Schleifen des Lebens: Frühe Impressionen. Spätere Reflexionen. (German Edition)

Entire swathes of land—primarily in Malaysia and Indonesia—are changing in appearance. Thanks to the fixed grid pattern used for planting palms, a completely unique visual rhythm is in the process of being created. What from the air looks like a seemingly infinite mesh of lines is actually the star-shaped crowns of domesticated palm trees, all thronging together. Paths cross and connect the land area. Under the treetops extends a barren landscape, strewn with fallen palm fronds and partially covered with grasses and ground cover plants.

In Das Hungerjahr, Heinrich Bechtolsheimer describes the appearance of the sky in the Rheinhessen region in October An infinite loop of hard, electronic rhythms cuts through the infinite peace and quiet of the field full of trees. A palm oil plantation shudders, shaken by light and sound. The scenery fluctuates between tempting and threatening. The eponymous series of works extends over the three horizontal spaces of Kunsthalle Mainz, following a set choreography.

Step for step, room for room, the visitors approach a rave. They follow the rhythms and sounds of electronic music, becoming ever more submerged in a setting veiled by wafting mist until they reach the heart of the exhibition: It is a film that persuasively presents the excessive, exploitative decimation of nature to visitors who are intoxicated by music. The ubiquity of palm oil as a material is analogous to our total lack of interest in how it is produced; the physical absence of people changes abruptly into the omnipresence of their actions.

At the same time, they conjure up collective trance-like states and experiencing the transcendence of time. On the occasion of the exhibition a publication will be released. Aber er brachte auch andere Farben: Ganze Landstriche — vorrangig in Malaysia und Indonesien — wechseln ihr Erscheinungsbild: Durch das starre Raster, in dem die Palmen gepflanzt werden, entsteht eine ganz eigene visuelle Rhythmik. Farbige Blitze erhellen die dunkle Nacht in einem dicht bestellten Palmacker. Harte, elektronische Rhythmen in Endlosschleife durchschneiden die endlose Ruhe des Baumfeldes. Juni, 19 h Vortrag von Prof.

Retreat into Darkness by Ivana Franke. Retreat into DarknessTowards a Phenomenology of the Unknown Human perception and the exploration of the unknown have been the subject of artistic investigation for centuries. The artist Ivana Franke combines these two aspects in her project Retreat into Darkness: Towards a Phenomenology of the Unknown. She examines our perceptual processes when we confront something phenomenologically unknown.

Pont, and Anil K. Pont, Bilge Sayim, Anil K. German, English — Ivana Franke: Robel Temesgen at Modern Art Museum: Gebre Kristos Desta Center. Thursday 12 April 5: The exhibition runs in two consecutive sessions. Adbar is an Amharic term that refers to spiritual places where ritualistic performances take place and offerings are made.

These spiritual places also serve as communal and public spaces, also for secular community gatherings. The project investigates the embodiment of protective spirits within various elements of the natural landscape. Growing up in Dessie, northern Ethiopia, Robel Temesgen witnessed the fading of this long-established tradition and the subsequent development of new rituals, in tune with contemporary lifestyles.

The Adbar series navigates through the physical and metaphysical elements of a landscape using recollections, lived experiences and fantasies of the space and people of sacred places. He currently lives and works in Addis Ababa, Ethiopia. Since its inception, photography has harnessed not only light but also the technical skills to capture one moment in time.

These are complemented by the work of the renowned photographer Erwin Olaf, whose series Waiting addresses the insufferableness of waiting. Olaf also addresses the tremendous upheaval in Chinese society in his current series, Shanghai, which is exhibited for the first time in Germany.

Magic Feelings is an unusual series of black and white portraits by the German photographic artist Thomas Wrede, which catch the enraptured, almost indefinable facial expressions of people in the breathtaking moment of the steep descent of a rollercoaster ride. These works can be read as social commentary on our exceedingly digitised and efficient times, which leave less room for the useless, boring or unpredictable. Seit ihrer Erfindung verbindet sich mit der Fotografie nicht nur das Licht, sondern auch die technische Fertigkeit, einen einzigartigen Moment des Lebens festzuhalten.

Seven Exhibitions at Brandenburgischer Kunstverein. Was macht eigentlich eine Ausstellung aus? Muss sie um uns werben wie ein Schaufenster um ungeduldige Passanten? Muss sie es uns leicht machen, darf sie schwierig sein? Marc Wellmann, Anette Ahme, Dr. How do we want our city to be viewed? Berlin is changing rapidly and we have to ask ourselves in which direction we are heading. On 24th and 25th of March their room interventions and conceptual works will create a space for discourse that is completed by a panel discussion on Sunday, 25th at 3: Thus, as soon as places are endowed with meaning and buildings are capitalised to embody certain visions of the future, decisions have to be taken.

Whether a ruin is left untouched or being demolished, whether reconstruction seems reasonable or rather the composition of an entire new building: Either way a new factuality is set up. So what kind of Berlin is developing there right before our eyes? But the aim is to rebuild the whole Bauakademie. Considering the massive critique that the adjacent Humboldtforum had to face, there are questions arising: If yes, would this mean to stick to a reconstruction true to the original or would this require a contemporary interpretation?

And what kind of events shall be installed there, which contents have to be conveyed? Commonly, those thoughts are being discussed in architectural offices, museums or in ministries, but not within the specific premises at the centre of discussion. We want a debate that is closely linked to the place where it belongs.

Itinerance by Elise Eeraerts. Ziggy and the Starfish consists of a mechanical waste processing crab, a film exploring the diversity of sexuality in the ocean, scientific interviews and moving singing stones dating back millions of years. And to make an end is to make a beginning. Anne Duk Hee Jordan: Ziggy and the Starfish. Specific installation with stone and a fishing net between existing buoys NOWs: Glacial erratic stone are not native to our region. During the last ice age, the Saale Ice Age, around , B. Later as well, foreign stones ended up in Bruges when the city was part of the Hanseatic route, a maritime trading route from Estonia to France.

They were used in monuments, churches and cemeteries. The stone hangs between two buoys and it appears as if it were being held up by a net. These sorts of buoys are used to guide ships navigate to their destination. It thus appears as if the stone, after endless roaming, has at last reached its destination. The illogical structure, contrasting the blackness of the stone and the lightness of the net, creates a tension between perception and reality.

This also leads to the question of how the stone ended up in this spot. Was it by means of natural migration or via recent transport by humans? As a result of its unusual position, the stone seems to have its own personality. The stone is an itinerant witness that observes human activity. It reminds us of the transience of human life, while the stone itself is immortal. It is a project, launched in , in which the sea often plays the main role. In Beaufort , the sea will be illuminated as a place that is both uncontrollable but at the same time links us to the rest of the world.

Every participating artist comes from a country that borders on the sea. An underlying theme of this edition is the role of permanent monuments. Credits Director, Camera, Edit: Clara Jo; Additional Camera, Edit: Adam Hermansen; Choreographed by Christina Werner.

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Books ReBoostert Performance Lecture: Using basic equipment and partly self-built instruments, sounds were created — a conscious counter-concept to the contemporary mainstream. The extensive supporting programme consists of a series of concerts, film showings, panel discussions and an interdisciplinary symposium. Censorship and scarcity produced richly imaginative and frequently ironic types of work. The exhibition presents a selection of contemporary testimonies, some for the first time, including musical instruments fashioned by the artists themselves, Super 8 films, Samizdat magazines and documentary recordings of performances.

This exhibition and concert programme returns the story to its birthplace, forging new bonds with the contemporary music scene. Welcome to the Jungle. Office detail , NOWs: The Black Mamba feat. The multi-lingual performance comprises slam poetry, electronic music sampling, live beats and cascading vocals, celebrating inclusive expressions of gender. Named after the most poisonous snake on the planet, The Black Mamba transmutes poison into medicine through an urban contemporary sound.

She bridges the worlds of jazz, soul, electronica, Indian classical, opera, cabaret, afrobeat and hip-hop. Natasha Mendonca is an award-winning filmmaker and electronic musician from Mumbai, India. Habitat by Miriam Jonas und Andreas Greiner. Miriam Jonas, whose works often move between the poles of perfect surfaces and their immanent, covered uncanny effects, overlays the bear cages with a new layer of material. Hybrid visual references form a scenario in which an anthropomorphisation is taken literally and the formal species-neutrality of the prison architecture becomes tangible. What is the effect of an optimisation of the conditions within the cages while maintaining functionality?

Their glow in a dark room mentally leads us back to the origins of all life. In the outdoor enclosures, a biotope for algae is forming — a project with architect Ivy Lee Fiebig, who, living on-site, enters into a symbiosis with the algal bloom in the creation of a biological cycle.

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While algae already provide new solutions within the fields of industry and research, Fiebig herself is working on modular designs for living architecture NOWs: Fabian Knecht at Kunsthalle Baden-Baden. The show brings together several hundred works, which show, for example, how objects used to be presented in early cabinets of curiosities, which forms of display emerged in the 20th century, and how art is presented today.

A historical section in the main galleries of the Kunsthalle will form the prelude to the exhibition itself.

