#natur lammertal

[iyetra]

Contact

Image: "Concrete Jungle" by BoldCat

I cleared my throat and tilted my head to the right, slightly lifting my chin and projecting my voice to the ceiling. It was unnecessary, I knew: the room's microphones would pick up near sub-vocalisation levels of speech, but it was a nervous habit I couldn't seem to break. Despite years doing it, I'd never quite shaken off the unsettling feelings that came from talking with the dead.

"Inspector Smith, beginning Memory Autopsy for deceased #323477 — identified as Mr. Daryn Bright, twenty-six years old at the time of his death approximately fifteen hours ago. Preliminary cause," I said, glancing briefly at the angry, blotchy bruising around his throat, "believed to be strangulation, likely by hand. No other signs of injury present; no DNA evidence under victim's fingernails, no overt signs of struggle. Toxicology came back negative for alcohol, tranquillisers, or other substances. Given the anomalous nature of the murder, victim was referred to Memory for further investigation."

I looked at the four diaphanous apparitions hovering in a semi-circle about ten metres away from me. "Joining me remotely are Constables Hohnke, Sandes, and Johansson, as well as Inspector General Lammerts. Please provide verbal acknowledgement."

"Acknowledged," the four said in unison, communicating from whatever offices they worked out of across the globe. Given the slim window of time in which a Memory Autopsy could be performed, it behooved having facilities set up as local to population centres as was possible. I've never met any of them in person — and realistically, it was likely that I never would.

"Acknowledgement received and logged," I responded. "DELTA, commence cognition revival."

"Initiating revival," replied a tinny, inhuman voice seemingly coming from everywhere all around me. The facility's synthetic intelligence handled almost all aspects of this process, but communing with the dead did require a human touch. A somewhat unique touch, at that: these days we understood the electromagnetic fields radiating around one another and knew more about the invisible communications we'd unknowingly been broadcasting since before humans first figured out how to harness flame. In a less-enlightened era, these were talked about as auras or other pseudo-scientific terms, but now we had actual understanding about the subconscious network humanity had been perpetually jacked into under our noses all along.

But for all our species-level connectedness, people like me were fairly rare; people like me who had varying degrees of control over the nature of what we broadcast — and what signals we received from others. The sort of folks who always know when someone is lying to them, or if something is wrong emotionally when all outward signs seem fine, or cruised by as the life of the party but felt emotionally drained and needed a quiet, dark room away from the silent noise of other minds as soon as they get home.

I closed my eyes as DELTA began the procedure. The already-dim lighting in the refrigerated, sterile room flickered almost imperceptibly, and the walls began to vibrate from a low hum. Electrodes on my temples and wrists tingled slightly as the machinery surrounding me and the corpse were activated.

Everyone had their own process for getting into the right state of mind for an autopsy: I pictured myself falling into a dark ocean backwards and let the void swallow me until my breathing slowed to a steady, calm rhythm.

"Link confirmed," DELTA said after a moment of meditative silence. I opened my eyes and saw the victim's home manifested holographically around me as his last minutes alive were drawn out from the dead grey matter inside his skull.

"Constables, can you confirm that you're seeing the live link?" I asked. Again in unison, the ghostly quartet acknowledged that they were seeing the same thing I was. I gave a short nod to myself and took a deep breath. "DELTA, bring Mr. Bright back to life."

The machines around us shifted pitch and the walls shook with an intensity that would be concerning had I not done this process dozens of times in the past. Then, suddenly, a new ghost manifested in the room: hovering just above the corpse, a projection of Daryn's self-image appeared in front of me.

"Daryn, can you hear me?" I asked the apparition.

"Where am I? I'm very cold," came the response from the same speaker system that DELTA communicated to me through. Daryn wasn't actually alive, of course, and I was merely activating dying synapses firing on borrowed time.

"Daryn, I need you to think of the last thing you can remember. What comes to mind?"

"Where am I?" the corpse repeated, ignoring my question. I frowned to myself, pursing my lips as I looked at the tablet in my lap. DELTA was reading little subconscious activity in the victim's mind: whilst everyone handled their death in their own unique way, with some victims rejecting their final reality quite violently, me asking him to recall his last moments should have surfaced something even if he didn't want to remember anything at all.

Conscious of the small window of time that was available to us, I pressed on. "You've died, Daryn. Someone murdered you, and I need your help to find who did it."

The walls began to shake even worse than before, and for the first time I felt a gnawing sense of unease. "What? No — I'm not dead. I'm right here. I'm right here!" He began repeatedly screaming the last phrase as the high-pitched hum from the equipment nearby threatened to rupture my eardrums.

"DELTA, put him back to sleep," I called out over the noise and his screaming. At once, the din ceased and the projection above the body vanished. My ears rung in the silence.

"DELTA, reset his memory back to the state it was in when he was revived, then bring him back again."

"Confirmed," chirped the facsimile. Seconds later the projection returned.

As did the screaming.

"DELTA, that's enough!" I shouted and once more Mr. Bright was turned off. I looked at the tablet screen and confirmed with my own eyes that even though his mental state had been reset, somehow he retained memory of what I'd told him. I'd never encountered anything like this before.

There was one other tool available to me. It wasn't unusual for a particularly violent death to reject an autopsy — though to this degree was outside of my experience — and a mind could be overridden and directly controlled if a cooperative conversation was beyond the victim. The downside is that doing so would burn out the victim's synapses entirely, so it was a last-ditch tool with a one-time use.

"Well, you saw what happened," I said to my colleagues. "I don't think we have any choice but to use an override."

The flickering apparition of Constable Hohnke frowned. "Are you being too hasty, Smith? Why don't you try interviewing him again." The others nodded and murmured agreement.

I grit my teeth. Every minute this dragged on was another minute that the victim's mind deteriorated and our already-slim chance at getting information out of him was reduced. Nevertheless, I couldn't use the override without a majority vote of everyone present. I instructed DELTA to try to reset his memories and revive him a third time and once more the pained screams of the dead man assaulted my ears.

"Very well," said Hohnke. "I think it's clear that we're not going to get through to him using gentler means."

The Inspector General tutted and shook her head. "Such a waste."

"All in favour?" I asked the group. The vote was unanimous.

"DELTA, initiate memory override. I will assume direct control."

"Initiating override in ten seconds, Inspector Smith."

