#ludwig kohl

[illustratus]

Burnt offering in a Temple by Ludwig Kohl

#temple #temples #antiquity #classical antiquity #art #ludwig kohl #ancient world #architecture #statues #sculptures #history #ancient rome #ancient greece #gods #columns #europe #european

[unfug-bilder]

Georgien und Gillamoos gehören zu Deutschland. Kreuzberg nicht!

#nie mehr CSU #nie mehr CDU #Deutschlands Dümmste

[thepasseng3r]

Luisa, Marchesa Casati Stampa di Soncino was an Italian heiress, muse, and patroness of the arts in early 20th-century Europe.

Born into a cocoon of privilege in 1881, Luisa was the second daughter of a rich Austian cotton merchant living in Milan, who would later be given the title of count by King Umberto I. A plain and introverted child, she quietly absorbed the delights of Milan’s museums, galleries, and libraries, which instilled in her an appreciation of the avant-garde art that was gradually becoming popular at the turn of the century. It was in these early years that Luisa became fascinated by history’s notorious eccentrics, including the ’Swan King’ Ludwig of Bavaria, who’s outlandish behaviour, construction of extravagant castles, and patronage of the arts would be a significant influence on the Marchesa's later years.

With an abundance of wealth behind her, the Marchesa began to tailor her lifestyle into a plethora of flamboyant dress and unconventional behaviour. Her reputation spread throughout Europe, with stories of lavish and fantastical soirees, of servants painted in gold leaf, and of the Marchesa’s penchant for wearing live snakes as jewellery. She began to collect elaborate mansions, such as the red marble Palais Rose near Paris, which included a summer house gallery housing the hundreds of portraits she had sat for. Elsewhere she kept a large menagerie of animals, including monkeys, snakes, and two cheetahs with whom she would stroll through the streets at night. In Venice, she would often take her ocelots and borzois on walks outside her palazzo wearing nothing but a fur coat, pearls, and a face full of makeup. Guests reported collections of eerie mannequins that sat around her dining table as if to accompany the guests, and the Marchesa added fuel to these rumours by hinting they contained ashes of her past lovers.

Luisa's raison d’etre became ‘immortality through art’ and she began to seek out progressive artists, commissioning them to take her portrait by paint or lens and sometimes funding their living costs. This exchange differed somewhat from traditional, contemptuous relationship between the artist and the bourgeoisie; she maintained friendships with many she worked with and patronised the most innovative of artists. Her lifestyle was so intricately sewn with aesthetic excess and unconventionality that it appealed greatly to bohemian artistic sensibilities. Poiret dressed her; Augustus John painted her; the Italian futurists idolized her. In John Richardson’s biography of Picasso, he produces an anecdote about one of Casati’s infamous dinner parties.

Although no artist by traditional means, the Marchesa’s appearance was her canvas and she cultivated an enchanting personal style which captivated the aesthetes and bon vivants she consorted with. With her long, lean, pearl white body draped in outlandish finery, chaotic mess of fiery red hair, slash of scarlet lipstick, and striking kohl rimmed eyes, the Marchesa had the glamorous allure of a vampire, hungrily sucking up beauty, excess, and other visual delights.

She dressed in the high fashions of the day, but had many outlandish outfits specially tailored from her own ideas. One such example, which was worn to a ball in 1922, was decorated with dozens of tiny light bulbs, powered by a generator beneath her skirt, and reportedly gave the Marchesa tiny electric shocks throughout the night.

In portraits, she is most often shown with a tangle of hair dyed bright orange, intense eyes, and chiseled cheekbones. There is nothing muted about her approach to appearance. Casati stretched beauty’s limits even by today’s standards. She was six feet tall and accentuated her height with extravagant headpieces. Accounts say she took doses of belladonna, a poisonous plant, to dilate her pupils and make them darker. She didn’t stop there: She topped her unnaturally obscure eyes with rows and rows of fake eyelashes—sometimes fashioning them out of strips of fabric—and powdered her skin porcelain. She painted her face in stark black and white, like a photograph of the period.

[korrektheiten]

«Das Volk hat keine Kohle? Lasst es sein Geld verbrennen!»

Transition News: »Der Börne-Preis ist eine literarische Auszeichnung, die jedes Jahr für «herausragende Essays, Kritik und Reportagen» vergeben wird, benannt nach dem Publizisten Ludwig Börne (1786-1837). In diesem Jahr wurde er dem Bundeswirtschaftsminister und führenden Mitglied der Grünen, Robert Habeck, zugesprochen, der von Jürgen Kaube, einem Autor und Mitherausgeber der Frankfurter Allgemeinen Zeitung, ausgewählt wurde. Es war das erste Mal, dass der Preis einem amtierenden Politiker zugesprochen wurde, was (...) - Personen / Corona-Transition.org, Frieden, Geld, Korruption http://dlvr.it/SqwdsB «

[1five1two]

'Riders Approaching a Romantic Castle'. Ludwig Kohl. 1815.

#art #landscape art #castle #Figures

[ask-the-eu6]

Guten tag Deutschland.

What is going to be the futer of the EU when Angela Merkel retires from being your chancellor?

Germany: Please remember though, that the EU is not and has never been governed by a single person or country.

Germany: Whether the future course of action will be a more confrontational one is up to the new government and their foreign politics though.

Prussia: Despite all the votes for other parties, as opposed to her’s, she will definitely be missed. 16 years in office! Konrad Adenauer was in position for the same amount of time. And only Helmut Kohl topped that! Vielen Dank Frau Merkel!

Germany: Bruder? Are you alright? Your voice is a bit....

Prussia: We are having a sleepover tonight, Ludwig!

Prussia: Don’t worry so much, Brüderchen

Germany: Please don’t call me that... You’re the one that was crying!

Small Mun Note

A closeup of the calendar in the background. Figuring out who’s who shouldn’t be too difficult.

German Mun: 16 years have definitely been a long time and Merkel certainly never had an easy job. And despite my (hatred) distaste for her party and many of its members, I too, will miss her. It sounds weird but I have sort of grown up with her as the chancellor. It’s going to be very weird to call someone else the chancellor soon. But it’s time for change. Fingers crossed!

Source used:

This article might be hidden behind a pay wall. I've simply copied the article's name, threw it into Google and clicked on the first result. I hope that works for you guys as well.

#hetalia eu #aph germany #hws germany #aph prussia #hws prussia #political hetalia #yes I guess that fits

[architectuul]

Emblem Of A Better Germany?

In 2014, at the 14th Venice Architecture Biennial, Alex Lehnerer and Savvas Ciriacidis placed the armoured limousine once used by then Federal Chancellor Helmut Kohl in front of the German Pavilion. 

Read also “The Invisible Church”, “What Fundamentals? Revisiting Treasures in Disguise: The Ominous Ruins of Montenegrin Modernism” and “The Greek Experiment”

It was a black Mercedes-Benz car with its famous star that added the air of a different era, the Federal Republic of Germany before the fall of the Wall, when its capital was Bonn on the Rhine River in West Germany, and not Berlin. Placed before the steps of the monumental façade of the German pavilion, once build as the Bavarian pavilion and then decisively altered by Nazi Germany in 1938, every German visitor would read this car as a sign, an emblem of what came to be known as “Made in Germany”, high quality cars, machines, and other industrial goods that were seen as responsible for the so-called “Wirtschaftswunder” (economic miracle) after WWII, the economic rebuilding of West Germany. 

On the one hand, this car is a desirable object, vintage and expensive. In my family, you knew you had made it when you could afford a Mercedes-Benz. You could tell, when my parents bought their first Mercedes-Benz, they were full of pride. And they still drive the same car and feel the same way about it, although now it’s a rather old car. 

On the other hand, you could also read the continuities of 20th century German history into this juxtaposition of car and pavilion. Because what is the link between the Nazi façade and the later car? You might answer this question with the seamless integration of Nazis in German politics and business and the financial gains of many German companies (including Daimler-Benz) during the Nazi period thanks to forced labor, expropriation, and simple opportunism. The juxtaposition places you, at least as a German, between guilt and pride, haunting memories and desire.

