Guide Sie waren nie fort - UFO-Phänomene einst und heute (German Edition)

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Her work is predominantly concerned with the aesthetic possibilities offered by the contemporary discourse of artistic research. Using this discursive field of research as a foundation, Schonfeldt is concerned with interacting site-specifically in spatial environments to create informative, contemplative situations, which seek to enact alternative modes of experience within the production and reception of knowledge. The overriding impulse behind her work is the generation of alternative possibilities of interacting with history and the construction of new narratives in juxtaposition to accepted cultural orders.

Or Rather, Speak: Diary of a Feminist , Schonfeldt offers the audience a minor performative gesture to share her personal discovery of Lonzi through La Rocca. Elisabeth Joris b. Video still This performance examines the relationship between language, voice and power. Negotiating the materiality of speech and gestures, it investigates the power of the disembodied voice and its relationship to other bodies and find agency in this relationality.

The piece deals with questions around the constitution of subjectivity and becoming an active agent through language both in a political or civil sense. It is important to mention the set up of the performance: the gallery consists of a ground floor space and a lower ground floor gallery, connected with a tight staircase. The audience was led downstairs where the dancers were in place. The actor was upstairs, unknown to the audience. They would only hear her voice.

The performance is based on rehearsed improvisation, by which I mean there was a script and a choreography but each time the piece would be different through the interaction between the three performers. The piece is about how we can each find a language, a form of expression through different means, by language as well as an embodied vocabulary. Dance choreography by Patricia Langa. Delphine Chapuis Schmitz poems fRom our time s Delphine Chapuis Schmitz will be reading from a collection of texts she is currently working on under the title poems fRom our time s , and will give a short presentation of her practice at the crossroads of visual art and experimental writing.

This in-betweenness is the condition of taking place and the mechanism of giving meaning. The event is part of the curatorial research by Dimitrina Sevova, On the Politics of Language and the Aesthetics of Affect — Thinking of Art Beyond Representation in Contemporary Art Practices and Production , a qualitative curatorial research that maps out a cluster of artistic positions and reflects on their practices by means of relational and analytical techniques, from the perspective of the affective politics of the performative and the politics and aesthetics of language, conceptualizing further the relation between contemporary art, plural performativity, and the singular plural.

The research explores the potentiality of language as an artistic material and reflects on the relation between the performative and performance, practices and discourse, in voice-based and text-oriented art practices. The research asks how they relate a politics of place and the possibilities of language in the trajectory of the plural performative as a proliferation of difference. The curatorial research reflects the role of language in contemporary art, and artistic practices that form a critical fabulation and involve other experimental forms of artistic research that bring together aesthetic practices and knowledge production.

The main objective of this research is to ask how art produces knowledge by other means and opens onto a new ethico-aesthetic paradigm. The focus of my research is on artists whose practices and aesthetics embody a materialism of alterity and the translatability at the heart of the unpredictability of an event, testing the limits of how language can articulate the body and the space. The artistic positions are selected for their experimental approach to language and voice-based practices, the inventive and critical way they work with performative strategies, and how they deal with the system of circulation and collection of information, with knowledge production and the aesthetics of affect, and operate within expanded discursive fields.

I would not want to split a certain flux of practices and artists into generations. Because of this, the research is situated across what is defined as a generation. The artists and their practices are approached not as insulated cases in a monographic framework, which would have focused on individual art works or an artistic oeuvre. Rather, my aim is to give, through the research, a sense of a vibrant art scene of resonating practices and overlapping contexts. For me, it is more important to map and reflect on how they are related and shared in certain approaches and trajectories in their work.

I did a series of interviews, conversations face to face, and studio visits, and followed the artists in different public activities during the period of the research. The focal point of the curatorial selection in the process of mapping is a new generation of Swiss artists who work with language and the aesthetics of affect. Their practices can no longer be considered peripheral to the system of art, or alternative, on the edge of the art institutional context, as they form a new and fascinating direction in contemporary art.

At the same time, the research emphasizes the differences in practices amid the cluster of selected artists, and the shift in the means of production in contemporary art at large, and its context as it has expanded into sociality, politics and daily life. There is an upcoming modest publication, composed of an analytico-reflective text that sums up my curatorial reflections, insights, encounters. It will be accompanied by the collected documentation, and conversations and interviews with the selected artists recorded in the context of this research.

Text: Dimitrina Sevova, This project is supported by a curatorial research grant of Pro Helvetia. Collection Musei Capitolini, Rome. Jeder Streifen ist mit dem Namen eines Engels bestickt. Hier gibt es nur eine. Four hundred and ten samples of what things could be like — hue, texture, printed pattern or monochrome surface, opaque or transparent, smooth or striated. When a child is named, two lists are traditionally composed before the birth. Here there is only one. The complete intro including a list of contributions can be found on our materials website. We have found ourselves in our localities sensing translocally.

We want to move instead of being ordered into something. We want to do something in common, to come together, being many and so different, to make feminist media urgent and her voice heard. Johanna Bruckner, Scaffold , The Blackout Magazine invites artists, historians and theoreticians to reactivate editorial formats emerged around industrial utopias. They focus on industrial and cultural labour, Olivetti, visual arts and post-industrial conditions.

I am a Lahore based artist. I currently teach at the National College of Arts, Lahore and also contribute to various art publications. In , I engaged some young people to help me make work for a new exhibition. I felt that the safe social space that formed during that time was transformative and healing for everyone.

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This experience shifted my work from an object based practice to a participatory approach. So, in my next art project I tried to recreate that safe social space. But I found galleries to be stressful spaces that put pressure on people to behave in a certain way. So I grew dissatisfied with the gallery system. When I arrived in Zurich in for a residency, I thought it would be better that, instead of working from this problematic position, I use the opportunity to find a solution.

I conceived Zurich Konversationen as a collection of conversations with people who employ the arts as a tool in their own practices in an attempt to make the world a better place. Through these conversations I am trying to better understand the role of art and artists in life and how the approaches discussed in the conversations can help me in my own practice. As I am nearing the end of the project it is becoming clear to me that I cannot call myself an artist anymore, nor can I make and exhibit art in galleries.

So I have decided to call myself a facilitator and to independently hold one-on-one and group sessions to facilitate self-healing through the arts. Having been through my own self-healing process and continuously working on my own awareness I understand the challenges that arise through such a process. As a facilitator I have two main roles: to ensure that a safe social space is created for the participant s ; and, to hold the psychological space for inner healing to take place.

The series of conversations I had with people concerning the same are archived as audio recordings. These can be accessed online at the website www. Dimitrina Sevova has kindly invited me use Corner College's space to present my final project. It will be structured like a panel discussion. She will mediate and there will be 2 or 3 other people on the panel. It will be a group discussion about the same questions that I have posed during the project and also a reflection on the project itself.

It will be held on 16 December at PM. Opening: Samstag, 9. Dezember , Johanna Bruckner, Total Algorithms of Partiality , Invasive plants in resin Milva Stutz, Natural modul , Charcoal on paper Katharina Swoboda, Penguin Pool , Dezember — 7. Nicole Bachmann, I say , Video still. But also think together and with the audience about artistic processes in this context, as well as reflect on the wider context of text-based, voice-based art works. I say explores the relation between the liveliness of the sound and the activity of listening by intensifying the microprocess of forming words so as to enunciate them.

It unfolds the micropolitics of language structures in close relation to body movements in the plural and singular, to ask how the speech affects the body, instituting corporeal vulnerability and body resistance. Do-Sa h - h oder nach Vereinbarung Vom Dezember geschlossen. The research project Art Work ers began from a set of historical facts and some intuitions: the concurrent deskilling of art and industrial labour; the parallel emergence of applied research in the arts and in utopian industrial plans; the observation that art did not enter the factory only once production was over, as an alternative or a gentrification agent.

Rather, artistic production had often overlapped, both aesthetically and politically, with industrial labour and materials. Working in between the past and present of two factories Alusuisse, Chippis and Olivetti, Ivrea , the exhibition Blackout shares performances, discussions and printed matters from the archive of the Art Work ers research project.

The piece deals with negotiations of speech within a group and the exploration of the singular as well as the communal voice. The materiality of gestures and the spoken word become an embodied vocabulary through which the performers navigate the construct of language and affirmation of their own expression. Book as Performance in conversation with Georg Rutishauser. The Sympodium strives to generate an energetic open space for aesthetic experience and exchange of knowledge between the current active practitioners in the field of Performance Art s : artists, curators, performance study researchers, educators, and their publics.

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Those committed to Performance Art will share their practices, experience, reflections, thoughts, and research. The Sympodium is a podium that encourages invited participants to give a very direct subjective response from the material objectives of the event itself. The Sympodium is quasi-academic and brings together practitioners inside and outside Academia to publicly present and discuss their practices and modes of articulation and action.

The Sympodium operates within the local, interregional and international Performance Art scene. It strives for different perceptions and a new ontology of the relation between Performance and Art, and a pattern of branching that expands the field of live practices. Das Sympodium operiert mit der lokalen, interregionalen und internationalen Performance Art-Szene. But we also ask if this these are states beyond criticality where historical reflections on gold refinements and colonial settings are muted. It enabled both early modern industrialization and the constitution of Switzerland as a financial center.

It also brought about specific aesthetic, affective and moral economies. The Swiss myth of neutrality turns dirty materialities and trades in commodities into an opaque and discreet form of technocracy, security, philanthropy and white supremacy. The Swiss Psychotropic Gold Refining fabulates on commodity trading and refining of gold. Narratives of violence, the access to black bodies, derivative enrichments, psychotropic energies and mutual indebtness molecularise on the high-gloss, tenderly protective metal.

