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D6.1 Feedback on #Musicbricks from the Industry Testbed
Project Acronym: MusicBricks Project Full Title: Musical Building Blocks for Digital Makers and Content Creators Grant Agreement: N°644871 Project Duration: 18 months (Jan. 2015 - June 2016) D6.1 Feedback on #MusicBricks from the Industry Testbed Deliverable Status: Final File Name: MusicBricks_D6.1.pdf Due Date: Jan 2016 (M13) Submission Date: Jan 2016 (M13) Dissemination Level: Public Task Leader: TU WIEN Authors: Thomas Lidy (TU WIEN), Jordi Janer (UPF), Sascha Grollmisch (Fraunhofer), Frederic Bevilacqua (Ircam), Emmanuel Flety (Ircam), Marta Arniani (Sigma Orionis), Michela Magas (Stromatolite) ! This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement n°644871 The #MusicBricks project consortium is composed of: SO Sigma Orionis France STROMATOLITE Stromatolite Ltd UK IRCAM Institut de Recherche et de Coordination Acoustique Musique France UPF Universitat Pompeu Fabra Spain Fraunhofer Fraunhofer-Gesellschaft zur Foerderung der Angewandten Forschung E.V Germany TU WIEN Technische Universitaet Wien Austria Disclaimer All intellectual property rights are owned by the #MusicBricks consortium members and are protected by the applicable laws. Except where otherwise specified, all document contents are: “©MusicBricks Project - All rights reserved”. Reproduction is not authorised without prior written agreement. All #MusicBricks consortium members have agreed to full publication of this document. The commercial use of any information contained in this document may require a license from the owner of that information. All #MusicBricks consortium members are also committed to publish accurate and up to date information and take the greatest care to do so. However, the #MusicBricks consortium members cannot accept liability for any inaccuracies or omissions nor do they accept liability for any direct, indirect, special, consequential or other losses or damages of any kind arising out of the use of this information. -
Annual Report 2020 Content
Annual Report 2020 Content Published by: Stanley Thomas Johnson Stiftung 1 Management Activities Editors: Beate Engel, Guido Münzel, Myriam Vetsch 1.1 Organisation 1 January to 31 December 2020 3 Design: Atelier Pol, Bern 1.2 President’s Report 5 April 2021 2 Funding Activities Focus Topic: Coping with the Corona Crisis 2.1.1 Saving our humanity 6 Barbara Bleisch 2.1.2 Nothing is set in stone 8 Beate Engel in conversation with Céline Wenger of Wildwuchs Festival 2.1.3 Clod Ensemble “The Black Saint and the Sinner Lady” 10 Suzy Willson & Paul Clark 2.1.4 The project “Soulfood Delivery” by guerillaclassics 16 Three musicians interviewed by Sandra Smolcic 2.2.1 The Covid-19 Pandemic — an aggravated humanitarian situation in fragile contexts 21 Lorenz Indermühle 2.2.2 The effects of Covid-19 on the Islington Centre in London 24 Anna Giokas 2.2.3 The consequences of the Covid-19 pandemic for the project 28 Mental Health and Paediatrics in Yemen Stephanie Baer, Doctors without Borders 3 Photo Series “Terra” by Aurèle Ferrier 34 Beate Engel 4 News from the Support Sectors Culture Extra 40 Culture 41 Medical Research 42 Victims of Conflict and Violence 45 Education and School Projects 46 5 In Memoriam: Honouring the deceased board members Martin Hubacher and Peter Spycher Sepp Schnyder 48 6 Application Statistics 2020 6.1 The follow-up project “2nd Chance for a 1st education” 52 6.2 Number of applications according to sectors 54 6.3 Approved applications according to project host countries 55 6.4 Approved applications according to sectors in Swiss francs 55 7 Grants 2020 7.1 Approved projects 56 Aurèle Ferrier, film still, research trip in China, Terra (AT), 2018 © Aurèle Ferrier 7.2 Partially claimed project grants 74 1 Management Activities 1.1 Organisation 1 January to 31 December 2020 “The Stanley Thomas Johnson Foundation supports projects Foundation Board Sector Education and School Projects Mirjam Eglin, President Walter Rumpf in the fields of culture, education, humanitarian aid and Ursula Frauchiger, Vice-president medical research. -
The Novaya Opera Theatre of Moscow Was Founded in 1991 on The
