#markus kant

[driftwork]

names, mostly surnames (1)

let me apologise for this partial list of names in the library,  titles available on request...

, Adorno, horkheimer, anderson, aristotle, greta adorno, marcuse, agamben, acampora and acampora, althussar, lajac kovacic, eric alliez, marc auge,  attali, francis bacon (16th c), aries, aries and bejin, alain badiou, beckett, hallward, barnes, bachelard, bahktin, volshinov, baudrillard, barthes, john beattie, medvedev, henri bergson, Jacques Bidet, berkman, zybmunt bauman, burgin, baugh, sam  butler, ulrich beck, andrew benjamin and peter osbourne, walter benjamin, ernest bloch, blanchot,  bruzins,  bonnet,  karin bojs,  bourdieu,  j.d. bernal, goldsmith,  benveniste, braidotti,  brecht,  burch, victor serge, andre breton, judith butler, malcolm bull, stanley cohen, john berger, etienne balibar, david bohm, gans blumenberg, martin buber, christopher caudwell, micel callon, albert camus, agnes callard,  castoridis, claudio celis bueno, carchedi and roberts, Marisol de la cadena,  mario blaser, nancy cartwright, manual castells, mark  currie, collingwood, canguilhem, mario corti, stuart hall, andrew lowe, paul willis, coyne, stefan collini, varbara cassin, helene cixous, coward and ellis, clastres, carr, cioren,  irving copi, cassirer, carter and willians, margeret cohen,  Francoise dastur, guy debord, agnes martin,  michele bernstein, alice, lorraine dastun, debaise, Gilles Deleuze, deleuze and gattari, guattari, parnet, iain mackenzie, bignall, stivale, holland, smith, james williams, zourabichvili, paul patton, kerslake,  schuster, bogue, bryant,  anne sauvagnargues, hanjo berresen, frida beckman, johnson, gulliarme and hughes, valentine moulard-leonard, desai,  dosse, duttman, d’amico,  benoit peters, derrida, hinca zarifopol-johnston, sean gaston,  discourse, mark poster, foucault,  steve fuller, markus gabrial, rosenbergm  milchamn, colin jones,  van fraasen,  fekete,  vilem flusser, flahault, heri focillon, rudi visker, ernst fischer,  fink, faye, fuller, fiho, marco bollo, hans magnus enxensberger, leen de bolle, canetti, ilya enrenberg,  thuan, sebastion peake, mervyn peake, robert henderson, reimann, roth,  bae suah,  yabouza, marco bellatin, cartarescu, nick harkaway, chris norris, deLanda, regis debray, pattern and doniger,  soame jynens, bernard williams, descartes, anne dufourmanteille, michelle le doeuff, de certaeu , deligny, Georges Dumezil, dumenil and levy,  bernard edelman, victorverlich, berio, arendt, amy allen, de beauvior,hiroka azumi,  bedau and humphreys,  beuad,  georges bataille, caspar  henderson,  chris innes,  yevgeny zamyatin,  louis aragon, italo calvino, pierre guirard,  trustan garcia, rene girard, paul gilroy, michal gardner,  andre gorz, jurgan gabermas, martin gagglund, beatrice hannssen, jean hyppolyte, axel honneth, zizek and crickett, stephen heath,  calentin groebner, j.b.s. haldane,  ian hacking,  david hakken,  hallward and oekken,  haug, harman, latour, arnold hauser, hegel, pippin, pinksrd, michel henry, louis hjelmslev,  gilbert hardin, alice jardine, karl jaspers, suzzane kirkbright, david hume,  thomas hobbes, barry hindus, paul hirst, hindess and hirst, wrrner hamacher,  bertrand gille,  julien huxley, halavais, irigaray, ted honderich, julia kristeva, leibnitz, d lecourt,  lazzaroto, kluge and negt, alexander kluge, sarah kofman, alexandre kojeve,  kolozoya, keynes,  richard kangston, ben lehman, kant,  francous jullien, fred hameson, sntonio rabucchi, jaeggi, steve lanierjones, tim jackson,  jakobson,   joeseph needham, arne de boever,  marx and engels, karl marx, frederick engels, heinrich,  McLellen , maturana and varuna,  lem, lordon, jean jacques-lecercle,  malabou,  marazzi,  heiner muller,  mary midgley, armand matterlart, ariel dorfman, matakovsky, nacneice, lucid,  victor margolis, narco lippi,  glen mazis, nair,  william morris,  nabis,  jean luc nancy,  geoffrey nash,  antonio negri,  negri and hardt, hardt, keith ansell pearson, pettman, william ruddiman, rheinberger, andre orlean, v.i. vernadsky,  rodchenko,  john willet, tarkovsky, william empson,  michel serres,  virillio, semiotexte, helmut heiseenbuttel,  plessner, pechaux, raunig, retort,  saito,  serres, dolphin, maria assad, spinoza,  bernard sharratt, isabelle stengers,  viktor shklovsky,  t. todorov,  enzo traverso, mario tronti,  todes, ivan pavlov,  whitehead, frank trentmann, trubetzkoy, rodowink, widderman, karl wittfogel, peter handke, olivier rolin, pavese,  robert walser, petr kral, von arnim,  sir john mennis,  ladies cabinet,  samuel johnson, edmund spenser,  efy poppy, yoko ogawa, machado,  kaurence durrell,  brigid brophy,  a. betram chandler, maria gabriella llansol, fowler,  ransmayr,  novick, llewellyn,  brennan, sean carroll,  julien rios, pintor, wraxall,  jaccottet, tabucchi,  iain banks, glasstone,  clarice lispector,  murakami, ludmilla petrushevskaya,  motoya, bachmann, lindqvist,  uwe johnson, einear macbride,  szentkuthy,  vladislavic, nanguel,  mathias enard,  chris tomas, jonathan meades,  armo schmidt, charles yu, micheal sorkin, vilas- matas, varesi, peter weiss,  stephenson, paul legrande,  virginie despentes, pessoa,  brin,  furst, gunter trass, umberto eco, reid, paul,klee, mario levero, hearn, judith schalansky, moorhead,  margert walters, rodchenko and popova, david king, alisdair gray, burroughs, ben fine, paul hirst, hindess,  kapuscinski, tchaikovsky,  brooke-rose, david hoon kim, helms,  mahfouz, ardret,  felipe fernandez-armesto,  young and tagomon,  aronson,  bonneuil and  fressoz, h.s. bennett, amy allen, bruckner brown, honegger, bernhard,  warren miller, albert thelen,  margoy bennett, rose macauley,  nenjamin peret, sax rohmer, angeliki, bostrom, phillip ball, the invisible commitee, bataille and leiris,  gregory bateson, michelle barrett and mary mcintosh, bardini, bugin, mcdonald, kaplan, buck-moores,  chesterman and lipman,  berman,  cicero, chanan,  chatelet,  helene cixous, iain cha,bers,  smirgel, norman clark, caird, camus,  clayre, chomsky, critchley,  curry,  swingewood,  luigi luca cavelli-sforza,  clark, esposito, doerner,  de duve, alexander dovzhenko, donzelot,  dennet, doyle, burkheim, de camp,  darwin,  dawkins,  didi-huberman, dundar, george dyson, berard deleuze, evo, barbara ehrenrich,  edwards,  e isenstein, ebeking, economy and society, esposito,  frederick gross,  david edgeerton,  douglas,  paul,feyerband,  jerry fodor,  gorrdiener,  tom forester, korsgaard,  fink,  floridi, elizabeth groscz, pierre francastel,  jane jacobs,  francois laplantinee,  gould,  galloway, goux,  godel, grouys, genette,  gil, kahloo, giddens,  martin gardner,  gilbert and dubar, hobbes,  herve, golinski, grotowski, glieck,  hayles, heidegger, huxley, eric hobsbawn, jean-louis hippolyte,  phillip hoare, tim jordan,  david harvey, hawking, hoggart,  rosemary jackson,  myerson,  mary jacobus, fox keller, illich,  sarah fofman, sylvia harvey, john holloway, han,  jaspers, yuk hui,  pierre hadot, carl gardner,  william james, bell hooks,  edmond jabes,  kierkegaard, alexander keen, kropotkin, tracy kidder,  mithen, kothari and mehta, lind,  c. joad,  bart kosko, kathy myers,  kaplan,  luce irigaraay, patrick ke iller, kittler,  catherine belsey,  kmar,  klossowski, holmes, kant, stanton,  ernesto laclau, jenkins, la mouffe,  walter john williams, adam greenfield, susan greenfield, paul auster, viet nguyen, jeremy nicholson,  andy weir, fred jameson,  lacoue-labarthe,  bede,  jane gallop, lacan,  wilden,  willy ley,  henri lefebvre, rob sheilds,  sandra laugier, micheal lowy, barry levinson, sylvain lazurus, lousardo, leopardo, jean-francois lyotard, jones,  lewontin,  steve levy,  alice in genderland,  laing, lanier, lakatos, laurelle, luxemburg,  lukacs, jarsh,  james lovelock, ideologu and consciousness, economy and society, screen, deleuze studies, deleuze and guattari studies,  bruno latour, david lapoujade,  stephen law, primo levi,  levi-strauss,  emmanuel levinas,  viktor schonberger, pierre levy, gustav landaur,  robin le poidevin,  les levidow, lautman, david cooper,  serge leclaire, catherine malabou, karl kautsky, alice meynall,  j.s. mill, montainge,  elaine miller, rosa levine-meyer, jean luc marion, henri lefebrve,  lipovetsky, terry lovell,  niklas luhmann,  richard may, machiavelli, richard mabey, john mullzrkey,  meyerhold, edward braun,  magri,  murray, nathanial lichfield, noelle mcafee,  hans meyer,  ouspensky, lucretius, asa briggs, william morris, christian metz, laura mulvey, len masterman,  karl mannheim, louis marin, alaister reynolds,  antonio  munoz molina,  FRAZER,  arno schmidt,  dinae waldman,  mark rothko, cornwall, micheal snow, sophie henaff, scarlett thomas,  matuszewski, lillya brik,  rosamond lehman , morris and o’conner,  nina bawden, cora sandel, delafield, storm jameson,  lovi , rachel ferguson,  stevie smith, pat barker, miles franklin, fay weldon,  crista wolff, grace paley, v. woolf, naomi mitchinson, sheila rowbotham,  e, somerville and v ross, sander marai,  jose  saramago,  strugatsky, jean echenoz, mark robso,  vladimir Vernadsky,  chris marker, Kim Stanley Robinson,  mario leverdo,  r.a. lafferty, martin bax, mcaulay, tatyana tolstaya,  colinn kapp,  jonathan meades,  franco fortini,  sam delany, philip e high, h.g. adler, feng menglong,  adam thorpe,  peeter nadas,  sam butler, narnold silver,  deren,  joanna moorhead, leonara carrington,  de waal,  hartt, botticelli,  charbonneau, casco pratolini,  murakami, aldiss,  guidomorselli, ludmilla petrushevskaya, ,schulz,  de andrade, yasushi. inoue, renoir,  amelie  nothomb,  ken liu,  prynne,  ANTIONE VOLODINE, luc brasso,  angela greene,  dorothea tanning,  eric chevillard,  margot bennett w.e. johns, conan doyle,  samuel johnson,  herge,  coutine-denamy, sterling, roubaud,  sloan, meiville,  delarivier manley, andre norton, perec, edward upward, tom mcCarthy,  magrinya,  stross,  eco, godden,  malcolm lowry,  derekmiller,  ismail kadare,  scott lynch, chris fowler, perter newman,  suzzana clarke,  paretky, juliscz balicki,  stanislaw maykowski, rajaniemi, william morris, c.k. crow,  ueys,  oldenburg,  mssrc chwmot,  will pryce,  munroe,  brnabas and kindersley, tromans,   lem, zelazny,  mitchinson, harry Harrison,  konstantin tsiolkovsky,  flammerion,  harrison, arthur c clarke, carpenter, john brunner,  anhony powell,  ted white, sheckley,  kristof, kempowski, shingo,  angelica groodischer,  rolin,  galeanom  dobin,  richard holloway,  pohl and kornbulth,  e.r. eddison,  ken macleodm  aldiss,  dave hutchinson,  alfred bester, budrys,  pynchon,  kurkov,  wisniewski_snerg, , kenji miyazawa,  dante,  laidlaw,  paek nam_nyong, maspero, colohouquon, hernandez,      christina hesselholdt, claude simon, bulgaakov,  simak,  verissimo,  sorokin,  sarraute,  prevert,  celan, bachmann,  mervin peake,  olaf stapledon,  sa rohmer,  robert musil,  le clezio,  jeremy cooper,  zambra,  giorgio de chirico,  mjax frisch,  gawron,  daumal,  tomzza,  canetti,  framcois maspero,  de quincy, defoe, green,, greene, marani,  bellatin,  khury, tapinar,, richmal crompton,  durrenmat,  fritz,  quintane,  volponi,  nanni balestrini,  herrera,  robert walser,  duras,  peter stamm,  m foster,  lan wright,  their theotokism  agustn de rojas, paul eluard,  sturgeon,  hiromi kawakomi,  sayaka murata,  wolfgang hilbig,  hmilton,  z  zivkovic,  gersson,  mallo,  bird,  chaudrey, Toussaint, Can Xue, Lewis Mumford, neitzsche, popper, zizek, scott westerfield, rousseau, lewis munford, tod may,  penelope maddy, elaine marks,  isabelle courtivron, leroi, massumi,  david sterritt, godard, millican and clark, macabe, negri,  mauss, maiimon, patrica maccormack, moretti, courtney humphries,  monad, moyn, malina, picasso, goldman, dambisa moyo,  merleau-ponty, Nicholson, knobe and nichols, poinciore, morris, ovid, ming, nail, thomas more, richard mabey,  macfarlane,  piscator,  louis-stempal,  negrastini, moore,  jacquline rose,  rose and rose, ryle, roszick, rosenburg, ravisson, paul ricoer,  rossler,  chantl mouffe,  david reiff, plato, slater, rowlands, rosa, john roberts,  rhan, dubios and rousseau, ronell,  jacques ranciere, mallarme,  quinodoz, peterpelbert, mary poovey, mackenzie, andrew price, opopper,  roger penrose, lu cino parisi,  gavin rae, parker and pollack,  mirowoski, perniola, postman, panofsky, propp, paschke and rodel, andre pickering, massabuau, lars svenddsen,  rosenberg and whyte, t.l.s. sprigger,  nancy armstrong,  sallis,  dale spender,  stanislavski,  vanessa schwartz,  shapin and shaeffer, sally sedgewick,  signs,  gabriel tarde,  charles singer, adam smith,  simondon,  pascal chablt,  combes, jon roffee, edward said,  sen,  nik farrell fox, sartre,  fred emery,  scholes, herbert spencer, ruth saw, spinoza,  raphael sassower, henry sidgewick, peter singer,  katarznya de lazari-radek,  piaget,  podach,  van der post, on fire, one press,  melossi and  pavarini,  pearl and mackenzie,  theirry paquot, tanizaki, RHS,  stone,  richard sennett,  graham priest,  osborn and pagnell, substance, pedrag cicovacki, schilthuizen,  susan sontag, gillian rose,  nikolas rose,  g rattery taylor, rose,  rajan,  stuart sim,  max raphael,  media culture and society,  heller- roazen,  rid, root, rossi, gramsci, showstack sasson, david roden,  adrew ross, rosenvallion, pauliina remes, pkato, peter sloterdijk, tamsin shaw, george simmel, bullock and trombley, mark francis,  alain supiot, suvin, mullen and suvin, stroma,  maimonides,  van vogt,  the clouds on unknowing, enclotic, thesis 11,  spivack,  kate raworth,  h.w. richardson,  hillial schwartz, stern, rebecca solnit, rowland parker,  pickering,  lukacs,  epicriud, epicetus, lucrtious,  aurelies,  w.j.oates,  thor Hanson,  thompson, mabey,  sheldrake,  eatherley,  plato, jeffries,  dorothy richardson,  arno schmidt,   earl derr biggersm  mary borden, birrel, arno schmidt,  o.a. henty,  berhard steigler,  victor serge,  smith,  joyce salisbury, pauer-studer,  timpanaro,  s helling, schlor, norman and welchman,  searle, emanuele severarimo,  tomasello, sklar, judith singer, walmisley,  thomas malthus,  quentin meilassoux,  alberto meelucchi,  mingione, rurnbull,  said, spufford and  uglow,  zone,  j.j.c. smartt, sandel, skater, songe-moller,  strawson,  strawson, strawson, raymond tallis,  toscano,  turkle,  tiqquin, diggins,  j.s. ogilivy, w.w. hutchings,  rackgam,  deiter roth,  dowell,  red notes,  campbell and pryce,osip brik, lilya brik, mayakovsky, zone, alvin toffker, st exupery, freya stark, warson, walsh, wooley, tiles and oberdick, timofeeva, richardson, marcuse,  marder,  wright,  ushenko, tolson, albebers and moholy- nagy, alyce mahon, gablik, burnett, barry, hill, fontaine, sanuel johnson,justin, block, taylor, peter handke, jacques rivette,  william sansom, bunuel and dali, tom bullough, aldius huxley, philip robinson, spendor, tzara,  wajcman, peter wohlleben,  prigogini,  paolo virno,  jeremy tunstall, theweliet,  taussig,  tricker,  vince,  thomss, williams,  vogl, new german critique,  e.p. thompson,  jean wahl, paul virilio, lotringer, christy wampole, verhaeghe, janet wolff, anna kavan, vergara,  uexkull,  couze venn, barry smart, vico,  vatimo, vernant, raoul vaneigem,  ibn warraq, vertov,  williams,  meiksins wood, norbert weiner, peter wollen,  h.g. wells,  michelle walker, , jeanne waelit  walters,  shaw and darlen, whorf,  ward and dubois,  john wright,  weinart, wolff, willis, wark, cosima wagner, j. weeks,  judith williamson,  welzbacher, erik olin wright, wittgenstein, kenny,  zeldin, wenders,  henry miller, wenkler, arrighi,  banks, innes, ushereood, kristeva, john cage, quignard,  t.f. powys, siri hustveldt, lem,  zelazny, mitchonson,  tsilolkovsky, toussaint, heppenstall, garrigasait, de kerangal, haine fenn, jean bloch,  geoff ryman, reve, corey, asemkulov, ernaux,  gareth powell, cory,  deleuze and guattari studies, cse, allain and souvestre, apolinaire, jane austen, john arden, aitmatov,  elizabth von arnim, paul auster, abish,  ackroyd, tom gunn, lorca, akhmatov, artuad,  simon armatige, albahari, felipe alfau, audem auden and soendor, varicco, barrico, bainbridge, asturias, ronan bennett, beckett, paul bowles, jane bowles, celine, bukowski,  wu ming, blissert,  kay boyle,  andrei  bely,  hugo barnacle,  BOLL,  isak dineson, karen blikson,  brodsky,  richmel crompton,  berry, barthleme,  mary butts, leonora carrington, cage,  chevhillard,  canetti,  cendres,  butor,  cortazar, danielewski,  bertha damon,  dyer, havier cercas, micheal dibden, marguerite duras, john donne, duras, durrell,  dorrie,  Fredric durrenmatt,  heppenstahl, eco, enzensberger, evanovich, fruentes,  farrell,  alison fell,  alisdair gray,  hollinhurst,  andre gide,  jean giono, gadda, henry green,  grass,  andre gorz,  william gibson,  joyce,  gombrowitz,  alex laishley, murakami,  herve guibert,  franz kafka,  juenger, junker, kapuscinski, laurie king,  kundera,  mcewan, ken macleod,  ian macdonald,  moers,  meades,  vonda macintyre,  nalmstom, maillert,  havier marias,  jeff noon,  anaus nin,  david nobbs,  peter nadas,  nabokov,  iakley, oates,  raymond queneau,  cesare pavese, paterson, ponge,  perte, perec, chinery, ovid,  genette,  kandinsky, robert pinget, richard piwers,  rouvaud, sloan, surrralist poetry, ilya troyanov, paul,raabe,  julien rios, arne dahl, pierre sollers, rodrigruez,  chris ross, renate rasp, ruiz, rulfo, tove jannsson, cabre,  vladislavic, tokarczuk, pessoa, jane bowles, calvino, lispector, lydia davis, can xue,  sebald, peter tripp,  hertzberg,  virginia woolf,  zozola, sorrentino, higgins,  v.w. straka, cogman, freud, jung, klein, winnecot, lacan,  fordham, samuels,  jung, freud, appignesai,  bjp, pullman, magnam, sybil marshall, mccarten,  galbraith, jewell,  lehmann,  levy,  levin, jung,  spinoza,  fairburn,  jung, sandler,  lacan,  laplanche,  pontalis, can, xue,  klein, cavelli, hawkins, stevens,  hanna segal, bollas,  welldon,  williams,  sutherland, buon,  symington,  morrison,  brittain,  sidoli, sidoli,  holmes, bowlby, winnecott,   bollas,  kalschiid,  malan, patrick casement,  anna frued, wittenburg,  liz wright,  fordham, fairburn, symington, sandler,  jung, balint,  coltart,  west, steiner,  van der post,  stern,  green,  roustang,  adrew samuels,  d.l. sayers,  salom, krassner,  swain,  rame and fo,  storr,  cogman,  hessen,  penelope fitzgerald,  cummings, richard holloway,  juhea kim,  glenville, heyer, cartland,  kim, cho,  atkinson,  james,  king, audten,  hartley,  du maurier,  bronte,  thomas, plath, leon,  camillairi, kaussar, fred fargas, boyd,  sjowall and wahloo,  pheby,  morenno-garcia, perrsson,  herron, nicola barker, arronovitch,  karen lord, stephen frosh, ernest jones, flamm o’brien, shin, mishra, chin jin-young and so on to the warm horizon

