#peter heise

[garadinervi]

Peter Heise: The Song Edition, (CD, Digital album), 8.201101, Dacapo Records, 2021, in cooperation with Det Kongelige Danske Musikkonservatorium, København

Adam Riis: tenor Aleksander Nohr: baritone Astrid Nordstad: mezzo-soprano Bo Kristian Jensen: tenor Bo Skovhus: baritone Clara Cecilie Thomsen: soprano David Danholt: tenor Elsa Dreisig, soprano Francine Vis: mezzo-soprano Jakob Bloch Jespersen: bass-baritone Jens Søndergaard: baritone Johanne Thisted Højlund: mezzo-soprano Lars Møller: baritone Mari Eriksmoen: soprano Signe Asmussen: mezzo-soprano Simon Duus: bass-baritone Sofie Elkjær Jensen: soprano Stig Fogh Andersen: tenor

Christian Westergaard: piano

Recorded at Det Kongelige Danske Musikkonservatorium

Liner Notes: Jens Cornelius, Christian Westergaard English Translation: Colin Roth Proofreaders: Jens Fink-Jensen, Colin Roth

Design: Studio Tobias Røder

Publisher: Edition Wilhelm Hansen

(booklet pdf here)

[lesser-known-composers]

Peter Heise (1830–1879) - String Quartet No. 1 in B minor: I. Allegro ·

Nordic String Quartet ·

[rich4a1]

Vivian Buczek LE GRAND MICHEL

VIVIAN BUCZEK LE GRAND MICHEL Prophone Records Vivian Buczek, vocals; Mathias Heise, harmonica; Martin Sjöstedt, piano/Fender Rhodes/arrangements; Jesper Bodilsen, bass; Zoltan Csörsz, drums; Peter Asplund, trumpet/flugelhorn. I felt a certain expectancy and excitement when I read that Vivian Buczek had recorded an entire album of Michel Legrand compositions. Unwrapping the album’s cellophane…

[mirandamckenni1]

Can a Particle Be Neither Matter Nor Force? Get NordVPN 2Y plan + 4 months extra + up to 20Gb Saily data here ➼ https://ift.tt/h52ukC8 It’s risk-free with Nord’s 30-day money-back guarantee! Check out the Space Time Merch Store https://ift.tt/W4TJPFa Sign Up on Patreon to get access to the Space Time Discord! https://ift.tt/cNJmpoR All particles belong to two large groups: fermions like protons and electrons make everything we consider "matter", while bosons like photons and gluons transmit the fundamental forces. And that about covers the universe: matter moving through space and time under the action of forces. But what if we could create particles in between these two possibilities. Physics says these neither matter nor force anyons can exist, and they may have some pretty incredible uses. They’re called anyons. PBS Member Stations rely on viewers like you. To support your local station, go to:https://ift.tt/g6LFC0m Sign up for the mailing list to get episode notifications and hear special announcements! https://ift.tt/fbUeHpv Search the Entire Space Time Library Here: https://ift.tt/0jFs1w2 Hosted by Matt O'Dowd Written by Fernando Franco Félix & Matt O'Dowd Post Production by Leonardo Scholzer, Yago Ballarini & Stephanie Faria Directed by Andrew Kornhaber Associate Producer: Bahar Gholipour Executive Producers: Eric Brown & Andrew Kornhaber Executive in Charge for PBS: Maribel Lopez Director of Programming for PBS: Gabrielle Ewing Assistant Director of Programming for PBS: John Campbell Spacetime is a production of Kornhaber Brown for PBS Digital Studios. This program is produced by Kornhaber Brown, which is solely responsible for its content. © 2024 PBS. All rights reserved. End Credits Music by J.R.S. Schattenberg: https://www.youtube.com/user/MultiDroideka Space Time Was Made Possible In Part By: Big Bang Sponsors First Principles Foundation John Sronce Bryce Fort Peter Barrett David Neumann Alexander Tamas Morgan Hough Juan Benet Vinnie Falco Mark Rosenthal Quasar Sponsors Grace Biaelcki Glenn Sugden Ethan Cohen Stephen Wilcox J. Tyacke Mark Heising Hypernova Sponsors Michael Tidwell Chris Webb David Giltinan Ivari Tölp Kenneth See Gregory Forfa Alex Kern Bradley Voorhees Scott Gorlick Paul Stehr-Green Ben Delo Scott Gray Антон Кочков Robert Ilardi John R. Slavik Donal Botkin Edmund Fokschaner Chuck Zegar Daniel Muzquiz Gamma Ray Burst Sponsors Neil Moore Robin Sur Arko Provo Mukherjee Mike Purvis Christopher Wade Anthony Crossland Grace Seraph Parliament Stephen Saslow Robert DeChellis Tomaz Lovsin Anthony Leon Leonardo Schulthais Senna Lori Ferris Dennis Van Hoof Koen Wilde Nicolas Katsantonis Joe Pavlovic Justin Lloyd Chuck Lukaszewski Cole B Combs Andrea Galvagni Jerry Thomas Nikhil Sharma John Anderson Bradley Ulis Craig Falls Kane Holbrook Ross Story Teng Guo Harsh Khandhadia Matt Quinn Michael Lev Rad Antonov Terje Vold James Trimmier Jeremy Soller Paul Wood Kent Durham Jim Bartosh John H. Austin, Jr. Diana S Faraz Khan Almog Cohen Daniel Jennings Russ Creech Jeremy Reed David Johnston Michael Barton Isaac Suttell Oliver Flanagan Bleys Goodson Mark Delagasse Mark Daniel Cohen Shane Calimlim Tybie Fitzhugh Eric Kiebler Craig Stonaha Frederic Simon John Robinson Jim Hudson Alex Gan John Funai Adrien Molyneux Bradley Jenkins Amy Hickman Vlad Shipulin Thomas Dougherty King Zeckendorff Dan Warren Joseph Salomone Patrick Sutton Julien Dubois via YouTube https://www.youtube.com/watch?v=26ZmKqLNSZ8

