#mathias fuchs

[creepynostalgy]

Christiane Felscherinow in Decoder (1984)

[goalhofer]

2024 olympics Switzerland roster

Athletics

Charles Devantay (Zurich)

William Reais (Chur)

Timothé Mumenthaler (Geneva)

Felix Svensson (Versoix)

Lionel Spitz (Adliswil)

Jonas Raess (Zurich)

Jason Joseph (Basel)

Julien Bonvin (Sierre)

Tadesse Abraham (Geneva)

Matthias Kyburz (Rheinfelden)

Ricky Petrucciani (Locarno)

Simon Ehammer (Stein)

Emma Van Camp (Bern)

Annina Fahr (Schaffhausen)

Catia Gubelmann (Zurich)

Lena Wernli (Zurich)

Julia Niederberger (Buochs)

Giulia Senn (Bern)

Géraldine Frey (Zurich)

Salomé Kora-Joseph (St. Gallen)

Mujinga Kambundji (Bern)

Ditaji Kambundji (Bern)

Léonie Pointet (Jongny)

Audrey Werro (Fribourg)

Rachel Pellaud (Biel/Bienne)

Valentina Rosamilia (Aargau)

Yasmin Giger (Romanshorn)

Fabienne Schlumpf (Wetzikon)

Helen Eticha (Geneva)

Sarah Atcho-Jaquier (Lausanne)

Angelica Moser (Andelfingen)

Pascale Stöcklin (Basel)

Annik Kälin (Zurich)

Badminton

Tobias Künzi (Würenlingen)

Jenjira Stadelmann (Bern)

Canoeing

Martin Dougoud (Geneva)

Alena Marx (Bern)

Climbing

Alexander Lehmann (Bern)

Cycling

Stefan Bissegger (Weinfelden)

Marc Hirschi (Ittigen)

Stefan Küng (Wil)

Alex Vogel (Frauenfeld)

Mathias Flückiger (Bern)

Nino Schurter (Tursnaus)

Cédric Butti (Thurgau)

Simon Marquart (Zurich)

Elise Chabbey (Geneva)

Noemi Rüegg (Schöfflisdorf)

Linda Zanetti (Lugano)

Elena Hartmann (Grisons)

Aline Seitz (Basel)

Michelle Andres (Baden)

Alessandra Keller (Ennetbürgen)

Sina Frei (Männedorf)

Nikita Ducarroz (Sonoma County, California)

Nadine Aeberhard (Bern)

Zoe Claessens (Echichens)

Equestrian

Robin Godel (Fribourg)

Felix Vogg (Waiblingen, Germany)

Steve Guerdat (Elgg)

Martin Fuchs (Zurich)

Edouard Schmitz (Wangen An Der Aare)

Pius Schwizer (Oensingen)

Andrina Suter (Schaffhausen)

Mélody Johner (Cheseaux-Sur-Lausanne)

Fencing

Alex Bayard (Sion)

Pauline Brunner (La Chaux-De-Fonds)

Golf

Joel Girrbach (Kreuzlingen)

Albane Valenzuela (Dallas, Texas)

Morgane Métraux (Lausanne)

Gymnastics

Luca Giubellini (Rebstein)

Matteo Giubellini (Rebstein)

Florian Langenegger (Bühler)

Noe Seifert (Sevelen)

Taha Serhani (Hutwill)

Lena Bickel (Ticino)

Judo

Nils Stump (Uster)

Daniel Eich (Fribourg)

Binta Ndiaye (Bern)

Pentathlon

Alexandre Dällenbach (Saint-Denis, France)

Anna Jurt (Bern)

Rowing

Scott Bärlocher (Würenlos)

Dominic-Remo Condrau (Zurich)

Maurin Lange (Bern)

Jan Plock (Zurich)

Patrick Brunner (Zurich)

Kai Schaetzle (Lucerne)

Joel Schurch (Schenkon)

Raphaël Ahumada (Lausanne)

Jan Schäuble (Bern)

Andrin Gulich (Zurich)

Roman Röösli (Neuenkirch)

Tim Roth (Zurich)

Célia Dupré (Plan-Les-Ouates)

Lisa Lötscher (Meggen)

Fabienne Schweizer (Lucerne)

Pascale Walker (Zurich)

Aurelia-Maxima Janzen (Bern)

Sailing

Elia Colombo (Bern)

Arno De Planta (Pully)

Yves Mermod (Zurich)

Sébastien Schneiter (Bern)

Elena Lengwiler (Hinwil)

Maud Jayet (Lausanne)

Maja Siegenthaler (Spiez)

Shooting

Jason Solari (Malveglia)

Christoph Dürr (Zurich)

Nina Christen (Stans)

Audrey Gogniat (Le Noirmont)

Chiara Leone (Frick)

Swimming

Tiago Behar (Lutry)

Antonio Djakovic (Frauenfeld)

Thierry Bollin (Bern)

Roman Mityukov (Geneva)

Noè Ponti (Locarno)

Jérémy Desplanches (Geneva)

Nils Leiss (Geneva)

Lisa Mamié (Zurich)

Tennis

Stan Wawrinka (Stans)

Viktorija Golubić (Zurich)

Triathlon

Adrien Briffod (Vevey)

Max Studer (Kestenholz)

Sylvain Fridelance (Vaud)

Julie Derron (Zurich)

Cathia Schär (Lavaux-Oron)

Volleyball

Tanja Hüberli (Thalwil)

Nina Brunner (Steinhausen)

Esmée Böbner (Hasle)

Zoé Vergé-Dépré (Berne, Germany)

[discutindoasseries]

Turma do Anglo-CID VS The Thing (O Enigma de Outro Mundo, 1982)

Pra começo de conversa, nem queria botar o mesmo título pra dois ou três (acho) posts que já fiz anteriormente. Retórica é uma palavra carregada de preconceito e sei como é difícil raciocinar quando as coisas ficam ruins na prática. Fica até parecendo que é pra qualquer um de nós quando nos envolvem na ofensa ou no acidente, mas na verdade nunca foi. Desculpa se isso atinge pessoas que mais uma vez não têm e/ou nunca tiveram nada a ver com isso. Pra mim esse nunca foi o foco, digam se isso é defeito ou qualidade. Ou nenhum dos dois...

Randal VS R.J. MacReady

William VS William "Wilford" Blair

Raul VS Thomas Kent Nauls

Marcelo VS David Palmer

Edson VS Keith Childs

Chico VS Dr. Richard Copper

Hércules VS Charles Vance Norris

Nino VS George Bennings

Danilo VS Richard Clark

Alisson VS Joel Polis Fuchs

Diogo VS Comandante M.T. Garry

Lucas VS Thomas G. Windows

Não sei se John Carpenter incluiu os nomes oficiais dos personagens junto aos seus sobrenomes, mas posso jurar que vi essa nomenclatura em alguma fonte oficial. Se os nomes oficiais dos personagens não provêm de alguma fonte oficial, por favor me enviem um e-mail ou entrem em contato comigo. Grato pela atenção.

Diogo é o líder dos justiceiros, assim como Garry é o primeiro em comando e chefe geral em Outpost 31.

Lucas gosta de rádio e comunicação, embora não possua o dom da fala.

William sacava rápido as coisas, mas tinha atitudes um pouco precipitadas. Embora inteligentes.