I closed my eyes again and slowed my breathing to slip back into my trance state. DELTA continued to count down as I followed along in my own head and waited for the connection to begin. When it happened, I felt a surge of electricity through the contacts on my skin and my mind's eye exploded with someone else's memories.

"DELTA, confirm recording," I said in real life. The AI chirped back an affirmative. With my eyes still closed and knowing that what I was seeing was simultaneously projected to the room — and, by extension, my colleagues — I "looked" around.

From the crime-scene photos I'd already viewed, I knew that I was inside Mr. Bright's apartment. There wasn't anything particularly unusual about it, and he lived in what was an averagely boring sort of apartment for single people his age. The dead man, now resurrected to the last minutes of his corporeal existence, sat on the couch reading a book. I squinted at the cover as the book's title shifted into focus — "I, Robot."

Standing in place at the centre of the living room I passed my attention over everything I could see nearby. Who knew what details would prove important, and I knew this recording would be poured over by the other investigators involved in the case. As Daryn continued reading, unaware of my silent presence inside of his mind, a chime went off from an intercom panel in his apartment. Daryn closed his book and walked over to the panel. His body language didn't suggest that he was surprised, so this visitor was expected. I looked at the intercom and focused on the tiny LED screen above the call box, but whomever it was stood too close to the camera to make any identifiable details out. Daryn thumbed a button and a green checkmark appeared on the screen. The visitor moved out of the frame, and Daryn walked down a hallway and out of my view.

Locked in my vantage point in the centre of his living room, I couldn't see where the victim was now. "DELTA, bring me closer to him."

After a second, my perspective shifted and I was standing in a corridor as he walked towards the front door of his flat. Daryn unlocked the door and opened it slightly, leaving it ajar before he returned back to the living room and passed through my projection as if I was invisible. I instructed DELTA to shift my position so that I could both see Daryn and also had line of sight to the front door. Then, I waited for this unknown visitor to show themselves.

It didn't take long. The door creaked open and, much to my surprise, a young woman stepped through the threshold. She was average height, with brown hair pulled up into a tight bun. Attractive enough in a conventional sort of way. She had on a black t-shirt and jeans with heavy black leather boots on her feet. Her stance was confident and assertive — the first word that came to mind was "soldier."

And I had the uneasy feeling that she was somehow staring directly at me.

The woman took several purposeful strides into the apartment, closing and locking the door behind her. Then she turned to face me and there was no doubt about it — somehow, this person knew I was there despite being a disembodied presence within the memory of a dead man.

"Olle. Lovely to meet you, finally. Well, as much of a meeting as this can be."

"How —" I started, confused as to what was going on. The hair on my arms stood on end and my heart started racing with fear.

She held up her hand. "No, don't speak. Our time here is short anyway, but I've heard so much about you. We'll be meeting properly very soon."

The stranger's mouth twisted into a grin that was all teeth and held a feral sort of violence behind it. Then, without warning, she launched herself at me with her hands balled into fists. I flinched and yelled out reflexively as some sort of force slammed into my body. Back in the real world I fell back from my chair, electrodes ripping themselves from my skin painfully as I landed on my side. There was an electrical pop and I smelled the acrid smoke of burning plastic as something in the room sizzled and flared up. I didn't need to look at the tablet or ask DELTA what I already knew to be true — Daryn Bright was truly dead now.

[warrenlammert]

The Tragedy of the Commons in Economics

Warren B. Lammert is a Boston-based executive who guides Granite Point Capital and delivers various venture investment solutions. Conversant in complex market dynamics, Warren Lammert has a firm foundation in economics and economic history.

One of the foundational economic problems is the “tragedy of the commons” - individuals consume resources at the expense of others. The original formulation came from shepherds acting self-interestedly, taking their flocks to graze on common fields.

Despite each shepherd acting in self-interest, the ultimate result is overgrazing, which impacts everyone. Not only does the environment become degraded, but investment lags. No one will plant a seed if it is unlikely to grow and yield grass that the planter can consume. In general, pursuing personal gain leads individuals to neglect the larger picture.

The tragedy of the commons can play out in several scenarios and lead to societal instability and collapse as the public depletes natural resources and other commodities. Enabling communities to manage shared resources effectively typically requires a legal framework and a combination of government regulation and private property rights. Alternatively, it's possible to forge collective action arrangements and common resource management strategies that bring various parties voluntarily together.

[intothelocallabantery]

Cultural memory: the doorknob to our history?

21st February 2020

 If you take a walk around the city you live in, do you think about all its history? Do you look at a church and wonder about all the things it has seen? Do you ever wonder about those who have walked the same path before you? Today, this blogpost will introduce you to some of the hidden cultural history of beautiful Groningen. Even if you are a Stadjer, we might even teach you something new about your city!

If you have ever been to this small city in the northern part of the Netherlands, then you will know of the Martinitower at its centre. Did you know, however, that the iconic green bronze layers at the top of the tower were only added after a huge fire burnt down the original wooden layers?[1] Did you know the surrounding buildings to the south-east of the Martinitower were demolished after World War II? Well we’ve got news for you, they did… and not for the reasons you may think. The Nazi-German troopers stationed in Groningen during the War did unimaginable, despicable things in those buildings. For those reasons, after the war, the citizens of Groningen wished for these events to be forgotten and erased from memory.

When you walk from the Grote Markt and through the Vismarkt, you will see the ‘Der Aa kerk’. Apart from its beauty, it also holds a rich history. During the War, many Jewish citizens of Groningen were sheltered in the attic of the church.[2] This was done to prevent them being deported and put into concentration camps by the Nazis. Because of this, many survived the war. However, from the 3,000 Jewish citizens living in Groningen before the War, only 180 survived.

