DOCSLIB.ORG

The Absolute Report Time

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Absolute Report Time The Absolute Report Report Absolute The time space t i m s e p a c c e o d m e e m o r y The Absolute Report code ISBN 3-86588-288-9 memory The Absolute Report time 012 Time Out 012 Geert Lovink 014 Beograd 00.04 Mapping the Limits of New Media 020 Absolutely Temporary 014 Dejan Sretenović 032 Good Evening The Absolute Time Machine 038 TYME TRYETH TROTH 020 Stephen Kovats Apsolutno Report – The Utopia 044 Serbeiko Transcripts 032 C5 String (2000) space 048 News 049 Konrad Becker 054 Prelom Info Body Cult 054 Marina Gržinić 062 Azbuka Absolut in Wien Absolute Notingness 068 Press Actions 070 Inke Arns Dead Before Arrival 070 Absolutely Dead 076 Aleksandar Bošković Virtual Balkans 076 HUMAN 089 Florian Schneider 101 The Absolute Sale NO BORDER! 105 Medienfassade 101 Rossitza Daskalova Apsolutno Absolute Sale 1997 105 LeE Montgomery Apsolut Associations 110 Platform 1995-2000 and on... code 130 Warning! 131 Rtmark 132 UA!US Tactical Embarrassment 134 The Semiotics 143 Vuk Ćosić of Confusion A Generous Contribution 147 Instrumental 150 jodi ae-1,2 / bcd-1,2 154 Voyager 0004 155 Nina Czegledy 156 The Greatest Hits Connections: The Power of Convergence 166 In The Balkans 166 Lev Manovich 191 Pyrus Communis Generation Flash 181 Gebhard Sengmüller gebseng - tvpoetry - vergessen - vinylvideo - vsstv memory 194 198 Minja Smajić 196 Le Quattro Stagioni At the ruins of a Trademark 206 Intermezzo 201 Darko Fritz End Of The Message-Total 211 Chess.net Archives 213 We Must Accept 205 Andreas Broeckmann The Unacceptable Syndicate Album 214 a.trophy 211 Ken Goldberg Blindfold Chess and the War 217 Fuit hic in Serbia Contributors 220 Authors 226 Association APSOLUTNO The late 1990s were a time of intense within which the production of the activity, networking and East -West col- association was created. laboration in contemporary arts in the former Eastern Europe. Discovery of This book is an Absolute Report of the last new fields of art practice, redefinition five years of the 20. century from the of one’s position as an artist in a climate perspective of a specific artistic net- of changing social, political and cultural work that was active at that time. We contexts, the establishment of new sys- present the projects that APSOLUTNO tems of communication and collabora- created in that period as well as reports tion, and the emergence of new tech- by various artists, media thinkers and nologies in art practices all marked that other important personalities that period. Association APSOLUTNO was APSOLUTNO met within the same part of that wider scene, which was in East -West network in the sphere of stark contrast to the claustrophobic new art & media practices. In this book context of Serbia within which the we find parallels between our own members of APSOLUTNO lived and projects and those of others, by identi- introduction fying four important themes that run interventions, we turned the familiar, through the work created at that time: usual, or even marginal, which is often time, space, code, and memory. no longer even perceived, into some- thing unusual, out of the ordinary, and These themes arose in the work of worth further exploration. APSOLUTNO as a response to the immediate social surroundings in which Time, space, code and memory are also APSOLUTNO lived and worked. The present in the works by other partici- guiding principle of APSOLUTNO was pants represented in this book. Inspite search for the sites and situations with a of the variety of approaches, it is symbolic or metaphorical potential in evident that this activity, taken as relation to a wider social context. a whole, reflects the existence of a We refer to these found situations as specific epistemological community. absolutely real facts because of their hid- den interpretive quality. Taking absolute- association APSOLUTNO ly real facts as a starting point for our spring 2006 THE ABSOLUTE REPORT___INTRODUCTION I AM ABSOLUTELY EVERY MOMENT ABSOLUTELY HERE elements connected by intrinsic non-local ties. I AM ABSOLUTELY Einstein did not accept this theory; he carried EVERY MOMENT out conceptually the EPR (Einstein-Podolsky- Rosen) experiment in order to prove that non- ABSOLUTELY local ties did not exist and that there were hid- den variables which humankind was still not HERE capable of discovering. However, he proved precisely the opposite, paradoxically shaking This project was inspired by the theory of a his own understanding of quantum physics. group of physicists active at the beginning of The result of this experiment - which was later the 20th century which believed that compre- carried out by Bell - proved that two electrons hensive reality consisted of spatially discrete rotating in opposite directions present an indi- 8 The Absolute Report I AM ABSOLUTELY