#herman otto museum

[homregeszet]

A múlt heti jóidőben kollégáink kiugrottak kicsit geofizikázni - míg az erdő, mező lakói beugrottak szétnézni, hogy mi folyik ott a placcon 👀 🐸

#hermanottómúzeum #miskolcimúzeum #régészet #miskolc #magyarrégészet #ásatás #homregeszet #múzeum #museum #herman otto museum #archeology #geofizika #fémkeresőzés #béka #breki #metaldetecting #geophysics #frog #nature

[architectuul]

Europa Nostra - Most Endangered in 2023

On the occasion of the 10th anniversary of the 7 Most Endangered Programme in 2023, Europa Nostra – the European Voice of Civil Society Committed to Cultural and Natural Heritage – and the European Investment Bank Institute have just announced the 11 most threatened heritage sites in Europe shortlisted for this year’s edition of the programme.

Among 11 most endangered monuments and heritage sites in Europe for 2023 are Kortrijk Railway Station (Belgium), Domain and Royal Museum of Mariemont in Moralwez (Belgium), Tchakcinij Fortress in Zugdidi (Georgia), Sister's House Ensemble - former Moravian settlement in Kleinwelka (Germany), Mansion Konaki of Gidas in Alexandria (Greece), Herman Otto Museum in Miskolc (Hungary), Memento Park in Budapest (Hungary), Cultural Landscape of Paštrovska Gora (Montenegro), Cultural Landscape of Sveti Štefan in Paštroviči (Montenegro), Watermills of Bistrica in Petrovac na Mlavi (Serbia), and the Partisan Memorial Cemetery in Mostar (Bosnia and Herzegovina) designed by Bogdan Bogdanović.

A view from the top of the cemetery before the latest conflicts.

The selection was made on the basis of the outstanding heritage significance and cultural value of each of the sites as well as on the basis of the serious danger that they are facing today. The level of engagement of local communities and the commitment of public and private stakeholders to saving these sites were considered as crucial added values. Another selection criterion was the potential of these sites to act as a catalyst for sustainable development and as a tool for promoting peace and dialogue within their localities and wider regions.

A view on the central fountain at the top of the site.

A sketch showing the path of the water flow.

The 11 endangered heritage sites were shortlisted by an international Advisory Panel, comprising experts in history, archaeology, architecture, conservation, project analysis and finance. Nominations for the 7 Most Endangered Programme 2023 were submitted by member organisations, associate organisations or individual members of Europa Nostra from all over Europe as well as by members of the European Heritage Alliance. For the Partisan Monument in Mostar a support was given among others also by Architectuul and DESSA Gallery from Ljubljana. 

A cross-section of the cemetery and its terraces.

The Partisan Memorial Cemetery was built in 1965 in the town of Mostar. It is one of the largest anti-fascist monuments and sites in the Balkans, with its 300-metre-long paved ceremonial pathway rising more than 20 metres up a hill. The cemetery, which features some 700 individual tombstones as grave markers of freedom fighters from the Yugoslav Partisan movement, is part of a series of monuments and sites built in the region in memory of the partisans who died during World War II.

It was designed by the famous Yugoslav architect Professor Bogdan Bogdanović from Belgrade. Skilled stonemasons built the monument over several years, using over 12,000 carved limestone pieces, rubble from the town’s destruction during the war, and traditional stone roof tiles recycled from Mostar houses. The monument was inaugurated in 1965 by the President of Yugoslavia, Josip Broz Tito, on the occasion of the 20th anniversary of the liberation of Mostar from the Nazis and their local allies in 1945.

In front of the portal lies an a-centrically located gear-shaped fountain which used to develop a water stream that flowed down the terraces and emerged again in the dead end space at the bottom of the complex.

The Partisan Memorial Cemetery – with its memorial significance and relevance – has become a target for destruction, both in times of war and in times of peace. Although much damaged during the war in 1992-1995, the Partisan Memorial Cemetery suffered further damage in the period following the war. It is important to add that after the violent disintegration of Yugoslavia, many memorial sites built after World War II were neglected or even abandoned in the wider region, including the Partisan Memorial Cemetery in Mostar.

After the war, the first conservation and restoration works on the Partisan Memorial Cemetery were done in 2005 with the support of donor funds from the Government of The Netherlands and the Kingdom of Norway, and with co-financing from the City of Mostar and Federation of Bosnia and Herzegovina.

The complex is a necropolis, 630 abstractly shaped stone markers testify the multiethnic army that fought together and is buried here with names belonging to Serbs, Croats, Bosniaks, Jews.

However, the Partisan Memorial Cemetery has been, and still is, one of the region’s contested heritage sites. This has resulted in repeated acts of vandalism up until the most recent destruction which happened in June of 2022. This was followed by numerous reactions from the Mayor, the City Council, the Commission to preserve national monuments of Bosnia and Herzegovina, as well as from anti-fascist activists and associations both at local and international level, and also the reaction from numerous organisations from the territory of former Yugoslavia, which condemned the vandalism of the Partisan Memorial Cemetery. Recently, the Agency “Old City” of the City of Mostar launched the public procurement for the revitalisation, rehabilitation and illumination of the Partisan Memorial Cemetery. However, the monument does not yet have a holistic plan for its conservation and maintenance with a corresponding funding. The whole process of its necessary restoration and revitalisation therefore remains precarious.

The partisan cemetery in Mostar is an integral part of the city and can be easily considered as an urban place.

The local community in Mostar has developed various campaigns for the legal protection of the Partisan Memorial Cemetery as a Monument of National Importance. Among other initiatives, they produced a documentary about the history of this memorial site and the threats and challenges it faces today.

The nomination of the cemetery to the 7 Most Endangered Programme 2023 was made by IDEAA Mostar with the endorsement of the Mayor of Mostar, the Galerija DESSA, Arcihtectuul and Europa Nostra Serbia. The nominator advocates for adequate legal protection of the Partisan Memorial Cemetery following its designation as a Monument of National Importance back in January 2006, for the European and international recognition of its outstanding historical and artistic values, as well as for the development of a sustainable rehabilitation, maintenance and management plan for this exceptional memorial site and the allocation of necessary funds – from local, national and European sources – for the quality implementation of such a comprehensive plan.

An abstract lion sculpture at the entrance of the complex.

The Advisory Panel of the 7 Most Endangered Programme commented: “The original design of the Partisan Memorial Cemetery in Mostar deliberately avoids the use of political or religious symbolism but makes use of cosmological symbols reminiscent of pre-Columbian remains and perhaps also referencing similar elements present in medieval sites in Bosnia and Herzegovina. As such, it is an outstanding example of the high-quality commemorative culture rooted in anti-fascist ideals within SFR Yugoslavia. At the time when Europe seeks to assert and put a much stronger emphasis on the vital importance of the shared values which form the very basis of the entire European project, this significant place of memory located in the Western Balkans should be restored with the support of local, national and European funds and protected for present and future generations.”

On Wednesday, June 15, 2022, vandals carefully and cold-bloodedly destroyed all the commemorative plaques.

The Executive President of Europa Nostra, Prof. Dr. Hermann Parzinger, stated: “This shortlist covers a wide variety of monuments and heritage sites which are facing different types of serious threats. The local communities and civil society organisations are deeply committed to preserving these remarkable examples of our shared heritage, but they need broader support. We therefore call on local, regional, national and European stakeholders, both public and private, to join forces with Europa Nostra and our network of members and partners to secure a viable future for these shortlisted sites.” 

The "cosmic portal" is centrally located on the wall that backs the uppermost terrace. This circular element seems to act as a door between the two worlds and tries to reconcile the different visions that various religions have developed about the afterlife.

The final list of 7 Most Endangered heritage sites in Europe for 2023 will be unveiled in April.

#architecture #yugoslav monuments #modernism #partizan monument #europa nostra

[dwingga]

Foto bareng Herman Otto yang (setelah digoogle) itu seorang Zoologist. Interestingly di Hungaria (& Austria) pahlawan nasionalnya itu banyaknya yang sastrawan, pemusik, seniman, psikolog. (at Hungarian National Museum) https://www.instagram.com/p/CpCfFHwSOLv/?igshid=NGJjMDIxMWI=

[chips1977]