Calvinist gold is never shown. Saturday, 5 - Thursday, 31 August Installation and performative reading. Das, was scheinbar offenbar war, im Negativ zu zeigen. Nahm Mass an den Objekten, die diesen Ort mitbestimmten. To show what was seemingly obvious, in the negative. Took the measure of objects that contributed to defining this place. Every event, every impression that of itself effects excitation, production of unbound energy without aiming at a precise necessity, an immediate action, without a plan to evoke a desire besides the preservation, fixing, capture of the excitation itself - is a poetic fact, object or event.

Site-specific installation, video, archive materials, wallpapers. She then founded the journal La Fronde The Sling , a journal solely written and edited by women. Marguerite had a lion, which she lovingly called tiger and which brought her also publicity for her political campaign. Although an animal lover, she founded the cemetery for purely hygienic reasons. It was the very same place where Durand died in of a heart attack. Practice as Research — Research as a practice Video Narratives Lecture-performance at the finissage on 31 August As a strategy, I often use historical, actual or fictive female characters to install a multilayered biopic inside the exhibition.

My video interact with other material like discourses in cultural theory, press releases or even the exhibition text on the wall. In this sense, the audio-visual fragments, that I produced, are or can be read in an actual and abstract relationship to other texts, videos, photographies, performative elements and events. This project was supported by Kulturamt der Stadt Graz. Kosta Tonev Wilfred Wyman The project constructs and narrates the life story of a fictional, late-Victorian artist named Wilfred Wyman A collection of documents and relics forms a narrative reflecting the intricate relationship between 19th-century biology and the totalitarian ideologies of the s.

Stuart Hall — war ein Kulturtheoretiker und marxistischer Intellektueller. Pro Helvetia will host a series of conversations with national and international guests on a range of subjects related to its activities in the visual arts. Ein Teil daraus findet sich in dieser Publikation. Die Zeichnungen und Collagen sind aus der Zeit von ca. Ein Ausstellungsprojekt von Lucie Kolb Weitere Veranstaltungen siehe unten. Auf Twitter wird Lexas Tod unter dem Tag lesbiandeathtrope diskutiert: Das Vorantreiben einer Geschichte durch den Tod eines lesbischen Charakters wird nicht akzeptiert.

Dieser reagiert mit einer offiziellen Entschuldigung. Was zeigt sich hier? Sie schreiben eine Geschichte mit Lexa weiter, in der sie lebt und regiert. The notion of a rehearsal — being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory — there are these various modes of activity.

Installation view: Looking After Freedom. Michaelis Gallerie, Especially in the context of an arts space that is within the embattled terrain of the university, and still produce genuine platforms for reflection and imagination, contigent of the political and moral positions of any reflection. Achille Mbembe in African Modes of Self Writing points out the sets of dogmas that seem to pass for African discourse in both its political and cultural dimensions, as lacking of historical criticism… and this lack reduces the discourse to three rituals: the first ritual contradicts and refutes Western definitions of Africa and Africans by pointing out the falsehoods and bad faith they presuppose.

The second denounces what the West has done and continues to do to Africa in the name of these definitions. These rituals of discourse according to Mbembe reduce an extraordinary history to three tragic acts: slavery, colonization, and apartheid - to which globalization as a form of neo-colonisation is being added. Through Decolonisation and the Scopic Regime the objective for me has been one of developing space that is relevant in this environment and brought together various people and their ideas that poses questions on aspects of the question at hand: the development of critical, self-reflexive, locally specific responses to knowledge production and dissemination in all its forms.

Rohit Jain. Who likes Chicken Curry? Who laughs about blackfacing and Mohamed caricature? Who defines arranged marriages? Who is scared of Indian IT-Workers? Who is involved in colonialism? Who survives? Who votes? Who really cares? In this talk anthropologist and sociologist Rohit Jain inquires into the making of postcolonial public spaces of Switzerland in the age of de-centralised capitalism. On the hand, the resistance against postcolonial amnesia provokes melancholia, anxieties, or anger. On the other hand, to imagine alternative histories and stories allows to affect unruly archives and to unleash a performative power of assembly Judith Butler.

Rohit Jain is, thus, interested in the conditions of possibilities as well as in the artistic, political and theoretical strategies to develop alternative publics of conviviality and new communities. The presented work, therefore, opens up new avenue for understanding an unacknowledged Swiss history of violence and envisioning a future of reparative justice at the intersection of ethnography, artistic practices and activism. Rohit Jain is an anthropologist and anti-racism activist based at Zurich and Berne.

His current work focuses on the connections between postcolonial archives, the politics of affects and the performative intervention into translocal publics. Stand Up! Der Vortrag findet in englischer Sprache statt. The unique design of this poster by Lissitzky stands between avant garde montage and socialist realism with its inflated portraits and staged enthusiasm.

These aesthetic attributes correlate with the shifting economic realities of the time with the move from the NEP to shockwork methods of the Soviet five year plan. This poster comes from a specific moment in Soviet industrialization which was accompanied by a new subjectivity as well. That moment seems to inform our moment as well. Considering this poster opens up a discussion on contemporary forms of subjectivity under current modes of production and distribution of computerized networks.

The talk will outline how the communist horizon and real existing socialism can inform our understanding of the current social and cultural, political, and economic realities as we are facing the implosion of the neoliberal order. Mai , h Finissage Samstag, Samstag, Mai - Samstag, Dabei kommen vor allem Verben zum Einsatz, die einen Plan oder eine Bewegung von einem Ort oder einer Bedingung zur anderen vermitteln. Das Present Progressive ist eine Zeitform, die es im Deutschen nicht gibt. Recalling, reenacting und rewriting zum Beispiel sind Strategien, die wiederholt eingesetzt werden, um das Gewicht der Geschichte zu verlagern.

Vergangenheit und Gegenwart sind in dieser Zeitvorstellung mithin nicht klar unterscheidbar. Darum werden auch auf dem Teppich von Bayeux Ereignisse, die nicht zeitgleich stattfanden, im selben Raum dargestellt, der lediglich durch Architekturelemente unterteilt wird. It can indicate that an action is going to happen in the future, especially with verbs that convey the idea of a plan or a movement from one place or condition to another.

Strategies of recalling, reenacting and rewriting are applied in order to shift the weight of history. Travelling in time is presented as a way of shaping the future. The exhibition design consists of a Here past and present are not clearly distinguishable — therefore causally related events are depicted in the same space, separated merely by elements of architecture. RSI is an avant-garde radio station featuring sports and cultural content. Created four years ago by Martin Camus Mimb, a renowned sports reporter on the African continent, the station is today the most listened-to radio in Douala, the economic capital of Cameroon.

In the unique field of sports, we aim to give listeners a new vision of information, thanks to an experienced team of specialized reporters. Photograph by Melanie Boehi, December This talk is concerned with histories of South African colonial formations featuring gardens and plants. It is grounded in empirical research of multispecies histories in the Kirstenbosch National Botanical Garden. Plants have featured prominently in imaginations and conceptualisations of South Africa throughout the colonial, apartheid and post-apartheid era.

In the late 19th century, white settlers appropriated the indigenous flora as a marker of identity. The settler elite regarded the cultivation of scientific and aesthetic appreciation of the vegetation as a tool for promoting civilisation and patriotism. This occurred within the larger discourse of nature conservation, which served as a legitimisation of white land appropriation, forced removals and prohibition of subsistence land use by Africans and slave-descendants.

Subsequently, Kirstenbosch evolved as the centre of a network of regional botanical gardens spread throughout the country. These activities expressed the aspirations of the Cape colonial elite and evolved in the context of both rising South African settler nationalism and British imperialism. In , the Nationalist Party came to power and apartheid became the official state policy.

Standing in a genealogy of empire exhibitions and flower shows, plants from Kirstenbosch were displayed internationally. The state also invited international botanists to South Africa in an attempt to impose a positive image of South Africa to them. The apartheid state deployed flowers and gardens because they were widely regarded as beautiful and apolitical — an understanding that needed to be continuously reproduced and in the late s was challenged by activists and artists opposed to apartheid.

They have been reframed as tourism destinations and sites of post-apartheid nation building. Stoler, Duress , The talk is concerned with such histories of South African colonial formations. They are addressed from a multispecies perspective, which acknowledges not only humans but also other living beings, in particular plants, as historical actors and witnesses.

It does so by drawing on and combining a range of methods, including historiography, multispecies ethnography, critical plant studies, plant sciences, and floriography the reading and writing with flowers. The two exhibitions will resemble and question each other. There was a focus on a couple of polemic motifs such as construction, fabrication and abstraction by example of written, published and authored works. The first project was all about testing limits.

The second one tries to draw the line. Der Verdienst. He's a regular contributor to Spike and Mousse magazine and a columnist for Starship magazine. He graduated the Postgraduate Programme in Curating in As freelance curator he has mandates for various institutions in Europe and the US. He is an alumnus of the Postgraduate Programme in Curating. The current manifestations of contemporary dance and its fringe areas build global bridges through the physical, aesthetic and idiosyncratic interpretation as well as the visualization of socially relevant topics.

Contemporary dance inspires and is inspired and often calls for dialogue beyond the physical performance. The work in the exhibition was developed over the last two years and engages with the legacies of botanical exploration, plant migration, flower diplomacy and botanical nationalism from the dual vantage points of South Africa and Europe.

