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Political-Intelligence Elites, Strategic Political Communication and The
Political-intelligence elites, Strategic Political Communication and the ANGOR UNIVERSITY press: Bakir, Vian Intelligence and National Security DOI: 10.1080/02684527.2016.1231866 PRIFYSGOL BANGOR / B Published: 16/09/2016 Publisher's PDF, also known as Version of record Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Bakir, V. (2016). Political-intelligence elites, Strategic Political Communication and the press: the need for, and utility of, a benchmark of public accountability demands. Intelligence and National Security, 1-22. https://doi.org/10.1080/02684527.2016.1231866 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 27. Sep. 2021 INTELLIGENCE AND NATIONAL SECURITY, 2016 http://dx.doi.org/10.1080/02684527.2016.1231866 -
Tanja Zimmermann (Ed.) Balkan Memories Media Constructions of National and Transnational History
From: Tanja Zimmermann (ed.) Balkan Memories Media Constructions of National and Transnational History September 2012, 270 p., 33,80 €, ISBN 978-3-8376-1712-2 This book gives an insight into the media constructions of historical remembrance reflecting transnational, national or nationalistic forms of politics. Authors from post-Yugoslavia and neighbouring countries focus on the diverse transnational (such as Austro-Hungarian, Yugoslav etc.) and na- tional (such as Bosnian, Croatian, Serbian etc.) memory cultures in South- Eastern Europe, their interference and rivalry. They examine constructions of memory in different media from the 19th century to recent wars. These include longue durée images, breaks and gaps, selection and suppression, traumatic events and the loss of memory, nostalgia, false memory, reactiva- tion, rituals and traces of memory. Tanja Zimmermann (Junior Professor; PhD in art history and Slavic studies) teaches East-European literature and art history at the University of Constance (Germany). For further informationen: www.transcript-verlag.de/ts1712/ts1712.php © 2012 transcript Verlag, Bielefeld 2012-08-30 14-48-05 --- Projekt: transcript.anzeigen / Dokument: FAX ID 03a2313724081992|(S. 1 ) VOR1712.p 313724082000 Inhalt Acknowledgements | 9 Introduction | 11 Tanja Zimmermann (Konstanz) NATIONAL MEMORIES Public Monuments, Memorial Churches and the Creation of Serbian National Identity in the 19th Century | 33 Nenad Makuljević (Belgrade) Banknote Imagery of Serbia | 41 Ivana Živančević-Sekeruš (Novi Sad) City Identity -
The Art of Dissident Domesticity Julian Assange, King Prempeh, and Ethnographic Conceptualism in the Prison House
The Art of Dissident Domesticity Julian Assange, King Prempeh, and Ethnographic Conceptualism in the Prison House Khadija von Zinnenburg Carroll, Michał Murawski, and Jesse Weaver Shipley What happens to domestic life when the state turns a troublesome sub- ject’s home into a prison, when an outlaw evading custody turns an extra- territorial space, such as an embassy, into a home? How is a foreign sov- ereign transformed into an imperial citizen- subject through exile, house arrest, and return? Exile and forced domesticity have long linked sover- eignty to the power to determine intimate life. Centuries- old practices of house arrest and diplomatic asylum have taken on new forms in recent decades in the wake of emerging surveillance technologies and changing relationships between information, territory, and sovereignty. This article examines two quite distinct, high- prole celebrity instances of what we call dissident domesticity. In the rst case, Prempeh I, the last sovereign king of Asante, is exiled by the British from his capital of Kumasi, in what is now Ghana, and placed under house arrest in the Seychelles to end a war of British imperial conquest. In the second case, WikiLeaks founder Julian Assange, the twenty- rst century’s iconic dissident, seeks asylum in the Ecuadorian embassy in London to avoid arrest and extradition. Prempeh’s exile on the edge of empire and Assange’s connement at its center show how the ght over the control of information, and those who circulate it, converges with the struggle for the control of territory, and those who police it, transverse it, and are trapped by it. -