You may be wondering why you are being given all this information, but hang in there, everything is relevant to what we want to discuss in the remainder of the blogpost. Finally, we need to discuss one last case of (not so) hidden history in the city centre of Groningen. This time it brings us to the busy, colourful and beautiful street of the Folkingestraat. This street used to be the centre of the Jewish district of Groningen, but after the War, there was not much left of the Jewish community that once occupied it. Therefore, it lost its identity as the Jewish sector of Groningen and began to be occupied by the general public.[3]

To ensure that the history of the street would not be lost, in 1997 the municipality decided that expressive representations of the former Jewish community should be placed there in their honour. This would be what Dołowy-Rybińska would call ‘Constructing a symbolic landscape’.[4]

Throughout the street, now placed are small hints to its past; moons that go from crescent to waning, portraying the rise and downfall of the community. The door without a doorknob, symbolically representing the history of the Jewish community, a history permanently closed and locked away in memory.[5]

Keeping the topic of cultural memory of the Folkingestraat in mind, the remainder of this blogpost will discuss the academic papers by Pierre Nora “Between Memory and History: Les Lieux de Mémoire” and “The Europe of Minorities: Cultural Landscapes and Ethnic Boundaries” by Nicole Dołowy-Rybińska, in relation to the case study that has been presented to you.

Rybinska claims that “the visual presence of minority languages and cultures in a specific territory create sharper ethnic boundaries,”[6] although, that is not the case in Folkingestraat. The symbolic references to the Jews who lived here in the past are very subtle and honestly unnoticeable to any unknowing members of the public who walk down the street, they might only remark at the strange sight of a portrait of a horse’s rear end on a wall (see above). In an otherwise Dutch city, “the [Jewish] minority takes possession of the territory by marking it in a visible way through its language and signs,”[7] the Jewish community of the past is marking its territory, so despite the fact the Jewish community no longer live there, their memory and spirit dwell.

According to Nora, memory is “nothing more [...] than sifted and sorted historical traces;”[8] so how do we decide what to remember? By immortalising the Jewish diaspora in Groningen with these displays, those with the funds have decided that that aspect of Groningen culture was worth remembering. When the Jews were being evacuated during the German occupation, surely they did not believe that there should be any traces of them living here, the collective memory is shifted. This begs the question whether collective memory is dictated by those in power, or perhaps those with wealth and social standing? Naturally these things change over time and therefore subtle symbolic reminders of a community may be more effective than concrete representations, as these are less likely to offend those who do not understand or notice them.

To wrap everything up, the Folkingestraat is an example of honouring and remembering the past, and the Jewish minority previously present in the area. The memory of the Jewish community is celebrated on the street, with public images and artworks. It can also be a means for the Jewish population of Groningen to ‘re-establish or to re-construct from scratch their cultural identity in the territories they inhabited’.[9]

It is clear we choose to commemorate the aspects of our cultural heritage we wish to commemorate. In Groningen we remember the Jewish community who lived in the Folkingestraat and their experiences during WWII. However, we choose to erase the memories of the German occupation. Of course, the Nazi regime should not be celebrated or commemorated, and it is understandable that the population of Groningen after the war wanted all traces of the occupation to be wiped from memory, but would there be benefits to keeping the buildings? Would it not serve the purpose of education? Reminding people of what happened and to ensure history does not repeat itself?

So, here is some food for thought: Do you think all aspects of cultural heritage, good or bad, should be remembered? Is cultural heritage only meant to include the important, morally acceptable things? Or are there some part of our heritage best left in a history book?

 Until the next time! ~ Katie, Cato and Emma

[All pictures are from the personal archive of Cato Piek]

 Footnotes 

[1] Yuri Visser, “Geschiedenis Van De Martinitoren in Groningen.”, Historiek, 2014.

https://historiek.net/geschiedenis-van-de-martinitoren-in-groningen/41972/.

[2] Bert Deelman, Onderduikersplek Der Aa kerk - Groningen - TracesOfWar.nl. Accessed February 20, 2020. https://www.tracesofwar.nl/sights/64356/Onderduikersplek-Der-Aa-kerk.htm.

[3] (van Dam, A. De Folkingestraatbewoners Tussen De Beide Oorlogen. Stichting Folkingestraat Synagoge, 1977.)

[4] Nicole Dołowy-Rybińska, "The Europe Of Minorities: Cultural Landscapes And Ethnic Boundaries", Art Inquiry. Recherches Sur Les Arts 15, no. 24 (2013): 135.

[5] Regina Duvekot-Lammerts, Marjon Vischjager-Koster, T.K. Hoving, Ruud Haan, J. Elswijk, Ria Bollegraaf, Blaffertje, et al. “Groningen Centrum - De Joodse Folkingestraat.” FocusGroningen, May 2, 2018. https://www.focusgroningen.nl/groningen-centrum-de-joodse-folkingestraat/. 

[6] Nicole Dołowy-Rybińska, "The Europe Of Minorities: Cultural Landscapes And Ethnic Boundaries", Art Inquiry. Recherches Sur Les Arts 15, no. 24 (2013): 125.

[7] Ibid, 132.

[8] Pierre Nora, "Between Memory And History: Les Lieux De Memoire", Representations 26, no. 1 (1989): 8, doi:10.1525/rep.1989.26.1.99p0274v.

[9] Nicole Dołowy-Rybińska, "The Europe Of Minorities: Cultural Landscapes And Ethnic Boundaries", Art Inquiry. Recherches Sur Les Arts 15, no. 24 (2013): 128.

Bibliography

Deelman, Bert. Onderduikersplek Der Aa kerk - Groningen - TracesOfWar.nl. Accessed February 20, 2020.                                                                             https://www.tracesofwar.nl/sights/64356/Onderduikersplek-Der-Aa-kerk.htm.

Dołowy-Rybińska, Nicole. "The Europe Of Minorities: Cultural Landscapes And Ethnic Boundaries". Art Inquiry. Recherches Sur Les Arts 15, no. 24 (2013): 125-137.

Duvekot-Lammerts, Regina, Marjon Vischjager-Koster, T.K. Hoving, Ruud Haan, J. Elswijk, Ria Bollegraaf, Blaffertje, et al. “Groningen Centrum - De Joodse Folkingestraat.” FocusGroningen, May 2, 2018.                                                 https://www.focusgroningen.nl/groningen-centrum-de-joodse-folkingestraat/.

Nora, Pierre. "Between Memory And History: Les Lieux De Memoire". Representations 26, no. 1 (1989): 7-24. doi:10.1525/rep.1989.26.1.99p0274v.

van Dam, A. De Folkingestraatbewoners Tussen De Beide Oorlogen. Stichting Folkingestraat Synagoge, 1977.

Visser, Yuri. “Geschiedenis Van De Martinitoren in Groningen.” Historiek, April 22, 2014. https://historiek.net/geschiedenis-van-de-martinitoren-in-groningen/41972/.

