Wozu lebe ich noch?: Versuch einer Antwort auf Fragen ohne Antwort (German Edition)
Last shared documents Nicho Schmees shared last document 5 months ago. Go to documents overview. Klausuraufgabensammlung ML Aufgabe 9. Gedankenprotokoll ProLog Ws Lernzettel Produktion und Logistik Lernzettel Produktion und Logistik. Klausursammlung ML Aufgabe 11 Klausursammlung ML Aufgabe 12 Muss man hier jede Zeile mit entsprechendem y multiplizieren? Al t 5 months ago.
St St 5 months ago. Ist eine Excel Datei damit hab ich es verstanden. View 1 more comment. Aa bb 5 months ago. Anonymous Moneybag 5 months ago. No area was marked for this question. Klausursammlung ML Aufgabe 7 Bastian Adolphs 16 updated 5 months ago.
Sind doch 6 Perioden oder stehe ich da gerade auf dem Schlauch? Anonymous Music 5 months ago. Kann mir jemand sagen wie die Klausur genau aufgebaut ist? Anonymous Pineapple 5 months ago. Gibt es eine feste Gewichtung von Theoriefragen zu Rechnungen? Klausur WiSe 17 Help Yourself 5 months ago.
Anonymous Controller 5 months ago. Was war hier die Antwort? Ich habe mal eine Frage. Nachfrage abgebrochen und 4 wird gar nicht mehr beachtet. Duo Chen 5 months ago. Anonymous Credit Card 5 months ago. Ja das hat geholfen. Ergebnis mit ist richtig, aber die 3 fehlt in der Rechnung.
Falls das jemand verwirren sollte. Ich bekomme das einfach nicht auf die Reihe, Vielen dank schon mal,. View 6 more comments. Patrick B 44 5 months ago. DerTeil ist falsch, du hast dort keine ersparnis, sowohl zu lager 2 als auch zu lager 5. JJ KK 5 months ago. Anonymes Pils 97 5 months ago. Generell legst du ja ganz am Anfang eine obere Grenze fest. Anonymous Pile of Poo.
Anonym 5 months ago. Vor allem weil du bei der Theorie immer irgendwas nicht wissen kannst. Daaaaan Beeeeeezy 5 months ago. Klausursammlung ML Aufgabe 6 Was hat es mit dieser Nebenbedingung und vor allem der "beliebigen Zahl" auf sich? Klausursammlung ML Aufgabe 4 In der Aufgabenstellung steht ja, man soll alle! Nebenbedingungen einzeichnen, wie zeichnet man diese ein? Al t updated 5 months ago. Klausursammlung ML Aufgabe 3 Michael Schapiro 2 5 months ago. Wie lautet die Antwort auf diese Frage?
Sorry, hab die falsche Frage beantwortet: Anela Vesnic 5 months ago. Getaktet und ungetaktet, alles dazu steht in den Vorlesungsfolien. Anonymous Package updated 5 months ago. Anonymous Floppy Disk 5 months ago. Wo kommt diese NB her? Finde nichts dazu in der Aufgabenstellung: Die sind nicht wie angegeben von Prof. View 4 more comments. Sollte man die am besten auswendiglernen? Steht im Gedankenprotokoll vom PT1, da gibt es auch hier bei Studydrive. Wenn man mal in die Altklausuren schaut, ist die erste Aufgabe oft was mit Z und Z' und Dominanz und sowas..
The unexpected makes its way in through radio ballet. It had three parts. There were lots of moments in which gestures could be exercised. The radio ballet is something like a counter practice. The staging of an abstract constellation of listeners at the main station becomes the premise for political action. The constellation turns into a cooperation and therefore becomes organized. Many people made the interesting observation that another kind of normality prevailed during the ballet.
Normally very little is permitted — e. It changed the whole picture of the space. Our hope would be for such practices to continue. With this we get to the second point of this action: The radio ballet reintroduces forbidden gestures into the space of panoptic control, and at every corner the predictably unexpected becomes concrete. We had this vision of somebody who sits in the control room, and suddenly all the surveillance cameras show people violating regulations, and therefore all security people must be sent to all these areas simultaneously.
An overload… Radio ballet brings the censored back into the space. Precisely this alienation is the materiality of the forbidden that interests us. It was to be left in its state of alienation and fearfulness in this space. We left it to the participants of the radio ballet to explain what they were doing if they were asked about it.
Produktion und Logistik at RWTH Aachen - Studydrive
The people changed the situation at the main station and it was up to them to decide how they wanted to discuss that there. In our opinion, that sets radio ballet apart from the techniques of control that reign in this space. We want to encourage non-conformist acts and it is not our wish to control them, but to make a practice possible. I have some questions myself, before others come up with their own; then we can start with the discussion.
Too bad, because their website and information were pretty good; they had good material but the related action was extremely bad. I also wanted to discuss a contradiction. In other words, they prefer either to stay within the stores or be looted. The whole question revolves around how we practice a behavior that is consistent with a certain control. The interesting thing is that city inhabitants can also be seen as mannequins that shatter the windowpanes from the inside.