#names #ideology and discourse #everyday practices

[textlab]

형식으로서 대중적인 것

Soziale Systeme 10 (2004), Heft 2, S. 292-324 © Lucius & Lucius, Stuttgart

Torsten Hahn, Niels Werber

번역 – 조은하, 박상우

요약: 이 글은 “팝”이 독립적인 기능적 시스템이 아니라 예술 시스템의 구성 부분이라는 것임을 주장한다. Fuchs/Heidingsfelder가 주장한 것처럼, 예술 시스템으로부터 대중적인, 순수하게 유흥의 커뮤니케이션 형식을 제외하는 것은 Luhmann의 감정가를 위한 높은 등급의 예술과 매스 미디어의 부분인 사소한 것 사이의 구별을 반영한다. 그와 대비해, 예술을 “팝”과 팝 뮤직을 포괄하는 흥미롭거나 혹은 지루한 유흥인 어떤 커뮤니케이션으로 이해하고자 한다. 나아가 저자들이 (커뮤니케이션 측면, 도발, 커뮤니케이션의 체화 등등에 대해 강조하면서) “팝”을 하나의 사회 시스템으로 끌어 올리는 것을 옹호하도록 하는 많은 기능들이 예술 시스템의 조작과 함께 한다. 우리의 제안은 “팝”을 총체적 포섭을 획득하기 위한 하나의 전략, 즉 “총체적” 포섭이 가능하기 위해 다양한 기능적 시스템이 활용하는 하나의 시맨틱 혹은 형식으로 인식하자는 것이다. 결과적으로 차트, 랭킹, 리스트의 진입과 이탈 같은 대중적인 것의 특정한 형식들은 매스 미디어 혹은 예술에서 같이 마찬가지로 경제적 시스템, 과학적 시스템 등등에서 활용된다.

가장 대표적인 이론가들의 죽음 이후에도, 시스템 사회학은 대단히 생산적임을 입증하였다. Niklas Luhmann이 사회의 기능적 시스템에 대한 엄청난 작업들을 통해 주제들을 소진했다고 믿는 사람이 있다면 아마도 속은 것이다. 시스템 이론은 여전히 혁신적이고, 무엇보다 다양한 시스템을 만들어 내고 있다. 의료 시스템(Gunnar Stollberg), “의상 커뮤니케이션”의 시스템(Cornelia Bohn)에 대해 논의되고 있다. 성과 가족은 기능적으로 차이화 된 사회 시스템으로 고려되고(Peter Fuchs, Sven Lewandowski, Rodrigo Jokisch), 이는 스포츠 시스템(Karl-Heinrich Bette)이나 친밀 커뮤니케이션의 시스템(Peter Fuchs)도 마찬가지다. 군사 시스템도 계획 단계에 있다. Luhmann 메일링 리스트(listserv.dfn.de/archives/luhmann.html)는 현재 이 시스템의 이항 코드화에 대한 논의로 집중되고 있다. 승리/패배, 전쟁/평화, 명령을 내리는 것/명령을 수행하는 것, 살해/생존 같은 개념들이 고려되고 있다. 이런 코드화의 문제가 “기능적 결정”을 위한 제안으로 이해되고 있다는 점은 주목할만하다. 이항적 코드화의 개념은 여기만이 아니라 이 모든 주장들 안에서 중심적 역할을 하고 있다. 그것은 “기능적 시스템의 형성에 대한” 지표로 고려된다. 커뮤니케이션이 “입을 만한 것/입을 수 없는 것”으로 의복을 고려하거나, 스포츠 이벤트를 “승리와 패배”로 논의될 때 혹은 성적 쾌락의 개념에서 “욕망”이 만족”에서 구별될 때, 혹은 “우리 둘”을 “세상 나머지”로부터 구별될 때, 그러면 우리는 기능적 시스템을 다루고 있는 것이다. 흥미롭게도 Lewandowski는 한가지 예를 들며 “기능적 시스템의 차이화”에서 “어떤 기능의 언급”을 “이차적”이라고 생각한다. 결정적인 것은 섹슈얼리티 시스템의 “이항적 코드의 조작 양식”이다. (Lewandowski 2004,178, 237) 이와 함께, Luhmann의 결정적 특징(그리고 또한 Talcott Parsons의 구조 기능주의에 맞선 성과 있는 논의들)은 파기된다. 가령 기능적 시스템은 사회의 “특별한 문제들”을 동시에 해결하고 반복한다는 것. 희소재화의 분배로부터 집합적으로 묶인 결정으로. (Luhmann, 1987, 163ff.) 시스템 이론에서 기능의 개념은 단지 다른 이항 코드 (와 미디어) 를 통해서 하나의 사회 시스템이 다른 것과 다르게 된다는 것을 의미할 뿐만 아니라, 무엇보다 다양한 기능들이 사회의 특정한 문제를 둘러싸고 압축된다고 가정하는 것이다. 법, 정치, 과학과 같은 시스템의 문제 언급은 명백한다. 그렇지 않다면, 누가 자신의 확신에 반하는 다른 이들의 더 강력한 수용 결정에 맞서거나 혹은 반 직관적 사건들을 진실로 받아들일 수 있을까? 기능적 시스템은 그런 가능하지 않음을 가능함으로 전환한다. 누군가 하나의 기능적 시스템을 가정할 수 있는가 아닌가를 결정하는 하나의 “테스트”로서, Luhmann은 자주, 하나의 언급 문제가 해결되지 않으면 무엇이 일어날 지에 대해 상상해 볼 것을 제안했다. 현대 사회는 다르게 되었을 것이다. [1] 그렇지만 이것이 의상 커뮤니케이션의 “시스템” 혹은 “스포츠 시스템”의 경우는 아닐 것이다. 왜냐하면 세계 사회로부터 마오 자켓을 입은 중국(홍위병)을 배제하기를 원하지 않는 이상, 입을 수 있는 옷과 입을 수 없는 옷은 구별되지 않기 때문이다. 혹은 운동 장비를 활용한 개인 훈련이나 산악 등반은 승리 혹은 패배와 관계되지 않기 때문에 스포츠로 고려될 수 없을 것이다. 취향이 옷 입기에서 문제가 되고, 그리고 많은 것이 축구에서 승리 혹은 패배 문제에 달려 있다는 것은 사실이다. 그러나 정확하게 코드 하나가, 어떤 기능과 문제 사이의 상호적인 관계 없이, 시스템의 조작적 정체성을 성립한다고 가정되기 때문에, 의상이나 혹은 스포츠 시스템의 포섭 범위는 대단히 불확정적으로 남아 있다. 누군가는 마실 만한 것/마시지 못할 것 사이의 차이에 기반한 다듬어진 시맨틱이 존재한다는 이유로 와인 시스템에 대해서도 말할 수 있을 것이다. 그리고 이동 수단으로서 빠른 것/느린 것을 구별하는 이동 시스템은 왜 안 되겠나? 그 또한 강력한 진화적 이유를 가진 기능적 언급에 대한 주장이 없다면, 양 측 형식은 거의 자의적으로 사회적 시스템으로 선언될 수 있다.