EVERY MOMENT ABSOLUTELY HERE visible whole connected by interdependent * Revised from Fritjof Capra, The Tao of Physics links into an absolute unity regardless of how distant they are from each other. The sculptur- al nature of such a system cannot be compre- hended in terms of discrete elements. Both Sad and so completed a circle functioning as a particles of the rotating electron connect by synonym of the absolute. By its cyclical form momentary non-local ties which surpass our and its contents this project, in a simple way, civilizational mental patterns*. formed the territory of the absolute construct- ed space and the absolute temporal span. The sentence - ‘I am absolutely every moment absolutely here’ - was sent from Sombor to The project was carried out in 1995 at the end Horn, thence to Vienna, and then on to Novi of November through to early December. The Absolute Report 9 time THE ABSOLUTE REPORT___TIME TIME OUT 1997 APSOLUTNO 0003 TIME OUT Place: Trinity Church, Sombor, Yugoslavia The inscription on the wall painting: One of these (hours) is your final one! APSOLUTNO responded to this warning by installing an awning above the sundial and eliminating time. culture was the early mid nineties, MAPPING THE before the rise of the World Wide Web. Theorists and artists jumped with great eagerness on the still non-existent and LIMITS OF inaccessible technologies such as virtual reality. Cyberspace generated a rich col- NEW MEDIA lection of mythologies. Issues of embod- iment and identity were fiercely debat- Geert Lovink ed. Only five years later, while Internet stocks were going through the roof, not To what extend have the ‘tech wreck’ much was left of the initial excitement and following scandals affected our in intellectual and artistic circles. understanding of new media? No doubt Experimental techno culture missed out there will also be cultural fall-out. on the funny money. Over the last few Critical new-media practices have been years there has been a steady stagnation slow to respond to both the rise and fall of new-media cultures, both in terms of of dot-com mania. The world of IT concepts and funding. With hundreds of firms and their volatile valuations on the millions of new users flocking onto the world’s stock markets seemed light-years Net, the arts could no longer keep up away from the new-media arts galaxy. and withdrew into their own little world The speculative heyday of new-media of festivals, mailing lists and workshops. 12 The Absolute Report MAPPING THE LIMITS OF NEW MEDIA GEERT LOVINK Whereas new-media arts institutions, A critical reassessment of the role of begging for goodwill, still portray artists arts and culture within today’s network as working at forefront of technological society seems necessary. Let’s go developments, collaborating with state- beyond the ‘tactical’ intentions of the of-the-art scientists, the reality is a dif- players involved. This is not a blame ferent one. Multi-disciplinary goodwill game. The artist-engineer, tinkering is at an all-time low. At best, the artistic with alternative human-machine inter- new media products are ‘demo design’, faces, social software, digital aesthetics as described by Peter Lunenfeld in Snap and more, has effectively been operat- to Grid. Often they do not even reach ing in a self-imposed vacuum. Over the that level. New-media arts, as defined last few decades both science and by the few institutions devoted to them, business have successfully ignored the rarely reach audiences outside of their creative community. Even worse, artists own subculture. What in positive terms have actively been sidelined in the could be described as the heroic fight name of ‘usability’. The backlash for the establishment of a self-referential movement against Web design, lead ‘new-media arts system’ through a fran- by IT-guru Jakob Nielsen, is a good tic differentiation of works, concepts example of this trend. Other contribut- and traditions may as well be classified ing factors may have been the corpo- as a dead-end street. The acceptance rate dominance of AOL and Microsoft. of new media by leading museums and Lawrence Lessig argues that innovation collectors will simply not happen. of the Internet as such is in danger. Why wait a few decades, anyway? In the meanwhile the younger The majority of the new-media art generation is turning its back on the works on display in ZKM, the Ars new-media arts questions and operates Electronica Center, ICC or Cinemedia as anti-corporate activists, if it gets are hopeless in their innocence, being involved at all. After the dot-com neither critical nor radically utopian in crash the Internet has rapidly lost its their approach. It is for this reason that imaginative attraction. File swapping the new-media arts sector, despite its and cell phones can only temporarily steady growth, is becoming increasingly fill up the vacuum.