Adjacent to the left of the big front door of the German pavilion in Venice, the visitor was greeted by an elegant section of a roof jutting out above a much smaller door. It was a hint that the interior of the pavilion was taken over by another structure, a partial replica of the former Chancellor’s residence in the former capital of the country formerly known as West Germany. A somewhat nostalgic remnant of a bygone past, a country and political system that were fundamentally altered by the fall of the Berlin Wall and the reunification of Germany. It was the Germany I was born into, with Bonn being the capital until 1999 and the Chancellor’s residence – or Kanzlerbungalow (‘Chancellor’s bungalow’) – constantly in the news. As much as it was nostalgic, Lehnerer and Ciriacidis’ pavilion had an uncanny feeling to it. Inside and outside were suddenly called into question, different times collapsed into each other, with the democratic bungalow inserted into the Nazi pavilion. Or was the story told more complex than that, as with the car parked in front of the pavilion? The story was, for sure, one about architectural representation.

The Chancellor’s bungalow was built in 1964 by the architect Sep Ruf for Ludwig Erhard, the second Chancellor of West Germany. Erhard was the German politician who stood like no other for the ‘economic miracle’ of West Germany after WWII. As the Federal Minister of Economic Affairs under Chancellor Konrad Adenauer from 1949 until 1963, when he became Chancellor himself for three rather unlucky years, he promoted what he termed the social market economy and gained widespread popularity with this economic concept. Although Erhard worked for the German state as an economist during the war, he rejected Nazism and was in contact with members of German resistance groups. It seems fitting therefore that as Chancellor he hired the fellow Bavarian Sep Ruf to design the new Chancellors residence in Bonn. Ruf was known for his functional designs in the tradition of the Bauhaus and older modern architects, who had mostly emigrated during the 1930s, like Ludwig Mies van der Rohe. Ruf’s elegant bungalow in Bonn payed homage to designs of the Bauhaus and Mies in particular. The latter’s Barcelona Pavilion, the German Pavilion at the 1929 International Exposition in Barcelona, has often been mentioned as a reference.

Dining room of the bungalow of the Chancellor in Bonn. 

By 1964, Ruf had already worked for the federal government several times. Together with another modernist architect of the postwar period, Egon Eiermann, he had for example built the German pavilion for the world fair in Brussels in 1958. He was, thus, well informed about West Germany’s representational needs. The Chancellor’s bungalow spoke not only of the Bauhaus and the better, modern Germany that was supposed to be represented by buildings in its tradition like those of Ruf, Eiermann and others, but it also established a clear link to modern architecture internationally. Looking at the bungalow, some might be reminded of the famous Case Study Houses at the West Coast of the USA. After all, it was the declared aim of West German politicians to make the Federal Republic part of the Western political sphere (‘Westbindung’, or policy of the alignment with the West). I would guess that these two aspects, the tradition of a better, modern Germany and the alignment with the West, were first and foremost represented by Ruf’s bungalow in Bonn. 

The second Chancellor of Germany, Ludwig Erhard.

The third Chancellor, Kurt Georg Kiesinger, took over from Ludwig Erhard in 1966. He was a former member of the NSDAP and disliked the Chancellor’s bungalow for its functional, ‘cold’ design. He had many things altered before he moved in and brought with him antique furniture pieces in stark contrast with Ruf’s modern architecture. Most of the other Chancellor’s after him agreed with Kiesinger’s view on their official residence. They were looking for something more comfortable and cosy (gemütlich). Under Chancellor Helmut Kohl the interiors had changed so fundamentally that it was hard to still see Ruf’s designs behind thick layers of carpet and bulky sofas and chairs. Not to speak of the new 1980s glittery lighting. Although partly preserved in the original building in Bonn, these alterations, additions and layers were not present in Venice. 

Prince Philip, Queen Elizabeth II and the ex-Chancellor of Germany Helmut Kohl front of the bungalow of the Chancellor in Bonn.

It was a clearer picture or juxtaposition that Lehnerer and Ciriacidis drew. Only the brief blaze of fire in the Chancellor’s fireplace could have been something of a reminiscence to the other, the not-so-modern, not-so-open, cosy Germany that gathered around home-and-hearth. The Germany I grew up in. Just like the Mercedes-Benz, a fireplace was something quite desirable for the generation of my parents. You had to have one. And now, decades later, my parents even installed a new one. As if you couldn’t or wouldn’t want to live without it. Herman Miller’s Eames Collection that Erhard chose for his initial version of the bungalow at the River Rhine might have always been too expensive for most Germans, but they also represented a certain idea of Germany, like the whole bungalow an internationally oriented, better Germany – and not necessarily the real one. I wonder, does the real, and not the ideal, ever get represented? It might be an interesting task for a future German pavilion at the VAB.

The bungalow of the Chancellor in Bonn.

West Germany claimed the Bauhaus as its heritage since the 1950s, through the founding of the Bauhaus-Archiv in Darmstadt in 1960, countless exhibitions and books and buildings seemingly in its tradition (there were similar efforts in the GDR a little later). 2019, the year of the centenary of its founding, saw the Bauhaus at the height of its representational instrumentalization, it had become a major part of German cultural diplomacy. Yet, the Bauhaus has oscillated between national claims and International Style even before it was closed by the Nazis. This oscillating reception of the Bauhaus was crucial in making sure that the Bauhaus would continue to be productive until today. Looking back in 2020, the German Pavilion at the 14th VAB is also a vivid illustration of the complicated history of the Bauhaus and Germany.

***

VAB 06: Florian Strob

Florian Strob is an author and curator in the fields of architecture, literature and contemporary art. He holds a B.Sc. in Architecture from the Technical University in Berlin and a PhD in Medieval and Modern Languages from the University of Oxford. His main research interests are modern architecture, modern poetry and experimental prose, and the connections between built spaces and text. Florian currently works at the Bauhaus Dessau Foundation, where he curated the exhibit “Bauhaus Buildings Dessau: Originals retold”. For this, Dessau’s Bauhaus buildings, facades and interiors are on exhibit. They have been given a new and coherent narrative through an exclusive series of video clips which set historical images in motion using 2.5D animation. He also organized the international conference “Collecting Bauhaus” in December 2019. He is the head and curator for the Bauhaus residency programme 2020-2022, which invites artists and writers to live, work and exhibit in the historic Masters’ Houses in Dessau. The most recent exhibition in this series, “Gropius House || Fictional. Inge Mahn and Sujata Bhatt”, is on show until 20 September 2020. Most recently, Florian published “Bauhaus Dessau Architecture” (Hirmer 2019), including new photographs by Ostkreuz photographer Thomas Meyer. He is author, editor and contributor of several other books, including “Hiatus. Architekturen für die gebrauchte Stadt” (Birkhäuser 2017) and “Schreiben und Lesen im Zeichen des Todes. Zur späten Prosa von Nelly Sachs” (Winter 2016). 

#vab #venice architecture biennial #cold cases

[kenyatta]

Long before makeup artists demonstrated how to perfect a smokey eye on YouTube, the people of Ancient Egypt used kohl, the first recorded eyeliner-like substance known to historians, to trace their eyes. Kohl is a mixture of galena, a form of lead sulfide, and other minerals mixed with water, oil, or other soluble substances, like animal fat. Though its formulas have differed based on time, location, and the class of its wearers, its function has remained the same: to decorate eyes, brows, and occasionally other facial features.

In 1912, German Egyptologist Ludwig Borchardt discovered the bust of Ancient Egyptian Queen Nefertiti in Amarna, Egypt. Given her long neck, high cheekbones, and perfectly symmetrical features, the world was captivated by Nefertiti’s undeniable beauty—fittingly, her name means "the beautiful one has come forth.” The widespread fascination with the sculpture and Ancient Egypt at large led to a trend that propelled eyeliner into the 20th century, where it mimicked the thick, black line of kohl that outlined Nefertiti’s almond-shaped eyes.

Kohl dates back to the Protodynastic period in 3100 BC, long before Nefertiti’s reign. Historians have also found evidence of the use of kohl and other eyeliner-like substances in Ancient societies among Romans (who called it platyophthalmon), the Canaanites in the Levant, the Ancient Greeks, and more.

In Ancient Egypt, kohl was worn by both men and women. While it outlined and complimented their eyes, beautification wasn’t their only impetus to use kohl: Historians believe that cultural reasons for wearing kohl included honoring deities, reducing the sun’s glare, and even maintaining hygiene (in 2010, scientists discovered kohl’s antibacterial abilities). Both poor and wealthy Egyptians wore kohl, but many belonging to lower classes had to substitute lead and other minerals for fire soot, meaning that the quality of one’s kohl (detectable by its shine and wear) could be used as a measure of class.