Randal é a cara de R.J. MacReady. As atitudes e comportamento diferem apenas.

Marcelo tem um "Q" do personagem Palmer.

Hércules lembra Charles Norris em praticamente tudo. Quase tudo. Inclusive o fato de ser gordo...armas, estilo de combate, atitudes, jeito, etc. Norris é o segundo em comando.

Edson foi bastante parecido com Childs durante o Colégio e até hoje, pelo fato de ser bastante suspeito.

Chico tem um "Q" de Tio Chico de "A Família Addams". E "Q" de doutor também.

Raul se parece bastante com Nauls, mas não em tudo.

Danilo lembra Clark. Inclusive o gosto pelos animais.

Alisson contrapõe Fuchs exatamente por tudo.

Nino é o único capaz de rivalizar com George Bennings.

Essa seção é pra quem já assistiu ou viu...

[gogmstuff]

Sophie Louise Charlotte Baden attributed to Georg Mathias Fuchs (location ?). From Wikimeia via pinterest.com/jeannedelamottevaloissaintremy/1770s/ 1072X2278 @96 @1.6Mj.Almost the entire image is mildly blurred. Parts of the eyes, table, chair, and dress were not blurred although the most obvious spots, cracks, and flaws were erased with Photoshop,

According to her terse English language Wikipedia article, “Charlotte Baden (21 November 1740 – 6 June 1824) was a Danish writer, feminist and letter-writer. [1]  Sophia Lovisa Charlotte Baden was the daughter of major Gustav Ludvig von Klenau (1703–72) and Bolette Cathrine From (1696-1788).

She was brought up by her relative Anna Susanne von der Osten (1704-1773), head lady-in-waiting to Princess Charlotte Amalie of Denmark, who financed her education and gave her a pension. In 1763, she married Jacob Baden (1735-1804), who was a professor at the University of Copenhagen.”

[infinitelytheheartexpands]

Did you discover any new opera singers (or old singers in new/new-to-you) roles this year?

Yes!!! Yes I did. Oddly enough, mostly mezzos: the five big ones that come to mind are Ève-Maud Hubeaux, Angela Brower, Léa Desandre, Gaëlle Arquez, and Adèle Charvet, all of whom are ridiculously awesome. There are other singers too but HOLY COW MEZZOS?!?!?!?!

(Other singers I had particular fun discovering this year include but are not limited to: Elliot Madore, Will Liverman, Mariangela Sicilia, Julie Fuchs, Ana Durlovski, Mathias Vidal, Ana Quintans, Mert Sungu, Julia Bullock, Kyle Ketelsen, and Emma Matthews.)

[wolfliving]

Thinking Through Interfaces, a syllabus

*That looks enlightening.

THINKING THROUGH INTERFACES

Co-taught by Zed Adams (Philosophy) and Shannon Mattern (Media Studies)

Tuesdays 4:00 - 5:50pm | 6 East 16th St #1003

Interfaces are everywhere and nowhere. They pervade our lives, mediating our interactions with one another, technology, and the world. But their very pervasiveness also makes them invisible. In this seminar, we expose the hidden lives of interfaces, illuminating not just what they are and how they work, but also how they shape our lives, for better and worse. We also discuss a number of pressing social and political issues, such as why we are quick to adopt some interfaces (e.g., smartphones and social media platforms), but reluctant to embrace others (e.g., new voting machines and Google Glass).��

(...)

RESOURCES

With a few exceptions, all readings will be made available on our class website, at http://www.wordsinspace.net/interfaces/2019/. We’ll provide everyone with a copy of Tom Mullaney’s The Chinese Typewriter and David Parisi’s Archaeologies of Touch.

SCHEDULE OF MEETINGS

WEEK 1: JANUARY 22: INTRODUCTIONS

What is an interface?

How are interfaces differentiated?

Can an interface become a part of our mind?

Do interfaces shape what we use them to do?

What are the limits of interfaces: what problems do they not help us solve?

WEEKS 2 AND 3: CONCEPTUALIZATION 

WEEK 2: JANUARY 29: CONCEPTUALIZATION I 

Nelson Goodman, “The Theory of Notation” (Chapter Four), Languages of Art (Hackett, 1976): 127-173.

Florian Cramer and Matthew Fuller, “Interface” in Software Studies, ed., Matthew Fuller (MIT Press, 2008): 149-53.

Johanna Drucker, “Interface and Interpretation” and “Designing Graphic Interpretation” in Graphesis: Visual Forms of Knowledge Production (Harvard University Press, 2014): 138-97.

WEEK 3: FEBRUARY 5: CONCEPTUALIZATION II

Shannon Mattern, “Mission Control: A History of the Urban Dashboard,” Places Journal (March 2015).

Shannon Mattern, “Things that Beep: A Brief History of Product Sound Design,” Avant (August 2018).

We encourage you to think, too, about how interfaces might embody different cultures and ideologies. Consider, for example, feminist interfaces or indigenous interfaces -- or interfaces that embody universal, accessible design. You'll find some relevant resources in the modules at the end of this syllabus, and we'll explore many of these themes as part of our case studies throughout the semester.

In-Class Workshop (second half of class): small-group interface critiques 

Supplemental: 

Christian Ulrich Andersen and Soren Bro Pold, eds., Interface Criticism: Aesthetics Beyond the Buttons (Aarhus University Press, 2011).

Martijn de Waal, The City as Interface: How New Media Are Changing the City (nai010, 2014).

Johanna Drucker, “Humanities Approach to Interface Theory,” Culture Machine 12 (2011).

Johanna Drucker, “Performative Materiality and Theoretical Approaches to Interface,” Digital Humanities Quarterly 7:1 (2013).

Florian Hadler and Joachim Haupt, “Towards a Critique of Interfaces” in Interface Critique, eds., Florian Hadler and Joachim Haupt (Berlin: Kulturverlag Kadmos, 2016): 7-16.

John Haugeland, “Representational Genera” in Having Thought: Essays in the Metaphysics of Mind, ed. Haugeland (Harvard Univ Press, 1992): 171-206.

Branden Hookway, Interface (MIT Press, 2014)

Interface Critique (journal).

Steven Johnson, Interface Culture (Basic Books, 1999)

Matthew Katz, “Analog Representations and Their Users,” Synthese 193: 3 (June 2015): 851-871.

Kimon Keramidas, The Interface Experience - A User’s Guide (Bard Graduate Center, 2015).

Shannon Mattern, “Interfacing Urban Intelligence,” Places Journal (April 2014).

Don Norman, The Design of Everyday Things (Basic Books, 2013).

Mitchell Whitelaw, “Generous Interfaces for Digital Cultural Collections,” Digital Humanities Quarterly 9:1 (2015).

Jeff Johnson, Designing with the Mind in Mind (Morgan Kauffmann, 2014).

WEEKS 4 AND 5: TYPEWRITER KEYBOARDS 

Our first case study is the QWERTY keyboard. This case raises fundamental questions about why interfaces are adopted in the first place, the extent to which their original designs constrain how they are subsequently used, and how particular linguistic politics and epistemologies are embodied in our interfaces. 

WEEK 4: FEBRUARY 12: KEYBOARDS & QWERTY

Andy Clark, Chapters One through Three, and Ten, Being There: Putting Brain, Body, and World Together Again (MIT Press, 1998): 11-69 and 193-218.