Conceived as a surround sound installation, the work serves as an aural repository of local knowledge that was originally passed from generation to generation through oral tradition but was displaced by European writing and nomenclature, which it now confronts in the exhibition space. Geraniums are never Red revisits the bright red geraniums that trail from the balconies of Swiss chalets and clamber up palm trees in California. They are in fact pelargoniums. They were first brought to Europe — and misidentified — after , when the Dutch East India Company established a permanent settlement and a Company Garden at the Cape and started to explore the surrounding flora to bring back new botanical treasures, which apart from pelargoniums included proteas, ericas and many other mainstays of European gardens.

These films have not been seen since and were found by the artist in boxes in the cellar of the library of the botanical garden. The Fairest Heritage is an attempt to watch these documents today and speak back to the archive. Orlow collaborated with the actor Lindiwe Matshikiza who inhabits and confronts the found footage and its politics of representation, sending up the botanical nationalism and flower-diplomacy of apartheid era South Africa.

Exotics were the pride of European gardeners for a long time. But new species were not just brought to Europe to satisfy horticultural demand and other colonial economic interests. Some plants also arrived as stowaways; seeds in animal feed or other shipments. The consequences of newly introduced species were not always predictable and in recent decades botanists have highlighted the threat of some of these new-arrivals to local biodiversity.

A number of national organisations deal with the problem of invasive neophytes producing information campaigns and so-called blacklists of exotics that are illegal and need to be eradicated. The series of posters Blacklisted Was wir durch die Blume sagen re-mixes information gathered from the Zurich office for the control of neophytes and uses quotes from literature and websites across Switzerland. Veranstaltung im Corner College am 8. Die Einnahmen von der Bar gehen an die Druckkosten. Schimpfen durchs Fenster hinaus, Lieder, Gedichte und furiose Reden, dringen zu den Nachbarinnen hoch.

Zine-Vernissage und Auktion am 1. Mai im Corner College. The income from the bar will go towards the printing costs. DJ Sweatproducer: Street sounds, household noise, women trumpetists in the apartments. The thinking and feelings seem already now to buzz, as house walls and floors shake and crash. Bushes in the wind. Railing out the window, songs, poems and furious speeches reach the neighbors upstairs.

Through air, so dominant, one can hear it, even the slightest sound! Zine release and auction on 1 May at Corner College. The video tells the story of a police roadblock. An artist has illegally appropriated the object transforming it into an exhibition piece. Shortly thereafter a police team enter the gallery where it is on display, and repossess it. The first screen of the video installation presents the story as seen through the eyes of the cleaning lady who was the sole witness of the event.

In the second, a group of actors impersonate the characters of her story. This event is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Celebrating high times on a Sunday afternoon with a small reading out of the book Josefine, a special high time music set, some tea and gin. They will then be transported to Corner College for a public mise a nu par un objet. Vadim Levin in a dialogue with a dead artist.

The name of the artist will be announced later. Vadim Levin, Spirits Call. Performance, Doors open h h Screening and artist talk by Aya Momose, followed by a discussion between Aya Momose , co-curator Miwa Negoro and the audience. Aya Momose Exchange Diary In collaboration with Im Heung-soon.

Taking the form of a visual diary, Exchange Diary is a collection of short films recorded and exchanged by two artists over a year, using a unique way in which each artist filmed a short video and sent it to their collaborator who then added their own narration based on their impressions of the visual images. Initially, each artist shot a short video of their everyday lives or a place they had visited, and then sent the video to their collaborator. The other artist then watched the video, and added their own narration based on their impressions of the visual images.

Invitiation card for the exhibition. Graphic design: code flow. They will then be transported to Corner College for a public mis a nu par un objet. The novel Der Prozess by Franz Kafka is appropriated for the title and gives the direction of the second part of the exhibition project Theorem 4. Written between and , it pulls the reader into a maze of ambiguous biopower entity control by a remote authority, where the nature of the crime is never revealed to either the character Josef K.

At the same time, it is haunted by a radical instability. Laws can change. They can be valid for a time but not eternally. The novel remained uncompleted, in a state of ever incompleteness, which turns out to be a concept. Some lines cross over between The Trial and In the Penal Colony, a short story written in October and published , which describes a sophisticated machine, a device of torture and execution that carves the sentence on the skin of the condemned prisoner before letting him die, all in the course of twelve hours.

Kafka, who himself studied law and performed an obligatory year of unpaid service as a law clerk for the civil and criminal courts, was obsessed with the system of justification and the process of justice, of law and aesthetics. Kant would say of this work simply that it was based on an error. Baumgarten confuses judgment, in its determinant usage, when the understanding organizes phenomena according to categories, with judgment in its reflexive usage when, in the form of feeling, it relates to the indeterminate relationship between the faculties of the judging subject.

There is no personal inputs by the actors, who do not embody characters, but are only masks behind which there is nothing, just another mask. Their performance of repetitive clothing veils the plane, and is the collective acting of the three avatars Percept, Affect, Concept, which constitute the forces of individuation and the positive estrangement or displacement that clothe the event and transform it.

In Deleuze, they are transformed into the positive affirmation of No! The immanence evokes the masks and hiding, crime, and the false the fancy, or funky. The politics of justice, which is not only in the ethical but also in the aesthetic domain, deals with the distribution of force between the layers of violence and control. There is a striking proximity between the theory of surplus value and the aesthetic sublime, that in the economy of translation comes even closer the politics, aesthetics and economics. Excerpts from the curatorial text by Dimitrina Sevova, in collaboration with Alan Roth.

We also refer you to the first section of the curatorial text for Part I of this exhibition project, which applies to both chapters. Robert Estermann Out of the Fog I let the rider ride. Everywhere prism-like , are uncounted drum-like cylinders to use an image with reflecting surfaces autonomically revolving around themselves, deflecting the light from all the other cylinders. There is no relationship between them — none. Out of the fog is being recorded just after sunrise. Coming out from the cold into the warm, the glasses of the camera are foggy when starting recording.

During the video, the fog on the glasses is slowly fading away. Speaking of revolving cylinders, the earlier work Distant Riders consists of a larger-than-life model of a zoetrope, a revolving cylinder with vertical slices on it, one of the first cinematographic devices. The landscape in the background of the nine photographs also seems to coalesce into a hyper-landscape. This atmosphere is produced by the hallucinatory effect of the signifiers of the s which Estermann is quoting here, apparent in the slightly voyeuristic gaze with which the riders enter the field of vision.

But how does this theme arise, when it is neither formulated as an ethical programme nor idealised as a mythical unity from the past? As has already been discussed, the slight sexualisation of the motif of the girl rider is too faint to locate the sequence of images in the sphere of the obscene, let alone the perverse. And the atmosphere of the images, with their location in a distant, undefined coastal zone is too restrained to be subjected to a moral discourse.

One key may be the landscape. Its significance as a trope may be better understood if we compare it with the function of the scenic refuge zone commonly featured in dystopias: usually this is portrayed as a zone contrasting with the civilised space, which is why it is depicted alternately as an inaccessible desert far from city life, as in Brave New World, as a hidden, protected forest at the end of the last railway line as in Fahrenheit , or as a distant coastal zone as in Distant Riders.

This counter-world is rich in sensations and full of sensual freshness in Fahrenheit , this is represented by the constant light snowfall in the protected zone of the forest. This makes its psychological function all the more important: it allows the citizens to experience sensomotoric renewal or even awakening as opposed to social anaesthesia , psychical continuity as opposed to schizoid fragmentation , and develop ethical care as opposed to moral cynicism.

The Great Western Possible , ed. Jakob Jakobsen Antiknow Scene 2. The Body Event Plumbing. On improvisation, unlearning and antiknow Work-papers from the Antiknow Research Group and one speaker playing unskilled music. From Antiknow. A pedagogical theatre of unlearning and the limits of knowledge.

Directed by Jakob Jakobsen. The installation Antiknow is a collective effort into unlearning and nonknowledge as critical strategies. This, in a time where institutional and frozen forms of knowledge and learning shaped by economic forces increasingly characterise education and society in general. It is doubtful whether this course ever took place. During his six-month residency at Flat Time House, starting in April , visual artist Jakob Jakobsen engaged in elaborating possible meanings and consequences of the term Antiknow in the current context of so-called knowledge economy.

This led to a series of meetings focusing on Antiknow in relation to work, politics, art and resistance. Marina Vishmidt, Maria Berrios, Howard Slater and John Cunningham were invited to reflect on specific themes within these fields of social practice. This installation is one of the consequences of Antiknow and involves experiments into drama for non-actors, unskilled music and free drawing. The installation refers to FTHo as a ready-made stage, using as a point of departure the anthropomorphic scheme that John Latham proposed for the building, where each room is dedicated to a specific part of the body: The Mind, The Brain, The Body Event Plumbing , and the Hand.

In the space, a mechanical theatre was developed. The various themes investigated by the Antiknow Research Group are presented as a drama or anti-drama between sets of loudspeakers and synchronised lighting. The scripts have been produced collectively using transcriptions of the Antiknow Research Group meetings.

Lara Jaydha Broken and open Moving Image A series of digital collages work in progress We reach out for a real connection to stay afloat in a sea of submerged emotions. From a deep sense of longing for connection, comes the desire to open and share parts of ourselves. We allow ourselves to be vulnerable and in doing so realize the fragility of our existence. There is an attempt to hold on to the present but everything keeps slipping away. Endings are often unresolved. This existential truth is terrifying but at the same time, I find there is a sense of beauty and calm in it.