NOWS archived

It includes two of the earliest known examples of photographs documenting an exhibition. Even earlier forms of exhibition will be illustrated by means of floor plans, hanging plans, images of galleries, and tools of display, such as historical showcases and pedestals from the 17th and 18th centuries. Another focus, also shown at the Kunsthalle, will be the art of the exhibition in the 20th century: Some of these were so extreme as to have remained revolutionary to this day. This is presented as a digital reconstruction and re-interpreted by Polish artist Goshka Macuga.

For example, museum carpets and benches have been playfully reworked into elaborate choreographic objects. In addition, the exhibition can be experienced outside the premises of the Kunsthalle itself. Current works attest to the fact that almost any site can be transformed into a temporary exhibition space by the mere creation of a curatorial situation. It is in this sense that the exhibition will conquer the urban space of Baden-Baden: Amid all the changes in the centuries-long history of the exhibition, there has been one constant: Paradise Lost by Timea Oravecz.

The Hungarian artist, raised in Budapest during the years of socialism, combines her own background with a wide variety of social and cultural aspects she has found in the several Western nations she has lived in over the last twenty years. What emerges is poetics rooted in the dichotomy between culture of origin and need for integration.

Each work is closely connected to the socio-cultural situation where it was created, so Paradise Lost is presented as a reflection on the reinterpretation of marxist-leninist ideology by Bolivarianism and communist guerrillas in South America, in a context that is different and far from what the artist knew first-hand during her childhood in Hungary.

Colombia is a diverse country, recovering from fifty years of civil war. On paper, it is a rich nation both naturally and from a humane point of view: Actually, a less superficial analysis, which takes into account the games of power, war, the internal struggles between the government and the guerrillas, reveals all the violence and poverty that affect this territory and make is a real hell. In Colombia, she collected direct testimony from people who wanted to share their stories with her. Specifically, the Hungarian artist takes inspiration from the second book, dedicated to the Inferno, where Milton describes conflicts between various military and political factions, combining them with the fifty-year war fought in the Latin American country and only formally concluded.

The interest in the socio-political mechanisms of the situations examined for her artistic research, as well as the active participation and attention to the cultural facets of the places experienced in person, intertwine with that need for nomadism so closely interconnected to daily life, which becomes, for her, raw material and inspiration, as well as a real way to approach life and what surrounds her. She has won several grants eg.: She has won several grants e. She has presented her works at solo shows in Berlin, Helsinki, and more than fifty group exhibitions: Thursday 22 February 6: In the fast changing character of Addis Ababa, the coffee spots have become an integral part of everyday life in areas ranging from the fancy multipurpose malls to the demolished as well as new construction sites in the city.

The Performance Agency at Archivio Conz. The church was jokey, but not a joke. It had a deity, called Who, to answer the mysterious questions of the universe. What does the future hold? Focusing on artists whose practices explore methods of self-preservation, the featured work demonstrates how gestures of resistance can be choreographed through performance and communal action. The program includes a performance by Analisa Teachworth, in collaboration with Jonas Wendelin; video screenings presented by Jacksonville-based artist Redeem Pettaway; an exploration of surveillance, control, and seduction by Julia Scher; and live concerts from Zsela and Deli Girls.

The program is complemented by additional programming presented throughout the museum, including an ongoing performance by Michelle Young Lee examining the labor of care, a video installation by Sara Hornbacher, and a recital situated within an environment created by Sarah Zapata with poetry and readings from Zapata, Maya Martinez, Rin Johnson, Sophia Le Fraga, and Natasha Stagg.

The question is not whether to take part but rather how to do so and on what terms. Two original radio commentaries will accompany the match, returning football—this time as art—to the Olympic arena. This One is For You! PAM unfolds in time, each weekend presenting commissioned, time-based, performative projects along with an accompanying discursive program.

PAM is less interested in art in public space as a physical location, but rather seeks to address broader concepts of publicity, public opinion, common good, or public speech. PAM is interested in economizing attention on behalf of public interest rather than for monetary gain. PAM valorizes art that aspires to change the game by recontextualizing our points of view and, as a result, our actions. PAM Pre-events March 15, 11am: Press Conference, Munich March 16, 7: She is the head of CuratorLab at Konstfack University in Stockholm and has curated, among others, the Georgian pavilion at the 55th Venice Biennale and the public program of Manifesta 10 in St.

NOWS archived | Institut für Raumexperimente

Recently she has edited: Performativity as Curatorial Strategy Joanna Warsza lives and works in Berlin. April 30 Munich Olympic Stadium PAM Public Art Munich will launch with a grand opening on April 30 at the Munich Olympic Stadium and presents twenty time-based, performative commissions staged every weekend in multiple locations around the city through the end of July.

Julia Heunemann and Nadia Pilchowski During hibernation, the Berlin city bears were rarely seen in their outdoor enclosures. They mostly slept, were fed only inside the bear pit out of public view, and freed from their representative role. Periods of rest in which physiological processes shut down, mental tension subsides and where consciousness shifts between vague perception and purposeless actions, are disharmonious with neoliberal performance orientation.

In her previous works, Linda Kuhn has addressed the withdrawal from goal-orientated action. With protective cladding for sculptures, she creates retreats for the elements found within the enclosures, and in the process, ascribes to them new plastic qualities. By means of architectural interventions that circumvent habitual perceptual patterns, Alvaro Urbano deconstructs relations between inside and outside, dream and reality.

Considering hibernation, he suspends the bear cages from their intended use and focuses on the imaginary potential of their immured and barred architecture. The question then of what bears dream about ultimately reflects hibernation itself as a space of the imaginary.

Verde que te quiero verde. Courtesy the artist Fotos: Matthias Sohr — Public Science. With Public Science, Matthias Sohr gives an account of things we encounter in our cities on an everyday basis without us paying attention to them, and yet they are in constant dialogue with our bodies. His sculptures — whether incorporating armrests, bathroom structures or floor markings — endorse shapes and reliefs that are as much a part of art history as they are of the street, thus integrating our everyday life at the price of an almost unconscious assimilation.

He lives and works in Lausanne. These serial results often remain arrested in the form of an infinite loop or seem to circle infinitely onward. Both artists share an interest in these issues: In this way, a bright, semi-transparent ring is created made of wax with a visible wick, where the candle is shifted as a light source and instrument for measuring time in the form of a loop. In a chain of wood over twelve meters long entitled Everything is not lost , Schuiki reorganizes found tables and chairs from the streets of Shanghai into a regular arrangement of points in space.

Here as well, beginning and end are linked to one another and the resulting endless loop recalls popular prayer beads. The new series Hand consists of abstract photographs that Schuiki prints directly onto glass: The portal of the touch screen, constructed for tactile permeability, is reversed to a blocked view and gains an unexpected power as a photograph.

The window as a light source for the architectural interior is repeated in analog slide frames as a mediating window through which the light falls to produce an image. Kuimet casts the light image back onto a wall and this results in images of blinded windows, additional windows in the exhibition space. The window as a window as a window thus remains in the projector box while the slide carousel continues turning. The work , developed as a black and white film, takes this as a point of departure and shows a sculpture from by Estonian artist Edgar Viies. The viewers walk around the filmed object on the screen.

At the same time, both artists do not view these periods in a nostalgic way. Instead, they cast a contemporary view of art of the s and s that is programmatically expressed in the title of an earlier work by Schuiki: Works of Kuimet are in the collection of the Espace Photographique Contretype, Brussels and the Carousel Colletion, as well in many private collections in Estonia.

In Nina Schuiki received the work and research scholarship of the federal state government of Berlin and the project scholarship of the chancellery of Austria. Nico Anklam is an art historian and curator. Most recently he realized a traveling exhibition and performance program around the Fluxus composer Henning Christiansen between Denmark and Norway.

Currently he works as a research fellow at the University of Greifswald on art and image production of the 19th century in Northern Europe and its colonies. Friday, January 12, at 7 pm. The conversation will be held in English. Januar , 17 — 20 Uhr Ausstellung: Diese seriellen Resultate verbleiben oft in einer Form von Endlosschleife arretiert oder scheinen sich unendlich zyklisch fortzusetzen.

Nina Schuiki enthebt in endless candle eine Kerze ihrer Licht spendenden Funktion und streckt sie soweit, dass sie zu einem Kreis verschmilzt. So entsteht ein heller, semitransparenter Ring aus Wachs mit sichtbarem Docht, in dem die Kerze als Lichtquelle und Zeitmesserin in die Form des Loops verschoben wird. Kuimet wirft das Lichtbild neuerlich auf eine Wand und so entstehen Bilder von verblendeten Fenstern als weitere Fenster im Ausstellungsraum.

Kuimets Film konserviert sie in diesem Zustand um sich selbst kreisender, konstanter Neuausrichtung auf einer beidseitig einsehbaren Leinwand. Kuratiert von Nico Anklam Paul Kuimet geb. Nico Anklam ist Kunsthistoriker und Kurator.

Jahrhunderts in Nordeuropa und dessen Kolonien. Januar, um 19 Uhr. Matthias Sohr, Strut, The dream of grasping phenomena in their own language has long animated scientific endeavors, offering an irresistible provocation to the arts. Observation and experiment are typically treated as diametrical poles of experience. In contrast to the passive innocence and receptivity of observation, experiment carries the connotation of action, intervention and manipulation. And yet experiments are frequently contrived for the precise purpose of rendering phenomena observable that would otherwise fall outside of the range of our sensory perception or technological detection.