Load more

Recommended publications
  • Who Is Malvina Hofman? By: Vladimir Čeh
    Vladimir Čeh (1946) Владимир Чех (1946) Институт за историју оглашавања је основан 2012. године ради The lnstitute of Advertising History was founded in 2012 to research истраживања и афирмације историје и развоја оглашавања и and raise awareness of the history and development of advertising интегрисаних маркетинг комуникација, њиховог утицаја на културу and integrated marketing communications, of their impact оn the way живљења и њихове промоције. of life and of their promotion. Philologist. After 25 years at Radio Belgrade, Реализацијом пројеката и програма који обухватају проучавање Ву implementing projects and programmes that include the study Филолог. После 25 година рада у Радио he was partner, owner and/or creative director историјских процеса, догађаја, личности и појава, Институт of historical processes, events, personalities and concepts, the Београду био партнер, власник и/или in several advertising agencies. Long-term прикупља, чува, стручно обрађује и приказује јавности lnstitute collects, preserves, expertly treats and presents to the креативни директор у неколико огласних president of the Belgrade branch of the IAA комуникацијске алате и историјску грађу од значаја за развијања public communication tools and historical material important for агенција. Дугогодишњи председник (International Advertising Association), member свести о улози и месту интегрисаних маркетинг комуникација у developing awareness of the role and place of integrated marketing Београдског огранка IAA (International of the IAA world board, president of the Serbian култури живљења. communications in society and culture. Advertising Association), члан светског борда Propaganda Association (UEPS), president of IAA, председник Удружења пропагандиста the UEPS Court of honour. Остваривањем својих циљева Институт реализује, афирмише ln pursuit of its goals, the lnstitute realizes and promotes cooperation Србије (УЕПС), председник Суда части и промовише сарадњу са музејима, архивима, библиотекама, with museums, archives, libraries, professional associations, WHO IS УЕПС-а.
    [Show full text]
  • Peace for Whom: Agency and Intersectionality in Post-War Bosnia and Herzegovina
    Peace for Whom: Agency and Intersectionality in Post-War Bosnia and Herzegovina By Elena B. Stavrevska Submitted to Central European University Doctoral School of Political Science, Public Policy and International Relations In partial fulfilment of the requirements for the degree of Doctor of Philosophy Supervisor: Professor Michael Merlingen CEU eTD Collection Budapest, Hungary January 2017 Declaration I hereby declare that this thesis contains no materials accepted for any other degrees, in any other situation. Thesis contains no materials written and/or published by any other person, except when appropriate acknowledgement is made in the form of bibliographical reference. Elena B. Stavrevska Budapest, 09.01.2017 CEU eTD Collection i ABSTRACT Both peacebuilding practice and mainstream literature have predominantly approached the examination of post-war societies is a static and unidimensional manner, portraying events, practices, and actors as fixed in space, time, and identity. In line with that approach, peace and reconciliation have often been understood as a mirror image of the preceding war. Consequently, when the conflict is regarded as a clash between different ethnicities, peace is viewed as a state of those ethnicities coming together, which is then reflected in the decision- and policy-making processes. This understanding, using the prism of groupism whereby (ethnic) groups are analysed as the primary societal actors, ascribed with particular characteristics and agency, presupposes homogeneity of the groups in question. In so doing, it disregards the various intra-group struggles and the multiplicity of social identities beyond ethnicity. Furthermore, it also cements ethnicity as the most important, if not the only important political cleavage in the new, post-war reality.