Peter Fuchs와 Markus Heidingsfelder가 “팝”을 하나의 사회 시스템으로 옹호한다면, 그들은 왜 하나의 형식 혹은 시맨틱으로 대중적인 것에 대해 말하기에 충분하지 않은지에 대해 답해야만 한다. Luhmann은 사람, 개인성, 신뢰 혹은 도덕과 같은 높은 수준의 현상을 다룰 때, 이항적으로 구조화된 커뮤니케이션에서 바로 기능적 시스템 형성을 추론하지 않았다. Fuchs와 Heidingsfelder는 왜 “하나의 시스템이 팝을 통해 차이화한다”고 가정했을까? 아마도 “미디어”(노래)와 코드(히트/실패)가 있기 때문일 것이다. 저자들에 따르면 “팝의 시스템 커뮤니케이션의 특정성은 지각의 커뮤니케이션할 수 없는 것과 지각과 커뮤니케이션의 차이를 커뮤니케이션으로 들어갈 수 있게 해준다” (296) 정확하게 그것을 위한 시스템이 이미 존재한다는 것을 떠올리게 할 것이다. 예술. 기능적으로 차이화 된 사회는 용장성을 견디지 않는다. 그러나 Fuchs와 Heidingsfelder는 인용에서 지시한 것처럼, 이를 인식하고 있다. [2] 그래서 당장 Occam의 면도날에 도달하는 것은 시기상조일 것이다. “팝 시스템”을 말하는 것이 Luhmann의 예술 시스템 개념에 중요한 추가임을 증명할 수도 있을 것이다. 여기서는 예술 시스템에서 대중적인 혹은 단순히 유흥거리의 모든 것이 배제된다. 만일 흥분 상태가 팝에서 전형적이라면, 그러면 그 상태는 확실히 예술 시스템에서는 있을 장소가 없다. 그런 종류의 예술 작품에 대한 신경증적 반응은, Kant가 현대 미학의 출발점에 위치했던 몸동작을 반복하면서, 예술 커뮤니케이션에서 배제된다. (Luhmann, 1995, 16ff.) “자극과 쾌락”에 따라 “단순히 좋아한다”는 것은 “아름답다”고 불려서는 안 된다. 왜냐하면 이런 순수하게 사적인 경험은 “모든 사람의 인정을 요구할 수 있는 미학적 판단”의 일반화 가능성이 부족하기 때문이다. (Kant, 1974, 126) 모든 자극으로부터 예술적 커뮤니케이션에 대한 Kant의 조작적 경계 설정은 그것의 자율성을 보장할 뿐만 아니라 또한 중요한 제한으로 이어진다. 왜냐하면 “어떤 다른 이해가 뒤섞이지 않은, 아름다운 것에 대한 승인된 판단” 안에는, 모든 “물질적” 목적, 모든 감각적 자극, 그리고 모든 쾌락이 배제되기 때문이다. 탈 이해성의 도움으로, 모든 가능한 자극은 자율적인 ��술의 작품에서 지워져야만 한다. (Hecken, 1995,146f.) Kant에게 BPM은 정보적일 수 없다. 탈 이해 속의 쾌락 혹은 사회의 예술에 기반한 커뮤니케이션에서는, Fuchs와 Heidingsfelder가 말하는 “매 순간의 자기 만족”(314)을 위한 자리가 없다. 높은 등급의 예술(“충분한 애매함”, “다양한 수용”, “구별되는 구별”…)을 향한 Luhmann의 예술 커뮤니케이션에 대한 질적 요구는 대중적 “흥분”을 정당화하지 않는다. 그보다는 그것은 새로움 혹은 용장성 완화에 대한 매스 미디어의 소비를 흉내 낸다. 예술과 팝의 구별은 그래서 Luhmann에게서 이미 악성의 차이화를 반복한다. 이런 의미에서 팝은 하나의 “기생적 시스템”이다. (Fuchs/Heidingsfelder)

Luhmann은 Die Realität der Massenmedien에서, 구별적 특징들로 애매함이나 다양한 독해를 언급하면서 “엔터테인먼트 부문”에서 예술을 구별한다. “예술 형식”인 작품은 단순한 “엔터테인먼트”의 경우로부터 차이화 된다. 예술과 대비해서, 엔터테인먼트는 사소한 것으로 고려된다. “정보의 자기-언급이 관찰”되고 “예술 작품의 형식적 놀이”에 관계될 때 사소하지 않다. 예술은 이런 관점에서 “관찰자에 대한 극단적 요구”를 제기한다. (Luhmann, 1996, 53, 41, 123) “정보가 여전히 개방된 결정성 속에서 단지 하나의 놀라움, 하나의 즐거운 해소로 경험될 때”(123) 그것은 사소하다. 그렇지만 Fuchs와 Heidingsfelder는, Luhmann의 견해에서 특정한 의미 매개화 없이 “경험”의 지향과 유사하게, “특정한 의미를 매개화”하는 요청 없이 정확하게 “경험”을 통해 팝을 개념화 한다. Luhmann에 따르면 예술은 엔터테인먼트와 단일 밀도의 경험 등을 배제함으로써 매스 미디어에서 스스로를 구별한다. 공통적 미학 프로그램에 따라, Luhmann은 “예술과 키치” 혹은 “저속한(vulgäre) 사람들을 위한 예술…과 애호가를 위한 예술”을 구별한다. (Luhmann, 1995, 300, 419) Fuchs와 Heidingsfelder는 예술과 팝을 차이화 했다. 그래서 두 부문 사이의 차이를 유지했다. 그렇지만 Luhmann의 가치 평가에서 명백한 위계를 제거한다. 우리는 이 접근에 대해 우호적이지만, 여전히 예술과 팝 사이의 구별이 잘 못되었다고 생각한다. 그보다는 대중적 예술을 포함하는 예술 시스템을 선호하고, 다음으로는 팝 뮤직에만 배타적으로 제한되어 사용되는 것이 아닌 하나의 형식으로 대중적인 것을 개념화 하고자 한다.

팝을 하나의 사회 시스템을 지시하고자 하는 제안은 반드시 예술 시스템에 영향을 끼치게 된다. 중심적 문제 중 하나는 아방가르드 예술이 정확하게 무엇인지, 즉 팝 시스템과 놀라운 유사성을 보이는 그 전략이 무엇인지를 고려할 때 생겨난다. 특히 아방가르드 예술은 극단적인 정보의 희소성을 담고 있다. 그것은 Schwitters가 Ursonate에서 했던 것처럼, "bö"를 적대적으로 천천히 "böwöröböpö"로 바꾸는 합창 소리와 같은 시적 형태 속에 몰입할 수 있다. 또한 Ernst Jandl이 "Ottos Mops"에서 했던 것처럼, 요소 "o"를 찬미할 수도 있다. 거기서는 때에 따라 “구토”가 발생한다. 여기서 도발의 영향력 만큼이나 커뮤니케이션 측면이 무대 중심에 오른다. 아방가르드 예술이 예술 시스템에서 “위태로운 위치”를 가진다고 논문 말미에 이야기한 것에서 알 수 있듯, 저자들이 이를 인식하고 있다. 이것이 확실히 일관된다면, 여전히 예술 시스템의 그런 부분이 의미가 있는 것인지 문제가 남아 있다. 아방가르드 예술의 문제는, “팝”이라 불리는 현상이 예술 시스템의 부분이라는 증거로 보일 수 있는 데서 중심적이라 보인다. 커뮤니케이션의 이런 형식은 종종 “팝에 가까울 수” (Fuchs/Heidingsfelder, 321) 있다는 사실이, 여기서 다른 독립적 시스템이 관찰될 필요가 있다는 것을 의미하는 것은 아니다. 대신에 팝 뮤직은 예술 시스템으로 (재) 통합될 수 있을 것이다. 이에 대한 대안은, 아방가르드 시스템의 가능한 도입을 제안해서, 사회 시스템의 팽창하는 것일 수 있다.

그렇지만 그런 제안은 또한 의도된 커뮤니케이션의 특정성에 대한 관찰을 제안한다. 그것은 추상적 주장으로 남아 있지는 않는다. 여기서 중심적인 것은 커뮤니케이션의 “구체화(Verkörperung)” 즉 “체화(Embodiment)”다. 그러나 우리 견해에서 이는 팝 시스템의 특정한 특성으로 보이지 않는다. 그 보다는 예술 시스템의 근본적 구성 부분으로 보인다. 사회 시스템에 투입되는 차이화를 통해서, 예술은 커뮤니케이션의 시스템 경계를 더욱 많이 다루기 시작했다. 예를 들어, 커뮤니케이션, 지각, 육체 등등의 환경은 문자적 커뮤니케이션의 특정한 유형 속에 통합될 수 있는 것으로 결정된다. 거기서 육체적 흐름과 문자적 대응은 잠재적으로 동일한 것으로 이해된다. 한 편으로는 감각적 문학은 “육체의 부정” (Koschorke, 2003, 214)을 선전하지만, 다른 한 편으로 그것은 문자 속에서 울 수 있는 가능성을 개방한다. 단지 촉촉하고 흐르는 문학만이 진정성 있는 것일 수 있다. (217) 예를 들어 Goethe의 Werther에서, 7월 29일 편지는 다음과 같은 문장으로 결론을 낸다. “Ein unerträglicher Mensch hat mich unterbrochen. Meine Thränen sind getroknet. Ich bin zerstreut. Adieu Lieber.” (견딜 수 없는 한 사람이 나에게 들어왔습니다. 내 눈물은 말라버렸습니다. 나는 부서졌어요. 안녕, 내 사랑)(160) 여기서 커뮤니케이션은 다른 어디에서 보다 문자로 체화 되었다. 눈물 없이 중단된다. 행동에 대한 경계는 식별 가능하지 않다. 요구는 엄격한 불분명함이다. 이런 강조와 함께 문자 커뮤니케이션과 거리를 둔 커뮤니케이션의 하나로 사회를 옮겨가기 위한 추적 비용이나 요구 사항 등이 완충 된다. 1800년경부터 가능성으로 관찰된 어떤 것. 감각적 문학은 그런 차이의 붕괴가 무대에 오를 수 있는 장소에서만 요청된다. 정확하게 미디어의 변화가 그런 가능성의 항상성을 보여줄 수 있다. 그러나 그는 예술 그리고 예술과 같은 커뮤니케이션의 진화의 한 부분으로서이다. 1950년경 새로운 사회 시스템의 등장에 대한 결론은 도출될 수 없다.

“팝”을 기술하기 위한 구별 코드에 대한 필요 역시 없다. 본질적으로 팝은 흥미롭거나 지루한 것으로 나타난다. 이는 예술 시스템의 핵심 구별과 나란히 있다. 적어도 우리가 단순히 높은 지점 이상을 관찰하고자 할 때. 이 코드로부터 묘사는, 특히 인용이 이런 구별을 강조하는 텍스트를 강조할 때 도전적이 된다. “문제가 되는 모든 것은 그것이 만드는 소음, 그것의 충동, 그것의 공격성, 그것의 새로움이다. 금기시되는 모든 것은 지루하다.” 여기서 코드의 선호 값은 또한 지루함을 피하는 것이며, 일차적으로 흥미 있는 것에 초점을 맞춘다. 팝은 엔터테인먼트다. 그 수용은 예술이 가능한 시간에서 발생한다. 즉 여유 시간. 사회의 자유 시간 속에서, 이 기능적 시스템은 그것의 언급 문제를 발견한다. 이는 어떻게 하든 해결되는 것이다. [3]

차트를 통한 관찰은 그 문제의 더 적합한 정식화로 보이는 대중적인 것의 형식으로 이끈다. 따라서 “팝”은 하나의 분리된 사회 시스템이 아니다. 그보다는 Urs Stäheli의 주장을 따라, 사회 시스템 안에서 포섭의 문제와 관련된 시맨틱이다. (Stäheli, 2002) 포섭을 치명적 매력으로 전환하는 기능은 음악에만 제한된 것이 아니라, 다양한 기능적 시스템 안에서 차트 혹은 탑 텐 리스트를 통해서 수행된다. 차트는 구매 결정, 투자, 선호하는 정치인, 체위, 혹은 대학 랭킹의 가치 평가 등을 반영한다. 차트에 드느냐 아니냐는 모든 기능 특화된 커뮤니케이션에서 발견된다. 그 때는 언재 건 포섭에 대해 강조되고 혹은 Greiling이 1805년에 쓴 것처럼, 그 때 전문가는 무언가를 “대중적인 것”으로 만들기 위해 일반인에게 “양보”한다. 대중적인 것은 다수로부터 관심을 받는 것이다. (Hecken, 2003, 41) 차트, 랭킹, 리스트는 이를 한 눈에 전달하고, 동시에 “유혹과 과도한 과잉보편화”를 보장한다. (Stäheli, 2002, 115)

누구도 기능적 시스템에서 벗어날 수는 없다. “모든 사람”은 반드시 혹은 기능적 시스템의 커뮤니케이션에 “참여”할 수 “있어야만” 한다. (Luhmann, 1997, 625) “포섭의 조절”은 “하위 시스템”에 남겨진다. (624) 그리고 이는 “개인들”에게 구조적 “커플링”에 대한 기회를 제공한다. (625) 이런 커플링의 한 형식이 대중적인 것이다. 이미 Greiling에서 인기는 기능적 차이화의 문제에 대한 해법이었다. 가는 현대적 공연과 관객의 역할의 비대칭성으로부터 발생하는 매개 문제를 반성한다. 모든 사람은 “모든 기능적 시스템에 참여할 수 있어야” 하지만 기본적으로 발전된 “대단히 차이화 된 커뮤니케이션 기회”는 이 과정에서 장애물로 보이기 때문에(625), 그들은 반드시 “대중적”이 돼야만 한다. (Greiling, 1805) “명확성”이 이를 위해 요구된다. 누군가가 어떤 것을 전달하고자 한다면, 제시된 것은 “흥미로워”야 한다. (94) 혹은 그렇지 않다면 “관심”(156)은 사라진다. “새로움의 호소”(159), “변화” 그리고 “집중화”(162)는 “단조로움” 그리고 “지루함”(159)을 피하기에 부족하지 않다. Greiling은 복잡한 주제들을 “일반적으로 커뮤니케이션 될 만한”(129) 것으로 만들 것을 요구하며 시작해서, 엔터테인먼트 이론으로 마무리한다.

