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The Impact of Socialist Realism in the Albanian Architecture in 1945-1990 Olisa Ndreçka, Florian Nepravishta, Polytechnic University of Tirana
Architecture and Urban Planning doi: 10.7250/aup.2014.004 2014 / 9 The Impact of Socialist Realism in the Albanian Architecture in 1945-1990 Olisa Ndreçka, Florian Nepravishta, Polytechnic University of Tirana Abstract – The socialist realism principles, similar to other Eastern development, in a truthful and historically concrete way. It European countries, guided the construction and architecture in demands that the artist realize a definite aim – the formulation Albania from 1945 to 1990. the research done on various case studies of the new man in whom ideological wealth, beauty, spiritual of socialist architecture constructed in this period in Tirana tries to and physical perfection coexist harmoniously. The theory of shed light on the topic of great interest nowadays regarding this socialist realism implies dialectical relations between form and style as part of Albanian heritage. The paper describes the history of socialist realism and the influence of the Albanian Communist Party content [5]. on the development of the architecture during the socialist period. During the October Revolution of 1917, the Bolsheviks It demonstrates how the Albanian architecture development was established an institution called PROLETKULT (The Proletarian radically changed by the socialist ideology and how this style was Cultural and Enlightenment Organizations), which sought to put supported by the post-war architects. It is argued that the socialist all arts into the service of the dictatorship [12]. realism style was predominant in the Albanian architecture of that Socialist realism became the state policy in 1932 when the period and this heritage needs to be preserved for next generations. Soviet leader Joseph Stalin promulgated the decree “On the Reconstruction of Literary and Art Organizations”[17]. -
(At) Miracosta
The Creative Music Recording Magazine Jeff Tweedy Wilco, The Loft, Producing, creating w/ Tom Schick Engineer at The Loft, Sear Sound Spencer Tweedy Playing drums with Mavis Staples & Tweedy Low at The Loft Alan Sparhawk on Jeff’s Production Holly Herndon AI + Choir + Process Ryan Bingham Crazy Heart, Acting, Singing Avedis Kifedjian of Avedis Audio in Behind the Gear Dave Cook King Crimson, Amy Helm, Ravi Shankar Mitch Dane Sputnik Sound, Jars of Clay, Nashville Gear Reviews $5.99 No. 132 Aug/Sept 2019 christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu christy (at) miracosta (dot) edu Hello and welcome to Tape Op 10 Letters 14 Holly Herndon 20 Jeff Tweedy 32 Tom Schick # 40 Spencer Tweedy 44 Gear Reviews ! 66 Larry’s End Rant 132 70 Behind the Gear with Avedis Kifedjian 74 Mitch Dane 77 Dave Cook Extra special thanks to Zoran Orlic for providing more 80 Ryan Bingham amazing photos from The Loft than we could possibly run. Here’s one more of Jeff Tweedy and Nels Cline talking shop. 83 page Bonus Gear Reviews Interview with Jeff starts on page 20. <www.zoranorlic.com> “How do we stay interested in the art of recording?” It’s a question I was considering recently, and I feel fortunate that I remain excited about mixing songs, producing records, running a studio, interviewing recordists, and editing this magazine after twenty-plus years. But how do I keep a positive outlook on something that has consumed a fair chunk of my life, and continues to take up so much of my time? I believe my brain loves the intersection of art, craft, and technology. -
Introduction
INTRODUctION Burrel, Spaç, Qafë-Bari, Ruzyně, Pankrác, Mírov, Leopoldov, Valdice, Jáchymov, Bytíz u Přibrami, Białołęka, Aiud, Gherla, Jilava, Piteşti, Recsk, Lovech, Belene, Idrizovo, Goli otok. These are names that mean little or nothing to many. But to East Europeans from Central Europe to the farthest reaches of the Balkans, they form an indelible part of their collective memory as the darkest page in the forty-five-year history of communism in the region. They are the names of detention centers, prison camps, and forced labor camps that corrupted the landscape of Eastern Europe from the end of World War II to the collapse of communism in the late 1980s and early 1990s. Although less familiar than the Soviet gulag made famous through the writings of Aleksandr Solzhenitsyn, and undeniably Soviet in inspiration, they were no less brutal and dehumanizing.1 They became a living hell for a huge number of human beings from every walk of life, especially intellectuals, artists, and students whose only crime in many in- stances was a repugnance for the repressive Communist system that demanded conformity and brooked no opposition. Resistance to the imposition of Communist rule throughout Eastern Europe manifested itself almost from the very beginning and grew into mass, and some- times violent, eruptions of protest, among them the Poznań riots in Poland in October 1956, the Hungarian Revolution later that same year, the Prague Spring that led to the Soviet and Warsaw Pact invasion of Czechoslovakia in 1968, the rise of Solidarity in Poland in the early 1980s—the reverberations from which were ultimately felt throughout all of Eastern Europe—and the bloody upheaval that ended the reign of Nicolae Ceauşescu in Romania in December 1989. -