    [Show full text]
  • Mad King,The
    EDGAR RICE BURROUGHS THE MAD KING PART I I A RUNAWAY HORSE ALL LUSTADT was in an uproar. The mad king had es- caped. Little knots of excited men stood upon the street corners listening to each latest rumor concerning this most absorbing occurrence. Before the palace a great crowd surged to and fro, awaiting they knew not what. For ten years no man of them had set eyes upon the face of the boy-king who had been hastened to the grim castle of Blentz upon the death of the old king, his father. There had been murmurings then when the lad's uncle, Peter of Blentz, had announced to the people of Lutha the sudden mental affliction which had fallen upon his nephew, and more murmurings for a time after the announcement that Peter of Blentz had been appointed Regent during the lifetime of the young King Leopold, "or until God, in His infinite mercy, shall see fit to restore to us in full mental vigor our beloved monarch." But ten years is a long time. The boy-king had become but a vague memory to the subjects who could recall him at all. There were many, of course, in the capital city, Lustadt, who still retained a mental picture of the handsome boy who had ridden out nearly every morning from the palace gates beside the tall, martial figure of the old king, his father, for a canter across the broad plain which lies at the foot of the mountain town of Lustadt; but even these had long since given up hope that their young king would ever ascend his throne, or even that they should see him alive again.
    [Show full text]
  • Reflections 3 Reflections
    3 Refl ections DAS MAGAZIN DES ÖSTERREICHISCHEN Refl ections SONG CONTEST CLUBS AUSGABE 2019/2020 AUSGABE | TAUSEND FENSTER Der tschechische Sänger Karel Gott („Und samkeit in der großen Stadt beim Eurovision diese Biene, die ich meine, die heißt Maja …“) Song Contest 1968 in der Royal Albert Hall wurde vor allem durch seine vom böhmischen mit nur 2 Punkten den bescheidenen drei- SONG CONTEST CLUBS Timbre gekennzeichneten, deutschsprachigen zehnten Platz, fi ndet aber bis heute großen Schlager in den 1970er und 1980er Jahren zum Anklang innerhalb der ESC-Fangemeinde. Liebling der Freunde eingängiger U-Musik. Neben der deutschen Version, nahm Karel Copyright: Martin Krachler Ganz zu Beginn seiner Karriere wurde er Gott noch eine tschechische Version und zwei ÖSTERREICHISCHEN vom Österreichischen Rundfunk eingela- englische Versionen auf. den, die Alpenrepublik mit der Udo Jürgens- Hier seht ihr die spanische Ausgabe von „Tau- DUNCAN LAURENCE Komposition „Tausend Fenster“ zu vertreten. send Fenster“, das dort auf Deutsch veröff ent- Zwar erreichte der Schlager über die Ein- licht wurde. MAGAZINDAS DES Der fünfte Sieg für die Niederlande DIE LETZTE SEITE | ections Refl AUSGABE 2019/2020 2 Refl ections 4 Refl ections 99 Refl ections 6 Refl ections IMPRESSUM MARKUS TRITREMMEL MICHAEL STANGL Clubleitung, Generalversammlung, Organisation Clubtreff en, Newsletter, Vorstandssitzung, Newsletter, Tickets Eurovision Song Contest Inlandskorrespondenz, Audioarchiv [email protected] Fichtestraße 77/18 | 8020 Graz MARTIN HUBER [email protected]