WARNING : I'm just an addict ... addicted to music. There are people who are born to make music, o8 thers are born to hearing. Whenever was part of this second group. Maybe it's. a habit, I gotta use, even if it 's rock, jazz or the quiet storm. Great pictures of the things I love - music, painting, books, photography, architecture, design, women, and more. I love music more than lasagna. Better to burn out than fade away. The older you get, the better life gets. But time also seems to be accelerating, the clock running too fast. So, looking at those early days, everything is very slow, stretched, and great significance. The most recent time, I spent busy with simple things.People think rock and roll is only about teenage rebellion, but why can not exist old rebel too? THE RESIDENTS is my Biggest Addiction, and,THE RED KRAYOLA, OLD TIME RELIJUN-ARRINGTON DIONYSO,R. STEVIE MOORE,SHRIMP BOAT,SMEGMA,THE SUN CITY GIRLS, LEGENDARY PINK DOTS,MINIMAL COMPACT,FRANK ZAPPA,CAPTAIN BEEFHEART,THE VELVET UNDERGROUND,THINKING FELLERS UNION LOCAL 282,THE EX,CAN,FAUST,WEEN,TELEVISION,THE MODERN LOVERS,SNAKEFINGER,MILES DAVIS,SUN RA,KRAFTWERK,ANAL MAGIC & REV. DWIGHT FRIZZELL,MICHAEL YONKERS,MOONDOG,THE WORK,RAYMOND SCOTT,THE GO-BETWEENS,SLAPPY HAPPY,ART BEARS,NAKED CITY,HENRY COW,SKELETON CREW,JOHN ZORN,FRED FRITH,THE FIBONACCIS,BONGWATER-MARK KRAMER,SHOCKABILLY,BAND OF SUSANS,THE PAINTEENS,STUMP,RENALDO AND LOAF,CERTAIN GENERAL,THE THREE JOHNS,CHROME,PRIMUS-LES CLAYPOOL,EUGENE CHADBOURNE,ESKIMO, MINUTEMEN, MISSION OF BURMA,FUGAZI,BLURT, GLAXO BABIES,THIS HEAT,THE SEA AND CAKE,SAVAGE REPUBLIC,TUXEDO MOON, XTC,U.S,MAPLE,THE PAPER CHASE,DANIEL SMITH- DANIELSON FAMILE .......  Other musical priorities are: HENRY FLYNT, THE FEELIES,PERE UBU,THE CLASH, JOY DIVISION, PROTOMARTYR, CAR SEAT HEADREST,THE BETTER-BEATLES, DARKSIDE,THE MEMBRANES, THEATRE OF HATE, NOCTURNAL PROJECTIONS,THE LINES,CARDINAL,CLEANERS FROM VENUS,THE JAZZ BUTCHER, ELVIS COSTELLO,THE MONOCHROME SET, TELEVISION PERSONALITIES, ALTERNATIVE TV, GONG,ANNIE ANXIETY, THE DEL-BYZANTEENS, WALL OF VOODOO, BUTHOLE SURFERS, RICHARD DAWSON, MAC DeMARCO,WOVEN HAND,16 HORSEPOWER, DAVID EUGENE EDWARDS,SHELLAC, SLINT-PAPA M-DAVID PAJO, LUNGFISH, OM, EARTH,THE BOOK OF KNOTS,LOUNGE LIZARDS-JOHN LURIE,ANTON FIER-GOLDEN PALOMINOS,PETER BLEGVAD,PETER HAMMILL,TOMAHWAK,FANTOMAS,MR. BUNGLE, MIKE PATTON, SUICIDE-MARTIN REV+ALAN VEGA,AARON FREEMAN,JAPAN,STEREOLAB, SPACEMEN 3, SPECTRUM, SWELL MAPS, SILVER APPES, SWELL,MORPHINE, HAWKWIND, DEVO,FLYING LIZARDS, MAGAZINE, RALPH CARNEY,ROBERT WYATT, JOHN WILKES BOOZE, KEVIN COYNE, DAEVID ALLEN, SLEEPYTIME GORILLA MUSEUM, MX-80 SOUND, SOPOR AETERNUS & The ENSEMBLE of SHADOWS, THE AUTEURS,MAN MAN, DAMIEN JURADO, DAVID DONDERO, CHAD VANGALLEN, LONG FIN KILLIE, MAGIC TRICK-TIN COHEN, CHRIS COHEN, DAVID BAZAN,VAMPIRE RODENTS, JON WAYNE, PRAM,THE OLIVIA TREMOR CONTROL, PAVEMENT, PATTI SMITH, FUGS, PEARLS BEFORE SWINE-TOM RAP, UNITED STATES OF AMERICA-JOSEPH BYRD, FAMILY, GODZ, BONZO DOG DOO DAH BAND,PENTANGLE,THE INCREDIBLE STRING BAND, SLOVENLY, CHEER- ACCIDENT, TARWATER, COIL,THROBBING GRISTLE, SHAWN LEE, CLUTCHY HOPKINS, JURYMAN AKA IAN SIMMONDS AKA WISE IN TIME+SANDALS, ZOOGZ RIFT, THE BOOKS,NEW THRILL PARADE, CHRIS KNOX , DAVID KILGOUR,THE BATS,THE CLEAN,THE PIN GROUP, CRIME CITY SOLUTION, ROWLAND S. HOWARD,TOM WAITS, VIC CHESNUTT, JOE HENRY, ALEJANDRO ESCOVEDO,THE TAPE BEATLES,THE GUN CLUB, MAGAZINE,THE DENGUE FEVER,THE PAPER CHASE,THE FIERY FURNACES,THE MICROPHONES-PHIL ELVRUM,GARY WAR,RAILROAD JERK, KARL BLACK- SOCK HEADDED PETERS-LEMON KITTENS,THE MUSIC TAPES,THE SHAGGS, BOBB TRIMBLE, FISH AND ROSES, DIABLO SWING ORCHESTRA,POP D`ELL ARTE,MLER IF DADA,TOM ZÉ, WALTER FRANCO,OS MUTANTES,CAETANO VELOSO,MILTON NASCIMENTO, ARNALDO ANTUNES,VINICIUS CANTUARIA,JORGE BEN,CAZUZA,CEREBRO ELECTRONICO,CORDEL DE FOGO ENCANTADO,ROGERIO SKYLAB,OTTO, MOMBOJÓ,CRIOULO,MAX CASTRO, METÁ METÁ, ATALHOS, ROMULO FROES,WADO,ORQUESTRA IMPERIAL, LENINE,APANHADOR SÓ,MUNDO LIVRE SA,NAÇÃO ZUMBI, ALÇEU VALENÇA,ANT- BEE, BILL FAY,RON SEXSMITH,EL GUAPO,DAVID GRUBS,TORTOISE, SAM PREKOP, GASTR DEL SOL,HENRY KAISER,HOME & GARDEN, BOB DRAKE, MY DEAD IS DEAD, AKRON FAMILY, SWANS,THESE IMMORTAL SOULS, UNREST WORK & PLAY,THE TAPE BEATLES,THIS KIND OF PUNISHMENT,SWOLLEN MONKEYS (Ralph Carney) LIARS, SNAPPED ANKLES, CAVERN ANTI-MATTER, GANG GANG DANCE, THE DAMAGE MANUAL,THE BLACK ANGELS,SCOUT NIBLET,DIE FORM,LONELADY,COP SHOOT COP,WAR ON DRUGS,THE MONKS,TIM HUEY,TRACHTENBURG FAMILY,THE TRIFFIDS,THE CRUEL SEA,THE MEKONS,THE METOD ACTORS,THE SOFT BOYS,THE MISTAKES,THE MOUNTAIN GOATS,THE NEW CREATION, BRUCE HAACK, LOREN MAZZACANE CONNORS,GLEN BRANCA,ALBERT MARCOEUR,LOS ANGELES FREE MUSIC SOCIETY, SHELLEY HIRSCH,NEW YORK GONG,THE POLYPHONIC SPREE,LYDIA LUNCH,LOVE, LUCIA PAMELA,FATIMA MIRANDA,SAFETY SCISSOR S,RICHARD HELL & VOIDOIDS, SACCHARINE TRUST, ADAM FORKNER of [[[[VVRSSNN]]] YUME BITSU, ROY MONTGOMERY,RUN ON, LOVELY LITTLE GIRLS,SAFETY SCISSORS, BRIDE OF NO NO,TONE DOGS,TREAT HER RIGHT,TRIPOD JIMMIE,LIFTER PULLER,THEY MIGHT BY GIANTS,GANG OF FOUR,THE POP GROUP, WIRE, JOSEPH K, ORANGE JUICE, RAIN PARADE, THE GREEN ON REED, THE RENDERS,SOUL COUGHING-MIKE DOUGHTY, MAZARIN, KARATE- GEOFF FARINA, SECRET STARS,THE CHURCH, BLANK DOGS, FROG EYES, JOAN OF ARC, PURE X, YUNG WU,WAKE OOLOO, SPEED THE PLOUGH, DRIVE BY TRUCKERS, CAMPER VAN BEETHOVEN, MARTIN NEWELL, ERLAND and The CARNIVAL, CRIPPLED BLACK PHOENIX,CALIFONE,RED RED MEAT, LOW, Eels, LOWER DENS,THE BLACK HEART PROCESSION, KING MISSILE, THE NOTWIST, CLINIC, QUICKSPACE,THE COMSAT ANGELS,THE ASSOCIATES, EZRA FURMAN and THE HARPOONS, EFF BARZELAY, BORN RUFIANS, FERGUS & GERONIMO, CHAIN AND THE GANG-IAN SEVENONIOUS-WEIRD WAR-THE MAKE UP,ESCAPIST,MOONFACE, DEAN BLUNT,COLLEEN,ZERO 7,THREE MILE PILOT,LIFE WITHOUT BUILDINGS, CLOUD CULT,BLACKOUT BEACH,PINBACK,ARIEL PINK,MAGIC HOUR,MAJOR STARS, MAPS & ATLASES, MEGAFAUN,MENOMENA,TAME IMPALA, AMPS FOR CHRIST,ARBOURETUM,TRUE WIDOW,NANA GRIZOL,TIMBER TIMBRE,THE, IMPOSSIBLE SHAPES,THE LOVE EVERYTHING,THE MAE SHI, DEAD SKELETONS,THE SHIPPING NEWS,NEW WET KOJAK,GIRLS AGAINTS BOYS,LES SAVY FAV,GERMAN SHEPHERDS,SILKWORM,DIANOGAH,31 KNOTS,90 DAY MEN, 17 PYGMIES,PARENTHETICAL GIRLS, GUN OUTFIT,VAMPIRE RODENTS, PUMA JAW-PINKIE MACLURE and JOHN WILLS, SLUG GUTS, DOG FACED HERMANS, GOD IS MY CO-PILOT, THE SKULL DEFEKTS, CUL de SAC, PELL MELL, FOR CARNATION, MARVIN PONTIAC, ARIEL PINK, FLAT WORMS, AMEN DUNES, IDDLES, WAXAHATCHEE, WOLF PARADE, SUN KILL MOON, NATALIE PRESS ,CHELSEA WOLFE, SHILPA RAY, INCA SILVER, IBEYI, ANGEL OLSEN,THE COMET IS COMING,SLEAFORD MODS, VAGABOND, SUUNS, MADONNATRON, BIG THIEF, FAT, SHAME, SAVAGES, ICEAGE, OMNI, PARQUET COURTS, WHITE FAMILY, LYDA HUSIK, SHARON VAN ETTEN, dEUS, MITSKI, LAUREL HALO,JULIA HOLTER, MARISSA NADLER, JOSEPHINE FOSTER,TRACY BRYANT, MALE GAZE, TY SEGALL,THEE OH SEES, TYVEK, GOAT, WAND,YUCK, THE MOONLANDINGZ, VIET CONG, OUGHT, ALLAH-LAS,THE FRESH & ONLYS, WHITE FENCE, LAURA MARLING, EMA, PHAEDRA, LHASA, FIRST AID KIT, JANE WEAVER, WYE OAK, CAROLINER AKA CAROLINER RAIBOW ... E gosto de viajar, andar de bicicleta, de comboios, de animais.... não gosto de pessoas superficiais... sem cultura.Gosto de dança, de arte o que quer que isso seja!. Não gosto da monotonia. Gosto de criticar no sentido positivo. Não gosto de sonhar em ficar rico. Gosto do “Vive cada dia como se fosse o último “. Não gosto de despedidas. Gosto de pormenores.Gosto de perfumes. Não gosto de mentir nem que me mintam, não suporto hipócritas.Gosto do mar. Não gosto de quem não acredita em nada e não se importa com nada e tem a profundidade de uma colher... Gosto de viajar, gosto de ajudar e de saber que pude ser útil a alguém em qualquer coisa. Não gosto da efemeridade da vida e da constante lembrança da proximidade da morte. Não gosto de não perceber. Não gosto de atrasos e de quem não é capaz de cumprir as suas promessas, não gosto de quem volta atrás com a sua palavra e ainda menos que voltem atrás comigo. Não gosto da cusquice.Gosto de amigos e da camaradagem, não gosto das” amizades “que se perdem por coisas que no final das contas não significam nada... Gosto de palavras e de conversas sem fim... Gosto de pessoas originais, com humor,com ideias próprias... e com classe. Não gosto de carinho quando estou nervoso.Gosto do campo. Não gosto de seguir a onda.Gosto de coisas pouco claras, mas bem esclarecidas. Gosto de dominar. Não gosto de brincar com os sentimentos dos outros.Gosto de toques e de trocas de olhar, de demonstrações de carinho e de cenas sensuais. Não gosto de ficar bêbado até dizer a verdade. Gosto da grandeza das coisas simples, e gosto de coisas complicadas mas não gosto de complicações... O comum não me atrai, gosto normalmente de coisas que passam despercebidas... Gosto de gostar e de não gostar de tudo isto e muito mais...

[chiseler]

The Old Masters: Kurt Kren

31/75: Asyl / 31/75: Asylum (1975)

Kurt Kren (1929-1998) was best known for his work with the unpleasant bodily-fluid ridden productions of the Vienna Aktionists, a group of Hitler’s children whose post-war adolescence did in art what Ulrike Meinhof did in direct action. The suffocating atmosphere of retooled Nazi industrialists and amnesia with a born-again uptightness produced predictable results: the state must not be allowed to retain a monopoly on violence. How many Blood Order members can you watch, parading sanctimoniously on television, grinning in deathsheads from podiums, telling everyone that they have always been good citizen democrats, without wanting to burn it all down?

The body is alienated by the rigid control systems of Nazi and post-Nazi Germany (a continuum by other means); the invisible bodies of the pulverized dead shadow the plants and office blocks; Tiergartenstraße No. 4, where Aktion T-4 (Aktionist?) was hatched—the extermination of the unfit and insane—is now a bus terminal; tourists marvel at the great modernist IG Farben complex, alone in an otherwise-erased Frankfurt (IG Farben’s American legal representative: John Foster Dulles, who also worked for Krupp). No wonder Kren and his friends Otto Muehl and Herman Nitsch wanted to cut off their fingers and smear themselves with vomit, filming it all straight on, just like the Nazis shot the Warsaw Ghetto.

Kurt Kren

Sitting through works like Kardinal, Self-Multilation, and Sodoma remains a chore, but for different reasons than in 1969, I hazard. The glaring bright colors now reflect Japanese game shows or late style millionaire pop art; the beatings, couplings, spurtings and evacuations have long been appropriated by gross-out horror shtick in mainstream Hollywood, likewise the flashing old film stock and jump cuts. What is left is a past-tense sense of the epic, a lofty Wagnerian pronouncement that the cinema is best equipped to investigate violence and that entertainment is really all just fascism. Shaking off the idea of gesamkunstwerk or the marble atrocities of Arno Breker proved harder than it looked, no matter how true every sickened pronouncement of Aktionist agit-prop was—and it was, it certainly is true.

If the ‘Baroque’ aspect of these films was once part of the attack, it has now become a sign of the long dreary reach of fetishism and managed hypocrisy. The problem with animal intestines, bodies wrapped in metal wire, and piles of soaking flesh is that the arrangement does not mirror the repressed psyche of a generation of sons of Gauleiters, born-again liberal bureaucrats and captains of industry, but a great cathedral of interlinked reactionary problems to be solved hermetically. From this point on, such problems were doomed to become wholly personal—as if the artists were unconsciously terrified of collective nihilism after Goebbels cornered the market. Austria is mainly Catholic, and the confessional is never far away from Aktionist agony. Redemption rears its bestial head—which also implies a second innocence, which is postmodern salvation.

To expose the unreality of what remained of the saccharine and morose Nazi regime via vitriol and bleeding flesh was clearly not enough. After the Aktionists called it quits and retired to their various castles and cultic fiefdoms, the Red Army Faction kidnapped former SS officer, then-CDU member, and Bundesverband der Deutschen Industrie head Hanns Martin Schleyer in 1977. When the German government refused to trade this grotesque relic for four captured RAF fighters (who were mysteriously found hanging in their cells afterward, á la the ANC in South Africa, and also like Ulrike Meinhof, a year earlier, another ‘suicide’—all of which shows the repulsive cynicism lurking under a supposedly ‘democratic’ state), Herr Schleyer was topped and left in the trunk of an Audi. No loss, but tears and outrage flowed from a middle class that forgot that it was a far, far greater executioner in ‘39. The late 1970s were dark, dark, dark. The very outrageousness of their ‘happenings’ show that the Aktionists were suckered in by hope ten years prior. The world remakes itself, oblivious.

The case of Aktionist Kren is more curious and longer lasting than the King Ludwig-like careers of Nitsch and Muehl. His early films were stark or wiggly or frozen: trees, landscapes, little images, people in rooms doing hypnotized screen tests. Unlike his later direction in Sodoma et al, he seemed concerned with the medium’s archaic properties and the possibility of making still-life and landscape political. He returned to this program out of the Aktionist dead end.

31/75: Asyl, from 1975, a sequel to his 1960 3/60: Bäume im Herbst, is one of his best films. More Holbein than Kaspar David Friedrich, it shrinks the epic panorama down to an insect view. Using a simple form of time-lapse photography, a static shot shows farmland and a winding road in late autumn to early winter. By placing various filters over the lens, days pass in globules, wax drippings, thick polluted rain, condensation and gum. A man with a dog goes in and out of frame; the snow melts, it rains; light shifts. Not blood and soil but damp, oily mud like a Turner marsh. And no heroics with geysers of blood, iron crosses and milk, the exegesis of guilt. However, there is certainly something displacing the day here. The status quo of round-ups and tests? Isolation, inner migration? The ‘asylum’ of the title suggests a place of refuge but like in English, the German asyl can also mean a madhouse or political asylum. The film was shot in Saarland, West Germany, under French control after WW1 but returned to Germany in 1935. Saarland is border country, a place of several masters and populations on the move. Kren himself was sent off on one of the Kindertransport to Rotterdam, where he lived until the end of the war.

Wilhelm Reich, in his book The Mass Psychology of Fascism, showed that the mysticism of Nazi ideology was depicted foremost in pretzeled human bodies, a combination of Protestant asceticism and cheap porn cartooned in the figure of the swastika. Before landscape, Fascism uses bulky propaganda to conjure up the Fatherland and recites bad poetry about the holy relation between man, pig, earth and muck. Sacrifice is the Father’s cloying prayer, his own death extended by his sons’ dying—for most fathers in the Fatherland rented their land from wealthy landlords, rented rooms from good Aryans, worked for Herr NSDAP Millionaire Flick. Places of death are used over and over again; their industrial emptiness ensures that no birds sing. No birds sing, but not out of reverence for the dead so much as disgust for the living—the quiet living that made those dead, that signed contracts for transport expediency for a Jew, Gypsy or a Red.