[churchofsatannews]

Vox Satanae - Episode 443 - Week of July 15, 2019

Vox Satanae – Episode 443 – Week of July 15, 2019

Vox Satanae – Episode 443 – 138 Minutes – Week of July 15, 2019

This week we hear works by Robert White, Giovanni Legrenzi, Charles Avison, Johann Hummel, Peter Heise, Sir Hamilton Harty, and Frano Parać.

Stream Vox Satanae Episode #443.

Download Vox Satanae Episode #443.

Vox Satanae

[albannikolaiherbst]

Klarheit im August ODER Das Große Fest der Enteinigung. Im Tagebuch des fünfundsiebzigsten Krebstags 2020.

Klarheit im August ODER Das Große Fest der Enteinigung. Im Tagebuch des fünfundsiebzigsten Krebstags 2020.

[Arbeitswohnung, 15.31 Uhr. 74,8 kg. Malipiero, → Le sette canzoni]

Auch dies, nach Maxwell Davies, eine unvermutete Entdeckung., deren Klangwelten mich noch einige Zeit beschäftigen werden — Gian Francesco Malipieros und Alfredo Casellas, mit einem soeben, da ich nun seinen Orchesterliedern lausche, aufglühenden Mentalitätsakzent auf erstrem. Aber auch Malipieros höchst seltsam gezählten,…

[opera-ghosts]

Ebba Anna Elisabeth Wilton, also Ebba Dane, née Pedersen (1896–1951) was a Danish operatic soprano who sang at the Royal Danish Theatre from 1924 to 1949. The foremost coloratura singer of her generation, her principal roles included Olympia in The Tales of Hoffmann, Zerlina in Don Giovanni, Susanna in The Marriage of Figaro, Gilda in Rigoletto and Ännchen in Der Freischütz. She made guest appearances in Berlin, Paris and Riga. Born in Lille Heddinge, Stevns Municipality, on 13 December 1896, Ebba Anna Elisabeth Pedersen was the daughter of the restaurant owner Carl Christian Pedersen (1869–1939) and his wife Karen Marie Hansigne née Madsen (1869–1935). Her musical talents developed early, allowing her to made her first appearance when she was just 15. She attended the Music Conservatory as a student of Poul Bang and received training from her husband-to-be, the tenor Einer Wilton (1888–1932). They married in June 1922. When she was 15, she joined the choir at the Casino Theatre where Gerda Christophersen noticed her potential and encouraged her to join the trio she put together. In 1919, she performed in the revue Capriciosa as Ebba Dane but it was not until she married Einar Wilton that her voice really started to improve. It was thanks to her husband's training that in December 1924, she made her début at the Royal Danish Theatre as Queen of the Night in The Magic Flute. The same year, she appeared Tivoli's concert hall. Recognized for her voice rather than her acting, she went on to take the key soprano roles in the classical operas as well as in Danish works, including as Aase in Peter Heise's Drot og Marsk. She retired on the occasion of her 25th jubilee in 1949, singing Rosina in The Barber of Seville. Ebba Wilton died in Gentofte on 1 April 1951.

[gayenerd]

This is another article I found during the internet k-hole I went into while looking for information about Adrienne’s ex-fiance, saved in a document, and now can’t find online anymore. I think it was originally featured in the Mankato Free Press, but the author apparently had a blog detailing her 2009 efforts to get in contact with Adrienne and campaign for Green Day to play in Mankato again. There’s some more interesting tidbits about the Mankato punk scene and an interview with Adrienne there. 

Campaign Green Day: Reflection

By Amanda Dyslin

Free Press Features Editor

June 10, 2009 11:29 pm

— It was dark in the middle of the southern Minnesota countryside, somewhere by St. Peter in the summer of 1992.