    [Show full text]
  • Musik in Der Migration
    Musik in der Migration Beobachtungen zur kulturellen Artikulation türkischer Jugendlicher in Deutschland Inauguraldissertation zur Erlangung des Grades eines Doktors der Philosophie im Fachbereich Sprach- und Kulturwissenschaften der Johann-Wolfgang-Goethe-Universität zu Frankfurt am Main Vorgelegt von Maria Wurm aus Olpe Eingereicht 2004 Erschienen 2006 Diese Dissertation ist im Buchhandel erhältlich unter ISBN 3-89942-511-1. Erstgutachterin: Prof. Dr. Gisela Welz, Institut für Kulturanthropologie und Europäische Ethnologie, Johann-Wolfgang-Goethe-Universität Frankfurt/Main Zweitgutachter: Prof. Dr. Manfred Faßler, Institut für Kulturanthropologie und Europäische Ethnologie, Johann-Wolfgang-Goethe-Universität Frankfurt/Main Tag der mündlichen Prüfung: 24. Mai 2005 INHALTSVERZEICHNIS Einleitung 9 Musiknutzung im Kontext von Medien, Migration und Lebensstil 13 Die Musik 13 Zu den Begriffen Musik, populäre Musik und Popmusik 13 Populäre Musik in der Türkei 16 Exkurs: Türkische Medien in Deutschland 22 Türkische Musik in Deutschland 29 Medienforschung 36 Transnationalisierung: Eine neue Perspektive auf weltweite Migration 47 Lebensstilforschung 56 Kritische Betrachtung des Forschungsstandes 69 Die Befragten 73 Zur Erhebungsmethode 73 Die InterviewpartnerInnen 75 Relevante Aspekte der Lebenssituation der Befragten 85 Die Wohnsituation 85 Persönliche Freiheit 87 Sprachliche Situation 90 Gleichaltrigengruppe und Freundeskreis 97 Freizeit 102 Die Praxisebene 105 Die musikalische Sozialisation 105 Allgemeine Musikpräferenzen 108 Die verschiedenen
    [Show full text]
  • Eurovision Song Comtest Complete 88 89
    1980s !1 Eurovision Song Contest 1988 Björn Nordlund !1 Björn Nordlund 10 juni 2018 1988 Ne Partez pas sans moi Eurovision, sida !1 Björn Nordlund 10 juni 2018 1988 Suddenly it happens For you all whom read all the pages my number one song each year not exactly celebrate grand success. So all of a sudden it happens my favorite song ended up as number one, and lets face it… WOW, who knew anything about Celine Dion back in 1988? The Swiss entry, ”Ne partez pas sans moi” stole the crown this year at the end of the voting, thanks to Yugoslavias jury for some reason agreed with the French singer Gerard Lenorman that his entry was of the same class as ”My way” (”Comme d´habitude”). And I can imagine that the UK singer Scott Fitzgerald was a bit surprised over the outcome. In ans case, not only Celine Dion started her way to success this year, also Lara Fabian entered, but for Luxembourg. So how did my list compare to the final result this year. We had some really good entries but 1988 must be seen as a middle year even if songs like ”Pu og peir”, ”Nauravat Silmät muistetaan”, ”La chica que yo quiro” and ”Ka du se hva jeg sa”. Sweden sent our number one musical star Mr Tommy Körberg who went from the stages of the London musical scene to Eurovision (his second try) and for Swedish media it was all in the bag, Eurovision from Sweden 1989.. It turned out to be very wrong and the Swedish delegation blamed Tommys bad cold and voice problems.
