Kunstbericht 2011 Kunstbericht
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Handbook of Experimental Pharmacology Volume 83
Handbook of Experimental Pharmacology Volume 83 Editorial Board G.y' R. Born, London P. Cuatrecasas, Research Triangle Park, NC H. Herken, Berlin A. Schwartz, Cincinnati, OH Calciumin Drug Actions Contributors D. M. Bers, P. 1. R. Bevis, M. P. Blaustein, R. D. Bukoski, B. Ceccarelli, R. A. Chapman, S. Cockcroft, M. Crompton, A.W. Cuthbert, S. Ebashi, C. H. Evans, H. Fleisch, M. Fosset, M. L. Garcia, T. Godfraind, B. D. Gomperts, T. R. Hinds, P. Honerjager, M. Hugues, G. 1. Kaczorowski, U. Kikkawa, V. F. King, M. Lazdunski, B.A. Levine, I. MacIntyre, K.T. MacLeod, D. A. McCarron, 1. Meldolesi, C. Milet, C. Mourre, H. Nagamoto, T. Narahashi, Y. Nishizuka, Y Ogawa, T. Pozzan, 1. F. Renaud, G. Romey, H. Schmid-Antomarchi, M. Schramm, I. Schulz, T. 1. B. Simons, R. S. Slaughter, R. Towart, D. 1. Triggle, 1. Tunstall, F. F. Vincenzi, H. 1. Vogel, R.1. P. Williams, M. Zaidi Editor P.R Baker Springer-Verlag Berlin Heidelberg New York London Paris Tokyo PETER F. BAKER, Professor Sc. D., F.R.S. (t) Department of Physiology King's College, University of London, Strand, London WC2R 2LS, Great Britain With 123 Figures ISBN-13: 978-3-642-71808-3 e-ISBN-13: 978-3-642-71806-9 DOl: 10.1007/978-3-642-71806-9 Library of Congress Cataloging-in-Publication Data. Calcium in drug actions/contributors. D. M. Bers ... let al.]: editor, P. F. Baker. p. cm. -(Handbook of experimental pharmacology: v. 83) Includes bibliographies and index. 1. Calcium-Therapeutic use-Testing. 2. Calcium channels-Effect of drugs on. -
Premio Corso Salani 2015
il principale appuntamento italiano con il cinema dell’Europa centro orientale un progetto di Alpe Adria Cinema Alpe Adria Cinema 26a edizione piazza Duca degli Abruzzi 3 sala Tripcovich / teatro Miela 34132 Trieste / Italia 16-22 gennaio 2015 tel. +39 040 34 76 076 fax +39 040 66 23 38 [email protected] con il patrocinio di www.triesteflmfestival.it Comune di Trieste twitter.com/TriesteFilmFest Direzione Generale per il Cinema – facebook.com/TriesteFilmFest Ministero dei Beni e delle Attività Culturali e del Turismo con il contributo di Regione Autonoma Friuli Venezia Giulia Creative Europe – MEDIA Programme CEI – Central European Initiative Provincia di Trieste Comune di Trieste Direzione Generale per il Cinema – Ministero dei Beni e delle Attività Culturali e del Turismo CCIAA – Camera di Commercio di Trieste con il sostegno di Lux Film Prize Istituto Polacco – Roma con la collaborazione di Fondazione Teatro Lirico Giuseppe Verdi – Trieste Fondo Audiovisivo FVG Associazione Casa del Cinema di Trieste La Cappella Underground FVG Film Commission Eye on Films Associazione Culturale Mattador Associazione Corso Salani Centro Ceco di Milano media partner mymovies.it media coverage by Sky Arte HD direzione artistica promozione, coordinamento volontari biglietteria Annamaria Percavassi e direzione di sala Rossella Mestroni, Alessandra Lama Fabrizio Grosoli Patrizia Pepi Gioffrè desk accrediti presidente comunicazione, progetto grafco Ambra De Nobili organizzazione generale immagine coordinata e allestimenti Cristina Sain Claimax -immagina.organizza.comunica- -
ANNUAL REVIEW Contents
MAK 2018 ANNUAL REVIEW Contents Preface of the Board of Directors ............................................................................................................................................................... 3 MAK Exhibitions 2018 .................................................................................................................................................................................................... 4 MAK Events 2018 ............................................................................................................................................................................................................... 14 MAK Collection / Purchases / Donations 2018 .................................................................................................................... 15 MAK Research Projects 2018 ........................................................................................................................................................................... 17 MAK Publicatios 2018 ................................................................................................................................................................................................. 18 MAK Library and Works on Paper Collection .............................................................................................................................. 18 EU Projects 2018 .............................................................................................................................................................................................................. -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. -
Destiny Emigration an Exhibtion in Cooperation with FOTOHOF Archiv, Salzburg and Mandello, Barcelona/New York