I am interested in exploring how we perceive the idea of fragility and its association with gender, form and stereotypes. Why is it looked at a sign of weakness? How can we change this notion? Can we look at it without judgment? Could it symbolize a source of inner strength? Two visits to the artist's storage, on 4 and 11 March Public mis a nu par un objet. Video installation. Employing theatrical techniques, Momose often depicts situations in which voices and bodies diverge, or departures from stated intentions, to generate new shades of meaning.

The sign language is false after all, the definition and the context which the gesture and the voice sound sends becomes separated eventually. In the recent work, To Cuddle a Goat, a Poor Grammar Exercise, which includes scenes filmed in Mongolia, she explores different approach to the previous, and expresses the ambiguous nature of its subjects and the uncertainty of relationships with others. The work implies the oppressed subjects and bodies in the history beyond any boundaries.

An orientation device Installation, table, cloth. Saman Anabel Sarabi and Josefine Reisch have drafted their own orientation device to orient themselves through the cliffs and institutions, waters and archives, mountains and walls, cities and channels, forests and schools, - finally through the horizontalities and flatnesses of Through the perspective and voice of Josefine and with the help of her device they will put urgent questions on the table in the near future, starting at Corner College on 24 February The panel discussion will be held in German and in English.

Danach Plenumsdiskussion mit dem Publikum. Und Suppe und Bar. Das Studio mag ein Raum mit einer gewissen Autonomie sein. Welches ist die Rolle der selbstorganisierten Studios auf der wirtschaftlichen Landkarte, und wie ist die Herstellung von Kunst im Studio heute organisiert? Wie, kann ebenso gefragt werden, kann Gesellschaftlichkeit als erweitertes oder versprengtes Studio betrachtet werden? Wie reflektiert das Format des offenen Studios die jetzige Tendenz des internationalen Kunstaustauschs, von Residenzen angetrieben zu werden? Wie wirkt es sich auf den Produktionsprozess aus Arbeitsbedingungen und arbeitswirtschaftliche Bedingungen?

Followed by a plenary discussion with the audience. And soup and bar. The studio might be a space with a certain degree of autonomy. The studio is part of the productive flow of relations, subjectivities, institutions, places, architecture, materials, techniques, and infrastructures.

At the same time it is in the grammar of autonomy, aesthetics and politics. There are many possible places and non-places of the studio, but it can still be found in two main orbits, as an independent space of solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor. What is the role of the studio in the urban fabric and how is its public support planned? What is the role of self-organized studios on the economic map, and how is art-work organized in the studio today?

How do cultural policy and state financial support to the studios impact and shape the production of art, and the lives and existence of the artist, too? At the same time, how can sociality be seen as an expanded or scattered studio? How can the studio induce cooperative forms and self-organized structures within the urban tissue and art practices, art labor, art-work and at the same time organize vibrant forms of life.

What path of critical inquiry and what kind of methodology can be applied in a research about the post studio conditions, to reflect on the phenomena of unsettling the studio, mobility, and immaterial production? At the same time, the studio still designates and signifies a space where art labor is performed, and the forms of organization of the working process of the art production.

It stays relatively in the shadow of the private space and the hidden economy, unlike the museum, the art space or art taking place in the public environment. How can artists sustain their working environment relying on income from their artistic labor and art-work? Often, they inhabit the studio mostly for a time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet. The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work based largely on Google searches.

Being an artist is a day-to-day job of professional occupation, and at the same time a form of life that can scatter into a new sociality. Artists often and openly strive to gain cheap and large places in the city for working. The struggle for free space and more space in the city, as in Zurich and other cities in the s, makes the studio issue resonate within the resistance against gentrification processes, that has sometimes ended up even in the occupation of buildings.

How can it open new forms of resistance, and to what extent are artists and cultural workers today able to perform a revolutionary force and political subjectivity when the nature of work is changing?

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How can they re-claim and negotiate in these social changes? What is the impact of the open studio, as a form of activating and mobilizing audiences and a different way of organizing art? How does the format of the open studio reflect the current tendency of international art exchange to be residency driven? How does it impact the process of production working conditions and labor economic conditions? Selected and reworked excerpts from the text by Dimitrina Sevova for the exhibition Theorem 4.

Wohin nehme ich mein Atelier mit? Arbeit kann nicht ohne Gesellschaft gedacht werden. Der Begriff der Arbeit wird also von der Gesellschaft in der ich lebe definiert. Heisst das, dass die Schwerpunkte auf die alle wir, die in dieser Gesellschaft leben oder die sich in einer Gruppe dieser Gesellschaft in der man sozialisiert wird und sich befindet, definiert was Arbeit ist? Worin besteht ihr Wert?

But: Dialogues or having a counterpart is very important in my working process. Since I am working at home, I am kind of isolated. The motto was to produce inexpensive art for everybody while at the same time undermining the functioning of the art business. Somehow this subverting procedure became a slogan of the trio. Their works often relate to art history and copying, interpreting and re-interpretation is an ever-recurring aspect of their work, which has continued to develop strongly over the years.

But what runs through the whole body of work created by Mickry 3 is a sense of humour and a critical but never moralistic attitude towards society. In the trio — who works exclusively in the collective — joined the Association of Swiss Sculptors AZB and moved to their conglomerate of workshops and exterior working spaces in the peripheral area of former gasworks in Schlieren. The association, founded in by a group of sculptors, among which artist Heinz Niederer, settled there in AZB functions as a self-sustaining association, the protected gasworks area, located on a property of the City of Schlieren, is in possession of the City of Zurich.

This overall environment has influenced in many ways the artistic practice of Mickry 3. Not least because the area seems to be an ideal place not only to work — but to spend time. The exhibition inspired an entire generation of relational aesthetics, both curators and artists, from Nicolas Bourriaud to Jens Hoffmann, from Philippe Parreno to Pierre Huyghe, as well as the post-digital discourse and new media art context, with theoreticians and curators like Andreas Boeckmann and Yuk Hui.

You can download the text from here. If you are interested in joining our reading session, it is recommended that you to read it before. Reviewing the historical significance of the exhibition, his text is accompanied by twelve contemporary meditations. The philosophers, art historians, and artists analyse this important moment in the history of media and theory, and reflect on the new material conditions brought about by digital technologies in the last 30 years.

This book is an attempt to translate new understandings of transcultural connections into a dialogue. Contributions and insights by important actors in the cultural field such as Eugene Tan, Rem Koolhaas, Benson Puah, June Yap, Gwee Li Sui, and Philip Ursprung, Michael Schindhelm and Damian Christinger frame research by students from the Zurich University of the Arts, and create a multi-voiced and multi-faceted approach to understanding the rapidly-changing cultural topographies of Singapore.

Happy Tropics I consists of two parts that run literally parallel throughout the book. As Singapore becomes a global leader in both the financial and knowledge-production sectors, increasing emphasis is being put on both the production and dissemination of culture in the island-state. The question as to whether arts and culture will follow suit is being closely followed by other nations worldwide who aspire to similar developmental goals.

Singapore can be thought of as a kind of laboratory for the enabling, production, education, and consumption of arts and culture. Understanding culture as a mirror of society, instrument of national identification, and site for dialogue and exchange with other cultures allows us to view it as a litmus test for the resilience of an unprecedented societal concept.

Within this framework, Happy Tropics I can be seen as a case study and a laboratory for different approaches to dealing with the challenges of globalization, as the cultural topographies of Singapore are not only changing, but also constituting themselves in our timeframe. Understanding the city as a responsive network that can be harnessed for research and education projects reflects this reality, and encouraged us to come with our students from the Zurich University of the Arts to Singapore, delving into its mesh and trying to learn that seeing eye to eye is so much more important then perceived hierarchies, a concept that is also reflected in the design and structure of this book.

If you are interested in our reading session please contact us! We will write you back with a copy of the book, and warmly recommend you to read it before the session. Contact: Miwa Negoro Corner College , miwa. Saturday, 21 January — Sunday, 19 February Opening: Saturday, 21 January at h Finissage: Sunday, 19 February at h Artist talks and other accompanying events to be announced. The studio might be a space where a certain degree of autonomy can be detected.

The studio is part of the productive flow of relations, subjectivities, institutions, places, materials, techniques. There are many possible places and non-places of the studio, but it can still be put mainly in two orbits, as an independent space of a solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor. It is often a shared space, a space of collaboration that engages with the performative domain of the aesthetics and politics of art production and its economic and social reality.

It also adopts the critique of the political economy as a method to look at the studio space and the practices there, its social and political impact on art, on the labor and life of the artist. In this way the project looks at how a return to critique and autonomy practices can perpetuate an emancipatory politics in art. Autonomy practices, aesthetic immanent critique and politics invent new living forms and socio-economic relations outside of capital, like generic commons, undercommons, etc. Work is here used not necessarily to designate an art object.

The working environment of the studio can be seen from many angles. At the same time, it remains a place where un productive forces play disalienated forms of labor in the work and life of the artists. The artist remains a free laborer who betrays the labor-power and slows down, or accelerates a virtuoso productivity. The project inevitably asks, can the artist make a living from their art? How can they sustain their working environment relying on income from their artistic labor and art-work. Often, they inhabit the studio mostly in the time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet.

The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work mostly based on Google searches. Theorem 4. All form is a combination of all forces, a mix of human and non-human in the process of individuation. This precarious man-form is the extra-human ethical being of politics. Practice does not come after the emplacement of the terms and their relations, but actively participates in the drawing of the lines; it confronts the same dangers and the same variations as the emplacement does.

