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Die Ästhetik des laxen Blicks auf die Welt
Qualitäten der gravitas in Pina Bauschs Orpheus und Eurydike
Series: TanzScripte, 53

. 47–59 ◆ © transcript 4 8 oVerVieW c , Timeframe: 04 min 26 © Esther Hovers www.estherhovers.nl PO P. K ul tu r u nd K rit ik ◆ H eft 8 F rü hl in g 2 01 6 ◆ R eg in e B us ch au er ◆ Sm ar te r C iti es 4 9 Port« und smarter Stadt verfolgen neben Hamburg zahlreiche weitere Städte, Metropolen ebenso wie Kleinstädte. Nahezu gleichlautend lesen sich die Einleitungen von Verlautbarungen, Pressemeldungen und Strategiepapieren: Es geht um die Herausforderungen der nächsten Jahrzehnte, wachsende Großstädte, Klimawandel, Demografie, Energie- und

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INHALT Vorwort der Herausgeber 7 HEINER BIELEFELDT/JÖRG LÜER I . Begründungsansätze Zum Gebrauch von Kategorien in Fragen des Menschenrechtlichen Minderheitenschutzes 11 GERHARD HÖVER Rechte kultureller Minderheiten als Freiheitsanspruch. Zur menschenrechtlichen Begründung des Minderheitenschutzes 27 HEINER BIELEFELDT Schutz und Rechte von Minderheiten aus der Sicht der Katholischen Soziallehre 57 KONRAD HILPERT II . Internat ionale Standards Völkerrechtlicher Minderheitenschutz und seine Bedeutung für die Bundesrepublik Deutschland 71 NORMAN WEISS Rechte

display weather conditions, sunrise and sunset hours, or no‑fly‑zones, he uses Solar Sphere to check on the possibility of solar flares having generated geomag‑ netic storms. Such storms could affect satellites which would then introduce GPS errors for the drone along with other disturbances. The complex and far‑reaching inter‑ relations that the consumer drone practice is entangled in come to light. Figure 1: The smartphone folder titled “Drone” of this recreational pilot includes the mobile apps UAV Zones, Hover, Solar Sphere, B4UFLY, and UAV Forecast (foto

mit Satelliten, die Zwei-Wege-Breitband-Angebote an feste Orte mit einer entsprechenden Antenne liefern.39 Vom ursprünglichen Plan, Fre- quenzen im Radiospektrum zu kaufen, hatte Google Abstand genommen; die 37 Vgl. «Loon System», loon.com/ technology (12.6.2019). 38 Vgl. ebd. 39 Max Engel: Google’s Project Loon Hovers Over the Satellite Industry, in: VIA Satellite, Bd. 28, Nr. 8, 2013, www.satellitetoday.com/ telecom/2013/08/01/googles-project- loon-hovers-over-the-satellite-industry/ (3.7.2020). HANNAH ZINDEL Abb. 3 Entfalteter Loon im Test 159 Ballons

modernity as Bauman views it, namely as an era that is obsessed with »keeping away the odours of decomposition« by producing a pervasive »thick cloud of deodorizing perfume« (ebd.: 30). Hence both scent/perfume and performativity appear as categories in Bauman’s writing. Now, let us again draw a parallel to pop culture. The term ›pop‹ appeared for the first time in the depiction of a cloud hovering above depictions of a 1 6 4 sweet soft drink, an erotic pin-up, sweet cherries, and a warplane, namely in 1947 in Eduardo Paolozzi’s collage »I was a rich man’s plaything

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degree in Elec- tronics and Telecommunication from the University of Not- tingham in the United Kingdom. Mathias Fuchs (MF): It seems to us that you both are knowledgeable and substan- tiated in the arts and in critical media. You seem to be hovering in between the arts and technology and innovation. What is your position in these fields? Tega Brain (TB): I describe myself as an artist, but Surya and I both come from engineering and technology backgrounds and that very much informs our work in the arts. To me being an artist gives you the freedom to address the

questions are never directly posed as such. They hover, spectre-like, behind the surfeit of biographical information offered, designed, per- haps, to produce an ›Oh, so that’s it!‹ response in the reader or listener, while never acknowledging the nature of the query the listener may (or may not) have had in the first place. The information offers itself as relief for a racialized anxiety that has never been diagnosed as such and, what is worse, fails to provide much relief, since we are still none the wiser about what NDiaye really ›is‹« (Asibong 2013: 6; Hervor

far enough toward the horizon to recognise the possi- bility of mutual action generating those politics. Instead, the videos analysed tend to hover in the global social sphere without engaging any necessary “good for the world” though inarguably they have the possibility of doing so. Hackerspaces are structurally embedded deeply in neoliberal market-driven systems, providing sustaining technological development for the spaces and their outcomes that frames and limits possibility (Hunsinger 2016). Hacking together globally should allow the co-construction of a