It was meant as a very indirect call. Why are you walking around with radios? In a way, radio created another kind of direct communication. Is that what you were thinking of before you organized the intervention, is that what you found interesting after all happened? The other aspect we had learned from radio ballet. Already during that action, the people who participated had been asked what they were doing there. So it was predictable that such discussions would also develop during the radio demonstration.
Zeitlich haben wir das Ganze von der Chronologie her ein bisschen umgedreht; das Radioballett am Hamburger Hauptbahnhof war von all den Sachen, die wir vorgestellt hatten, das erste. Schon da war es so, dass die Leute, die daran teilgenommen hatten, angesprochen wurden, und gefragt wurden, was sie eigentlich da machen. Dass sie den Hauptteil ausgemacht hatten, das hatte sich so entwickelt, aber war dann eine sehr positive Feststellung, die wir getroffen hatten, dass so was einfach funktioniert.
Die Bahn hat darauf versucht, es zu verbieten. Stattdessen hat die Bahn versucht, es zu verbieten. Es gab ein Prozess. Die machen eine Zerstreuung, wo ist das Problem? In Leipzig war es umgekehrt. Es gab jetzt nicht eine Gerichtsentscheidung vorher da, die uns sagte: Sie wussten, sie hatten es verboten. Zumal das Interessante war, dass auch viele Passanten mitgemacht haben.
Das war im Rahmen der Hamburger Kunsthalle. Es hat insofern ein Unterschied gemacht, dass in Hamburg fast keine Rolle spielte, dass wir von der Kunsthalle eingeladen wurden; das hat keiner so richtig mitbekommen. Ich kann mich an keine Diskussion hier mit anderen Linksradikalen erinnern, die gesagt haben: Gerade die Leute untereinander von BGR sagten: Da ist der Ansatz auch, dass Leute sich nicht versammeln sollen, sondern sich gerade auch zerstreuen sollen, beispielsweise mit Hilfe von Musik.
Wenn der Bahnhof Leute zerstreut, sind sie nicht organisiert. Was die Leipziger auch vorgeworfen haben, war, dass eine konfrontative Strategie besser ist. Dazu kann man sagen: Wir hatten [welche], die dabei standen und nicht wussten, ob sie anfangen, einzelne herauszugreifen, aber bevor sie die raushaben, ist das Ballett schon wieder um. Die Gefahr ist, dass sie dann einfach abwarten, bis es vorbei ist. Es muss schon eine bestimmte Verteilung in einem Raum geben. Bei dieser Radiodemo ging es auch um das Hineintragen von Protest, sehr viel mehr um Inhalte, aber auch um die Praxis, also darum, sie mit in der Praxis zu verbinden, die dann die Aneignung des Raumes bedeutet.
Ihr habt den Begriff der Selbstorganisation auch im Zusammenhang mit Radio benutzt. Wahrscheinlich ist zu lernen, dass es um die performative Umsetzung im Raum geht. Es war euch ja wichtig, diesen Inhalt und die verbotenen Gesten in dem Raum zu transportieren, durch dieses Hinsetzten und dieses Handaufhalten, eigentlich im Einklang zu bringen an Dinge, die jetzt gar nicht mehr erlaubt sind. Zu dem Handaufhalten — in Hamburg wurde die Hand nicht lange gehalten. In Leipzig haben wir sogar 50 Cent auf diese Weise bekommen. Es sind ja nun viele Themen, die am Bahnhof kumulieren, die nicht thematisiert sind: Die Idee war zu erproben, ob es funktioniert, wenn man eine Situation vor Ort schildert, z.
Nur genau so lange wie diese Aktion lief, das ist klar, nach dem Radioballett war alles wie zuvor. Um etwas richtig zu stellen: I have two questions. We tried to lobby a lot of people, because the situation with radio was that the possession of a transmitter was a non-bailable offence, which would put you up for five years in prison, and that was the law. So we tried to create a situation where we could say that — because we had a Supreme Court judgement that said that the airwaves are public property. We tried to lobby a lot of the Left in India, saying: I was wondering if at the beginnings of free radio movement, was there any discussion of this kind over here?
What do you have? The other question was, taking the sender-receiver model, turning it around — which I found very interesting — supposing instead of radios in the station, people carried microphones and recording equipment and were trying to send back transmissions on to the radio station: Do you think that would create a real problem? Because then it would be like you are interrogating something that exists, and then going back to the source. What is this for? Are you a terrorist? What we do is record sounds at night. The idea is that there can be only one kind of person who makes this documentation of everyday life.
Only the police should be listening. Auf das zweite bezogen, sind die Regelungen hier nicht so streng. Es ist auch hier eine sehr ungewohnte Praktik, es ist selten, dass Leute mit Mikrophonen rumrennen. Offenbar funktioniert Klang ganz anders als Fotografie. Eine Bildaufnahme hat immer eine Berechtigung, aber eine Klangaufnahme, das scheint etwas Unheimliches zu sein.