Particles are scattered, model organisms are bred, dyes are released in bloodstreams and waterways in order to reveal latent images and trigger our capacity to notice possible configurations of the world. In the work of Urbano and Schuiki, shadows, gusts of wind, and rays of light are arrested in their path as if noticed by the peripheral vision of the walls themselves. Activating perspectival alternatives to the manner in which spaces and objects may perform for the camera, Jo proliferates politics of observation and calls them into dialogue.

Caught in the act of observing and being observed ourselves, our capacity to distinguish between reality an illusion is tested—and with it our desire to touch a world beyond that of our own making. The above text excerpt is contributed by Dehlia Hannah. Beobachtung und Experiment gelten normalerweise als entgegengesetzte Pole der Erfahrung.

Der oben stehende Textbeitrag ist von der Autorin Dehlia Hannah. Termine und mehr Information jederzeit unter carelessmethode gmail. Altbau by Alvaro Urbano. Friday, 24 November 6: The exhibition completely appropriates the three stories of the gallery. On the basement level, metallic cigarette butts and withered leaves linger on the floor next to an invented infrastructure made up of paper pipes and paper ventilation shafts.

One story up, paper and cardboard boxes—made out of metal like the letters—are scattered across a grey carpet, underneath the suspended paper ceiling. A corridor guides the viewer past shut office doors. Upstairs in the attic, unaddressed letters pile up below the mail slot in the entrance door.

Their bent flatness and their generic papery presence resembles the spaces downstairs, they too are backgrounds for unidentified protagonists. All the artefacts and infrastructure on show were made by Urbano, using paper with printed textures and hand-painted metal. The effect of this camouflage is a mixture of stepping into the everything-is-possible realm of a rendering window where texture-tiles are seamlessly plastered onto cylinders, spheres and squares, and touching the actual fragility of a physical sketch model.

An office space feels real to most of us, although the generic office itself, much like the mythical non-place, is a powerful illusion. It is meta-fiction composed of a grey carpet that fits but not perfectly, a suspended ceiling with light and acoustic panels, cardboard boxes that have contained office supplies and documents, stacks of loose paper that fed a bulky photocopy machine—I think of office gossip and bored interns. It entices with pretend-familiarity: And yet, Altbau is weirdly dreamlike, it is other and it is inverted.

The installation invites the viewer to step in for an absent protagonist-inhabitant of this abandoned office and its locked rooms, and it simultaneously prevents any interaction. The installation excludes and frustrates on a material level: Paper is metal and infrastructure is paper: This is what it feels like to fall in and out of fiction.

Text by Natalie P. Office, ; 25 elements: Pipes, , detail ; 29 elements: Engagement with everyday objects plays a fundamental role in this process. Despite their sculptural nature, the objects also thematise essential issues of painting, such as the treatment of colour, form, structure and framing.

Ibarra develops the procedural character in the form of performance, which he will show at the opening of the exhibition. He writes in his artist statement: Their ephemeral existence is based on childhood memories, physical feelings and Shakespearean plays to find resonances in the body of the visitors.

The goal is to create a bridge between the university and the art world. The jury was composed of: Ophelia ; Installation; Woman, soil, 1 hour. A woman was buried in the floor of a kitchen in her hometown, she remained still for an hour. Untitled ; Installation; Woman, rope, 20 min. A woman was tied to a tree in her hometown. Throughout the duration of the piece she remains silent contemplating the landscape. Trotz ihres skulpturalen Charakters thematisieren die Objekte auch wesentliche Fragen der Malerei, wie z.

Mit dem Preis ist eine gemeinsame Ausstellung und ein eigener Katalog verbunden. David von Becker Trailer: Gewaltenteilung by Julius von Bismarck. Mit seinen Installationen, Videoarbeiten und Performances untersucht Julius von Bismarck den menschlichen Wahrnehmungsapparat und fordert unsere perzeptiven Gewohnheiten heraus. Frank Sperling Julius von Bismarck: Animated Sphere by Ivana Franke. In welcher Beziehung steht Unbestimmtheit zum Wissen? Animated Sphere, Ivana Franke: A Toast to my Consent by Jonas Wendelin. Due to limited capacity, please RSVP to bobspogobar kw-berlin.

Azimut Book Launch — Raul Walch. Azimut Book Launch Double Take: Azimut — publication by Raul Walch. Many paths lead to Europe. The most dangerous is the sea route. Azimut is an attempt to rethink artistic contemporaneity. Azimut is political; it is narrative and full of poetry. In the Winter of , Raul Walch travelled to Lesbos. This, the first of several visits, marks the beginning of Azimut.

In nautical terms the Arabic word refers to the intended course, or azimuth, of a journey from beginning to end. In navigational terms the north is a reference point. For those who have chosen the route across the sea, the north encompasses both hope and horror. Time and again Walch has explored global migration flows — investigating and deconstructing their materiality.

The question as to whether an artistic idea can become a product remains pertinent throughout his work. In Azimut he takes it one step further: From discarded tarpaulin he fashioned colourful kites. The temporary architectures of Arrival Cities have long become symbols of instability and uprootedness; in Azimut they are structures of freedom and empowerment.

Where there are kites there is humanity. The next step is to turn them into Rescue Kites; lighthouses flying above the water to direct the ships; fluorescent mosaics in the wind that oppose the politics of nationalism. The book contains texts by Paul Feigelfeld and Alexander Karschnia as well as a conversation with Olafur Eliasson and drawings by the artist. It appears in an edition of copies and has 12 differently designed covers. Raul Walch — Title: Drittel Books — Release Year: Es erscheint in einer Auflage von Exemplaren und hat 12 unterschiedlich gestaltete Cover.

Zum Buch sind zwei Edition entstanden. All artworks have been conceived for the water, and visitors are invited to swim, row or sail between the works. Instead of the usual foundational elements of walls, ceiling and floor, in this exhibition the artists have to deal with water, weather and wildlife. Even the water is not entirely reliable, with the water level varying depending on rainfall and industry. In the absence of the kind of certainties they are used to, the artists had to rethink their methods of artistic production and presentation in order to develop new works especially for the exhibition.

The second part of the exhibition takes place from 28th July until 10th September at Kunstverein Arnsberg, and in August on the river Ruhr. The project will be further expanded by workshops on location with students. There will be a comprehensive education programme with guided tours from the lakeside and on the water.

Entry, tours and performances are free. Der zweite Teil der Ausstellung findet in Arnsberg statt: Juli bis zum September im Kunstverein Arnsberg, sowie im August auf der Ruhr. Display Distribute at Miss Read. Woven together by a serially enlisted cast of agents, the project engages in a wider discussion of globally enabled and dismantled forms of exchange amidst a late-capitalist networked production. To facilitate small-scale distribution, transport of our books, zines and perodicals is carried out by LIGHT LOGISTICS, a person-to-person network enabled by the surplus carrying power of couriers engaging a mobile space for intimate and flexible forms of reading.

Spaces of Commoning — a book launch. Artistic Research and the Utopia of the Everyday is the outcome of a research project pursued by a group of artists, architects, and social theorists, who, in the face of exhilarating politics of accumulation and dispossession, explore commoning as the subject as well as the means of their collective study. The power of the commons, this book suggests, does not reside in the promise of a coming together free of friction.

As different dimensions of power organize the terrain of the social, social movements are often caught between competing agendas, and in the gap between aims and everyday life. It is precisely the sites of these struggles that the book calls spaces of commoning. As such, this study is part of a much wider recognition of the necessity to rethink and undo the methodological premises of Western sciences, arts, and architecture, and to raise unsettling questions on research ethos, accountability, and the entanglement of power and knowledge. The Pose Music by Robert Lippok. The Pose Performance Premier: Constanza Macras and her Company DorkyPark take up a diachronic perspective from the past and present to look at self-representation, spanning from classical portrait painting to historical photo documents to digital selfies taken with mobile phones.

THE POSE deals with memory in relationship to the physical architectural space and the collective memories it carries. Funded by HKF — Hauptstadtkulturfonds. The Pose Performance Premiere: Carmen Mehnert Von und mit: Glottal Wolpertinger by Jan St. Werner and Dessner brothers. On July 6, the feedback channels converge with each other during an installative performance in Athens.

The eight composition fragments each consist of a continuously modulated feedback channel based on a harmony. This results in oscillations, binaural pulses, and sound artifacts. Traditional techniques of orientation in music are pushed beyond the limits of comprehension. Glottal Wolpertinger deconstructs the principle of the musical drone, the timelessly dense, continuously spreading mass of sound, and uses idiosyncratic, abrupt movements to break with the traditional object character of music. The piece culminates in a live performance before an audience at Romantso in the city center of Athens and then breaks down.

June 21, , A stereo version of Glottal Wolpertinger as a white CD-R with stamped date, white screen-printed cover on black card sleeve and printed insert is available via farbvision. Into The Wild presents a table of long forgotten herbs, edible fragrance flowers, and ancient root knots. The visitors are invited to take part in an enjoyable adventure of their own perception and to consume in direct access to the presented fruits. The dinner table becomes a lavish heterotopy. It refers to crops which were formerly offered in the local markets, and have almost disappeared.

