),[3] is an English pop recording artist who rose to popularity during the 1990s. She is best known for her hits "Feel So High", "You Gotta Be", "Life", and "Kissing You" (from the soundtrack of the film Romeo + Juliet). At the 1999 Brit Awards she received the Brit Award for Best British female solo artist. https://en.wikipedia.org/wiki/Des%27ree

Supernatural is the third studio album by British recording artist Des'ree. Released by 550 Music and Epic Records on 29 June 1998, it follows four years after the singer's previous album, I Ain't Movin'. Predominantly an R&B album, Supernatural received mixed to positive reviews from critics, who praised Des'ree's voice, but noted that the album lacked memorable songs. The album appeared on several record charts, reaching the top ten in Austria and the Netherlands, and the top twenty in Flanders, France, Norway, Sweden and the UK.

"Life" was released as the lead single from Supernatural, although "I'm Kissing You" was used as the soundtrack single for the 1996 film Romeo + Juliet. "Life" charted well, topping the singles charts of Italy and the Netherlands. https://en.wikipedia.org/wiki/Supernatural_(Des%27ree_album)

What's Your Sign?

https://youtu.be/Ov-zR9sPyqU

Des'ree - Feel So High (Official Video) https://youtu.be/1jNNwbuDXsA

Des'ree - Life (Official Video) https://youtu.be/BKtrWU4zaaI Des'ree - You Gotta Be ('99 Mix) [Video] https://youtu.be/pO40TcKa_5U

J. C. Leyendecker (Joseph Christian Leyendecker (German-American, 1874–1951))’s December 28, 1907 cover of The Saturday Evening Post, Illustration for The Arrow Collar Man, 1907

https://en.wikipedia.org/wiki/J._C._Leyendecker https://en.wikipedia.org/wiki/J._C._Leyendecker#/media/File:Babynew.jpg https://en.wikipedia.org/wiki/J._C._Leyendecker#/media/File:Leyendecker_arrow_color_1907.jpg

Joseph Christian Leyendecker (March 23, 1874 – July 25, 1951) was a German-American illustrator, considered one of the preeminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post.[1][2] Between 1896 and 1950, he painted more than 400 magazine covers. During the Golden Age of American Illustration, for The Saturday Evening Post alone, he produced 322 covers, and many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication.[3] He "virtually invented the whole idea of modern magazine design."

https://en.wikipedia.org/wiki/J._C._Leyendecker Leyendecker's December 28, 1907 cover of The Saturday Evening Post

https://en.wikipedia.org/wiki/J._C._Leyendecker#/media/File:Babynew.jpg The Saturday Evening Post The Saturday Evening Post is an American magazine, currently published six times a year. It was issued weekly under this title from 1897 until 1963, then every two weeks until 1969. From the 1920s to the 1960s, it was one of the most widely circulated and influential magazines within the American middle class, with fiction, non-fiction, cartoons and features that reached two million homes every week. The magazine declined in readership through the 1960s, and in 1969 The Saturday Evening Post folded for two years before being revived as a quarterly publication with an emphasis on medical articles in 1971. As of the late 2000s, The Saturday Evening Post is published six times a year by the Saturday Evening Post Society, which purchased the magazine in 1982. The magazine was redesigned in 2013.

https://en.wikipedia.org/wiki/The_Saturday_Evening_Post Illustration for Arrow Collar, 1907. J.C. Leyendecker https://en.wikipedia.org/wiki/J._C._Leyendecker#/media/File:Leyendecker_arrow_color_1907.jpg The Arrow Collar Man was the name given to the various male models who appeared in advertisements for shirts and detachable shirt collars manufactured by Cluett Peabody & Company of Troy, New York. The original campaign ran from 1905–31, though the company continued to refer to men in its ads and its consumers as "Arrow men" much later.

https://en.wikipedia.org/wiki/The_Arrow_Collar_Man Ad asking Americans to enlist in the Navy

https://en.wikipedia.org/wiki/J._C._Leyendecker#/media/File:America_calls_-_enlist_in_the_Navy_LCCN2002712075.tif

[dermontag]