[weloveaustria]

Annaberg im Lammertal im Salzburger Land © @thecreatingclick (Werbung -> Markierung) Nur noch einmal schlafen und dann ist Weihnachten!😊 #weloveaustria #mountains #snow #wanderlust #earthpics #oostenrijk #nature #österreich https://www.instagram.com/p/B6aBY4Ml4B6/?igshid=144bjki0bjmip

[morganbelarus]

How to live like a boss in the worlds most expensive cities

Image: Unsplash/pixabay

While theres no harm in living a modest lifestyle in a cheap city, you cant deny the appeal of overlooking a grand cityscape. Thats right were talking about living in the lap of luxury and everything that goes along with it: Good food, tall buildings, fast cars and even latrines made of precious metals.

With a little help from the Mercer 2017 Quality of Living Rankings and the 13th Annual Demographia International Housing Affordability Survey: 2017, we handpicked 10 cities that boast a high standard of living and luxury, then ranked them in no particular order.

Buckle your seat belts, fasten your shiny watch, and get ready to see what its like living where the streets are paved with metaphorical gold.

Image: bogitw/pixabay

Vienna, Austria

Vienna is no stranger to sitting at the top; theyve been ranked as the city with the highest quality of life a number of times in the past and keep securing that position with ease. Living in Vienna gives you front row seats to incredible architecture ranging from the Middle Ages to the Baroque period, plus a divine array of museums, carnivals, opera houses and markets.

Plus, theres the coffee. Coffee in Vienna is nothing short of magical and has roots in the city going back to the 1600s. Cafe Frauenhuber famously hosted Mozart during his last public performance in 1791 and is still in operation today. Living in Vienna gives you a unique blend of old and new, letting you party across centuries like a time traveler whose spaceship is fuelled by good times.

Image: Kamil Porembiski/Flickr

Zurich, Switzerland

When your city has been dubbed the global center for banking and finance, its not out of line to assume youll be living large. The city sits on the north point of Lake Zurich and has most residents spending their free time either on the beaches or in the mountains. Zurich offers a window to the past with some of its oldest architecture going back to the 12th century.

If you want to feel like royalty, make sure Niederdorf is on the top of your list. This celebrated Old Town district, lovingly called Drfli little village by the natives offers the perfect view of the Grossmnster Church, set against the picturesque mountains. While the streets arent paved with gold, the beautiful cobblestones will suffice.

Image: Harrison / Peppery/flickr

Auckland, New Zealand

Its not cheap living in Auckland the average price for rent hovers around $2800 but with residents earning 33 percent more than the average New Yorker, New Zealanders have the means to spend their hard-earned cash on the finer things. So, what do you do in Auckland? One word, two syllables: super yachts. When youre in Auckland, youve got to hit up Waitemata Harbour and sail the citys vast number of cruising clubs will get you off the land and on the water faster than you can say take me to the water, mate.

Image: Achim Lammerts/Flickr

Munich, Germany

Aside from the obvious reason of Oktoberfest, theres a lot more to do in Munich than just drink beer and wear lederhosen. Its a friendly and open place with a small town vibe that doesnt skimp on the big city benefits. Munich has the strongest economy of any German city and boasts a presence from myriad tech companies and BMW, which helps fuel the economy. The average rent in Munichs city center is $1481, while a pint of beer usually goes for $5.01 you dont need to be a mathematician to like those numbers.

Image: Magnus Larsson/Flickr

Vancouver, Canada

Regularly popping up in all those best city guides you see all over the internet, Vancouver is Canadas third most populated metropolitan area and one of the countrys most expensive housing markets, with an average home costing around $1,001,025. Vancouver is also one of the cleanest cities in the world and has enough outdoor activities to satisfy those who have a hard time choosing between skiing, hiking and swimming. Naturally, theres a booming art scene in Vancouver as well galleries like Catriona Jeffries showcase some of the citys finest contemporary art, which you can feel free to fawn over.

Image: MichaelGaida/pixabay

Dsseldorf, Germany

Most people dont find the inherent sexiness in discussing a citys infrastructure, but Dsseldorf is one magnificently designed city. Their architecture has been described as boundary-pushing. Theres a lot to celebrate when hanging in Dsseldorf: Youve got a flourishing fashion scene, the Rhenish Carnival and the fact that Kraftwerk came from here Germanys electric equivalent of the Beatles! If you happen to be an ex-pat in this diverse city, there are numerous clubs and organizations to make you feel accepted and welcome.

Image: Ashlm/pixabay

Geneva, Switzerland

Even the name Geneva sounds fancy like a chocolate wrapped in gold or a watch that still works when its frozen. In reality, this city is the second most populous city in Switzerland and typically falls within the top five most expensive cities on earth. The large number of international organizations (including the U.N.) gives Geneva the name Peace City. However, its not just the citys rich history that draws you in its the skiing: French resorts Samons, La Clusaz and Chamonix are only an hour away and provide some of the best slopes on earth.

Image: Barbara willi/flickr

Hong Kong

Business Insider has named Hong Kong the most expensive place to live in the entire world, citing its exceptionally free market practices as the reason for its expansive growth. When living in Hong Kong, you get comically clean streets, hundreds of islands to explore and an exclusive country club that overlooks Deep Water Bay. When trouncing around Hong Kong, you need to figure out how you want to spend your time and money: Is it Lamma Island, the Tian Tan Buddha, or maybe Temple Street Night Market, where you can buy anything youre looking for. No matter how you spend your time, Hong Kong is the place to feel like a boss.

Image: corey leopold/flickr

Sydney, Australia

There will always be some semblance of appeal to living in a city where the December holidays happen during summer. Where do you even start with Sydney? The beaches? Blue skies? The coffee? How about: all of it. Sydney has one of the most expensive housing markets in Australia and even going to the movies is going to cost you. However, when you factor in the ridiculous amount of beauty at Bondi Beach or the Sydney Opera House, you start to forget that rent you pay on, say, Wolseley Road in Point Piper could buy an entire neighbourhood in Missouri.