The Novaya Opera Theatre of Moscow was founded in 1991 on the initiative of prominent Russian conductor Evgeny Kolobov (b.1946-d.2003) and Moscow Mayor Yuri Luzhkov and soon won recognition as a leading opera house in Russia. The artistic creed of the theatre can be defined as enthusiastic creative quest and bold innovation.The Novaya Opera has the original repertoire based on the musical versions by Evgeny Kolobov: Glinka’s Ruslan and Lyudmila, "O Mozart! Mozart..." (based on the opera Mozart and Salieri by Rimsky-Korsakov and Mozart's Requiem), Tchaikovsky's Eugene Onegin, Verdi’s La Traviata, and includes such popular operatic works as : Rimsky-Korsakov's The Snow Maiden and The Tsar’s Bride, Rubinstein’s The Demon, Mozart’s Die Zauberflöte, Bellini’s Norma, Donizetti’s L’Elisir d’Amore, Bizet’s Les Pêcheurs de Perles, Verdi’s Nabucco and Rigoletto, Mascagni's Cavalleria Rusticana, Leoncavallo's I Pagliacci, Wagner’s Lohengrin. The Novaya Opera was the first in Russia to stage Donizetti's Maria Stuarda, Catalani’s La Wally, Verdi’s I Due Foscari, Mussorgsky’s Boris Godunov (in the first composer’s adaptation), Thomas’ Hamlet. The new theatrical genre was created: it is the original artistic image of famous composers and musicians (“Maria Callas”, “Viva Verdi!”, “Vincenzo Bellini”,”Richard Wagner”, “Rossini”, “Bravissimo!”). Novaya Opera has over 70 operatic and concert productions in its repertoire. The Novaya Opera Theatre is noted for its innovative approach to scenography and stage direction. It works with renowned masters of the theatre art to make productions in different genres and styles. -
LSHA May Be Looking to Sell
1 TUESDAY, OCTOBER 15, 2013 | YOUR COMMUNITY NEWSPAPER SINCE 1874 | 75¢ Lake City Reporter LAKECITYREPORTER.COM LSHA may be looking to sell in order to remove the burden of funding people of Columbia County, be on indigent care. If the Affordable Care Hospital authority says indigent care from the taxpayers. and we’re not elected. ... Act works the way it should, everyone should it will consider seeking The authority did not make any decisions It’s time that we get out of be covered by an insurance agency. about the sale during its October meeting, the business.” “I think the time has arrived in the medi- a buyer for Lake Shore. but did suggest bringing in a consultant to Currently, the Hospital cal industry for the taxpayers to seriously By AMANDA WILLIAMSON discuss how to handle the process. Authority covers the care consider getting out of the healthcare busi- [email protected] “I think that the hospital authority has for indigent patients at ness,” Barry said. “With the purchase of really outlived its usefulness,” said author- Berry Shands Lake Shore Regional HMA to CHS coming up the first quarter As the Affordable Care Act moves onto ity member Koby Adams. “When I had my Medical Center. But as the of the year, I think this board needs to take the health care scene, the Lake Shore interview with the governor, he asked me new health care act takes effect, Lake Shore a serious thought about attempting to sell Hospital Authority entertained the idea what I didn’t like about the authority. -
In Rural Areas
IETM PUBLICATION www.ietm.org ARTS In Rural Areas Garden, Massia Esti, Photo: Anna Siggelkow March 2020 IETM is supported by: ISBN:9782930897448 The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsi ble for any use which may be made of the information contained therein. IETM PUBLICATION www.ietm.org Arts in Rural Areas IETM Publication by Fernando García-Dory, Piotr Michałowski, Laura H Drane Beyond the Urban – policy paper by CAE, ENCC, IETM, THE Published by IETM - International network for contemporary performing arts, Brussels March 2020 Editing and general coordination: Vassilka Shishkova, Elena Polivtseva, Ása Richardsdóttir (IETM) Layout: Milton Pereira on a template by JosWorld This publication is distributed free of charge and follows the Creative Commons agreement Attribution-NonCommercial-NoDerivatives (CC BY-NC-ND). You are free to reuse and share this publication or parts of it as long as you mention the original source. This publication should be mentioned as follows: F. García-Dory, P. Michałowski, L. H Drane, ‘Arts in Rural Areas’, IETM, March 2020.. Link: https://www.ietm.org/en/publications For further information please contact [email protected] The publishers have made every effort to secure permission to reproduce pictures protected by copyright. Any omission brought to their attention will be solved in future editions of this publications. 2 ARTS IN RURAL AREAS IETM PUBLICATION www.ietm.org About the Authors FERNANDO GARCÍA-DORY Fernando García-Dory is an artist and researcher whose work engages specifically with the relationship between culture and nature as manifested in multiple contexts, from landscapes and the rural, to desires and expectations in relation to identity. -
Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ
1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business. -
Partner Brochure