Autonomy is distinct from knowledge. As an intensification of power it regroups and redistributes. Despite this, the term of Autonomy has become increasingly derided in art and criticised as egotistical or even attributed to the hegemonic western ideology of the individual, as a result of the connection between the autonomy of art and the autonomy of the artist, and the equalization of both to aesthetic autonomy. Aesthetic autonomy goes beyond the art context to embrace life as a whole. Art is resistance, too. These new subjectivities are precarious minor social formations, and to the extent that the artist is part of the precariat in the informal economy, they practice aesthetic autonomy, too.

HD video. Lisa Biedlingmaier, undefined. For centuries, the studio has been perceived not only in its pragmatic function as a workshop or thought laboratorium but to a much larger extent as a place in which the premises of individual artistic identity can be fathomed. The interior, whether a home office or a study room, provides clues to the personality living or working there. Series of 36 photographs. The L-Word - No mas metales HD video, 56 min. Photo: Maria Pomiansky. Courtesy the artist.

What is the role of the painter's atelier in contemporary art practice?

The archaic features are mixed with the needs of today's life. A painter 's atelier is one of the last bastions of non-computer activities. It can be interpreted as a manifestation of humanity. I would like to produce a painting which would change during the time of the exhibition and would be an attempt to view the atelier as a sacral symbol, a game where the human brain, the hand and the eyes play the leading roles. Mapping Graphic Design History in Switzerland is not just another book that retells the success story of Swiss graphic design.

It is a collection of eleven selected essays deriving from academic research that explores historical dimensions of graphic design in Switzerland — from producing it, to archiving and exhibiting it. The book is also an endeavor to open up a space for graphic design history by providing new perspectives, ideas and tools that enable historical research in such a crucial field for Switzerland as graphic design and typography. On this occasion, the editors Davide Fornari and Robert Lzicar and publisher Triest invite you to celebrate the launch of the book.

The evening will end with a toast on the publication. Robert Lzicar is a designer, educator and researcher. In resonance with Cora Piantoni's exhibition Buon Lavoro! Focusing on proximities and correspondences between artistic processes, factory culture, and alternative radio strategies, context will be given to Gianfranco Baruchello, Gruppo N, Maria Lai, Olivetti and Italsider.

Prose of The Day — Poetic Resistance. Es sind alles Kultobjekte, Symbole unserer indistrualisierten Gesellschaft. Und die Fragmente der Installation Generation umkreist die Frage, was aus dem Sein im Zeitalter seiner technischen Reproduzierbarkeit wird. Ein Aufruf, sich auf die Menschlichkeit mit all ihren Facetten zu besinnen.

Sie studierte Philosophie an der Sorbonne. Eine Veranstaltungsreihe des Corner College. A series of events by Corner College. Her films and videos explore how individuals forge their identities and shield their memories in the shadow of larger group dynamics and the socio-political systems in which they are cast, using personal narrative — its gaps and elisions, its specificity and opacity — to reveal how meaning is constructed, projected, protected, and perhaps deconstructed. Within this space we can consider the nature of memory, the power of words, and the significance of all that remains unsaid.

Februar You are right with that; even the advocacy of the death penalty is contemptuous toward life and inhumane, and suffering from this evil are all those pathetic creatures that are only human by name and that tolerate, endorse, or exercise this perverse form of punishment. In the truest sense of the word, they are inhumane and life-despising murderers, in many cases worse than the actual delinquents who consciously or unconsciously made or make themselves guilty of murder because in every single case, both their consciousnesses as well as their psyches were or are impaired in some way in their functions.

Therefore, they need help and not vindictive, autocratically judicial desire in order to get on the right path and achieve the right, healthy, positive, life-affirming, and evolutionary attitude. But such largely requires other laws and handlings of laws than what are present in the so-called civilized countries, where inhumane crimes of all kinds are handled and judged far too lackadaisically and negligently, by what means serious criminals or notorious criminals, etc. You speak my mind and the minds of many others.

When one thinks of those who are responsible for the jails, prisons, as well as psychiatric hospitals, who repeatedly release prisoners or send prisoners on leave, who have, for example, raped and maybe even killed children or women, or else those who have otherwise committed serious crimes, one must ask himself: from where do these responsible persons get their autonomy to determine whether such criminals or in any way serious criminals can be released or be sent on leave, who then commit new, serious crimes?

Thus, these serious crimes can never be contained or even eliminated, due to the incorrect humaneness of such responsible persons. Du sprichst in meinem und in vieler anderen Menschen Sinn. That is actually so, because the law executives are too lax and too falsely humane, which is why they give far too minor penalties and completely disregard the necessary security. A lifelong sentence should not be restricted to a short term, such as 15 or 25 years, etc. And if I watch, as the law judges on Earth touch the criminals and felonious ones, so to speak, with velvet gloves, as you once said, then it makes me nauseated.

That also applies to murderous machinations where alcohol is involved. This substance still counts today, at least in the Christian-oriented countries, as a luxury and not as a narcotic, which is actually what it is for many people. Therefore, a vehicle driver who is under the influence of alcohol is still excused even when he knocks down and kills one or even several people because drunk driving is still considered a minor offense, and in cases of deadly accidents, it is very often only punished with small fines, if at all.

Even your brother, Karl, was killed by a drunk teenage driver, for which this only received a very small fine. Heat and cold play a role only in the way that through these, electric energy, i. It would be too dangerous for the people and their applications of technology if they already fully mastered anti-gravity. Already, the researches relating to this of the Earth people and their resulting applications of anti-gravity are heading towards them seizing world power for themselves.

There are already extensive experiments in this regard, whereby the scientists in the USA can report authoritative successes. With this, do you also speak of the matter in the Gulf region, i. Sprichst du damit auch von der Sache im Golfgebiet resp. In addition, the triggering of world crises and World War III can also threaten from other nations, which should certainly be said. That is naturally right, for there are many powerful figures on Earth, and they will also be here in the future, who stir up dangers as well as death and destruction for the Earth people, all other life, and for the planets.

It would be foolish to doubt this. But unfortunately, precisely in this regard, it must be mentioned once again and must be led into the field that in this connection, the Americans, like in so many things, are simply leaders. One must only think of the HAARP project, through which even worse consequences can appear than what is the case with the effects of the atomic bomb and commercial nuclear use. That is certainly anticipated, but still, we want to do something in this matter. But now, it would please me if you could read or at least browse through my article here. Damit ist sicher zu rechnen, doch trotzdem wollen wir etwas tun in dieser Sache.

The name of this American project camouflages the fact that it has the potential for being a greater catastrophe for mankind than the creation of the atomic bomb. The truth of the matter is that the HAARP installation can be used to wage a science-fiction-type battle. We are dealing here with a reckless experiment. Under the guise of the harmless-sounding name of "HAARP", the American government is planning to bombard the sky with energy-rays from a vast installation of antennas. Es handelt sich dabei um ein geradezu wahnwitziges Experiment, wird doch damit geplant, den Himmel mit Energiestrahlen zu beschiessen, und zwar durch die riesige Antennenanlage, die sich hinter der harmlosen Bezeichnung HAARP verbirgt.

These energy-rays will then be reflected back to Earth from the ionosphere as electric waves of an extremely low frequency ELF. This process is capable of transforming these ELF waves into a very insidious weapon for:. These ELF vibrations are able to penetrate the brains of people and animals if the vibrations are aimed in their direction. This will not only immobilize the victims preventing them from performing any movement or act of defense, but will also render them insane as well.

A useful tool for the military, these waves can also penetrate walls of brick and steel. ELF frequencies improve radio contact and reception, even those within thick bunkers and atomic submarines. ELF waves can be used to track down and pinpoint missiles, airplanes and other flying craft even on the other side of the globe. Possible side effects that are just as frightening must also be considered. The fact is that, to date, no one completely understands how the ionosphere will react when it is impacted by these energy-rays.

We must bear in mind that the ionosphere is very fragile. Together with the ozone layer, it protects the planet Earth and all life forms from the deadly rays of outer space. It is definitely possible that the additional energy-beams emitted by the HAARP program will not only disturb but actually destroy this sensitive system and the protective ozone layer.

Of course, the various military groups and their scientists refuse to acknowledge this danger as they cheerfully assume that nothing is going to happen. Consequently, they are proceeding with the project despite the warnings and, by the year there will be antennas that will initiate this madness. Testing is in progress at present with approximately 60 completed antennas in operation.

Im Jahre sollen es dann Antennen sein, die den Wahnsinn einleiten. Tests laufen jedoch bereits jetzt mit etwa 60 fertiggestellten Antennen. At the foothills of Alaska's mountain range, a forest of antennas is being built as a test site for radio warfare. Here is how it is supposed to work: Above the ozone layer lies the fragile ionosphere, a gaseous stratum enriched with electric particles called ions.

Scientists intend to heat up this ionosphere by using HAARP's powerful antennas so that bundled, high frequency radio waves can be shot into designated areas of the ionosphere. In turn, this will create artificially curved ion clouds which can function much like optical lenses. These lenses will be used to reflect the low frequency ELF waves. These vibrations can be used to determine the fix of an airplane, for example, but they are also useful for other disturbing and deadly objectives: They can be aimed at other regions on the Earth's surface, depending on the angle at which the radio frequencies are reflected back from the ion lenses.

Bei dieser handelt es sich um eine Gasschicht, die mit elektrischen Teilchen angereichert ist - Ionen. A long time ago, Mars lost its atmosphere. The same fate could soon threaten the Earth The U. The antennas constitute a gigantic, new potential advantage for the military elite while at the same time they present an immense potential danger for the entire planet and all of its life forms.

