Podcasts about Moderne

Découvrez le livre du jour des Grosses Têtes. Découvrez la page Facebook Officielle des "Grosses Têtes" : https://www.facebook.com/lesgrossestetesrtl/ Retrouvez vos "Grosses Têtes" sur Instagram : https://bit.ly/2hSBiAo Découvrez le compte Twitter Officiel des "Grosses Têtes" : https://bit.ly/2PXSkkz Toutes les vidéos des "Grosses Têtes" sont sur YouTube : https://bit.ly/2DdUyGg

Depuis quelques années, le circuit est témoin de matchs à rallonge, les spécialistes du "dur" ont quant à eux plus de mal à s'imposer sur leur terre... C'est sûr, la lenteur des surfaces a un vrai impact sur le tennis professionnel ! Mais comment en est-on arrivé là ? Quel impact pour les joueurs dans leur préparation, eux qui doivent désormais allier puissance et endurance ? Pour l'occasion, l'équipe de Court Numéro 1 reçoit Ralph Boghossian, entraineur et préparateur de joueurs de tennis professionnels. 

Wie lässt sich das immerwährende Spannungsverhältnis zwischen Tradition und Moderne auflösen? Worin besteht die Harmonie eines gesunden Lebens und wie lässt sie sich herstellen? Bei seiner erneuten Rückkehr nach Südtirol sind es solche Fragen, die Erik mit seinen Gastgeberinnen und Gastgebern diskutiert. Dabei lernt er von der 78-Jährigen Kräuterexpertin Waltraud Schwienbacher, auf welche Details sich im Wald zu achten lohnt, um uns unserer wahren Gefühle und Bedürfnisse bewusst zu werden. Und er erfährt von Bergbauer Walter Moosmair vom Niedersteinhof, welche Relevanz die bäuerliche Kultur auch in unseren heutigen Zeiten hat. Bei seiner Abreise nimmt Erik viele neue Einsichten und Impulse zum Nachdenken mit – so hoffentlich auch ihr nach dem Hören dieser Folge

durée : 00:51:00 - Les Nuits de France Culture - par : Albane Penaranda - François Furet : "Le totalitarisme est moderne, il est lié à la lutte contre la nature au nom de la technique"

durée : 00:53:57 - Affaires sensibles - par : Fabrice Drouelle, Franck COGNARD - Pendant plus de 20 ans, ce couple a réussi à tromper le marché de l'art en y introduisant quantité de faux, sous des signatures prestigieuses. Pour ce faire, ils ont mit à profit tout un ensemble de pratiques et de comportements douteux de certains marchands d'art, collectionneurs ou experts. - réalisé par : Stéphane COSME, Helene Bizieau, Frédéric Milano

Eine Woche nach dem Erdbeben in der Türkei und Syrien steigt die Zahl der Opfer weiter an. Fast alle eingestürzten Gebäude stammen aus der Zeit vor dem Jahr 2000. Moderne unbeschadete Krankenhäuser zeigen, wie wichtig die Bausubstanz ist. Web: https://www.epochtimes.de Probeabo der Epoch Times Wochenzeitung: https://bit.ly/EpochProbeabo Twitter: https://twitter.com/EpochTimesDE YouTube: https://www.youtube.com/channel/UC81ACRSbWNgmnVSK6M1p_Ug Telegram: https://t.me/epochtimesde Gettr: https://gettr.com/user/epochtimesde Facebook: https://www.facebook.com/EpochTimesWelt/ Unseren Podcast finden Sie unter anderem auch hier: iTunes: https://podcasts.apple.com/at/podcast/etdpodcast/id1496589910 Spotify: https://open.spotify.com/show/277zmVduHgYooQyFIxPH97 Unterstützen Sie unabhängigen Journalismus: Per Paypal: http://bit.ly/SpendenEpochTimesDeutsch Per Banküberweisung (Epoch Times Europe GmbH, IBAN: DE 2110 0700 2405 2550 5400, BIC/SWIFT: DEUTDEDBBER, Verwendungszweck: Spenden) Vielen Dank! (c) 2023 Epoch Times

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Shirin Neshat discuss her latest multimedia project, Land of Dreams which combines photographs, video installation, and a feature length film. Shirin and Sasha talk about what brought Shirin back to making art after an 11 year hiatus and how Shirin thinks about her identity as an Iranian artist. https://www.gladstonegallery.com/artist/shirin-neshat/ https://www.instagram.com/shirin__neshat https://www.radiusbooks.org/all-books/p/shirin-neshat-land-of-dreams Shirin Neshat is an Iranian-born artist and filmmaker living in New York. Neshat has held numerous solo exhibitions at museums internationally including the Pinakothek der Moderne, Munich; Modern Art Museum of Fort Worth; The Broad, Los Angeles; Museo Correr, Venice, Italy, Hirshhorn Museum, and the Detroit Institute of Arts. Neshat has directed three feature-length films, Women Without Men (2009), which received the Silver Lion Award for Best Director at the 66th Venice International Film Festival, Looking For Oum Kulthum (2017), and most recently Land of Dreams, which premiered at the Venice Film Festival (2021). Neshat was awarded the Golden Lion Award, the First International Prize at the 48th Biennale di Venezia (1999), and the Praemium Imperiale award for Painting in (2017). She is represented by Gladstone Gallery in New York and Goodman Gallery in London.