Tirana. Architecture As Political Actor
TIRANA. ARCHITECTURE AS POLITICAL ACTOR POLITICAL I. Hotel Dajti 1 TIRANA. ARCHITECTURE AS POLITICAL ACTOR TOBIAS ADAM & ULRIKE KUCH (EDS.) TABLE OF CONTENT Bibliografische Information der Deutschen Bibliothek: Gefördert aus Mitteln des Open-Access-Publikations- Die Deutsche Bibliothek verzeichnet diese Publikation in fonds‘ der Bauhaus-Universität Weimar und vom der Deutschen Nationalbibliografie; detaillierte biblio- Thüringer Ministerium für Wirtschaft, Wissenschaft grafische Daten sind im Internet über http://dnb.ddb.de und Digitale Gesellschaft (TMWWDG). abrufbar. Diese Publikation ist im Rahmen eines Seminars an der Herausgabe: Tobias Adam und Ulrike Kuch Bauhaus-Universität Weimar entstanden. Der gesamte Texte und Fotografien: die Autor*innen Prozess und wurde durch folgende Partner*innen und Gestaltung und Satz: Copa-Ipa, Weimar Förderprogramme gefördert: Ein Kooperationsprojekt der Professur Theorie und Geschichte der modernen Architektur und der Experimentellen Fotowerkstatt der Fakultät Architektur und Urbanistik der Bauhaus-Universität Weimar. Das Werk einschließlich aller seiner Teile ist urheber- rechtlich geschützt. Das Werk steht unter der Creative- Commons-Lizenz Namensnennung-Weitergabe unter ..................................................................................................... gleichen Bedingungen (Share Alike) 4.0 International A Introduction 05 (CC BY-SA 4.0,https://creativecommons.org/licenses/ by-sa/4.0/legalcode.de). th Bauhaus-Universität Weimar B A Short Introduction to Tirana's Urban Planning in the -
University of Derby
Transnationalism and migration: the concept of home in post-communist Albanian diasporas Item Type Thesis or dissertation Authors Vaqari, Dashamir Dr. Citation Vaqari. D. (2020). 'Transnationalism and migration: the concept of home in post-communist Albanian diasporas. Unpublished PhD thesis. University of Derby. Publisher University of Derby Download date 09/10/2021 21:10:42 Link to Item http://hdl.handle.net/10545/624783 UNIVERSITY OF DERBY TRANSNATIONALISM AND MIGRATION: THE CONCEPT OF HOME IN POST-COMMUNIST ALBANIAN DIASPORAS Dashamir Vaqari Practice-based Research PhD submitted to the College of Arts, Humanities and Education of the University of Derby September 2019 i Table of contents List of Illustrations ................................................................................................................................... iv Preface ................................................................................................................................................... viii Abstract ................................................................................................................................................... ix Acknowledgements .................................................................................................................................. x Introduction ............................................................................................................................................. 1 Aims ................................................................................................................................................ -
It's Harvest Time Again
SEPT. 22-28, 2016 FACEBOOK.COM/WHATZUPFORTWAYNE • WWW.WHATZUP.COM ----------------------Feature • Columbia City Haunted Jail --------------------- It’s Harvest Time Again By Mark Hunter “Each year The Master likes to, ahem, dom body parts?” I said. revamp the place,” the man said. “Some new “As you like it, sir.” It’s harvest time at the Columbia City paint, a couple of throw pillows.” Right. I like it when I’m out of there. Haunted Jail. And the crop is blood. “Don’t you mean fresh blood and ran- The place gives me the creeps, probably Yes, it’s hard to believe because it’s lousy with creepers, but it’s been a full year since or stalkers, as the locals call them. the batty one ordered his Even in the relatively well-lighted servants to sow the seeds of gloom, I had the sense I was being death in the halls of the jail. followed, either by practiced acro- But what’s time to a vam- bats or zombie contortionists. Turns pire? The flutter of a wing? out the zombie contortionists were October 15 | 8pm Don’t bother asking Deimos on a break and out of their autopsy Nosferatu. He doesn’t wear a room cages. watch. The tour led up a narrow stair- HE R E COM E The MUMMI E S A year ago Deimos re- case to the third floor where only Sponsored by Jefferson Pointe leased his fellow bloodsuck- VIPs are allowed, for a small fee of and Fort Wayne CW ers to gain control of the zom- course. -