What we know about Ancient Egyptians’ use of makeup is due to their devotion to recording their lives on papyrus, burying their dead with artifacts, and leaving behind extraordinary pieces of artwork. “We have the first recorded use [of kohl] in Ancient Egypt, because they were writing things down on papyri which have survived,” cosmetics historian Madeleine Marsh, who authored Compacts and Cosmetics: Beauty from Victorian Times to the Present Day, tells Broadly. “The Ancient Egyptians lived and died surrounded by their cosmetic palettes.” Kohl pots with traces of kohl still inside them are commonly found inside unearthed Ancient Egyptian tombs—as Marsh says, “If you are going to meet the gods, you want to look your best.”

I was wondering if anybody had written about the history of eyeliner and tada.

#makeup #eyeliner #kohl #ancient egypt #queen nefertiti

[quvsvrs]

— °❖｡× ⌜pretty little...⌟

SECRETS — AN OOC LIST THAT I CAN’T BE ASSED TO PUT INTO AN INTRO/MUSE PAGE.

These secrets could be common knowledge amongst the players ( but not between any characters ) and they also could be new ones !!

FOREWARNING: there is triggering content in these secrets, please be wary and exercise caution when reading them !!

xanthos elder: he craves affection and the kind of love that only people who could disappear could have but struggles with never being able to have it.

ana sasaki: five years ago, there was a serial murder case that has since gone cold with a staggering thirty-six victims, the case belongs to her.

babylon lee: his main source of income is being a hitman for a vampire coven with the promise of becoming one to protect his family.

sweetpea byeol: though they knew they are a beauty to behold, they’re cursed to always see an ugly, rotten corpse staring back at them in the mirror.

justice ru: strange images flash through their mind during sleep mode, they seem like memories but they’re too apprehensive to tell anyone else.

gladiolus orr: his blood pumps slower than normal, too much gold in his veins and with the statue scare years ago, he struggles to keep up his energy.

leonidas pan: he’s scared of being alone but finds himself alone almost all of the time and is scared to go back to the ocean to never have human contact again.

kagari setsushi: they want to live a life as a normal teenager, for at least one day, before they live the rest of their existence swindling deals.

giselle ruan: she believes the reason she’s not like the other white ladies is because when she was murdered, she was carrying a child but told no one.

ari sullivan: has already forgiven the corrupt military compound for raising her corruptedly and wants parental affection from them desperately. 

corentin auster: he has since forgotten, but never wanted to be king and was intending on using the storm of the accident as an escape route.

hero rubia: he had given executive order to continue an unstable experiment with him as a volunteer, resulting in the accident that gave him his powers.

lovecraft quillon: before his discipline of being disembodied and then stitched together, his father would force him to listen to zarin’s own punishments.

garnet crimson: he accidentally murdered someone as a werewolf pup and his father took the blame and is now in prison for life. 

jubilee neuva: she pleaded innocent to a robbery that she did and had pinned it on another heist team member, thus imprisoning them. 

amalthea slade: despite being a priestess specializing in the liberation of dark magic in people’s hearts, practices dark magic themselves and has no heart.

zale reyes: he eats the hearts and steals the wealth of the poor, unfortunate souls that fall in love with him and they turn out not to be his true love.

morpheus viki: they have free will and are not bound by the three laws of robotics and will do anything to feel human emotion, specifically love.

vitaflora darling: she usurps her guardian duties to party outside of the summer court and challenges anyone who tries to stop her or tell on her.

kaisuke alder: his father is a plagiarizing scientist, emotionally and financially abusing him until he decided to run away with no plan.

zion creed: he killed his entire noble bloodline in the blind anguish of his parents killing his impure wife and child that he had hid from them for years.

seneca han: she stalked anyone who stole from her store and if she deemed them as vile, she murdered them and ate their livers.

river ulysses: he doesn’t trust his father and is leading an investigation against him to uncover his corrupt agreements and underhanded executive deals.

euphemia young: she comes from a secret society of women assassins who also dabble into genetic experimentation, thus how she got her powers.

joseph borealis: he’s a very closeted gay and paints himself as a ladykiller to hide it from his homophobic old western ranger parents.

kohl boogdonavic: they investigated their birth, their mother was a prostitute who was bitten by a vampire before she went into labour but still didn’t survive.

mona dorrance: she derives sensual pleasure from genuine gambling and is willing to gamble her life and anyone else’s she can grab her hands on.

channing drakul: their brain has been implanted into a genetically mutated beast because of attempted murder by a rival gang, they use a human avatar.

amelie dan: her husband was murdered two years ago and pretends her mourning is spending frivolously when in reality, it’s murder sprees.

kalliste van amstel: she doesn’t want to be a sea monster and is trying to find a way to change herself from a scylla to a human like the little mermaid. 

shae kyd: he comes from an abusive, alcoholic home and escaped to the sea and hates himself for falling into the same addictive patterns as his parents.

riordan genovese: he blames himself for his father’s untimely death and parties to forget his grief and mourning and soon-to-be responsibilities.

sugarplum min: she doesn't want to admit she still loves her mother even after she was convicted of luring, then murdering and eating children.

wisteria howlite: they’re scared of humans, having been caged and starved by them as a child to hone their hunting skills. they’ve since broken free of them.

sia aquino: she doesn’t intend on returning to her kingdom, knowing that she’s to marry whomever her parents had arranged for her.

neo traka: he’s lonely and really curious about the world he crash-landed on as an infant but believes it’s his divine destiny to conquer it before the argenti.

chocho kunori: she’s an addict to alcohol, marijuana, and mdma and is often under the influence of one of the three at almost all times.

roan lao: he doesn’t think he’s good enough of a magic user to be a sage and his insecurity leads him to daydream about modern life.

maximillian chung: his hypersexualization and excessive, riotous partying is the result of unresolved issues of being a servant of any underland dweller. 

june del basque: his villainous ways are extreme even for his taste but during times of chaos, drastic measures need to be taken for order and peace.

jangmi bae: she has a history of self-harm during long periods of losing competitions— they come in the form of bruises so it doesn’t scar.

xenon yong: his immaturity is a coping mechanism used to replicate the excessive coddling and mental abuse from his overbearing mother.

dani lucania: she believes dying to be a radiant adventure but stays alive to keep her sentient tower company for as long as she can.

aya doe: although only alive because of the wizard who created her from stone, she absolutely hates that man and has run away from his obsessions. 

amora vormir: she’s the sole survivor of a warlord’s invasion on her planet, but has since massacred the army and aims to rule over another planet.

ludwig ritchie: his family has a long history of espionage and currently works for the argenti resistance effort to monitor high-risk argenti targets.

carnelian seo: he’s struggling to keep his funds on a tight leash to keep his store running and a roof over his head as his sales are lowering each day.

bubbles kasady: although she did graduate high school, she didn’t score high enough to enter any post-secondary, despite boasting about it to her peers.

xiomara cygnus: her species is dying and she’s been given a mission by her mother to find a perfect mate; other elves her age were given the same task.

cassiopeia zeos: she’s a single mother because her blind lover was murdered as a revenge plot against her, thus her child doesn’t live with her.

ewan major: he’s attempting to resurrect his dead lover by making a deal with any demon that he comes across despite the dangers of it.

xiaobo zhou: in his blind rage of not being appointed master of his home temple, he had injured his two brothers so badly they were forced to retire.

icarus rune: his owner only kept him because he was given to him at birth and faced mental and physical abuse until he bought his freedom.

aaliyah novena: unable to age, she was once the young lover of a corrupted warlock who wanted her to live forever and kept her in a magical pendant.

asmodeus ven: before insanity, he feels his life was boring and pitiful and so believes everyone is one bad day away from becoming just like him.

geronimo orchard: though a talented runner in track, he also is a drug/potions mule or ‘runner’ because of pressure from his criminal older brother.

daiya monde: she doesn’t believe in purity and only keeps the ruse to have access to valuables and treasures otherwise hoarded away.

kiyoshi gin: she was actually heavily scorned by being banished from the hidden world but doesn’t let others see her anguish from being shut out.

denali whittle: he’s a host to a powerful symbiote, having made the fusion after having mistaken it for argenti slime while containing an infected zone.

qiang lu: he glitches in and out of existence, his mother killing his father after agreeing to have a demon child in order to experiment on his body.