S. J. Liebowitz and Stephen E. Margolis, “The Fable of the Keys,” The Journal of Law & Economics 33:1 (1990): 1-25.

WEEK 5: FEBRUARY 19: OTHER KEYBOARDS

Thomas S. Mullaney, The Chinese Typewriter: A History (MIT Press, 2017): Chapter 1, 35-74; Chapter 4, 161-93; Chapter 6, 237-53 (up through “How Ancient China Missed…”; and Chapter 7, 283-8 (through “China’s First ‘Model Typist’”).

Kim Sterelny, “Minds: Extended or Scaffolded?” Phenomenology and the Cognitive Sciences 9:4 (2010): 465-481.

See Marcin Wichary’s forthcoming book about the global history of keyboards, as well as his research newsletters.

4-5pm: Skype TBD 

Supplemental: 

Louise Barrett, Beyond the Brain (Princeton University Press, 2015).

Andy Clark and David Chalmers, “The Extended Mind,” Analysis 58:1 (1998): 7-19.

Friedrich A. Kittler, Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz (Stanford University Press, 1986).

Lisa Gitelman, Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era (Stanford University Press, 1999).

John Haugeland, “Mind Embodied and Embedded,” Having Thought (Harvard University Press, 1998): 207-237.

Richard Heersmink, "A taxonomy of cognitive artifacts: function, information, and categories." Review of philosophy and psychology 4.3 (2013): 465-481.

Richard Heersmink, "The Metaphysics of Cognitive Artefacts," Philosophical Explorations 19.1 (2016): 78-93.

Neil M. Kay, “Rerun the Tape of History and QWERTY Always Wins,” Research Policy 42:6-7 (2013): 1175-85.

Prince McLean, “Inside the Multitouch FingerWorks Tech in Apple’s Tablet,” Apple Insider (January 23, 2010).

Jan Noyes, “QWERTY - The Immoral Keyboard,” Computing & Control Engineering Journal 9:3 (1998): 117-22.

Kim Sterelny, The Evolved Apprentice: How Evolution Made Humans Unique (MIT Press, 2012).

Cassie Werber, “The Future of Typing Doesn’t Involve a Keyboard,” Quartz (November 23, 2018).

Darren Wershler-Henry, The Iron Whim: A Fragmented History of Typewriting (Cornell University Press, 2007).

WEEKS 6 AND 7: HAPTICS 

WEEK 6: FEBRUARY 26: PUSHING BUTTONS 

H. P. Grice, “Some Remarks About the Senses,” in Analytical Philosophy, First Series, ed. R. J. Butler (OUP Press, 1962): 248-268. Reprinted in F. MacPherson (ed), The Senses (OUP Press, 2011): 83-101.

Matthew Fulkerson, “Rethinking the Senses and Their Interactions: The Case for Sensory Pluralism,” Frontiers in Psychology (December 10, 2014).

Rachel Plotnick, “Setting the Stage,” in Power Button: A History of Pleasure, Panic, and the Politics of Pushing (MIT Press, 2018): 3-16.

Rachel Plotnick, “Force, Flatness, and Touch Without Feeling: Thinking Historically About Haptics and Buttons,” New Media and Society 19:10 (2017): 1632-52.

WEEK 7: MARCH 5: HAPTICS II 

David Parisi, Archaeologies of Touch: Interfacing with Haptics from Electricity to Computing (University of Minnesota Press, 2017): Introduction, 1-40; Chapter 3, 151-212; and Chapter 4, 213-264.

4-5pm: Skype with Dave Parisi 

Supplemental: 

Sandy Isenstadt, “At the Flip of a Switch,” Places Journal (September 2018).

Mathias Fuchs, Moisés Mañas, and Georg Russegger, “Ludic Interfaces,” in Exploring Videogames: Culture, Design and Identity, eds., Nick Webber and Daniel Riha (Interdisciplinary-Net Press): 31-40.  

Matthew Fulkerson, The First Sense: A Philosophical Study of Human Touch (MIT Press, 2013).

Gerard Goggin, “Disability and Haptic Mobile Media,” New Media & Society 19:10 (2017): 1563-80.

Kim Knight, “Wearable Interfaces, Networked Bodies, and Feminist Interfaces,” MLA Commons (2018).

Brian Merchant, The One Device: The Secret History of the iPhone (Little, Brown, 2017).

Stephen Monteiro, The Fabric of Interface: Mobile Media, Design, and Gender (MIT Press, 2017).

David Parisi, “Games Interfaces as Bodily Techniques,” Handbook of Research on Effective Electronic Gaming in Education, ed. Richard Ferdig (IGI Global): 111-126.

David Parisi, Mark Paterson, and Jason Edward Arches, eds., “Haptic Media” Special Issue, New Media & Society 19:10 (October 2017).

Rachel Plotnick, “At the Interface: The Case of the Electric Push Button, 1880-1923,” Technology and Culture 53:4 (October 2012): 815-45.

MARCH 11 @ NOON 

Share your final project and presentation proposal with Zed and Shannon. See “Assignments” for more detail. 

WEEK 8: MARCH 12 

Individual meetings to discuss presentations and final projects

MARCH 19: NO CLASS: SPRING BREAK

WEEKS 9-10: VOICE 

WEEK 9: MARCH 26: History of Vocal Interfaces (Zed away)

Mara Mills, “Media and Prosthesis: The Vocoder, the Artificial Larynx, and the History of Signal Processing,” Qui Parle 21:1 (Fall/Winter 2012): 107-49.

Danielle Van Jaarsveld and Winifred Poster, “Call Centers: Emotional Labor Over the Phone,” in Emotional Labor in the 21st Century: Diverse Perspectives on Emotion Regulation at Work, ed. Alicia Grandey, Jim Diefendorff, and Deborah Rupp (LEA Press, 2012): 153-73.

Confirm the assigned text for your presentation: send to Shannon and Zed a complete Chicago-style citation and either a high-quality pdf or a link to the online resource before class today, so we can update our class website with everyone’s material.

WEEK 10: APRIL 2: Contemporary Vocal Interfaces 

Adelheid Voshkul, “Humans, Machines, and Conversations: An Ethnographic Study of the Making of Automatic Speech Recognition Technologies,” Social Studies of Science 34:3 (2004).

Andrea L. Guzman, “Voices in and of the Machine: Source Orientation Toward Mobile Virtual Assistants,” Computers in Human Behavior (2018).

Halcyon M. Lawrence and Lauren Neefe, “When I Talk to Siri,” Flash Readings 4 (September 6, 2017) {podcast: 10:14}.

Halcyon M. Lawrence, “Inauthentically Speaking: Speech Technology, Accent Bias and Digital Imperialism,” SIGCIS, Computer History Museum, March 2017 {video: 1:26 > 17:16}

Lauren McCarthy, LAUREN. A human smart home intelligence (review press, too).

4-5pm: Skype with Halcyon M. Lawrence

Supplemental: 

Meryl Alper, Giving Voice: Mobile Communication, Disability, and Inequality (MIT Press, 2017).

Michel Chion, Sound: An Acoulogical Treatise (Duke, 2016).

Karin Bijsterveld, “Dissecting Sound: Speaker Identification at the Stasi and Sonic Ways of Knowing,” Hearing Modernity (2018).