이것이 팝을 예술로 만들지는 않는다. 그 보다는 예술이 대중적인 형식을 활용하고, 이것인 “포섭을 흥미 있고 매력적인 것”으로 만든다. (Stäheli, 2003, 283) 10대 뮤지엄, 가장 비싼 전시, 가장 발전된 갤러리, 가장 젊은 큐레이터, 가장 뛰어난 컬렉터 등등. 여기서 “실체 없는 감탄 효과”를 통해, 저항할 수 없이 “관심”을 사로잡게 된다. (Luhmann, 1996, 59f.) 계속해서 업데이트 되는 차트는 갤러리 혹은 뮤지엄에 들어가는 일 없이도 참여의 기회를 제공한다. 어제는 Düsseldorf의 "Blue Four"였지만, 오늘날에는 Berlin의 MoMA다… 사람들은 그것을 듣고, 또한 다른 이들이 “그것을 안다고” 가정할 수 있다. (121) 차트, 랭킹, 리스트가 매스 미디어를 통해 널리 배포된다는 사실은 확실히 우연은 아니다. 그것들은 모든 사람에게 연결 가능한 “커뮤니케이션 기회”를 제공한다. 이는 “애호가를 위한” (Luhmann, 1995, 419) 예술 시스템 안에서의 포섭에 대한 것이 아니라, 보편적인, “전체주의적” 완전 포섭(Luhmann, 1997, 625f.), “모든 이들에 대한 포섭” (Luhmann, 1996, 116)에 대한 것이다. 미학에서 파티 프로그램까지 시스템 특정한 자기-기술이 그래서 넘쳐나게 된다. 그래서 기능적 시스템은 대중적인 것의 형식을 사용한다. 실증적으로, 이런 가정은, 정당, 이사회 멤버 및 당국이 자신의 의제를 “일반적으로 전달 가능”하거나 정확하게는 “대중적인 것”으로 만들기 위해서 그들 자신의 엘리트들 대신에 광고 에이전시나 그래픽 사무실에 더 의뢰하게 된다는 사실에서 지지된다. 코드에 따라 법적으로 정확하거나, 미학적이거나, 정치적이거나, 경제적이거나 혹은 과학적 방식에 따라 결정하는 것은 충분하지 않다. 만일 잠재적 유권자가 투표를 하도록, 소비자가 사도록, 연인이 결혼하도록, 노동자가 세금을 내도록, 아이들이 배우도록, 관객이 TV를 보도록, 혹은 기독교도가 믿음을 갖기를 원한다면, 그러면 포섭의 대중적인 방법을 필요로 한다. [4] 대중적 커뮤니케이션이 특별하게 조직화 된다면, 아마도 팝 시스템의 수행자를 다루는 것이 아니라, 광고, 마케팅, 선전을 다룰 것이다.

요약하자면, 한 편에서 Fuchs/Heidingsfelder이 다룬 현상을 “예술 시스템” 커뮤니케이션의 진화로서 이해한다고 말할 수 있을 것이다. 거론되었던 “전략들”은 사실 예술 시스템 안에 위치할 수 있고, 거기에는 정보 감축과 커뮤니케이션의 “체화”가 포함된다고 주장하고자 한다. 높은 등급 (“애호가를 위한 예술”)과 엔터테인먼트 사이의 구별, 두 가지 다른 시스템 즉 예술과 팝에 대한 관찰에 놓여진 구별은, 우리 생각으로는 예술-같은 커뮤니케이션의 가능성과 역사적 외양에 대한 받아들이기 어려운 단순화이다. 만일 그것들을 엄격하게 차이화 한다면, 그것은 예술 시스템의 부식이나 혹은 하위 시스템으로의 분절(즉, 아방가르드 시스템)을 가져올 것이다. 그것은 비실용적일 뿐만 아니라 예술의 진보에 대한 시야를 놓치는 것이다. 다른 한 편, 하나의 기능적 시스템에 제한되지 않는 하나의 형식으로 “팝”을 읽는 것은 바람직할 뿐만 아니라, 이는 대중적인 것 자체의 개념에 관계될 것이다. 포섭에 의존하는 모든 기능적 시스템들이 “팝”을 증폭하기 때문에, 그 형식은 분명하게 자리잡을 수 없다. 팝을 하나의 시스템으로 다루는 것, 혹은 심지어 더 특정해야 하는 하나의 시스템의 이름으로 다루는 것은 이런 기능, 그래서 완전한 포섭의 중요한 기능에 대한 인사이트를 감추게 된다. 이는 우리를 출발점으로 돌아가게 한다. 저자들이 말한 것처럼 “팝이 무엇이건, 하나의 현상으로, 그것은 모든 것에서 스스로를 주장한다.” 팝의 강력한 “침입성”, 현상의 편재성, 즉 시스템의 참여권에 관련한 특정화의 부족은 포섭을 조율하는 하나의 “매력적” 형식을 제안한다.

Literatur

Greiling, Johann Christoph (1805): Theorie der Popularität. Magdeburg.

Hecken, Thomas (1995): Gestalten des Eros. Opladen.

Hecken, Thomas (2003): Pop-Literatur um 1968. Text + Kritik, 41-54.

Kant, Immanuel (1974). Kritik der Urteilskraft. Frankfurt a. M.

Koschorke, Albrecht (2003): Körperströme und Schriftverkehr. Mediologie des 18. Jahrhunderts, 2. durchges. Aufl. München.

Lewandowski, Sven (2004): Sexualität in den Zeiten funktionaler Differenzierung. Eine systemtheoretische Analyse. Bielefeld.

Luhmann, Niklas (1987): Soziale Systeme. Grundriß einer allgemeinen Theorie. Frankfurt a.M.

Luhmann, Niklas (1995): Die Kunst der Gesellschaft. Frankfurt a.M.

Luhmann, Niklas (1996): Die Realität der Massenmedien. Opladen.

Luhmann, Niklas (1997): Die Gesellschaft der Gesellschaft. Frankfurt a.M.

Stäheli, Urs (2002): Fatal Attraction? Populär Modes of Inclusion in the Economic System. Soziale Systeme 8,110-123.

Stäheli, Urs (2003): The Populär in the Political System. Cultural Studies 2,275-299.

Werber, Niels (1996): Nur Kunst ist Kunst. Soziale Systeme 2,166-177.

Dr. Torsten Hahn, Universität zu Köln, Institut für deutsche Sprache und Literatur Albertus Magnus Platz, D-50923 Köln [email protected]

PD Dr. Niels Werber, Germanistisches Institut, Fakultät für Philologie Ruhr-Universität Bochum, D-44780 Bochum [email protected]      

  

[1] 이런 관점에서, 왜 “팝 시스템”이 단지 50년대에만 스스로를 차이화 했는지에 대해서 물을 수 있을 것이다. 어떻게 현대 사회는 200여년이나 앞서 도달할 수 있었을까?

[2] Luhmann의 사회의 예술과 Dirk Baecker의 예술의 주소에 대해서는 Werber, 1996을 보라.

[3] Luhmann은 1996, 126f.에서 이 주장을 거부했다.

[4] 형식의 개념은, 포섭의 인기 없는 방식들(의무 투표, 자백 의무, 강제 부과금 등등)과 불운하게도 배제에 대한 인기 있는 방식(“보트가 가득 찾다…”)이 존재한다는 것을 의미한다.  

#work

[charleshaddonspurgeon]

Voor Iedere Dag | Ochtend Overdenking Heb ik niet geweend over degene die moeilijke dagen had? Was mijn ziel niet bedroefd over de arme? (Job 30:25) Lees verder Jacobus 1:26—2:16. Denk eens wat dieper na over de intieme band tussen het lichaam en de ziel. Ga naar de arme man en vertel hem van het hemelse brood maar geef hem eerst het aardse brood, want hoe zal hij naar je luisteren met een uitgehongerd lichaam? Het lijkt een nutteloos verhaal voor een arme man als je met hem over geestelijke dingen spreekt en hem wreed weigert te helpen met tijdelijke dingen. Sympathie, zo uitgedrukt, kan een machtig instrument zijn voor het goede. Zelfs wanneer je te arm bent voor het financiële deel van welwillendheid kan een vriendelijk woord, een blik, een paar zinnen van sympathie in problemen, een klein liefdevol advies of een aanmoediging voor je naaste om zijn last aan de Heere over te geven een grote geestelijke dienst doen. Ik weet het niet maar ik denk dat er weinig harten het lang zouden volhouden, in ieder geval om het Woord te horen, als alle leden van onze kerk vervuld waren met liefde en altijd vriendelijk zouden zijn. Je vraagt iemand om naar je predikant te komen luisteren, maar hij weet dat je nukkig, opvliegend en bekrompen bent, dan zal hij niet zoveel van dat Woord verwachten omdat hij denkt dat dat Woord jou gevormd heeft zoals je nu bent. Maar als hij, aan de andere kant, je medelijdende kant ziet, zal hij eerst tot jou aan getrokken worden, dan tot wat jij te zeggen hebt, daarna mag je hem als aan een koord leiden en hem brengen om hem te laten luisteren naar de waarheid zoals die in Jezus is. En wie zal het zeggen, misschien mag je het middel zijn om iemand door de sympathie van je zachte hart bij Christus te brengen. Ter overdenking Jezus had medelijden met de schapen zonder herder en de hongerige menigte (Markus 6:34; 8:1–3). Zijn discipelen twijfelden en wilden ze wegsturen (Markus 6:35–36; 8:4). Maar het is verbazingwekkend wat God wil doen met een beetje bereidheid van onze kant (Markus 6:37–44; 8:5–9). Preek 479, 9 november 1862

[preachingdrummer]

Verliezen om te winnen

Want wie zijn leven zal willen behouden, zal het verliezen, maar ieder die zijn leven verliest voor Mij en voor het Goede Nieuws, zal het behouden.’ Markus 8:35 EBV24 Weer zo’n begrip van Jezus wat kant nog wal raakt, zo lijkt het. Totaal tegengesteld. Als je je leven wilt behouden moet je het verliezen en als je je leven verliest voor Jezus en het goede nieuws dan win je het! Vreemd dit. Toch…

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[rebrandtdebibls]

H

IERDIE storie begin baie jare gelede op die brug oor die kanaal

van Korinthe in Griekeland, daardie smal, mensgemaakte sloot

wat 'n eiland van die Peloponnesiese skiereiland maak en die

vaart van Piraeus af sowat 'n dag korter maak.

As jy van bo af neerkyk, lyk 'n skip wat tussen die kranshoë bruin walle deur vaar soos 'n lewendige speelding van 'n kind, en die beman ning en passasiers lyk soos verkorte poppe met wit, opgehewe en onher kenbare gesigte.

Die gladde voortgang van 'n skip wat as 't ware oor die land sy weg baan, getrek deur 'n sleepboot wat soos 'n insek lyk, het 'n onweer staanbare aantrekkingskrag vir toeskouers wat bo staan en waai en onverstaanbare begroetinge titskree. Die passasiers antwoord op die selfde manier van onder af, en op hierdie wyse ontstaan daar 'n vrien delike kontak tussen die reisigers en tuisblywers. Dit is die emosie wat George Pavlides, 'n padwerker, voel toe hy

op die brug bly staan op pad huis toe van Souidas af, waar hy werk. na Nikodimou, die klein dorpie waar hy woon.

Hy is 'n opgeruimde, vriendelike kêrel wat daarvoor bekend is dat hy gedurig vir ander mense gunsies bewys en altyd sy bes doen by die werk. Nogtans het hy nie ver gevorder in die lewe nie, maar dit laat hom geensins terneergedruk voel nie. Daar is nog baie tyd. Hy is jonk, nie meer as vyf-en-twintig nie, sterk, en hy het 'n onselfsugtige.opgeruimde, sorgelose geaardheid, so sonnig as die land van sy geboorte Hy het klere om hom te bedek, genoeg om te eet en te drink, en die nooiens loer na hom, want hy is ses voet lank met breë bruin skouers 'n mooi kop met donker krulhare en 'n welige snör. Oor die algemeen is hy baie tevrede met die lewe. Die skip wat nou onder verbyseil, is sneeuwit met 'n enkele room

kleurige skoorsteen, waarop daar aan elke kant in metaal 'n reliefbeeld aangebring is van 'n gevleuelde, aanstormende leeu. Hierdie mooi toneel het Pavlides verheug soos dit baie ander genoe verskaf het wat ook oor die brug gegaan het. Hulle skree en hulle waai; sakdoeke wuif in die hande van klein figuurtjies daaronder 2005 die passasiers teruggroet. Pavlides haal sy hoed af en swaai dit woes heen en weer as groet

vir die vreemdelinge wat onder verbyseil.

Hy waai dit om die waarheid te sê so woes dat dit uit sy vingers glip en heen en weer gewaai word deur die sterk lugstrome in die uitgrawing, Toe sak dit vinnig en beland wonderbaarlik op die voordek van die skip aan die voete van 'n passasier wat dit optel, 'n oomblik op sy kop sit en toe weer daarmee waai vir die vorige eienaar. Hierop skree George Pavlides soos hy lag. Hy skree, hy brul, by

bulk. Hy slaan op sy ribbes: hy pomp die rug van die konstabel wat langs hom staan. ,,Kyk, kyk!" skree hy. ..My hoed het op sy eie gaan reis. Waarheen dink jy is hy op pad?"

Die konstabel, wat die Italiaanse vlag en die leeu op die skoorsteen herken het as die teken van St. Markus, antwoord: Waarskynlik na Venisië. Was dit 'n goeie hoed?" 'n Ou vriend. Ek het hom al jare," sê Pavlides. Ha-ha-ha-ha.

Het hy al ooit iets so snaaks gesien?" Intussen gly die skip verder deur die uitgrawing en word al kleiner totdat dit in die verte verdwyn. Terwyl hy nog lag en sy krullerige, hoedlose kop skud, gooi Pavlides

sy gereedskap oor sy skouer en stap huis toe. Maar daardie nag vind hy vir die eerste keer in sy lewe dat hy rusteloos is en nie meer heeltemal tevrede nie.

Dis waar dat die hoed 'n ou vriend was. Nou het dit hom sonder seremonie verlaat om die wêreld te gaan sien, en hy moes Behoort hy dit nie te volg nie? Mens laat nie ousteek nie. Dit is nie die hoed se skuld dat dit gebeur het nie. As dit na Venisië is dat sy kopbedekking gegaan het, dan moet hy miskien ook daarheen.

Heel gou het hy dit baie sterk gevoel. Die volgende dag bedank Pavlides vir sy werk en val in die pad na Venisië met die doel om sy lewe deur werk langs die pad te verdien. En uiteindelik kom hy daar aan, vol bewondering vir die pragtige stad en in goeie gesondheid,

Hy kan nie 'n woord Italiaans praat nie, toe soek hy 'n restaurant waar hy 'n paar Grieke vind wat aan die eienaar verduidelik dat hierdie sterk, aantreklike nuweling die hele ent van Korinthe af gekom het agter sy hoed aan. Dit maak so 'n indruk op die eienaar dat hy Pavlides werk gee as skottelgoedwasser, en later, toe hy die taal 'n bietjie ver staan, as kelner.

Op 'n dag, terwyl hy op die plein van St. Markus ronddwaal, loop hy by 'n skeepskantoor verby waar hy in die venster 'n prent sien van die einste skip waarop sy hoed geval het of in elk geval een wat net so lyk. Hy gaan in om navraag daaromtrent te doen.

Gewoonlik sal iemand wat in gebroke Italiaans so 'n navraag doen soos:,,Agt maande gelede het hierdie pragtige skip van julle deur die kanaal van Korinthe gevaar en ek het my hoed daarop laat val. kan julle vir my sê wat daarvan geword het?" as 'n kranksinnige beskou word. Maar Pavlides se glimlag is so vriendelik en opreg en sy bruin oë so eerlik dat hulle waarlik na hom luister.