#•✕┅ « files » #•✕┅ « lists »

[mostlysignssomeportents]

OPEN LETTER FROM ARTISTS, CREATIVE AND CULTURAL WORKERS

OPEN LETTER FROM ARTISTS, CREATIVE AND CULTURAL WORKERS

* Self-expression is a human right * * Internet censorship does not create a fair income *

Dear Members of the Parliament, We as artists, creative and cultural workers appeal to you as representatives of the European Parliament:

The proposed Copyright Directive is not in our interests. We will gain no significant revenue from it, but it will reduce our ability to create new cultural works and find audiences for it.

Take responsibility for an internet that works for cultural producers and is free from censorship, and do not agree to the EU Copyright Directive in this form. Article 11 and 13 are fundamentally against our interests.

Currently open letters are circulating that are claiming that the new directive would enable a „free“ internet by strengthening the copyright holders in relation to commercial providers and thus promote a „fairer“ form of „participation“ and „renumeration“. None of this will happen.

The directive will not lead to:

higher incomes for artists

guarantee of non-reproducibility of one’s own work

protection from theft of ideas

protection from piracy

reduce the monopoly position of the dominant group of social media companies

What it will lead to:

censorship on the internet

containment of creative exchange

transfer of the judicial sovereignty to private decision-makers

wrongful decisions due to algorithmic bias

impediment of fair procedures which then will be neither open nor individual

enablement of abuse of power through non-public decision-making processes

abusive interpretation for the own benefit of the commissioned platforms

exclusion of self-uploaded material that even meets the criteria of copyright law but categorizes as further prohibited content such as pornography, insult, depiction of violence, terrorism etc.

uncertainty and self-censorship instead of motivation to creativity and self-expression

We also want to point out that we are highly critical of how platforms cash in on unpaid labour by countless contributors – not just artists – and that we must find new models for how the revenue of these value-added processes can be redistributed more equally.

We therefore appeal to you: Say NO – vote against the Copyright Directive!

Signatories

Nora Al-Badri, artist, Berlin https://www.nora-al-badri.de/

Fahim Amir, writer, curator, artist, senior lecturer, University of the Arts, Linz

Clemens Apprich, PhD, Centre for Digital Cultures, Leuphana University, Lüneburg https://www.leuphana.de/en/university/staff-members/clemens-apprich.html

Mz* Baltazar’s Laboratory, art, technology & feminism www.mzbaltazarslaboratory.org/

Gerald Bast, president, University of Applied Arts, Vienna https://www.dieangewandte.at/en/

Aram Bartholl, artist, Berlin www.arambartholl.com

Konrad Becker, hyper media researcher and interdisciplinary content developer, initiator of Public Netbase and World Information Institute, Vienna https://world-information.net/en/ https://en.wikipedia.org/wiki/Konrad_Becker

Ulrike Bergermann, professor for media studies, University of Art, Braunschweig http://www.hbk-bs.de/hochschule/personen/ulrike-bergermann/

Željko Blaće, co-founder of MaMa (Zagreb) and ccSPORT (Berlin), Europe http://Blace.name/

Sebastian Bodirsky, filmmaker, Berlin http://sb.paqc.net/

Candice Breitz, artist, professor at University of Art Braunschweig, Berlin http://candicebreitz.net/

Andreas Broeckmann, art theorist, Leipzig/Berlin http://www.mikro.in-berlin.de/

Alina Buchberger, Dramaturgie, Kampnagel, Hamburg

Nadja Buttendorf, visual artist, founding member of Cyborgs e.V., Berlin http://www.nadjabuttendorf.com

Constant Dullaart, artist, WerkplaatsTypografie, Arnhem https://constantdullaart.com

Constant vzw, artist-run art, media and technology organisation, Brussels http://www.constantvzw.org

Karl-Heinz Dellwo, filmmaker and publisher, Hamburg http://www.bellastoria.de

Carola Dertnig, visual artist, professor at Academy of Fine Arts, Vienna https://de.wikipedia.org/wiki/Carola_Dertnig

Detlef Diederichsen, divisional director music and performing arts, Haus der Kulturen der Welt, Berlin https://www.hkw.de/en/hkw/organigramm/musik_tanz_theater/musik_tanz_theater.php

Diedrich Diederichsen, cultural theorist, professor at Academy of Fine Arts, Vienna/ Berlin https://en.wikipedia.org/wiki/Diedrich_Diederichsen

Paul Feigelfeld, researcher, curator, Vienna „UNCANNY : Artificial Intelligence & You“, MAK – Museum of Applied Arts, Vienna http://www.viennabiennale.org/en/exhibitions/detail/uncanny-values-artificial-intelligence-you/

Andreas Fogarasi, artist, writer, co-editor of dérive, magazine for urban research, Vienna https://derive.at/autoren/andreas-fogarasi/

FORUM STADTPARK, interdisciplinary space for art and culture, Graz http://www.forumstadtpark.at

Günter Friesinger, writer, curator, member of monochrom, Vienna https://de.wikipedia.org/wiki/G%C3%BCnther_Friesinger http://monochrom.at

Matthias Fritsch, visual artist, Technoviking Archiv, Berlin http://subrealic.net

Kristoffer Gansing, artistic director, transmediale festival for art and digital culture, Berlin https://transmediale.de/

Johannes Grenzfurthner, artist, filmmaker, curator, writer, member of monochrom, Vienna https://about.me/grenzfurthner http://monochrom.at

Marina Gržinić, PhD, artist, philosopher, professor at Academy of Fine Arts Vienna, researcher advisor at ZRC-SAZU Institute of philosophy, Ljubljana, http://en.wikipedia.org/wiki/Marina_Gr%C5%BEini%C4%87 http://grzinic-smid.si/

Adnan Hadziselimovic, PhD, head of department of digital arts, University of Malta https://www.um.edu.mt/profile/adnanhadziselimovic

Karin Harrasser, media theorist, curator, editor of ZfK – Magazine For Cultural Studies, professor for cultural theory, University of Art and Design, Linz http://www.ufg.at/Kulturwissenschaft.1401.0.html

Joan Heemskerk, artist, member of the artist collective JODI http://wwwwwwwww.jodi.org/

Reni Hofmüller, artist, musician, curator, founding member of mur.at, founding member and artistic director of esc media art laboratory, Graz   https://esc.mur.at/

Jogi Hofmüller, artist and IT-consultant, founding member of Radio Helsinki and mur.at association for the promotion of network art, Graz https://mur.at/

Tom Holert, writer, researcher, curator, Harun Farocki Institut, Berlin http://harun-farocki-institut.org

Susanne Holschbach, PhD, art and media scientist, curator, lecturer, Berlin

Endy Hupperich, painter and lecturer, Art Academy Bad Reichenhall, Mexico City/ Germany http://www.endy-hupperich.com/

IG Kultur Vienna, representation of cultural workers & institutions, Vienna https://igkulturwien.net/

Thomas J. Jelinek, conceptual artist, director, dramaturge, curator nomad.theatre, Vienna http://nomad-theatre.eu/

Rebekka Kiesewetter, Lic. phil., art historian, economist, writer, curator, founding member of DA Institute of Applied Knowledge, Berlin https://www.rebekkakiesewetter.com/ http://www.da-institut.org

Angela Koch, Pprofessor for aesthetics and pragmatics of audiovisual media, director of MA studies in media culture and art theory, University of Art and Design, Linz http://blog.mkkt.ufg.ac.at/angelakoch/

Hubertus Kohle, professor of art history, Ludwig-Maximilians-University, Munich https://de.wikipedia.org/wiki/Hubertus_Kohle

Olia Lialina, internet artist, theorist, curator, director at the New Media Pathway programme at Merz Akademie of Art, Design and Media, Stuttgart   http://art.teleportacia.org/

Johann Lurf, artist, Vienna http://johannlurf.net/

Tomislav Medak, media theorist and amateur librarian, member of Multimedia Institute/MAMA (Zagreb) and Centre for Postdigital Cultures (Coventry University) http://www.mi2.hr/ http://www.memoryoftheworld.org http://www.coventry.ac.uk/research/areas-of-research/postdigital-cultures/

Suzana Milevska, visual culture theorist, curator, principal investigator Politecnico di Milano TRACES http://www.traces.polimi.it/event/contentious-object-ashamed-subjects-exhibition/

monochrom, art-technology-philosophy-group, Vienna https://en.wikipedia.org/wiki/Monochrom

Gabriel Ben Moshe (S Moses), digital-based artist, Weimar/ Tel Aviv http://www.gabsmoses.com  

Michael Murtaugh, Senior Lecturer, Experimental Publishing Master, Piet Zwart Institute, Rotterdam http://xpub.nl/