On a farm with a barn and not much else, there was one light pole casting a shallow glow on three guys standing atop 6-foot wide, 5-foot tall wire spools — a makeshift stage to gain high ground over 200 or so people watching. Next to them was a big, old, beat-up beast of a car pulled up by the owner so 15 or so people could stand on top and gain a better view. One of them had a video camera.

Ben Gruber, then a sophomore at Loyola High School, was there. In fact, he and a buddy had helped haul equipment for the band, and even gave the drummer, Tre Cool, a ride before the show in Mankato. The music was good, he said. A lot more polished than other punk bands he’d seen in Mankato.

He was aware of the five-year-old band, born in Berkeley, Calif., he said. They’d put out a couple of smaller recordings, including their full-length debut “39/Smooth” on Lookout! Records. But they were two years from their breakthrough record, “Dookie,” which would have pretty much everyone at the show that night in awe of what they had experienced — maybe one of the last stripped down, small-scale punk shows Green Day would ever perform.

Mankato punk

The Libido Boyz are often considered the anchor of the Mankato punk scene in the late 1980s/early 1990s. It was a time when the city was rich with garage and basement punk bands, drummer Chad Sabin said before a reunion show in 2007. PSD and Plain Truth were a couple of other bands that got a lot of attention at the time.

Marti’s All Ages Music, located where the Vietnamese restaurant Tonn is now on Front Street, was an open building with a bathroom and a couple of booths where kids could put on shows. A couple of bands went on to the big time after playing there. The Offspring was one of them.

Many claimed having heard of friends who had seen Green Day play at Marti’s. According to a former talent booker, the closest Green Day ever came to playing the venue was when frontman Billie Joe Armstrong and his girlfriend, Adrienne Nesser, walked in and left right after The Offspring’s set in 1994. Marti’s tried to get Green Day to play the venue numerous times, but it was way too small for even the moderate level of fame they’d already gained pre-“Dookie.” Marti’s had the same trouble with the punk band Fugazi.

“It was pretty much no frills,” Gruber said. “There wasn’t much to do there.”

The bulk of the punk scene was made up of high school and college-age punk-rockers who would play anywhere, Sabin said. Like a lot of kids at the time, the Libido Boyz just wanted to play loud, chaotic music, which also is what people seemed to want to hear. Kids would cram into basements for concerts or listen outside garages.

“On any given week or weekend, there would be a show with anywhere from two to 10 bands playing,” Gruber said. “There was a really good crop of musician-age kids who were into (punk) for a while (before) grunge became very popular.”

During the next few years, the Libido Boyz got big. They played in the Cities and toured the state and eventually started playing shows across the country, including New York and San Francisco. Out West is where they met Green Day, who would become the biggest punk band to come through Mankato.

“They were just dirty punks like us,” Sabin said.

Former Libido Boyz bassist Dave Begalka said they played punk shows with Green Day from time to time while on tour. Mike Dirnt, Green Day bassist, actually did Begalka a big favor once when they played a show in Cleveland together.

Some of Begalka’s bass gear went missing, and a couple of months later he saw Dirnt when they both were playing shows in the California Bay Area. Turns out, the bass gear was mixed up with Dirnt’s equipment that night, and he’d been keeping it safe for him the whole time.

“I thought that was just downright a swell thing to do,” Begalka said. “As I recall, I think we couch surfed at Billy Joe’s that night. ... By the way, I still use the lost guitar strap that went around the U.S. with Green Day.”

The Libido Boyz and Green Day crossed paths in another way as well, through Adrienne, who was a student at Minnesota State University and living in Mankato.

The first lady

Adrienne (Nesser) Armstrong, now 39, was born in Minneapolis and started at MSU in the late 1980s, graduating with the class of 1994 with a degree in sociology.

She met Billie Joe on Green Day’s first tour in 1990. Some report it was a show at First Ave in Minneapolis, and she is quoted at greenday.net as saying only about 10 people were there. She asked Billie Joe where she could get a copy of the band’s CD, and the two hit it off.

While on tour, Billie Joe kept in contact with Adrienne by phone. Their first kiss inspired an early Green Day song, “2,000 Light Years Away.” Their relationship caused Billie Joe to arrange two tours around Minnesota so they could see each other, a relationship which lasted about a year and a half.

Although it’s unclear, witnesses who saw Billie Joe and Adrienne around Mankato during that time say the reason Green Day played shows in the area at all was simply because she was here. The shows weren’t a part of any tour, but rather impromptu ways to pass to the time.

The relationship fizzled after they decided the distance was too much of a strain. Adrienne got engaged to Billy Bisson, the frontman of Libido Boyz, the following year. Reports differ from either side, with some saying the relationship dissolved on its own. Bisson has been quoted as saying Billie Joe stole her away.

While in Mankato, Adrienne worked at various places, including the Piercing Pagoda in the River Hills Mall and Pagliai’s Pizza, and is described by those who knew her as a beautiful punk rock girl who everybody had a crush on.