Kren’s view from a windowsill does have some of this void mood, yet he rejects the trap of timelessness in favor of everyday decay. The immortal Frost Gods can only bury dogshit in deep snows, give you pneumonia, cake your axel with mud. The landscape lives on geologically and not mystically. It has beautiful things, extraordinary things, because its own microscopic changes are more fabulous than eternity. Kren’s little film avoids both faces of the same reactionary crisis: that of the epic-making National Socialists, and his own earlier anti-epics that attacked the drapery of the historical fasces. Fall and winter last a little over 8 minutes in the duration of this film, which took 21 days to shoot. The Third Reich was supposed to last for 525,600,000 minutes, which is a thousand years of unreal time. William Blake wrote: He who binds to himself a joy/ Does the winged life destroy.

All of Kren’s films are curious, even his old naughty routines. He moved to America in 1978 and travelled the country, stopping to show his films at universities before finally settling in Texas, where he split his time between Austin and Houston. There, he became a fixture in the punk scene, appearing with some of the best bands of the time, projecting his films behind the noisy vigorous music of Left agitators like Really Red and Culturcide. Always a workman, he made new films while employed as a security guard at the Houston Museum of Fine Arts. He died back in Vienna in 1998.

by Martin Billheimer

Links:

Technical details of the film here:  http://www.resettheapparatus.net/corpus-work/id-31-75-asylum.html

The film @ https://www.youtube.com/watch?v=cblbgbnE1wo

‘Ode to Kurt Kren’, fan video with photos, using the tribute song by his friends, Really Red, recorded 1982: https://www.youtube.com/watch?v=v3_RfD0Qv_k

[jacewilliams1]

From jars to jets: the forgotten story of the Jetwing

It’s that time of year. Crisp autumn weather means it’s harvest time. Backyard gardens enjoyed a good growing season hear in the Midwest, leaving us with an abundance of produce. What hasn’t been used already is being saved by drying, freezing or canning. There’s even a shortage of canning supplies at the local hardware store.

That got me thinking about glass jars and outer space. Stay with me and I’ll explain.

A few years ago, I visited the Wings Over the Rockies Air and Space Museum in Denver, Colorado. Our daughter and her family live in Denver, so it’s a regular stop for us when traveling. The museum is housed in one of the historic hangars that were once part of the former Lowry Air Force Base. Much like the Glenview NAS, the area has now been redeveloped with housing, restaurants, and other businesses replacing the runways. Today, a B-52 bomber sits outside the hangar’s main entrance.

What is that logo doing on a jet?

While exploring the museum, a familiar logo caught my eye, but it was in an unaccustomed place: the nose of an experimental jet airplane. It was the Ball logo that I had seen on canning jars over the years.

So, how does a company go from glass jars to jets?

Curiosity lead me to doing some research. I learned that the company founded by five Ball brothers in Buffalo, New York, in the 1880s had a fascinating history. Family owned for 90 years, the four main components of their core product, canning jars and lids, were glass, zinc, rubber, and paper. This lead to expansion. The brothers purchasing a zinc rolling mill to manufacture lids and then a paper mill to fabricate the necessary packaging. In time, they also acquired tin, steel, and plastic companies.

During World War II, the company shifted their manufacturing facilities to producing shells and machine parts for the military. Near the end of the 1940s, Ball’s businesses became the focus of an antitrust case that ultimately hindered their ability to acquire other glass manufacturers and glass-making machinery, leading to the company’s first ever net operating loss. It became clear that the company needed to diversify in order to grow.

In 1956, the company formed the Ball Brothers Research Corporation in Boulder, Colorado, to build pointing controls for sounding rockets that carried scientific apparatus aloft in sub-orbital flights. The company eventually built seven of NASA’s early earth-orbiting satellites, making them a member of the aerospace industry.

Around the same time, the company was joined by a talented engineer, biplane enthusiast, and skilled aerobatic pilot by the name of Otto “Pete” Bartoe. In 1973, Bartoe (by then President of Ball Research) convinced the corporation to enter into a joint venture with his alma mater, the University of Colorado, to build what became known as the Ball-Bartoe Jetwing, an oddly shaped, single-engine, single-place aircraft with a stubby wingspan of only 21’9”. Bartoe designed it as a “low-key, low-cost” research vehicle that utilized unique design concepts along with conventional aircraft parts that included a Cessna tailwheel, Bonanza wingtips, and a Citation air intake. The idea was to entice military and commercial contracts with its unique technology.

The Jetwing was a jet powered taildragger with a “blown wing” that diverted the exhaust through wing root nozzles over the top sections of the wing’s leading edge to improve short field takeoff and landing capabilities. Its single Pratt & Whitney engine produced 2,050 pounds of continuous thrust. Tests proved that the “upper blowing surface” technology produced twice the lift of a conventional wing of the same shape and size. A secondary “augmentor” wing mounted just inches above the main wing added a low-pressure slot to guide the exhaust across the wing and draw in additional air to increase lift. Large flaps on the trailing edge effectively created a “bend” in the airstream above the flaps, providing a simple use of downward thrust that enabled the Jetwing to fly as slow as 40 mph. Notably, the aircraft lacked a tailpipe.

It looks odd, but it did fly.

The first flight took place in 1977 at the Mojave Airport, with test pilot Herman “Fish” Salmon at the controls. At low speed, the aircraft flew so slowly that Bartoe used his Super Cub as a chase plane.

Following a number test flights, Bartoe himself flew the Jetwing back to Boulder for more testing. The belly tank only held 106 gallons, which required eleven fuel stops to be made enroute. Because of a scarcity of jet fuel along the way, a mechanic chased the flight in a pickup with a container of Jet A in the back.

In Bartoe’s words, “As long as the engine was running, you couldn’t stall it. Landings were interesting: The jet blast came off the deployed flap, bounced off the ground, and forced the tail up. If you reduced power, the tail would come down suddenly, just as the wing was losing lift. But everything happened at such a slow forward speed that it was manageable.”

In 1978, after being unable to attract outside investment, the Jetwing was donated to the University of Tennessee Space Institute. However, interest in the aircraft increased in 1980 when the Navy considered developing it for use on short aircraft carriers. A new series of test flights were carried out. Despite its top speed of 350 mph, the Navy was able to land the Jetwing in a mere 300 feet.

Ultimately, the Navy discontinued blown-wing research in favor of vectored thrust technology. The Jetwing was returned to its original home in Colorado, where it took its place in history among other aircraft at the Wings Over the Rockies museum.

Continued success at Ball led to its expansion into avionics and aerospace systems. In the early 1990s the Ball Corporation spun off its home canning business. An independent company now retains the license to use the Ball trademark on its own canning product line. Now headquartered in Westminister, Colorado, the Ball Corporation no longer makes glass but is a leading manufacturer of plastic and metal food and beverage containers.

Meanwhile, in 1995, Ball Brothers Research Corporation became Ball Aerospace and Technologies Corp., a wholly-owned subsidiary of Ball Corporation. Today, Ball Aerospace continues to develop innovative equipment and services to the aerospace industry.

Long-time EAA member Otto E. “Pete” Bartoe was inducted into the Colorado Aviation Historical Society Hall of Fame on October 30, 2004. He lives along the front range mountains of northern Colorado.

Epilogue: The Skyote biplane

Bartoe designed an aerobatic airplane (foreground) in addition to the Jetwing.

As an aerobatic pilot, Pete Bartoe dreamed of the ideal biplane. Something with the responsiveness and strength of a Bucker Jungmeister and the low-speed characteristics and fuel economy of a Rose Parrakeet. In the early 1970s, Pete designed and built his dream and named it the Skyote (rhymes with “coyote”). Its first flight was in 1976. Stressed to +9G and -6G, it can fly as slow as 38 kts and fast as 137 kts, with a 1,500 fpm rate of climb and a gross weight of 900 lbs.

In 1976, none other than Bob Hoover took it for a test flight and reviewed it for Sport Aviation. He offered this assessment: “I can only say that it was a rare experience to fly an airplane that exhibited such delightful flying qualities, along with an immense amount of creature comfort. The slow flight feature also provides short field performance that makes any little grass strip quite suitable. The Skyote gets off as quickly as a Super Cub—maybe quicker!”

Pete Bartoe’s personal Skyote is on display next to the Jetwing at the Wings Over the Rockies Air and Space Museum. Plans and components for Skyotes are available from Aircraft Spruce, and an active Skyote type club is based in Grayslake, Illinois. At 2016’s AirVenture in Oshkosh, a Skyote built by John Roberts won the Homebuilt Plans Champion Award. Further information and photos can be found at Skyote.org.

The post From jars to jets: the forgotten story of the Jetwing appeared first on Air Facts Journal.

from Engineering Blog https://airfactsjournal.com/2021/02/from-jars-to-jets-the-forgotten-story-of-the-jetwing/#utm_source=rss&utm_medium=rss&utm_campaign=from-jars-to-jets-the-forgotten-story-of-the-jetwing

[lushscreamqueen]

THE VAMPIRE BAT …1933 on the Schlocky Horror Picture Show

OPENING: AAAAAAAAAAARRH (waving arms in the air in a spooky scary way) *COUGH, COUGH* sorry about that. Welcome to the Schlocky Horror Picture Show. I am your host Nigel Honeybone. Star of stage, screen and Halloween costumes everywhere. Tonight we discover the German countryside has scarier things than schnitzel night at your local RSL. A village in terror, people are dying and not in a fun way. Is it vampire bats? Is it something else? Perhaps it's just another mad scientist who needs blood for his experiments. Welcome to the 1933 Classic horror Film THE VAMPIRE BAT...Bwaaa haa haaa *Cough, Cough*

BREAK: Look out!!! An evil blood sucking beast has come to taunt you with its dark desires, and then after the ad Break, The Schlocky Horror Picture Show will return with….THE VAMPIRE BAT.!

MIDDLE: Welcome back to the Schlocky Horror Picture Show… So six deaths in six weeks and it looks like theresidents of Kleinschloss are getting jumpy. But then hey who wouldn't. Looking at this village I'd say 6 deaths is probably the entire female population. No wonder Hermann is a bit loopy. "Bats not bad, is soft Like Cat". But do they taste as good? Herman's eccentricity & simple-mindedness make him the only truly likeable character here. He's most ably played by the legendary character actor Dwight Frye, who played Renfield in the original "Dracula" (1931) & hunchback Fritz in "Frankenstein" (1931) as well roles in "Son of Frankenstein", "Bride of Frankenstein", "Frankenstein meets the Wolf man" "Ghost of Frankenstein" and "The People Vs Dr Kildare" There is a little comic relief provided by Canadian character actor Maude Eburne as Aunt Gusset sorry Aunt Gussie Schnapmann and while she lends very little to the story proper, & indeed, every time she walks on stage the story stops while she performs her shtick. But in a film as slight as "The Vampire Bat" these pointless interludes can be enjoyable, & it is entertaining to see Maude representing a type of stage comedy already old-fashioned in her day.

Burgermeister Gustave Schoen is played passably well by Lionel Belmore who also has a couple for Frankenstein credits to his name. And somehow academy award winning Melvyn Douglas manages to score a role Police Chief Karl Brettschneider. I will point out he won nothing for this role. Not even the respect of Fay Wray as Ruth Bertin, and she is only a few months away from dating the world's biggest Gorilla so being his girlfriend in this flick should be a step up, or is that down? The great Lionel Atwill is superbly cast as Dr Otto Von Neiman. Faye teamed up with Lionel Atwill a couple more times, in 1932's "Doctor X", and "Mystery of the Wax Museum" which closely followed this film. Produced by Majestic Pictures, one of the six Poverty Row studios that, in 1935, merged to form Republic Pictures, The Vampire Bat is one of the better examples of what those studios could do with no budget and when jumping onto a bandwagon. The bandwagon here was the runaway success of Universal's horror movies Dracula and Frankenstein (but not The Mummy, which was released a month after production on this movie wrapped). The inspiration of those two movies is readily apparent in various aspects of the story, as we shall see, not to mention in at least one casting decision. This is an odd little movie. But it's so it's very much worth watching. Lionel Atwill effectively ruined his burgeoning film career in 1943 after he was implicated in what was described as an "orgy" at his home, naked guests and pornographic films. Atwill "lied like a gentleman," it was said, in the court proceedings to protect the identities of his guests and was convicted of perjury and sentenced to five years' probation. After which he wandered off to B grade Broadway productions. And speaking of B grade productions… join me again as we enter the world of "The Vampire Bat"

CLOSING: This is clearly a Poverty Row picture in a lot of ways, and not just the limited number of locations. Filmed at night on Universal's European village set. The interior of Lionel Atwill's house is the set from The Old Dark House and nothing much really happens to advance the main plot. A large chunk of the movie is taken up with hunting down Karl, and The doctor's plan is not explained in a very comprehensible way. His discovery comes not as the result of Douglas's investigation, but more by chance than anything else. Still, this is far better than I'm accustomed to. The movie is moody and atmospheric, and it works hard to give everything a rational underpinning, plus, it gives you an excuse to stare at Fay Wray for an hour or so, which can be no bad thing. So, Thanks for realizing you having nothing better to do on a Friday night than to stay home and watch me, and join me again next week as we see what the postman set fire to and left on my doorstep. Toodles!

by Lushscreamqueen Nov 9, 2008

[1weltreisender]

Sachsen-Anhalt: Das Bauhaus und die Moderne - wichtige Fakten und Stationen

Inhalt: Das Bauhaus Dessau in Zahlen Wichtige Meilensteine des Bauhauses Dessau Wofür das Bauhaus Dessau steht

Das Bauhaus Dessau in Zahlen

1 Seine Zeit am Bauhaus in Dessau war kurz, deswegen konnte der letzte Bauhaus-Direktor Mies van der Rohe dort nur ein einziges Bauwerk hinterlassen. Die Trinkhalle, eingelassen in die Gartenmauer der Meisterhaussiedlung. Die Trinkhalle ist auch heute noch in Betrieb. 2 Die Bauhausmeister liebten den Wörlitzer Park, es sei ihr "Juwel" gewesen, erinnerte sich später Nina Kandinsky, die Frau Wassily Kandinsky. Sobald der Flieder blühte, mietete sich das Paar Kandinsky gemeinsam mit Paul und Lily Klee einen Landauer, eine zweispännige Kutsche, und ließen sich in den Park fahren. 4 Mit ihren vier wohlgeformten Bögen und den riesigen Tierplastiken "Kuh und Pferd" ist die Giebichensteinbrücke ein beliebtes Fotomotiv in Halle. Die Plastiken gehören zu den wichtigsten Werken von Gerhard Marks, eines ehemaligen Formmeisters am Bauhaus. Er folgte 1925 dem Ruf an die Kunstgewerbeschule Burg Giebichenstein.