Image: unsplash/pixabay

San Francisco, California

San Francisco has the reputation of being a city thats a little hard to afford, but that shouldnt sway you from putting down a ridiculously large chunk of change to take part in the scene. Home prices keep going up, but youre getting what you pay for by taking part in its numerous parks, clubs and bars. Pro-tip: Visit Anchor Brewing and sample the local suds. If you happen to secure a job in tech the industry thats causing San Franciscos expansive growth you can take part in the sites and get some fine dining and wine in before you settle down, start a family and move to Berkeley.

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How to live like a boss in the worlds most expensive cities was originally posted by 16 MP Just news

[eiskellerforschungen]

Gesellschaft für zeitgenössische Konzepte e.V. Society for Contemporary Concepts e.V. (Art association, Kiel) In Collaboration with Anka Landtau / Weltkunst Angeln e.V. July 2 - September 3, 2017 7 Walks in the Woods - Group Exhibition With Anja Jensen (Hamburg), Anka Landtau (Struxdorf), Linda Lammert Lildholdt (Denmark), Alexander Pröpster  (Hamburg), Sabine Linse (Berlin) Clement Price- Thomas (New York) and  Katja Grüneberg-Wehner (Kiel), Jutta Kneisel (Kiel) If it is true that historical monuments are the "Energy Reserves of Cultural Memory" (Aby Warburg), it is all the more urgent, specifically in rural areas, that these cultural monuments which are disappearing should be preserved.

Ice Houses are witnesses of climate change. They preserve a piece of cultural history. Since 2013, the Society for Contemporary Concepts (GFZK, Kunstverein, Kiel, since 2013) has been researching ice houses in Schleswig-Holstein together with international artists. Specific interventions, explorations, reconstructions and mapping were carried out in the ice cellar, in the glacial landscape and with the material ice. Stefan A. Lütgerts book "Eiskeller, Eiswerke und Kühlhäuser in Schleswig-Holstein and Hamburg" (Husum, 2000) has formed the core scientific research for the ice house project. A few of the ice cellars documented in the book have been preserved by their owners at their own expense. Many ice houses have disappeared, lost forever, whereas others may still lay hidden or neglected somewhere waiting to be found, with the help of further research and background information.

Archeology in Contemporary Art 

Artistic research as archeology: the exhibition publication "Arkhaiologica - Archeology in Contemporary Art", CenterPasquArt, Biel / Bienne, 2011) investigates the interrelationship between science and art. It conducts works by artists such as Mark Dion, Sophie Calles, Richard Long, Daniel Richter & Jonathan Meese, Daniel Spoerri, to identify the working methods of contemporary art working in conjunction with archeology.

The group exhibition "7 Walks in the Woods" takes a potential ice house in the Rabenholzer Forest as a starting point for artistic “Evidence Preservation” (Günter Metken, Spurensicherung – Eine Revision, 1996). The Rabenholzer Forest is located in the glacial landscape of Angeln (Schleswig-Holstein). Until 1850 ice was harvested here. Time has altered this region as it has undergone fundamental changes in its landscape due to the influences of glacial activity which are still visible today. Also the Rabenholzer Lake was ineffectively drained in order to make the land productive for growing crops. The lake is no longer here but the cultural form that has remained is a marshland wet area instead. Since April 2016 the study of historical maps of the original landscape (an idyllic ensemble of natural lake and hilly woodland) has given a clearer impression of a potential ice-house. Since numerous historical ice-houses were filled with garbage during the 1980s, the finding of rubbish disposed of in the middle of Rabenholzer Forest tends to indicate good evidence that this is a former ice-house place. According to memories of the local population this invisible ice house really does exist. The exhibition titled "7 Walks in the Woods" refers to a lecture tour by Umberto Eco (titled: In the Forest of Fictions, Italian title: Sei passegiate nei boschi narrativi, Harvard UP, 1994). In six lectures, Umberto Eco follows the relationship between fiction, narrative and reality.

    THE ARTISTS

Clement Price-Thomas (*Oxford, works in New York)

Clement Price Thomas (born 1971, Oxford, England) lives in New York and works in the field of installation and film. Price Thomas studied at the Camberwell College of Art in London and at Kingston University. His installations and sculptures were exhibited in Berlin, London and New York. In 2009 he received the "International Italian Art Prize Celeste, for Sculpture, Installation and Performance Art". Clement Price-Thomas became famous through the installation "The Guide" (the "breathing heap"), which was exhibited worldwide in the context of Adrian Goehler's exhibition "Imitation recommended!" The exhibition was communicated in the context of art, climate change and sustainability. The "breathing foliage" stirs up within the viewer the distinctive sense for living and artificial resurrection. A seemingly non-wilting pile of leaves rises and falls in a soft, rhythmic up and down movement. The illusion of unconscious breathing emerges, as can be observed in resting states, such as hibernating animals.

In the exhibition “7 Walks in the Woods” a videoloop of „The Guide“  is shown in a box floating on a thread with a small window. The presentation gives the film something very fragile, vulnerable and distant. The visitor has to look closely and it does not make clear whether it is a natural or artificial being that moves. Attention, caution and physical proximity are required by the observer. The surrounding installations interpret the video: Alexander Pröpster's work shows an abstract trace of animals in the forest - actually the search for his dog. Linda's Lammert Lildthold's hanging bodies are strange and at the same time naturalistic and are located between life and death. Sabines Linse's work shows buried people, who move like a miniature of the foliage with minimalism and intonate a canon. The installation of Anka Landtau shows a fountain with virgins, which refers to the undeciphered Voynich Manuscript, and has a connection with the non-wilting leaves, because the aging process is slowed down. Anja Jensen has imitated a fictional excavation site that has something unrealistic and magical about it. It originated in the place where the ice house once was. The white box in which the video of Clement Price-Thomas is shown is a sort of visible representation of the Ice House. If the visitor accidently touch the floating construction, a feeling of dizziness  develops and the equilibrium seems to be disturbed. Within the entire exhibition, this aesthetic-physical perception and ist potential disturbance is of great importance. It gives the imagination an additional quality. In contrast to the "Ice Houses and Sky Holes", there is no opening to the sky. However, with the disappearance of the heavenly hole, a new fragile installation has been created that creates conditions for hanging the installations "invisibly" from the ceiling - and the objects that lie on the ground appear to hover. Two installation lines pass through the exhibition room: the decending bodies of Linda Lammert Lildholdt - and Anja Jensen's ascending ice house hill converge. They give the overall staging a balanced optical geometry which, in turn, reminds the inner structure of the Ice House. More information: http://s636154731.onlinehome.us/1and1demo/biography/