Cheryl Rueda, manager of Pagliai’s, worked with Adrienne and three of the Libido Boyz at the restaurant when Adrienne was dating Bisson. Adrienne also babysat for Cheryl’s kids.

“She was a beautiful girl,” Rueda said. “I think the world of her. She was just a regular person.”

Thursday nights Adrienne babysat for Cheryl’s two kids, Andre and Marisa, who were about 3 and 6 at the time. She would often have a craft project or activity to do to keep them entertained. She even took them out trick-or-treating during a blizzard one year.

“She was their favorite babysitter,” she said.

Carrie Zempel Heise worked with her at a bar called The Jungle, now Dutler’s Bowl.

“I ran into her after the bar had closed down (she was working at Pier 1 Imports), and she told me she was moving out West soon,” Zempel said. “Months later, word got back that she had married Billie Joe, and then the next thing I saw was an interview with him in Rolling Stone magazine talking about his pregnant wife!”

When Adrienne finished school, Billie Joe convinced her to move to California and marry him. Rueda said it happened so fast it seemed she was gone over night. Before she left, she and friends had a big garage sale, said Amy Lennartson of Eagle Lake. She and Lennartson originally had plans to move to San Francisco together and open a business.

“She headed West that May, and I stayed over the summer to finish up my time at MSU,” Lennartson said. “Then, in true rock star fashion, I returned home from a Fourth of July vacation to a wedding invitation from Adrienne — to a wedding that had already happened.”

The wedding took two weeks to plan and happened in five minutes July 2, 1994, in Billie Joe’s backyard, according to the VH1 “Behind the Music” documentary. “We didn’t think about it, we just did it,” Adrienne said.

Protestant, Catholic and Jewish vows were exchanged because neither had a religion. The honeymoon took place 10 minutes from Billie Joe’s house at the Claremont Hotel. The day after the wedding, Adrienne found out she was pregnant.

The couple has two sons, Joseph Marciano, 14, and Jakob Danger, 10.

Adrienne now co-owns Adeline Records in Oakland, Calif., and Adeline Street clothing line. She works with the Natural Resources Defense Council, and co-owns Atomic Garden, an eco-friendly clothing and home goods store.

There is at least one friend in Mankato Adrienne is reported to keep in contact with. But said friend — whose basement Green Day was reported to have played in and who reportedly visited the Armstrongs in California — wasn’t eager to talk about it.

Rueda kept in contact with Adrienne for a while. Adrienne would send the Rueda kids Green Day T-shirts and things. She also sent a family photo to the Ruedas years ago. When Adrienne’s first son was 1 1/2, she came back to Mankato to visit and Rueda saw them. She was the same person she had always been, Rueda said.

A few years ago, Adrienne asked a friend in Mankato to go to the Ruedas’ house and videotape the kids so she could see how much they had grown up. Otherwise, the Ruedas haven’t heard from her since.

Big time

The night Green Day played St. Peter, the original plan was for them to play at someone’s house behind where Casey’s is now on Lee Boulevard in North Mankato.

Two local bands went on first. But the cops came and broke it up because of the noise. Gruber and his buddy offered to drive equipment and Tre Cool to a house on Fifth Street in Mankato, where somebody had offered up their basement. But the band took one look and said it was way too small.

That’s when a girl whose family lived off Hwy. 99 near St. Peter offered her place.

“This whole caravan of cars ended up driving out to her place,” Gruber said.

It was too hot to play in the barn. Gruber suggested the guys make a mini stage out of the wire spools, which they thought was pretty punk rock, even commenting on that stage and show later on a bootleg recording, he said.

Gruber said he later recognized songs such as “Welcome to Paradise” off of “Dookie” that they played that night — the night most people look to as the epitome of nostalgia when it comes to Green Day’s presence in Mankato. People still go to YouTube to check out the nine or so minutes of footage from that concert, despite being out of focus, jittery and too dark to see much.

“Took me back,” Gruber said of watching the footage. “That guy filming, he was probably standing right next to me and my friends.”

A couple of hundred people have similar memories from that night, having accidentally stumbled upon a concert that would become local legend. None of them could possibly have imagined what Green Day would become.

“Dookie,” released in 1994 — which followed 1992’s “Kerplunk,” having sold 50,000 copies — sold more than 10 million copies in the U.S. That album, along with those of The Offspring and Rancid, is credited for reviving mainstream interest in punk music, and it won Best Alternative Album at the Grammy Awards.

Future albums, “Insomniac” and “Nimrod,” went double platinum, and “Warning” went gold. None of them reached the level of success of “Dookie.”

But 2004’s punk rock opera “American Idiot” changed everything. Debuting at No. 1 and selling five million copies, critics absolutely drooled over it. “American Idiot” won Best Rock Album at the 2005 Grammys and swept the MTV Video Music Awards.

“Boulevard of Broken Dreams” spent 16 weeks at No. 1 on the Billboard Modern Rock Tracks chart and won the Grammy for Record of the Year. During the band’s 150-date tour in support of the album, they drew crowds of 130,000 people over two days in the United Kingdom.