Mit ihren vier wohlgeformten Bögen und den riesigen Tierplastiken "Kuh und Pferd" ist die Giebichensteinbrücke ein beliebtes Fotomotiv in Halle. / Foto: Ingo Paszkowsky 16 Von den 28 Zimmern im Atelierhaus des Dessauer Bauhausgebäudes verfügten 16 über einen eigenen kleinen Balkon. Dort, wie auch auf den großen Gemeinschaftsbalkonen, spielte sich ein Großteil des studentischen Lebens ab. Man traf sich zum guten Gespräch, gemeinsamen Essen, Musizieren oder Feiern. 23 An Modernität kaum zu überbieten war die Ausstattung der Kantinenküche im Bauhausgebäude. Es gehörte dazu eine Mischbatterie, eingebaute Schränke, ein Gasherd und Stahlrohrstühle, die 1925 von dem damals erst 23 Jahre alten Marcel Breuer entworfen waren. Seine Stahlrohrmöbel wurden zu Design-Klassikern.

Vielfach fotografiert und in aller Welt bekannt - das Bauhaus Dessau / Foto: Ingo Paszkowsky 363 Als in Piesteritz, heute ein Ortsteil der Lutherstadt Wittenberg, ein Stickstoffwerk errichtet wurde, beauftragte man 1916 den Stadtplaner Georg Haberland und den Architekten Otto Rudolf Salvisberg mit dem Bau einer Werkssiedlung. Die Piesteritzer Werkssiedlung diente einst für die mehr als tausend Menschen des ehemaligen Reichsstickstoffwerkes als zu Hause. Salvisberg entwarf eine Gartenstadt aus 363 Reihenhäusern und einigen Einfamilienhäusern. Jede Wohnung verfügte neben Innentoiletten und Badewannen auch über kleine Gärten. Was für die damalige Zeit spektakulär war.

Die Piesteritzer Werkssiedlung diente einst für die mehr als tausend Menschen des ehemaligen Reichsstickstoffwerkes als zu Hause. / Foto: Ingo Paszkowsky Die Wohnungen verfügen über eine Wohnfläche von 50 bis 150 Quadratmetern. Alle Mitarbeiter und auch die Geschäftsleitung wohnten in der Anlage. Damit die leitenden Angestellten nicht getrennt von den anderen Mitarbeitern lebten, werden die Reihenhäuserfluchten immer wieder von anderen Häusern mit gehobener Ausstattung unterbrochen. Die Piesteritzer Werkssiedlung war übrigens die erste autofreie Siedlung in Deutschland. Auch heute achtet der Vermieter darauf, dass sich die Autos der Mieter nur zum Be- und Entladen in der Siedlung aufhalten und anschließend auf dem zentralen Parkplatz abgestellt werden. Im Jahre 2000 zur Expo in Hannover wurde auch die Piesteritz-Siedlung saniert. Heute, nach mehrmaligem Eigentümerwechsel, könnte das Wohngebiet wieder eine Renovierung vertragen. Dem häufigen Wechsel der Eigentümer ist sicher auch geschuldet, dass die Zufriedenheit der Mieter mit ihrer Siedlung abgenommen hat. 1929 Die Feste am Bauhaus waren legendär. Einer ihrer Höhepunkte war das "Metallische Fest", das in einer Februarnacht im Jahr 1929 am Dessauer Bauhaus gefeiert wurde. Die Gäste erschienen als Zinnsoldaten oder Reißverschluss und tanzten, umgeben von Silberkugeln, zu scheppernden Klängen bis in die frühen Morgenstunden. 1930 Sehr nett und modern sei das Kornhaus, schrieb ein Bauhaus-Schüler begeistert an seine Mutter. Ein Besuch der Dessauer Ausflugsgaststätte, die vom Bauhaus-Architekten Carl Fieger entworfen und 1930 eröffnet worden war, gehörte zum festen sonntäglich Freizeit-Programm der Bauhäusler.

Sehr nett und modern sei das Kornhaus, schrieb 1930 ein Bauhaus-Schüler begeistert an seine Mutter. / Foto: Ingo Paszkowsky 2.000 Sie zählt zu den größten architektonischen Flächendenkmalen Europas und gehört mit ihren rund 2.000 Wohnungen zu den wichtigsten Zeugnissen des sozialen Wohnungsbaus in den 1920er Jahren - die Herman-Beims-Siedlung in Magdeburg. Sie trägt die Handschrift des visionären Architekten Bruno Taut, der für die Stadt einen Generalsiedlungsplan erarbeitet hatte. 20.000 ... ... Warmwassergeräte, Einbauschränke und ein zusammenschiebbares Doppelsofa. Walter Gropius hatte sein Haus in der Dessauer Meisterhaussiedlung nicht nur zum Wohnen und Leben konzipiert, sondern auch als Ausstellungsobjekt. Die Besucher kamen in Scharen, allein zwischen 1927 und 1930 sollen es rund 20.000 gewesen sein.

Bauhaus Dessau: Meisterhaus Gropius / Foto: Ingo Paszkowsky

Wichtige Meilensteine des Bauhauses Dessau

1923 Die schon 1923 zu Weimarer Bauhaus-Zeiten von Gropius proklamierte "Einheit von Kunst und Technik", mit der die Schule eine Hinwendung zu industriellen Fertigungsmethoden vollzieht, wird in Dessau umgesetzt. 1925 Im März 1925 beschließt der Dessauer Gemeinderat auf Initiative des liberalen Oberbürgermeisters Fritz Hesse auf Fürsprache des freigeistigen Flugzeugpioniers und Unternehmers Hugo Junkers die Übernahme des Bauhauses als städtische Schule. 1926 Am 4. Dezember 1926 wird in Dessau das neue, vom Bauhaus-Gründer und Direktor Walter Gropius entworfene und von den Bauhaus-Werkstätten eingerichtete Schulgebäude eingeweiht. Parallel entsteht dazu die ebenfalls von Gropius entworfene Dessauer Meisterhaus-Siedlung, in die so berühmte Künstler wie Wassily Kandinsky, Paul Klee und Lyonel Feininger einziehen. 1927 Im April 1927 eröffnet die Architekturabteilung, zu deren Leitung der Architekt und spätere Bauhaus-Direktor Hannes Meyer ernannt wird. Daneben werden die freien Malklassen bei Paul Klee und Wassily Kandinsky eingerichtet, was erstmals eine künstlerische Ausbildung ermöglicht. 1928 Walter Gropius tritt im April 1928 als Direktor zurück, um in Berlin als Architekt zu arbeiten. 1929 tourt die Bauhaus-Bühne in Deutschland und der Schweiz mit den Bauhaus-Tänzern von Oskar Schlemmer. Im selben Jahr wird eine Fotografie-Abteilung aufgebaut, die Fotografie wird offizielles Lehrfach. Der politische Druck auf das Bauhaus nimmt zu. 1932 Am 22.August 1932 wird im Dessauer Gemeinderat der Antrag der NSDAP, den Lehrbetrieb des Bauhauses zu 1. Oktober einzustellen, angenommen. Auch der Nachfolger von Hannes Meyer, Direktor Mies von der Rohe, hatte das Bauhaus nicht mehr retten können. 1976 Die DDR entdeckte das Bauhauserbe erst 1976 wieder. Sie rekonstruierte das Bauhausgebäude denkmalgerecht und gründet das Wissenschaftlich-Kulturelle Zentrum, das unter anderem den Aufbau der heutigen Sammlung der Stiftung Bauhaus Dessau initiiert. 1996... ...wird das Bauhaus einer Generalsanierung unterzogen. Im selben Jahr werden das Bauhausgebäude und die Meistersiedlung in das UNESCO-Weltkulturerbe aufgenommen. 2019... ...feiert das Bauhaus Dessau gemeinsam mit den beiden anderen sammlungsführenden Bauhaus-Einrichtungen in Berlin und Weimar, elf Bundesländern sowie dem Bund das 100-jährige Gründungsjubiläum des Bauhauses. Höhepunkt der Feier in Dessau war die Eröffnung des neuen Bauhaus Museums Dessau am 8. September. Damit ist es erstmals möglich, die wertvolle, etwa 49.000 Exponate umfassende Sammlung der Stiftung Bauhaus, der weltweit zweitgrößten zum Thema Bauhaus, umfassend zu präsentieren.

Wofür das Bauhaus Dessau steht

Dessau ist die Stadt mit den meisten Original-Bauhausbauten: das Bauhausgebäude, die Meisterhäuser, die Laubenganghäuser, die Siedlung Dessau-Törten, das Kornhaus, das Stahlhaus und das historische Arbeitsamt. Jeder Bau steht dabei für sich als Prototyp. Drei Dessauer Bauhausbauten gehören heute zum UNESCO-Weltkulturerbe: das Bauhausgebäude, die Meisterhäuser und die Laubenganghäuser. Das Bauhausgebäude gilt als das Schlüsselwerk der europäischen Moderne. In ihm verbinden sich die Prinzipien des Funktionalismus mit einem herausragenden architektonischen Ideenreichtum. Mit dem Bauhausgebäude wurde zugleich die Vision einer Verbindung von experimentellen Lehrformen und idealer Lebensgemeinschaft, eines gemeinschaftlichen Wohnens und Arbeitens verwirklicht. Die Meisterhäuser, die als eine Art Experimentallabor für das neue Wohnen konzipiert worden waren, sind mit ihren weißen, kubischen Baukörpern und der Verbindung von Außen- und Innenraum bis heute richtungsweisen für die Architektur der Moderne. Die fünf Laubenganghäuser in der Siedlung Dessau-Törten stehen exemplarisch für die Entwicklung des sozialen Wohnungsbaus in der Zwischenkriegszeit, entsprechen aber auch noch heutigen Bedürfnissen. Sowohl das Bauhausgebäude als auch die Meisterhäuser haben ein große Bedeutung als Lebens- und Schaffensort der drei Direktoren Walter Gropius, Hannes Meyer und Mies von der Rohe sowie der hervorragenden Bauhauskünstler Wassily Kandinsky, Paul Klee und Lyonel Feininger. Hier entstanden wesentliche Beiträge für die revolutionäre Erneuerung von Architektur, Kunst und Design. Dessau besaß die über die Grenzen Deutschlands hinaus prominenteste Künstlerkolonie dieser Zeit. In Dessau konnte Walter Gropius seine Idee von der Zusammenführung von Kunst und Technik umsetzen. In Zusammenarbeit mit der Industrie gingen die in den Bauhaus-Werkstätten entworfenen Produkte erfolgreich in industrielle Fertigungsprozesse und fanden eine weltweite Verbreitung. Die Sammlung der Stiftung Bauhaus Dessau ist mit rund 46.000 Exponaten nach der Berliner Sammlung die zweitgrößte Bauhaussammlung der Welt. Wie die von Marcel Breuer in Dessau entwickelten Stahlrohrstühle oder die Leuchten von Marianne Brandt wurden diese Produkte zu Designklassikern, die bis heute Maßstäbe für die Gestaltung setzen. Wie das Bauhaus als Hochschule gearbeitet und gewirkt hat, wie die Ideen entstanden sind, die bis heute unsere Alterskultur prägen - das ist die Erzählung der Sammlungspräsentation "Versuchsstätte Bauhaus. Die Sammlung", die mit der Eröffnung des Bauhaus Museums Dessau seit Anfang September 2019 gezeigt wird. Quelle: IMG Sachsen-Anhalt / eigene Recherche Titelfoto / Seine Zeit am Bauhaus in Dessau war kurz, deswegen konnte der letzte Bauhaus-Direktor Mies van der Rohe dort nur ein einziges Bauwerk hinterlassen: die Trinkhalle / Foto: Ingo Paszkowsky Auch interessant: Das Bauhaus und die Moderne in Sachsen-Anhalt – ein spannender Trip Fotostrecke: Bauhaus Dessau und andere Bauhaus-Perspektiven Fotostrecke: Rathaus Bitterfeld-Wolfen – das Gebäude 041 Fotostrecke: Halle – das Bauhaus und die Moderne Bauhaus Museum Dessau: Neuer Leuchtturm und Treffpunkt von Moderne und Bauhaus Bauhaus in Sachsen-Anhalt: Große Sonderausstellung in der Moritzburg in Halle Sachsen-Anhalt: Bauhaus und Moderne – Merseburg feiert den Meister der „Zollbau“-Dächer   Read the full article

#Architektur #Bauhaus #Bauhaus100 #Deutschland #GerhardMarks #Piesteritz #PiesteritzerWerkssiedlung #Sachsen-Anhalt #Trinkhalle #WalterGropius #Wittenberg #WörlitzerPark

[whenyouworkatamuseum]

And the Thunderdome Champion is...[drumroll]

Your Museum Dance Off 4: A New Hope Thunderdome Champion is... Herman Otto Muzeum of  Miskolc,Hungary!

Congratulations, Herman Otto Muzeum staff! Thank you and a HUGE round of applause to all our Thunderdome competitors for an awesome showdown! But that’s not all! Because there are so many amazing entries, we started selecting Judge’s Choice Awards and additional awards to recognize some of the videos that we really loved.Those awards are going to:

Judges’ Choice Awards - Each Judge selected a museum to recognize as their personal stand-out favorite.

Chemical Heritage Foundation, Philadelphia, PA, USA 

Toledo Museum of Art, Toledo, OH, USA

Museum of Applied Arts and Sciences,  Sydney, NSW, Australia

Best Mission Narrative -  aka the “I Want To Go To There” award. We couldn’t decide on just one, so there are two awards this year!