The facts and then the theory and then the legal demand. Es ist sehr schwierig. Freies Radio ist nicht so eine Sache, die einem geschenkt wird, es war hier ein sehr langer Kampf. Was wir gerade versucht haben darzustellen ist, dass es nicht reicht, sondern dass es anderer Praktiken bedarf, um dann erst Freies Radio zu machen. Das Spannende ist, das Handy zu verwenden, um Sound aufzunehmen, direkt zu senden. Das hat der Vorteil, dass es nicht erst aufzeichnet, sondern direkt auf dem Sender gehen kann und direkt auch wieder ausgestrahlt wird. Das ist ganz nett, besonders wenn man Leute trifft, die eben aus dem Bahnhof ausgeschlossen wurden — wie es auch in Leipzig der Fall war — und direkt gleich sagen, was sie ankotzt.
Nach dem Ballett in Leipzig gab es eine Situation, da sollte jemand verhaftet werden, weil er ein Dachschutz T-Shirt anhatte, und er hat das T-Shirt dann ausgezogen zu dem Zeitpunkt, als unsere Reporterin dahinkam. Have you ever thought about changing the medium?
Are you theory or radio fetishists? Ich glaube, dass eine bestimmte Auseinandersetzung auch eines bestimmten Kontextes bedarf. Da gehe ich mit Medienwechsel vorsichtig um. Wir haben neulich eine Arbeit gemacht, die in die Musikrichtung ging, und es war sehr anstrengend festzustellen, wie es funktioniert. Because I think that all of us have grown up with the kind of politics of demonstrations where you are all together in a mass. In , when India exploded once again its nuclear weapons, there was the beginning of a completely undirected anti-nuclear movement for the first time in Delhi.
This was very confusing to people, because although there were many people standing together, no one was giving a speech, no one was addressing the crowd, no one was giving slogans together. So when the police would come, we could say: Can you stop me from standing with a piece of paper?
So we would say: Of course people there might have known each other, but there was something about it that was a bit sad. As far as I saw it, it was an extension of that discourse in the gestures, and that becomes an exercise in powerlessness. I have a question for you. What do you mean by powerlessness in the radio ballet? You said it was an experiment, a form of research, and when I say powerlessness I mean it in the sense that we have to move from a stage where we are reflecting on a normative space and maybe begin to try to inhabit them.
With your thing about the city centre at night, which is a very good point: How can that place be inhabited differently at night, and how can it be inhabited by a tribe of silent people, who go in to do contemplative, meditative practices? Those are potential, interesting areas of discussion.
Going back to the radio ballet, I think the powerlessness was that the gestures took on a character that was divorced from their normal use — to be actually begging, to lay actually drunk on the floor in the station. The important idea about it is the experience in the space — an experience one cannot have, usually, without being thrown out. We wanted to enable people to have the experience of making things there in this dispersion, but at the same time in a collective form.
We certainly hope that this does enable them to do something; at least that this reminds them that something outside of the customary is possible within that space. We hope that being in that space as collective changes the space for a certain moment. Certainly other practices can do different things, but a demonstration would never be able to generate anything there, as it is quite easy to throw out a non-dispersed demonstration group. Das ist die Situation von Massenmedien, dass die Leute dadurch voneinander getrennt werden.
An dem Abend gibt er aus, das Wahlfieber auszumessen und stellt fest, es ist keiner auf der Strasse und die Wahlergebnisse werden nirgendwo angezeigt. Diese Form von Austausch, das kann das Medium Radio nicht gut. Das kann man versuchen, aber es gibt immer eine bestimmte Begrenzung. Da ist sicher noch eine Menge denkbar, aber gerade [bei ]mehr als Leute, da ist es wichtiger, die Zerstreuung genau zu machen.
Es hat wenig utopische oder richtig befreiende Momente, eher Gesten, dass man versucht, wieder an das zu kommen, was verboten ist. Aber was ist verboten? Es ist ja nicht utopisch, zu sagen, das Betteln oder die Geste des Bettelns muss wieder erlaubt werden. Eine Euphorie hat sich bei mir auch nicht breit gemacht, sondern zwischendurch so ein Kick. Somebody asked if you were media fetishists. In that sense, the notion of spectacle is very useful. What does it mean to stop something that is going on? Ich verstehe das ja gar nicht so rein utopisch, was ihr da macht.
Seht ihr das auch so? Oder seid ihr da ganz ungebrochen? Mit solcher Arbeit versuchen wir nicht eine bestimmte Form von Organisierung, wie sie seit den Zehner Jahren in der Linken bis 89 vorherrschte, fortzusetzen, sondern andere Formen von Organisierung zu denken. Just a short statement: What I really find interesting is how you give people control, becoming not only an audience, but also a programmer, taking the example of the music box.
I find it quite interesting how you give that freedom to the audience, to become the producer as well. So seeing that kind of participation in traditional radio is really interesting to me. They had a sort of citizen council, like a board of directors run by citizens. Somehow persons with certain interests guiding that board of directors started changing the programs, so suddenly all the programming there was only music, all the political programs were shut down or they were switching the schedules of the show.
All the political programming started to disappear. People went on mass demonstrations, specially in San Francisco, and they took back the station, but the kind of control that the people had over the radio station was never the same. We did mention that it can be a political menace to people of the current right-wing senate in Hamburg, which has been in power for over a year and a half here, and suddenly there are always tactics to get rid of such a station.