    [Show full text]
  • Effects of Climate Change on the World's Oceans
    2nd International Symposium Effects of Climate Change on the World’s Oceans May 13 – 20, 2012 Yeosu, Korea Table of Contents Welcome � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � v Organizers and Sponsors � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � vii Notes for Guidance � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �xi Symposium Timetable, List of Sessions and Workshops � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � xii Floor Plans, Maps � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �xiv Schedules � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � Sunday, May 13 Workshop 2 (Day 1) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 3 Monday, May 14 Workshop 2 (Day 2), Workshop 3, Workshop 4, Workshop 5 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5 Tuesday, May 15 Day 1 Plenary, Session 1 (Day 1), Session 5, Session 7 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 13 Wednesday, May 16 Day 2 Plenary, Session 1 (Day 2), Session 2, Session 4 (Day 1) � � � � � � �
    [Show full text]
  • REFLECTIONS 148X210 UNTOPABLE.Indd 1 20.03.15 10:21 54 Refl Ections 54 Refl Ections 55 Refl Ections 55 Refl Ections
    3 Refl ections DAS MAGAZIN DES ÖSTERREICHISCHEN Refl ections SONG CONTEST CLUBS MERCI CHÉRIE – MERCI, JURY! AUSGABE 2015 | ➝ Es war der 5. März 1966 beim Grand und belgischen Hitparade und Platz 14 in Prix d’Eurovision in Luxemburg als schier den Niederlanden. Im Juni 1966 erreichte Unglaubliches geschah: Die vielbeachte- das Lied – diesmal in Englisch von Vince te dritte Teilnahme von Udo Jürgens – Hill interpretiert – Platz 36 der britischen nachdem er 1964 mit „Warum nur war- Single-Charts. um?“ den sechsten Platz und 1965 mit Im Laufe der Jahre folgten unzähli- SONG CONTEST CLUBS SONG CONTEST 2015 „Sag‘ ihr, ich lass sie grüßen“ den vierten ge Coverversionen in verschiedensten Platz belegte – bescherte Österreich end- Sprachen und als Instrumentalfassungen. Wien gibt sich die Ehre lich den langersehnten Sieg. In einem Hier bestechen – allen voran die aktuelle Teilnehmerfeld von 18 Ländern startete Interpretation der grandiosen Helene Fi- der Kärntner mit Nummer 9 und konnte scher – die Versionen von Adoro, Gunnar ÖSTERREICHISCHEN schließlich 31 Jurypunkte auf sich verei- Wiklund, Ricky King und vom Orchester AUSSERDEM nen. Ein klarer Sieg vor Schweden und Paul Mauriat. Teilnehmer des Song Contest 2015 – Rückblick Grand Prix 1967 in Wien Norwegen, die sich am Podest wiederfan- Hier sieht man das aus Brasilien stam- – Vorentscheidung in Österreich – Das Jahr der Wurst – Österreich und den. mende Plattencover von „Merci Cherie“, DAS MAGAZIN DES der ESC – u.v.m. Die Single erreichte Platz 2 der heimi- das zu den absoluten Raritäten jeder Plat- schen Single-Charts, Platz 2 der deutschen tensammlung zählt. DIE LETZTE SEITE ections | Refl AUSGABE 2015 2 Refl ections 2 Refl ections 3 Refl ections 3 Refl ections INHALT VORWORT PRÄSIDENT 4 DAS JAHR DER WURST 18 GRAND PRIX D'EUROVISION 60 HERZLICH WILLKOMMEN 80 „Building bridges“ – Ein Lied Pop, Politik, Paris.
    [Show full text]
  • The Cult of the Eagle Metamorphosed- a Semiotic Approach
    I N T E R N A T I O NA L CO N F E R E N C E RCIC’19 Redefining Community in Intercultural Context Vlora, 2-4 May 2019 THE CULT OF THE EAGLE METAMORPHOSED- A SEMIOTIC APPROACH Eleonora HODAJ Department of Foreign Languages, University "Ismail Qemali", Vlora, Albania Abstract: Although the symbols of a country do not necessarily have a vital importance for the welfare of its existence and its priorities do not side with symbolism, it is hard not to consider them as a study element as long as they constitute the DNA of the culture, heritage and history of a certain civilization. A special history is the century- long journey of the symbol of the eagle, mostly due to a deep relationship of various peoples with its cult as a mythical bird. As the numerous archaeological records show, the symbol of the eagle, often referred to as the backbone of the personality of the peoples, has been part of the earliest world cultures. Not in vain, do we encounter it either single or double-headed in Sumerians, Hittites, Persians, Arabs, Romans, Byzantines and Seljuks without forgetting Pelasgians appearing with such representative symbols of the eagle cult. In this long journey of its, the symbol of the eagle has frequently been metamorphosed by converting from one configuration into another. But as a symbol whose natural environment is the flag, what does it represent in the mythology of the respective peoples? Why was it considered a holy bird? Can it be considered as a converging element within the context of cultural structuralism, since its myth or symbol is present everywhere? Through the language of symbols, this paper aims at giving a semiotic insight of the underlying significance that the many metamorphosed versions of this cult acquire on the basis of difference within the cultural context.
    [Show full text]
  • Newslist Drone Records 31. January 2009
    DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes.