Alexander Pröpster (* 1983, lives and works in Hamburg)

Alexander Pröpster has developed a minimalist, yet emotionally highly charged, artistic character system that serves as a memory aid and reflection. At the starting point of his painting is a search for a trace, which refers to events from his personal world. Research results and finds are put into a new context and placed on the scene using a cryptic-looking form of vocabulary. Although his works are among the more silent and reserved, the combination painting, photography and topography produce an intense energy. They tell a story. A search for something that lies in the unknown and seems difficult to grasp. We meet a fox, a deer with shining eyes, a creeping badger and a rather silly hedgehog. What is the artist looking for? Some of his paintings stand for his obsession, something manic that drives him and the tenacity of seeking and also deal with the non-finding. His work is a documentation of the duration, the effort and the expression of the search. The artist has translated the fragments of this search into painting. Some works reveal a system, a kind of topography of traces and tracks. But they also tell of encounters and strange, remote beauty. His photographs cover the whole thing and the obsession in it a bit further. They testify to a sense of humor as a means of distance. A distancing from what you do. What is the real background? Alexander had a dog named Pavel. He ran away and the artist went to look for him. For two years. But his paintings do not tell this story. Rather, they translate his obsession, the strained, long-standing path into a complex, hermeneutically intensive work. In the tension field of documentation and fiction, a personal organization chart emerges that can only be checked for its coherence and not for its truth content. In a very impressive way, direct requests to the 34-year-old artist lead into a "forest of fictions". Regardless of the relationship between truth and fiction, the interrelation of research results and attempts to safeguard the viewer and invites the viewer to clarify the sensitive interrelationship between art, reality, and fiction. Alexander Pröpster studied at the Academy of Fine Arts in Hamburg (HfBK). He is part of the Künstlerhaus Vorwerkstift and received a few awards for his work, like the Hiscox Kunstpreis 2015.

Anja Jensen (* 1966, Hamburg/ Münster)

Anja Jensen is known for her enigmatic photographic productions which at times appear edgy and uneasy. Their 'Cultural Mappings' are technically sophisticated and politically explosive. She studied at the Kunstakademie Münster with Ulrich Erben (master student). Since 1994, Jensen has participated in numerous national and international exhibitions and is working in the "Documentary Style". Since 2001 she transforms the coming of darkness into a magical and mysterious world, through various forms of artificial light such as a film set. Often it is the natural ambiguous and strange atmosphere of a location from which Jensen initially bases her ideas upon. Like a field research situation, she creates a trust relationship with actors - her "experts for a particular place" - and is inspired by their life stories. For "7 Walks in the Woods" she has staged an excavation situation.

Some of her work has originated in North Germany, where Anja Jensen grew up. Her studies of the natural environment are often devoted to the landscape of the north. Here her documentaries, which are located between alchemy and fiction, succeed. Their photographic verifications, particularly in precarious places, combined with an elaborate picture composition, which is always valuable to the individual, characterize their unmistakable handwriting. Anja Jensen has received numerous prizes and scholarships for her artistic work, including the Märkische Stipendium für Bildende Kunst (2006). Individual exhibitions: Museum Art of the West Coast, Alkersum (2012), Museo de Arte Contemporanéo MAC, Santiago de Chile (2008). Important single presentations: Art Cologne (Förderkoje 2008), Soloprojekt Art Basel (2011). The Goethe Institute, in the context of the German-Year (Deutschlandjahr) for Mexico City has invited Anja Jensen in 2016/17 to make 3 photography projects. "CIUDADANOS" was the title of one the 3 projects. With the "Siete Cabronas" (24 November 2016 - 12 February 2017) at the German Pavilion in Mexico City she achieved a nationwide media presence. She is currently exhibiting at the Museo Archivo de la Fotografia (MAF) in Mexico City, the exhibition "Visto Bueno”. 1 city,  4 weeks, 200 perspectives on CDMX. Contribution in the ZEIT: http://www.zeit.de/hamburg/aktuell/2016-11/24/gesellschaft-hamburger-fotografin-neucht-in-mexikos-halbwelt-ein-24081005 Group exhibitions: Kunsthalle Münster (2012); Art Museum Wuhan, China (2009); Ludwig Forum for International Art, Aachen (2008); Santralistanbul, Istanbul (2008); Zhu Qizhan Art Museum Shanghai, China (2007); Culture and Arts Center, Incheon, South Korea (2007); Martin-Gropius-Bau Berlin (2005). Photo festivals: Cologne (2014), Prague (2010), Krakow (2007).

The lightbox has been supported by Elektro Lübke KG, Kiel. http://anjajensen.de

Linda Lammert Lildholdt (* 1947, lives in Helsingør, DK)

The artistic productions of Danish artist Linda Lammert Lildholdt, her material explorations, installations and paintings can be seen as “Preservation of Evidenceˮ (Günter Metken, Spurensicherung – Eine Revision. Texte 1977-1995, Amsterdam, 1996). The art historian Sophie Roke Clausen describes Lildholdt's works as "living beings which can not be kept apart" and her artistic works as "experimental alchemy". Linda Lammert Lildholdt worked very impressively with latex skins, which appeared to be exist between life and death. Her work is characterized by a sovereign treatment of the cipher of physical eroticism in the transformation process of time. Her sensitive track recordings are condensed into documentations of artistic re-animation. - Together with Anka Landtau, Marina Pagh, Karen Kitani Harsbo, and Marianne Thygesen, Linda Lammert Lildholdt participated in the Silkeborg Bad art exhibition at the group show "Sanatorium" (10.1.-3.5.2015). The exhibition focused on health and beauty under contemporary aspects. 29 Bodies of the 2015-exhibition are part of the shown „7 Walks in the Woods“.   Biography: Linda Lammert Lildholdt studied in Århus, Copenhagen and Istanbul in the 1970s. Her works were in group exhibitions, among others, in Copenhagen, Aarhus, Helsinki, Humlebæk, Krakow, Brooklyn NY. http://www.lindalildholdt.dk/

Anka Landtau (* Ulsnis, lives and works in Struxdorf)