Such as The Night Candle, originating from North America, used to be one of the most important medicinal plants. In the 16th century, it was brought to Europe as an ornamental plant and cultivated in gardens. One quickly learned to use the potential of the plant as a vegetable. Into The Wild will be a sensual taste experience, going back to the basics, eating with our own hands, no plates, no forks, no knives: Die Tafel stellte eine lukullische Heterotopie dar.

Into The Wild wird ein sinnlicher Geschmacksspaziergang werden. Each artist works in their own manner to reach subconscious mind states, specific feelings and new ways for creative exploration. The outcome of this activity is an unexpected mix of work that crosses subjects including feminism, Buddhist philosophy, architecture, olfactory senses, yoga, botany and running. Courtesy of the artist NOWs: The permeation of graphics, sculptures, architecture, movement, and sounds with mathematics, optics, physics, and neuroscience in their work leads us to experience sensations that seem to be outside of our sensory limitations.

Furthermore, they approach their art as mechanisms that simultaneously produce and uncover limits of perception. The interdisciplinary nature of the exhibition connects to the history of the Museum of Contemporary Art: The exhibition Perceptual Drift Galaxies in Mind by Ivana Franke takes visitors on a journey through various levels of artistic exploration by analysing our visual and spatial perceptual thresholds.

Starting with a complete visual relocation in a series of installations in dark spaces, leaning on bodily sensations in intentionally unstable optical conditions, it continues on to a series of objects and prints—models meant to exercise visual comprehension and awareness of invisible structures that comprise the image of the world, revealed through quasy-hallucinatory visual experiences in the observers minds. After the initiation path that starts as a complete dizziness, we move on to rational constructs and spatial speculations, and ultimately towards a conscious experience of vast unknown areas permeating our minds and the phenomenal reality.

They use them as a scenario for the construction of impressive audio, kinetic, and optical installations, which take on the particularities of the exhibition spaces, thereby opening the possibility of endless site-specific adaptations. Every sensation is open to personal perception, reflection, and, finally, randomness in terms of completely personal experience that leaves behind the limitations of everyday cognition.

Ivana Franke is a visual artist based in Berlin. In her works, she investigates the interface between perception, cognition and the environment, focusing on perceptual thresholds. Her most recent exhibition, Retreat into Darkness. Other exhibitions include Manifesta 7, and MoMa P. They represented Nordic countries at the 49th Venice Biennial and participated with a solo show at the 27th Sao Paolo Biennial. Wooden construction, polystyrene panels, white LED-lights, micro-controller, bench. Frequency range of flickering lights: Each flash duration 6 mins.

Duration of the sequence 6 mins 24 secs. Courtesy of the artist. The film moves through the different layers of the museum, revealing that which is otherwise unseen. The soundtrack is created by Robert Lippok. Tilt, 13 min creates a contemporary parallel of an Enlightenment World, employing current museological digital imaging technologies as devices to penetrate the surface of scientific and artistic objects.

The film uncovers how new 3D imaging techniques utilized by museum conservation departments bypass the need to directly incise into material culture, instead providing a surrogate and abstracted experience of objects for public consumption. Made in Germany Drei. Your map is not correct anymore.

June 2nd, , 5. The group exhibition pursues the questions of how geographical, political, and institutional structures as well as new technologies are creating important conditions for the production of art in the course of the digital turn. In an art landscape that, by international standards, continues to have a unique concentration of institutions art academies and colleges, art associations, and museums , the German scene is a major international site for the production of and discourse on contemporary art.

The exhibition focuses on artistic positions that address production processes and examines the sites at which it is produced and presented. Besides processual approaches, by way of examples it investigates forms of production that direct the spotlight on network concepts. This becomes palpable based on collective approaches and time-based presentations in which the body and the social attain altered visibilities.

As participating institutions, the Schauspiel Hannover, the Festival Theaterformen, and the KunstFestSpiele are contributing the first time, supplementing the question of production and site with additional projects and thus highlighting the changing production conditions of theater and performance not only in spaces of visual art.

Talk by Matthias Sohr. Christina Tan Cheng Lian is a pianist, lecturer, and composer. She has served on the music faculty of several universities in the USA. From a patchwork of open-source and mechatronics it stages a value-chain stuck in the perpetual production of a terminal-spectacle. The digital layer hosts a bot-net of go-gaming AIs mutually constrained by a forced consensus and a self-certifying smart-contract.

• Hope, Faith, Love, Belief, Beauty: The journey of one artist to be seen and heard and read?
• Armstrongs widow.
• Scotland before Scotland: Alt Clut the Kingdom of the Rock?
• Die Wirksamkeit von NGOs bei der Durchsetzung der Menschenrechte (German Edition).
• !

As a manufacturing operation Ludological will be live-streamed from the office spaces Podium Oslo. What is it about? What does it entail? Marbel by Ally Bisshop. Lost Rocks is an ambitious, slow-publishing artwork — a library of forty books, four books published twice yearly for the next five years. Brought to life by Australian artists Justy Phillips and Margaret Woodward A Published Event and composed by forty contemporary artists from around the world, Lost Rocks is an accumulative event of mineralogical, metaphysical and metallurgical telling.

Zeitschrift Ausgabe 30, May , 5 Euro With contributions by: During the days of May 22nd — June 4th a. In the course of these 14 days we will share our current work processes within an open collaborative workspace. We aim to create a poly-central gathering that is self-structured, self-organized and open to contributions from anyone. You are cordially invited to join this process by establishing your own space in the a.

The materials and structures available at a. The schedule for these two week will be developed on site by its participants and shared online on the a. Here are some key ideas which have informed similar spaces before: Processes are much more difficult to make visible and to see as they require a different mode of attention and participation. The attempt to witness a process requires a change in the temporal mode and in the mode of being-together in the collective space. Anybody is welcome to joint the collective space for any time span, respectful of the fact that Settlement is a predominately a workspace.

Although the time frame is short, we hope to create a space that would be engaging to the students, faculty and visitors of the Academy. This strategy produces a space that is fragile, self-made, and constantly changing. We believe that such a space influences the sociability within it towards similar qualities — towards a more fluid social contract. In asking for a hands-on construction and deconstruction of its makeshift set-ups, such a space allows for a quicker change of settings and a decentralized mode of self organization. Simply put it is a collective workspace, a camp and a hangout, open to all who stop by and would like to contribute to it.

Like many other such meetings it is a place of informal exchange and presentation. It is a space for practices instead of products, a place where our individual ideas and processes have not yet achieved a solid state and can flow into each other. There are no tables, no chairs, and the materials and objects resist easy categorization and usability. They have to be mis-used, adapted, they have a will on their own. The built environment has to be negotiated with on the level of the object. There is potential in a thing being one thing one day, and a totally different thing the day after.

There is also potential in that thing changing hands. You will be surprised how quickly ownership is established from communal beginnings: Settlement is a space that tries very hard not to settle. Miller believes that practice is bound by space, and if space gets shaky, unstable, shareable, so does the practice. By starting from scratch Settlement invites a re-negotiation of the specific conditions of each practice. Settlement is a collective project Vladimir Miller facilitated over several years on different occasions.

The project takes the form of a workshop and creates and inhabits a space full of fragile and precarious structures. Since Settlement starts from a space devoid of habitual work setups, with all materials present considered a common resource,all the structures are built from the necessities of the individual and collective practices of its participants. A kind of a re-start on the physical level and an attempted re-start on the level of the habitual and institutional structures governing our spaces of production. The title is used as a provocation, as Settlement is a space which, over the course of several weeks, tries very hard not to settle.

Settlement puts a spatial perspective on practice, identifying modes of institutionalization and habit which keep the spaces of artistic production and education from becoming spaces of commoning. Looking at how the spaces of our practice prioritize the habitual, Settlement introduces architectural fragility as a mode of destabilizing practice and the social agreements between the participants.

The spaces created within Settlement are make-shift and precarious and therefore never suited to support a certain social constellation or a process indefinitely. That introduces another timing into the space, rendering all structures inherently temporary and unreliable. The transition of a structure back to the common resource through collapse or re-appropriation is always a possibility, producing the common as a constant perspective onto the emerging territories, constellations and rules in the Settlement space. Within the Horizon by Quynh Vantu. Within the Horizon, Within the Horizon is a multi-channel video installation incorporating a collaborative performance with contemporary dancers and the architecture of the Hedmark Museum.

In addition to the video installation, durational performances will take place during the exhibition period from May , that will engage the video installation, architecture and public audience. These performance will occur within the functional spaces of the museum and provide a varied viewer experience dissolving and blurring the boundaries between audience and performer.

In addition, there will be an artist talk: A full schedule of performances and talks will be listed on the website. Yet over the next fifty years, the treasure it harbors, the largest lithium deposit in the world, will drive a dramatic transformation of this landscape: Material turns into representation; the installation becomes a negative space of the mined salt that leaves a new cavity, a Future Fossil Space, in Bolivia, while guiding the visitor in Venice through a heaped mountain landscape, its layout hexagonal in imitation of the scabs on the salt crust.

Meanwhile, the title Future Fossil Spaces refers to future spaces that will be created inside the earth by the mining operations, the traces that the digital era will engender and that he brings back into the present by displaying the raw material of the digital as an artifact from the past. The artist-anthropologist designs an early mausoleum for the geological age of the digital, offering, as a counterpart to the internet, a physical and tactile experience.