The obligatory environmental study for the HAARP project warns of the possibility of changes to the ionosphere that could influence the ozone layer, among other things. Air Force and the U. It should not come as a surprise, then, that in reality, the American military intends bombarding the ozone layer and the ionosphere with this ray weapon. After all, the Americans have always wanted to be the greatest and most powerful nation on Earth. However, it is self-evident that blame cannot be placed on those American people who are against this program and who have sincere, positive human intentions.

They are likewise not responsible for certain sickening elements who have the say, as well as the fact that other people are bound to jump on that group's bandwagon. In spite of all this, the question remains why such a risk is being knowingly undertaken with this kind of uncontrollable chain reaction within the confines of both the ozone layer and the ionosphere?

The answer is twofold: 1. Job Creation for the military, as well as participating large and small businesses 2. HAARP is a money-generating entity which has inherent power from the implementation of its weaponry. HAARP technology can unleash a force, which cannot even be remotely matched by any potential adversary. Until now, all nuclear attack scenarios included several nuclear explosive devices with high electromagnetic pulses EMP , which were detonated at high altitudes. However, HAARP is capable of doing much more, for it can penetrate deep below the Earth's surface where, for example, oil deposits or the previously mentioned secret bunkers can be located.

The fact that certain types of radiation are not only dangerous but actually deadly for human beings, plants and animals is simply accepted without scruples. Although HAARP can be utilized as a super-radar device and, simultaneously, as a destructive device against flying craft, there exists no justification for jeopardizing the lives of all humanity, animals and plants, indeed the very existence of the planet. This fact seems irrelevant to the military elite, large corporation executives and the people with power within the U. On the contrary, these groups actually seem pleased they are neither violating agreements to discontinue nuclear testing which hardly anyone follows anyway , nor the anti-ballistic defense systems or disarmament.

They are furthermore pleased their criminal endeavors have escaped worldwide notice until now because their activities have been kept nearly a total secret and because the general public is simply not paying attention to this situation. Humanity cannot afford to jab away at the atmosphere with gigantic giga-watt devices that gouge the Earth's surrounding atmospheres, let alone to disturb, even destroy their harmony.

At the very least, the wounds inflicted to these atmospheres through this insanity will never heal and will put all Earthly life into jeopardy, perhaps forever. Strahlenkanonen- und Mikrowellenkriege stehen kurz vor ihrer Wirklichkeitswerdung. Presently, the HAARP installation is only being used for modest testing yet climatic disturbances are already occurring worldwide which can no longer be disregarded.

These facts do not seem to greatly trouble those people, or their followers, who are in charge of the HAARP program. They even deny that natural disasters now occurring on a global scale have anything to do with their dangerous experiments. Even though the HAARP tests are still at a low level, the program is already triggering floods, volcanic eruptions, earthquakes and stormy weather conditions. Airplane pilots have been instructed to give the installation a wide berth, thus the operation may already be in full swing, or will be sometime in Just one giga-watt of power from the unit is sufficient to burn a hole into the ionosphere.

But at full output, the ray-weapon will be increased to giga-watts It is a fact that this new ray-weapon will influence and damage the consciousness of human beings and animals and, of course, the entire gene pool of terrestrial animals, plants and humans. Likewise, the entire highly sensitive energy-field of Earth could be manipulated to the point where the poles are displaced.

The bombardment of the ionosphere presents many dangerous, destructive and deadly possibilities but those in charge do not give this matter even a second thought. As a result, they are forging ahead at full speed with this secret armament project to blast holes through the ozone and heat up the ionosphere.

In , American scientists, under the mandate of the U. Later on, they admitted they had failed to take into account beforehand what could really happen during the explosion; whether, perhaps, a nuclear chain reaction could have resulted which would incinerate the entire atmosphere of Earth, even the entire planet. Their posture now is the same as it was with the atom bomb tests, and the chance of a disaster with HAARP remains The experiment today is being conducted with the same odds as the detonation of The Bomb in Even though our worst fears did not materialize then because "everything went well", other dreadful scenarios resulted from these early experiments.

New bombs were built and dropped upon residential areas killing hundreds of thousands of people. Untold numbers of people were mutilated by burns and many descendants of the radioactively-contaminated victims grew up resembling monsters rather than humans. Furthermore, huge territories were radioactively infected worldwide and have since become uninhabitable for many thousands of years. The contamination resulted from the testing of atomic bombs as well as their commercial use. As if this were not bad enough, atomic materials being used for peaceful purposes have claimed untold numbers of victims throughout the entire world by contamination through radiation, either accidentally, carelessly or with criminal intent.

In these matters, America tops the list of offenders because the power-hungry people of that nation have sanctioned secret research criminally using radioactive treatment, medication etc. Unfortunately, they are not the only country doing this. While these facts have become at least partially common knowledge by now, they have yet to be fully uncovered. This type of research demonstrates such a lack of human compassion that we question whether they were, or still are, simply frightful, bloodthirsty and irresponsible monsters?

Die Verseuchunggeschah dabei sowohl durch Atombombentests wie auch durch kommerzielle Atombombennutzung. The atom bomb, which has been and continues to be used for commercial purposes as a "peaceful source of atomic energy", has induced unending pain, misery and irreparable worldwide harm. The destruction continues. In spite of this, U. This system may be as destructive and deadly as the atom bomb to the entire planet and all its life forms including mankind. The immediate result as well as the long-term results of this madness has the same uncertainty as that of when the first atomic bomb was exploded.

Indeed, some shocked scientists want nothing to do with the entire matter. They have the opinion that life on Earth in its present form and the existence of the planet are being jeopardized once again by the actions of power-hungry people, particularly by the U. Nun, mit der Atombombe, die zu Kriegs- und Kommerzzwecken genutzt wurde und wird sowie durch die sonstige und sogenannte friedliche Atomenergienutzung ist auf der ganzen Erde nicht wieder gutzumachender Schaden und unendliches Leid und Elend angerichtet worden - und wird noch weiter angerichtet.

The HAARP program is considered one of the greatest threats to the ozone layer by those scientists who still possess a sense of responsibility. The possibilities range from skin cancer to alterations in the climatic zones, from violent storms and droughts to floods, earthquakes and volcanic eruptions.

It is obvious that all of this is a daily part of living even now, brought about by the insanity of overpopulation and its consequences like, for example, the destruction and pollution of our environment, resulting global warming and the shifting of weight in the Earth's upper layer. However, ongoing HAARP experiments have been to blame for some time now for climatic changes which, in turn, have triggered worldwide earthquakes, volcanic eruptions, floods and environmental catastrophes. They further contend that HAARP will cause so much destruction, pain, suffering and devastation in the future that neither nature nor any living thing will ever be able to return to a normal state of equilibrium.

The long-term effects will negatively influence everything on Earth, and recovery will all but be impossible. For quite some time now, a worldwide hunt for ozone destroyers such as chlorofluorocarbons has been in progress, and rightly so.

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Yet American industry and government have obstructed many environmental issues and seem to be indifferent to the advancement and protection of life in general. This is proven by America's adherence to capital punishment which is glorified by many of its citizens and mercilessly used. The same arbitrary disregard for human welfare by its power-elite and their followers is exemplified by their acquisition of the new HAARP weaponry. Without consulting any other human inhabitants of this planet, their military is blasting dangerous holes into the fragile ionosphere and is thereby endangering all terrestrial life.

These powerful people are taking it upon themselves to make these crucial decisions without concern for anything else other than their damned power-madness and megalomania. The ionosphere will indeed be damaged and partly dissolved by the HAARP program, thereby allowing dangerous, unimpeded cosmic radiation to enter the Earth's atmosphere.

Contact Report 260

Such insanity can be seen in the annals of human history but it is routinely hidden from the people. In , for instance, three atom bombs were detonated in the atmosphere to influence the weather. Within two years following this stupid action, an entire series of climatic catastrophes resulted. Three hundred and fifty thousand copper needles, each approximately cm in length, were fired into the ionosphere in The result was that the Earth avenged herself by an earthquake in Alaska that measured 8.

In , the Americans and the USSR detonated three hundred megaton atomic bombs in the stratosphere and ripped gigantic holes into the ozone layer. These are only a few of the many criminal atrocities carried out against mankind by the American and former USSR government officials. In truth, several dozen such crimes can be attributed to the Americans, Russians, French, Israelis, Chinese and others who pursue these same malicious goals.

Nach diesem Wahnwitz dauerte es nur gerade zwei Jahre, ehe als Folge eine ganze Serie Klimakatastrophen in Erscheinung trat. Und dies sind nur gerade einige wenige der menschheitsverbrecherischen Machenschaften der Amerikaner und der ehemaligen Sowjet-Union, denn wahrheitlich gehen mehrere Dutzend solcher Verbrechen auf die Kappe der Amerikaner und Russen sowie der Franzosen, Israeli, Chinesen und anderer, die am gleichen Strick ziehen. The threat originates from its location, km miles northeast of Anchorage.

In this northern Alaska solitude, a forest of antennas, which will consist of towers, 24 meters height 72 ft , is being built from which the military will shoot bundled high-frequency rays into the ionosphere. In experimental form, this has been ongoing for some time now with the result that more climatic and storm-related catastrophes, earthquakes and volcanic eruptions have increasingly been happening. The object of the experiments is to heat and partially displace the protective layer surrounding our planet.

In the process, giant "lenses" are burnt into the ionosphere with the intent of bouncing bundled ELF waves back to Earth. This project turned out to be global vandalism because immense amounts of energy with giga-watts of power are shot into the outer spheres of the Earth. The current impact and future effects on this planet and all life forms, human, animal and plant, cannot be estimated in any way whatsoever.