MEDIA FREEDOM SUMMIT 2.0 Critical Media Literacy for Social Justice
MEDIA FREEDOM SUMMIT 2.0 Critical Media Literacy for Social Justice Nora Barrows-Friedman is a staff writer and associate To revitalize and retool media democracy editor at the Electronic Intifada and the author of In Our in today’s media landscape, Project Power: US Students Organize for Justice in Palestine. Censored, Media Freedom Foundation, She has also contributed to Al-Jazeera English, Inter Press Service, Truthout.org, Left Turn magazine, College of Marin, ACME and The Weave and various other international media outlets. From are teaming up for our 2018 conference. 2003 to 2010, she was the senior producer and co- Project Censored has worked to overcome host of Flashpoints, an award-winning investigative concentrated political-economic power newsmagazine operating out of KPFA/Pacifica Radio in Berkeley, California. in order to contribute to a world based Eleanor Goldfield is a creative activist, journalist, on economic justice, equality, and peace. and poet. She is the founder and host of the show, Act Founded in 1976, Project Censored has Out!, which airs on Free Speech TV on Dish Network, made its mission to expose and counteract DirecTV, ROKU, Amazon Fire and others. Her latest modern-day censorship. This Summit hopes book, Paradigm Lost, blends radical verse with art from to contribute to a more democratic society 15 dissident artists. She was also the co-founder and singer of Rooftop Revolutionaries, a political rock band and world through collaboration of Summit born from the fight against capitalism and all the evils organizers, cosponsors, and attendees. that stem from it. She is currently based in Washington, DC. -
Abby Martin on Julian Assange, Coup in Bolivia, Bernie Sanders & Gaza
This transcript may not be 100% accurate due to audio quality or other factors. THE SOURCE Abby Martin on Julian Assange, Coup in Bolivia, Bernie Sanders & Gaza Zain Raza (ZR): T hank you guys for tuning in today. And welcome to another episode of The Source, a program in which we interview investigative journalists, policy experts and whistleblowers. My name is Zan Raza. Today, I will be talking to an investigative journalist, documentary filmmaker and the founder of The Empire Files, Abby Martin. Abby Martin's latest documentary film is called "Gaza Fights for Freedom". Abby Martin, thanks for coming on the program and thank you for your time. Abby Martin (AM): Thank you so much for having me on, Zain. ZR: S o let's begin with some current issues, in particular the case of Julian Assange in the latest court hearing on Julian Assange's extradition case. The WikiLeaks legal team requested more time to submit evidence and ask for a postponement, which the judge denied. The full proceedings on Assad's extradition case would begin on the 25th of February. Even though observers at the hearing, such as John Pilger, an investigative journalist, stated that Julian Assange couldn't even form a proper sentence at the court hearing. Nils Melzer, a United Nations Special Rapporteur on Torture, has also reported that his imprisonment and persecution is threatening his life and amounts to psychological torture, which the UK court and the government have simply ignored. What is your assessment of this case and what significance does it have to press freedoms and investigative journalism? AM: Yeah, I mean, I fully agree with what the U.N. -
SEVEN STORIES PRESS 140 Watts Street