Ironically enough, that experience demonstrates that the enlargement of the virtual world requires a hollowing-out of the world of natural resources. It is a narrative of matter reporting on the virtual, material culture that grapples with the progress of our information society; impartial and as real as it is relevant in a world of plural realities.

Future Fossil Spaces, Salt from the Salar de Uyuni, acrylic-containers filled with lithium-brine. In March an international group of artists, scientists, architects and philosophers left the port of Ushuaia Tierra del Fuego, Argentina bound for the Antarctic Circle — onboard the scientific research vessel Akademik Sergei Vavilov. At each location, artworks, exhibitions and performances were realized.

Mobility, site-specificity and ecological compatibility were key touchstones. In addition to onshore interventions, throughout the expedition, the vessel itself served as a floating studio, exhibition, installation and performance space; a photo lab, and conference facility. Onboard activities included symposia, debates, and a daily screening program featuring commissioned videos by international artists. Also, on dialogues leading to future cross-disciplinary collaborations.

This year, The Antarctic Pavilion presents documentation of this 1st Antarctic Biennale — a paradigm-shifting phenomenon in biennale culture: A hot-house in a frozen realm, without mobile phones, internet, ready audience, or escape to another cocktail party, throughout this biennale everyone was in the same boat.

While its expedition is complete, its collaborative outcomes are just beginning. The performance also emphasizes the role of tourism; travel for pleasure. It is also the theory and practice of touring, the business of attracting, accommodating, and entertaining tourists. Usually, the comfort of tourism is the preserve of humanity alone. In Space Fish, von Bismarck dives into the business of attracting the fish, offering a chance to experience the human luxury of movement to anywhere in world.

Underwater installations Alexis Anastasiou Brazil. Large scale projection Andrey Kuzkin Russia. Series of performances Eulalia Valldosera Spain. Audio intervention on the ship that travels to Antarctica Gustav Dusing Germany. Tent made of frozen cotton Joaquin Fargas Argentina. Video Installation Julius von Bismarck Germany. Performance Lou Sheppard Canada. But his pieces also include sound-based installations in which he brings together elements from art, music, theatre, radio and film, as well as stage sets and objects. As early as he arranged self-made musical mechanisms, audiotape loops, electric motors and a piano keyboard into a playable installation.

Konzert des Deutschen Musikrates. With the kind support of Meinblau e. Die Installation besteht aus einem Arrangement unterschiedlichster Klangobjekte im Raum, die mechanisch bespielt werden. Monument for the by Andreas Greiner. Monument for the , , Berlinische Galerie. A reflection on industrialised meat production and breeding techniques, which are characteristic of our contemporary relationship to our environment.

A 7,5m meter skeleton stands towering over the conference like an ancient dinosaur. The work carries the same name like a specific man-made breed of broiler chicken: Like its ancestor the Archeopteryx, this species of broiler will become extinct: Unable to pass on their hybrid DNA, they will die out as soon as humans stop artificially breeding them. The Berlin-based artist thus speculates upon a possible archeology of the future: If dinosaurs are a relict of the mesozoic era, genetically altered chicken would in future be a relict of the Anthropocene.

It is a 7,5 m tall replica of a broiler chicken skeleton found dead in an industrial fattened chicken farm in Brandenburg , which the artist then froze for stability and conservation. This rendering was enlarged 20 times A study by Baron and Campbell among university students in Sweden, the US, Italy, Japan and Korea sought to discover gendered differences in the way participants used their mobile phones. With regard to attitudes about texting, females were the most frequent texters and preferred to text because they felt it was quicker than talking, while males preferred to text because it was shorter and to the point.

Baron and Campbell also discovered that participants manipulated communication depending upon how important it was to the initiator to hear a voice, whether the initiator wanted to engage in a longer conversation, or which mode would be the clearest form of communication 15, Texting was used to control social interaction much in the way some studies have shown that people pretend to talk on their mobile phones in order to avoid social interaction Katz ; Baron and Ling ; Smith Texting has evolved into a tool that allows one to control the volume and the kind of digital communication that takes place.

Concluding thoughts So far, this paper has avoided the tendency to use a label such as Millennials because it can create artificial boundaries limiting a more holistic view of young adults. Labels can become a way of categorizing young adults mainly by their uses of new media technology, which can essentialize the significance of the mobile phone in their lives. The discussion has instead used elements of the domestication framework giving agency to young adults, who are not a homogenous group: It is inevitable, however, that a couple of the more popular concerns about the plethora of texting and postings on social media be mentioned here in order to encourage continued conversations about what it means to communicate as a young adult today.

First, in relation the effects of the mobile phone on relationships: In addition, the expectation that one should be constantly available might also prove to be oppressive. One might question how a person develops a sense of self- worth and identity if the majority of relationships are conducted online and most of the personal sharing comes in the form of posting photos or comments on social media.

How will young adults learn to make eye contact, advocate for themselves or others, or deal with group dynamics or potential conflict in the workplace? Texting allows young adults to say what they want when they want without a filter. There is no need for an immediate response from the recipient, unlike most FtF conversations. Texting and the use of social media also allows young adults constant connectivity, or in some cases, to switch off all together and become unavailable. Being connected does not mean there is a bond, or no existing relationship.

Texting and the use of social media are tools that allows one to control the volume and the kind of communication that takes place. How will instant texting and posting on social media help cultivate thoughtful communication and stimulate real dialogue? Summarizing these concerns here highlights the fact that the influence of the mobile phone on communication is dynamic and ongoing.

In conclusion, here are some questions to consider when pondering what seems to be for some the differences between traditional forms of communication and the role of the mobile phone as a new form of communication: The influence of the mobile phone on young adult communication can be contextualized socially and also in relation to market forces driving the notion that everyone must be connected via the mobile phone at all times.

Some of the challenges in communication today have replaced the communication challenges overcome in the past. Talking Takes Too Long: Gender and Cultural Patterns in Mobile Telephony, available at http: Electronically-mediated communication in transition, 1st ed. Domestication of Media and Technology. Mobile Communication in Everyday Life.

McGill Queens University Press. Presentation of Self in Everyday Life. Machines That Become Us. An Introduction to New Media. Information and Communication Technologies in Everyday Life: A Concise Introduction and Research Guide. Cambridge University Press, pp. New Tech New Ties: In Wall Street Journal [online]. A sense of Place. The Global and the Local in Mobile Communications. Vienna, Pasagen Verlag, pp. The Politics of Information and Communication Technologies, 1st ed. Oxford University Press, pp.

Youth, Identity and Digital Media. In Past and Present, No. Handbook of Mobile Communication, 1st ed. The Meaning of Cell Phones for Society, 1st ed. The challenges faced by qualitative journalism are numerous, and the effects are clearly obvious at society level, when information consumption from various sources is increasing; however, we find that only some of the users are qualified to undertake and analyze data and journalistic content.

There are numerous pressures registered by professional journalism, equally as much as creating journalistic content regarding the rules of the trade can be a difficult task for the non-professional author. One of the first forms of such pressure was generated by the economic crisis in , imposing a restructuring of media organizations. Another valence of pressure consists in the inability and slowness of active journalists to adapt to the rigors of digital media.

A main focus and of major importance is the re-tabloidization phenomenon in Romanian and international media, on every branch: The technological revolution has been a favourable breeding ground for commercial television channels, less inclined to the rigors of deontology. A further development is the citizen journalism, varied in representation and extremely active.

This study aims for the complicated mass media — citizen journalism relation, as well as the challenges of qualitative journalism. Painful constraints and other confused diversifications What does quality journalism actually mean? Expressed in a few words, we are able to mention informative journalistic products, with carefully selected content, regarding context interpreted facts, presented in well-written journalistic products, coherent, equidistant, useful and interesting for their target community.

They are presented in printed form, television and other media platforms. In this environment, they can be accompanied by opinion material or entertainment pieces. Technically speaking, there are no differences between quality journalism and professional journalism. The first term covers the manner in which the users audience appreciates and validates journalistic products; the second refers to the imposed exigency over qualified practitioners of the field. The pressure applied on quality journalism has various and numerous origins.

One of the biggest challenges is the financial one. The financial crisis has led to reduced financial flows in many companies and institutions, including media organizationsi. Demand has fallen, incomes have diminished, thus classical media organizations were forced to restructure.

Fewer copies have been sold, incomes resulting from journalistic material published were considerably smaller because the sector has also faced a major crisis, financial in essence. The existing founds have been funneled towards the alternative areas, represented by websites and later by social media.

Professional journalists were slow to adapt to the on line medium, regarding it as being insufficiently mature and non-representative, even unreliable. Enormous pressures are also issued by public relations specialists. They have begun to present their own communication products in a more journalistic fashion, content taken over with few or no changes and found in printed or on line publications, on the radio or television.

Given all that, a prolonged confusion was generated, demonstrating devastating implications over quality journalism, on the basis of lacking classical, obvious demarcations between communication products categories and fields, referring to journalistic, advertisement or public relations products. Another form of pressure is represented by citizen journalism. Communication products resulting from very insistent non-professionals are being published by media platforms without a trace of corroboration or fact checking, often accompanied by edit errors from the original source.