The band’s new album, “21st Century Breakdown,” was released worldwide May 15 and received rave reviews. Last week the band played “The Tonight Show” with Conan O’Brien.

Their world tour kicks off in July, with the Minneapolis show at the Target Center July 11.

Copyright � 1999-2008 cnhi, inc.

[lesser-known-composers]

Peter Heise (1830–1879) : Cello Sonata No.3 in A Minor (1867)

0:00 Molto Andante - Allegro Agitato 10:34 Intermezzo (Allegretto) 13:50 Allegro Animato

Amalie Malling (Piano) and Morten Zeuthen (Cello)

[thevagueambition]

historians: we actually have no idea who killed Erik Klipping or why. We only know where it happened and who was accused of the conspiracy

romantics: so, he fucked the marshal's wife, right? that's what happened

historians: again, we don't really kno-

romantics: KING ERIK FUCKED MARSK STIG'S WIFE

historians: hey, hold on a-

romantics: HE WAS STABBED 56 TIMES

historians: i mean, maybe, the sources aren-

peter heise & christian richardt: we wrote an opera about it!

historians: that's cool, but historically-

romantics: THIS IS SO GREAT, IT'S OUR NATIONAL OPERA NOW

[mirandamckenni1]

Is It IMPOSSIBLE To Cross The Event Horizon? | Black Hole Firewall Paradox Check out the Space Time Merch Store https://ift.tt/Zgj3Oq6 Sign Up on Patreon to get access to the Space Time Discord! https://ift.tt/hWMY40A So you’ve decided to jump into a black hole. Good news: as long as the black hole is big enough you can sail through the event horizon without harm and get to experience the interior of the black hole before you’re annihilated by the central singularity. Or so we once thought. These days, quite a few physicists believe that the only way to avoid horrible contradictions in fundamental physics generated by black holes is for all them to be surrounded by screens of extreme energy that prevent anything from ever entering the event horizon. Sounds outlandish? Welcome to black holes. So let’s find out why many of our most brilliant physicists take these black hole firewalls deadly seriously. PBS Member Stations rely on viewers like you. To support your local station, go to:https://ift.tt/fbzZ7Y9 Sign up for the mailing list to get episode notifications and hear special announcements! https://ift.tt/BjNl1TC Search the Entire Space Time Library Here: https://ift.tt/3CMOIrG Hosted by Matt O'Dowd Written by Matt O'Dowd Post Production by Leonardo Scholzer, Yago Ballarini & Stephanie Faria Directed by Andrew Kornhaber Associate Producer: Bahar Gholipour Executive Producers: Eric Brown & Andrew Kornhaber Executive in Charge for PBS: Maribel Lopez Director of Programming for PBS: Gabrielle Ewing Assistant Director of Programming for PBS: John Campbell Spacetime is a production of Kornhaber Brown for PBS Digital Studios. This program is produced by Kornhaber Brown, which is solely responsible for its content. © 2024 PBS. All rights reserved. End Credits Music by J.R.S. Schattenberg: https://www.youtube.com/user/MultiDroideka Space Time Was Made Possible In Part By: Big Bang Sponsors First Principles Foundation John Sronce Bryce Fort Peter Barrett David Neumann Alexander Tamas Morgan Hough Juan Benet Vinnie Falco Mark Rosenthal Quasar Sponsors Grace Biaelcki Glenn Sugden Ethan Cohen Stephen Wilcox J Tyacke Mark Heising Hypernova Sponsors Michael Tidwell Chris Webb David Giltinan Ivari Tölp Kenneth See Gregory Forfa Alex Kern Bradley Voorhees Scott Gorlick Paul Stehr-Green Ben Delo Scott Gray Антон Кочков Robert Ilardi John R. Slavik Donal Botkin Edmund Fokschaner chuck zegar Daniel Muzquiz Gamma Ray Burst Sponsors Neil Moore Robin Sur Arko Provo Mukherjee Mike Purvis Christopher Wade Anthony Crossland treborg777 Grace Seraph Parliament Stephen Saslow Robert DeChellis Tomaz Lovsin Anthony Leon Leonardo Schulthais Senna Lori Ferris Dennis Van Hoof Koen Wilde Nicolas Katsantonis gmmiddleton Joe Pavlovic Justin Lloyd Chuck Lukaszewski Cole B Combs Andrea Galvagni Jerry Thomas Nikhil Sharma John Anderson Bradley Ulis Craig Falls Kane Holbrook Ross Story teng guo Harsh Khandhadia Jammer Matt Quinn Michael Lev Rad Antonov Terje Vold James Trimmier Jeremy Soller Paul Wood Joe Moreira Kent Durham jim bartosh John H. Austin, Jr. Diana S Poljar Faraz Khan Almog Cohen Daniel Jennings Russ Creech Jeremy Reed David Johnston Michael Barton Isaac Suttell Oliver Flanagan Bleys Goodson Mark Delagasse Mark Daniel Cohen Shane Calimlim Tybie Fitzhugh Eric Kiebler Craig Stonaha Frederic Simon John Robinson Jim Hudson Alex Gan John Funai Adrien Molyneux Bradley Jenkins Amy Hickman Vlad Shipulin Thomas Dougherty King Zeckendorff Dan Warren Joseph Salomone Patrick Sutton Julien Dubois via YouTube https://www.youtube.com/watch?v=4uQF9Egc-fM

[fabiansteinhauer]

Von Innen

1.