Hamburg - Hertha BSC hat es doch noch geschafft. Durch ein 2:0 über den Hamburger SV bleiben die Berliner also erstklassig. So viel ist klar. Vieles andere aber, eigentlich fast alles sogar, ist im Fluss und wird den Verein womöglich noch einige Wochen beschäftigen. Hertha braucht nicht nur einen neuen Trainer, auch sonst sind viele wichtige Personalien derzeit noch ungeklärt, und das betrifft nicht nur im Kader der Profi-Mannschaft. Es scheint inzwischen mehr als nur ein Gerücht zu sein, dass die Zeit von Werner Gegenbauer als Präsident des Vereins nach 14 Jahren zu Ende gehen wird – unabhängig davon, ob er am Sonntag, bei der Mitgliederversammlung, abgewählt werden wird oder nicht. Dass sich Gegenbauer überhaupt noch der Abstimmung stellen wird, gilt längst als zweifelhaft. Nicht nur im Präsidium, auch in der Geschäftsf��hrung könnte es Veränderungen geben. Fredi Bobic, erst vor einem Jahr aus Frankfurt gekommen und von vielen als Hoffnungsträger für eine bessere Zukunft gesehen, steht inzwischen für die Zusammenstellung des Profikaders massiv in der Kritik. Darf er bleiben? Will er bleiben? Er selbst hat sich bisher nicht klar dazu geäußert. Sicher ist allerdings, dass Bobics Geschäftsführerkollege Ingo Schiller bei Hertha aufhören wird. Das ist dem Tagesspiegel aus dem Verein heraus bestätigt worden. Schillers Vertrag, der im August 2019 zuletzt verlängert worden war, wird aufgelöst – einvernehmlich, wie es heißt. Die Initiative für die Trennung soll jedoch von Schiller ausgegangen sein und nicht in unmittelbarem Zusammenhang mit der aktuellen sportlichen Misere stehen. Die Entscheidung ist bereits gefallen, als Herthas Rettung nur noch Formsache schien. Am Sonntag wird der 56-Jährige demnach seinen letzten großen öffentlichen Auftritt haben, wenn er bei der Mitgliedersammlung wie gewohnt Rechenschaft über die wirtschaftliche Situation des Vereins ablegen und die Finanzplanung für die kommende Saison vorstellen wird. Zuletzt hatte er im Januar verkündet: „Wir sind aktuell gut aufgestellt, um die Aufgaben der Zukunft zu meistern.“ Hertha habe nicht nur die Verbindlichkeiten deutlich reduzieren, sondern auch das Eigenkapital verdreifachen können. Damit zähle der Klub zu den Top drei in Deutschland. In erster Linie liegt das am Investment von Lars Windhorst. Es war Schiller, der den Kontakt zu dem Unternehmer hergestellt hatte. Über sein Unternehmen Tennor hat Windhorst dem Verein seit Sommer 2019 insgesamt 374 Millionen Euro zur Verfügung gestellt und damit 64,7 Prozent der Anteile an der Hertha BSC Kommanditgesellschaft auf Aktien erworben. Reibungsfrei war das Verhältnis zwischen Investor und Verein allerdings von Beginn an nicht. Und zuletzt schon mal gar nicht. Mit seiner Aussage, dass er auch gerne mal wissen würde, was eigentlich mit seinem ganzen Geld passiert sei, hat Windhorst zuletzt – zumindest indirekt – auch Schiller attackiert. Ein weiteres wichtiges Projekt wird Herthas Finanzgeschäftsführer nun nicht mehr weiterverfolgen können: den Bau eines vereinseigenen Stadions, das er immer wieder als existenziell für die Zukunft des Klubs bezeichnet hat. „Wir wollen und werden mit diesem Projekt die Wirtschaftskraft von Hertha BSC stärken“, hat er erst im Januar bei der Mitgliederversammlung gesagt. Wann genau seine Tätigkeit für Hertha endet, ist noch nicht abschließend geklärt. Schiller wird so lange im Amt bleiben, bis der Abschluss für das Geschäftsjahr 2021/22 testiert ist. Das wird im Herbst passieren. Der gebürtige Essener war dann fast ein Vierteljahrhundert für den Klub tätig. 1998 kam er von Borussia Mönchengladbach, seitJuli 2001 war er Finanzgeschäftsführer. Stefan Hermanns

[korrektheiten]