A few years after his invention, Eastlund lost control of his patent when he developed financial problems. He stated that the antenna installation in Alaska is in reality a massive ray-gun, capable of destroying not only all communication networks but also missiles, airplanes, satellites and much more. He claims side effects, both wanted and unwanted, include climatic catastrophes throughout the world or at least in some regions, and unrestricted deadly radiation against which there is no protection.

The choice of locations for this deadly turmoil will lie in the hands of the irresponsible military and government officials and others. There is also the side effect of the entrance of death-bringing radiations against which there is no defense. Gewollte oder ungewollte Nebenerscheinungen seien u. One must probably count on it, as it is always like that in such cases. But now, I have something else here, namely a report of a certain Parvis Nazem from Iran.

You can likewise read the whole thing. My commentary — we also published everything in Bulletin No. Here you go; these two pages are the product of the whole thing. Hier habe ich nun aber noch etwas, und zwar einen Bericht eines gewissen Parvis Nazem aus dem Iran. Du kannst das Ganze ebenfalls lesen. Hier, bitte, diese beiden Seiten sind das Produkt des Ganzen. The following is by Ch. Den nachfolgenden, von Ch. They received your nickname, "Billy," exactly where the mysterious phenomenon has taken place.

In autumn of , as you well know, a bloody war began between Iran and Iraq, which lasted for 8 years. In many families on both sides, this war caused great sorrows and worries through the loss of loved ones. At that time, to my surprise, no one in the Western world said anything about it, and even today, there is still silence over this as though we are a bunch of lab mice that would have to be wasted anyways. In comparison, there are numerous films, literature, documentaries, and videos about other wars and conflicts that occurred in other places. In the first night of war in autumn of , I observed — along with about 2, army recruits, who spent their military training at a base called Farah-abad — the most bizarre and most inexplicable phenomenon that has ever happened to us.

We ate our dinner at around hours. The base was on full alert, and the recruits were not allowed to leave this under any circumstances until further notice. Suddenly, the whole world was filled with sounds of explosions and antiaircraft gunfire. We all left the cafeteria in order to see what was going on.

Every shooter in the area who saw these objects fired on them. Within a few seconds, our rockets were fired. Therefore, I thought that they would be shot down within a very short time. But as the rockets nearly reached the bodies of these things, the objects went vertically upward the speed was tremendous and left the rockets far behind, which ultimately exploded. Immediately after that, the objects returned to their original location, while retaining their triangular formation.

Wir assen unser Abendessen um ca. Wir alle verliessen die Cafeteria, um nachzuschauen, was los war. Innert weniger Sekunden wurden unsere Raketen abgefeuert. This lasted for so long until no more rockets were fired; silence spread everywhere. They needed less than 10 seconds to be over our heads. I threw myself into the nearest one. Lasst euch zeigen, was Feuerkraft ist. It was amazing. The sky was not the sky of hours; it was dark and littered with stars.

I looked at my watch: it was about hours. I looked around me, in order to tell everyone that the danger had passed. No one was there! All the holes that were dug in a line were empty. I left to search the buildings for any sign of my closest friends. The buildings were empty. All in all, I searched four barracks on the base; they were all vacant. There was no one, not even outside of these. According to the military orders, we should have all been asleep in our beds. But there were neither officers nor sergeants in sight, who could have stressed the orders.

I felt tired, went back to my barracks, and fell asleep, but just to wake up the next day and see all the others in their beds. Es war erstaunlich. Der Himmel war nicht der Himmel von Ich schaute auf meine Uhr: Es war ca. Niemand war da! Alles in allem durchsuchte ich vier Baracken auf der Basis; alle waren unbesetzt.

Da war niemand, nicht mal ausserhalb derselben. No one made any comment about the previous night. Niemand machte irgendeinen Kommentar zur vorherigen Nacht. The Iraqi war planes actually came and bombed Tehran, and they flew directly over the same rocket battery, but there was no reaction from this. But maybe it was just what they thought. I had seen some rockets that were shipped to Japan for repairs. Ich muss sagen, dass, solange ich auf dieser Basis war, die Raketenbatterie vorher und nachher keine einzige Rakete auf irgend etwas abschoss.

Aber vielleicht war es nur das, was sie dachten. Ich hatte einige Raketen gesehen, die zur Reparatur nach Japan verschifft wurden. A few months after this event, I was back in the heart of the action — on the battle front. I returned alive and was absolutely sure that it was a time that I should have been killed, but I either reacted to the danger correctly or otherwise survived the direct hits on our position.

Meier, I estimated that on that night, around 4, people were abducted. I mentioned before that I examined four buildings and found them empty. In each building, people should have been present at that time. Since there were two army bases in that area, each of which had a capacity for around 2, people, I could see from this that around 4, people were abducted on that night or were brought to silence.

Is this case mysterious enough to direct a question about the incidents to your Pleiadian friends? Was this war supported by any extraterrestrial beings? Did they stand in contact with the US military, in order to try to keep the Iranian army away from their air defense equipment, so that the Iraqi forces receive air supremacy? Haben sie versucht, die Theorie.. What did the Aliens do to us, when they took us to their underground bases?

I had wet, reddish soil marks on my uniform when I left the foxhole. The soil in and around the foxhole was yellowish and dry. Why am I full of pains in my body? These pains in my body began a few months after my abduction. Can I count on your help, Mr. You are my last hope. Was machten die Aliens mit uns, als sie uns zu ihren Untergrund-Basen mitnahmen?

Die Erde im und um das Fuchsloch war gelblich und trocken. Sie sind meine letzte Hoffnung. The events of the observed UFOs are not to be denied because these were also reported elsewhere. Was jedoch in bezug auf die.. Florena reported to me about your questions, so I have also endeavored to get closer to these concerns, and I can say the following:. At that same time, in the aforementioned area, observations were actually being carried out by several aircraft of extraterrestrial origin, namely by members of an Earth-foreign race that stands in no relation to us.

At the same time, however, the Iraqis released poisonous gases into different military positions of the Iranians through rear front fighters, which caused hallucinatory effects and dangerous long-term consequences under certain circumstances, but both the Iraqis as well as the Iranians retain silence over this. The poisonous gases attack, among other things, the internal organs of the body and alter the genetic information factors, resulting in mutations and other disturbances. Unfortunately, this also happened during the Gulf War, for also there, rear front fighters secretly worked in the same way as in Iran, through which the drawn-in multinational fighters were affected, especially Americans, who were severely harmed health-wise.

These poisonous gases, however, were further introduced in and behind the ranks of the attackers by rockets and artillery shells, by what means many people were contaminated. Then, as a result of those who were contaminated later performing acts of procreation, the descendants became mutilated during the development period in the womb and came into the world as heavily deformed beings. Now, in terms of this strange story that Parviz Nazem tells, it is to be accepted that he was attacked by the hallucinatory gases of the Iraqis and, accordingly, actually had hallucinatory experiences and shock trauma; consequently, he considered everything as real, as you described in your commentary.

Concerning this, I would like to read aloud the conversation that we had about it:. Beim Kontakt am In terms of cancer, it is to be said that in the future, the microwave will increasingly appear as its cause, for microwaves are, unfortunately, becoming more and more heedlessly as well as irresponsibly used for all kinds of purposes. Cooking with microwaves destroys the vitamins and, at the same time, is to be specifically described as a great evil, this along with many other misuses.

Even the eyesight of humans and animals is endangered by microwaves, and in the specific case, the cataract is to be mentioned, which can be caused by microwaves more and more. Different types of cancer, as I said, increasingly have microwaves as their cause, but in addition, simple and non-cancer-conditioned damages to cells will appear more frequently and cause many other evils. On certain worlds that are well-known to us, it is common with the humans that women and men can be sterilized by microwaves, in order to counteract an overpopulation of the planets by the humans.

But I, for example, was advantageously subjected to microwave treatment, in order to get rid of nearly intolerable pains, to which I had fallen due to my knee osteoarthritis. Ich aber z. Of course, because microwaves can, with reason, also have curative and progressive purposes and application possibilities, when they are brought to application with intellect and reason. On Earth, these things and the concerns about microwaves are not yet so well known by the people and especially by the scientists and researchers, etc.

Is there actually a certain danger for the person, apart from the harmfulness of the waves themselves on the human organism, etc.? Then, you gave me the following answer, which seems to contradict itself with your prior statements, since you said that cooking with microwaves is harmful. I assume that you probably expressed yourself too imprecisely for us Earth folk, which is why we probably misunderstand something. You said:. Du sagtest also:.

The person can quite safely eat microwave-prepared foods. Only the microwaves themselves are dangerous, if the person is hit by these. Many microwave ovens shield the microwaves in no way, whereby humans — and even animals and plants — are hit by these and are damaged health-wise. Thus, the danger for humans, animals, and plants lies in the microwave radiation itself, which can lead to very harmful effects on all living organisms — apart from the fact that, for example, microwaves applied medically in the right dosage can very well be beneficial to health.

Der Mensch kann sehr wohl gefahrlos mikrowellenzubereitete Speisen zu sich nehmen. First, you said that using microwaves to cook is harmful, but here, you said that cooking with these waves is not harmful. How should we understand this now? Wie sollen wir das nun verstehen? Cooking with microwaves is actually extremely dangerous, but only in the sense when the food comes into direct contact with the microwaves, so thus, if the food is directly irradiated with microwaves.