On the other hand, there are fights within the left. As I said before, many fantasies of the left wing are projected on to radio and then everybody wants to have radio his or her way, so there are fights among the groups within the radio. That is a situation that endangers it, perhaps even more than enemies from the outside, because I think that we are licensed for a year now, and it is quite difficult to take away the license that is already authorized, as is our case.
Christoph, some final words? No final words, thanks everybody, thanks Ligna. Thanks to the translators. The next program points are short guided tours of the exhibition starting in 5 minutes with Margit. I advise you strongly to take the guided tour, because then we will walk to the park, and on that way there will be an intervention by the Schwabinggrad Ballet. After that, there will be some time to get a bite and at eleven p. Stephan Dillemuth, Video mit Fleischeinlage. We see this congress develops the first ventures. I thought we might use this situation in order to collect a few questions that came up yesterday.
We could take them up today and keep them in mind. That might be connected to nationality, but I think that it also has to do with different approaches. The questioning of what is local and what is global — it was all in there, in all the presentations, but in completely different forms. I think it was interesting that the four presentations had a strong notion of fluidity in common, or the term that you brought up: If we connect that to the term of constituent practices, this constituting moment is not as much in a given structure as in a mindset.
Our general impression of what happened yesterday has a lot to do with our work. Both presentations Ligna and Sarai were much involved with communication between communities and projects that catalyze communication within communities. To me, the most interesting point was seeing how different forms were practices: These other forms of constituent practices make me rethink several issues related to my work.
I suppose some are to Park Fiction, others are for other people here. There are now lots of housing cooperatives in that area. Where I live the park was brought about by people with a connection to gardening, rather than arts. So all of the work has been done by the people who live there, and that has been quite heavy duty at times. It is like an investment in an emotional sense.
The other question is how do Park Fiction describe their relationship to arts. I ask that because in the U. Our group is a bit like Park Fiction, but they tend to sever that connection to art, so they very much go off in a sort of community direction. Would it have been possible without art? The way that you described certain potential in London comes from a concrete gardening background.
Some things are like that in here, too, but the gardening aspect was very beat. There was only a very small slope of land, and a precondition for the park was the construction of a sports hall. There were all the institutions in the community — the community centre, the St. Pauli church, the school, which actually started this with all the people living in the area.
With art, I think it also opened a field. In a very classical sense, art is the field where the bourgeois society affords to have all the liberties promised in the French Revolution and betrayed in the time afterwards.
We were shown this critical and precise watching of what is going on, and how the world is built up. I like the fact that we started with Sarai and its very precise, local view. As they said, you can see the whole world in your own street. We should really watch what we see, how it is represented and which spaces are constructed precisely through representation. We should watch ourselves: We should continue with this awareness. Another thing that crossed my mind yesterday when you look at art that comes out of social processes is the importance of developing categories to look at processes.
If you write about things, you realize you lack the tools — the necessary vocabulary or categories — to describe processes. I would be very interested in looking at that perspective a lot more when examining the work done by collectives in art or other processes. That could refer to the question of where art is located, where the art system is, all the usual questions posed to a project like Park Fiction. I think it was who Shuddha or Katrin who started thinking about the presentation of Andreas Blechschmidt the day before, on the walk through the Flora.
Another point about Ligna was the strong negativity and self-criticism emphasized in their own presentation. We talked about the fact that it is necessary, on the one hand, and how it could stop things — I thought it was a German thing, but Shuddha said it happens in India, too: The desire is to be completely omnipotent, and as this is bound to fail, you feel very powerless and the trick to get out is irony or strong self-criticism.
It was so important for me to work with Shveta and Joy for a couple of days, this deep concentration and seriousness. We had a talk with five people sitting on a bench facing the door of the Butt Club, and we started decoding that door via descriptions with Joy and Shveta, who were in Europe for the first time for four days.
It was as if they were going to find a northwest passage of utopia in that door. It was a fantastic moment and I heard the best description of that space with a sentence Joy said. How this seriousness in looking at things concentrated can be a way out of this big idea of: The world is nothing until revolution happens. There is no white in the black. What I really saw was that it was not a temporary confusion as one of the participants here stated yesterday. I understood a lot of Sarai said as getting rid of all the dichotomies in order to find new fields, such as experiences of the city beyond being Muslim or Hindi.
This would be a necessary discussion in left-wing discussions in Germany. We have to look very closely at what is happening and be very self-critical. Christiane suggested thinking about categories, which is a very interesting point, but you still have to look carefully at each situation, because they are all different; they create their own context in a very different way and people are in different positions.
Asking for categories was more in terms of trying to establish a looking at processes, rather than looking at results. Maybe a very small, ordinary point. It has to do something with what you said. In , the art system was completely through with projects that were categorized as participatory and interventionist; it was done with. It was actually a time where it was possible to take a closer look at the differences.
What happened then over here? There was a very strong self-organized scene in the German language area and it reached a peak in Then it entered the art discourse; there were art magazines writing about it, the market was down and it came up again, and suddenly there was a complete silence. But when you get on with strategies, you take the formal things and when you go into the art context what is really discussed? Is it the content thing or is it the formal aspect?