SEVEN STORIES PRESS 140 Watts Street New York, NY 10013 BOOKS FOR ACADEMIC COURSES 2019 COURSES ACADEMIC FOR BOOKS SEVEN STORIES PRESS STORIES SEVEN SEVEN STORIES PRESS BOOKS FOR ACADEMIC COURSES 2020 SEVEN STORIES PRESS TRIANGLE SQUARE SIETE CUENTOS EDITORIAL BOOKS FOR ACADEMIC COURSES 2020–2021 “Aric McBay’s Full Spectrum Resistance, Volumes One and Two “By turns humorous, grave, chilling, and caustic, the stories and are must reads for those wanting to know more about social essays gathered in [Crossing Borders] reveal all the splendors movement theory, strategies and tactics for social change, and and all the miseries of the translator’s task. Some of the most the history and politics of activism and community organizing. distinguished translators and writers of our times offer reflections There is nothing within the realm of social justice literature that that deepen our understanding of the delicate and some- matches the breadth of modern social movements depicted in times dangerous balancing act that translators must perform. these books. These are engaging, critical, exciting, and outstand- Translators are often inconspicuous or unnoticed; here we have ing intersectional books that respectfully speak about the pitfalls a chance to peer into the realities and the fantasies of those who and successes for social change.” live in two languages, and the result is altogether thrilling and —ANTHONY J. NOCELLA II, assistant professor of criminology, instructive.” Salt Lake Community College, and co-editor of Igniting a Revolution: —PETER CONNOR, director of the Center for Translation Studies, Voices in Defense of the Earth Barnard College “By placing readers into an intimate conversation with one of “For large swaths of the body politic, the December 2016 US this country’s most important thinkers, as well as members of the elections offered up the prospect of a long and dark winter in Occupy Wall Street movement, Wilson and Gouveia provide a America. -
Daniel Richter Biography
DANIEL RICHTER BIOGRAPHY Born in Eutin, Germany, 1962. Lives and works in Berlin, Germany. Education: Hochschule für bildende Künste Hamburg, Germany, 1995 Academic Positions: 2006 Professor, Academy of Fine Arts Vienna, Austria 2005 Professor, Berlin University of the Arts, Germany 2003 Guest Professor, Hochschule für bildende Künste Hamburg, Germany Selected Solo Exhibitions: 2021 “Daniel Richter: Shellshock,” GRIMM, Amsterdam, Netherlands, June 17 – July 21, 2021 2020 “Daniel Richter: So Long, Daddy,” Galerie Thaddaeus Ropac, Salzburg, Vienna, June 6 – July 18, 2020 2019 “Daniel Richter,” Grimm Gallery, New York, NY, November 12 – December 22, 2019 “Daniel Richter: H.P. (jah allo),” Regen Projects, Los Angeles, CA, June 29 – August 17, 2019 2018 “Daniel Richter: I Should Have Known Better,” Galerie Thaddaeus Ropac, London, UK, September 4 – 29, 2018 2017 “Music for Orgies,” Grimm Gallery, Amsterdam, Netherlands, November 24, 2017 – January 6, 2018 “Daniel Richter: Le Freak,” Galerie Thaddaeus Ropac, Paris, France, June 22 – July 29, 2017 “Daniel Richter: Grafik über Alles,” Galerie Sabine Knust, Munich, Germany, June 2 – July 15, 2017 “im Atelier Liebermann: Daniel Richter/Jack Bilbo,” Stiftung Brandenburger Tor, Max Liebermann Haus, Berlin, Germany, April 28 – May 18, 2017; catalogue 2016 “Daniel Richter: Lonely Old Slogans,” Louisiana Museum of Modern Art, Humlebæk, Denmark, September 8, 2016 – January 8, 2017; travels to 21er Haus, Vienna, Austria, February 3 – June 5, 2017; Camden Arts Centre, London, UK, July 2 – September 17, 2017; catalogue “Daniel Richter: wild thing,” Regen Projects, Los Angeles, CA, June 25 – August 20, 2016 “Daniel Richter: Half-Naked Truth,” Galerie Thaddaeus Ropac, Salzburg Villa Kast, Austria, January 23 – March 12, 2016 2015 “Daniel Richter. -
'The Kremlin's Sleight of Hand'