Trevor Cox, Now You’re Talking: The Story of Human Communication from the Neanderthals to Artificial Intelligence (Counterpoint, 2018).

Brian Dumaine, “It Might Get Loud: Inside Silicon Valley’s Battle to Own Voice Tech,” Fortune (October 24, 2018).

Larry Greenemeier, “Alexa, How Do We Take Our Relationship to the Next Level?” Scientific American (April 26, 2018).

Jason Kincaid, “A Brief History of ASR,” descript (July 12, 2018).

Halcyon M. Lawrence, “Siri Disciplines,” in Your Computer is on Fire, eds., Marie Hicks, Ben Peters, Kavita Philips and Tom Mullaney (MIT Press, forthcoming 2019).

Halcyon Lawrence and Lauren Neefe, “Siri’s Progeny: Voice and the Future of Interaction Design,” Georgia Tech, Fall 2016.

Xiaochang Li and Mara Mills, “Vocal Features: From Voice Identification to Speech Recognition by Machine,” Technology and Culture (forthcoming 2019).

Luke Munn, “Alexa and the Intersectional Interface,” _Angles (June 2018).

Quynh N. Nguyen, Ahn Ta, and Victor Prybutok, “An Integrated Model of Voice-User Interface Continuance Intention: The Gender Effect,” International Journal of Human-Computer Interaction (2018).

Winifred Poster, “Sound Bites, Sentiments, and Accents: Digitizing Communicative Labor in the Era of Global Outsourcing,” in digitalSTS: A Field Guide for Science & Technology Studies, eds., David Ribes and Janet Vertesi (Princeton University Press, forthcoming April 2019).

Winifred Poster, “The Virtual Receptionist with a Human Touch: Opposing Pressures of Digital Automation and Outsourcing in Interactive Services” in Invisible Labor: Hidden Work in the Contemporary World, eds. Marion G. Crain, Winifred R. Poster, and Miriam A. Cherry (University of California Press, 2016): 87-111.

Thom Scott-Phillips, Speaking our Minds: Why Human Communication is Different, and How Language Evolved to Make it Special (Palgrave Macmillan, 2015).

Craig S. Smith, “Alexa and Siri Can Hear This Hidden Command. You Can’t,” New York Times (May 10, 2018).

Dave Tompkins, How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, The Machine Speaks (Stop Smiling Books, 2011).

Mickey Vallee, “Biometrics, Affect, Autoaffection and the Phenomenological Voice,” Subjectivity 11:2 (2018): 161-76.

Bruce N. Walker and Michael A. Nees, “Theory of Sonification” in The Sonification Handbook, eds. Thomas Hermann, Andy Hunt, and John G. Neuhoff (Logos Publishing, 2011).

[gfrbs3w]

aaaaaa

Contributors:

.aufzeichnensysteme (1)

Bernadette Johnson (1)

bruno pisek (2)

Carlos García Miragall (1)

Claudia Cervenca (1)

Colin Black (1)

Cristina Torrecilla (1)

Daniel Montalto (1)

dieter sperl (1)

Dixie Treichel (1)

Elia Torrecilla (1)

Emanuel Kury (1)

Ernst Jandl (1)

Francisco Martí Ferrer. Universitat Politècnica de València (1)

Francisco Sanmartín (2)

Gerhard Kuebel (1)

GFR Broadcasting System (1)

Hans Groiss (1)

Jaime Yakaman (2)

Jon Panther (1)

Julian Rubisch (1)

Julius Fujak (1)

Kamran Moharramzadeh (1)

Karinêi (1)

Laura Mello (1)

Luba Diduch (1) Luiza Schulz (1) Marina Arriola (1) Mariola Brillowska (3) Martina Claussen (1) Mathias Fuchs (1) Mathias Lenz (1) Miguel Molina-Alarcon (1) muddy (1) Nina Bauer (1) Patrick Schabus (1) paulo raposo (1) ralo mayer (1) Roberta Lazo Valenzuela (1) ROCÍO SILLERAS (1) Roland Kuit (1) Sebastian Six (1) Sebastian Six (1) Seiei Jack (1) tetsuo kogawa (1) Tobias Leibetseder (1) Volkmar Klien (1) Yoav chorev (1) Zahra Mani (1)

[gozel]

          http://www.openspace-zkp.org/2009/en/projects.php?y=2009&p=10

                              BOUNDARY SIGNAL                                        

16th January - 10th February 2009

OPENING: 15th January, 7 PM - 9.30 PM PROJECT CURATOR: FATIH AYDOGOU » PARTICIPATING ARTISTS: 2/5 BZ AKA SERHAT KÖKSAL, RICARDA DENZER, MARTIN EBNER, MATHIAS FUCHS, BERNHARD LOIBNER, BOB OSTERTAG, FLORIAN SCHMEISER, ARYE WACHSMUTH, XURBAN COLLECTIVE, FLORIAN ZEYFANG

Live Performances: 15th January, 9.30 P.M. - Fluc Wanne

Boundaries create regions and divide political entities, they limit economical growth as well as ecological exploitation they enclose geographic areas and show us the transgression of norms. Boundaries appear where one entity ends and another begins, yet it is simulatnuously permeable and contested. On the other hand, the linguistic notion of boundary needs to be connotative neutral. «Boundary signal / Grenzsignal» in this context designates structural entities. A particular sound is indicating the boundaries of sentences, words, syllables, or morphemes, that has delimiting or detaching function marked as an /+/, where no conditional modification to be noted. This represents its feature therein exists that the usual position contingent variations do not take place in the coincidence. If we refer to «boundary signals» in connection with sound, we could describe them as a unit consisting of smallest elements of sounds and sound modification that have a special tone signifying the communicative function of tact. When we conceptulize language as a medium of finite notation and bounded codes, it can be perceived as a material for sampling. The situated differentiation and the modelling, or the generative apparatus of the language can thus be seen as a mechanism of sampling in the event that identical replication are considered as technically mediated and structurally represented units. Sampling is the concept that is used as a programmatic imperative on electronic music, architecture, biotechnology up to the collage-techniques of the film and even on socio psychological identity models and politics. As a universal metaphor and contradictory model within itself, or as a technically mediated identical replication, Sampling implies a notion of the archive that evokes an awkward idea of the historic originality. Behind the boundary, and/or beyond a syntactic boundary signal concerned with topografic and/or linear aspects; there is a «space» or an «interval» behind the boundary, and after a syntactic «boundary signal» respectively, that could be called «after-field». This is following a syntactic boundary signal (in whatever form) within a speaker‘s concrete hearable/readable expressions. Positioned in the «after-field» «Boundary signal / Grenzsignal» contributes to a discussion not only focused on the «Sound» as a possible communicative level of artistic strategy, as a model of reflexion, as a border zone and an experimental field that goes beyond the act of speaking and beyond music. Additionally, it assumes a selected historical and political moment (time cut) as a source of material in order to produce statements and comments on events of the day.