I would love to see the content in the formal and the formal in the content. We work on this in here, right now, and we make it public, and I thank Park Fiction for taking a big step in this discussion. We have to be careful with projects like Park Fiction. Once they are created, where do they go? How are they used? Who uses them and for what purpose? You could discuss it from the perspective of Hamburg. In fact, artists can only do experimental things with galleries in the U. Their response is to go back into conservative notions of modernist projects, and do the political-social work in the arts, in the gallery.
Slightly change in tact: Really quite extraordinary, I can give you some material about them. I would like to take a chance to make a brake. Beata is our sound engineer. Please play the jingle, and play it loud. Good morning, welcome to the second day of Unlikely Encounters. Please proceed to your seats. Heute wird die Strukturierung von unserem Spezialgast gemacht, Eva Sturm.
I was absolutely stunned by the precision of their talk and work, which is interventionist in the most radical sense, and taking place very far from what has been conceived as the art field, and I felt very much ashamed as to how unprecise artists are in Germany, on a general level, in a much laid back and controllable situation.
They impressed me a great deal. I believe their work is connected to Park Fiction ,too. Hello, good morning to all of you. We thank you all for coming here this morning. We wish to thank also the organization team, Christoph and Margit. We thank as well Park Fiction and all of St. We perceive these transformations as being active in the field of aesthetics, transformations subverting a liberal aesthetic, the manic creation of objects for consumerism, the notion of creating objects only to be exhibited in galleries and museums, and the creation of objects with a happy end.
As you know, our country and the region specified on the map have been the centre of many public activities that have happened over the last two years. The communities have really taken charge of certain aspects of the country, through public assemblies, processes involving collective decision making, and I think we have been working already for twelve years to make something like this happen as well.
Here you see another satellite image of the area in which we work. This area of the city of Buenos Aires and its surroundings concentrates about half of the population of a country almost four times the size of Germany. In , we decided as a team to center our actions on recuperating public space. We started to look for public spaces that had been in cultural decay for many years. At that point we initiated what we call our connective practice, immersing ourselves in society so as to catalyze a process of transformation.
As I mentioned, the library is within the zoo, which is a very old one. It preserves the Victorian notion of confinement and isolation of the animals. In this case, we tried to use photography to create an awareness of the situation. The medium of photography enabled us to link our own vision to other, more scientific visions of the situation. This is the project in which we started to play with metaphors: What do we do now? We spoke to our friends, other fellow artists, scientists, naturalists and researchers, and together we pondered the best way to represent this situation in order to put an end to it.
Were we to create a new object that would carry on with the aesthetics of capitalism? Sculptures or a sculpture park? What could we do to change this situation? After working on deconstructing our own ideas, we realized the most suitable thing to do was to deconstruct the space itself. The project continues up to the present day, and we have managed to demolish 22 cages. This project is exemplary. Sculptors participated in this action, and the interesting thing is that they used the same ability involved in the creation of an object roughing out stone or wood to actually deconstruct a setting like that.
Something very profound took place within ourselves when we deconstructed that space. Working in that project had almost a magic influence on us. We wanted to change our perception of zoos, because we now know that confining living creatures is barbaric. So why do we continue to accept this? We think that the act of questioning these structures is already a big step. With this project in public space and the state of our own captivity in our cities, we realized the necessity of acting within a larger area.
We started to work with bioregional models, but concentrating on very specific cases. It would be very lengthy to enumerate all of our actions throughout those years, but we can show you some places in which theory and practice met successfully. The urban expansion there was causing an immense pressure on the coastal ecosystems. Our work there derived from the properties of certain emerging plants. We invited them to collaborate on a long-term project, with the support of the British Council. We started to focus on sustaining the natural ecosystems that were shrinking back. Basing ourselves on this model of rhizomatic expansion, we were able to trigger processes of environmental recovery.
Each point of the rhizome can be connected to any other one within it. But it is said that within the rhizome there are no points or positions, but only lines. This characteristic is doubtful, because at the intersection of each line there lies a possibility of individualizing a point. So a rhizome can be cut and reconnected at each point. If the rhizome had an outside space, it could produce another rhizome. You may take a rhizome apart, or reverse it, being succeptible to alterations. This rhizomatic capacity leads us to reconsider what we see in this slide: The reed permit the creation of other worlds.
So what is the point to those creations? The model we adopted has to do with identifying critical issues; the social, economic and environmental issues that bring about a new social and natural territory. This is how the metaphor is embedded in reality. This is the La Sarita settlement, in which the community occupied the grounds of a former petro-chemical company. From then on, we were able to act inventively in order to bring about an economic, political, social and communicative improvement.
The first issue was how to insert the local production in local culture. In times of neoliberalism, only products imported from Taiwan mattered — or German cars, or Coke — but local production had no relevance.
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Along with other artists, we started to encourage traditional crafts, as well as to generate critical ways of evaluating neoliberal models for development. This slide shows an old train station. Our railway system was created by the British during the 19th century. In this case, we were working with the community of Punta Lara. We had to face many difficulties. One of them was the construction of a 42 Km long bridge across the La Plata river, which would perpetuate the old export model of natural resources, not by railway anymore, but with new bridges and roads to transport these products from Argentina to Brazil, and from there to the rest of the world.