Bilder instituieren. Peter Goodrich schreibt, sogar im Singular und so, als ob sie alle zusammen ein großes Objekt, nicht nur groß geschriebenes Objekt seien: 'DAS BILD' fange das Kind (ein), ES regiere den Erwachsenen. Klingt nach King, Stephen King und King Image.

Goodrichs noble, Bilder ehrende Übertreibung trifft den Umstand, dass Bild und Recht gleich ursprünglich sind, mindestens in den Rechtsordnungen, die sich lange nach ihrem Ursprung monotheistisch verstrickt haben und in denen man darum über Rücksprünge sich vorstellen kann, dass das Recht eine Referenz hätte und diese Referenz monumental wäre. Goodrichs noble (und dazu noch fancy) Übertreibung trifft aber nicht den Umstand, dass dasjenige, was ein Bild ist, eventuell, so legt es zumindest Aby Warburg nahe, in den Sternen steht, dort wandert und pendelt, auf- und abgeht, sich polar, polarisiert und polarisierend bewegt, manchmal sogar meteorologisch, also schwer berechenbar. Da kommt das Bild monumental vor, aber auch winzig. Und manchmal kommt es nicht vor. Bilder instituieren: sie werden auch instituiert, schon weil sie Objekte sind, die bestritten werden.

Wenn Bilder instituieren, kann man sie für Institutionen halten und man kann glauben, dass die institutionelle Macht darin liege, vorgegeben zu sein. Man kann darum glauben, man müsse sich auf diese Macht, sie aber nicht auf einen einlassen. Das kann man alles glauben, das geht. Dafür gibt es nämlich Techniken, sich und alles mögliche an Referenzen zu religieren und diese Referenzen zu monumentalisieren. Passiert ja auch dauernd, dauert behaupten Leute nicht nur Großartiges, auch Unverzichtbares. Aber:

Wir können auch anders (Detlev Buck). Es gibt auch andere Techniken. Wenn Bilder instituieren, wenn sie Institutionen sind, dann auch, weil sie (er-)warten lassen. Sie lassen auch dann (er-)warten, wenn sie nicht gegeben, nicht vorgegeben sind, sondern wenn sie (einem) bloß vorschweben, wenn sie meterologische Vorgänge sind, an denen man sich orientiert, ohne auf die Stabilität eines Monumentes setzen zu können.

2.

Der Imagefilm des Bundesverfassungsgerichts setzt freilich auf die Institution als Monument, als Vorgabe, als Stabilisierung und Berechenbarkeit von Verhaltenserwartungen, das muss er wohl, zumindest nach Ansicht der Auftraggeber, die entscheiden das schließlich und nehmen das Werk ab.

Fraglich ist, ob in solche Filme Soundteppiche einziehen müssen, die immer, immer, immer stupide zwischen nervig verdrehten dramatischen Steigerungsphasen und angeblichen Entspannungsphasen wechseln. Nach herrschender Ansicht braucht ein solcher nerviger Soundteppich zumindest wiederum keine Rechtsgrundlage, nach herrschender Ansicht gelten hier die Prinzipien vom Vorbehalt und vom Vorrang des Gesetzes nicht. Hier gilt allenfalls amerikanische Dokumentarfilmfliessbandlogik. Tam-Tam-Ta-Ta-Ta-Tam, Ta-ta-tam-tam - und dann nervig sanftes Hintergrundgeplätschel, dann eventuell wieder von vorne. Auch Arte kauft manchmal solche Filme, you can't unhear it, man kann, wenn so ein Teppich ausgerollt ist, nur aus- oder umschalten.

3.

Das Video folgt dem Muster der Sendung mit der Maus: Hier geht es rein, da geht es raus. Das ist einleuchtend gemacht und der Umstand, dass man heute, nur weil es Drohnen gibt, auch Drohnen einsetzt, wenn man filmt, angeblich auch, um bewegten Film noch ein bisschen bewegter zu machen (und dabei mit seinen berechneten Kurven dasjenige aus dem Film eher vertreibt, was enargeia oder aber vivid heißt), das sei dem Film verziehen.

Der Soundteppich sei nicht verziehen. Wäre er ein Text, gehörte er deswegen lebenslänglich aufgehängt. Über die Anspruchslosigkeit des Filmes wäre zu streiten, aber nur wo Kläger sind, da sind Richter. Man muss ja nicht gleich auschließlich Frederik Wisemann oder Thomas Heise mit der Herstellung eines solchen Filmes beauftragen, aber auch einmal machen könnte man es, das wollte ich sehen.