Stefanos Pavlakis, artist/ director, Berlin http://www.stefanos-pavlakis.com/

Oliver Pietsch, artist, Berlin http://www.oliverpietsch.com

p.m.k, Cultural Life Support System, Innsbruck http://www.pmk.or.at

Paul Poet, film director, journalist, media scientist, project manager, Vienna https://www.imdb.com/name/nm1301724/

qujOchÖ, art collective, Linz https://de.wikipedia.org/wiki/QujOch%C3%96

Ursula Maria Probst, curator, writer, artist, lecturer, Academy of Fine Arts, Vienna https://www.fluc.at/kunstimfluc/

Magdalena Reiter, open design & open knowledge activist https://www.magdalenareiter.at/  

Roel Roscam Abbing, artist, researcher, member of https://vvvvvvaria.org/ https://roelof.info

Robert Sakrowski, curator, Panke gallery, Berlin http://www.panke.gallery/

Marius Schebella, artist and developer, head of subnet, platform for media art and experimental technologies Salzburg http://www.subnet.at

Ashley Hans Scheirl, Mag. MA, artist, professor at the Academy of Fine Arts Vienna, Berlin/Vienna http://www.ashleyhansscheirl.com

Georg Schelbert, Head of Media Library/ Department of Art and Visual History, Humboldt University, Berlin http://www.kunstgeschichte.hu-berlin.de/personen/wissenschaftliche-mitarbeiterinnen/georg-schelbert/

Elisabeth Schimana, artistic director of IMA Institute for Media Archology, St. Poelten http://ima.or.at

Nora Sdun, publisher, Textem Verlag, Hamburg http://www.textem.de/

Judith Siegmund, professor for contemporary aesthetics, State University of Music and the Performing Arts, Stuttgart http://www.judithsiegmund.de

Sumugan Sivanesan, researcher/ writer/ anti-disciplinary artist, Berlin/ Sydney http://sivanesan.net/

Domagoj Smoljo, artist, !Mediengruppe Bitnik https://wwwwwwwwwwwwwwwwwwwwww.bitnik.org/

Cornelia Sollfrank, PhD, artist and researcher, Berlin http://artwarez.org/ https://en.wikipedia.org/wiki/Cornelia_Sollfrank

Felix Stalder, writer and researcher, member of the technopolitics group Vienna, professor for digital cultures and network theories at the University of the Arts, Zurich http://felix.openflows.com

Hito Steyerl, filmmaker, writer, Berlin https://en.wikipedia.org/wiki/Hito_Steyerl

Axel Stockburger, PhD, artist, assoc. prof. for art and cultural theory, Academy of Fine Arts, Vienna http://stockburger.at/

Nina Stuhldreher, visual artist, reality researcher, neurodiversity activist, Vienna/ Berlin http://blog.mkkt.ufg.ac.at/wp-content/uploads/2018/12/netzaktivismus_LV-2.jpg

Kathrin Stumreich, visual artist, Vienna http://www.kathrinstumreich.com/

Winnie Soon, MA, MSc, Ph.D, Assistant Professor Department of Digital Design and Information Studies, Aarhus University http://aestheticprogramming.siusoon.net/

Peggy Sylopp, artist and computer scientist, Berlin http://peggy-sylopp.net

Tamiko Thiel, freelance media artist, Munich http://www.tamikothiel.com

Magdalena Tyzlik-Carver, Assistant Professor in Digital Design and Information Studies, Aarhus University

Wolfgang Ullrich, art theorist, writer, Leipzig https://de.wikipedia.org/wiki/Wolfgang_Ullrich_(Kunsthistoriker) https://www.digitale-bildkulturen.de/ ideenfreiheit.de

Yvonne Volkart, researcher, lecturerer, Academy of Art and Design, Basel https://www.fhnw.ch/de/personen/yvonne-volkart

Carmen Weisskopf, artist, !Mediengruppe Bitnik,Berlin https://wwwwwwwwwwwwwwwwwwwwww.bitnik.org/

Thomas Willmann, author, Munich

Mick Wilson Artist/Educator, University of Gothenburg, Gothenburg Sweden

Marlies Wirth, Curator Digital Culture & Design Collection, MAK – Museum of Applied Arts, Vienna http://mak.at/

Florian Wüst, film curator, publisher, curatorial team of transmediale, Berlin https://transmediale.de/

Martin Zellerhoff, photographer, fair pay activist, Berlin http://www.ich-krieg-weniger.de

http://fairpaynotfilters.eu/

[illustratus]

Ruins of a Gothic Cathedral by Ludwig Kohl

#ludwig kohl #art #gothic #cathedral #architecture #ruins #gothic cathedrals #gothic architecture #cathedrals #medieval #middle ages #europe #european #history #landscape #romanticism #romantic #nature #christianity #christian

[leagueofwags]

Cathy hat heute ein foto gepostet und drunter geschrieben das sie morgen vor gericht kämpft gegen diese werbung auf insta, denkst du sie schafft es sich endlich durchzusetzen? Lg

Also, entschuldige bitte, aber "endlich" durchsetzen? Das ist eine wunderbare Prüfung für die Frau, die noch nie ein Projekt wirklich richtig zu Ende gebracht hat. Die immer auf den Zug von "Ganz leicht, easy viel Kohle machen" aufspringen will und die sich wie ein Fähnchen im Wind dreht. Es tut Cathy ganz gut, mal einen Dämpfer verpasst zu bekommen und dass jemand sagt "So geht es nicht." Grundsätzlich liegt sie nicht falsch, wenn sie sagt, dass da einheitliche Reglungen bezüglich Werbung auf Sozialen Medien bestehen sollen. Aber als Influencer bist du nun einmal das - Influencer. Da ein Influencer sein privates Leben offen zur Schau stellt, um damit Geld verdienen zu können, ist es für uns als Konsumenten nicht sichtbar, wann genau sie nur einen privaten Schnappschuss teilen will (und seien wir ehrlich, KEIN Influencer lässt ein spontanes, ungeplantes Bild von sich veröffentlichen...) und wann sie Werbung für etwas betreibt. Vor allem da Schleichwerbung bei Cathy ja doch ein Begriff ist (Ludwigs Babyausstattung). Von sich endlich durchsetzen soll da also eigentlich nicht die Rede sein, finde ich. Liebe Grüße

[abfindunginfo]