The community opposed this model. When we started to discuss the construction of the bridge, which was to be financed by the Inter-American Development Bank, we as a community refused to accept such a development model. We wanted to invest those 2, million Dollars — if they existed at all — in other things. We wanted to know where that money went and who would profit from that. We wanted to be active participants in the development of our region. This is but a small example: Close to La Plata is the La Plata port. We started getting in touch with friends there. We are not artists that come from the outside and insert themselves in a community to work there, we are part of the community.
We started discussions and tried to find solutions. We installed 32 solar energy panels, trying to transform the area into a tourist attraction this is still in process. Another interesting issue was creating an awareness of work and local production in the children. We think an awareness of their own localities and traditions has a positive impression on the minds of children. It also helps children discover and develop their own abilities. It was indeed a very complex situation to work with. The ruling system had tried to eradicate any capacity of autonomous decision making, as well as the capacity to value the local.
The power over them has dwindled. Here you see youth of the Briso community. Currently, we have a very interesting project going on there, which looks at ways in which the community can participate actively in the recovery of this public space. Remember the old cages we showed you earlier? Here the children are taking an active part in reappropriating public space. This project proposes a new concept of public works. Instead of comissioning a contractor, we tried to articulate the abilities available in the communities, so that they create and redesign their own public space.
Based on the experience undergone in the zoo, that is transforming a space of imprisonment into a space of public action, many new ideas emerged: Ideas that extended the activities within the zoo and changed its former character of captivity to external activities that could have a benefitial effect on local natural environments. The following example is completely the opposite. This was a good chance to test out our work, focusing on catalization of communication in communities.
It also gave us the chance to combine the local and the global. As most of us know, the people of Northern Ireland have to deal with significant religious and political problems. These conflicts have both an economic and a social impact on the society there. We stayed for 40 days in the Ards peninsula, establishing contact with the local fishing communities.
The slide you see shows the port of Portavogie. We noticed the proximity of this largely protestant village to the border of Ireland. Our work during those three weeks consisted in bringing together the neigbouring communities that were considering other alternatives to fishing, such as aquaculture. While the community of Portavogie was losing its fishing tradition, it was unaware of the research on aquaculture going on about 10 km away, in the Republic of Ireland.
The reason for this unawareness on the part of Portavogie was precisely the lack of exchange between the two Irelands. So we succeeded in bringing these two communities together. We set off a process with two weeks of dialogue and discussions that led to agreements between both communities to exchange knowledge and information.
Where is the art in all this? At this point we want to stress the post-visual, dialogical aspect of the artistic work we are doing. Communication, connectivity and dialogical work are other ways of working. They have a double standard: I guess Shell workers in the port of Hamburg can afford to have a good car; there must be a strict monitoring of pollution levels and I suppose the corporation must have some benefitial effect on the local community.
Here you see an oil spill in , in the coastal area of Magdalena, Buenos Aires. Here we take up some aspects of the reed project. As you can see, the oil spill had a devastating impact on the reeds, but not on its metaphor. They all reacted immediately to this catastrophe. We started to use new ways of communicating through the press, radio, TV, analysis of satellite images, aerial survey and in situ evaluation, in order to gain a thorough insight of the situation.
This project is still going on. The Shell oil spill had a great impact on the coastal communities, but it also enabled us to develop develop inventive models in collaboration with the affected communities. It was also a way to empower those communities to trust their own visions, in order to find solutions and stop the advance of pollution. Many ideas emerged from the public works. The worst outcome of the spill was the contamination of brooks and wetlands, which was the space with the most biodiversity. These are creative strategies.
Here you find another other kind of order. This is the port of Rotterdam. This is the port of Buenos Aires. I think we can go on to the discussion right away, but first of all, thank you very much. This was an overwhelming presentation. It might take some time for people here to articulate their questions to you. I am really fascinated by how many levels you work in. I was just thinking of Gerald Raunig; he was here yesterday. He said that most of the time, one of the dangers that community projects run into is too much harmony versus too little conflict, too much help versus the creation of structures for the people.
There is too much talk on identity, instead of focussing on difference. I still have a question though, and it involves the idea of the aid-worker.
When we talked this morning, I asked you about your notion of help. Could you elaborate on that again? Actually, what we were talking about today was healing and helping. Nevertheless, you made a very interesting and profound question. How are you beginning to develop this? These cases are symbolic of the variety of means we can use to reach an end. Our hopes are built precisely on the things denied to us.
We have to invest all of our strength and our hopes in those which must be refuted. We have to give strength to that which must be refuted. In December this year, we might be there discussing with them in order to unite both of our efforts. Our presentation in London was a result of such discussions with Friends of the Earth in England and the Netherlands, where Shell is based. Can you say something about your funding structures, subsistence if you like?
We produce our own funding. We have a very meagre source of income. We develop many projects along with other members of the community, and we produce many goods for bartering. Basically, we live of the pleasure of producing things. We participate in those creative activities such as basketry and harvesting. Connectivity allows us to subsist without money. Other economic relationships and forms of funding are created. On the other hand, it is important to emphasize that the continuity of our work does not depend on a lot of funding.