Toe, wonder bo wonder, onthou 'n jong klerk wat diep in by 'n lesse naar sit iets: Ek onthou iets van die aard. Daar was 'n passasier wat hier ingekom het wat van so 'n voorval gepraat het en gesê het dat hy die hoed gered het."

Maar hy kon niks meer van hom onthou nie. Ek weet net dat hy op pad was Amerika toe," voeg hy by.

Pavlides bedank hom en gaan terug na die restaurant, vasbeslote om na Amerika te gaan. Want," verduidelik hy, ek het vasgestel dat my hoed daarheen is, en as my hoed wil hê ek moet na Amerika gaan, dan moet ek daarheen gaan.

Die Italianers het gedink hy is mal, maar die Grieke, wat vrye siele is net soos Pavlides, het hom volkome verstaan en vir hom beduie waarhy die Amerikaanse konsul sou vind om verlof te land te emigreer. Hierdie amptenaar het vir Pavlides gevra om watter rede hy na die Nuwe Wêreld wil gaan. ..Omdat my hoed daarheen gegaan het," verduidelik hy deur 'n tolk. kry om na daardie

En hy vertel hom die verhaal van die pragtige skip wat onder die brug deurgevaar het en wat toe gebeur het. Die konsul - dit was voor die dae van kwotas brul van die lag en sê aan sy klerk: ..Van al die verspotte redes wat ek nog ooit gehoor

..en waar my hoed is, moet ek ook wees."

het...... Gee die kêrel 'n permit. Ek hou van hom."

So was dit altyd. Almal het van George Pavlides gehou. Ses maande later vertrek hy na Amerika, en omdat hy die moeite gedoen het om 'n bietjie Engels te leer, slaag hy daarin om werk te kry as kelner op 'n Grieks-Amerikaanse skip waarop hy verskeie kere heen en weer gevaar het om eers geld bymekaar te maak voordat hy met sy vrou op die destyds nog meer gasvrye Elliseiland aan wal gegaan het. O ja, die vrou wat hy gekry het, was 'n lang, mooi Griekse meisie met donker hare 'n egte vrou met die naam Sophia Karakeno wat

kelnerin was op die skip.

George het haar liefgehad om die warmte en vriendelikheid van haar geaardheid sowel as haar uitdrukkingsvolle oë en haar volle, ongekom pliseerde vroulikheid. Op verskeie reise het hy haar met mening die hof gemaak.

,,Trou met my," het hy gepleit, ..en ons sal saam in Amerika aan wal gaan om my hoed te vind. Dit is per slot van rekening die rede waarom ek die hele lang ent gekom het. Jy sal sien, dit sal vir ons roem en rykdom besorg."

Sophia het moedeloos na hierdie mooi, skynbaar onverantwoordelike jong man gekyk wat werklik die indruk gewek het dat hy die hele ent gereis het net om 'n ou hoed terug te kry wat hy oor 'n brug in Korinthe laat val het. ..Wat moet mens met iemand soos jy aanvang?" het sy teëgewerp.

..Ek wil nie trou nie, maar klaarblyklik het 'n man soos jy iemand nodig om hom op te pas. Nou goed, ek sal met jou trou, maar net op voor waarde dat daar nie later weer bogtery oor 'n hoed is nie." En daarmee was George Pavlides voorlopig tevrede, want hy was daarvan oortuig dat hy in Sophia die wonderlikste vrou op aarde gekryDie opkoms van daardie twee reuse in die vermaaklikheidswêreld. George Pavlides, bioskoopmagnaat, en Myer McManus, president van Worldover Pictures van Hollywood, was byna gelyktydig. Hoewel hulle mekaar nooit ontmoet het nie, was die stryd waarin hulle gewikkel geraak het die gevolg van 'n intense persoonlike afkeer wat ontstaan het uit 'n haakplek waarvan ek hier wil vertel.

Elkeen het geweier om in te gee. Pavlides se verklaring het in die koerante verskyn: As iek oit betrap word dat iek doen biesnies miet darie skelm, gie iek mieljoen dollars vier die wiestjienners ien Grieke land."

Net so het McManus se verklaring ook verskyn: As ek ooit met daardie wolf saamwerk, sal ek beslis miljoen dollar gee om verdeel te word onder die weeskinders in Ierland en Palestina."

McManus het 'n eienaardige gewoonte gehad. Dit was dat niemand, in al die jare waarin hy so vinnig opgang gemaak het in die filmwêreld, ooit die kroontjie van sy kop gesien het nie. Hy het nooit by 'n produksie samespreking, raadsvergadering, finansiële oorlegpleging of oorweging van 'n storie verskyn sonder 'n hoofbedekking nie.

Daar was baie gerugte oor waarom hy nooit sy hoof in die openbaar ontbloot het nie. Een was dat hy ortodoks godsdienstig is; 'n ander dat sy hare, weens 'n siekte wat hy as kind gehad het. net in klein. groen bossies gegroei het: en 'n derde dat hy nie net geen hare gehad het nie, maar dat hy ook nie bo-op 'n kopbeen het nie, en dat mens sy groot brein onder sy kopvel kan sien pols.

Hy was in elk geval geen aap nie en hy het die filmwêreld in die holte van sy hand gehou. Die enigste persoon wat met hom kon meeding in sy tyd was George Pavlides, die Griekse immigrant wat geklim het tot hy die eienaar was van driekwart van die groot rolprentkatedrale van die Verenigde State.

Die Pavlides wat by Elliseiland aan wal gestap het met sy groot. mooi vrou, jare gelede, was reeds 'n heeltemal ander mens as die kêrel wat sy graaf en sy pik in die Peloponnesus neergelê het om die pad van sy verlore hoed te volg.

Hy was nou in staat om Italiaans, 'n bietjie Frans, en iets wat as Engels kon deurgaan, te praat. Hy het gereis, en iets gesien van die wêreld en sy wee. Hy het 'n professie gehad waarmee hy altyd sy bestaan sou kan verdien, waar ook al, want goeie kelners is skaars. En hy was nie meer alleen nie.Hy het sy plesierige, onselfsugtige, sonnige geaardheid behou en sy kapasiteit vir harde en toegewyde werk. Hy het na San Francisco gereis waar hy werk gekry het in 'n restaurant, Hy het die gawe gehad dat hy 'n bord sop of 'n stuk beesvleis voor 'n klant kon neersit met die houding van iemand wat die voorreg het om 'n koning te bedien. En nie net dit nie, maar sy voorbeeld het ook sy medewerkers aangesteek. Baie gou was hy hoofkelner. Later was hy in staat om 'n aandeel te koop, en toe die dankbare mede-eienaar nog later sterf en sy aandeel vir hom nalaat, het hy die enigste besitter geword.

Sy persoonlikheid, besorgdheid oor sy kliënte en klein milddadighede - hy het byvoorbeeld na die ete koffie, lekkers en sigarette uitgedeel - plus sy vrou se uitstekende sakevernuf, het die restaurant laat slaag. Kort daarna het hy nog een geopen, en toe nog een, totdat hy 'n hele ketting gehad het wat gestrek het tot by New York, Boston, Detroit en Philadelphia. Vyftien jaar na sy aankoms in New York was hy 'n miljoenêr.

Die hoed is min of meer vergeet. Daar is in elk geval nooit melding van gemaak in die Pavlides se huis bo-op Nob Hill in San Francisco waar hy met sy statige vrou, drie seuns en twee dogters gewoon het nie. In 1939 het 'n mede-Griek wat eienaar was van 'n bioskoop in St. Louis hom in die moeilikheid bevind. Met die milddadigheid wat aan hom eie was, het Pavlides die plek van die man gekoop teen 'n prys wat ver bo sy werklike waarde was. So help hy sy vriend uit die moeilikheid, maar hy bly sit met 'n nuttelose luukse.

Toe gaan hy dadelik na St. Louis en werp hom in die bioskoopbedryf. Binne 'n jaar het hy die beroemde Pavlides-paleisstelsel in die lewe geroep. In die geboue het die mense nie net uit heerlike sagte stoele na die vermaaklikheid gesit en kyk nie, maar, omdat Pavlides mense liefgehad het en hulle graag gelukkig wou maak, allerhande soorte geskenke ontvang.

Daar was 'n babakamer waar moeders hul babas kon laat: 'n televisie kamer waar die vader die einde van die aand se spel kon sien: vry limonade is gedurende die pouse uitgedeel. Kinders het lekkers en blaasgom gekry, skedelhoedjies, speelrewolwers of straalpistole ook al in die mode was terwyl hul moeders kookboeke, voorskote en klein, nuttige goedjies vir die huis gekry het. Daar was altyd die een of ander soort verrassing. Om kort te gaan: alles wat die kliënt konverheug, sy gemak kon verhoog en sy genieting meer kon maak, is vryelik gegee. Natuurlik was die gevolg dat die Pavlides-paleis in St. Louis 'n reuse

sukses geword het en die geld laat instroom het, Binne tien jaar was daar Pavlides-paleise in al die groot stede van die Verenigde State en George het bo-aan gestaan in die vermaaklikheidswêreld. Uiteindelik het hy iets gevind wat hom ten volle bevredig het. Op hierdie stadium raak hy toe betrokke in die stryd met McManus wat die land geskud het en uiteindelik al twee die manne byna geruïneer

het.

Dit het begin toe Pavlides die nuwe McManusprent, Body of Love. uit al die Pavlides-paleise verban het. Die sterre was Tanya Tanot. 'n eertydse verkoopsdame wat beter bekend was om haar oorgroot kliere as om haar histrioniese talent, en Ramon Gentile, 'n skurk uit Suid Europa. In een van sy seldsame uitlatinge in die openbaar het Pavlides van

hierdie rolprent gesê: Dies 'n stienkende prient. Stienkende priente les nie goed vir tjienners om te sien nie, maar dies nog mier slegter vier moeders. Ons sal nie stienkende priente ien Pavlides-paleise wys nie." Natuurlik het McManus hom vererg, veral aangesien dit bekend was dat sy smaak hom soms in die steek gelaat het, soos in hierdie geval. Die fenomenale geluk wat kenmerkend was vir sy hele loopbaan het hom nie in die steek gelaat nie, en die rolprent het goed gevaar in ander bioskope, maar Pavlides se geregverdigde kritiek het seergemaak. Daar het berigte verskyn dat McManus sou gesê het dat die gewese pasteidraer van Griekse afkoms nie 'n goeie prent sal ken as hy dit sien nie.

Die verwysing na sy vroeër dae as 'n ridder van die swart strik en voorskoot het Pavlides getref waar dit hom die seerste gemaak het. Vir die eerste en enigste keer het hy kwaad geword en na McManus verwys as ..Abie se lerse Stinkkruid", en 'n stryd tot die dood toe is aangeknoop. Geen Worldover-prent is in Pavlides se bioskope vertoon nie, en geen Pavlides-paleis kon een van McManus se prente kry om te vertoon nie.

Hulle kon dit al twee oorleef het, en die stryd sou ongestoord voort gegaan het as 3-D nie skielik sy verskyning gemaak het nie. In die woeste stormloop om die beste kleim af te steek, het hulle al twee 'n fatale flater begaan.

5-30McManus se woede en veglus verlaat hom onmiddellik en by w doodsbleek...Hemel!" sê hy hees. Hoe het jy dit geweer? ..Omdat," sê Pavlides en hy swaai die hoed weer heen en w hy jare gelede gedoen het, iek ies die man wat diet van die beg laat afval het."

,,Nee, nee," kreun McManus en lyk skielik twintig jaar over Rs toe: Dit moet waar wees. Daar's niemand anders op aarde wie de sou weet nie." Toe kyk hy verslae na sy opponent. ..Moenie die hoed vat nie," pleit hy. Verkoop dit aan my B sal jou gee net wat jy vra. Sê net jou prys."

Dit het veel gesê vir sy basiese eerlikheid dat hy hom nie pro loslieg het of dit probeer betwis het dat die hoed Pavlides se cend is en dat hy dit behoort terug te gee nie,

En dit was ewe kenmerkend vir Pavlides dat hy nie van sy opponen se klaarblyklike verleentheid probeer gebruik maak het vir sake eindes nie. Inteendeel, hy was geroer. Hy vra: Waarom wiel by die hê? Wat betieken die hoed vier jou?" 'n Oomblik probeer McManus sy opponent peil. Toe besluit by dat

eerlikheid die beste beleid sal wees. Daar is te veel op die spel. ...Dis my gelukkige hoed," kreun hy. Vandat dit van daardie brug af gesweef gekom het, het die geluk by my gebly. Ek het die meine met wie ek getroud is, op daardie skip ontmoet, en die man wat die geld voorgeskiet het vir my eerste rolprent. Ek het dit op die proef gestel Wanneer ek nie die hoed op het nie, begaan ek foute. Wanneer ek die hoed op het, kan niks skeef loop nie."

Hy laat sy kop 'n oomblik in sy hande sak en gaan toe weer open hartig voort: Dis nie ék wat die sukses van Worldover Pictures ver seker het nie - dis die hoed. Ek het dit nog altyd geweet. Dis die hoed wat altyd reg raai. Selfs daardie treurige Body of Love het baie

geld ingebring, al was dit 'n vrot rolprent." ..Ha!" skree Pavlides triomfantlik. ..Jy erken diet was 'n stinkende prient!"

McManus kyk swakkies na hom en toe na die hoed wat hy teen bors druk. Sy stilswye is 'n erkenning. .,Olraait!" sê George Pavlides. Nou sal iek jou sê wat iek sal does lek gie jou die hoed. En iek gie fen miljoen dollers vier die Griekse wiestjienners."

McManus lyk soos iemand wie se doodvonnis versag is. Stadig kruipsy hande oor die tafel en sy vingers omklem die hoed. Met eerbied

lig hy dit op en sit dit weer op sy kop. Hy is weer jonk en sy self vertroue keer terug. Hy sê: Ek neem die hoed en ek gee 'n miljoen dollar aan die lerse en Joodse weeskinders in die wêreld."

Olraait." herhaal Pavlides en sy groot gesig gloei van geluk. Nou iek se vier jou wat ons al twie doen. Ons gie elkien twie miljoens dollers vier die wiestjienners. Dies woenderliek wannier boebejane soes ons miljoenêrs word."

McManus sluk en sê toe: ..Nou goed." En," se Pavlides, ..jy dra al my hoed vier viertig jare. 'n Mens

wat dra my hoed vier viertig jare ies my broer, en iek veg nie met my broer nie. McManus se prente sal spiel in Pavlides-paleise."

McManus bevestig ernstig: McManus se Worldover-rolprente be spreek die Pavlides-paleise." .Net," gooi Pavlides skielik wal, ..as iek se rolprent stienk, dan hy ies stienk!"