Canadian Museum of Immigration at Pier 21,  Halifax, NS Canada

Carnegie Science Center, Pittsburgh, PA, USA 

Most Creative - Recognizing the best of choreography, videography, and overall creative force. Again, we couldn’t decide on just one, so there are two awards this year!

Indiana State Museum and Historic Sites,  Indianapolis, IN, USA

The Mob Museum, LAs Vegas, NV, USA

Museum Spirit Award - Recognizing the video that made us say, “These people really love their museum, and you can see it in their faces.” Again, we couldn’t decide on just one!

Chrysler Museum of Art,  Norfolk, VA, USA

Aberdeen Maritime Museum,  Aberdeen, Scotland, UK

{we will be contacting museums this week with a more formal announcement, if such an announcement can be formal!}

Thank you ALL so much for participating! We love that you love this silly idea that has become such an phenomenal experience year after year. Thank you, thank you, thank you - and congratulations to our Thunderdome Champion and Award Winners! 

#museum dance off 4 #museum dance off #mdo4

[handeaux]

17 Curious Facts They Never Tell You About The Tyler Davidson Fountain

Since 1871, the Tyler Davidson Fountain has symbolized Queen City pride, gracing Fountain Square, the civic heart of our city. And yet, as this icon approaches its 150th birthday, many Cincinnatians remain unaware of some of its most curious lore.

It’s a drinking fountain. Yes, the Tyler Davidson Fountain is a work of art but it was designed as a drinking fountain. You can still get a drink from the four statuary spigots surrounding the Genius of Water. The basins under each drinking fountain were intended to provide refreshment for horses and dogs.

Originally, each drinking fountain had an attached drinking cup. Into the 1800s, before the germ theory of disease caught on, all drinking fountains had metal cups on chains for drinking purposes since slurping from a spigot was considered unseemly. At its dedication, the Tyler Davidson Fountain was equipped with specially designed bronze cups. As late as 1987, at least two of these cups were reportedly still chained in place, although cups at other local fountains had been removed for hygienic concerns.

The fountain once provided ice-cold water. Underneath the fountain, as originally installed, was a cooling chamber, filled with ice and lined by a network of 2,000 feet of pipe through which the water for the drinking fountains flowed during the summer months. This underground ice chamber measured twelve feet deep and ten feet square, entered through an iron door in the surface of the esplanade.

The fountain is a monument to Temperance. The Tyler Davidson Fountain is among many Victorian monuments known as Temperance fountains. It was intended to keep Cincinnatians out of the downtown saloons. When Henry Probasco and his brother-in-law and business partner, Tyler Davidson, envisioned the fountain in the 1850s, the only way to get a drink of water in downtown Cincinnati was from a saloon or coffeehouse.

The fountain’s donor ended up broke. Henry Probasco was among Cincinnati’s richest men. As a partner in Tyler Davidson & Co., wholesale hardware merchants, he built a magnificent mansion in Clifton named Oakwood and collected art and rare books. Twenty years after he paid for the fountain, his money was gone and he was beset by creditors. He sold off the house, the books and the art. Only the intervention of friends, who arranged a job as president of Spring Grove Cemetery saved Probasco from complete destitution.

The fountain’s rededication plaque is on display in Green Township. When the Tyler Davidson Fountain was rededicated for its 100th birthday in 1971 a bronze plaque mounted on a pedestal was added, explaining the history of the fountain and the generosity of Frederick Hauck, who paid for the restoration. During the 2006 redesign of the Square, the pedestal was placed in storage, where it was discovered by a representative of the German American Citizens League, who talked the city into donating it. It is now on display outside the League’s museum on West Fork Road in Monfort Heights.

The fountain’s bronze is army surplus from Denmark. In 1864, on his way to unifying Germany, Otto von Bismarck of Prussia defeated the Kingdom of Denmark in a dispute over the Duchy of Schleswig-Holstein. To recoup the costs of the war, the Danes held a national garage sale. The Royal Bavarian Bronze Foundry in Munich purchased many old bronze Danish cannons. Twenty-four tons of this Danish scrap were melted down to create the Tyler Davidson Fountain.

The fountain’s sculpture was considered radically avant-garde. Legend has it that sculptor August von Kreling designed the fountain one beer-soaked evening at foundry owner Ferdinand von Mueller’s house in Munich. Seized with inspiration, von Kreling sketched his concept for a fountain on a tablecloth, using a lit cigar as his pencil – to the horror of Frau von Mueller. The design was radical because it features actual human beings instead of mythological deities or legendary figures. The foundry owner loved the innovation but could not find a customer for the unconventional design until Henry Probasco wandered into the shop 25 years later.

Fountain Square is, technically, one of Cincinnati’s public markets. Sometime before 1815, a market was constructed along Fifth Street when that thoroughfare was essentially the northern boundary of the city. By the 1860s, the Fifth Street Market was occupied almost entirely by butchers and almost everyone agreed it was pretty disgusting. When Cincinnati decided to build Fountain Square on the site, the butchers sued and their case went all the way to the Ohio Supreme Court. The butchers lost and, three days later, the city sent an army of workmen, guarded by a battalion of police, to demolish the old market. The butchers claimed that an early deed mandated that the location was to be used as a market in perpetuity. The city obliged by installing a little metal cart for selling flowers. Every year, the mayor ceremonially bought one flower, for one cent, to maintain the terms of the deed.

Fountain Square once featured public potties. Old photos of Fountain Square show a massive metallic pillar at the eastern end of the esplanade. This structure was functional as well as decorative – it provided ventilation for a “comfort station” or public restroom installed under Fountain Square in 1907. The downtown restrooms were so successful that the city built some more at Peeble’s Corner in Walnut Hills.

A prehistoric earthwork once covered Fountain Square. Robert Clarke, in his book about prehistoric earthworks constructed by ancient inhabitants of the Ohio River valley, described a huge elliptical mound extending from the west side of Race street nearly to Walnut, and from a little above Fifth Street to a little below Fourth Street. This mound appears on Daniel Drake’s 1815 map of the city.

You can find a piece of the fountain in England. Although Ferdinand von Mueller (often Anglicized as “von Miller”), director of the Royal Bavarian Bronze Foundry, gave Henry Probasco exclusive right to the designs created by August von Kreling for the “Genius of Water” and associated sculptures, he did sell one piece to another customer. A copy of the young woman giving her father a cup of medicinal water was erected in 1885 near London Bridge. Ten years later, it was moved to Clapham Commons, south-west of London within the Borough of Lambeth, where it overlooks a drinking fountain to this day.

The hands of the Genius of Water are replacements. When originally installed, the Tyler Davidson Fountain was supplied by two different sources of water. The drinking fountains pumped water from the normal city pipes running along Fifth Street. The decorative fountains up above got a direct feed from the huge water tanks once located atop Mount Auburn. That high pressure made a spectacular display, but also carried along a lot of mud which, in less than a year, clogged up the fountain. A clumsy plumber in June 1872 attempted to improve the flow by reaming out the delicate openings in the hands of the Genius of Waters. The result was a disaster, with waterfall-like spumes deluging the esplanade. The Royal Bavarian Foundry had to send replacement hands for installation. It was reported that the original bronze hands were donated to one of Cincinnati’s medical colleges.

Henry Probasco donated another landmark fountain to Cincinnati. Well, technically, Probasco donated a fountain to Clifton, which was an independent village at the time. Probasco served as mayor of Clifton before that suburb was annexed by Cincinnati and his grand estate, Oakwood, is located there .Probasco’s second fountain is located on Clifton Avenue at the intersection with Woolper. The Clifton Probasco Fountain, bronze and 10 feet high, is designed to allow comfortable drinking by humans, horses, dogs and birds.

Cincinnati has another sculpture cast at the Munich foundry. The bronze statue of a Civil War soldier known as “The Sentinel” in Spring Grove Cemetery was also cast at Ferdinand von Mueller’s Royal Bavarian Foundry. It predates Fountain Square. The lonely soldier was sculpted by Randolph Rogers and cast in Munich in 1865.

In honor of Henry Probasco’s gift, Fifth Street was renamed Probasco Place. Almost as soon as the Fifth Street Market was demolished, Cincinnatians began referring to that portion of the street as “Probasco Place.” City Council attempted to make the name official after the fountain was dedicated in 1871 by asking the city solicitor to draw up an ordinance extending the designation from Vine all the way east to Main. Although the newspapers and several businesses referred to “Probasco Place” in print until 1880 or so, usage eventually drifted back to “Fifth Street.”

Nobody really knows who the naked woman is. Way back in 1875, just a few years after the fountain was dedicated, Mr. Daniel J. Kenny, an advertising salesman for the Cincinnati Gazette, published a remarkably useful book titled “Illustrated Cincinnati: A Pictorial Hand-Book of the Queen City,” within which he opines that the semi-nude woman leading her joyfully unclothed boy to the bath is, in fact, Thusnelda, wife of Arminius (aka “Herman the German”) who defeated Rome’s legions at the Battle of the Teutoburg Forest in 9 A.D. Which is all well and good, but there is a competing theory that this maternal beauty represents one Lola Montez (aka Marie Dolores Eliza Rosanna Gilbert, Countess of Landsfeld) an actress of Irish and possibly Spanish extraction who was the mistress of King Ludwig I of Bavaria, who was the patron of Ferdinand von Mueller’s bronze foundry. The bottom line is, sculptor August von Kreling didn’t tell and isn’t telling.

#fountain square #tyler davidson fountain #henry probasco #thusnelda #lola montez #agust von kreling #ferdinand von mueller

[homregeszet]

Lassacskán befejeződnek az egész éves nagyberuházásokhoz kapcsolódó terepi munkálatok, és kezdetét veszi a irodai kattintgatós-pötyögős feldolgozás (egy kis digitalizálás, egy kis fotó válogatás…). Bár néhányunk lehet, hogy befizetne egy kis téli-álmos-kuckózásra is az egész éves hajtás után 🤭 Az újabb beszámolókig pedig álljon itt e kép, hogy hol is leszünk megtalálhatók az elkövetkező pár hónapban :) 🍂🌨️

#régészet #hermanottómúzeum #miskolcimúzeum #miskolc #múzeum #magyarrégészet #homregeszet #Ősz #autumn #colors #photography #muzeum #museum #herman otto museum

[orendarecords]

Los Angeles Vocal Group Voxfire Re-Invents Medieval Music On Their Latest Release "Fontis"

Take songs from the Middle Ages and present them using the heavenly voices of three female singers plus a pair of musical-genre-crossing instrumentalists and you have the group Voxfire and their new modern-meets-medieval-mashup recording, FONTIS, on Orenda Records.

FONTIS represents a novel collaboration that stretches back ten centuries to reimagine words and music from the chapels, churches, courts and countrysides of Spain and France in the Middle Ages, by spotlighting today’s technologies and instrumentation.  The result is a timeless trip allowing listeners to enjoy the essence of passionate music from nearly a millennium ago transposed into a relatable contemporary musical setting.

The members of Voxfire are founding-vocalists Samela Aird Beasom, Christen Herman and Susan Judy, plus instrumentalists and arrangers Nick DePinna and Ross Garren.  On FONTIS, each of the vocalists sings lead or solo on a pair of tunes, but also sings in unison or harmony on other pieces, as well as supplying a dash of instrumental support here and there (there is one instrumental track).  DePinna performs on trombone, ukelele, piano, synthesizer, percussion, live effects processing and more.  Garren plays piano, harmonica, electric piano, organ, synthesizer, accordion and other instruments.  The group is joined by special guests Hitomi Oba on saxophones and flute, Jens Kuross on drums, Noah Meites on trumpet and flugelhorn, and Mark Beasom on percussion.  FONTIS was produced by Grammy®-Award-winning Peter Rutenberg.

“We’re not musicologists,” explains Susan Judy, “but we do all have a love for what is usually described as ‘early music,’ and all three of us singers have studied and researched early music and performed it in a variety of groups and contexts.  We really enjoy presenting music that most people do not commonly or ever get to hear.  ‘Once a good song, always a good song’ – as the saying goes – and we feel it is worth revisiting some of the greatest songs that originated hundreds and hundreds of years ago.”

The 13 tunes of FONTIS are sung in several medieval dialects that were spoken in Spain and France in the 12th-to-14th-centuries – Latin, Galician-Portuguese, Provencal-Occitan, Ladino (Judeo-Spanish), and Arabic.  The songs include church chants, secular troubadour tunes, music pilgrims might sing on religious treks, and romantic compositions – some with known, but more often, with anonymous writers.  Lyric translations and details about each piece are available at the Voxfire website.  But the appeal to modern listeners is much more direct and comes from the incredible beauty of the voices of three women soaring together and separately in a manner that evokes the passion, fervor, drama and deep-rooted feelings that the composers and singers imbued into the music in the distant past.  Backed with modern sophisticated instrumentation, the music is elevated to a new level and becomes more universal in its appeal as elements of jazz, folk, classical, pop-rock, new age and avant-garde are heard.

More information on Voxfire is available at their website (voxfire.band) and their record company’s site (orendarecords.com).  Their FONTIS CD and digital download tracks from that recording are available at online sales sites such as CDBaby, Amazon, iTunes, eMusic and many others.  The music also can be heard (and Voxfire can be followed) at many major streaming platforms such as Spotify, Pandora, Apple Music, Google Play and more.

Founded as a soprano trio, Voxfire has performed extensively in concerts and festivals throughout the United States. The trio was initially inspired by the meaningful words and transcendent melodies of the 12th-century abbess and composer Hildegard von Bingen.  Their earliest appearances presented music by von Bingen, Machaut and other medieval composers, later broadening to include the Baroque Era, often using instrumental accompaniment of each period.  Two Voxfire recordings emerged from this repertoire – Songs to the Virgin and the live-performance collection Echoes.