Market demands and professional exigencies There is a difference between a piece of news, in the wide sense — informative material in accordance with trade rules, and journalistic interventions, even informative ones, by citizen journalism representatives. Under this occurrence and pressure, we find the press adapting its style to survive and remain on the market. There are voices commenting upon this type of evolution as representing regress, referring to undertaking liberal and permissive practices of information editing and collecting, but at the same time the deficiencies we highlighted above.

We sometimes find journalists who retire from rigors, adopting citizen media procedures in established publications, but more frequently in new fields, blogs or website opinion comment boxes. There is also a category of journalists that manage to follow and maintain, to some extent, professional rigors in media organizations they collaborate or have contact with, but express themselves more freely and in some cases more vehemently on personal outlets like personal blogsii.

This is one aspect that needs further examination, because, in time, strict rigors of informative journalism have evidently restricted the freedom of press to express opinions. It is evidently clear that these opinions have always existed, but were repressed and censored. Out of this past we find one principal gain of citizen media: Information journalism needs to professionally cover the process steps.

Information becomes news when it is rigorously collected, then checked, delivered in a context and edited in accordance with the rules. Only by fulfilling this process, profession values can reflect the values of the society. Lasorsa, when presenting the manner in which media organizations all over the globe view outsider non-professional collaboration, will report that Sweden tolerates and encourages the process, Great Britain is moderate in involvement, and the US is reticent to collaborate in journalistic product actualization v.

Collaborating and negotiating with human sources as well as the capacity to make careful observations remains a professional journalist trait. It involves being insistent, having an offensive attitude, the capacity to accomplish an interpersonal relationship, often enough face-to-face, result yielding, as much as experience in such activities. These are conditions defining professional media, and in them we find resources to redefine and activate informational journalism, currently in a state of regress to some extent. Expositions, debates, negotiations and intermedia All of these convergent and divergent elements in the mass media system and the connections with other activity fields mainly in social media, public relations, advertising and management can be identified under the intermedia umbrella term.

At a first glance, intermedia means interaction and inter-relatingvii. Inside the standard media organization being it traditional, actual or virtual , citizen journalism can represent an option in intermedia, because of its offered participation and integration elements. Traditional and new techniques are thus combined, offering an ample debate space, stem for the aforementioned reduction of preponderant informative product phenomenon.

In actuality, we could argue that it is not necessarily the reduction of the number of news could respectively be larger! Everything is open for debate, something that old media outlets did not allow. The first group will continue to undertake hard news, regarding murder and arson, while the soft sector space daily life in the community are produced and supplied by the outer communicators in various local institutionsviii.

The conclusion arising out of the activity of this local media platform is that, even at this level, citizen media is present and can add to the professional journalist activity. Developing the capacity to observe and interact face-to-face is what sets the media professional from the eager amateur and professional from non-respected communication apart.

It is easy to add a comment under or on the sidebar of a published content or to assume a position when faced with events. There are citizen attitudes that have the potential to become remarkable, but important news, impactful information is not often easily accessible. Here, we are discussing those aspects best kept hidden in the opinion of the involved parties: These can be revealed only if proven and backed up by evidence, thus in a professional produced communication.

A face-to-face discussion with a Age-old face-to-face communication is losing ground in front of the media based communication. From the aforementioned points we can observe that successful media content is amplified by the professionalism it benefits when communication is direct with the interlocutor or the information supplier. Specification of main characteristics is needed: Storytelling elements and tabloidization Storytelling or life story, to give it the Romanian equivalent, is journalistically widely promoted as info-entertainment, protean field, with journalistic products that interblend informative genre sobriety with opinion pieces; add entertainment contents but also mass-media specific educational function.

Life stories can have a central role in the magazine type of journalism, but can also be successfully represented in electronic platforms of quality press. The abuse that these areas suffer, apparent not only in Romanian mass-media, that tends to cast a shadow over journalistic products with informative content or mask the lack off or reduced number.

In addition, being an extremely persuasive type, storytelling articles, often employ argumentation and persuasion methods that exceed quality press rigors. The tabloidization we are currently experiencing in world media, thus also Romanian, is part of a wave forth of fifth, in media history manifesting since the end of the 20th century. We identify various causes that contributed: From a technical perspective, tabloidization does not bring anything bad, we are concerned with shorter texts and more and larger images in small format newspapers, precisely to make them easier to read.

There is nevertheless a darker side to the tabloidization process, reference point for lighter subjects, magazine oriented, for pictures and images photographs and films less adapted to the subject being considered or shocking content, not detouring sensationalism x. The biggest problem is represented by the poor quality of information, being substituted or masked with journalistic products of rather fictitious content than factual one. Esser will highlight these mutations, as much in the US as in Europexi.

In this context, Gaber speaks about public communication crisis, not only in journalism, his analysis data being contemporaryxii. Intermedia benefits from the evolution of citizen journalism, not only because of new emerging elements that this type of journalism proposes in new digital media, but also by participating in actualizing journalistic products that can be framed in high use frequency journalistic types. In this category we also find media products akin to traditional media or offering a development model of traditional media.

This is a challenge known under the name of digital storytellingxiii. The Romanian meaning of the idiom is of a story depicted in digital media, in the digital communication space. When we establish correspondence, it is important to keep into account that in the media register, the English term story, primarily means narration linked to history, relating a Storytelling tends to gain the autonomy of a journalistic genre. It belongs to the informative genre, but it also presents the audience with elements of high emotional impact. This is an elaborate relation, closer to a report bearing the name feature in Anglo-Saxon journalism.

Returning to the discussion about citizen journalism perceived as being correlation between citizens and power, as right and freedom infringement or against certain negative effects on the media, it is important that we convey attention to the fact that new technology and new media can be represented as a blend, which means: Environmental organization websites contain, for the most part, media products, aiming at favorable information and opinion.

These websites are engineered by the organization members or are a takeover from different sources, if the sources stand for the same cause and position, reinforcing it as well. Their objectivity can represent a major problem xiv. Civic platforms encourage debate and even opinion and argument confrontation. In the opinion of some authors, new media, in this context, concerning media technology and content, becomes a battle field, and the arsenal is an array of weapons.

The confrontation can devalue and mask important activities, worthy of less-militant citizen consideration. By means of selected subjects, content and presentation forms, storytelling is more akin to entertainment. It is allowed to bring upon a smile, but it is important that the communication impresses, not only informs. Lambert describes the genre of story as: The link to citizen journalism is bridged by the fact that, although this kind of genre is oftentimes promoted by non- professionals and visits sensitive community issues, with clear knowledge that it attracts attention, even exerting pressures, its activity is diverse.

Digital storytelling has thus become a genre practiced by journalist alongside amateurs, the latter group accomplishing to collect vast numbers of such events. They are depicted in simple language or more elaborated, ever literary. It also represents a mode sophisticated way to socialize. In these non-professional circles, storytelling loses its media institution rigors lax by nature and description. Kaare shows that the genre to be in progress. The narration first person narrative, the body of work is completed by a small number of participants, often a single individual.

The noticed evolution is geared towards the highlighting of different community problems, molding reality and its elements xvii. Here can also find positions of protest, affecting and reconfiguring the image of an institution. Something worthy of mention is the complex structure of digital storytelling. The final product can be even more complex, combining diverse artistic These aspects were also noticed by Pavlik, who underlined the interactive character, proposing the term interactive storytelling Pavlik, However, Higgins will show that storytelling registers an important development in cyber media.

We will step out of the family sphere events, the mundane, and we will enter a field of wide social implication, even political xix. Audience numbers will increase, favored by the same digital expansion. Dissipated audience, involved users The audience and audiences! A distinction that Umberto Eco would theorize from the beginnings of television.

He will identify participation and segmentation, television, most notably through its live broadcasts, redefining media communication. Those deep past changes in the reception mechanism ease the understanding of fakery of today: Audience segmentation in evident in the given example, the broadcasting of a soccer match. The stadium spectators constitute a different type of audience, different from the one watching at home in front of the small screen. Sport is a vast and rigorous field that is attracting a vast number of interested views.

The subject area is anchored in reports about competitions and competitors, but also anything else that interacts with it. Diversity in the base characteristic, actualized in journalistic products covering all directions: The sport area is a dynamic and well individualized sector of the media industry, functioning by its own rules, as will be shown by Frandsen xxi. The rules shall allow a stronger distinguishing of the subjective emotional aspects when presenting competitions and races.

Commentators shall function as both media analysts and experts, profiting from being able to express their opinions in a live medium, without it infringing deontology. Controversy shall also be present in debates and discussions, oftentimes heated in nature. In the last years, this approach model shall see expansion, overtaking the borders of professional journalism, involving positions, inter-relations and posts on non-professional managed platforms. Reporting on sports events represents an important activity for the entirety of the mass-media categories.

Specialty websites covering this vast field were between the first to assert them in cyberspace. At the same time, the excitement and fever of live broadcasting, in real time, represented and still does a major preoccupation. Support was given by technology, there is an evident pressure of the media industry for convergence in this field, to allow fast presenting often also live online of information in various journalistic products regarding major sport events.

Copying and informing Online journalism challenges were already vast, halfway through the first decade of the third millennium. One of the solutions will be synthesizing information stemmed from other media sources, besides own ones xxii. This is a work manner enforced by intermedia. In the first phase, the new behavior of the audience was noticed, inclined to consult various and diverse sources for news. Switching channels by pushing buttons in front of the television was only the beginning.