2/5 BZ aka SERHAT KÖKSAL  

NO CULTURAL PIPELINE DIALOGUE

video, 3: 44 min, 2008

Orient and Occident in a critical and humorous way, investigating their effects on people’s economic or political situation and individual states of mind. His video works and projects employ collage and cut-up techniques, found film material, outdoor shots and samples. In the video work „No Cultural pipeline Dialogue“, 2/5 BZ marks up gentrification and gentrifisual struggle that is triggered in the course of the globalization by audiovisual input and says NO to a dialogue fetishism. http://www.vimeo.com/2848363

RICARDA DENZER  

NOTATIONS

Crayon on Paper, 2007/08

RicardaDenzer engages with aspects of film and architecture to explore notions of power and the forms it takes within the public and private spheres. Her works evolve around as documentary practice, the transmission of thougts, ideas, questions, held and found interviews up tp trivial notes accompanied by audio-visual process, which does not follow any scripts. This considerably volume of structured drawings shows the chronology of process and development of associations.

MARTIN EBNER  

ORNIMENTALS AND ACCIDENTALS

Installation / Collages, 2009

The Title suggests to a former episode of the comic strip «crazy Kat» by George Herriman, where the main character, «crazy» the cat is striked up in conversation with the chinese duck «Mock Duck», which consists basically out of misconseptions due to language differences and leads to Krazys fatalistic conclusion: «Them Ornimentals and us Accidentals never the trains will meat.» The imaginary landscape «Coconinho County», where Crazy Kat lives, accompanied by Ignatz Mouse and many others represents a complex social construct of persona with differing ethnical background. Coexistence, conflicts, economic connections and supply of services are portraid in differing series of crazy kat in analogy to american society of the early 1920s with its miscellanelous ethnic subcutures and slangs. The naive shift of words and phrases and fauls adaptions of language is central element, misunderstanding is made productive.

MATHIAS FUCHS  

BORDERLINE

Game Installation, 2009

The installation consists of a First Person Shooter level - staged on a European map with political hot-spots marked by particle effects. Borderlines define allegedly ethnic or political areas and are often conflict loaden, irrational, historically grown and completely arbitrary. Borderline personality disorder is a psychiatric diagnosis that describes a prolonged disturbance of personality function characterized by depth and variability of moods. The disorder typically involves black and white thinking or «splitting»; chaotic and unstable interpersonal relationships, self-image, identity and behavior.

BERNHARD LOIBNER  

AMERICA‘S GAME

Sound- & Videoloop, 2007

The piece combines abstract digital music and abstract digital video into an audio-visual composition, a system of computer manipulated images and sounds.The visual base material of the piece is a 5 second TV sample of a «media incident» that took place at a baseball game in Chicago in September 2002.  This base material is being stretched out by visual «granulation» into some 5 minutes. The inherent structure of the media footage and underlaying violence emerge through this extreme time stretch and rhythmical montage of images. The music drives the visuals, forms the metro and rhythmical base for the piece. Sound and images fold into overlapping layers of images oscillating between construction and destruction, information and noise. Images and sounds form an inseparable pulsating system..

BOB OSTERTAG  

SOONER OR LATER

Sound, RecRec Music (RecDec 97), 1997

Re-issued on MVORL/Seeland in limited edition in 2001. [Seeland 514] The sounds in this piece come from a recording of a young boy in El Salvador burying his father, who had been killed by the National Guard. There is the sound of the boy‘s voice, the shovel digging the grave, and a fly buzzing nearby. In Part 2, there is an additional sound of the guitar playing of Fred Frith. For the most part, the recording is played back with little electronic alteration or «processing». Rather, the music is made by breaking the original recording into very small events, and stringing these events into musical structures, creating shapes radically different from the original. To use a film analogy, it is as if the frames of a film were re-ordered so that the characters do altogether different actions. Or you might imagine the source sounds as physical objects viewed from different angles. I have placed you not only at different positions around the object, but have made windows of different sizes through which you look, and occasionally curved the galls into lenses of various types.

FLORIAN SCHMEISER  

«I don´t want to set the world on fire»

Sound object: Helmet HGU-26/P, Audio-CD, 2009

Arrangement, Instruments, Vocals, Mastering: Florian Schmeiser | Original: Franz Schubert «Leiermann» (´Winterreise´) | Text: The Ink Spots «I don´t want to set the world on fire» The pilot-helmet HGU-26/P designed for military purpose is metapher for limitations of perception, mental enclosure and exclusion. The notion of war remains virtual until the continuum/capsule is blown up, until the body is bruised. «I dont want to set the world in fire» was written by THE Ink Spots, a band from 1940. The song was covered several times (11 times just in 1941) and was soundtrack for the computer-game Fallout 3. The Text is accompanied by and adaptation of Franz Schuberts «Winterreise», a song cycle written in 18th century, covers the issues such as love, migration, alienation. The romantic escapism of biedermeier meets end-time escapism of the 20th and 21th century.

ARYE WACHSMUTH  

Installation, diverse Media, 2006-2009

Ayre Wachsmuths‘s installation refers to technology, history, perception and memory. Part of the Installation is the multiple 300ml Attribute Noir: eleven cans of black spray, each labeled with a criteria of the Film Noir genre. Film Noir serves here as symbol for the circuit between reality and constructions of reality and acommemoration / memory, between description and instruction.

XURBAN_COLLECTIVE  

The Cracked Sea of Marble

Installation: wooden desk, 1000 Digital C-Prints, Video, text, 2009

As the Marmara sea extends towards the horizon, it conspicously hides and reveals our innermost fears. The sea has witnessed many a catastrophe since Prokopius, in sixth century, claimed the monster of the sea (Propontis) to be the leviathan, a whale that has sunk the Roman ships until it was finally captured. From Dardanelles to Bosphorus, at the bottom of the sea lie the relics of centuries, from battleships to oil tankers, to freighters with a cargo of thousand sheep, alongside the faultline that dates back to geological time (immemorial) to witness them all. Seen from where we stand today, the Marmara sea, in all its serenity, represents a people parted along a faultline, unable to comprehend its mortal vanity, its nemesis exiled on remote islands then (and now,) as though all evil will vanish in the distance, like the crack vanishes down in the bottom of the sea.

FLORIAN ZEYFANG  

BRIDGES, HORIZONS, CROSSINGS

Projektion, 2009

Florian Zeyfang explores topology and theories of space deal with crossing of borders in many different ways. The bridges of Königsberg demonstrate a mathematic problem solved by Leonhard Euler in 1736. The example refers to the bridges of the city and the question if there is a possibility to cross all seven bridges over the river Pregel for just one time / in just one move. Euler verified, that there can be no way to do this. A variation of this problem is the question, if one can draw a figure with just one line, without removing the pencil from paper. Further variations arise, if you apply this question to social situation.

https://www.volume.at/events/boundary-signal-2009-01-15/

https://fluc.at/programm/2009/01/wd_20090115.html?f

https://esel.at/termin/22930

https://www.metamute.org/community/your-posts/boundary-signal?f

https://www.volume.at/events/boundary-signal-2009-01-15/

[sakrumverum]