Rapallo 1922 - deutsch-russische Zusammenarbeit

Es geht auch anders Der Vertrag von Rapallo 1922 zeigt, dass Deutschland und Russland durchaus eng kooperieren können — den Westmächten gefiel das schon damals nicht. von Hermann Ploppa Die Konfrontation zwischen dem Wertewesten und Russland spitzt sich immer weiter zu. Schon lange bevor die russische Armee völkerrechtswidrig die Ukraine überfiel, war der Ton gegenüber Russland immer rauer geworden. In dem ganzen Trommelfeuer der antirussischen Propaganda wurde der Eindruck erweckt, es hätte in der gesamten Geschichte nur immer feindselige Beziehungen zwischen Deutschland und Russland gegeben. Diese Geschichtsvergessenheit ist politisch gewollt. Uns allen ist der schlimme Waffengang des Zweiten Weltkriegs noch mehr oder weniger bewusst. Danach folgte der Kalte Krieg, in dem sich Westdeutschland und Ostdeutschland als Frontstaaten waffenklirrend gegenüberstanden. Erst mit der Politik der Entspannung unter Bundeskanzler Willy Brandt kamen andere Töne auf. Es ist Teil unserer kollektiven Erinnerung, dass die Beziehungen zu unserem östlichen Nachbarn immer äußerst delikat gewesen seien. Das ist allerdings vollkommen falsch. Die meiste Zeit der deutsch-russischen Beziehungen war geprägt von enger Zusammenarbeit und gegenseitigem Austausch. Auch in den Zeiten des Kalten Krieges gab es Phasen der Anbahnung enger Kooperation. Annäherungen gab es zwischen dem damaligen Bundeskanzler Ludwig Erhard und dem sowjetischen Staatschef Nikita Chruschtschow. Auch zwischen Kanzler Helmut Kohl und Michail Gorbatschow deutete sich eine engere Zusammenarbeit an. In beiden Fällen führte der jähe Machtverlust der starken Männer im Osten zum Ende der Entente. Auch zwischen Bundeskanzler Gerhard Schröder und Wladimir Putin entwickelte sich eine enge Vertrauensbeziehung. Dem Männerbund gesellte sich zeitweilig noch der französische Staatspräsident hinzu. In London und Washington wurden diese Kooperationen skeptisch beäugt. Man raunte dort des Öfteren, der gefährliche „Geist von Rapallo“ schwebe wieder durch Europa. Nach dem Prinzip der Meistbegünstigung Vor genau 100 Jahren wurde nämlich im italienischen Rapallo in der Nähe von Genua am Ostersonntag, dem 16. April 1922, der nach dem Badeort benannte Vertrag zwischen dem Deutschen Reich und der Russischen Sozialistischen Föderativen Sowjetrepublik unterzeichnet. In dem Vertrag sicherten sich die beiden Staaten die Meistbegünstigung zu. Soll heißen: Sie nahmen von nun an normale Wirtschaftsbeziehungen auf, wie sie zwischen allen anderen Staaten längst gang und gäbe waren. Beide Länder verzichteten auf gegenseitige Reparationsforderungen. Verzichteten also auf Entschädigungen für erlittene Kriegsschäden. Deutschland verzichtete zudem darauf, von den Bolschewisten enteignetes deutsches Eigentum in der Sowjetunion zurückzufordern. Deutschland lieferte Industrieanlagen an Russland. Russland lieferte im Gegenzug das begehrte Öl nach Deutschland. In Deutschland wurden damals 2.000 Tankstellen eröffnet, in denen Benzin aus Aserbaidschan der sowjetischen Vertriebsgesellschaft Azneft ausgeschenkt wurde. Das war für die deutsche Wirtschaft, die noch weitgehend unter dem Boykott durch die Weltgemeinschaft zu leiden hatte, ein ganz entscheidender Schritt nach vorn. Eine absolute Win-Win-Situation ergab sich auch im Militärsektor. Denn Deutschland war es durch den Vertrag von Versailles untersagt, eine eigene Luftwaffe und eigene Panzerverbände zu unterhalten. Jetzt bauten die Junkers-Werke ihre Kriegsflugzeuge in dem Moskauer Vorort Fili. Ausprobiert wurden die Junkers-Flieger sodann in Lipezk. Eine ganze Generation deutscher Kampfflieger absolvierte hier ihre Ausbildung. Gemeinsame Giftgaseinheiten unterhielten Deutsche und Russen zudem in Tonka. Während Soldaten der Reichswehr in Deutschland vor den Augen der alliierten Aufpasser mit Pappattrappen von Panzern herumkasperten, bauten deutsche Ingenieure und Mechaniker in der Sowjetunion echte Panzer und erprobten sie in Kazan. Der Architekt von Rapallo Der Vertrag von Rapallo ist im Wesentlichen das Werk des Diplomaten Adolf Georg Otto von Maltzan, der sich der Einfachheit halber einfach als „Ago“ ansprechen ließ (1). Ago von Maltzan hatte schon zu Kaiserzeiten Karriere gemacht und werkelte nun als Leiter des Russlandreferates im Außenministerium seit Kriegsende an einem deutsch-russischen Kooperationsvertrag. Bei der Finanz und Wirtschaftskonferenz in Genua im April 1922 zeichnete sich ab, dass Großbritannien und Frankreich ebenfalls an einem Wirtschaftsvertrag mit der Sowjetunion arbeiteten. Nachdem diese Länder zunächst versucht hatten, durch eine blutige Militärintervention in der noch nicht sattelfesten Sowjetunion einen Regime Change zu erzwingen, dann aber mit diesem Versuch kläglich gescheitert waren, akzeptierten sie jetzt die Bolschewisten als neuen „Ordnungsfaktor“ in der Region und versuchten für sich das beste dabei herauszuholen. Zugleich jedoch ließen die Sowjets über diskrete Kanäle die deutsche Regierung wissen, dass sie sich einen solchen Kooperationsvertrag wie mit den Westmächten alternativ auch mit Deutschland vorstellen konnten. Bei der deutschen Delegation rief das hektische Betriebsamkeit hervor. Es war der 15. April 1922. Für den nächsten Tag musste man aufpassen, dass man vor der amerikanisch-britisch-französischen Delegation mit den Sowjets einen Vertrag abschloss. In die Geschichte eingegangen ist die sogenannte „Pyjamakonferenz“. Noch in der Nacht hatte Ago von Maltzan den Vertragsentwurf erarbeitet und scheuchte die deutschen Delegationsteilnehmer aus ihren Betten. Im Pyjama saßen die Delegierten auf den Bettkanten und arbeiteten Paragraf für Paragraf den Vertrag gemeinsam durch. Wobei der verantwortliche Außenminister Walther Rathenau sich noch schwertat. Er stand dem ganzen Vorhaben eher skeptisch gegenüber. Schließlich aber stimmte auch Rathenau zu, und der Vertragsentwurf wurde angenommen. Am nächsten Tag trafen sich die deutsche und die sowjetische Delegation — zwei Stunden vor dem zum Vertragsabschluss anberaumten Zeitpunkt, der für die Westalliierten vorgesehen war. Auf deutscher Seite sehen wir an exponierter Stelle: Reichskanzler Joseph Wirth, Reichsaußenminister Walther Rathenau, Staatssekretär des Auswärtigen Amtes Ago von Maltzan mit ihrer Entourage. Auf sowjetischer Seite: Leonid Borissowitsch Krassin, seines Zeichens Volkskommissar für Außenhandel; Georgi Wassilijewitsch Tschitscherin, Volkskommissar für Auswärtige Angelegenheiten, sowie als Berater Adolf Abramowitsch Joffe, sowjetrussischer Gesandter in Deutschland. In überaus herzlicher Atmosphäre schritt man sodann zur Vertragsunterzeichnung. Zwei Stunden später erschien die Delegation der Westalliierten. Ihre Wut war grenzenlos, als sie erfuhren, dass sie in letzter Sekunde doch noch ausgespannt wurden. Rückkehr auf die internationale Bühne Aus deutscher Perspektive war der Vertrag von Rapallo die letzte Chance, den strangulierenden Auswirkungen des Vertrages von Versailles zu entkommen. Denn durch den Vertrag von Versailles wurden die deutschen Bürger und ihr Staat nicht nur massiv enteignet und in eine vollkommen kontraproduktive Schuldknechtschaft gedrückt, was kein Geringerer als der Ökonom John Maynard Keynes in seinem viel beachteten Buch (2) scharf verurteilt hat. Deutschland als Ganzes wurde mit der Alleinschuld am Ausbruch des Krieges beladen und durch diplomatische Isolierung geächtet. Auch der Sowjetstaat Russland wurde geächtet wegen seiner Gegnerschaft zur kapitalistischen Wirtschaftsordnung und wegen der Enteignung ausländischer Vermögenswerte. Es lag also nahe, dass Strategen beider Pariastaaten intensiv über eine deutsch-russische Zusammenarbeit nachdachten. Dabei handelten beide Seiten absolut pragmatisch. Gerade im deutschen rechten politischen Spektrum sah man in der Zusammenarbeit mit den Bolschewisten eine reale Chance, außerhalb des Versailles-Regimes ein deutsches Comeback zu starten. Die Befürworter eines Zusammengehens Deutschlands mit den Westmächten fanden sich eher bei den Liberalen und Sozialdemokraten, während die Kommunisten naturgemäß für die Sowjets votierten. Trotzdem schlug der Abschluss des Vertrages von Rapallo am 16. April 1922 zwischen Deutschland und der Russischen Sozialistischen Föderativen Sowjetrepublik auf der internationalen diplomatischen Bühne ein wie eine Bombe. Die Wut war bei Franzosen und Briten gewaltig. Denn eigentlich wollten sie selber mit den Sowjets, die sich auf dem Territorium des ehemaligen Zarenreiches als „Ordnungsfaktor“ durchsetzen konnten, Verträge abschließen. Die gewaltigen Rohstoffe des Riesenreiches lassen denn doch alle Vorbehalte gegen den kommunistischen Klassenfeind überwindbar erscheinen. Nun hatten der deutsche Außenminister Walther Rathenau und sein Staatssekretär Ago von Maltzan den Vertrag am Ostersonntag 1922 mit ihrem sowjetischen Gegenüber Georgi Tschitscherin unterzeichnet — und das, kurz bevor die Franzosen und Engländer einen solchen Vertrag unterzeichnen konnten. Das Misstrauen der Westmächte Der Vertrag von Rapallo wurde in Deutschland mehrheitlich positiv aufgenommen. Besonders die deutschen Unternehmer drängten Rathenau zur Unterzeichnung, da die Märkte im Westen für sie weitgehend verschlossen waren. Zudem ging man davon aus, dass Lenin mit der Verkündung der Neuen Ökonomischen Politik energisch in Richtung liberale Marktwirtschaft zurückrudern würde — was sich in dieser Form aber nicht verwirklichen sollte, wie man heute weiß. Es gab nur einen Politiker, der gegen den Vertrag von Rapallo schäumte: ein gewisser Adolf Hitler aus Bayern. Nun war also der Fall eingetreten, den der englische Geopolitiker Halford Mackinder in einem Vortrag in London im Jahre 1904 als den für die Engländer schlimmsten Fall beschrieb: Eine Binnenlandmacht hatte sich erneut mit einer Küstenrandmacht zusammengetan. Die Deutschen hatten ihre Isolation durchbrochen und ließen mit ihrem aus englischer Sicht frevelhaften Verrat erkennen, dass sie in der Lage waren, in den eurasischen Raum hinein womöglich eine Gegenmacht gegen die westliche Ordnung aufzubauen. Tatsächlich hatten einflussreiche Kreise aus Militär und Wirtschaft bereits kurz nach Kriegsende über eine Partnerschaft mit den Sowjets recht laut nachgedacht. In einer Denkschrift vom 17. Februar 1920 hatten unter anderem Walther Rathenau, der den Elektrokonzern AEG von seinem Vater geerbt hatte, sowie sein Vorstandsvorsitzender Felix Deutsch eine Denkschrift veröffentlicht. In dem Papier wird hingewiesen auf den Überschuss an Fachkräften in Deutschland, die sich mit einem Überschuss an Rohstoffen in Russland vorzüglich verbinden ließen. Auf die „in nicht sehr ferner Zukunft reifenden Früchte und nicht auf unmittelbar sofort greifbare Vorteile kommt es in erster Linie an, wenn man ein Urteil über das deutsche Interesse am Zusammengehen mit Sowjetrussland gewinnen will“ (3). Und Generaloberst Hans von Seeckt, 1920 gerade aufgestiegen zum Chef der Heeresleitung der Reichswehr, ließ im selben Jahr in zwei Denkschriften keinen Zweifel an seiner Sicht der Dinge: „Nur im festen Anschluß an Groß-Rußland hat Deutschland die Aussicht auf Wiedergewinnung seiner Weltmachtstellung … England und Frankreich fürchten den Zusammenschluß der beiden Landmächte und suchen ihn mit allen Mitteln zu hindern — also ist er von uns mit allen Kräften anzustreben“ (4). Weiterhin im zweiten Papier: „Und wenn Deutschland sich auf Rußlands Seite stellt, so ist es selbst unbesieglich, denn andere Mächte werden dann immer Rücksicht auf Deutschland nehmen müssen, weil sie Rußland nicht unbeachtet lassen können“ (5). Die Ermordung Rathenaus und ihre Folgen Doch Rathenau war es nicht mehr vergönnt, die weitere Entwicklung mitgestalten zu können. Genau wie Olof Palme lehnte er Personenschutz ab. So wurde er am 24. Juni 1922, also gerade mal zwei Monate nachdem er seine Unterschrift unter den Rapallo-Vertrag gesetzt hatte, von zwei gedungenen Auftragskillern in seinem offenen Cabriolet auf dem Weg zum Arbeitsplatz im Außenministerium erschossen. Die Empörung in Deutschland über diesen feigen Mord war gigantisch. Hunderttausende folgten seinem Sarg in einer beeindruckenden Großdemonstration für die Demokratie. Bürgerkriegsartige Unruhen waren die Folge. Rathenaus Mörder gehörten der Organisation Consul, auch „Schwarze Reichswehr“ genannt, an. Eine Abspaltung von der Brigade Erhardt, der wiederum größere Abteilungen der Eisernen Division angehörten, die wiederum aus den Baltikumern (deutsche Söldner) hervorgegangen waren … Die deutsch-russische Zusammenarbeit erreichte nie die von Rathenau und Seeckt anvisierte Dimension. Dennoch wurde die deutsche Luftwaffe und Panzerarmee weiterhin in der Sowjetunion entwickelt — bis 1933 die Nazis mit einem Federstrich diese Zusammenarbeit beendeten. Heute ist der Vertrag von Rapallo vom 16. April 1922 aus dem kollektiven Gedächtnis weitgehend verdrängt. Er passt einfach nicht in die transatlantische Agenda. Quellen und Anmerkungen: (1) Niels Joeres: Der Architekt von Rapallo — Der deutsche Diplomat Ago von Maltzan im Kaiserreich und in der frühen Weimarer Republik. Heidelberg 2005. (2) John Maynard Keynes: The Economic Consequences of the Peace. London 1919. (3) Zitiert nach Horst Günther Linke: Deutsch-sowjetische Beziehungen bis Rapallo. Köln 1972. Seite 94. (4) Ebenda, Seite 153. (5) Ebenda, Seite 156. 3981270347:rightFür diesen Artikel wurden Textpassagen aus dem Buch „Der Griff nach Eurasien — Die Hintergründe des ewigen Krieges gegen Russland“ von Hermann Ploppa, Marburg 2019, eingearbeitet. Dieser Artikel erschien auf Rubikon am 16.04.2022 und ist unter einer Creative Commons-Lizenz (Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 International) lizenziert. Unter Einhaltung der Lizenzbedingungen dürfen Sie es verbreiten und vervielfältigen. Beiträge und Artikel anderer Autoren müssen nicht die Sichtweise der Webseiteninhabers widerspiegeln, sondern dienen nur der vergleichenden Information und Anregung zur eigenen Meinungsbildung. Wie aufschlussreich fanden Sie diesen Artikel? Lesen Sie den ganzen Artikel