The number of television channels on offer was soon doubled by the number of electronic publications. In this context, media institution employees have started synthesizing information taken over from other market competitors, including direct competition, and using them in own journalistic products. The intention is to capture and maintain a motionless audience, focused only on the particular news station possibly also a news site, not necessarily television station. Because the audience is still switching stations, other methods will be discovered to customize it for the spectator, to make it score as high as possible in the preference charts.

A news outlet remains one of the favorites if it supplies as many high-interest features as possible and if it combines it with a specific delivery manner. Rare are the cases where media stations offering summaries or synthesis of the market products that have lasted in time. The most sought after stations will be the ones capable of offering own products, actualized in maximum accuracy conditions.

The phenomenon of getting information off the internet is a natural process to a point, but media organizations cannot collect their fact off of it. It is clear that big publications, news agencies, radios or television stations, taking each one of them as a separate case, cannot always claim exclusivity for all their important news covering the globe.

A large number of own news, collected through own sources and broadcast in exclusivity, insures stability for the respective media station, being perceived as a trustworthy station by its audience. Trustworthiness is constructed out of various elements, but the following two, the capacity to offer own exclusivity news and present a panorama of important daily news, are among the most important.

From this starting point we contour two important digital media elements: There is a possibility that the audience of the first supplier will not to increase too much, if the subsequent distributors do not mention the original source instance that happens quite often in actuality! This forms an interesting procedure of mixing data, the resulted journalistic product may be, in cases, an impactful piece of news.

For instance, discovering pictures of a senator at a certain gas station, on a low-impact site, can, for a news writer, form the evidence that the aforementioned senator has had a meeting in the respective town with a controversial character. This framework was also underlined by Rosentiel Rule appropriation and limit enforcing Society societies, people cannot function without a value driven balance. Balance is actuated by accepting rules.

In a massively complex field, as the communication field, there is the preference to choose the auto-regulation route, functioning under the rule empire…auto-imposed and appropriated. The fascinating evolution of the postmodern world has further eroded the trust degree in communication means. Journalism history can also be viewed as a history of deviation from professional norms. Online and social media diversification has strongly affected the capacity of main stream media to maintain its presence on the market, but the migration towards online journalistic products was actuated to a certain extent.

A vast number of the users have definitely given up media, in spite of the fact that social media has seen an explosive development. The online medium registers more and more active individuals but the opposite is true when discussing the interest for professional online publications. It is a space dedicated to confusion and diversity, which required taking measures to stop the decline of the main stream media and to demarcate the online medium.

Quandt underlines the fact that there is a major interest in being active in digital media, but also to massively study the field, with a far less reduced interest for traditional media xxiv. Surprising for some, the mutations registered in traditional media printed publications, radio or television are spectacular.

They highlight the preoccupation to overcome predicament, by adapting to the new media order, but also by maintaining former values.

An all-encompassing image of the contemporary media phenomenon can be achieved by investigating the specific of old and new media, in comparison to the elements that lead or do not lead to convergence between diverse presentation and activity forms in the media field. There are attempts to redefine professional journalism in new and digital media, expressed through a found again ethic with up-to-date provisions, possibly defined under the term new ethics media. Ginny Whitehouse shows that the old controversies and dilemmas of the 20th century second half will amplify in the digital age, prompting traditional publications to make their own ethic codes public xxv.

It is an attempt to define and demarcate a composite and postmodern universe of social and multimedia. Preoccupations in this direction will also be undertaken by the new professional journalist associations which are active in the digital medium. Referring back to the individuals that post online comments under diverse journalistic products, we notice they are very motivated.

Balanced, analytical or critical messages expressed in civilized terms are a rarity, and a vast number of honest commentators avoid engaging with passionate users, on the basis of the potential insulting attacks they can be victim to. There are electronic publications which favor and stimulate anger and tussle between the users. The targets of these verbal aggressors are: We also notice there are differences in appreciation of certain publications.

If we judge from the angle of the comments, we conclude that the entirety of media is extremely deficient, because the comments are vastly negative. When we analyze the degree of trust placed in the media, generally, and particularly for every Differences are also apparent when we compare the negative comment percentage aimed at personalities from different fields and the degree of trust as results of opinion polls undertaken in quality control conditions.

There is no solution to diminish this wave in lack of respect and civil behavior in intermedia. Maybe only intense and prolonged efforts in educating respect on a societal level. In this given context, we can observe that the degradation of journalistic practices has different origins. One of the first categories includes field professional actions and non-actions, less preoccupied with information collection on the spot, avoiding face-to-face contact, preferring to interact by means of telephone or the pseudo communication through e-mail or social media platform.

One of the other introduced practices is the taking over of journalistic content supplied by outsiders, public relation specialists or amateurs, often without modification or additional fact checking. Moreover, the quality of the journalistic act can also be affected by the convergence of media, when journalistic products are subject to user added comments, attachments and attacks, through interaction and interactivity. There are numerous provocations that a professional journalist faces.

They can exit this confused state by fact checking and following truly interesting events, worthy of being published, establishing event to context adequacy, giving everybody involved the opportunity to have their say and relate their side of the story, editing balanced journalistic content, that is clear and impartial. These are actually the original values of quality journalism. The UK experience" in Journalism, 17 5 , pp. Autobiography and Assumed Authenticity in Digital Storytelling".

Digital Storytelling, Mediatized Stories: Self-representations in New Media. Mediterranean Edition, 6 1 , pp. The Center for Digital Storytelling in California". Digital Storytelling around the World. Reflections on Practice, 2 2 , pp. Surveillance, Technological, and Media Convergence". Globalization and National Identity. Studies on the Strategies of Intercultural Dialogue.

Arhipelag XXI Press, pp. Challanges of Media Communication". In Iulian Boldea ed. Approaching National Identity through Intercultural Dialogue. In Ilie Rad ed. Exploring Questions of Media Morality, 25 4 , pp. Lasorsa and Seth C. Self-representations in New Media, New York: Digital Storytelling around the World, Malden: Mediterranean Edition, 6 1 , Arhipelag XXI Press, Exploring Questions of Media Morality, 25 4 , Social media has transformed the way people around the world communicate, and its use in different sectors of social life has steadily grown.

Considering the success it enjoys among the general public, it is very likely to be used also in local public administration. Platforms such as Facebook, Twitter, LinkedIn, YouTube, blogs and many others have begun to be used as tools for communicating with citizens, with the aim of increasing the degree of information and interaction, on one hand, and, on the other, of making the act of governance more transparent.

The present study intends to provide an assessment of the ways in which local government institutions use social media to communicate their actions. Introduction Although originally the transmission of information via the Internet was unidirectional, starting with the middle of the last decade, the emphasis has increasingly fallen on user collaboration and the creation of social networks. These have mainly revolutionized private sector communication and their use in various sectors of social life has steadily increased.

In recent years, Facebook has consolidated its social network position in Romania, a fact revealed by demographic data from indicating more than 9 million users, whereas Twitter registered only , accounts, out of which only 1 of 11 is active monthly. Instagram had about , users in June Regarding the adoption of social media in public sector communication, Mergel and Bretschneider present it as a three-stage process. First, new technologies or applications are experienced by public institutions at an informal level. Then, as the degree of use increases, organizations introduce rules and procedures, aiming to diminish informal communication.

Finally, they establish clear rules and procedures on how communication is made. The type of content approved, the creation of separate departments and well-established attributions lead to the integration of the new technologies, which are no longer seen as novelty, into the technology mix used by institutions Mergel and Bretschneider, In Romania, the Internet usage in was Broadband mobile Internet reached Average monthly traffic for each connection has almost doubled since the first semester of , from 0.

A relatively high adoption of social media in public administration has been highlighted by two studies in this field carried out in Romania. Urs assessed the Facebook accounts of Romanian Town Halls. Another research in the Romanian environment was carried out by Nicolescu and Mirica , who evaluated the use of Facebook at the National Institute of Statistics in Romania. Methodological Aspects The objectives of the research focus on the following aspects: Methodology The survey was conducted between January and March , and included only the ministries that subscribed their Facebook page to facebrands.

The service records the number of likes per each page and sets rankings for different page categories, highlighting both increases and decreases in the number of likes received during a given timeframe. In this case, the category followed on facebrands. It is worth mentioning that only 11 out of the 24 ministries have registered their official page on facebrands.

The study combines quantitative and qualitative methods, this paradigmatic approach being increasingly used in researches on complex issues, such as institutional analysis, administration-citizen relation, community development, etc.

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The use of the quantitative method has been operationalized by collecting data belonging to each ministry present on the online environment regarding: The qualitative interpretation focused on the attractiveness, fluency and coherence of the information displayed by each ministry. Results In order to obtain a broad view on the situation of the presence of the ministries in the online environment and their use of social platforms to depict their activity and, at the same time, to communicate and inform the citizens, a ranking has been made according to their visibility in the online environment.

The main criterion was the number of followers on the Facebook platform. The table includes also information about the social media platforms they use in communicating public information, the number of posts between January-March and the number of posts with multimedia content displayed on their official site. The most important aspects are described below, as follows: The site is well-structured, presents useful information for the population and contains a section dedicated to media activity press releases, communication team, etc.