Matthias wurde nach dem Selbstmord des Judas Iskariot zum Apostel ernannt. Das Los entschied zu seinen Gunsten gegen den ebenfalls zur Wahl stehenden Barnabas. Nach der Überlieferung predigte Matthias mit großem Erfolg zuerst in Judäa, dann in Äthiopien, wo er um das Jahr 63 von Heiden gesteinigt, und als er danach noch immer am Leben war, mit einem Beil hingerichtet wurde. Zu Beginn des 4.Jhdts wurden seine Reliquien von der Kaiserin Helena dem Bischof Agritius von Trier geschenkt, der sie in seine Bischofsstadt brachte, wo sie heute noch aufbewahrt werden. - Die Stadt Trier (Augusta Treverorum) kann nicht nur auf eine zweitausendjährige Geschichte zurückblicken, sie zählte einst zu den bedeutendsten Städten des Römischen Reiches und war für kurze Zeit sogar Sitz des Kaisers. Wetter- und Bauernregeln: "Wenn neues Eis Matthias bringt, so friert's noch 40 Tage. Wenn noch so schön die Lerche singt, die Nacht bringt neue Plage." "Matheis bricht's Eis. Hat er keins, so macht er eins." "Sankt Mathias hab' ich lieb, denn er gibt dem Baum den Trieb." "An Sankt Matthais geht der Fuchs 's letze Mal übers Eis." "Wenn Sankt Mathias kommt herbei, legen Huhn und Gans das erste Ei." Land Europa Deutschland Stadt Trier Besonderheiten Biblische Gestalt

[goalhofer]

2020 Olympics Switzerland Roster

Athletics

Julien Wanders (Geneva)

Kariem Hussein (Zürich)

Tadesse Abraham (Asmara, Eritrea)

Loïc Gasch (Zürich)

Salome Lang (Basel)

Ajla Del Ponte (Locarno)

Mujinga Kambundji (Bern)

Salomé Kora-Joseph (St. Gallen)

Léa Sprunger (Nyon)

Fabienne Schlumpf (Bern)

Martina Strähl (Solothrun)

Angelica Moser (Winterthur)

Badminton

Sabrina Jaquet (La Chaux-De-Fonds)

Canoeing

Thomas Koechlin (Pau)

Martin Dougoud (Geneva)

Cycling

Stefan Bissegger (Weinfelden)

Robin Froideveaux (Morges)

Mauro Schmid (Bülach)

Valère Thiébaud (Neuchâtel)

Théry Schir (Lausanne)

Cyrille Thièry (Lausanne)

Filippo Colombo (Ticino)

Mathias Flückiger (Bern)

Nino Schurter (Tersnaus)

Marc Hirschi (Ittigen)

Michael Schär (Geuensee)

Stefan Küng (Wil)

Gino Mäder (Aigle)

Simon Marquart (Winterthur)

David Graf (Winterthur)

Sina Frei (Zürich)

Linda Indergand (Silenen)

Jolanda Neff (St. Gallen)

Marleen Reusser (Jegenstorf)

Nikita Ducarroz (Sonoma Valley, California)

Diving

Michelle Heimberg (Bern)

Equestrian

Robin Godel (Zürich)

Bryan Balsinger (Zürich)

Felix Vogg (Weiblingen, Germany)

Martin Fuchs (Zürich)

Steve Guerdat (Bassecourt)

Beat Mändli (Laufen-Uhwiesen)

Eveline Bodenmüller (Andelfingen)

Mélody Johner (Bern)

Estelle Wettstein (Wermatswil)

Golf

Albane Valenzuela (New York, New York)

Kim Métraux (Orlando, Florida)

Gymnastics

Christian Baumann (Leutwil)

Pablo Brägger (Oberbüren)

Benjamin Gischard (Herzogenbuschee)

Eddy Yusof (Bülach)

Giulia Steingruber (Gossau)

Judo

Nils Stump (Bern)

Fabienne Kocher (Zürich)

Karate

Elena Quirici (Stützpunkt)

Rowing

Paul Jacquot (Chalon-Sur-Saone, France)

Markus Kessler (Schaffhausen)

Andrin Gulich (Zürich)

Joel Schürch (Bern)

Roman Röösli (Neukirch)

Barnabé Delarze (Lausanne)

Frederique Rol (Pully)

Patricia Merz (Baar)

Jeannine Gmelin (Uster)

Sailing

Matteo Sanz-Lanz (Zürich)

Lucien Cujean (Bern)

Sébastien Schneiter (Bern)

Maud Jayet (Pully)

Linda Fahrni (Zürich)

Maja Siegenthaler (Bern)

Shooting

Nina Christen (Wolfenschiessen)

Heidi Diethelm-Gerber (Münsterlingen)

Climbing

Petra Klinger (Zürich)

Swimming

 Noè Ponti (Locarno)

Jérémy Desplanches (Geneva)

Antonio Djakovic (Bern)

Roman Mityukov (Zürich)

Nils Liess (Plan-Les-Ouates)

Lisa Mamié (Bern)

Maria Ugolkova (Uster)

Table Tennis

Rachel Moret (Zürich)

Tennis

Belinda Benčič (Wollerau)

Viktorija Golubić (Zürich)

Volleyball

Adrian Heidrich (Kloten)

Mirco Gerson (Belp)

Tanja Hüberli (Bern)

Anouk Vergé-Dépré (Bern)

Joana Heidrich (Kloten)

Nina Betschart (Steinhausen)

Wrestling

Stefan Reichmuth (Willisau)

Fencing

Ben Steffen (Basel)

Max Heinzer (Lucerne)

Michel Niggeler (Lugano)

Triathlon

Andrea Salvisberg (Hasle-Rüegsau)

Max Studer (Kestenholz)

Jolanda Annen (Schattdorf)

Nicola Spirig-Hug (Bachenbülach)

[demoura]

AVASSALADORA SAISON 2019/20 DA ÓPERA DE PARIS;

A FRANÇA SUPERPODER DA CULTURA ! : Stephen Lisser despede-se « en grandeur «  19 óperas muitas novas produções elencos com as principais estrelas .mundiais e dois ciclos completos do Anel de Wagner com solistas de luxo , Alem dos 100:milhões de euros do Ministerio da Cultura Francês admiro o trabalho colossal para programar algo desta dimensão . Transcrevo o programa difundido pela Ópera Wire

« The Opéra National de Paris has announced its 2019-20 seasons which will feature a total of 19 operas and the entire Ring Cycle in an all-new production.

Bellini’s “I Puritani” opens the season in a production by Laurent Pelly. Elsa Dreisig takes the leading role with Javier Camarena and Francesco Demuro sharing the role of Arturo. Riccardo Frizza conducts the production which also stars Igor Golovatenko and Alexander Tsymbalyu

Performance Dates: Sept. 7-Oct. 5, 2019

Pretty Yende and Nino Machaidze headline a new production of Verdi’s “La Traviata” by Simon Stone. Benjamin Bernheim and Atalla Ayan alternate as Alfredo, while Ludovic Tézier and Jean‑François Lapointe share the role of Germont. Michele Mariotti conducts.

Performance Dates: Sept. 12-Oct. 16, 2019

Ana Maria Martínez and Dinara Alieva share the title role in Puccini’s “Madama Butterfly” with Giorgio Berrugi and Dmytro Popov alternating as Pinkerton. Marie-Nicole Lemieux and Eve Hubeaux share the role of Suzuki with Giacomo Sagripanti conducting.

Performance Dates: Sept. 14-Nov. 13, 2019

Rameau’s “Les Indes Galantes” gets a new production with Clément Cogitore directing and Victor García-Alarcón conducting. Sabine Devieilhe, Jodie Devos, Julie Fuchs, Mathias Vidal, Stanislas de Barbeyrac, Alexandre Duhamel, Edwin Crossley-Mercer, and Florian Sempey star in the production.