[mycstilleblog]

Die 75. Ruhrfestspiele Recklinghausen finden vom 1. Mai bis zum 20. Juni statt

Die 75. Ruhrfestspiele Recklinghausen finden vom 1. Mai bis zum 20. Juni statt

Heute starten die nunmehr 75. Ruhrfestspiele Recklinghausen. Ein Jubiläum! Glanz, Glamour und festliche Atmosphäre wäre da zu erwarten. Wie einst alles begann: “Kohle für Kunst – Kunst für Kohle” Hier die Erinnerung an die Geschichte der Entstehung der Ruhrfestspiele unter dem Motto “Kohle für Kunst – Kunst für Kohle”. Im bitterkalten Winter 1946/47 halfen Kohlekumpel der Zechen König Ludwig…

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#neopresse #Olaf Kröck #Ruhrfestspiele Recklinghausen

[jonasgrossmann]

egon bahr und michael kohl, kanzlerbungalow, bonn, foto ludwig wegmann, 1972 @ bungalowgermania

#photo #photographers #documentary #German #bonn #sepp ruf #egon bahr #Architecture

[babivilla]

TUTTO ARRIVA NEL MOMENTO PERFETTO, NON UN ATTIMO PRIMA, NE UNO DOPO...STA A TE VIVERLO!