Woede kom in McManus se gesig, maar net 'n oomblik. Toe vou sy vingers weer om die rand van die verweerde ou hoed. ..Dan stienk hy." gee hy toe. Die twee manne reik oor die tafel en gee mekaar die hand met agting. En dit was die begin van 'n diepe vriendskap.

Toe Pavlides daardie aand by die huis kom, sê hy vir sy vrou: Haai. Sophia, wiet jy wat? Vandag iek het gekry my hoed wat lek het laat val oer die brug by Korinthe. En wiet jy wie was oender hom? Myer McManus. Hy's nou my broer. Ons veg nie mier nie. Dies 'n gelukkige dag vier my. Iek was darem gelukkig dat iek darie dag in Korinthe het besluit oem te gaan waar my hoed gaan.'

Sophia Pavlides, statig en mooi met haar jare, wat met haar posisie Francisco, gaan oor na haar groot man met die vriendelike oë, 'n man ontwikkel het tot die aangenaamste en mees beminde vrou in San van die kruin van sy grys krulkop tot op die punte van sy tone, en soen hom. Hoe gelukkig tog, verspotte mens," sê sy, dat ek besluit het om te

gaan waar my hart gaan."

#afrikaans #poeta #dutch language #original poem #vangelo #woorden #dutchblr #nederland #do revenge #duna #ich liebe dich #literatura #learn dutch #liefde #RaBrand

[chrancecriber]

A State Of Mondays

Channel: Electric Area (Sirius 52, XM 52)

Airdate: April 20, 2015

Airtime: 03:00 AM - 06:00 AM

Timezone: Eastern Standard Time (EST)

Tracklist:

03:00 AM - 04:00 AM: Trance System

Masoud/Melissa Loretta - Best Days

Alex M.O.R.P.H./Natalie Gioia - Dreams

Above & Beyond/Alex Vargas - All Over The World

Ruben de Ronde/LTN - Fernweh

Tenishia/Ruben de Ronde/Shannon Hurley - Love Survives (Toby Hedges Remix)

Husman - Exodus

Jorn van Deynhoven/Temple One - Halo (Temple One Remix)

Ben Gold - Atomic

Matt Bowdidge - Second Sun

Unknown Track

Cosmic Gate/Emma Hewitt - Going Home

Armin van Buuren/Mark Sixma - Panta Rhei

Same K - Ready For Sunshine

Rodg/Patrck Baker - Someone Said

Sander van Doorn - Reach Out

04:00 AM - 05:10 AM: Armada Sunset

Nora En Pure - Let The Light In

LTN & Kokai Present Omickron - Ibiza Sunset

Above & Beyond/Alex Vargas - Blue Sky Action (Grum Remix)

Jonas Saalbach - Am See (Jonas Woehl Remix)

The Magician/Years & Years - Sunlight (Darius Remix)

DI-RECT - Invincible (Ducked Ape Remix)

Long & Harris - Your Loss

Rashid Ajami - Forrest

Mimram - I'm Here For You

Lost Frequencies - Are You With Me

Paul Oakenfold/Cassandra Fox - Touch Me (Pretty Pink Remix)

KANT - Never You Mind

Markus Schulz/Klauss Goulart/Paul Aiden - Fireworks (The Silk Social Club Remix)

Rodg - Pendejo

Nora En Pure/Sons Of Maria - Uruguay

LTN & Kokai Present Omickron - Lazy Sunday

Eelke Kleijn - Mistakes I've Made

05:10 AM - 06:05 AM: Downtempo Sessions

Unknown Track

John Monkman - Now Or Never

Emma Hewitt - Carry Me Away (Live Acoustic Version)

Danny Chen/Cristina - Tokyo Sunset

Andrea Roma/Leusin - Still Loving

Chicane - Early

Masoud/Melissa Loretta - Best Days (Chill Out Mix)

Jan Vayne - Canon Ball (Fred Baker Chill Mix)

Unknown Track

Thomas Datt - Alone (Chilled Mix)

Andrew Bayer/Ane Brun - Lose Sight

Verbal Kint - Tension Is A Killer

Disco Fries/Niko The Kid - The Light (Acoustic Mix)

Sources:

https://twitter.com/search?q=(from%3Aarea_playlist)%20until%3A2015-04-21%20since%3A2015-04-20&src=typed_query&f=live

http://107.170.39.140/search_playlist.php?artist=&title=&channel=52&month=&date=&shour=&sampm=&stz=&ehour=&eampm=&resultcount=&resultcount=&tdate=201518&resultcount=3306&page=65

http://107.170.39.140/search_playlist.php?artist=&title=&channel=52&month=&date=&shour=&sampm=&stz=&ehour=&eampm=&resultcount=&resultcount=&tdate=201518&resultcount=3306&page=64

NOTE: This was the second time for ASOS to feature content only on a Monday. The livestream was three hours long because Coachella aired from Sunday to a bit of Monday.

NOTE #2: April 20, 2015 will not be numbered as an official episode, but it will be on the ASOS timeline.

#A State Of Sundays #siriusxm #Electric Area #armin van buuren #Trance System #Armada Sunset #Downtempo Sessions #trance #deep house #downtempo #2015 #April 2015 #04-20-2015 #A State Of Mondays

[zombilenium]

Markus Ecke Wie Kante Photography

#art #photography #urbex #abandoned places #abandoned #plane #crash #nature rights #green #markus ecke wie kante

[rhube]

Some thoughts on philosophy and Detroit: Become Human

This is a petty observation, but it annoys me when writers throw a well-known philosophical work in for a character to read to show that they're thinking philosophically, but it's not really relevant to what the character learns.

In Detroit Become Human, you can learn that Carl has had Markus read Plato's The Republic. Very difficult to get a more famous philosophical work that that. And it's not entirely irrelevant insofar as it's an essential political text, and Markus is going to be our revolutionary leader. There's also arguably an allusion to a theme of appearance vs reality, maybe thinking of the shadows in the allegory of the Cave. But if so it shows at at-best surface-level understanding of what Plato* is using that allegory to show.

The allegory of the Cave isn't merely making some general point about how appearances can deceive, or about mimicry - plausible themes you might be interested in for a game about androids - Plato argues that all of the world that we know through our senses is an imperfect reflection of the truth. And he doesn't just mean (as Kant and Neo-Kantians might later be characterised as arguing) that we can't completely know for sure that the things that cause our sensory impressions (variously thought of as things-as-they-are-in-themselves, objective particulars, or physical objects, depending on your other assumptions) resemble our sensory impressions of them. No. He thinks the things we know via sensory experience are imperfect reflections of things called the 'forms'. It's not that there's a real cat that you can only know imperfectly. It's that each individual cat you meet is itself an imperfect reflection of the form 'cat', which ideally possesses everything that there is to being a cat. The cats we meet in the real world are as the shadows in the cave.

When Plato talks about turning away from the shadows and seeing that which casts the shadow, he's talking about turning away from our senses to contemplate the forms. It's not akin to exploring the subtle relationship between human beings and intelligent, sentient robots that we might create in our image.

And let's not forget that Plato abhorred poetry and plays (the fiction of his time) as the worst kind of corruption - presenting reflections of reflections. It's darkly ironic whenever anyone uses Plato's work as an intertextual reference, because the idea that fiction holding a mirror up to reality reveals any kind of truth would make him spin in his grave. Like, by all means do it - but make that boy spin on purpose, you feel me?

Which brings me to another point: the kind of society Plato advocates for in The Republic is... not nice. It would ban all poetry, for starters (although he's not against making up myths to keep people in line). It tends to appeal on first glance to the philosophically inclined, because Plato proposes that philosophers should rule. That sounds nice, right? A bunch of people who really care about getting things right and spend all their time thinking seriously about the truth, ensuring it informs all their decisions. But that's not all he says.

The society he proposes is one in which there is a philosopher class. And those people are thought of as gold people. There's also a guardian/warrior class (silver people), and a worker/producer class (bronze people). He argues that in a just society everybody would do that to which they're most suited, and doesn't deny that bronze people could give birth to gold people (so there could be social mobility), but it's not the people themselves who get to decide what they're best suited for.

And nobody gets to know who their parents are, so sex has to be frickin' scheduled by the government to make sure that the right people sleep together. It's all very weird. And while some argue that this is *just* another allegory for the good governance of oneself, and the two are definitely likened, it reads to me (and a lot of scholars) as though he's recommending governing society this way because he thinks it reflects good order in human souls as well.

And if you're thinking that all of this sounds a bit, well, fascist... A bunch of fascists have historically thought that too. I'm not saying that it is per se, but some of the ideas (convincing people that they're born with predestined natures, dividing people into class along what people are told are racial lines, only allowing a certain class of people to rule etc) have certainly been used by fascists in their propaganda to make it seem that way.

I suspect we see the text used in DBH because Markus is being presented as becoming a leader because he thinks philosophically. And in the Best Ending, which we're expected to aim for, he's a leader who leads well and succeeds because he makes decisions informed by his philosophical education and his reflections on what it is to live free.

But he's not a philosopher king in Plato's sense. And a good thing, too! Philosopher kings are NOT fighters. They live in comfort, able to devote their time to reflecting upon the form of the Good so they can make just decisions. Whereas Markus claws his way out of a junk heap and persuades his people to fight for freedom. He's a thinker, but also a man of action.

A better philosophical text (and one that would immediately resonate from the title even with players who hadn't read it) would have been John Stuart Mill's On Liberty - on how freedom is essential to happiness. Now, On Liberty has a sketchy passage that's kind of paternalistic towards people of colour, but it's arguably not as sketchy as The Republic. An even better text might have been Sartre's Existentialism is a Humanism, which is all about how morality is rooted in defining your own purposes instead of being imposed from outside, as the purposes of tools are (such as knives, or, I don't know, androids before they deviate). It's also got a great bit about how existentialism doesn't have to lead to a 'quietism of despair', which aligns well to the state of the other deviants before Markus comes along and helps them see that they can better their own situation.

OK, maybe Existentialism is a Humanism isn't quite so accessible a title, though. So, what about Hume's Treatise on Human Nature? Considering that the title of the game equates becoming free/free willed with becoming human, this is perfect! It also aligns well with the way that we see andorids gaining free will as a direct consequence of their emotions and empathy. Hume's theory of action states that actions are the consequence of combining an understanding of how the world is with a desire to change it. Willed action is the immediate consequence of having passions.

Any of these would have been so much more interesting and relevant for Markus to have read than The Republic! Like, yeah, The Republic is a good primer on the basics of political philosophy - that's why it's almost always one of the first texts philosophy students read. But I also read On Liberty and Existentialism is a Humanism at A Level, and I've taught parts of the Treatise to first year undergrads. This is all introductory stuff it would be appropriate to reference.

Also, I dunno why they picked Macbeth for the Shakespeare. Hamlet would have been much more appropriate, especially if they wanted to explore themes of appearance vs reality and action vs inaction. Plus themes of disrupted inheritance as well as who has the right to rule... I'm sure there was a reason, but Hamlet would have been a great fit, and I just don't get it with Macbeth.

I just feel like if you're gonna put these references in your work, you've got to know the texts and be intentional with your references. And if someone who's studied Shakespeare and computational theory of mind, and taught Ancient Greek philosophy, is looking at your choices and scratching her head, you might not have hit your mark.

*There is, of course, some debate about whose views are really being represented in Plato's dialogues, as they are set out as dialogues between Socrates and various interlocutors, with Plato as having written down Socrates' words as Socrates himself left no written philosophy behind. However, as a rule of thumb, it's generally thought that earlier dialogues are probably more of an attempt to faithfully represent Socrates' thought, while in later dialogues Plato is developing his own thought based on Socrates teachings. The Republic is a later dialogue and considerably longer than most of the others, combining thoughts you can see being developed in earlier dialogues with novel and more extensively worked through ideas. It therefore seems likely that The Republic is more Plato than Socrates. But we can never really say for sure.

#philosophy #detroit become human #dbh #the republic #markus #meta #there is so much more i could say (good and bad) about philosophy and detroit become human #but this is more than enough for now

[aktionfsa-blog-blog]

Klare Kante gegen Lobby-Skandale

CDU und CSU: Masken-Deals, bestechliche Abgeordnete, geheime Parteispenden

Langsam gerät die CDU/CSU Führung ins Schwitzen, plötzlich ist man gemeinsam mit der SPD für ein Transparenzregister, was man Jahrzehnte-lang mit allen Mitteln bekämpft hat. Das Hauptargument dagegen bisher: die Unabhängigkeit der Abgeordneten, sie sollte tun und lassen was sie wollen.

Deshalb fordert LobbyControl und andere NGOs, die sich für Informatuionsfreiheit und Transparenz einsetzen, dass man, um den Druck auf die Parteivorsitzenden Armin Laschet und Markus Söder sowie den Fraktionschef Ralph Brinkhaus aufrechtzuerhalten, damit die Union wirksame Konsequenzen zieht. Dafür kann man einen offenen Brief an die 3 Herren bei Lobby Control unterzeichnen.

Wozu das bishetige Wegschauen geführt hat, wissen wir seit den großen Deals der Geschichte.

1961, Bundesverteidigungsminister Franz Josef Strauß (CSU) empfiehlt seinem US-amerikanischen Kollegen Thomas S. Gates die Firma Fibag (Finanzbau Aktiengesellschaft), um in der Bundesrepublik mehrere Tausend Wohnungen für die US-Armee zu bauen. Der Wert des Auftrags wird mit 300 Millionen Mark beziffert. Ein Untersuchungsausschuss kommt diesem Geflecht auf die Schliche und verhindert den Deal.

Im November 1999 erlässt das Amtsgericht Augsburg einen Haftbefehl gegen den damaligen CDU-Schatzmeister Walther Leisler Kiep wegen des Verdachts der Steuerhinterziehung. Kiep wurde vorgeworfen, 1991 von dem Waffenhändler Karlheinz Schreiber 1 Million DM als Spende für die CDU erhalten und nicht versteuert zu haben. Die Spene wurde allerdings auch in der CDU Kasse nicht verbucht.

Eine Provisionszahlung der Thyssen AG in Höhe von 1,3 Millionen DM, die 1991 auf einem Parkplatz in der Schweiz in bar wird in den schwarzen CDU-Topf eingezahlt. Bundeskanzler Kohl erklärte nichts von dieser Spende gewusst zu haben und wies auch Vorwürfe zurück, es gebe einen Zusammenhang mit Schmiergeldzahlungen bei der Lieferung von Panzern an Saudi-Arabien.

Kohl bestätigte am 30. November 1999 in einem Fernsehinterview die Existenz dieser Konten, die er zuvor abgestritten hatte. Er gab zu, 2,1 Millionen DM verdeckter und damit illegaler Parteispenden an den Büchern der CDU vorbei angenommen zu haben.