GERTI DEUTSCH (1908-1979) JEANNE MANDELLO (1907-2001) Destiny Emigration An exhibtion in cooperation with FOTOHOF archiv, Salzburg and Mandello, Barcelona/New York Das Verborgene Museum at the European Month of Photography Berlin Destiny Emigration reconstructs the stories of two Jewish photographers, Gerti Deutsch and Jeanne Mandello. Each left her country when the Nazis took power. Gerti Deutsch Gerti Deutsch, Oskar Kokoschka, Salzburg 1958 escaped Vienna for London in 1936, two years before Austria was annexed by the Germans. Jeanne Mandello had already fled Frankfurt in 1934, heading first for Paris and then for Montevideo in Uruguay. Gerti Deutsch: Vienna 1908 – 1979 London Born in 1908 and raised in the heart of Vienna, she trained as a photographer in 1933 – 1935 at the Graphische Lehr- und Versuchsanstalt in her native town. Austrofascism had already curtailed the liberal lifestyle and its propaganda proclaimed a visual aesthetic in photography that glorified the homeland. Gerti Deutsch, on the other hand, preferred everyday motifs that were at odds with this norm, such as her high-angle shot of people waiting at a provincial railway station (1930s), and the diagonals that were a hallmark of modern photography. In 1936 she left Vienna for London, where her principal client until 1950 was the liberal, anti-fascist “Picture Post”, founded by Stefan Lorant in 1938. She produced 64 pictorial Jeanne Mandello, Arbeiter, reports on cultural topics and current affairs, including photographic series on subjects Montevideo 1945 like the Jewish refugee children brought over from Germany (1938) or Austrian POWs Duration returning home from the war (1948). Having managed to salvage most of her work, she 29th September 2016 – 5th February 2017 returned to Austria to take pictures after the Second World War, not only at the Opening 28th September 2016, 19 h traditional Salzburg Festival but also of country people at rural festivals. -
Curriculum Vitae Anton Zeilinger
Curriculum Vitae Anton Zeilinger Born on May 20th, 1945 in Ried/Innkreis, Austria Present addresses: Institute for Quantum Optics and Quantum Information Austrian Academy of Sciences Boltzmanngasse 3, 1090 Vienna, Austria [email protected] EDUCATION 1979 Habilitation, Vienna University of Technology 1971 Ph.D., University of Vienna, thesis on "Neutron Depolarization in Dysprosium Single Crystals" under Prof. H. Rauch 1963-1971 Study of Physics and Mathematics, University of Vienna 1963 Matura (School Leaving Examination), Bundesgymnasium Wien 13, Fichtnergasse 15, Vienna PROFESSIONAL CAREER 2013-present President, Austrian Academy of Sciences 2013-present Professor Emeritus, University of Vienna 2004-present Senior Scientist, IQOQI Vienna, Institute for Quantum Optics and Quantum Information, Austrian Academy of Sciences 2004-2013 Director, IQOQI Vienna, Institute for Quantum Optics and Quantum Information, Austrian Academy of Sciences 1999-2013 Professor of Experimental Physics, University of Vienna 1990-1999 Professor of Experimental Physics, University of Innsbruck 1988-1989 Professor of Physics (Lehrstuhlvertretung), Technical University Munich 1983-1990 Associate Professor, Vienna University of Technology 1981-1983 Associate Professor of Physics, M.I.T. (Visiting) 1979-1983 Assistant Professor, Atominstitut Vienna 1977-1978 Research Associate (Fulbright Fellow) at M.I.T. in the Neutron Diffraction Laboratory under Prof. C.G. Shull (Nobel Laureate 1994) 1972-1979 Research Assistant, Atominstitut Vienna with Professor Helmut -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
Henryk Górecki's Spiritual Awakening and Its Socio
DARKNESS AND LIGHT: HENRYK GÓRECKI’S SPIRITUAL AWAKENING AND ITS SOCIO-POLITICAL CONTEXT By CHRISTOPHER W. CARY A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Christopher W. Cary ACKNOWLEDGMENTS I would like to express my gratitude to Dr. Christopher Caes, who provided me with a greater understanding of Polish people and their experiences. He made the topic of Poland’s social, political, and cultural history come alive. I would like to acknowledge Dr. Paul Richards and Dr. Arthur Jennings for their scholarly ideas, critical assessments, and kindness. I would like to thank my family for their enduring support. Most importantly, this paper would not have been possible without Dr. David Kushner, my mentor, friend, and committee chair. I thank him for his confidence, guidance, insights, and patience. He was an inspiration for me every step of the way. Finally, I would like to thank Dilek, my light in all moments of darkness. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iii ABSTRACT....................................................................................................................... vi CHAPTER 1 INTRODUCTION ........................................................................................................1 Purpose of the Study.....................................................................................................1 -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English. Arrangement Due to size, this inventory has been divided into two separate units which can be accessed by clicking on the highlighted text below: Tom Stoppard Papers--Series descriptions and Series I. through Series II. [Part I] Tom Stoppard Papers--Series III. through Series V. and Indices [Part II] [This page] Stoppard, Tom Manuscript Collection MS-4062 Series III. Correspondence, 1954-2000, nd 19 boxes Subseries A: General Correspondence, 1954-2000, nd By Date 1968-2000, nd Container 124.1-5 1994, nd Container 66.7 "Miscellaneous," Aug. 1992-Nov. 1993 Container 53.4 Copies of outgoing letters, 1989-91 Container 125.3 Copies of outgoing -