Once this happens, transformation processes, which it also always concerns, take place in the food, through which partially poisonous and hazardous substances emerge, through which humans can be harmed in many different ways and, in fact, also are harmed, as I must rightly say. Due to the direct irradiation of food with microwaves, the cooking item succumbs to a transformation, through which health-hazardous substances develop. Thanks; that really should be without misunderstanding. London - Do the unborn feel pains during abortions?

On this controversial issue, British medical experts have now given a clear answer: Yes, starting from the 6th month! London - Empfinden Ungeborene bei der Abtreibung Schmerzen? Auf diese bei Experten umstrittene Frage haben englische Mediziner jetzt eine klare Antwort gegeben: Ja, ab dem 6. The Association of British Gynecologists has, for the first time, issued guidelines: With an abortion, an anesthetic should be used, starting from the 24th week of pregnancy.

According to recent studies, they came to the conclusion that the nervous system is so far developed by the 26th week that the fetus feels pains. Nach neuesten Studien kamen sie zum Schluss, dass das Nervensystem ab der Woche resp. And what about the beginning heartbeat of a newly conceived human — when does the actual heart function begin? As a doctor of your various medical subjects, so I think, you surely also know about this. Und wie steht es mit dem beginnenden Herzschlag eines neugezeugten Menschen - wann beginnt die eigentliche Herzfunktion?

The time of the beginning heart activity coincides with the entrance of the spirit of the newly conceived human being, so on the 21st day after conception. Tag nach der Zeugung. For the terrestrial medical scientists, however, this should be yet another fact that they first have to fathom. Although efforts in relation to this have already been running for quite some time, the necessary cognition is still missing, which is also connected with the fact that also the apparatus-related conditions that are necessary for this still leave very much to be desired. Asthar Sheran, i.

Now, the question arose as to whether he is now incarnated again; do you know something about this? Asthar Sheran resp. To our knowledge, three hundred years will pass, when I make my statements in accordance with the earthly calendar. So other time relationships prevail there, whereby I have just alluded to the duration of a year. That planet — in whose outer space Asthar Sheran lost his life and in whose otherworldly space, in accordance with the valid creative regularities, his spirit form as well as entire consciousness block fixed themselves — has an orbital period around the central star that corresponds to days, according to the earthly standard.

Moreover, a day has 27 hours and a little more than 36 minutes, measured by an earthly hour. Ein Tag hat zudem 27 Stunden und wenig mehr als 36 Minuten, gemessen an einer irdischen Stunde. Nevertheless, I would really just like to hear your opinion again. You already gave me an answer about it two years ago, when I asked you whether my calculations are correct, which you affirmed at that time.

Here is the relevant excerpt from the bulletin, if you want to read it:. Hier der betreffende Ausschnitt aus dem Bulletin, wenn du ihn lesen willst:. There is so much talk about the beginning of the 3rd millennium. When will this actually begin now, and how do the Pleiadians view this? Wann beginnt dieses nun wirklich, und wie sehen die Plejadier das? The matter is actually simple to explain, but everything for this must be considered from the ground up, namely from the beginning of the year 1.

With today's calendar, this began on the 1st of January of the year 1 and ended on the 31st of December of the year 1. In this consequence, the first decade ended on the 31st of December of the year 10, and the first century ended on the 31st of December of the year From this, it clearly follows that the first millennium ended on the 31st of December of and then began the second millennium that, in turn, ends on the 31st of December of , after which then, on the 1st of January of , the first year as well as the first decade and first century of the 3rd millennium begins.

Mit der heutigen Kalenderrechnung begann dieses am 1. Januar des Jahres 1 und endete mit dem Dezember des Jahres 1. In dieser Folge endete das erste Jahrzehnt am Dezember des Jahres 10 und das erste Jahrhundert am Dezember Daraus geht klar hervor, dass das erste Jahrtausend mit dem Dezember endete und dann das zweite Jahrtausend begann, das wiederum am Dezember endet, wonach dann mit dem 1. Januar das erste Jahr sowie das erste Jahrzehnt und erste Jahrhundert des 3. Jahrtausends beginnt. With the arrival of the 31st of December of , the second millennium is completed, so after that, on the 1st of January of , the third millennium begins.

The length of a meter may serve as an interim aid for the understanding of the whole thing. This begins with the first millimeter and then, after ten millimeters, adds up to a centimeter, which is first complete in its entirety with all 10 millimeters. Consequently, a meter is also first full and can be designated as a meter when 1, millimeters are lined up together. Januar bis zum Dezember dauert. Mit Erreichen des Dezember ist also das zweite Jahrtausend vollendet, wonach am 1.

Januar das dritte Jahrtausend beginnt. Also beginnt mit dem 1. Januar weder ein neues Jahrzehnt oder Jahrhundert noch ein neues Jahrtausend, sondern eben erst mit dem 1. Demzufolge ist ein Meter auch erst dann voll und kann als Meter bezeichnet werden, wenn die Millimeter aneinandergereiht sind. Thus, the event of the turn of the millennium can logically prove to occur only when the twentieth century, i. Mit dem Beginn des Jahres , an dessen 1. Das Ereignis der Jahrtausendwende kann also logisch erweise erst eintreten, wenn das zwanzigste Jahrhundert resp.

Dezember abgelaufen ist und der erste Januar beginnt. What is still to be said on this subject is that neither the year nor the effective beginning of the 3rd millennium applies equally to all Earth people but rather only to those who orient themselves according to the Christian calendar. Weiter ist zu diesem Thema zu sagen, dass weder das Jahr noch der effective Beginn des 3.

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So kommt es, dass wenn die christlich Zeitbezogenen das 3. In the year , they will, therefore, first reckon the year , i. Flucht des Propheten Muhammed eigentl. Ein Ereignis, das sich am September n. Jews: In the year , they will reckon the year because according to their religion, their day of the creation of the world should fall on the 7th of October, B. Oktober v. Buddhists: With them, the birth of Buddha is taken as the beginning of the calendar, so for them, on the 1st of January of , it will be the year , and at the beginning of the 3rd Christian millennium, it will be the year Januar das Jahr und zum 3.

Then here is something else. In June of last year, I received the following from America, which you can look at here. Dann hier etwas anderes. Im Juni letzten Jahres habe ich aus Amerika folgendes erhalten, das du hier ansehen kannst. Auf das Ganze hin habe ich dann am Hier ist was der Mann schrieb:. The image did look very familiar; it bears a spooky similarity to a famous painting by the acclaimed Czech palaeo-artist Zdenek Burian and has appeared in many books since the early s. I too have managed to photograph a pterosaur, but did take the trouble to make a model rather than rely on a piece of artwork.

Does this mean that Mr. I think we should be told. Ich glaube, wir sollten die Wahrheit erfahren. The enclosed illustration with text was sent to us by Norman Decindis, who lives in Boca Raton, Florida and who has already discovered several things in some magazines or on the Internet and is always helpful to you.

But this time, even he thinks that this accusation makes him sad, even though he still believes in your genuine contacts. Die beiliegende Abbildung mit Text wurde uns von Norman Decinidis zugeschickt, der in Boca Raton in Florida lebt, und schon mehrmals Dinge in irgendwelchen Zeitschriften oder im Internet entdeckt hat, und immer zu Dir hilft.

Aber selbst er meint diesmal, dass ihn diese Anschuldigung traurig macht, obwohl er immer noch an Deine echten Kontakte glaubt. Es sei aber "diese Art von Dingen, die die Leute gegen Billy stellt. Pteranodon painted by Czech palaeo-artist Zdenek Burian. I have received, with thanks, your letter dated June 25th; the pictures were also included, of course. Indeed, I have already received this once, probably even from the man whom you mention.

But to my knowledge, we have not responded to him; perhaps we should still do this. However, it may also be that it was good as such and that, perhaps, you can enlighten the man. The circumstances are as follows:. Der Sachverhalt ist folgender:. Today, all of these pictures are no longer available, also no slides and no negatives or films, because all the material was taken away from me and destroyed by Quetzal.

The reason for this was that he was furious because countless of these pictures and slides as well as films were falsified in order to discriminate against me. Now, at that time, Semjase told me that some machinations like this took place and that, therefore, I should handle the material more carefully, which Quetzal also suggested to me, who even forbade me from continuing to use the pictures and slides.

Then, one day, he told me that a large part of my photographs were still being maliciously tampered with and had been distributed and that also group members had come into possession of falsified photos and slides because I had given them such, without knowing that these were already fakes, etc. Consequently, Guido has also received such pictures and slides from me. Well, one day, Quetzal took all the material and destroyed it, through which greater harm should probably be avoided.

Nevertheless, many falsified pictures and slides are still in circulation all over the world, and indeed, so numerously, as Quetzal said, that not all of these can be investigated, so everything is simply left as is which is also true of photos and slides of the ships. Thus, in accordance with these facts, it is very well possible that it concerns a forgery of the right image, which is foisted on me or had already been maliciously foisted on me by a willful exchange.

However, the breast portion of the flying dinosaur as well as the underside of the beak appear suspicious to me because these are not consistent with the picture of the artist Zdenek Burian, whereas the wing piece at the bottom of the image appears to be identical. Meinerseits kann ich mich heute nicht mehr genau daran erinnern, wie viele Bilder ich auf meiner Grossen Reise gemacht habe, doch waren es mehrere Hunderte.

Alle diese Bilder sind heute nicht mehr vorhanden, auch keine Dias und keine Negative oder Filme, denn das gesamte Material wurde von Quetzal bei mir weggeholt und vernichtet. In dieser Folge hat auch Guido von mir solche Bilder und Dias erhalten.