HJS 'The Kremlin's Sleight of Hand' Report NEW_HJS 'The Kremlin's Sleight of Hand' Report NEW.qxd 05/10/2018 11:44 Page 1 THE KREMLIN’S SLEIGHT OF HAND: RUSSIA’S SOFT POWER OFFENSIVE IN THE UK BY Dr AnDrew FoxAll PolicY PAPer no. 3 (2015) DEMOCRACY | FREEDOM | HUMAN RIGHTS February 2015 HJS 'The Kremlin's Sleight of Hand' Report NEW_HJS 'The Kremlin's Sleight of Hand' Report NEW.qxd 05/10/2018 11:44 Page 2 originally published in 2015 by The Henry Jackson Society. This edition published in 2018. The Henry Jackson Society Millbank Tower 21-24 Millbank london Sw1P 4QP registered charity no. 1140489 Tel: +44 (0)20 7340 4520 www.henryjacksonsociety.org © The Henry Jackson Society, 2015. All rights reserved. The views expressed in this publication are those of the author and are not necessarily indicative of those of The Henry Jackson Society or its Trustees. Title: “THe KreMlin’S SleigHT oF HAnD: ruSSiA’S SoFT Power oFFenSive in THe uK” By: Dr Andrew Foxall HJS 'The Kremlin's Sleight of Hand' Report NEW_HJS 'The Kremlin's Sleight of Hand' Report NEW.qxd 05/10/2018 11:44 Page 3 THe KreMlin’S SleigHT oF HAnD Summary • russian foreign policy has become more assertive and revisionist under the leadership of President Putin. while russia’s use of hard power has received much attention, particularly since the 2008 russo-georgian war, the Kremlin’s use of soft power – with the exception of russia’s international rolling-news channel, RT (formerly Russia Today ) – has gone largely unnoticed. -
Daily #3 Als PDF Downloaden
Daily Nr. 3, 28. Juli 2010 Dionysos Klangrausch und Bilderekstase mit Johannes Martin Kränzle als N., Martin Kränzle mit Johannes Bühnenbild: Meese, Jonathan Foto:Walz Ruth Dionysos SALZBURGER FESTSPIELE 2010 Szene aus Szene SALZBURGER FESTSPIELE 2010Daily Nr. 3, 28. Juli 2010 Regisseur Christian Stückl, Jedermann Nicholas Ofczarek und Buhlschaft Birgit Minichmayr nach der erfolgreichen Künstler der Salzburger Festspiele, Präsidentin Helga Rabl-Stadler, Landeshauptfrau Gabi Burgstaller und Rudolf Jedermann-Premiere Foto: wildbild.at Zrost, Präsident der Industriellenvereinigung Salzburg, feierten im M32. Foto: wildbild.at n Pferdekutschen fuhren die Darsteller des Jedermann nach der umjubelten Premiere zur Pre- fter the celebrated premiere, the Jedermann actors took horse-drawn carriages to the post-pre- mierenfeier in den Gasthof „Krimpelstätter“. Jedermann-Darsteller Nicholas Ofczarek nahm, miere party at the restaurant “Krimpelstätter”.Jedermann actor Nicholas Ofczarek was assist- Iassistiert von Buhlschaft Birgit Minichmayr, den traditionellen Bieranstich vor. A ed by Buhlschaft Birgit Minichmayr in the traditional task of opening the first cask of beer. Für den alljährlichen Festspielempfang der Industriellenvereinigung fand sich auch heuer The annual Festival Reception of the Federation of Industries saw an assembly with many repre- wieder zahlreiche Prominenz aus Kunst, Politik und Wirtschaft im M32 am Mönchsberg ein. sentatives of the arts, politics and business once again at the M32 on Mönchsberg. Festspiele Inside Ehrungen und -
Biografie Von Jonathan Meese
Biographie / Biography JONATHAN MEESE 1970 Geboren in Tokio / born in Tokyo Lebt und arbeitet in Berlin und Hamburg / lives and works in Berlin and Hamburg Einzelausstellungen / solo shows 2007 „Fräulein Atlantis“, Sammlung Essl Privatstiftung , Klosterneuburg 2006 „Mama Johnny“, MAGASIN Centre National d'Art Contemporain , Grenoble „Jonathan Meese – Dr. Saint Just de Fort Knox“, Galerie Daniel Templon , Paris „Jonathan Meese, Dr. Father Brown in Sankt Maria Pfarr. Malerei. Installation", Hospitalhof , Stuttgart „Ritter Johnny“, Marstall , Ahrensburg „Schergentoni Suzy Wong”, Galerie Haas , Zürich „Mama Johnny“, Deichtorhallen , Hamburg „Jonathan Meese“, Galerie Rodolphe Janssen / Sorry we’re closed , Brussels „Sherwood Forest“, with Jörg Immendorff, Frans Hals Museum / De Hallen , Haarlem „Die Peitsche der Erinnerung“, with Daniel Richter Kunsthaus Stade , Stade „Thanks, Wally Whyton (Revendaddy Phantomilky on Coconut Islandaddy)” Modern Art , London 2005 „Dr. Dracula”, Regina Gallery , Moscow „Dr. Socrates“ Arario Gallery , Cheonan, South Korea „General Tanz – Drei Streifen für ein Halleluja“, Contemporary Fine Arts , Berlin “Mor”, Statens Museum for Kunst , København (with Tal R) 1 „Jonathan Meese ist Mutter Parzival“, performance and stage design, Staatsoper Unter den Linden , Berlin „Vive Fantomas“, Galerie L’Art du Temps , Clermont-Ferrand Sies + Höke Galerie , Düsseldorf 2004 „Das Bildnis des Dr. Fu Manchu“, Contemporary Fine Arts , Berlin (cat.) „Képi blanc, nackt“, Schirn Kunsthalle , Frankfurt am Main „Dr No`s Son“, Leo Koenig -