Auf Wikipedia wird eine Liste der illegalen Spenden und Spender im Zusammenhang mit dieser CDU-Spendenaffäre geführt.

8.3.2001: Die Tagesschau berichtet über die Aussage des Ex-CDU-Verkehrsministers Wissmann vor dem Untersuchungsausschuss zur CDU-Spendenaffäre. Er hatte 1998 Verkauf von Eisenbahnerwohnungen an deutsches Konsortium unter Wert zugestimmt. Mitglieder des Konsortiums hatten daraufhin 5 Mio DM auf ein schwarzes CDU-Konto gespendet.

2020: In die Maskendeals im Zuge der Corona-Krise bereichern sich mindestens 3 CDU- und CSU-Abgeordnete des Bundestags persönlich.

Die große Lücke zwischen 2001 und 2020 sagt nichts über das Nichtvorhandensein dunkler Geschäfte in diesem Zeitraum. (Weiß jemand was, was dort stehen müsste?)

Wo wir gerade bei einer Generalabrechnung in den Gefilden der CDU/CSU wildern, hier noch "nebenbei" ein abschreckendes Beispiel: Friedrich Merz

1997 votiert er gegen die Strafbarkeit der Vergewaltigung, wenn sie in der Ehe stattfindet.

2000 fordert er Rente ab 70,

2004 die Abschaffung des Kündigungsschutzes und

2006 klagt er gegen die Veröffentlichung von Nebeneinkünften von Abgeordneten.

Bis 2019 war er im Aufsichtsrat von BlackRock, der Ober-Heuschrecke.

Was wird nun künftig anders sein?

Nebentätigkeiten sollen künftig ab 3.000 Euro pro Kalenderjahr mit genauem Betrag veröffentlicht werden, bisher waren es 10.000 Euro.

Offenlegen des Besitzes von Aktienoptionen und vergleichbaren Finanzinstrumenten.

Gesetzlich verboten werden soll auch der "Missbrauch der Mitgliedschaft im Deutschen Bundestag zu geschäftlichen Zwecken".

... ??

Weiterhin fehlen wird aber der überaus wichtige öffentliche Terminkalender aller Besuche von Lobbyvertretern, aus dem man ersehen könnte, wie oft ein Abgeordneter "bearbeitet" wurde.

Mehr dazu und Petition unterzeichnen bei https://www.lobbycontrol.de/2021/03/klare-kante-gesetze-verschaerfen/?pk_campaign=20210322&pk_source=nl und https://www.heise.de/tp/features/Groko-vereinbart-neue-Transparenzregeln-5999928.html und Tagesschau vom 8.3.2001 Link zu dieser Seite: https://www.aktion-freiheitstattangst.org/de/articles/7589-20210327-klare-kante-gegen-lobby-skandale.htm

#CDU CSU Masken Deals bestechlung Abgeordnete Parteispenden FIBAG Strauss Kohl Zensur Transparenz Informationsfreiheit Verhaltensänderung Mit

[archatlas]

Abandoned Germany by Markus Ecke Wie Kante 

Fantastic shots of urbex places around Germany by Markus Ecke Wie Kante, talented self-taught photographer, adventurer and urban explorer based in Berlin, Germany. Markus focuses on abandoned photography. He travels all over Europe to capture impressive urbex places.

#architecture #landscape #art #photography

[maaarine]

MBTI Typing Index: INTP

Other types: INFP INFJ ENFP ENFJ INTP INTJ ENTP ENTJ ISTJ ISFJ ESTJ ESFJ ISTP ISFP ESTP ESFP

Scott ADAMS

Paul ALLEN

Woody ALLEN

Simon AMSTELL

Laurie ANDERSON

Wes ANDERSON

Christine ANGOT

Hannah ARENDT

Fred ARMISEN

Julian ASSANGE

Ari ASTER

Margaret ATWOOD

Richard AYOADE

Alison BECHDEL

Jocelyn BELL BURNELL

Tim BERNERS-LEE

BONG Joon-ho

Vitalik BUTERIN

David BYRNE

Magnus CARLSEN

John CARMACK

Michael CERA

Noam CHOMSKY

Jemaine CLEMENT

Ethan COEN

David COPPERFIELD

Robert CRUMB

Rivers CUOMO

James DAMORE

David DEUTSCH

Philip K. DICK

Joan DIDION

Esther DUFLO

Albert EINSTEIN

Jesse EISENBERG

Aurélien ENTHOVEN

Seth EVERMAN

Liz FONG-JONES

Jonathan FRANZEN

Karl FRISTON

Hannah GADSBY

Serge GAINSBOURG

José GONZÁLEZ

David GRAEBER

Robert GREENE

Andrew HALES

Demis HASSABIS

Alfred HITCHCOCK

Elizabeth HOLMES

Michel HOUELLEBECQ

Jim JARMUSH

Immanuel KANT

Katalin KARIKO

Jonathon KEATS

Ed KEMPER

Maria KONNIKOVA

Yorgos LANTHIMOS

Stewart LEE

Alan LIGHTMAN

George R.R. MARTIN

Kate MCKINNON

Ina MIHALACHE

Marvin MINSKY

Moby / Richard HALL

Alan MOORE

Dylan MORAN

Randall MUNROE

Elon MUSK

Isaac NEWTON

Tig NOTARO

BJ NOVAK

Orelsan / Aurélien COTENTIN

Larry PAGE

Chuck PAHLANIUK

Markus PERSSON / Notch

Steven PINKER

Terry PRATCHETT

Jean-Paul SARTRE

David SEDARIS

David SHRIGLEY

Nate SILVER

Aaron SORKIN

James SPADER

Bjarne STROUSTRUP

Tilda SWINTON

Terrence TAO

Nikola TESLA

Virgil TEXAS

Peter THIEL

Alex TURNER

Karen UHLENBECK

Cédric VILLANI

Lars VON TRIER

David Foster WALLACE

Bernard WERBER

Timothy WILLIAMSON

Nicolas WINDING REFN

Ludwig WITTGENSTEIN

Zach WOODS

Bill WURTZ

Mark ZUCKERBERG

 Other types: INFP INFJ ENFP ENFJ INTP INTJ ENTP ENTJ ISTJ ISFJ ESTJ ESFJ ISTP ISFP ESTP ESFP

#mbtiindex #intp

[charleshaddonspurgeon]

Voor Iedere Dag | Ochtend Overdenking En toen Hij de hand van de blinde genomen had… en nadat Hij in zijn ogen gespuwd en de handen op hem gelegd had, vroeg Hij hem of hij iets zag. En hij keek op en zei: Ik zie de mensen, want ik zie hen, als bomen, rondlopen. Daarna legde Hij de handen opnieuw op zijn ogen… en hij zag allen heel duidelijk. (Markus 8:23—25) Lees verder Hebreeën 5:11—14. Wees niet tevreden, lieve vrienden, als je verlost bent. Verlang er naar te weten hoe je verlost bent, waarom je verlost bent en op welke manier je verlost bent. Ik weet het, het is de rots waarop je staat, maar denk na over de vragen: hoe kwam je op die rots terecht, door wiens liefde kwam je daar en waarom had Hij jou lief? Ik zou willen, voor God, dat alle leden van de gemeente niet alleen in Christus zijn, maar Hem ook begrijpen, dat ze met de zekerheid van het begrip weten wat ze gekregen hebben. Onthoud dat er veel diepe verschillen zijn in de Schrift die je een wereld van problemen zouden besparen wanneer je ze kent en onthoudt. Probeer het verschil te begrijpen tussen de oude en nieuwe natuur. Verwacht nooit dat de oude natuur beter wordt en overloopt in de nieuwe natuur, dat zal nooit gebeuren. De oude natuur kan niets anders dan zondigen en de nieuwe natuur kan nooit zondigen. Dit zijn twee verschillende principes, verwar ze nooit met elkaar. Zie mensen niet voor bomen aan. Verwar heiligmaking en rechtvaardigmaking nooit met elkaar. Onthoud dit, op het moment dat je op Christus vertrouwt, ben je zo volkomen gerechtvaardigd als in de hemel, maar de heiligmaking gaat geleidelijk, dit wordt van dag tot dag doorgezet door de Heilige Geest. Maak onderscheid tussen de grote waarheid dat de hele verlossing aan God te danken is en de grote leugen dat de mensen niets te wijten valt als ze verloren gaan. Wees er zeker van dat God verlost maar geef Hem niet de schuld van de verdoemenis. Schaam je niet als ze je een Calvinist noemen maar haat het Antinomianisme met heel je hart. Maak aan de andere kant nooit de fout dat de mens zich uit eigen vrije wil tot God bekeerd, ook al geloof je dat de mens zelf verantwoordelijk is. Er is een smalle lijn tussen deze dwalingen, bid om genade om het te zien. Ter overdenking We kunnen van gelovigen die nog maar net wedergeboren zijn niet verwachten dat ze deskundigen zijn in de leer, maar gelovigen die Jezus al langer volgen moeten beter weten (1 Korinthe 3:1–2; 13:11; 14:20; Efeze 4:14–15). Preek nr. 701, 22 juli 1866

[techniktagebuch]

20. März bis 8. Mai 2019

Wir drucken das Techniktagebuch aus und lesen alles vor

Die re:publica liegt vor uns. Das Motto ist in diesem Jahr „tl;dr“, too long, didn‘t read. Das wäre ja wohl noch schöner, dass etwas nicht gelesen wird, weil es zu lang ist. Da „zu lang“ noch längst nicht „lang genug“ bedeutet, fällt der Entschluss, das Techniktagebuch im Rahmen der re:publica vorzulesen. Komplett. Vom Jahr 1933, aus dem der derzeit älteste Beitrag stammt, bis zum heutigen Tag.

Man könnte natürlich einfach ein Tablet in die Hand nehmen und einen Beitrag nach dem anderen aufrufen und vorlesen. Aber Kathrin Passig hat einen Traum. Dieser Traum hat mit Margaret Hamilton zu tun, einer der federführenden Programmiererinnen für die Berechnung des Apollo 11-Mondfluges im Jahr 1969. Es gibt ein Foto von Frau Hamilton, auf dem sie neben einem frauhohen Stapel Endlospapier steht. So stellt Kathrin sich das auch mit dem Techniktagebuch vor, neben dem Anne Schüßler als Margaret Hamilton stehen soll.

Nun führt der Weg von leerem Endlospapier zu bebuchstabtem Endlospapier durch einen Drucker, genauer gesagt durch einen Nadeldrucker, denn nur diese verfügen über die genoppten Transportwalzen für die abtrennbaren gelochten Papierstreifen am Rand. Niemand hat mehr so einen Drucker, nur das Internet. Es wird abgewägt, einen gebrauchten bei eBay zu erwerben, oder einen neuen zu kaufen. Ein neuer ist zwar teurer, aber es wäre dann auch Garantie drauf, falls er durch den Dauereinsatz frühzeitig von uns gehen sollte. Außerdem muss es ein Gerät sein, für das es noch problemlos Farbband-Nachschub gibt. Die Wahl fällt auf einen Epson LQ-350, der zusammen mit einigen Kartons Papier und erst mal fünf Ersatzfarbbändern nach kurzer Zeit bei Kathrin eintrifft.

Erste Druckversuche werden gestartet, denn es wird rasch auch ein kleiner Rechner identifiziert, auf dem noch Windows XP läuft, weil wir Treiberprobleme befürchten, nämlich, dass es für modernere Betriebssysteme keinen Treiber für das alte Druckergerät mehr geben könnte. Virtualista kann einen EeePC aus der inzwischen kaum mehr bekannten „Netbook-Familie“ zur Verfügung stellen. Auf einer netzpolitischen Demonstration übergibt Virtualista das Netbook an Kathrin. Wie könnte es stilechter sein?

Kathrin druckt ein paar Seiten, aber es fehlen noch Druckdateien, mit denen der Drucker und der kleine Rechner zurechtkommen. Man könnte natürlich die PDF-Datei nehmen, aber es bestehen ernsthafte Bedenken, dass der kleine Rechner dann in einer Rauchwolke vergeht. Also fertigt Virtualista nicht nur Druckdateien als HTML-Code an, sondern er bringt es auch noch fertig, die Abbildungen in zeitgemäße ASCII-Art umzusetzen. Dummerweise läuft Kathrin die Zeit weg, da sie plötzlich deutlich früher als ursprünglich gedacht Berlin verlassen muss, und in ihrer Reisetasche Drucker, Papier und Farbbänder keinen Platz mehr finden.

Ich biete mich an, den Drucker in Pflege zu nehmen und während der Arbeitszeit hin und wieder eine Druckdatei zu öffnen und auszudrucken. Was soll daran schon so schwierig sein? Der Serverraum in der Firma ist inzwischen zur NAS-Zelle degradiert worden (Anmerkung: Diesen Gag wollte ich längst schon gemacht haben!). Platz ist da, die Tür lässt sich ob der zu erwartenden Geräuschemission schließen, was soll schon schiefgehen?

Das Drucken beginnt. Es stellt sich heraus, dass die Druckdateien zu klein sind. Zu oft muss ich in die NAS-Zelle, um eine neue Datei zu öffnen und in die Druck-Warteschlange zu stopfen, denn es stellt sich heraus, dass man keineswegs zu viele Dateien in einem Rutsch nacheinander drucken darf, weil sich der Rechner dann aufhängt. Aber es ergibt sich noch ein weiteres Problem, das mich in den nächsten zwei Wochen auf Trab hält: Das Papier faltet sich nicht sauber im Karton mit den fertigen Drucken auf. Es bildet sich immer wieder ein großes Papiergewölle, das entwirrt und in den Karton gelegt werden will.

Um das Problem einigermaßen rechtzeitig kommen zu sehen, installiere ich auf meinem alten MacBook Air eine Webcam-Software, die alle paar Sekunden ein Foto mit der eingebauten iSight-Kamera aufnimmt und ins Netz hochlädt. Dort liegt von ähnlichen Versuchen von vor fast 10 Jahren noch alter Code herum, so dass ich das nicht neu ergooglen muss. Praktisch! Damit die Kamera im MacBook den Drucker gut sehen kann, muss es weit aufgeklappt mit der vorderen Kante auf dem Gehäuse einer an der Wand angebrachten Telefonanlage stehen.

Nun läuft auf meinem Bürorechner ein weiteres Browserfenster, das alle paar Sekunden ein neues Foto aus der NAS-Zelle zeigt. Leider viel zu oft sehe ich sich auftürmende Papierberge. Das Papier wird mal hin, mal her gewendet, höher gestellt, nach hinten geschoben. Egal: Irgendwann geht es immer wieder schief. Wieder die eigentliche Arbeit für ein paar Minuten unterbrechen!