In concerts Voxfire also has explored 20th-century repertoire, with performances of virtuosic pieces, such as Steve Reich’s Tehillim, as well as compositions written specifically for them.  Eventually Voxfire expanded their focus to include non-western instruments and world music.  In a Maria Rosa Menocal-inspired exploration of the Arab-Andalusian era, Voxfire collaborated with the Kan Zaman ensemble to do a series of concerts featuring songs from 14th-century Spain highlighted with Middle Eastern instruments including oud, Turkish clarinet and hand-drums.

“We have an affection for the 14th-century songs from that concert series,” says Susan Judy, “because the songs came from an interesting era, a time of relative religious tolerance, a mixing of cultures and a flourishing of the arts. They also lend themselves to improvisation, because so much of what they actually sounded like is shrouded in mystery and up to the modern performer to interpret, and we thought the music would make a good recording.”  “We also felt we had to take the next step in our evolution as a group which was to make the music even more enjoyable for today’s audiences by using modern instrumentation and increasing the level of improvisation,” adds Samela Beasom.

“In 2015,” says Christen Herman, “we began working with two excellent musicians -- Ross Garren and Nick DePinna – who were versatile in a wide variety of styles, which was just what we needed.  I always loved these ancient tunes in their original forms, and I was excited to see what would happen when we put them into the hands and minds of Nick and Ross.  Nobody had ever done this before.  Turns out what they created totally blew my mind!  As we began collaborating, they expanded our arrangements and shattered the boundaries of what was possible for us.  The culmination of this was an explosion of ideas, a new sound and a new album, FONTIS.”

Ross Garren continues, “This project allowed Nick and me to stretch in all sorts of unexpected directions.  With a primary focus on ‘reinvention’ and only a handful of constraints, we went wherever our instincts took us.  This has to be the most eclectic concept record I’ve ever been a part of and I’m thrilled with what we’ve created!”  Samela Beasom laughs and adds, “Yes, and you can’t just listen to the first 30 seconds, because you never know what’s going to happen – each track is a seven-course meal!”

The five members of Voxfire each bring a wealth of musical background and exemplary prior performances to the group.  In fact, the singers had often performed with one another in pre-Voxfire settings.

Samela Aird Beasom began her career as a soloist in Renaissance and Baroque repertoire, touring extensively throughout the United States and Japan with the Roger Wagner Chorale. She has since been featured with numerous other Los Angeles-based ensembles, including I Cantori, Los Angeles Master Chorale, Los Angeles Philharmonic New Music Group, and L.A. Opera, for whom she has performed in over 100 productions.  Beasom has been a featured soloist at the Carmel Bach, Santa Cruz Baroque, Corona del Mar Baroque, and Ojai Festivals, and was one of the founding members and primary soloists of Musica Angelica Baroque Orchestra.  Her extensive studio work includes sessions for composers Hans Zimmer, Danny Elfman, James Horner, Jerry Goldsmith, James Newton Howard, Thomas Newman, and John Williams. 

Christen Herman has appeared as a soloist with numerous ensembles including I Cantori, Musica Angelica Baroque Orchestra, Paulist Boy Choristers, Los Angeles Cambridge Singers, Millennium Consort, and Artists’ Vocal Ensemble.  She was featured in Long Beach Opera’s production of Charpentier’s The Imaginary Invalid, and in I Cantori’s production of Hildegard von Bingen’s chant-drama Ordo Virtutum in the lead role of The Soul. Recently, she performed with Tonality, a new vocal group dedicated to promoting social justice. Festival and series appearances include the Ojai, Santa Cruz Baroque, and Los Angeles Bach Festivals; Music at St. Matthew’s; Music at Armand Hammer Museum; and the Colly Soleri Series at Arcosanti.  In addition to film score solo and ensemble singing, she has performed and recorded premieres of works by Steve Reich and Joan La Barbara. 

Susan Judy has appeared as soloist at a variety of festivals and series including the Ojai, E. Nakamichi, Santa Cruz Baroque, and San Luis Obispo Mozart Festivals; Berkeley Festival and Exhibitions; the famed Monday Evening Concerts at Los Angeles County Museum of Art; and the Skirball Center and Diljian Chamber Music Series.  She has debuted a number of new works, including west coast premieres by Steve Reich, John Adams, and Otto Luening, and as a soloist with the California E.A.R. Unit.  She performed for many years with Los Angeles-based ensembles Musica Pacifica, I Cantori, and Musica Angelica as a soloist, and as a principal in staged productions of medieval and Baroque works.  More recently, she sang with the Los Angeles Master Chorale, Millennium Consort, the Los Angeles Chamber Singers & Cappella, and American Bach Soloists.

Composer and multi-instrumentalist Nick DePinna studied music composition at UCLA and completed his M.A. there.  He counts James W. Newton, Paul Chihara, David Lefkowitz, and Kenny Burrell among several important mentors.  DePinna’s compositions and arrangements are performed with regularity by professional ensembles and universities across the country.  His independent film and commercial scores are frequently heard on HBO, NatGeo WILD, Fox Sports, VH-1, and CMT.  In addition, his orchestrations and music productions air on the Disney Channel, Disney Junior, Lifetime, and ABC.  A versatile trombonist, Nick has performed and/or recorded with many top artists including Brian Setzer, Kenny Burrell, Gerald Wilson, Jon Jang, John Daversa, Long Beach Opera, Pasadena Pops, Moses Sumney, Jerry Lee Lewis, Kenny Loggins, Dream Theater, and M83.

Ross Garren – best-known as a pianist, harmonicist, and composer – received his B.M. from USC where he was named Outstanding Graduate in Composition.  He is a member of the duos Garren & Cohan and the Sheriffs of Schroedingham, and has his own solo project, Taggart.  Named a Sundance Institute Music and Sound Design Fellow, Ross has also been awarded three ASCAP Young Jazz Composers Awards.  He has arranged for B.B. King, Haim, and Lyle Workman, and has performed on numerous recordings with artists such as Kesha, Ben Folds, Lupe Fiasco, Jim Keltner, Benmont Tench, and for composers Marco Beltrami, Alf Clausen and Mark Mancina.  Ross has served on faculty at the Musician’s Institute and as an expert guide on David Barrett’s Bluesharmonica.com. Ross’s film score work includes CMT’s series Sun Records, and Love and Crashing on Netflix.

“Expanding the group to five members was the perfect move for us,” says Samela Beasom.  “Especially entering the realm of improvisation was new and exciting.  Because Ross and Nick have a lot of jazz improv in their souls and seldom play a solo exactly the same way twice, the way in which we prepared and rehearsed for the recording was fresh and challenging. On some of the tunes we tracked parts separately, but on others we all laid it down live in the main studio.”

“Finding working scores for this music is easier than it used to be,” Susan Judy explains. With today’s internet breadth and access, transcriptions can be found now that everyone used to have to dig up in dusty corners of university libraries.  Over the years, we’ve done a lot of transcriptions and transpositions ourselves from updated ancient chant notations, for example – but we’ve left instrumentation up to the players, who generally must create their own accompaniments based on their own research. 

“Regarding the instrumentation,” Nick DePinna muses, "Ross and I are both performers and producers/arrangers, so naturally, we each play a LOT of different instruments.  It was really fun to go through our studios together to pick out the most mismatched and goofball combinations of instruments to use on these arrangements of very old and very beautiful songs.  One of my favorite moments is on "Tu Secreto" where Ross had the idea for me to pick up a pair of plastic toy trombones to create some really zany sounding parts sliding around all over the place."

The FONTIS album begins with the title track and its lyrics are a riddle-like text describing a ruler’s strong leadership flowing from a source of wisdom that must be tended with care.  “Vella e Mina” and “Sen Calar” are ancient Christian praise songs honoring the “Holy Mary.”  “Ondas” is a lament sung as if by a mournful maiden asking the sea if her loved one will ever return.  A noble lady with a broken heart and wounded pride rebukes her faithless lover in “A Chantar.”  “Laudemus I,” “Polorum” and “Rosa das Rosas” were all sung by travelers making pilgrimages to shrines of the Virgin Mary, often using the simple techniques of call-and-response and round singing.  “Esta Montana” chronicles a heartbroken woman sitting on a mountainside growing more and more desperate, despondent and, at last, sorrowfully resigned.  “Laudemus II” revisits the melody of the original vocal version in a new and mysterious telling and serves as the only instrumental tune on the recording.  “Ya Viene” tells the sad tale of a group of slaves being led away with the procession going by one slave girl’s home where her mother wails in agony.  “Tu Secreto” (originally in Arabic, and also translated into the Judeo-Spanish language of its time) has its message sung by a group of courtesans saying: “Don’t divulge your secret because the enemy is watching you.”  The album ends with the timeless story of “Por Deus” in which a young girl pleads with her parents to allow her to go to town with her girlfriends in hopes that she will be chosen by the man of her affection and will live happily ever after.

“The title FONTIS means ‘source’ in Latin,” according to Christen Herman.  “It also means ‘water source’ or ‘fountain,’ and we all loved that metaphor for the music on this recording.  For us the meaning of FONTIS as an album title is that it represents the source of the ancient words and melodies now pouring forth in a new way into a new era.”

[guidesofberlin-blog]

Background

Preview

In this tour we will tell the amazing story of the Berlin Jewish community. A community that since modernity and the emancipation of the Jews on 1815 became one of the most infulintial jewish communities in the world. A community that reform Judaism and also in had universal scientific and spiritual advancements.

We will visit the old center of this community, the schönenvierttel and Spandau vorstatt in mitte quarter of Berlin and also see the grave of the father of liberal modern Jewish community in Germany, Moshe Mendelson, we will see the front of the big synagogue of the Jewish community that was the biggest synagogue of the world. We also visit the holocaust memorial and some other memorial form the second world war: the Rosenstrasse memorial and also the Kinder transport memorial.  

We will also visit a museum that was build for the most famous Righteous among the nations- Otto weidt , a blind brush manufacture that saved Jewish people from Berlin!

 The Story of German Jewry

We have evidence for Jewish communities in Germany even from the time of the Romans, but during the middle ages we have a really significant one developing in south Germany and on the rhine river the SHUM communities , Shapira, magnaza and vermaiza. Rashi was studying their at one of the students of rabeno gershon, it was the spiritual center of the Jews in that time, but those communities were destroyed in the time of the crusades and that we see a move and immigration the east Europe.

In berlin in that time we don’t have nothing, it was a small slavic village, Only later, during the 12 and 13 century we see evidence of Jewish communities in Spandau And some other place in berlin. It was small settlements that didn’t left much evidence.

A big and substantial community in berlin, we see only after the 30 years wars (1618-1648), between Catholics and protestants , berlin was the destroyed and the prince from Brandenburg brought,  50 rich Jewish families from Vienna. and some others are coming from the east, the was the foundation of the modern magnificent community of berlin, again probably the most influential community of the world from the second half  of the 19 century till the nazi took power, significant part of the advancement of Germany in the beginning of the 20 century is because of this community.

Friedrich the great, the king of Prussia (1740-1786) that Berlin is its capital, probably the most important king of Europe at that time gives the Jews some rights, but mainly for the Jews he needed, like his treasure minister Efraim thathis luxusiurs villa still exist today in berlin.

The Jews were divided in Prussia to Courtyard Jews or patronage Jews- Jews that were essential to the economy and power of the kingdom. The others are not important to the economy and were "tolerated Jews", cantors, Rabis, Bochers and so on. The courtyard Jews were allowed to pass their rights of patronage only to one child.

Jews were not allowed to buy cattle but allowed to buy horses. Not allowed to produced Alcoholic beverages only kosher wine.

In 18 century we have almost full , at least formal emancipation at 1812, the community of berlin is starting to develop rapidly but also facing huge crises of conversion to Christianity, its pretty tolerant compare to that time and we see a development from 2000 Jews in 1743 when Mendelsohn arrived to berlin to 160,000 in 1929, most of them fully assimilated in German life, regular Germans.

but still they cannot bit the prejudice and cannot really promote themselves In the academy and others realm in society (they cannot be officers in the army). Because of the past the Jews are not holding land so there are no Jewish farmers and traditional occupations or professional hand workers, and they get the best education , thing that put them straight in the new developing bourgeois class as academy scholars , medicine doctors , lawyers, accouters and other good income positions.

In the end of the twenties, the Jews are 30 percent of noble prize winners of Germany , 40 percent of the stuff in medicine faculties,50 percent in mathematician, the Jews are only 1 percent of Germany and 4 percent of berlin 4,000,000 berlin population, the success in staggering.

the Jews are really proud German and volunteer to the combats in the first world war, 12,000 Jews died, but the war brought economical disaster on Germany and Jews are to be blamed, they were easy target,

 The demise

Than the Nazis took power and Jews were immediately ostracized, 1933  in may they  the burning of the books, 1935 the Nirenberg laws, some of them you can still on signs as evidence in Bavarian Jewish quarter. 1938 the night of the broken glass where most of berlin Synagogues are burned, and ofcourse later the total demise of the 560, 000 community of Germany and of Berlin 160,000, after the war we have few thousands in Berlin, we have first official Minyans , two months after the end of the war.

that are being abolish from universities and hospitals , they are not allowed to hold any of the bourgous occauptions , and force to sell their business later they the propertiy was taken from them like the deporations from berlin.

 The seconed hit came from Nurnberg laws, special bunches , there not allowed in cinemas and even to hold a dog ,in  1938 there 200,000 Jews leave Germany

https://he.wikipedia.org/wiki/%D7%90%D7%A8%D7%99%D7%96%D7%A6%D7%99%D7%94

But Hitler was not satisfied enough form the progress of and organized the Kristal nacht, on the first of the crystal nght, or the broken glas night, after that 150000 leave more

in the night of the broken glass , thousends bussiness were damaged, 10,000 jews arrested, 14 synagouges in berlin are burning, 1000 in Germany are burning

https://www.youtube.com/watch?v=GSC3H9ZJJ5w

Some jews cannot belive wahts going on around them, germany is being kiddanped In forn of their eyes, the max and Martha liberman story.

200,000 are still in Germany, most of them will die in the camps.