Performance Dates: Sept. 27-Oct. 15, 2019

Roberto Alagna, Aleksandra Kurzak, Anita Rachvelishvili, Étienne Dupuis, Vitalij Kowaljow, and René Pape headline a revival of Verdi’s “Don Carlo.” Nicole Car and Michael Fabiano also star in the leading roles with Fabio Luisi conducting.

Performance Dates: Oct. 25-Nov. 23, 2019

Reimann’s “Lear” returns with Bo Skovhus in the title role, Evelyn Herlitzius as Goneril, Gidon Saks as Frankreich, and Annette Dasch as Cordelia. Fabio Luisi conducts.

Performance Dates: Nov. 21-Dec. 7, 2019

Barrie Kosky directs a new production of Borodin’s “Prince Igor” with Philippe Jordan conducting. Elena Stikhina, Anita Rachvelishvili, Pavel Černoch, and Evgeny Nikitin lead the all-star cast.

Performance Dates: Nov. 28-Dec. 26, 2019

Sondra Radvanovsky stars in Bellini’s “Il Pirata” alongside Michael Spyres and Ludovic Tezier. Bel Canto specialist Riccardo Frizza conducts the concert performance.

Performance Dates: Dec. 16-19, 2019

Lisette Oropesa headlines a revival of Rossini’s “Il Barbiere di Siviglia” with Xabier Anduaga, Florian Sempey, Andrzej Filonczyk, and Krzysztof Bączyk. Carlo Montanaro conducts Damiano Michieletto’s production.

Performance Dates: Jan. 11-Feb. 12, 2020

Ravel’s “L’Enfant et les sortileges” will be showcased with Debussy’ ballet “L’Apres-midi d’un Faune.” The opera will be part of the Academie showcase.

Performance Dates: Jan. 20-29, 2020

Robert Carsen’s classic production of “Les Contes d’Hoffmann” will star Michael Fabiano in the title role. He is accompanied by Jodie Devos, Ailyn Perez, and Veronique Gens as his three muses and Gaelle Arquez as Nickclausse. Laurent Naouri plays the four villains, while Mark Elder conducts.

Performance dates: Jan. 21-Feb. 14, 2020

Boesmans’ “Yvonne Princesse de Bourgogne” will star Beatrice Uria-Monzon, Laurent Naouri, and Dörte Lyssewski in the title role. Susanna Mälkki conducts the production by Luc Bondy.

Performance Dates: Feb. 26-March 8, 2020

Pretty Yende and Sofia Fomina star in a new production of Massenet’s “Manon” directed by Vincent Huguet. Benjamin Bernheim and Stephen Costello share the role of Des Greiux with Ludovic Tézier and Roberto Tagliavini rounding out the cast. Dan Ettinger conducts.

Performance Dates: Feb. 29-April 10,2020

Mozart’s “Don Giovanni” stars Luca Pisaroni, Jacquelyn Wagner, Stéphanie d’Oustrac, Philippe Sly, Zuzana Marková, and Alexander Tsymbalyuk. Philippe Jordan conducts the production by Ivo van Hove.

Performance Dates: March 21-April 24, 2020

Anna Netrebko stars in David McVicar’s production of “Adriana Lecouvreur” alongside Yusif Eyvazov and Ekaterina Semenchuk. Giacomo Sagripanti conducts a cast that also includes Zeljko Lucic. Elena Stikhina also stars in the title role for two performances.

Performance Dates: April 27-May 12, 2020

“Boris Godunov” takes the stage with René Pape in the iconic title role. Other cast members include Evdokia Malevskaya, Rusan Mantashyan, Elena Zaremba, and Andreas Conrad among others. Michael Schønwandt conducts a production by Ivo van Hove.

Performance Dates: May 23-June 14, 2020

Verdi’s “Rigoletto” will feature Frédéric Antoun as the Duke, Zeljko Lucic as Rigoletto, and Elsa Dreisig as Gilda. Speranza Scappucci conducts a production by Claus Guth.

Performance Dates: June 2-June 21, 2020

Ermonela Jaho, Elena Stikhina, and Marina Costa-Jackson will rotate the role of Mimì in “La Bohème.” As Rodolfo, audiences will get a chance to see Francesco Demuro, Vittorio Grigolo, and Benjamin Bernheim. Julie Fuchs and Elena Tsallagova will each be Musetta while Lucas Meachem and Gabriele Viviani will be Marcello. Lorenzo Viotti conducts the production by Claus Guth.

Performance Dates: June 13-July 5, 2020

Mozart’s “Così Fan Tutte” will feature Jacquelyn Wagner, Stephanie Lauricella, Stephen Costello, Philippe Sly, Paulo Szot, and Ginger Costa-Jackson. Antonello Manacorda conducts.

Performance Dates: June 19-June 28

Ring Cycle

Ring Cycle

Calixto Bieto is set to direct a new production of Wagner’s Ring Cycle with an all-star cast.

“Das Rheingold” will star Iain Paterson as Wotan, Lauri Vasar as Donner, Ekaterina Gubanova as Fricka, Anna Gabler as Freia, while “Die Walkure” will be headlined by Jonas Kaufmann as Siegmund, Eva-Maria Westbroek as Sieglinde, Martina Serafin in the role of Brünnhilde, Ekaterina Gubanova as Fricka, Paterson as Wotan, and John Relyea as Hunding.

In the third installment, “Siegfried,” Paterson will take on the Wanderer with Julie Fuchs as the Waldvogel, Martina Serafin as Brünnhilde, and Andreas Schager in the title role.

“Gotterdämmerung” will star Anna Gabler as Gutrune, Ricarda Merbeth as Brünnhilde, Sarah Connolly as Waltraute, Johannes Martin Kränzle as Gunther, and Schager as Siegfried.

Philippe Jordan conducts the entire Ring Cycle.

Das Rheingold: April 2-15, 2020

Die Walkure: May 5-27, 2020

Siegfried: Oct. 10-18, 2020

Gotterdämmerung: Nov. 13-21, 2020

Complete Cycles: Nov. 23-28, 2020 & Nov. 30-Dec. 6, 2020

Concerts

Jordan and Nina Stemme will team up for a concert performance that features Wagner’s Wesendonck Lieder and the Prelude and Liebestod from “Tristan und Isolde.”

Performance Date: Oct. 24, 2019 & Oct. 25, 2019

Matthias Goerne sings Mahler’s Ruckert Lieder with Philippe Jordan conducting. The program also includes Mahler’s fifth symphony.

Performance Date: March 11, 2020

folder_openTagged in: 2019-20 season, Ailyn Perez, Aleksandra Kurzak, ana maria martinez, Anita Rachvelishvili, anna netrebko, Beatrice Uria-Monzon, Elsa Dreisig, Ermonela Jaho, Francesco Demuro, Gaëlle Arquez, javier camarena, Jonas Kaufmann, Julie Fuchs, Lisette Oropesa, Ludovic tezier, marie-nicole lemieux, Michael Fabiano, nicole car, Nina Stemme, Nino Machaidze, Opera de Paris, Paulo Szot, Pretty Yende, Rene Pape, Roberto Alagna, Sabine Devieilhe, Veronique Gens, vittorio grigolo, yusif eyvazov »

[toorebeldreamland]

LES INDES GALANTES

[AS GALANTES INDIES] A dança do Grand Calumet de la Paix ...