At the bottom of the page, it provides useful links to other internal or external institutions and shows some icons that link to the other social platforms used, i. Facebook, Twitter, and YouTube. It posts videos from events or military exercises and, at the same time, greetings for different occasions, etc. On Twitter, it has constant posts on the latest news in the field of national defense. The posts on Twitter are different from those on Facebook - Twitter only posts in relation to news, visits, etc. It presents the latest news about the ministry's activities visits, decisions, events, etc.

On Facebook, the number of followers is rising, the posts are informative and offer the public the opportunity to get to know the members of the ministry, and also the activities they are carrying on. During the period analyzed, the ministry did not post polls and did not respond to the comments on the page.

On Twitter, it has approximately similar posts to those on Facebook; but it does not post with the same The Instagram page differs by the type of existing posts, as it focuses on the transmission of significant images from the activities performed, or from various anniversary moments, etc. The photos have many likes thousands of them and even comments. This may expose it to the risk of not being very visually attractive from the point of view of aesthetics. The site has several icons that directly link to other platforms used.

However, placing them at the end of the page is not a good strategy. Moreover, the icons are not arranged, appearing disordered see Palmer , Stoian on web page layout and multimodality. Not all the platforms used have a link on the site; Instagram and Twitter are missing. The number of followers is growing due to constant posting. The ministry did not post polls in the period analyzed, but, depending on the subject, it provided answers to the comments on the page.

Posts on Twitter are not as constant as on Facebook and have as topic the promotion of various cities in Romania. Each post is accompanied by at least one hashtag containing keywords. On the YouTube channel, the ministry did not post at all since it was taken over by the new team.

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The site contains a link only to the Facebook platform. The Facebook page presents different public information, as well as laws, projects and changes. Each post provides a link to the site. The ministry neither posted polls nor responded to the comments on the page during the range of time analyzed. The latest news are in the middle of the page, and messages of major importance are posted at the bottom of the page such as the areas to be avoided due to certain dangers.

At the bottom-right of the page, there are links to other social platforms, which indicate the latest posts on Facebook, Twitter, YouTube and Flickr. On Facebook, the number of likes received by the page is, also in this case, rising. The posts are constant and include useful information, such as sessions, events, competitions, international days, etc. The variety of content attracts the number of followers. During the analyzed period, the ministry did not post polls and did not respond to the comments on the page. On Twitter, the posts are constant, about posts each day, relatively the same as those on Facebook, and they focus on information.

On Flickr, the ministry presents images from various events, meetings from numerous visits, sessions, etc. The number of followers in this case is relatively low. The site also presents different actions on environmental issues and details of the various measures taken in this area.

There are no links to social platforms, but there are useful links to other ministries, placed at the bottom of the page. The Facebook page of the ministry contains information on new regulations, visits and press releases. Information is not posted very constantly — once a day, or even once every two to three days. The number of likes has been increasing; however, this growth did not exceed 50 followers during the observed period. During the time span focused, there were observed no polls nor answers to comments on this page. The site provides the public with the opportunity to participate in online debates launched by the institution.

There are no direct links to other social platforms or links to other institutions. On the Facebook page, posts are constant, daily and well centered on the topic. They include photos of official meetings, sessions, etc. In addition, it offers the possibility of signing petitions online.

At the bottom of the page, there are four icons that link to other social platforms used to inform and communicate with citizens. The posts on its Facebook page are daily; sometimes posting happens twice a day and provides information on official visits, decisions, regulations, etc. On Twitter, posts are similar to those on Facebook, because they are synchronized, each post is accompanied by a significant photo for the subject presented.

On Twitter, there is also a direct link to the website. Although the ministry has a channel on YouTube, there was no activity recorded during the monitoring period. The same was observed for Flickr, there exists an account, but nothing was posted while monitored. Information on competitions, sports Olympics, etc. It includes even a short poll question. The posts on Facebook are accompanied by photos and, even, by a link to the website. They present competitions, sports Olympics, official visits, press releases, or various press articles focusing on Romanian sport.

The institution does not respond to the comments made on the page, but has published a poll. The posts on Facebook are informative and have a The institution does not respond to comments. On Twitter, posts are synchronized with those on Facebook, but do not have a high number of likes. On YouTube, no activity was recorded during the monitoring period. On Instagram, images from various events are displayed, but the posts are not daily and do not have a high number of likes.

Although the ministry has an account on Pinterest, it does not have followers. On Flickr, the images are the same as on Instagram, but there is no significant activity recorded, having just one follower. The most important categories are visible, easy to identify in the central parts of the page. The site presents press releases, public information, as well as helpful links for those interested.

Although there are references to two platforms used - Facebook and Twitter - they cannot be accessed directly from the site. Posts on Facebook are informative and constant - once a day. The number of likes on Facebook is rising, but this growth is low. On Twitter, posts are synchronized with those on Facebook; they contain only text and no photos. There are no responses to postings, comments or likes. Conclusions The social network by means of which ministries choose to inform and communicate with citizens is Facebook, a platform that is found in all the analyzed situations.

In most cases, messages are not adapted to the characteristics of this social network, which is primarily based on interaction. Communication is unidirectional, the representatives of the institutions do not respond to the comments left by the visitors of the page, which leads to a rather small number of followers of the official pages of the ministries. The use of social platforms alternative to the Facebook network is rather limited and is done either by taking information from this platform or by using inconsistently other networks that are not so popular among users. To conclude, it seems that the Romanian ministries use social media as just another website where official information, press releases, official announcements, etc.

They are still at a first stage in their use of modern means of institutional communication. In most of the cases studied, the way of interacting with citizens should be improved by exploiting the potential offered by social networks. The Discourse of Tourism and National Heritage: A Contrastive Study from a Cultural Perspective. There is a widespread belief that modern democracies, due to their organization, have institutional mechanisms that, like an immune system, are capable of eliminating dysfunctions, syncopes, and even the dangers that could threaten their own existence.

The access to communication and the freedom of expression are important allies of democracies but, at the same time, these values can be diverted for purposes other than the general interest. Spreading alarmist news, messages that "reveal" conspiracies or narratives that have nothing in common with reality represent the tools of those who stir the currents of nationalism for political purposes.

My paper analyzes the phenomenon of post-truth and its harmful implications for the democratic systems. Introduction The post truth has become overnight a star concept, the favorite catchphrase of the journalists, political analysts, ethicists and demonstrators alike. Designated "the word of the year " by the researchers from the Oxford Dictionaries, the term refers to situations where in public opinion formation, objective facts matter less, sometimes at all, as opposed to the appeal to emotion or personal belief.

The objective truth, the actual unfolding of the facts fades in the face of constructed scenarios designed to trigger emotions that will further lead to the achievement of the political goals. The significance of the concept cannot be separated from the political events of which had a major impact on the public opinion, namely the Brexit, the US presidential elections, Erdogan's repressive policy or the expansion of Russia's influence.

Situations like the above demonstrate the force of the post-truth mechanism, its capacity to make significant changes in the global political order, starting from things that have nothing to do with reality. The concept is not new. It was first used by Steve Tesich in an essay he wrote for The Nation in which he addressed the ways in which the American political scandals, from Watergate to the Persian Gulf War, were presented Kreitner Almost immediately, a series of similar phrases emerged: Whether we are talking about TV news agencies created to influence a part of public opinion CCTV News in China , or social networks channels that act as propaganda tools, delegitimizing the institutions of democracy, all of these have determined a fragmentation of the public opinion, presenting themselves as alternatives to the mainstream media.

As Jayson Harsin points out , , there are many techniques employed: Thus, cast into the world the post-truth does not intend to contest or falsify the truth, but only to render it as of secondary importance. Objective truth does not disappear because the factual reality cannot disappear but it is put under a fierce siege. We are witnessing a minimization of the truth for the benefit of a new perception that acquires not the status of the truth but its force.

The domain of the post-truth Its existence does not have anything in common with the sphere of logic. At least in its classical form, logic is binary, that is, it only allows the existence of two truth values: Under the law of excluded middle or the law of the excluded third, lat. The truths conveyed by the media are, in general, synthetic truths, they are derived from experience and can be verified by correspondence with facts the correspondence theory of truth or by their agreement with a set of preexisting sentences the coherence theory of truth.

Thus, from a strictly logical point of view, post-truth is falsehood. The domain of the post-truth is the rhetoric, and within it, that kind of persuasion employed by the politics and called propaganda. The basis of post-truth is a fallacy or an incorrect argument. The error is not made unintentionally, as is the case of paralogism, but intentionally.

In other words, post-truth is a sophism, that is, a logically incorrect reasoning, made knowingly and intentionally. The reasoning error is a material one because it does not relate to the observance of the logical rules of validity for the inferences, but to the content of the judgments. What is at stake here is the meaning of the premise in the context of the derivation of the conclusion. The post-truth is not a particular type of sophism but it is constituted with the help of various sophisms, including argumentum ad hominem the argument to the person , argumentum ad ignorantiam the argument from ignorance , argumentum ad populum appeal to the people or appeal to the majority , argumentum ad baculum appeal to the stick , argumentum ad verecundiam the argument from authority , the hasty generalization, the inconclusive analogy, etc.

The specificity of post-truth as a All these traits allow us to include the post-truth in the techniques of manipulating public opinion category. Post-truth technicians aim to influence or to change behaviors, attitudes, beliefs, leaving the impression of the freedom of thought for the subjects or groups concerned.