Anka Landtau (* 1952, Ulsnis) studied art, architecture, painting, ceramics, German literature, ethnology and Oriental studies in Kiel, Karlsruhe, Jerusalem and Sri Lanka. Since 1985 she lived and worked in Böklund in Schleswig-Holstein. Her studio combines a workshop with an exhibition hall which is just a few kilometers from Schloss Gottorf in Schleswig-Holstein. Anka Landtau is an artist who works with the social themes of climate change, public art, material and landscape explorations as well as selected gender questions. The conceptual approach to social stimulus themes, combined with the confrontation of the ice-age landscape, as well as the museum's construction at the interface between archeology and natural history, creates references for artists such as Joseph Beuys, Bob Brain and Mark Dion and links to the Fluxus- Movement. The artists' different artistic production methods are often accompanied by art tapestries. With the "Stream Walking" project in the landscape of ice age, Anka Landtau has created the basis for an aesthetic perception of art that goes far beyond what is visually visible: Anka Landtau places sculptures in the Belliger Au. The Süddeutsche-Zeitung reported on the project in spring 2016: Kunst im Kühlen, Evelyn Pschak http://www.sueddeutsche.de/reise/deutschland-kunst-im-kuehlen-1.2945124

Her research for the group exhibition has started with the Voynich Manuscript and covers many themes. These are ice age and ice age landscapes, water source landscapes, energy consumption, conversion and conservation and also scientific surveying / presumptuousness in project development.

Next Exhibition: The Voynich Manuscript Oktober, 15 – Decembre, 17, 2017 http://anka-landtau.de

Sabine Linse (* 1966 in Eckernförde, works in Berlin)

Sabine Linse was born in Eckernförde in 1966. She studied philosophy, anthropology and German language studies in Düsseldorf and Berlin, Freie Kunst in Berlin and Barcelona, and completed her art studies in Rebecca Horn. Her work is particularly linked to the scenic and literary sources of the North. Sabine Linse's video "Im Grünen" (2005) will be shown in the group exhibition, embedded in a installation concept of Anka Landtau und Verena Voigt. "A sunny idyll'': Summer clouds meander over a piece of meadow, the wind blows the bushes and grasses and allows the shadow pattern of a tree to dance through the picture. Two men and one woman sing the canon "Heho, spann den Wagen an". This could be a scene from a historic film..., but the singers are buried, with only their heads protruding from the grass. This gives the performance an ambivalence, which makes the viewer sway between amusement and bewilderment. The sight of these singing mushrooms is of course highly amusing or arouse disturbing images of scenes of torture. - Sabine Linse's film refrains from any explanation or preference for a particular interpretation. Therefore it is up to the viewer to use the inconspicuous variables in the song, the shadow play or to trace associations with clichés about the goodness of  country life. Boosted with allusions and narrative possibilities, "In the Green" remains an extremely minimalistic work that stands out beyond time and logic from our imaginations during a midday sleep." (Text: Bettina Carl) Biography: Individual exhibitions (selection): Galerie Markus Richter, Potsdam (1998); Rampe 003, Berlin (2000); Museum of Photography, Braunschweig (2002); Friedmann Gallery and Project, Berlin (2007); Gallery of Contemporary Art, Kiel (2010); Society for Contemporary Concepts e.V., Eiskellerberg Gut Hemmelmark, Barkelsby (2015) Group exhibitions (selection): Casa de la Primera Impreta de América, Mexico City (2017); Rizoma, Museu do Estado do Pará, Belém, Brazil (2015); Fortress Rosenberg, Kronach / Lutherstadt (2015); COUNTRY / E / SCAPE Art Walks in Kalamata, Greece (2011); PROGR_centrum for cultural production, Berne (2009); Ucity Art Museum of Gafa, Guangzhou, China (2008); Goethe Institute, Toulouse (2008); Galerie HO, Marseille (2007); MAMA Showroom, Rotterdam (2006); Wendy Cooper Gallery, Chicago (2005); Sala Fundación Caixa Galicia, Santiago de Compostella 2000).

www.sabinelinse.de

Funding - Sponsors - Collaborations - Partner  of the Project

Funding: The project is funded by the Ministry of Justice, Culture and Europe of the State of Schleswig-Holstein, the Cultural Foundation of the Schleswig-Flensburg County and the Weltkunst Angeln e.V. Organisation: The project is organized by Gesellschaft für zeitgenössische Konzepte e.V. (GFZK e.V.), Society for Contemporary Concepts e.V. (Art association, Kiel. Concept: Verena Voigt M.A. (Art Historian, Leader of the GFZK e.V.) Collaboration: The project was developed in close collaboration with Anka Landtau. Partner of the Project: The Research-Cluster "Human development in landscapes" (Graduate College, Christian Albrecht University, Kiel) is a partner of the project. Holistic archeological methods will be used to assist artists by integrating cultural & environmental considerations into their concepts. Katja Grüneberg-Wehner M.A., Institute for Prehistory and Early History, CAU Kiel and Dr. Jutta Kneisel, Johanna-Mestorf Akademy (Graduate School "Human Development in Landscapes"), Christian Albrechts-University Kiel accompany the project as archaeologists and "associated artists" ". Participation: More information will gathered from stories & memories of local residents about this particular area. Cultural Education Program: Barbara von Campe / Inga Momsen (Schleswig-Holsteinische Kulturerben / Heirs of Heritage e.V. i.G.) is responsible for the cultural education program of this project “7 Walks in the Woods”. She collaborates with selected, international artists. In Struxdorf she works together with the German-Danish School Boel-Struxdorf/ Bøl-Strukstrup Danske Skole. ">Von Eisheiligen und Kellergeistern (Video)

Opening hours: Saturdays 2 pm - 6 pm and by appointment: ++ 49 (0)163 191 16 69 M ++  49 (0) 151 23 29 29 67 More information: www.facebook.com/eiskellerforschungen Photocredit: Installation view “7 Walks in the Woods”, (c) Anja Jensen

[eiskellerforschungen]

Samstag, 15. Juli, 15 Uhr

Körper – Archäologie – Skulptur – Geomagnetik: Unter die Haut der Erde schauen Eine Erinnerung an Kris Martin, Spatium 2009 Ausstellungsrundgang mit der Neuzeit-Archäologin Katja Grüneberg-Wehner und Verena Voigt M.A. Im Atelier ANKAundANDERS, Bellig 4, 24891 Struxdorf Die Ausstellung ist ab 14 Uhr geöffnet; um Anmeldung wird gebeten, da anschließend eine Exkursion geplant ist: an kontakt@verena-voigt-pr.de. Die Veranstaltung ist kostenfrei.