Uma cena paroxística do nosso show. Uma obra-prima de Rameau e uma obra-prima da humanidade hoje.

Um pequeno passo para a paz. Em replay por um ano no ARTE CONCERT! Replay. http://bit.ly/2IFFvWr Aproveite: a ópera de uma nova geração para todos!

Les Indes galantes, ballet Opera em quatro entradas e prólogo (1735) Música: Jean-Philippe Rameau Folheto: Louis Fuzelier Direção musical: Leonardo García Alarcón Diretor: Clément Cogitore Coreografia: Bintou Dembele Cie Rualité Conjuntos: Alban Ho Van Trajes: Wojciech Dziedzic Luzes: Sylvain Verdet Dramaturgia musical: Katherina Lindekens Dramaturgia: Simon Hatab Mestre do coro: Thibaut Lenaerts Orquestra Cappella Mediterranea Coro de Câmara de Namur Masters of Hauts-de-Seine / Coro infantil da Ópera Nacional de Paris Os dançarinos do Bintou Dembele Cie Rualité distribuição Sabine Devieilhe Florian Sempey Jodie Devos Edwin Crossley Mercer Julie Fuchs Mathias Vidal Alexandre Duhamel Stanislas de Barbeyrac

[benseel-landtag-blog]

Unterstützung von Ben Seels Kandidatur für den hessischen Landtag

Wir, Personen aus Wissenschaft, Forschung, Lehre, Verwaltung, Studierendenvertretungen und (Hochschul-)Politik unterstützen Ben Seel in seiner Kandidatur für den hessischen Landtag.

 Wir wünschen uns eine kräftige Stimme im Landtag, die progressive, ausreichend finanzierte, demokratische und nachhaltige Hochschulpolitik mit Leidenschaft und Nachdruck vertritt. Wir haben Ben Seel in verschiedenen hochschulpolitischen Arbeitsfeldern seit 2010 in Hessen, Baden-Württemberg, und auf Bundesebene kennengelernt und schätzen an ihm seine hochschulpolitische Expertise und sein Engagement für die verschiedenen Bereiche der Hochschul- und Wissenschaftspolitik.

 Ob als Senator an den Universitäten in Frankfurt und Heidelberg, in der LAG Hochschule, im Vorstand von Campusgrün oder des freien zusammenschlusses von student*innenschaften, bei der intensiven Arbeit an der Verbesserung von Hochschulgesetzen: Ben Seel hat sich in den letzten 7 Jahren auf kommunaler, Landes- sowie Bundesebene eingebracht. Mit Ben Seel wäre ein sehr erfahrener Hochschulpolitiker und somit eine Stimme für progressive grüne Hochschulpolitik im Landtag. Wir wünschen ihm daher viel Erfolg bei der Listenaufstellung am 21. April 2018 in Fulda!

-------------------------------------------------------------------------------

Anika Schmütz, Bundessprecherin Campusgrün

Danny Behrendt, Bundessprecher Campusgrün

Madelaine Stahl, ehem. Bundessprecherin Campusgrün

Larissa Eberhard, ehem. Bundessprecherin Campusgrün

Sandro Philippi, ehem. Vorstand des freien zusammenschlusses von student*innenschaften

Mandy Gratz, ehem. Vorstand des freien zusammenschlusses von student*innenschaften

Erik Marquardt, ehem. Vorstand des freien zusammenschlusses von student*innenschaften

Luisa Schwab, Sprecherin der BAG Wissenschaft, Hochschule, Technologiepolitik

Hannah Blümig, Mitglied des Senats der Universität Marburg

Valentin Fuchs, stellv. Mitglied des Senats der GU Frankfurt, Kommunikationsreferent AStA GU Frankfurt, ehem. AStA-Vorstand GU Frankfurt

Johanna Saary, Stupa-Präsidentin, ehem. AStA-Vorstand; TU Darmstadt

Sophia Trippe, AStA-Vorstandsmitglied TU Darmstadt

Johanna Brust, AStA-Vorstandsmitglied TU Darmstadt

Jakob Rimkus, ehem. AStA-Vorstandsmitglied, ehem. Senatsmitglied, ehem.     Vorstandsmitglied der Universitätsversammlung; TU Darmstadt

Sofia Ganter, Sprecherin LAG Wissenschaft & Hochschule Hessen, ehem.   AStA-Referentin  GU Frankfurt,  ehem. Landesrätin Campusgrün Hessen

Sebastian Rohlederer, ehem. Außenreferent der Landesstudierendenvertretung   Baden-Württemberg, ehem. Mitglied des Fakultätsrats der Philosophischen Fakultät der Universität Heidelberg

Hille Herber, Mitglied des Senats der GU Frankfurt

David Hellwig, ehem.  Sprecher der LAG Hochschule Baden-Württemberg, ehem. Senatsmitglied der Universität Konstanz

Christian Ecke, AStA Uni Kassel, Referat für Hochschulpolitik & Politische Bildung

Sebastian Berger, Fraktionssprecher der GRAS und Referent für internationale   Angelegenheiten der Bundesvertretung der Österreichischen   Hochschüler*innenschaft

Caroline Geißler, AStA-Referentin GU Frankfurt

Mathias Schröder, ehem. Bundessprecher der GEW-Studierenden

Michael Pollock, ehem. Referent des autonomen Hilfskräfte-Referats des AStA der  GU Frankfurt/ Mitglied der Sonderkommission des Senats der GU Frankfurt  für wissenschaftlichen Nachwuchs

[hollykhancockdc]

virtual jean-claude risset (w jean-claude risset, don foresta and mathias fuchs) a lot of the research was practice based. 

[sakrumverum]

Matthias wurde nach dem Selbstmord des Judas Iskariot zum Apostel ernannt. Das Los entschied zu seinen Gunsten gegen den ebenfalls zur Wahl stehenden Barnabas. Nach der Überlieferung predigte Matthias mit großem Erfolg zuerst in Judäa, dann in Äthiopien, wo er um das Jahr 63 von Heiden gesteinigt, und als er danach noch immer am Leben war, mit einem Beil hingerichtet wurde. Zu Beginn des 4.Jhdts wurden seine Reliquien von der Kaiserin Helena dem Bischof Agritius von Trier geschenkt, der sie in seine Bischofsstadt brachte, wo sie heute noch aufbewahrt werden. - Die Stadt Trier (Augusta Treverorum) kann nicht nur auf eine zweitausendjährige Geschichte zurückblicken, sie zählte einst zu den bedeutendsten Städten des Römischen Reiches und war für kurze Zeit sogar Sitz des Kaisers. Wetter- und Bauernregeln: "Wenn neues Eis Matthias bringt, so friert's noch 40 Tage. Wenn noch so schön die Lerche singt, die Nacht bringt neue Plage." "Matheis bricht's Eis. Hat er keins, so macht er eins." "Sankt Mathias hab' ich lieb, denn er gibt dem Baum den Trieb." "An Sankt Matthais geht der Fuchs 's letze Mal übers Eis." "Wenn Sankt Mathias kommt herbei, legen Huhn und Gans das erste Ei." Land Europa Deutschland Stadt Trier Besonderheiten Biblische Gestalt