    [Show full text]
  • Regional Summer School
    Regional Summer School The Balkans–crossroads of civilizations Responsible history teaching as means of strengthening cooperation in the region Podgorica, Montenegro August 15 18, 2019 – Joint teaching materials The material that you have in front of you is a result of the Project The Balkans– crossroads of civilizations: Responsible history teaching as means of strengthening cooperation in the region. The Project represents a joint effort of nastavnika istorije/historije/povjesti Bosne i Hercegovine (HistoryUdruženje teachers association profesora i in Bosnia and Herzegovina ) Bosna and Hercegovina; Асоцијација на cedonia)Наставници North по ИсторијаMacedonia на ; МакедонијаShoqata Kombëta ANIM Re (Asociation E Mësuesv of E history Të Historisë teachers Rinia in Ma Dhe Historia (Albanian Association of History Teachers Youth and History“ ) Albania; Shoqata” e Mësimdhënësve të Historisë së Kosovës SHMHK“ (History Teachers“ Association of Kosovo) Kosovo*; UDI Euroclio (Association for Social History Udruženje za društvenu istoriju – (Association– Euroclio) of history Serbia; educators Udruženje of Montenegro) profesora istorije Montenegro. Crne Gore The HIP Project MONT team comprised of 25 historians of different profiles, elementary and secondary school teachers. The teaching material is a result of the work of history teachers at the Regional Summer School, which was held in Podgorica from 15 to 18 August 2019. The Project was implemented with the financial support of the Western Balkans Fund (http://westernbalkansfund.org) in the second public call of the Western Balkan Foundation. *This designation is without prejudice to positions on status, and is in line with UNSCR 1244 and the ICJ Opinion on the Kosovo Declaration of Independence. 2 Teacher lesson plans Tolerance in the classroom National Minorities and Human Rights A key question / task How can I contribute to the fight against discrimination and prejudice against national minorities in the community where I live? Subject History, civic education, social and humanities sciences, ..
    [Show full text]
  • буð¼ Ñ​пиÑ​Ñšðº
    Моби ÐÐ​ »Ð±ÑƒÐ¼ ÑÐ​ ¿Ð¸ÑÑ​ ŠÐº (Ð ´Ð¸ÑÐ​ ºÐ¾Ð³Ñ€Ð°Ñ„иÑÑ​ ‚а & график) 18 https://bg.listvote.com/lists/music/albums/18-204470/songs Animal Rights https://bg.listvote.com/lists/music/albums/animal-rights-734112/songs Innocents https://bg.listvote.com/lists/music/albums/innocents-13581165/songs More Fast Songs About the https://bg.listvote.com/lists/music/albums/more-fast-songs-about-the-apocalypse- Apocalypse 30317346/songs All Visible Objects https://bg.listvote.com/lists/music/albums/all-visible-objects-85740887/songs The End of Everything https://bg.listvote.com/lists/music/albums/the-end-of-everything-3520744/songs Baby Monkey https://bg.listvote.com/lists/music/albums/baby-monkey-4838372/songs Wait for Me: Ambient https://bg.listvote.com/lists/music/albums/wait-for-me%3A-ambient-65089507/songs Demons/Horses https://bg.listvote.com/lists/music/albums/demons%2Fhorses-5256277/songs https://bg.listvote.com/lists/music/albums/itunes-originals-%E2%80%93-moby- iTunes Originals – Moby 5975325/songs Everything Is Wrong https://bg.listvote.com/lists/music/albums/everything-is-wrong-1954714/songs Moby https://bg.listvote.com/lists/music/albums/moby-1954726/songs Ambient https://bg.listvote.com/lists/music/albums/ambient-1954605/songs Destroyed. https://bg.listvote.com/lists/music/albums/destroyed.-1954619/songs Live Ambients – Improvised https://bg.listvote.com/lists/music/albums/live-ambients-%E2%80%93-improvised- Recordings Vol. 1 recordings-vol.-1-104834778/songs Live Ambient Improvised Recordings https://bg.listvote.com/lists/music/albums/live-ambient-improvised-recordings-vol.-1- Vol.
    [Show full text]