Die Gesellschaft für zeitgenössische Konzepte lädt für Samstag, 15. Juli ab 15 Uhr zu einem Ausstellungsrundgang zum Thema „Körper – Archäologie – Skulptur – Geomagnetik: Unter die Haut der Erde schauen: eine Erinnerung an Kris Martin, Spatium 2009“ ein. Eingeladen ist Katja Grüneberg-Wehner (CAU Kiel), die als Neuzeit-Archäologin und „assoziierte Künstlerin“ der Ausstellung „7 Walks in the Woods“ in die Geschichte des Eiskellers im Rabenholzer Wald hinabgetaucht ist, Fundstücke dokumentiert und datiert hat: Die von ihr bearbeiteten „Nivea-Dosen, Q1, 1970“ sind daher in der Ausstellung zwischen den „29 Bodies“ der dänischen Künstlerin Linda Lammert Lildholdt und dem atmenden Laubhaufens („The Guide“) des amerikanischen Künstlers Clement Price-Thomas platziert – im Kontext physischer Re-Animation.

Die Vorbereitungsphase des Ausstellungsprojekts war begleitet von einem intensiven Dialog zwischen zeitgenössischer Kunst und Archäologie. Ein Eiskeller, der sich im Laufe der Jahrzehnte stückweise in eine Müllkippe verwandelt hat, ist für beide Disziplinen ein spannendes Forschungsobjekt. Mit Hilfe von Dr. Jutta Kneisel, Graduierten Kollegs „Human Development in Landscapes“ wurde zu Beginn des Projekts die Walderde an jener Stelle  unter die Haut geschaut, wo der ehemalige Eiskeller vermutet wurde. Eines der ungewöhnlichsten Exponate der Ausstellung ist daher die „Geomagnetische Prospektion“, die die metallischen Strahlungen des Ortes visualisiert und Spekulationen über die Nachnutzung des ehemaligen Eiskellers als Müllgrube zulässt. Die „Geomagnetische Prospektion“ von Dr. Jutta Kneisel begleitet das Projekt wie ein Urbild (Ultraschall) dieses Ortes, der durch dieses Bild eine gerade physische Ansprechbarkeit erhält.

Hintergrund: Bildgebende Verfahren und ihre Lesarten

Die Geomagnetik gehört zu den bildgebenden Verfahren der Archäologie. Sie bildet Natur und Kultur ab. Die Wissenschaft erzeugt aus den Bit und Bytes zweidimensionale Bilder, mit denen die unterschiedlichen magnetischen Eigenschaften des Bodens gemessen werden können. Die Bilder sind gleichermaßen Realität und Fiktion. Realität, weil die Strukturen existieren und sie Unsichtbares sichtbar gemachen. Fiktion, weil aus den Bildern nicht unmittelbar hervorgeht, was „es“ wirklich ist, wie alt die Fundstücke sind oder wie tief sie im Boden liegen. Dies gelingt erst über das Spurenlesen, die Erfahrung, Analogieschlüsse und eine gehörige Portion Kreativität, um sich auch von störenden Vor-Bildern zu lösen.

(aus: Archäologie und Kunst, Rede Prof. Dr. Ulrich Müller, 2. Juli 2017, anlässlich der Eröffnung der Ausstellung „7 Walks in the Woods“).

In Erinnerung an Kris Martin, Spatium 2009 Der Rundgang will auch an Kris Martin erinnern, der sich in seiner zwölfteiligen Fotoarbeit „Spatium“ (2009) ebenfalls mit Zeit, Vergangenheit und Zukunft auseinandergesetzt hat. Die Fotoserie erzeugt zunächst Assoziationen an topografische Luftaufnahmen karger Landschaften, Wüstenlandschaften mit Kratern, verödeter Flussläufe oder trockner Sandfelder. Tatsächlich aber handelt es sich um einen Mönchschädel aus dem 13. Jahrhundert, in extremer Nahaufnahme und Vergrößerung. Die Furchen im Schädelinneren zeigen die Hirnaktivitäten eines vor mehr als 700 Jahren verstorbenen Mönchs. Kris Martin schafft damit eine komplexe Lebensmetapher, die Philosophie und Wanderschaft, Zeit und Landschaft zusammendenkt und verdichtet. - Der Ausstellungsrundgang zeigt Bezüge zwischen Kunst und Archäologie, Skulptur und Körper auf und will eine Diskussion darüber anregen, wie weit Wahrnehmung und Erkenntnis auseinanderfallen können.

Die Gruppenausstellung „7 Walks in the Woods“ zeichnet ein Szenario nach, in dem es um die Konstitution von Evidenzen vor dem Hintergrund fehlender Sichtbarkeiten geht. Es werden Beiträge  von Alexander Pröpster, Anja Jensen, Anka Landtau, Linda Lammert Lildholdt, Sabine Linse und Clement Price-Thomas gezeigt. Der Ausstellungstitel „7 Walks in the Woods“ bezieht sich auf eine Vorlesungsreihe „Im Wald der Fiktionen“ von Umberto Eco (ital. Titel: Sei passegiate nei boschi narrativi, Harvard UP, 1994). Kuratiert wurde die Ausstellung „7 Walks in the Woods“ von der GFZK e.V. (Verena Voigt) in Zusammenarbeit mit Anka Landtau, Weltkunst Angeln e.V. Gefördert wird sie vom Ministerium für Justiz, Kultur und Europa des Landes Schleswig-Holstein, der Kulturstiftung des Kreises Schleswig-Flensburg und Weltkunst Angeln e.V. Wissenschaftlich begleitet wird das Projekt von Katja Grüneberg-Wehner M.A., Institut für Ur- und Frühgeschichte und Dr. Jutta Kneisel, Johanna-Mestorf Academy (Graduierten Schule „Human Development in Landscapes“),Christian Albrecht Universität Kiel. Abb.: Nivea-Dosen, Q1, 1970, dokumentiert und datiert von Katja Grüneberg-Wehner, Fundort: Rabenholzer  Walld, März 2017