Für Sie gelesen - Utopien der Ära Merkel

PAZ:Wenn Thilo Sarrazin zur Feder greift und ein neues Buch vorstellt, hören die Bürger des Landes interessiert zu. Der maßgebliche Teil unseres politisch-medialen Komplexes wendet sich verärgert ab oder verfällt in dröhnendes Schweigen. Jetzt hat der Erfolgsautor, vor allem bekannt geworden durch seinen Top-Bestseller „Deutschland schafft sich ab" vor über zehn Jahren, wieder literarisch „zugeschlagen". Sein jüngstes Werk titelt: „Wir schaffen das. Erläuterungen zum politischen Wunschdenken". Erneut liest er unserer sogenannten politischen Elite, die jedoch mehr eng verschränkte Netzwerker-Schicht als Elite im positiven Sinne darstellt, gehörig die Leviten. Angela Merkels gleichlautender politischer Aufruf, mit dem sie im Herbst 2015 ihre Entscheidung zur illegalen Grenzöffnung für Millionen sogenannter Flüchtlinge verteidigte, steht für Sarrazin symbolisch für die Richtung und das Scheitern anderer großer Fehlentscheidungen ihrer 16-jährigen Regierungszeit. Merkels Brüche, Wendungen und ihre sich allmählich vollziehende Kursänderung sind für Sarrazin häufig typisch für gescheiterte politische Prozesse. Utopie und völlig unrealistisches Wunschdenken sind jedoch nur zwei Seiten der vielen Aspekte von Politik. Das „Politische" wirkt nämlich in sämtliche Lebensbereiche hinein, und Sarrazin handelt sie anschaulich in fünf Kapiteln ab, als da sind „Das Moralische, das Menschliche, das Handeln in der Politik und Zusammenhänge von Politik und Gesellschaft, alles beobachtbar in den Segmenten von Nation, Weltgesellschaft, Medien, schlicht: überall." Die ins Auge springende und katastrophale Fehlentscheidung Merkels zur Grenzöffnung steht nämlich nicht allein für das vorhersehbare und offenkundige Scheitern ihrer Politik. Sarrazin listet auch andere große Fehlentscheidungen ihrer Regierungszeit auf. Es sind dies: – „Der 2009 einsetzende Übergang von der Währungsunion zur Schuldenunion durch Beugung des Maastricht-Vertrags von 1991 und Bruch des Stabilitätspaktes von 1998. – Die Gefährdung der deutschen Klimaziele durch den 2011 eingeleiteten, unüberlegten und bedingungslosen Totalausstieg aus der Kernenergie, während weltweit weiterhin und verstärkt auf Atomkraft gesetzt wird. – Die 2021 zu registrierende hohe Gefährdung einer schnellen und erfolgreichen Impfkampagne durch europapolitische Korrektheit bei der sich dadurch bedingten Impfstoffbeschaffung." Auf diese Vielfalt geht Sarrazin in seinem flüssig geschriebenen Essay ein und stellt Zusammenhänge her zwischen Wunsch und Wirklichkeit, zwischen unrealistischen Zielen und machbaren konkreten Alternativen in der Politik. Er behandelt also die Kunst erfolgreicher Politik, von den theoretischen Grundpfeilern über den Gegensatz von Verantwortungs- und Gesinnungsethik (Max Weber) bis zum Verhältnis von Macht und Opportunismus. http://dlvr.it/SJPv4R

[shitback]

Europameister mit Tschechen, Dritter mit Nedved auf Euro. Vachoušek beendet seine Karriere

Alter und kleine Verwendung im diesjährigen Wettbewerb. Štěpán Vachoušek endet, Ligakarriere hüllt genau 19 Jahre.

Teplickému Trainer Daniel Smejkal offensiver Mittelfeldspieler wird auch in Jablonec am Samstag und dann am nächsten Wochenende gegen Dukla zur Verfügung. Dann nicht mehr.

Clash of Dukla, wo Teplice einen Ort geht Aufstieg in der Qualifikation der Europa League zu garantieren, seine Trennung mit einer beruflichen Laufbahn sein.

Die Fans haben freien Eintritt und das erste fünfhundert erwachsene Publikum, als Bier zu kaufen, get one free. Aus heutiger permanentkářů Der glückliche gezogen Vachouškův Trikot unterzeichnet zu gewinnen.

„zu meinem letzten Spiel seiner Karriere kommen.Ich freue mich auf, dass ich mich von den Fans bei Stinadlech sagen können, lassen Sie sich hier so viel wie möglich „, wünschen Vachoušek.

Das erste Ligaspiel Mai 1998 gegen Jablonec spielte, war er achtzehn und Teplice an Bord Michal Bilek, Radek Divecky, Petr Fousek, Michal Dolezal und Zdenko Frťal. Ein Jahr später, als Teplička am Ende Slavia sensationell besiegte und andere beendete. Im April 1999 gegen Hradec gab sein erstes Ligator.

Nach Gastauftritten in der zweiten Liga Xaverov in der Major League Blsany. Seit Januar 2001 ist er regelmäßig bei Teplice.Genug Jahr eine der teuersten Spieler in der Liga zu werden, im Frühjahr 2002 war es 35 Millionen Slavia gekauft.

Im Juni Europameisterschaft in 21 Jahren war neben Petr Cech einer der Architekten des Triumphes, eines der führenden Unternehmen erfolgreiches Team. Erfolgreiche Meisterschaft half ihm, nach Marseille zu übertragen, wo er im Sommer 2003 ging es dann Abfindungs ​​um achtzig Millionen spekuliert wurde.

ist das bereits für die Nationalmannschaft gespielt, er ging sogar auf die Nominierung für die Euro 2004, wo er sich im Basisspiel im Siegerspiel gegen Deutschland. Der Wettbewerb Nedved, Smicer, Rosicky, Baros, Koller war aber eher eine alternative.Er spielte insgesamt 26 Spiele für die Mannschaft und erzielte zwei Tore, nach dem portugiesischen Turnier, bei dem die Tschechen den dritten Platz belegten, wechselte er von Marseille nach Österreich, wo er vier Jahre alt war. Im Sommer 2008 kehrte er nach Teplice zurück. Bis auf die Halbjahresaktivität im Herbst 2010 in Sparta ist noch in Teplice. In der Liga kickte er 315 Spiele (268 in Teplice) und schoss 48 Tore.