You have indicated the point of greatest helplessness: You have touched on a very specific issue. If you focus on the image of the prison here, the surrender to helplessness is greater and it is rare to find a proposal that finds an active way out of that helplessness. We had concentrated on the perception of zoos. I think any zoo throughout the world could have been deconstructed for that purpose.
A useless vestige of the nineteenth century, zoos are symptomatic of our aberrated perception. We can fight for life and give our lives for that ideal, but we continue to take our kids for a walk in the zoo, holding a balloon. So one of the issues is focusing on our failed acts and problems. As artists or cultural workers, we have the possibility or the obligation to think of alternatives to that which must be refuted. I reiterate that we must put our hopes in that which must be denied, and to apply creativity in order to find solutions to these problems by using a critical perspective.
The slide showing children working with willow is connected to the one that Rafael elaborated on. We work on the transformation of that zoo in an interdisciplanary way with a very large group of people. We live in a region that is very much threatened by urban expansion. One of the ways of deconstructing the Victorian notion of the zoo involves reconsidering it as a centre for the articulation of microenvironments, fostering the recreation of new living spaces and participation. I have a question and a comment, which has to do with the fact that in Argentina, for a variety of circumstances that have to do with social and economic processes, there is also a tremendous burst of creativity, which comes out of the necessities of subsistence and survival.
In a recent text that my colleagues and I wrote in the Raqs media collective, we were trying to think about realities that artists can learn from and we had five figures, like the marginalia you have in medieval manuscripts. Like earlier, people used to write books and the real stories would often be painted into the margins: We created these five figures.
One was the people who cross borders in boats and the other was a person who works in telecommunication centres, remote call centres. For us it was interesting that normally one thinks of a protest or a resistance movement in terms of ceasing to work, ceasing to produce. In a sense, the relations that we enter into because of necessity are never translated into relations that we enter into because of desire.
Yes, but the experience stays with us. I think we all learn from necessity. I say that when we had difficulties, we made so much more difficult work. Borges said something that is so true: Our vision is related to another aspect of our practice, which is more connected with transformation than with goals. We must be part of that transformation, adopting a perceptive approach.
For example the zoo project: I do think that your work is about dialogue, about deconstruction, but it might be about the helplessness of artists trying to change something in the world. That zoo still runs according to Victorian notions, but at the same time our project has set off other activities, other visions as exposed by Alejandro, for example the conservation of local microenvironments at the urban peripheries. What interests us is the transformation in itself and being part of that.
But the zoo project was about our own captivity. Not all the three of us are artists. Our trio has different backgrounds. For example in the case of the reed project, we cooperated with reed harvesters, scientists or people with local knowledge. We develop our work both with a bioregional vision and a bioregional practice, only then our vision can be an inclusive one.
We see the artist as an integral part of the ecosystem. If you come from within the community your desire to achieve results is greater, because you are going to reep the rewards yourselves. Transforming your community is your drive. I also found your notion of production interesting: The important aspect is transformation. Nature is not innocent, and as Donna Harroway says: I do think we are romantic to a certain extent, in that our demands are based on values, but also on necessities that are real.
So our demands are at the same time a means of subsistence. In that sense I could compare myself to Novalis, if you like. When you talked about Shell, I was thinking about Spain in the spring of this year, when there was an ecological disaster. There was this peace movement that brought many different people together. Again I must stress that which unites the political struggles of groups like the unemployed and us, who have our own approach in dealing with reality: The general movement is political, but it is not institutionalized.
Yes, we work with other communities. The communities embody emerging processes. In fact, institutionalized political structures have caused the downfall of many encouraging movements that were emerging. Unfortunately we have to end this first session, thank you very much to everybody. Thanks for coming on this lovely day into this oasis of theory, practice and reflection. Their name might sound a bit misleading, and there have been grudges held against galleries within our circle. I think I wrote to all the invited groups that Hamburg is a very musical city, and a lot of artists produce close to the musical subculture.
Thank you very much to all the people involved in organizing this really good congress. I hope we can contribute to the discussion as well. Da sind wir seit zwei Jahren. Wir haben auch unser eigenes Museum in Altona, an dem Ort wo bis vor zwei Jahren auch unser Ausstellungsraum war. Dort haben wir dann eine ganze Reihe von Ausstellungen gemacht. Ich deute das jetzt nur kurz an. Hier eine andere Sache: Hier sehr analytische Karten; das ganze dreht sich darum, die Stadt hinsichtlich ihrer Wahrnehmung der Dunkelheit und Helligkeit zu beschreiben. Ich gehe darauf jetzt nicht weiter ein.
Also haben wir ihn als erstes eingeladen, mit der vagen Umschreibung unseres Arbeitsvorhabens und der Beschreibung des Bootes und er hat dann eine biologische Forschungsstation, bzw. Sie liegt jetzt hier in der Innenstadt, und ich werde ganz kurz versuchen, um es bildhaft zu machen, diese Arbeit, die ein Haus ist, das als Arbeitsort funktioniert aber gleichzeitig ein Kunstwerk war, zu beschreiben.