Jonathan Meese
JONATHAN MEESE Born in 1971, Tokyo Lives and works in Berlin and Hamburg Solo Exhibitions 2008 DICTATORBABY MARY POPPIN’S CATS, DOGS and EGGPIES. (THE REVOLUTIONBABY de Large IS back), Bortolami, NY Ufo go Home – Fasching der Kunst, La Caixa, Barcelona Jonathan Meese, 23 Januar 1970, Contemporary Fine Arts, Berlin General Sweetie (Polly revolution, south, cookie), Galerie Mirchandani +Steinruecke, Mumbai 2007 MARQUIS d'OVERKILLY'S Revolution de Baby LIEBESEISVERKÄUFERTIERKIND HUMPTY-DUMPTY, bitte 3 Kugeln Eis: 3x babybunt mit 4 süssen Saucen (Pony, Waldmeister, Schnute und Earl Grey), beaumontpublic, Luxembourg L’Amour de Monte-Cristo, Daniel Templon, Paris MARQUIS de SCHNURRKUSS "MILCHMÄDCH' MEESIE (BABYBOUNCER) DIE ULTRAGROSSEN ABENTEUER von LOLLY, POLLY, SÜSSESÜSSESÜSSES, OKTN de PONY, NONNIE-DARLING, STUPSNÄSCHEN-TONI, Sweetsweetie, Hulla-Hulla-Flashy im süssen rechtsfreien Raum vom Babypotentaten "Colonel d'on Hymyngys", hau...Kunstraum Innsbruck, Innsbruck DON’T CALL US, WE CALL YOU, Galerie Krinzinger,Wien Fräulein Atlantis, Sammlung Essl Privatstiftung, Klosterneuburg Gundling, Schloss Neuhardenberg, Neuhardenberg DE ZEUZ – DEINE GETREIDEGÖTTIN = ERNTELICHT AUS FLEISCH, dieses geometrische EI UND ERZTIERKIND AUS WALDBEEREN UND DE PHARISÄER SCHAU aus MILCH. (Das Bermudadreieck lebt), Trinitatiskirche, Köln JONATHAN ROCKFORD (DON’T CALL ME BACK, PLEASE), De Appel Centre for Contemporary Art, Amsterdam Jonathan Meese. Das Gruselkabinett des Dr. Erzmarx (Der Getreidedaddy), Karl-Marx- Geburtshaus, Trier SEI LIEB, MUMIN. (TANZ DE DEPUTY), Staatliche Kunsthalle Karlsruhe, Karlsruhe Napoleon, Galerie Daniel Blau, München Jonathan Meese – Meistersinger. Präsentation anlässlich des Gastspiels am Det Kongelige Teater in Kopenhagen, Louisiana Museum, Kopenhagen 2006 Mother, with Tal R, Bortolami Dayan, New York Mamma Johnny, MAGASIN Centre National d’Art, Grenoble Jonathan Meese – Dr. Saint Just de Fort Knox, Galerie Daniel Templon, Paris Jonathan Meese, Dr. -
How the Kremlin Weaponizes Information, Culture and Money by Peter Pomerantsev and Michael Weiss
The Menace of Unreality: How the Kremlin Weaponizes Information, Culture and Money by Peter Pomerantsev and Michael Weiss A Special Report presented by The Interpreter, a project of the Institute of Modern Russia imrussia.org interpretermag.com The Institute of Modern Russia (IMR) is a nonprofit, nonpartisan public policy organization—a think tank based in New York. IMR’s mission is to foster democratic and economic development in Russia through research, advocacy, public events, and grant-making. We are committed to strengthening respect for human rights, the rule of law, and civil society in Russia. Our goal is to promote a principles- based approach to US-Russia relations and Russia’s integration into the community of democracies. The Interpreter is a daily online journal dedicated primarily to translating media from the Russian press and blogosphere into English and reporting on events inside Russia and in countries directly impacted by Russia’s foreign policy. Conceived as a kind of “Inopressa in reverse,” The Interpreter aspires to dismantle the language barrier that separates journalists, Russia analysts, policymakers, diplomats and interested laymen in the English-speaking world from the debates, scandals, intrigues and political developments taking place in the Russian Federation. CONTENTS Introductions ...................................................................... 4 Executive Summary ........................................................... 6 Background ........................................................................