Even the Gods Die . . . the State Funeral and National Mourning for the Albanian Communist Dictator Enver Hoxha Bledar Kondi
EVEN THE GODS DIE . THE STATE FUNERAL AND NATIONAL MOURNING FOR THE ALBANIAN COMMUNIST DICTATOR ENVER HOXHA BLEDAR KONDI This paper focuses on the death, state funeral, and national V članku so obravnavani smrt. državni pogreb in nacionalno mourning for the Albanian communist dictator Enver Hoxha žalovanje za albanskim komunističnim diktatorjem Enverjem (1908–1985). This exploration of the emotional experiences Hoxho (1908–1985). Raziskava emocionalnih izkušenj in and cultural strategies of coping with the death of a deathless kulturnih strategij za spoporijem s smrtjo neumrljivega leader aims to shed light on the performative roles of the vodje želi osvetliti performativno vlogo vladajoče stranke, ruling party, the workers, and the class enemies, as well as delavcev in razrednih sovražnikov ter tudi metode vladanja on the methods of ruling in a dictatorial system. v diktatorskem sistemu. Keywords: Enver Hoxha, death, mass mourning, state funeral Ključne besede: Enver Hoxha, smrt, množično žalovanje, državni pogreb INTRODUCTION “The dictator died, but the dictatorship continued.” “The star fell, but its light remained.” —Former political prisoner —WWII veteran Enver Hoxha is one of the longest-serving communist leaders in the world. He ruled Albania for more than 40 years, following his “special Albanian path.” After coming into power in 1944, the “Balkan ex-Muslim Stalinist” (Halliday 1986: 6) “killed god”1 and became a replacement deity for the youthful generation, transformed Albania from a backward post-Ottoman province into a modern industrial country, installed a violent isolationism, and led a life hollowed by paranoia (Lendvai 1985: 64–65; Fischer 2007: 249–266; Mëhilli 2011: 7–13). Hoxha’s first (natural) death in 1985 and second (political) death in 1991 generated a full circle of events, from the immortalization to the damnation of an absolute monarch and from anti-communist iconoclasm to bittersweet nostalgia for the dictator- ship. -
October 14, 2021 #4Th Edition
#4th Edition October 14, 2021 POINTS FOR DISCUSSION SHARE Tirana History SHARE Tirana 2021 2021 Packages Contacts Short History THE PLAZA TIRANA HOTEL FEB 20, 2018 Massimiliano FUKSAS Founder Studio Fuksas - ITALY at SHARE Tirana 2019 International Great Speakers at SHARE Tirana, in the last editions Maurizio Meossi Ignacio VICENS Rainer SCHMIDT Habibeh MADJDABADI Marco CASAMONTI Senior Associate at Zaha Pincipal VICENS+RAMOS, SPAIN Founder at Rainer Schmidt Principal Architect, owner of Founder of Archea Associati Hadid Architects - UK landscape architects + urban Habibeh Madjdabadi Architecture ITALY planners - GERMANY Office, IRAN Frédéric DRUOT Gonca PASOLAR Davide MACULLO Kerem YAZGAN Founder Frederic Druot Co-founder Emre Arolat Founder Davide Macullo managing partner Yazgan Architecture, France Architecture, Turkey Architects, Switzerland Design Architecture studio, TURKEY Raça ARTAN, Founder, ARTAN RACA ARKITECT Joni BABOÇI, General Director of Planning and Urban Development at MUNICIPALITY OF TIRANA Doriana BOZGO BLETA, Architect, STUDIO B&L Loreta ÇAPELI, Vice-President Association of Albanian Architects Ardita BYCI JAKUPI, architect at Urban Plus studio Gledis DISTAFA, Co-founder ARCHINOV STUDIO Gjergji DUSHNIKU, Co-founder StudioArch4 Olsi EFTHIMI, Architect, ATELIER 4 Jurtin HARJO, Architect, COMMONSENSE STUDIO Albanian Nesila HAJDINI, Co-founder, CEO Pik Ark Petraq KOLEVICA, Architect SHARE "OPERA OMNIA AWARD" Tirana 2020 Speakers Andrea MALIQARI, Rector, POLYTECHNIC UNIVERSITY OF TIRANA SHESHI NËNË TEREZA present in Elva -
Albania Nel Terzo Millennio Architettura, Città, Territorio