Wir haben den Vorplatz gesehen; hier ist ein kurzer Blick hinein. Es ist so, dass die Ausbildung dieses Raumes bereits zu einer Zusammenarbeit wurde. Es ist vielleicht eine Mischung davon, wie es im Hier im Raum ist z. Wir haben auch Barbara Engelschall dazugeholt, eine Biologin aus Hamburg, die ganz intensiv an der Vermittlung naturkundlichem Wissen arbeitet. Dann der Erdboden hier z. Christoph hat das vorhin schon eingeleitet. Hier sieht man eine Karte.
Die Elbe sehen wir links, es ist ein Fluss, der da unten ist und den Hafen durchzieht. Liegeplatz gewesen, der in einem ausgeweiteten Gebiet liegt. Das finde ich vollkommen richtig. Viele Resultate haben wir dann in einem Schrank auf dem Schiff gezeigt, so dass man sie auch jederzeit auch angucken konnte. Das war das erste Dia Karussell, jetzt kommt das zweite. Organisatorisch war es Neuland.
Aber es ist gelungen, es in diesem Vierteljahr entwickeln zu lassen. Hier ein Bild, der zu meinen Lieblingsbildern wurde in der Zeit: Die Dias halten diese Entfernung in der Projektion nicht ganz aus. Das zeige ich jetzt hier auch, weil es ein ganz komisches Moment war in dieser ganzen Geschichte: Hier sieht man ihn beim Markieren eines Insekts. Das Markieren dient dazu, z. Hier ein weiterer Ausschnitt dessen, was passierte.
Es wurde eine Lesung verbunden mit etwas Essen und Grillen. Vielleicht jetzt hier ein paar Dias eingestreut, die gar nicht viel zeigen. Ein Teil von ihnen trifft etwas, was gewesen ist, ein Teil von ihnen trifft etwas, worum es einem ging, aber es ist auch eine Art von Mythos, den man damit erzeugt, und dessen muss man sich immer bewusst sein, gerade bei Projekten, wo es darum geht, mit anderen Leuten zusammen zu arbeiten. Vielleicht noch eine kurze Anmerkung zum kaputt machen. Es gab einmal eine Auffassung des sogenannten landschaftlichen Stils, hergeleitet noch vom englischen Landschaftsgarten.
Dagegen standen Auffassungen von dem Oberbaudirektor Schumacher, ein hier sehr einflussreicher Architekt, die sich nachher durchgesetzt wurden, das Ganze architektonisch aufzufassen, d. Hier sieht man eine hervorragende Architekturzeichnung in ihrer Klarheit, worum es geht, das auch die Naturelemente rein architektonisch aufgefasst sind. Das ganze Ufer ist auch architektonisch aufgefasst. Nun, so sieht es auch noch heute aus. Das Ganze war damals sehr fortschrittlich. Das andere entsprach einer alten Zeit voller Mief.
Das ist aber ein Idealbild, was zugrunde liegt. Dieses Idealbild ist aber eins, was uns allen zugrunde liegt. Rechts sieht man auch einen Weidenzaun, sehr bewuchert; das Ganze ist ein kleiner Landschaftsgarten. Wo wollen wir hingehen und wie empfinden wir uns in Verbindung mit der umliegenden Architektur?
Jetzt gebe ich an Sonja und Ricke weiter. Ich werde schon was dazu sagen, weil die beiden sind ja meine Studentinnen. Shveta, what do you think? First I thougt that the documentation of the project was terribly interesting, that we have something to learn from that. Maybe because my understanding would be slightly limited, but one of the things that the manner in which we do work is trying to understand what the perception is. Perhaps that would be the most important distinction that I would make in terms of what the training is.
So the comment is about the different cultural contexts of these projects and that this one has to deal with Western art history. I was also a bit shocked at some point. To be more precise, there was this picture of a child who had to learn something about colour, and you commented something like: I find this hierarchical; I think it might have been more interesting to look at the way the child made the picture.
Vielleicht kann ich doch was dazu sagen, weil ich finde, wir sollten es nicht zu sehr zu einer Konfrontation ausweiten, was jetzt an diesen Konzepten der beiden schwierig und vielleicht gut war. Insgesamt war dort vieles, was einfach auch schwierig war, an unseren eigenen Konzepten und Konzepten von diversen Leuten, die dort stattfanden. Es war wirklich ein Arbeitfeld, an dem wir dort gemeinsam gearbeitet haben, z.
Das war unglaublich lebendig. Diese Problematiken, die angesprochen wurden, kann ich zum Teil teilen, verstehe aber nicht ganz, warum eine ganz kategorische Differenz gemacht wird zu dem, was wir heute morgen gesehen haben, und was am ehesten von Till Krause noch eben problematisiert worden ist. Ich finde, sehr viele der Projekte kreisen um dieses Frage.
Das ist ja bei Park Fiction auch eine Frage, wie kriegt man Leute dazu, dass sie einsteigen, dass sie sich verlinken, dass sie sich einschreiben. Was wird da genau beschrieben?