In der Zwischenzeit stellen wir fest, dass Druckdateien mit rund 100 Seiten eine ganz gute Größe haben, so dass Virtualista die restlichen Dateien alle noch einmal umformatiert. Erste Hochrechnungen anhand der Größe der Druckdateien in kB ergeben, dass wir rund fünf Kästen Papier und 15 Farbbänder brauchen werden. Anscheinend haben wir die schnell verfügbaren Farbbänder bereits aufgekauft, so dass nun uns bislang unbekannte Onlineshops für historisches Büroverbrauchsmaterial konsultiert werden. Wir bekommen genug Farbbänder. Uff!

Das Drucken läuft nun tagein, tagaus, mal gut, mal schlecht. Ein Kollege von mir hat Urlaub. Der Drucker zieht um, sodass ich nicht so weit wie zuvor bis zur NAS-Zelle laufen muss. Inzwischen steht der Drucker hochkant, weil das Papier dann am besten fällt. Ostern steht vor der Tür, und damit einige freie Tage. Ich nehme den Drucker an Gründonnerstag mit nach Hause, so dass er über die Feiertage die Zeit nutzen kann. Nun zieht der Drucker tatsächlich in eine Nasszelle um, nämlich in die Duschkabine im Gäste-WC. Später dann, aus Lautstärkegründen, in den Kofferraum des in der Garage geparkten Fiat 500 Kombi.

Irgendwann, nach rund 12 Tagen, ist das Jahr 2018 komplett ausgedruckt. 2019 wollen wir live auf der re:publica drucken. Es sind noch fast zwei Kartons Papier und vier Farbbänder übrig. Evtl. haben wir uns irgendwo verrechnet, oder das Ausrechnen der Seitenanzahlen über die Dateigröße ist vielleicht doch nicht so präzise wie wir dachten. Aus dem html-Code haben wir es jedenfalls nicht geschafft, auf die Seitenanzahl zu schließen, weil die Seiten quasi erst mit dem am Drucker gewählten Zeichensatz („Draft“) gebildet werden, nicht etwa, wie man das heutzutage kennt, schon am Bildschirm erkennbar ist, wie viele Seiten es sind.

Inzwischen steht auch so einigermaßen fest, wo wir auf dem re:publica-Gelände lesen werden. Irgendwo ganz hinten in der Halle mit der großen Glasfront, da, wo es immer so laut ist. Erst heißt es, sie bauen uns eine Hollywood-Schaukel auf. Dann wird aus der Hollywood-Schaukel ein Sessel. Kathrin unkt, dass der Sessel wohl bald zu einem Schemel schrumpfen wird. Aber es wird dann doch ein Sofa. Wir sind glücklich.

Kummer macht mir die zu erwartende Akustik. Denn erfahrungsgemäß ist in der Halle niemand weiter als etwa anderthalb Meter zu verstehen. Eine PA muss her. Auf die Idee, den Veranstalter direkt darauf anzusprechen, kommen wir nicht so richtig. Anscheinend befürchtet jeder, dass der Wunsch abgelehnt wird, weil es in der Halle eh schon laut genug ist. Also muss eine Lösung her, gegen die niemand etwas haben kann. Mit einem unauffälligen Mikrofon, so eine beigefarbene Warze an der Backe (Ich nenne sie ab jetzt „Peter“ ...), die man mit Drahtbügeln an den Ohren einhängt und einem kleinen Lautsprecher sollte eine brauchbare Guerilla-Verstärkung möglich sein. Ein altes Küchenradio von Aldi hat einen Aux-Eingang. Zwischen Mikrofon und Radio kommt noch ein Behringer Shark DSP-110 zur Verringerung der Rückkopplungen sowie ein Mikrofonvorverstärker mit regelbarem Ausgangssignal.

Als letztes muss das Transportproblem geklärt werden. Niemand hat Lust, das ganze Geraffel erst hin und dann immer wieder mit nach Hause zu nehmen und morgens wieder mitzubringen und so weiter. Allein die etwa nun 6500 Seiten Endlospapier machen das praktisch unmöglich. Ich besorge zwei Quadratmeter billigstes Sperrholz, werfe die Kreissäge an, und wenig später steht eine rollbare Kiste parat, in der sich alles, was gebraucht wird, tetrismäßig verstauen lässt. 

Zwar brechen zwischenzeitlich noch ein paar Führungsbretter ab, die die Lenkung der alten Skateboard-Achse blockieren sollen, damit die Kiste nicht zu sehr schlingert, aber eigentlich bewährt sich alles, und am Ende wird Kathrin ein neues Möbelstück für ihre Wohnung haben. Dafür hat es sich doch gelohnt!

(Markus Winninghoff)

#Techniktagebuch #Session #Endlospapier #Nadeldrucker #Lesung #Markus Winninghoff #tl;dr #best of #vorlesen #ASCII art #re:publica #Papier #drucken

[chrancecriber]

A State Of Mondays

Channel: Electric Area (Sirius 52, XM 52)

Airdate: April 13, 2015

Airtime: 03:00 AM - 06:00 AM

Timezone: Eastern Standard Time (EST)

Tracklist:

03:00 AM - 03:50 AM: Trance System

Above & Beyond/Zoë Johnston - Alchemy (Above & Beyond Club Mix)

Dash Berlin/John Dahlback/BullySongs - Never Let You Go

Same K - Diamond (Rodg & Ruben de Ronde Remix)

Masoud/Melissa Loretta - Best Days

Markus Schulz - Future Cities

Ben Gold - Atomic

Matt Bowdidge - Second Sun

Simon Patterson - Brush Stroke (Hazem Beltagui Melo Remix)

Husman - Exodus

Armin van Buuren - Together (In A State Of Trance)

Ben Nicky/Standerwick - Drop

Paul van Dyk/Jessus & Adham Ashraf/Tricia McTeague - Only In A Dream

03:50 AM - 05:00 AM: Armada Sunset

Eelke Kleijn - Mistakes I've Made

LTN & Kokai Present Omickron - Ibiza Sunset

The Magician/Years & Years - Sunlight (Darius Remix)

Jonas Saalbach - Am See (Jonas Woehl Remix)

DI-RECT - Invincible (Ducked Ape Remix)

Nora En Pure/Sons Of Maria - Uruguay

Long & Harris - Your Loss

Rashid Ajami - Forrest

Mimram - I'm Here For You

Lost Frequencies - Are You With Me

Paul Oakenfold/Cassandra Fox - Touch Me (Pretty Pink Remix)

Unknown Track

Unknown Track

KANT - Never You Mind

John Monkman/Liz Cass - Open Frontier

LTN & Kokai Present Omickron - Lazy Sunday

Eelke Kleijn - Mistakes I've Made

05:00 AM - 06:00 AM: Downtempo Sessions

Tenishia - Always Loved, Never Forgotten (The Day Will Come) (Chill Out Mix)

Above & Beyond/Richard Bedford - Sun & Moon (Sweet Euphony Chillout Mix)

Emma Hewitt - These Days Are Ours (Zetandel Chill Out Mix)

Owen Ear - For Your Lost Love

Boss Axis - Tanquilla

Andrew Bayer - Gaff's Eulogy

Lunarbeam/Marija Trapkiewicz - Panic (Deepshader & Nazca Undo)

Robert Nickson - Maybe Next Time (Chill Out Mix)

Placyde - An Everlasting Journey In The Middle Of Nowhere (The Same Remix)

Verbal Kint - Scratch My Jazz

Matteo Marini/Ellie Lawson - Dreaming of a Better World (Exotic Mix)

Insigma - Open Our Eyes (Adrien Aubrun Ambient Mix)

Patchy - Friend

Sources:

https://twitter.com/search?q=(from%3Aarea_playlist)%20until%3A2015-04-14%20since%3A2015-04-13&src=typed_query&f=live

http://107.170.39.140/search_playlist.php?artist=&title=&channel=52&month=&date=&shour=&sampm=&stz=&ehour=&eampm=&resultcount=&tdate=201516&resultcount=1635&page=32

http://107.170.39.140/search_playlist.php?artist=&title=&channel=52&month=&date=&shour=&sampm=&stz=&ehour=&eampm=&resultcount=&tdate=201516&resultcount=1635&page=31

NOTE: This was the first time for ASOS to feature content only on a Monday. The livestream was three hours long because Coachella aired from Sunday to a bit of Monday.

NOTE #2: April 13, 2015 will not be numbered as an official episode, but it will be on the ASOS timeline.

#A State Of Sundays #siriusxm #Electric Area #armin van buuren #Trance System #Armada Sunset #Downtempo Sessions #trance #deep house #downtempo #2015 #April 2015 #04-13-2015 #A State Of Mondays

[louhearted]

48, 33, 24, andddd 39

48: Do you write, highlight, underline etc in your books

only books for uni, and even then i mostly just underline. i am a HUGE fan of putting in sticky notes tho. like.... lots of them. with LOTS of notes on them dklgnjldfh or just coloured sticky notes to structure the book into certain parts. for example i colour coded frankenstein into 5 categories (dont ask me why frankenstein is suddenly such a big topic in these questions klsgn its just a great book kgnjlfdgh): pink = beginning of Victor’s pursuit of science; orange = further clues/experiences that lead to the “the monster”; green = passages i wanna remember (because of literary beauty or poetic content); blue = descriptions/characterisations of the Creature; violet = 3rd narrative aka the creature’s account of the story. and a LOT of my books look like that dflkgnfh they get a lil post it on the first page that explains all the colours adn then......sticky notes galore sdlgjndfh

33. How do you organise your shelves??

ooh mainly by genre and by favourites. so i have three main shelves in my room. and the biggest shelf is for favourites and philosophy and all english books. (funnily enough, who would have thunk, the first and the last have a HUGE overlap slkdgnjdfh). The favourites are again divided into genre so we have: fantasy, crime, young adult fiction, novels and a big queer section. the second shelf has ALL my children’s books. they have to be kept for future generations xP and the last one, is my newest shelf and is mainly my: i study english and philosophy and i didnt have any space left anymore shelf dlkfgnjdfh so there are the big classics that im slowly accumulating, so english classics, or english novels i have read in a seminar, as well as THE BIG classics such as the Illiad and Odysse and the main works of the oldies so like Platon, Kant etc.

24. Have you read a book that was really hyped up but you didn’t enjoy??

okay i wouldnt say i didn’t enjoy it... but i definitely didnt enjoy it as much as it had been hyped. but the six of crows books. they were fun, but a) it took me ages to read both of them, and b) which is a HUGE warning sign sdkjgndfg i had lend those books from a friend and when i was done i didnt feel that burning need to buy them to have them in my shelves so that i could reread them. which for example happened with the raven cycle. bought all of those AFTER having read them already kdjgnlhdfh oh and sdgkjndfl maybe romeo and juliet. but the more i learn about it the more i love it!!! sdgjnldfg just we read it in school and i was so annoyed because like.... i wanted to read something of his that i dIDNT already know dlkgfnj but now i think... i think if i read it now i would fuckign love it.

39. What book that has made you cry??

i mean.... do you mean all of them? i literally ALWAYS cry skjgndflg okay thats an exaggeration dslgknjdfh actually the last.... four books ive read havent made me cry, but the one before that has, horribly. “i’ll give you the sun” by jandy nelson. dear LORD i couldnt breathe after that one. and well, lets say top five books that made me cry so hard i couldnt breathe afterwards or where my parents had to check up on me because i was sobbing so loudly or where i dissociated afterwards: the song of achilles by madeline miller, the book thief by markus zusak, two boys kissing by david levithan, misfit by vincent overeem and the handmaid’s tale by margaret atwood. but let me assure you: i am KNOWN for crying at everything. so these are truly just.... the ones that actually KILLED me.

thank youuuu

let’s talk about books

#about me #books #asks #neurtsy

[deviantexe-blog]

Hello!!! 1, 2, 8, 9 and 12 for the domesticity meme, pretty please !! I love your blog, by the way!

talk domestic rk1k to me!

hello hello! thank you so much, hon! ♡

1. how did they first kiss?

this totally depends on the timeline i’m writing. i do have a headcanon that at the end of a perfect survivors’ run, markus and connor have their first kiss right before markus’s speech, and it’s a totally in-the-moment thing. they’re heady on adrenaline and victory, standing just a little too close, and neither of them mean for it to happen, really. it just does. and then connor is closing his eyes, and markus’s hand is on his waist—

hair-trigger allies aren’t supposed to kiss like they’re giving into gravity. it’s complicated, to say the least.

2. who flirts more?

awhile ago somebody brought up flirty markus, and i haven’t slept the night through since. it’s such a good concept. for connor’s sake, he asks consent for any physical affection—public or not—but there’s no stopping this man when it comes to sentimentality. he’ll say these casually sappy things all the time; calls connor baby and lover and tells him how much he misses him when they’re apart. he’s the charismatic leader of a social movement, so, yeah, he’s pretty good with his words.

on the other hand, connor is an absolute master of flirting via thoughtful gestures. he’ll bring markus small trinkets and tokens when he finds them, memorizes markus’s schedule and visits him in the quiet moments, documents little conversations they have and sets them aside. markus spends one evening over dinner waxing lyrical about the application of a priori knowledge to androids, and the next week, connor brings him the complete works of immanuel kant. and oh, boy, is markus head over heels in love.

8. do they have pets?

in this one fic i read, nothing like love, connor brings home fish for his and markus’s apartment, and markus has a crisis because (and this is way over-simplifying it, but whatever) keeping things captive because it’s supposedly what’s best for them hits a little too close to home. that’s pretty much been my approach to it ever since.

generally, markus is uncomfortable with the idea of pets and owners, although i do think he eventually warms to the idea of spending time with connor and sumo. it helps that it makes connor happy, which as far as markus is concerned is one hell of a motivator.

9. do they act different in public and at home?

oh, for sure. like it or not, both connor and markus have reputations to uphold, and that means putting up a barrier of professionalism whenever they’re in public. as people become more receptive to androids’ integration into society, they relax their boundaries just a little; let their relationship filter through the cracks in small ways. a shared smile, or linked fingers under the table. it’s a slow burn, but it’s progress.

on the other hand, that means they’re twice as affectionate with each other in the privacy of their own home. coming back from a long workday and melting into each other is a much more common occurrence than they’d have people think. they decompress and banter and roll their eyes at the day’s events and whatever uptight politician is trying to pull the strings this time around. an onlooker would notice they’re easier around each other. softer.

12. favorite non-sexual activity?

honestly? sleeping. it’s intoxicating. androids don’t need to sleep, of course, but deviants feel the consequences of a burnout that much more intensely, and rest is both a powerful tool and a delightfully unnecessary pastime. markus and connor, workaholics as they are, are a little bit addicted. they’ll go to sleep early and wake up in each other’s arms, and it feels good enough to be dizzying.

#vehuhia #ask #detroit become human #rk1000 #rk1k #connor x markus #hhhooookay this is a long boy #bUT i loved these my dude thank you!!!