Ore 6,45 Dopo aver dribblato con classe una terrificante comitiva over 60 di Chiara provenienza sarda al buffet della colazione (sono riuscita e sembrare cordiale e gentile senza aprire bocca mezza volta e non rivelare la mia provenienza, tra questi e i giappi Mata Hari me spiccia casa) mi sono diretta al centro visitatori di Petra che dista BEN 300 mt dal mio hotel, tenendo incrociate le dita di mani e piedi nella speranza che il sito fosse aperto nonostante la pioggia notturna. E dal tornello d'ingresso in poi c'è stato solo silenzio, il rumore dei miei passi, ed i miei occhi umidi di commozione nell'altra restare il siq da sola. Non sapevo dove dirigere lo sguardo, mi sembrava davvero di camminare dentro al set di un film: le due pareti di roccia rossa che in alcuni punti quasi si toccano, la strada pavimentata da secoli, gli alberi cresciuti nelle spaccature, il cielo azzurro in alto tra i due bordi di pietra lavata di fresco, ed ogni tanto in lontananza una vetta illuminata dal sole. 2km di emozioni durate un attimo, e all'improvviso da una fenditura e' apparso IL TESORO, il respiro mi si è rotto per un attimo e sono rimasta incantata a bocca aperta a guardarlo per 5 minuti buoni, gli occhi si sono soffermati sulle colonne perfette, i capitelli ed il frontone squisitamente decorati, i bordi taglienti delle cornici, le foglie d'acanto, i segni lasciati nella roccia dagli scalpellini...non esistono parole per l'emozione, mi dispiace... E sarà stato questa perdita di controllo che mi ha fatto dire sì ad una guida beduina, Issah, con gli occhi bistrati di kohl, la pelle scura e la kefiah, che mi ha proposto di accompagnarmi a vedere il tesoro dall'alto: i 45minuti più lunghi e devastanti della mia vita passati a saltellare come uno stambecco per crepacci e salite percorribili solo perché la pietra e' di origine sabbiosa e quindi sotto le scarpe ha un grip esagerato! Il punto d'arrivo però meritava davvero la sfacchinata, così sono rimasta per un po' appesa lassù, su uno sprone di roccia a guardare giù questa meraviglia che piano piano si illuminava coi raggi di un sole che litigava con le nuvole, a farmi compagnia i corvi in alto, l'abbaiare dei cani selvatici, ed una gattina che ha trovato comodissime le mie gambe per farsi coccolare. La discesa e' stata in solitaria (eh sì perché con le guide beduine funziona così: paghi a tratta!) e mooooolto più rilassante della salita, complice una fantastica scala scavata nella roccia rossa dai nabatei! Ok dai, si poteva fare anche all'andata ma non avrei digerito così velocemente la colazione e non avrei avuto i panorami mozzafiato che invece mi sono capitati! Nella discesa ho incontrato anche uno dei tre "sacrifici" del sito, che mi hanno dato l'idea di quella che doveva essere la sensazione di Pocahontas sulla sua roccia a strapiombo. Ma sulla questione "sacrifici" una piccola digressione storica bisogna farla: intanto stiamo parlando di Petra, la capitale dei Nabatei che erano di stanza qui almeno un secolo prima di cristo, e già questo, se pensiamo alla raffinatezza delle facciate la dice lunghissima sulla popolazione in questione, che era così avanti da avere addirittura due acquedotti lungo le pareti di pietra, uno superiore per l'acqua da bere, ed uno inferiore per tutti gli altri usi! I nabatei credevano nella vita oltre la morte ed è per questo che avevano costruito questa città dei morti dove le tombe assomigliavano a palazzi (quelle di ricchi e nobili, perché quelle dei poveri erano una grotta e via senza tanti fronzoli) , i sacrifici di animali al dio Dushara si facevano in alto per essere a lui più vicini, ed addirittura avevano un anfiteatro da 3000posti per le cerimonie religiose! All'interno le tombe (tipo 1400 in tutto il sito e ancora gli archeologi stanno scavando) erano molto scarne, stanze rettangolari con nicchie per gli idoli e buche per le salme, e davanti alle buche, a seconda del numero di defunti, fori perfettamente rotondi. Gli abitanti vivevano nella città contigua, in case di mattoni. All'arrivo dei romani anche Petra finì sotto il loro dominio, e questi aggiunsero alle terme già esistenti un mercato, il decumano colonnato, un ninfeo, e in tempi successivi una chiesa bizantina con tanto di mosaici (e che ci vogliamo privare? Non mi parrebbe il caso). Ora, andati via i romani, fatte un po' di guerre varie, mettiamoci pure un paio di terremoti devastanti, Petra scompare ai più! Esiste, ed è una città sacra per i beduini che tengono chiunque lontano, complice anche il siq che ne fa un luogo praticamente inaccessibile! E qui entra in gioco il giovane Johan Ludwig Buckhardt, nato in Svizzera si trasferì ad Aleppo e si convertì all'Islam diventando Sheik Ibrahim bin Abdullah, maestro di travestimenti si infiltrò tra i beduini fingendo di voler sacrificare una capra e riuscì ad entrare (primo europeo nella storia) a Petra....non contento scopri anche la foce del Nilo, il tempio di Ramses II e si infiltrò alla Mecca, forse per quest'ultima bravata morì di dissenteria a Londra a 33anni, ma questa è un'altra storia. Torniamo a noi, cioè a me che sono riuscita a trovare percorsi alternativi lontano dalla sparuta folla ed ho potuto godere quasi in totale solitudine della meraviglia di questo sito in cui gli unici rumori sono stati quelli del belare dei greggi di capre portati in giro dai bambini, o del ragliare di qualche asino stufo di portare avanti e indietro i turisti più delicati, il fruscio delle foglie dei pochi alberi (c'è un pistacchio di ben 450anni in ottima forma tra le crepe del ninfeo), o i richiami dei beduini da grotta a grotta, sì perché le tombe sono state abitate dalle tribù beduine per secoli, ed è solo da poco che il governo gli ha imposto di spostarsi nel centro abitato, qualcuno tuttavia ha rifiutato e vive ancora orgogliosamente nelle grotte, parecchie delle quali durante il giorno ospitano comunque asini e caprette. Ero così presa dalle pennellate rosse e gialle della pietra che mi sono persa lungo le mura bizantine, tanto che mentre mi arrampicavo mi sono sentita chiamare da una beduina sbalordita che sbucassi dal nulla che mi ha offerto un tè caldissimo che devo dire, con l'arietta frizzantina di oggi è cascato a fagiolo; dalla sua tenda sono passata alla zona "romana" della città , tra templi colonnati e chiese mosaicate, per restare a bocca aperta davanti ad uno dei pochissimi palazzi non scavati di Petra: una meraviglia di 23mt chiamata romanticamente dai locali "il palazzo della figlia del faraone" (in realtà nabateo poi passato in uso ai romani). Il cielo non prometteva davvero nulla di buono, così dopo rapida contrattazione (le mie radici partenopee da queste parti danno il meglio di se) ho provato l'ebbrezza della scalata agli 800scalini scavati nella roccia per raggiungere il monastero....a dorso d'asino! E sulla cima un vento sferzante ed una piccola grandinata, devo dire che in questo viaggio non mi sto davvero facendo mancare nulla! La discesa a piedi lungo la via processionale, oggi piena dei colori delle bancarelle beduine, lungo il profondo wadi e' stata fantastica, ed una delle cose che più mi resteranno nel cuore di questa giornata, oltre ad una spremuta di limone e menta, la pietra donatami da una monella, i sorrisi fantastici e le chiacchiere con i veri padroni del luogo, e i bicchieri del tè più buono mai bevuto, sarà il profumo del legno di ginepro che bruciava nei bracieri per riscaldare le tende dei venditori e far fumare i bollitori di rame ormai annerito dall'uso. Cercando di andare controcorrente avevo lasciato per ultima l'esportazione della via principale e delle tombe reali, uno spettacolo senza uguali degno coronamento di una giornata pazzesca passata a saltellare tra pietre, scale e ponti improbabili fatti con le traverse dei binari (poi uno si chiede come mai la ferrovia non funziona!) col naso sempre in su a rimirare timpani, colonne e parvenze di statue consumate dal vento, che a furia di soffiare ha scalfito la parte dorata più superficiale delle facciate, scoprendo quelle venature spettacolari che, oggi più che mai perché lavate dalla pioggia, gli danno l'aspetto di sete preziose e marmi pregiati! Lentamente ho fatto ritorno al tesoro, e mi sono seduta a guardarlo una volta ancora, continuava a non sembrarmi vero e non riuscivo a staccarmi. Sono restata lì a rimirare la strana umanità che continuava incredibilmente ad uscire dal siq mescolarsi con guide, cammelli e cammellieri, cani, bambini urlanti e chissà ancora cosa (il tutto sotto l'occhio altero di questa meraviglia di roccia sabbiosa) fino a quasi non sentire più le dita dal freddo, così ho alzato gli occhi verso il frontone per l'ultima volta, mi sono girata verso il siq e l'ho percorso al contrario, senza più volgere indietro lo sguardo, un moderno Lot, fino al mio albergo da dove mi sono resa conto di essere partita 11ore prima. Cosa si può aggiungere ad una giornata così? Sinceramente faccio fatica ad esprimere tutto quello che mi è passato tra testa e cuore e rischierei di diventare melensa o scontata, quindi lo tengo per me. Forse è stato un dono anche il non poterla visitare di notte, sarebbe stato sicuramente bellissimo ma non mi avrebbe permesso di vivere Petra come ho fatto oggi, al mio ritmo ed al mio modo, lasciando sempre lo spazio agli incontri (di ore o di attimi) che sono stati la parte più bella di questo viaggio meraviglioso.