4.

Der Film folgt den Akten, das ist ein einfacher und immer wieder guter Gedanke. Er folgt den Paralegals, die die Akten durch die Architektur schieben, Vismannleser und Latourleser dürften den Film lieben. Dann gibt es sogar die Szene, in der Astrid Wallrabenstein die Akte eine black-box nennt, das ist kulturtechnisch präzise gedacht: Sie, also die Akte, ist eine Einfaltung, eine Involvierung heterogener und homogener Elemente, die Handlungen und Kommunikation über alghoritmische Zeichen laufen lässt und beide deswegen auch zu Operationen, zu solchen Ausführungen von Routinen und Verfahren macht, für die der Begriff der Handlung zumindest als Metapher passen würde.

Gleich im Anschluss an die Bermerkung zu den Akten setzt Yvonne Ott der Bemerkung noch etwas auf, wenn sie gerade vor dem Glas, dem Material der Transparenz, davon spricht, dass man nicht hinter die Fassade des Gerichtes schauen könne. Sie spricht bei allem Glas im Rücken von Fassade, was technisch und historisch zwar nicht korrekt, eine schiefe Metapher oder, noch wahrscheinlicher, eine Katachrese ist. Stimmen tut es aber. Dann fliegt sogar eine Drohne am geöffneten Fenster vorbei und man sieht durch das offene Fenster auf die Sitzecke, wo Ott eben noch was von Unsichtbarkeit und Undurchdringlichkeit der Fassade erzählt hat. Ob Yvonne Ott die Bilder von Jacobus Vrel über die Unerbittlichkeit und Beschissenheit der Gläser und Fenster kennt? Dann ein an David Lean und Stanley Kubrick geschulter Schnitt: Jemand giesst Wasser in ein Glas, daneben wieder die Akte, i love it.

Susanne Baer, die ich wegen der folgenden und einer anderen Szene (nämlich der Bekleidungsszene in Zeitlupe) als Initiatorin für den Film vermute, zeigt sich im Dämmerlicht. Je aurora desto voran, oder aber: Arbeiten bis in die Nacht, so würde ich mich auch inszenieren, danach kommen wieder Passagen, die man am Anfang schon mal sah, wo der Film Muster aus dem Musikvideo von Ahas Take on me imitiert.

Prompt legt der Soundteppich auch den Schalter wieder um, dann darf Peter Müller politische Talk inklusive Metaphern raushauen und behaupten, es mache Spass oder Freude (ich habe mir das nicht genau gemerkt) an dem Kitt zu arbeiten, der diese Gesellschaft zusammenhalte (das habe ich mir genau gemerkt). Er schiebt seine Augenbrauen dabei, wie ein ernsthaft höheres Wesen, nach unten, wie ein strenger Richter. Der Pygmalion, den er hier gibt oder der er ist, sagt, er würde den Kitt, der die Gesellschaft zusammenhält, modellieren. Er soll mal versuchen, Kitt zu modellieren. Das ist ein Klebe- und Dichtungsmittel, das hält keine Form, aber versuchen kann man es ja. Wenn es ihm um Modelle geht, dann würde ich ihm eher Knete, Play-Doh, Ton, Speckstein, Holz, Marmor oder (auf der Höhe der Zeit) einen 3-D-Drucker empfehlen.

So sind sie auch, Richter, kennste einen, kennste einen (Mangold), jeder erfindet andere schöne und freudige Bilder. Schön an der Szene ist auch, wie er nach dem Satz über das Modellieren die eben noch ernsthaft nach unten gezogen Augenbrauen jetzt, als wäre er nun ein tieferes Wesen oder uns ganz nahe, sanft nach oben zieht, die Stimme ebenfalls sanfter, dazu noch heller und milder wird und er sagt, diesen Spaß habe er freilich alles auf der Basis der Verfassung, auf der Basis des Grundgesetzes, also auf mindestens zwei Basen.

So einen Film könnte ich stundenlang schauen, das ist wie TikTok und Youtube in einem, also ungefähr Kitt, der eine Zeit zusammenhält, die aus den Fugen ist oder so. Leider dauert der Film nur etwas weniger als eine Viertelstunde. Wenigstens kommt nach Müller Maidowski, der seine Nüchternheit bewahrt und nicht ins Satirische abdriftet. Am Ende darf natürlich auch der Wichtigste noch einmal versichern, dass an diesem Gericht alles mit rechten Dingen zugeht. Die werden bestimmt der Ausdifferenzierung, dem Dogma der großen Trennung vollumfänglich gerecht, das denke ich auch.

5.