90,000 jews managed to leave for the berlin community , 60,000 were killed after the war 8000 jews from mix marriage, some from concentration camps and some were hiding during the war

The magnificent jewish community of berlin is gone, size of the biggest cemetary in the Europe for jews show the magnificence of the jewish community till the Nazis we have 90 thousands graves, in 50 years Was opened in 1980, today almost 120,000 graves,

When the wall is falling we have only 26000 jews in Germany, today 250,000 most of the from Russia

     Grunawald

Open in 1879, first deportation is 18 October 1941, 1013 Jews, continues to gethos lodge, waeshaw and Riga, many are sent to tersinstatt, in 1942 straight to Aushwitz.

Also potliz and anhalter.

Among the Jewish German teresinstat was the most famous for thegerman , many artist and intelctuals sent there , they even had a library with 60,000 books, the german had priority among the jewish and when germans were sent to the east , east people were killed to give them place!

The first memorial was established at 1987 by evangelist women, the railroad and the writing . 2011 they add the birnen from aushwitzת The last transport, goes in april 1945

Karol bronitovski , a wall with the shadows of human beings

The bourgoug occupation didt play well for the german, because when they arrive to the gethos there not need to laywesr accounters and business man, mostly there was a need to hand workers

Around 50,000 jews that was sent to the concentration camp are appearing on a wal +1200 jews that committed sucide during the time of the Nazis in the neu synagouge

Max alsberg, victor baum, karl and dietrich bonhoeffer, Isadora Duncan, lion feuchtwagner

Smauel fischer, carl Furstenberg, maximilian harden, engelbert humperdick

Alfred Kerr,Fritz Kreisler,Lilli lehman,Franz von Mendelson,Friedrich Whilhelm Murnau

Max planck,Walter rattenau,Max Reinhardt,Ferdinand Sauerbruch,Herman Sudermann

Hans Ulstein

          Kinder transport

After the night of broken glass, its pretty understood there is no place for jewish life in Germany, haim weizman that was connected to british govermant and with Herbert Samuel try to arrange a reception of Jews in Israel, but this is not possiable, Israel is in turmoil because of the Arab rebellion, the British don’t want to change the delicate balance.

Eventually they manged to coordinate a reception of 12000 kidss inEngland by foster families, they negotiate with the Gestapo, and the Gestapo approach the Jewish community and they arrange the list, kids where sent from Vienna, berlin, Danzig and other places ,

The first one was leaving berlin only 3 weeks after the night of the broken glass, 1 December 196 kids from an Orpahnge that was destroyed by the Nazi, the last is in September 1940 from Germany.

All the kids arrive to foster families, some to institues and other to Families that took advantage of them as servants, most of them didn’t really realized that their parents are saving there life and felt abounded

They had to be under 17 ,1000 of them even join the British army and fought later against the Nazis.

In 1989 , an association was opened for the kinder transport, this association deals with connection between those kids and charity activity.

Today there are memorial in 5 place- where the kids sent from: Berlin, viena , praug and Danzig, and where they went trough the port of Roterdam and where they arrive to Manchster station in London

            Rosen strasse demonstration

the Gestapo goes to last operation to arrest Jews, and he arrests Jews that were married to Arian women, they worked in the war industry in Germany, there women come here and start to demonstrate, 98 percent of the Jews who survived in Germany were Jews that there wife stick to them, divorce or death of the women means deportation.

This happen after Stalingrad battle, the defeat of the German is devastating, and they really afraid of civil resistance in the Germany, we have students in febuary distribute flyers against the Nazis , and the atmosphere is very fragile in Germany.

In February the Gestapo is gathering 1800 Jewish man in Rossen strasse in a  building that was Jewish center for social welfare and now used by the Gestapo, the aim was not clear as it was to send them to the concentration camps or transport them elsewhere.

The woman are starting to gather in the place slowly slowly and demand to release their husbands. The demonstration is getting bigger and bigger eventually we talking around few thousands of people demonstrating to release the people in the house, machine guns were pointed toward the women in a certain stage , but they insist and shout to the Gestapo : murders!! Murders!!,  eventually the Jews were released even 19 were brought back , there were in their way to Auschwitz,  this protest was a bit different from the other Nazi resistance because it couldn't be defined as a betrayal , but something from the heart.

Gaboles mentioned this event in his diary , in may he declare berlin as jewish free, while ignoring the 1800 man.

The memorial was done by Ingburg Anzinger , east german artist, the statue called "the women block" was put there in 1995

"the power of the civil resistance, the firmness of love won the violence of the dictatorship"   bring us our husbands back , women stood here defeating death, Jewish men "realsed".

        Hacksher hoffe

We said we have development of Jewish community in berlin after the 30 years war, we have another concentration of Jews in other parts in the city, there are all over the place, but here were the first concentration, 30,000 in this place and surroundings streets , Geiger, mendelson , and regina yones lives here , in the time of communism this was totally abounded , and than the wall fell some of the building were abounded ,than came the hipis and after came the students! And than came the yapis, this is today totally renovated and used as a center of yapi shops, theather and some other things. but soon we will see a yard that was left like time has stopped, this is the biggest closed yard area in germany

Jews work in workshops and in basements, the poor from the back and the reach in the front!

In all the area  function welfare institutes in a high level- old people house , soup kitchen and hostel , that supported new Jewish immigrants that fled the pogroms in pale of settlement in Russia, 2 milion Jew leave this area small part come to germanys (ost juden) , in the area almost 300 hunderts instituations

Swarrzburger yard

The passions the book ignites suggest that everyone owns Anne Frank, that she has risen above the Holocaust, Judaism, girlhood and even goodness and become a totemic figure of the modern world—the moral individual mind beset by the machinery of destruction, insisting on the right to live and question and hope for the future of human beings

            Otto weidt

a reach industrialst, born in 1883in rostock, was a pacifist, has few workshop for brushes and has a contract with the nazi, he has 35 workers most of them blind or deaf , the blind people had good (hus mishus)so they can easily lehashil the wire into the wodden base , he plays with the getapoo showing obideince by starting each profffetional leeter with "heil hitler" , eventually from all the workshop only 5 survive,but he is very persistent

he was not allowed to have jews in the office but still hey occupy them, the gastapo visit were alrted and they hide when they came

in the 27 febuary, all the workers are being picked up at home, from that time only few people were occupied by otto weidt

there some really interesting stories around the otto weidet workshop  like Hedwig purshutz she was a hore that was occupied as a machsenait by he workshop and hide few jews at her place like the sister Bernstein,  know she was arrested by the gesstapo in the charge of collecting food, and hold 18 maonth in custody since October 1944

in the fities the senate of berlin was given medals to people that saved jews and didn’t want to honar her because she was a hore

after his workers are being deported, otto weidt send packages to his workers , more than 100 to teresinstatt

 allis licht wanted to study medicine , but already in 1933 she couldn’t,  she work as seceratry for ooto weidt, and some say they had an affair, in October 1943 she is sent by the Gestapo  to teresinstat and six month later to aushwitz, otto weidt goes to auswitz to offer his brushes to the camp, he found out that she is in another small camp near by in the name of Christianstatt, a staleitecamp of gross rosen. Otto weidt going there and find a polish worker to send her a meassage, by the help of a polish worker, he left her cloths, money and medicine, alis licht manage to escape while the Russian are approaching and german disassemble the camp, she manage to arrive back to berlin and spend the time in otto weidt apprtment,she leave to America in 1946

inge deutschkorn, the father of inge deutschkorn was a je wand a social demokrate, he immegrated to England but his wif, ela and inge the dauther didn’t mange to come after him , she worked in a silk factory wouded on perpes her leg and after a hint approached ooto weidt workshop and he recived her as a worker, she worked for ooto weidt two years , he forged for her documents, there were hiding by gomz family, they were leaving later in postdam with forge identification with the name richter,in sommer 1949 they moved to England and unite with the father

  hans israelovotch , held fake idea till the end of the war, and before the fabric action was held in rossen strasse his mother was one of the demostrators

the siter bernstein, mariana and analize, there father was a banker that had to quit by his non jews partnetr, and commit suicide in 1933

anlize was trained as toferet and marriana that was blind was trained by otto weidt, there mother was deported in 1942, they decide to hide, Hedwig porschez , a hore that was also occupy as machsenait by otto weidt hided them in her apprtment in alexanderplatz (she 4 pepole at the same time in her apartment) in the sommer of 1943 a couple was arrested in the building and they had to leave but Hedwig continued to smuugle food for them, they actually moved form a place to place , somtime sleeping in garden in the night, they left berlin eventually pretending that they are orpahnge, that lost there parents in the bombings, thez

and hided by farmers in berslow

1946 they immigrated to usa

Horn family , chiam and max were occupied by ooto weidt, chaim had a brush factory in Brandenburg am hafel and than had to sell it after 1933 so they moved to berlin

In 1943 they were afraid from deportation so they asked otto weidt to hide them , he orginiye a room witout windows , in the day they worked in the work shop, rolf issekson was giving people for the gesttapo, and report about the room, in October 1943 they were arrested and send to aushwitz, ototo wiedt  wasiteroogated but relased probably after bribing gestappo members,

The family was sent from the old house in hamburger

The document about his property

 900 chasid aumut olam was given by yad va shem, 56 were given to german, few hunderts of Berliner got the titel the anonymos hero from the city of berlin

       Gross Hamburger st.

1672 they open the cemetery inside the city, 6 donam (to change to England America measures) , 2800 jews are buried here , it was near an old houd (how to say in English) that was opened 1844, during the war the stone are taken  to protect buildings , eventually the german just trough bodies hier in a big mass grave some say that Muller the head of the getappo was buried here (read the Wikipedia value), it was closed 1714 and they opened the one in schonhauser,

12,000 buried here , in 1672 was opened , 1827 was closed

The memeorial for the victim of barbarian fascism, will lamert

To add some information on the cemetery,

Mendelson come form dasue (how may kilometer by foot), he was sent by his rabi because he was a gifted child, this guy is the prophet of enlightment , Immanuel kant his friend, his translate the bible to german, the seonced after martin luther, write commentary to the tora,his ideas and influence start a process that will revoltionze jewish thinking and life,  putiing some enlightment ideas into juadism, reformation, conversation , conservatism and neo orthodoxy. He was a descent of rabi iserlish, some called him the german Socrates, german princes wanted to mit him, because of him the german jews got read of the Yiddish and started to speak german, some called him the third moses, his ides will influence later  freud , marx, and even Zionism,

The german used to celebrate ghote and schiller birthdays, so the jews celebrated his, my good friend in berlin, her grant grant ma had one of the first handy camera here in berlin and she took a photo of Einstein and leo beck in a celebration in 1929 of 200 years birthday for mendelson,

His most known saying is "be jew in your house and german in public"

A very know thing about him also is the fact that most of his descented were converting to Christianity in the 19 century (4 of six sons from 9 grandchildren only one left jewish), the german so respect him that some say that even the nazi don’t touch his grave stone

His glases can still found in the jewish museum,

 The jewish school

Orginialy established in roshentaler 1826, 1863 come here and later they jin also school of girls to it (1931), 1905 they build the new building , 30 juni in 1942 was closed

40 percent non jews , 450 kids , there is kosher  food, and compulsory clases in hebraw and juadism ,

 The big synagouge

This is the way renesanse is look like,Bismark and the emperors are here when they open the synagogue, 1867, he is built in Morri style, its hasmotives from alahambra place in spain, it was started by knoublouch and than stuler , one of the most splendid bulding in berlin, its length is 328 feet, witdh is 170 , it had 3200 seats , was the biggest synagogue in the world

The liberals and the orthodox had common prayer, but eventuall they fought over the pipe orgel, and this causing resignation of the rabi of berlin andquitting the synagogue, therabbi of the synagogue was Geiger the leader of the reform movement, einstein play on a vioien in a concert in 1930

Is has the biggest orgel in the state

In the night of the broken glass , an police officer- otto belgardt  protect it in the name of the law in the claim this is a preservation site with a wielded gun, he calls the firarms and they turned the fire only with a partial minor damge , eventually the Nazis close it on 1940 and later it was destroyed in the bombings 1943, 1988 restoration starts , they rebuilt the dome, by the way in 1939 all the domes in berlin are being paited in black, so it wil be harder for airplaine to see them, and here they actually did in rosh hashan

Only in 1993 his front is being renovated,

Inside the synagogue,  museum about the jewish community of berlin, small praying room, they a minyan only on Saturday of "kehilat shalom" , conservative community, and a room about the isareli- Germany relations,  

This sysnagouge is also symbolosing the big division  in juadism , the entlightment comes and shake juadism, its just not relavant to the new secolar age of enlightment, we have three new emerging powers, the reforms as a reaction we have the neo orthodox and as a settlement in between we have the conservatives

Geieger is doing the unbelvible , he change the prayers , in reform communities they combine church music, and pray in german, he give up on Zionism and left the messianic hope as hope of redemption of all human kind, he alsomestablish the academy for jewish seince

Eventually we have one third of jewish going to christianty , and only 15 percent prthodox form the german jewry

 the refprm movement change the prayers, they start to pray in german. The hope of building the temple soon and the ressurection of the dead , and the diaspora ending were removed , during the 19 century and the first half of the 20 century the liberals commu8nities in europe and ameika produce more than 50 different version of pray books, some has anna frank diary in there books Riv haechal

Hildsheimer establish the first rabbinic orthodox seminer,

a jewish hospital in the entrance to the street and the first jewish museum in the entrance of the synangouge

  Pepole

Max, Frued,Kafka, Rantenau,Rosenzwrig,Mimon shlomo,Walter bynaymain, erich fromm, and the ascholy of Frankfurt

Writers- Erich remark

Leopold ,Leo beck

seince- goldsmidth biology, emil werburg, fritz haber, Richard wilstater, paul erlich

art- Kauteski, max liberman

religious figures-Regina yones , gieger , hidlsheimer,

Markus herz

Epraim weitel

Heinrich man

Glezer

Kurt weil

The brother mann, heinrich

Heinrich heine, berne, wurfel , zeig, wolfskel, baruch, Kraus

Music- Mahler, weil , Schonberg , felix mendelson, landowski

 Heinrich , Thomas Mann, Erich Kastner, Stefan Zweig, Heinrich Heine, Karl Marx, Alfred Kerr, Kurt Tucholsky , brecht 