ALBANIA NEL TERZO MILLENNIO ARCHITETTURA, CITTÀ, TERRITORIO ALBANIA IN THE THIRD MILLENNIUM ARCHITECTURE, CITY, TERRITORY estratto dal volume EDITED BY NILDA VALENTIN estratto DiAP Dipartimento di Architettura e Progetto Direttore Alessandra Capuano Sapienza Università di Roma Ricerca di Ateneo Responsabile Scientifico Nilda Valentin Renato Partenope Coordinamento generale Nilda Valentin Comitato scientifico Anna Bruna Menghini Renato Partenope Marco Petreschi Antonino Saggio Nilda Valentin Maks Velo Armand Vokshi Istituzioni di riferimento Sapienza Università di Roma Università Politecnica di Tirana Associazione degli Architetti dell’Albania Bilkent University, Ankara CNR - Istituto per le Tecnologie della Costruzione Co-PLAN, Institute for Habitat Development National Territorial Planning Agency, Albania Nostra Signora del Buon Consiglio, Tirana Polis University, Tirana Politecnico di Bari Università degli Studi di Firenze Università degli Studi di Messina Università degli Studi di Roma Tre Coordinamento editoriale Anna Bruna Menghini Marco Petreschi Nilda Valentin © Proprietà letteraria riservata Gangemi Editore spa Via Giulia 142, Roma www.gangemieditore.it Nessuna parte di questa pubblicazione può essere memorizzata, fotocopiata o comunque riprodotta senza le dovute autorizzazioni. Le nostre edizioni sono disponibili in Italia e all’estero anche in versione ebook. Our publications, both as books and ebooks, are available in Italy and abroad. ISBN 978-88-492-4069-6 In copertina: Veduta del centro storico di Tirana. Foto: Google Maps. -
Balkanologie, Vol. VIII, N° 2 | 2004, « Volume VIII Numéro 2 » [En Ligne], Mis En Ligne Le 19 Mai 2008, Consulté Le 17 Décembre 2020
Balkanologie Revue d'études pluridisciplinaires Vol. VIII, n° 2 | 2004 Volume VIII Numéro 2 Édition électronique URL : http://journals.openedition.org/balkanologie/532 DOI : 10.4000/balkanologie.532 ISSN : 1965-0582 Éditeur Association française d'études sur les Balkans (Afebalk) Édition imprimée Date de publication : 1 décembre 2004 ISSN : 1279-7952 Référence électronique Balkanologie, Vol. VIII, n° 2 | 2004, « Volume VIII Numéro 2 » [En ligne], mis en ligne le 19 mai 2008, consulté le 17 décembre 2020. URL : http://journals.openedition.org/balkanologie/532 ; DOI : https:// doi.org/10.4000/balkanologie.532 Ce document a été généré automatiquement le 17 décembre 2020. © Tous droits réservés 1 SOMMAIRE Change the regime – change the money: Bulgarian banknotes, 1885-2003 Adrian E. Tschoegl Réinterprétation du passé et imaginaire urbain Patrimoine architectural, politique culturelle et peinture figurative à Plovdiv, Bulgarie Krassimira Krastanova et Michel Rautenberg Le menu à Zagreb au tournant du XIXe au XXe siècle : dans quelle langue mange-t-on ? Ines Sabotič A l’écoute des langues parlées en Croatie durant la première moitié du XIXe siècle Entre communication et incompréhensions, la part de l’allemand Daniel Baric Entre tolérance et concurrence La communauté catholique et son identité dans l’Albanie post-communiste Mickaël Wilmart Aux origines du conflit yougoslave : 1980-1992 Zoran Kosanic Magic among the Balkan populations: convergences and divergences Alexandre Popovic Notes de lecture Pulevski (G'org'ija), Slavjano-mak'edanska opšta istorija [Histoire générale slavo- macédonienne] Skopje : MANU, 2003, XL + 1060 p. Bernard Lory de Hongrie (Georges), Des Turcs. Traité sur les mœurs, les coutumes et la perfidie des Turcs Toulouse : Anachasis, 2003, 222 p. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
The Socialist Design: Urban Dilemmas in Postwar Europe and the Soviet Union
City University of New York (CUNY) CUNY Academic Works Publications and Research Hunter College 2012 The Socialist Design: Urban Dilemmas in Postwar Europe and the Soviet Union Elidor Mehilli CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_pubs/70 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Review Article The Socialist Design Urban Dilemmas in Postwar Europe and the Soviet Union ELIDOR MËHILLI We programmed a system and it programmed us.1 —György Konrád, !e City Builder “We managed to rearrange the city down to the last grain of sand,” declares György Konrád’s frantic, impassionate, obsessive, idealistic city builder.2 He has gone through all the trials of communist rule: a distinctly bourgeois background, enchantment, postwar professional success, ambitious building assignments, arrest, imprisonment, disenchantment, and, !nally, release from prison into a world without Stalin but still with total planning. His unnamed socialist city, like Konrád’s text, is dense, polluted, sprawling, and layered. "e scale of urban planning appears both awesome and terrifying, provoking in the builder disgust just as much as pride. One minute he is mighty, with his bird’s eye view and 600 convicts working under him; the next he is languishing in a Stalinist prison designed by his own father. His bold plans for remaking the fabric of society seem to radically depart from anything ever done before, yet they merely introduce “a modi!ed system of inequalities in place of older systems.”3 Both the provincial East European city and its builder seem inextricably tied to the same fate.