PARTNER BROCHURE AN EXHIBITION BY IN COOPERATION WITH SC-EXHIBITIONS.COM/MARVEL SC EXHIBITIONS ON SOCIAL MEDIA: @SHOWBIZCULTURE © MARVEL 2020 IT SETS A NEW BAR FOR MUSEUM A NEW EXHIBITION SHOWS OF COMIC ART. CELEBRATING ICV2 80 YEARS OF The Museum of Pop Culture (MoPOP), SC Exhibitions and Marvel Entertainment SUPER HEROES, have teamed up to produce an inventive, exciting show celebrating the artistic FROM EYE- production of »The House of Ideas.« World Premiere Exhibition opened POPPING PRINT 21 April 2018 in Seattle. TO BIG-SCREEN 780,000+ VISITORS 376,000 visitors at the MoPOP, 300,000 at Spider-Man is one of Marvel's most BLOCKBUSTERS iconic characters, and occupies The Franklin Institute in Philadelphia and a central role in this exhibition. This friendly neighborhood hero 105,000 at TELUS World of Science in Edmonton. first appeared in print in 1962, and joined the Marvel Cinematic Uni- verse in 2016's Marvel Studios' AND BEYOND. Coming to Dearborn and Chicago in 2020/2021. Captain America: Civil War. 2 THE EXHIBITION BROADLY APPEALS TO PARENTS AND KIDS, FANS AND NEWBIES. IT IS SUPER FUN FOR COMICS NERDS AND NOVICES ALIKE. THE SEATTLE TIMES For people around the world, Marvel conjures up images of one thing: Super Heroes. Whether in the vibrant colors of comic books, or the all-consum- ing brilliance of the big screen, Marvel characters have captured imaginations for the past 80 years. Readers and viewers alike have been catapulted into a vibrant alternate universe of characters and stories that defy belief. The launch of Marvel’s am- bitious movie franchise has only heightened this fascination, and as comic books gain a firm foot- hold as a legitimate part of our visual culture and heritage, there’s a unique opportunity to look back on the publisher’s enduring, and incomparable, legacy. -
Lobby Loyde: the G.O.D.Father of Australian Rock
Lobby Loyde: the G.O.D.father of Australian rock Paul Oldham Supervisor: Dr Vicki Crowley A thesis submitted to The University of South Australia Bachelor of Arts (Honours) School of Communication, International Studies and Languages Division of Education, Arts, and Social Science Contents Lobby Loyde: the G.O.D.father of Australian rock ................................................. i Contents ................................................................................................................................... ii Table of Figures ................................................................................................................... iv Abstract .................................................................................................................................. ivi Statement of Authorship ............................................................................................... viiiii Acknowledgements ............................................................................................................. ix Chapter One: Overture ....................................................................................................... 1 Introduction: Lobby Loyde 1941 - 2007 ....................................................................... 2 It is written: The dominant narrative of Australian rock formation...................... 4 Oz Rock, Billy Thorpe and AC/DC ............................................................................... 7 Private eye: Looking for Lobby Loyde ......................................................................... -
2009 08 12 AKTO 4 Catalog
279487115 АКТО_4 FESTIVAL FOR CONTEMPORARY ARTS TOPIC_GENERATIONS AKTO_4 Festival for Contemporary arts will be held from 12.08 - 16.08.09 in Bitola, Republic of Macedonia. Akto is a regional festival for contemporary art which includes visual arts, performing arts, music and theory of culture. The main objective of Akto Festival is to open the cultural frameworks of a modern society through “recomposing” and redifning them in a new context. The programme of the festival is based on two concepts. The frst concept is space/location_ Locations have been transformed in terms of their previous meanings. The basic idea of the festival is art pieces to come out of the standard location (galleries, museums, theatres) used for presenting art, and their setting up in new location. Re-moving of the pieces into new location transforms the piece itself (according to the parameter space). The second concept is the topic of the festival_ The topic of Akto_4 festival is Generations. The artistic pieces (according to the parameter Generations) are going to be presented in two categories: artistic pieces that have generations as a basic starting point and pieces that are transformation of an already fnished artistic forms (also according to the parameter Generations). The “new” piece is transformed from its basic form. It has new statics and dynamics. The topic Generations deals with the issue of generations and initiates several questions: Are the ties between today’s young generations with the generation of their parents broken? Are today’s young generations -
The Old Vic Announces the Old Vic 12 Class of 2016-2017