Das decorum stellt sich immer ein, nicht nur wenn die Leute sprechen, wie sie sprechen oder aber wenn sie sich stellen, wie sie sich stellen. Das decorum stellt sich auch deswegen immer ein, weil decorum nichts ist, was vorgegeben ist. Decorum ist institutionell dasjenige, was vorschwebt, und technisch betrachtet ein Vorgang der Musterung und Zensur. Ist von decorum die Rede, klappt eine Beobachtung in zwei Kanäle auf, die man dann zum Beispiel nach Inhalt oder Stil, Was und Wie oder Innerlichkeit und Äußerlichkeit unterscheidet, aber wohl auch anders unterscheiden könnte. Hauptsache, die Beobachtung wird verdoppelt, das ist ein kulturtechnische Witz dessen, was in römischen Institutionen unter dem Begriff decorum expliziert wird. Decorum operiert, funktioniert auch stumm und implizit, dann kann man sich darunter etwas vorstellen, was sowohl mit Augendienerei als auch mit 'doppelte Kontingenz' zu tun hat, man agiert und kommuniziert dann so, also ob man wahrgenommen werde, man nimmt wahr, als ob man wahrgenommen werde und beobachtet sich so, als ob man selbst beobachtet werde. Man kann dabei, wohl in kleinen, alltäglichen Portionen und nur solange es stumm und implizit läuft, in Verfemdung involviert sein, in einem russisch formalistischen Sinne, also als Verfahren, das von Viktor Shklovsky Kunst genannt wird. Man fällt dann eher in Rollen als dass man sich in sie begibt. Das decorum stellt sich zwar immer ein, aber immer kann auch was schief gehen, und das kann wiederum das beste sein, was einem passieren konnte.

Übersetzt man decorum mit Benimm oder Benehmen (in den Übersetzung von Lawrence Sternes Tristam Shandy gibt es die Übersetzung), sollte man den deutschen Begriff als einen Verfahrensbegriff lesen. Dann übersetzt der Begriff nicht nur Kulturtechniken der Musterung und der Zensur, sondern auch des Protokolls. Obschon auch das Zensieren und das Mustern eine Technik ist, die soviel Aktion wie Reaktion, soviel Rezeption wie Produktion, soviel Passion wie Distanzschaffen verlangt, ist beim Begriff des Protokolls diese Zweiseitigkeit wohl am deutlichsten, weil der Begriff sowohl für Aufzeichnung als auch für ein (diplomatisches) Bewegungs- und Transferregime verwendet wird. Das decorum ist nicht einfach beweglich, es ist eher bewegt und bewegend. Dabei sind das Befolgen von Regeln, der Rückgriff auf Referenzen, die Imitation von Vorbildern nur die Hälfte der Wahrheit. Man kann auf das decorum 'neurotisch' fixiert sein und so gerade am Tisch sitzen, wie es notwendig sein soll gerade am Tisch zu sitzen und unmöglich sein soll, das nicht zu tun. Aber dann handelt es sich um das Benehmen eines Neurotikers und nicht einer Person, die gerade am Tisch sitzt. Dann nimm man die Neurose wahr, nicht die Tischgesellschaft. Man muss das Benehmen schon gehen lassen.

[churchofsatannews]

Vox Satanae - Episode #549: 17th-21st Centuries - Week of 2022 July 25

Vox Satanae – Episode #549: 17th-21st Centuries – Week of 2022 July 25

Vox Satanae – Episode #549 17th-21st Centuries We hear works by Alfonso Ferrabosco The Younger, Johann Schmelzer, Jean Guilain, Carl Ditters von Dittersdorf, Ferdinand Hérold, Peter Heise, Joseph Canteloube, and Stephen Hartke. 138 Minutes – Week of 2022 July 25 Stream Vox Satanae Episode 549. Download Vox Satanae Episode 549.  

[oconnormusicstudio]

February 11: On This Day in Music

February 11: On This Day in Music

. 1830 ~ Peter Arnold Heise, Danish composer . 1830 ~ Hans Bronsart Von Schellendorf, classical musician, pianist and composer who studied under Franz Liszt . 1889 ~ John Mills, Guitarist, singer, bass with The Mills Brothers. He was father of the four Mills brothers and took youngest son John, Jr.’s place after his death in 1935 . 1908 ~ Josh White, ‘The Singing Christian’, blues/folk singer,…

[digital-dynasty]

software-architektur.tv, Folge 54: ArchUnit

heise Developer präsentiert software-architektur.tv, Eberhard Wolffs Softwarearchitektur-Videocast. Dieses Mal geht es im Gespräch mit Peter Gafert um ArchUnit. Read more www.heise.de/news/…... www.digital-dynasty.net/de/teamblogs/…

http://www.digital-dynasty.net/de/teamblogs/software-architektur-tv-folge-54-archunit

[lesser-known-composers]

Peter Heise (1830 – 1879) - Piano Trio in E-flat Major

I. Allegro molto risoluto 0:00 II. Andantino 8:17 III. Presto - Vivace e scherzando 14:41 IV. Allegro con spirito 18:45

Eskar Trio