Timm Starl „Gerti Deutsch of Vienna“ Die Fotografin Gerti Deutsch
Timm Starl „Gerti Deutsch of Vienna“ Die Fotografin Gerti Deutsch Arbeiten 1935 – 1965 Vorwort von Wolf Suschitzky, Biografie von Amanda Hopkinson, Text von Sabine Coelsch- Foisner, Bildauswahl und Kommentare von Kurt Kaindl hrsg. von Kurt Kaindl Salzburg: Edition Fotohof, 2011 25 x 21,5 cm, 142 S., 150 Abb. in Farbe Broschiert € 29,- Sie ist Österreicherin, kommt im ersten Jahrzehnt des 20. Jahrhunderts als Tochter wohlha- bender Eltern zur Welt und erlebt ihre Jugend in einer bürgerlichen Familie in Wien. Zu- nächst einen musikalischen Beruf anstrebend, beginnt sie in den 1930er Jahren zu fotografie- ren, lebt einige Jahre in Frankreich und emigriert gegen Ende des Jahrzehnts ins englischspra- chige Ausland, wo sie als Fotografin reüssieren kann. Ihre Motive sucht sie häufig auf den Straßen der Großstädte. Nein, es handelt sich nicht um die in Fotokreisen sattsam bekannte Lisette Model (1901–1983), sondern um die bislang in den Fotogeschichten kaum beachtete Gerti Deutsch. Dass die Parallelen in den Biografien nicht aufgetan werden, liegt an den Au- torinnen, die sich in der vorliegenden Publikation mit Leben und Werk der Fotografin be- schäftigen. Sie blicken nicht über ihren Gegenstand hinaus und übersehen die vielfältigen sozialen und kulturellen Entsprechungen in den Lebensläufen jüdischer Fotografinnen in der Zwi- schenkriegszeit, wie sie bereits in diversen Veröffentlichungen dargestellt worden sind. Viel- mehr wird eine geradezu typische Erscheinung als einzigartig herausgestellt. Dies mag daran liegen, dass die beiden Verfasserinnen der Texte als Literaturwissenschaftlerinnen tätig sind beziehungsweise waren und Amanda Hopkinson zudem die Tochter von Gerti Deutsch ist. Damit eröffnen sich andere Zugänge und Aussichten, was durchaus Vorteile mit sich bringt. -
Perceptual and Semantic Dimensions of Sound Mass
PERCEPTUAL AND SEMANTIC DIMENSIONS OF SOUND MASS Jason Noble Composition Area Department of Music Research Schulich School of Music McGill University, Montreal April 2018 A dissertation submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Jason Noble 2018 In memory of Eleanor Stubley, Clifford Crawley, and James Bradley, for whose guidance and inspiration I am eternally grateful Table of Contents Abstract ...............................................................................................................................v Résumé ................................................................................................................................viii Acknowledgments................................................................................................................xi Contributions of Authors ......................................................................................................xiii List of Figures ......................................................................................................................xiv List of Tables .......................................................................................................................xvii Introduction ....................................................................................................................1 Chapter 1: Perceptual Dimensions of Sound Mass .............................................5 1.1 Introduction: Defining ‘Sound Mass’ .........................................................................5 -
Rock-Art and the Digital Difference
Rock-Art and the Digital Difference Frederick BAKER McDonald Institute of Archaeological Research, University of Cambridge Abstract: The digital difference. What does the move to working digitally bring for the methodology of archaeologists working with animators and digital designers? What are the dangers of digital for storytelling and visualization when it comes to preserving the potential otherness of past societies and artists? A discussion based on the concrete case study of the exhibition “Pitoti” and the research that went into turning Alpine prehistoric rock-art into digital heritage. Keywords: rock-art, prehistory, digitial heritage, animation, pitoti, simulation, Bertolt Brecht, Werner Herzog Pitoti- the case study The Copper, Bronze and Iron Age rock engravings of Valcamonica in the Lombard Alps are the largest concentration of their kind in Europe, with 150,000 images of humans, ploughing, houses, animals and abstract shapes. They are known as „pitoti“ or little puppets in the local dialect. (1) These art works were researched by a team from the Universities of Cambridge, St Pölten, Bauhaus Weimar, the Centro Cammuno Studi Prehistorici and Archaeocammuni (2). An Ambient Cinema, multi-touch serious games, 3D printing and interactive panorama photography drew over 20,000 visitors to the Triennale, Milan (2012) and the Museum of Archaeology and Anthropology at Cambridge University (2013). Central to the research is the observation that digital pictures are based on single points (Pixels), just as rock engravings are based on single hammer blows (Pexels). This bridge between the graphic languages of the past and present provided the base line for the digital rock-art research.