The Old Vic announces The Old Vic 12 Class of 2016-2017 London, 5th December: Today The Old Vic announces the theatre makers behind this year’s Old Vic 12: a company of talented, developing artists looking to make the next step in their careers. The scheme offers them the opportunity to expand their networks, experience first class mentoring and receive funding to create three brand new plays as a collective. The newly announced Old Vic 12 consists of: ➔ Directors, Chelsea Walker, Lekan Lawal and Jesse Jones ➔ Producers, Molly Roberts, Tobi Kyeremateng and Aaron Rogers ➔ Playwrights, Joe White, Rebecca Crookshank and John O’Donovan ➔ Designer, Fin Redshaw ➔ Movement Director, Rachael Nanyonjo ➔ Composer, Cassie Kinoshi This Autumn, after receiving 1,300 applications and interviewing over 300 candidates, The Old Vic is thrilled to start work with these artists to nurture and unveil the work they produce. Artistic Director, Matthew Warchus said, ‘Supporting the next generation of theatre-makers is one of the most important and effective contributions to our cultural future we can make. It is also one of the most enjoyable. The Old Vic 12 sees emerging creatives engaging with people at the top of their profession across a wide range of theatrical disciplines and it's hugely inspiring to see how much all parties get from the mutual exchange of ideas. The presence of these early-career creative minds in our midst through the year is extremely energising. And it's also exciting to see the partnerships formed within the group and how these develop forward beyond The Old Vic. -
On Superherology
doi: 10.17605/OSF.IO/98736 On Superherology Kyle Hammonds, University of Oklahoma Abstract Introduction In 2012, Travis Langley’s book Batman Academic research to understand the and Psychology: A Dark and Stormy Knight social functions of superhero myths has only introduced the term “superherologist,” recently begun to gain traction. The mass indicating Langley’s belief that scholars production of formal superherological who study superheroes belong to a unique stories through television and film seem to field of study. This presentation seeks to have alerted some scholars to the fact that explore historical academic standards for the superhero myths are legitimate subjects of constitution of disciplines, fields, and topics, study. Lack of research on superheroes is and hold them against Langley’s claim that undoubtedly due to the significant American superhero studies warrant their own field. stigma against superhero narratives. Lopes Further, if “superherology” does indeed (2006) argued that comic books, the source qualify as an academic field (versus a mere material from which most contemporary topic, subject, etc.), what are the boundaries superhero stories are extrapolated, “have of the field and how should researchers been stigmatized since their introduction in engage in appropriate scholarship for the the mid-1930s, and this stigma has affected subject matter? The legitimacy of superhero comic books as well as artists, readers, and studies in academia is bound up in whether fans of comics” (p. 388). Given the lack of superherologists fit the historical boundaries superherological research, relative to other of rigorous scholarship. existing topics and fields, present scholars Further, this presentation does not solely would do well to add “academics” to Lopes’ seek theoretical ground for determining list of groups impacted by superhero stigma. -
An Abstract of the Thesis Of
AN ABSTRACT OF THE THESIS OF Brian S. Mosher for the degree of Master of Arts in English on May 28, 2013 Title: Comics in the Classroom Abstract approved: ______________________________________________________________________ Lisa S. Ede As the necessity grows for undergraduate English teachers to incorporate various multimodal texts into their course material due to the changing landscape of what is considered English studies, comics can be an increasingly viable source for such texts. This thesis introduces several formal qualities of comics available for teachers to draw upon and add to their own arsenal of critical and terminological vocabulary in order to deploy comics-specific pedagogical material. A history of comics' problematic history and growth is provided as well as several examples of the sophistication of comics texts. In addition, specific information is given on how several comics might be incorporated into common undergraduate courses, and guidance for teachers is provided through extended examples of comics' value for English courses. ©Copyright by Brian S. Mosher May 28, 2013 All Rights Reserved Comics in the Classroom by Brian S. Mosher A THESIS submitted to Oregon State University In partial fulfillment of the requirements for the degree of Master of Arts Presented May 28, 2013 Commencement June 2013 Master of Arts thesis of Brian S. Mosher presented on May 28, 2013. APPROVED: _________________________________________________________ Major Professor, representing English _________________________________________________________ Director of the School of Writing, Literature, and Film _________________________________________________________ Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries. My signature below authorizes release of my thesis to any reader upon request.