      The holocosut

the memorial for the murdered jews of Europe, only from the name , start with lea rosh the journalist, historian Eberhard Jackel at the end of the 80, on june 1999 they took a decision to take eisenaman and built a foundation, construction began in 2003, and was opened in 2005, may, the memorial has 2711 concerete blocks plus information center, more than half a million every year, that means 5milion people were here already, , the memorial includes information center, with exbition on the holcoast story, some family stories and the most amazing room when they read and screen all the names of the victems they manage to collect with few sentences about the biography,it takes six years, seven months and 27 days to finnish all the names

the number of pages of the Talmud, and the main issue of the memorial is to create feeling of desorination , every stone is different than the other, as much as you go inside its get colder. You are isolated

 ,

and when people go inside they start to play , from each point you cannot see the end, and also from each point you can see the light,

the mass of it resemble the massive murder but each stone is individual,

it is very similar to somejewish cemeteries in Europe,

the jews have to put in there middle name "Israel" and women "sara" from 19 september they jes had to wear yelloo star of david tlai

we have more than 2000 laws against the jews, there is order to give all pats in may 1942

 trawinki

  21 בינואר 1941 ועידת ואנזה

דכאו – מינכן-

ברלין סכסנהאוזן

בוכנוולד

מאוטהאוזן

פלוסנבורג

בראונסבורק

גרוס רוזן

את אושוויץ

אלזס- נאצווילר

מידאנק –לובלין

הנובר – ברגן בלזן

דנציג- שטוטהוף

ווסטפליה- וולסבורג

חלמנו

לבוב- יאנובסקא

טרזיןשטאט

יאסנובאץ

קלוגא

סוביבור

טרבלינקא

טראנסניסטרה

פונאר

באבי יאר

ברינדונק

סטרבורק- רוונסברק

 המטרה של המחנות היתתה חינוך מחדש לעבודה קשה, משמעת קפדנית, הסתפקות במועט , חוק וסדר בחיי המשפחה וכם ייראת השלטונות

מחנות הריכוז היו חלק אדיר מאימפריה כלכלית של ה SS ,תעשיות החימוש והכלכליות בכל

סימנס וקרופ גם במחנות זיוף דרכונים , כסף ובולים וכן ניסויים רפואיים

 תיאודור אייקה מינהל מחנות הריכוז, אוסוולד פוהל המשרד הראשי למשק ומנהל

אייכמן – המרכז להגירה יהודית,

5000 קהילות נמחו בשואת יהודי אירופה

   Girls school

the school was built in Mitte 1835 and than moves here. Alexander Beer built it, was very known architect in Berlin. He built in the new objectivity style that prefer functionality over aesthetics. You see its not very aesthetic building.

It had 14 classes, a sport hall and roof garden were the girls can hung out in the breaks. They were studying Hebrew and art.

The Nazi in 1935 passed a law that reduced the amount of Jewish children in public school so this place was stuffed with girls from 400 in the begging 1000 girls.

In 1942 they close it, most of the girls that studied here found there death in Auschwitz. Than the German used it as a hospital.

After the war it was in east Germany territory and was called Brecht school for technical studies (Brecht was one of the biggest Nazi opponents and one of the most important play writer) today there is galleries and Kenndi museums (a big hero in Berlin after his famous speech in rat haus schonenberg).

  Hosptial

1756 built , the stuff and patients  were Jewish and non Jewish, 1856 it moved here, 200 beds it was the only place in Berlin were Jewish allowed to continue practicing medicine.

1941 there is 1000 people inside, patients and workers , Herman Straus, 70 is the manager, he was sent to Teresinstadt and murdered , Walter Lusitg is replacing him, he was a protected Jew because of his Wife.

He has big Dilemmas , the patients were exempt from deportation because of their health situation , if they get better, they could be sent, so patients were intentionally not getting the right treatment. Lustig also saved few dozens of Babies that is was not clear if there father was a Jew or Arian.

 In the “fabrikaktion” in Febuar they want to clear also the hospital , Lustig is doing great effort to save the Jews, but eventually in Mai he is asked to choose 300 to be sent to Aushwitz, he is making the tough decision, knowing that not cooperating with the Nazi government will cause the total shut down of the hospital. Eventually, the hospital became the only place in Berlin were hundreds of Jewish people were known and officially approved not to be sent to the camps. After the end of the war, Lustig was identify as somebody that cooperated with the Nazis and was shot dead by the Russians.

Today the hospital is still active with 363 beds, with Scholl for nurses, psychiatric department and neurological research.

  Ahava Orphange

A Jewish orphanage, 120 kids lived here under the supervision of uber-swester, the nurse in charge ,the very charismatic Bieta Berger.

A movie from 2007 is depicting the story, 2  Israelis men that were kids in the institute, come in there elderly. They tell on their experiences as Berlin kids under the Hitler regime.

Berger wanted to protect the kids of what is happening outside. She understands very quickly that the children don’t have a future in Germany. She decide to move all the institution to Palestine.

She looks for money to get the visas and sponsor  the move. Max Liberman and another famous painter in Berlin - Herman Shtruk are willing to conduct public auction of their painting to collect money for this cause.  She sets with 30,000 mark in 1934 to Israel, the British mandate offices are making her problems with the visaa, in the beginning they approve only 30 children, they have to be over 15 years old. She has a dilemma because she cannot bring everybody.

she is in contact with Henrietta Sold form the youth immigration Zionist movement and she is planning to reestablish Ahava in Haifa and than bring the rest of the kids. April 1934, after Pesach Seder in the orphanage, very symbolic, 35 kids leave to Pallastina.  She promised everybody that next year they will celebrate in Israel. The kids leave trough Anhalter bahnhof, and in the movie they describe  Hora dancing and singing “heveno shalom Aleichem” , while the SA soldiers in the station shout , “Juden get nach palestina” or “auf nach Jerusalem und nicht mehr zuruck”

And sing “wenn's Judenblut vom Messer spritzt, dann gehts nochmal so gut“!

They go straight to Triast in Italy and from there with a jewish sheep straight to Haifa.

Biata berger return 5 times to berlin, to get more people eventually she bring 100 kids from here, but also 200 more from other orphange in europe , in 1940 , ahava in haifa ha already has 300 kids from europe!

But Biata Berger couldn’t stand the pressure and died from heart dieses few months after the last group arrive to Ahava in Haifa

The place became a house of the nazi youth movement, the few dozens of kids under 14 years old that were left behind were sent to Aushwitz.

Ahave house is still active in Kiryat bialik near haifa, and has 170 kids , orphanage and from problematic families .

  Rabinical seimar

 Institution for Jewish studies (hochschule fur Wissenschaft des Judenstums) and liberal Rabanical seminary in the past!

In Leo beck haus today, the German office of the European Jewish congress , the roof organization of European Jewry. Zentralrat der Juden in Deutschlandß – the main organization of Jewish communities in Germanz. Lead by Daniel Botman.

 All this area is a big educational and religion progressive area,  a school o the main church of Berlin , were pastor were educated, and also an international evangelic community that held prayers in English for foreign people in Berlin.

In Tocholsky str.  40, “Adat Israel” synagogue and the rabbinical seminar of Hildsheimer,Neo orthodoxy! Hildsheimer´gave place to non religious studies- neorthodoxy  , head of the rabbinical school!

Leo beck – the head of German Jewry , survive Teresinstatt,  with 900 more people, he buried in Weissense.

  Synagouge

 In the night of the broken glass , the synagogue was damaged, the fire was extinguish after Kreuzfled the main officer in the local police station call the fire arms.

The synagogue was 1770 square meter, 96 long, 30 meter high and 40 meter wide, it was huge and magnificent, it was a show off of the Jewish community, thing of course the anti-Semite didn’t like and saw as provocation.

Just in the adjacent building was the Jewish archive, it was taken by the Nazis and combined into the genolgy department of the Nazi party head by kurt shumacher and was used to collect information and prove jewish routes of different people, racial science.

The jewish museum was also In that building and its basement became the most terrible prison facility in Berlin, they say that the prisoner couldn’t stand because the ceiling was too low and couldn’t seat because the floor was to narrow.

 Read about teresinstatt- they tole a city that was surrounded with a wall called tersin and turn to geto for germans and chech jews, people with iron cross and some jews with high social status where sent there. They had a big library with 60000 books, they closed part of the getho renovated it and let the red cross visit it. They even staged a propaganda movie named “der fuhrer schnket den juden eine stadt” but the file was not finished by Garon a very famous director who played with marlin Ditrich!

Leo beck  

Head of german jewish comunitee during the war, was one of only 9000 surviours of teresinstatt –

The jews get full amanicipation in 1812 , and with the spirit of political change and enlightment , industrial revolution , Judaism is changing in Europe!

The amount of people converting was huge, one third of the people in Berlin

Gieger – he said that the morality is the most important thing in Judaism and not the ceremonies, he said that god will appear differently in each generation and we need to adapt it to the streams of time, he edit a new siddur with prayers in German and also enter a Pipe organ into the new synagogue in berlin

Ravensbork- the biggest women camp in Germany, you probably heard about the V2 rockets, they manufacture some of the parts there. Very cruel camp where they made a lot of medical experiment  in prisoners

#Berlin Tour

[homregeszet]

Sajószentpéter újratöltve!

Az időjárás viszontagságai ellenére (hiába ült helyenként nyuszi a hóban :)), kollégáink már hetek óta dolgoznak a megye több pontján folyó feltárásokon. Korábban is futó rovatunk az ásatási beszámolókról továbbra is folytatódik. Elsőként idén a 26-os út munkálataihoz kapcsolódóan Sajószentpéterről érkezzék egy rövid beszámoló. 

Tizenöt évvel ezelőtt jártuk be először az akkor már tervezés alatt álló, Sajószentpétert elkerülő út nyomvonalát. A Sajó bal partján egy Árpád-kori falu felszíni nyomait találtuk meg, távolabb pedig három, római kori, germán közösségek által lakott települést. A lelőhelyek feltárására több szakaszban 2011 és 2013 között került sor Szörényi Gábor András, Makoldi Miklós, Király Ágnes és Tóth Krisztián vezetésével.

2012 decemberében a Harmadik vető, 3. lelőhely az országos hírekbe is bekerült, mivel a római kori germán településrészlet és egy ráadásként előkerülő 5. századi germán temető mellett kollégáink felszínre hoztak egy 7200 éves fabéléses kutat is! Ez a neolitikus bodonkút nem csak a Kárpát-medencében, de egész Közép-Európában szenzációs leletnek számított, és számít ma is.

Közel 10 évvel az ásatások után – immár az útépítés kivitelezési munkái kapcsán – visszatértünk a lelőhelyre, hogy dacolva a sokszor metsző széllel és télies időjárással, befejezzük a kutatást.

Újabb kút foltja a humuszolt felszínen

Sürgés-forgás / bontás-dokumentálás a kút-körzetben

Ezúttal a római kori germán falu szélén 7 korabeli kút maradványait, több gödröt és cölöplyukas területet, illetve a neolitikus település néhány objektumát tártuk fel – meglepő módon kevés lelettel.

A nosztalgikus hangulathoz adott volt egy nagyon jó ásatási csapat Ónodról és környékéről, valamint régi (és újabb :) ) múzeumi kollégák. Köszönet érte! :)

Csengeri Piroska

#hermanottómúzeum #herman otto museum #archaeology #photography #drawing #sajószentpéter #csengeripiroska #múzeum #ásatás #feltárás #magyarrégészet #régészet #homrégészet #római kor #neolitikum #neolithic #german

[homregeszet]

Preparation of our new seasonal exhibition in progress: 'Drawing class in the museum: Faces from the past - Relics of the belief systems, from the ancient times to the middle ages. Selection from the Herman Otto Museums' collection.' (helyszín: Herman Ottó Múzeum)

#HermanOttoMuzeum #HermanOttoMuseum #exhibition #archaeology #idols #figurines #faces #facesfromthepast #faces from the past #ancient #ancientart #ancientfaces #claygods #goddesses #pottery #ceramic #clay #medieval #artclass #drawingclass #arcokamúltból #rajzóraamúzeumban #régészet #kiállítás #agyagistenek #múzeum #museum #miskolc #borsod #hungaryanarchaeology

[whenyouworkatamuseum]

Museum Dance Off 4: A New Hope - THUNDERDOME ROUND!

Today is the last day of Museum Dance Off 4: A New Hope. Thank you to all 41(!) Museums who entered, and everyone who danced, edited, voted, and cheered on their colleagues. You make this contest more and more fun every year. 

We changed the structure of MDO this year and instead of randomized match-ups, we competed by region. Each Region is sending a final Museum into Thunderdome. The contestants are: 

UNITED STATES - The Mob Museum  UK/EUROPE - Herman Otto Muzeum CANADA - Glanmore National Historic Site AUSTRALIA/NEW ZEALAND - Museum of Applied Arts and Sciences

Their videos are posted below the poll, if you want to watch them again before deciding your vote. Check back tomorrow for the results, and the announcement of the Judge’s Choice Award Winners! 

Which Museum should win the International Museum Dance Off 4 Thunderdome?

Click here if the embedded poll does not appear: http://poll.fm/5sshg

MUSEUM DANCE OFF 4: A NEW HOPE VOTING RULES 

Anyone can vote, from anywhere in the world. 

No registration required. Voting will be open for 24 hours. 

All timing will be synced to the US Eastern Time Zone. 

You can vote as many times as you wish. 

Encourage others to vote using the hashtag #MDO4.

The Mob Museum - Las Vegas, Nevada, USA

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Herman Otto Muzeum - Miskolc, Hungary

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Glanmore National Historic Site - Belleville, Ontario, Canada

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Museum of Applied Arts and Sciences - Sydney, NSW, Australia

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#museum dance off 4 #mdo4 #museum dance off #thunderdome