Hi, Spring fans! In this installment, Josh Long (@starbuxman) talks Moderne (@moderneinc) founder Jon Schneider (@jon_k_schneider) on OpenRewrite, modernizing code bases _en masse_, freedom and responsibility, and more

Before we start, let me apologise for being a week late with this one – and part two of my conversation with my Saudi friend, “J”. But there's a good reason for that: The screen on my MacBook stopped working – again. You might remember that I broke it when I was in Uganda less than a year ago. At that time, there was a small crack on it. This time I did nothing. It simply just stopped working. Nobody knows why. I had it replaced in March in Denmark, so only ten months ago. The Apple warranty only covers 90 days, but the Danish consumer law would give me 12 months. The only thing is that I'm not in Denmark. In fact, I'm halfway across the planet, so it was not an option for me to travel back to get it fixed. And the price of a new screen is more than a thousand dollars or Euros. So, I called Apple Support and was put through to a senior supporter who, after an hour, made an exemption. They would pay for the screen, and I only had to pay for the labour to the authorised computer repair shop in Cairns, Australia. So, while I was scuba diving in the Great Barrier Reef, they worked on it. Now it's back, and so are the next episodes from Saudi Arabia. When I left you, I was in Al-Ula, where we start in this one. AL ULA: WHERE CULTURE MEETS NATURE I'm travelling with my good friend Cynthia from Florida. We're in the north-western part of Saudi Arabia in the town of Al Ula. It is a stunning area, one I would like to return to later and spend a couple more days in. We're only here two nights, and today we have a full day where we're trying to see if we can get a helicopter ride and hopefully also visit the world's biggest mirror building. Al Ula – like all of Saudi Arabia, still remains largely off the global tourism radar, giving us plenty of space and time for reflection with the vast desert and the monumentality of its natural assets. You heard me in the latest episode tell you about the stunning natural rock formations and canyons, but there are also a ton of adventure sports options and cutting-edge art installations. MEETING A HIP SAUDI WOMAN In the morning headed straight to the vendor street located immediately above the "Old Town" of Al Ula to find a place for breakfast. The street is above the ancient city and looks new, but the construction of the shops and restaurants mirrors the style of Old Town. There were only a dozen tourists as we strolled the street around 10 am. Again, we have it to ourselves. There was a small booth where the young girl, Dalal, was selling trips for an adventure company, Husaak Adventures. She was dressed in jeans and hiking boots and had no hair covering. Even though she didn't look and sound like the typical Saudi woman, she was: born and raised in Al Ula. Dalal spoke freely about how Saudi has been actively changing for five years, and she feels it is for the best and that it will benefit all citizens. She really looks like the next generation of Saudi Arabia. Her colleague was a young man wearing a t-shirt saying “Change in Progress” on the back. After our chat with Dalal, we were settled in for breakfast at Palm Garden Cafe in a Bedouin-style seating area with big couches in a private 'outdoor' room just for us. AL ULA OLD TOWN After breakfast, we left the vendor street and walked down to the original Al Ula Old Town with 1300 mud brick structures that are remarkably intact. Al Ula is one of the oldest cities in the Arabian Peninsula, and once at the crossroads of The Silk Road and The Incense Route, Al Ula is rich in historical significance. In the 12th century, Al Ula Old Town became an essential settlement along the pilgrimage route from Damascus to Mecca. It's built on a slight elevation, and the town is overlooked by the Musa bin Nusayr Castle, a citadel dating back to the 10th century. NO HELICOPTER After leaving Old Town, we went to the office selling helicopter flights over Al Ula. We had a few questions for the nice woman selling the trips, like “are we guaranteed a window seat”. She didn't know and said, “I just sell the tickets”. But then we discovered that the next available flight was the next day at 5 pm, and we knew we had to do that another time, as we would be leaving the next morning. MARAYA MIRROR BUILDING Instead, we decided to make the drive out to a unique building in the desert called Maraya. Maraya means mirror or reflection in Arabic, which celebrates Al Ula's significant role in history as a crossroads of cultures for centuries. The building is the Guinness World Record Holder as the largest mirrored building in the world. You cannot see Maraya from the road. And although we heard that there was a major star doing a concert that evening in the area around the building – and entry even to the grounds was unlikely today with the concert, we decided to try our luck. We got to the guard building and access gate, and sure enough, we couldn't get in. While I was waiting in the Cynthia tried to charm us inside. And I'm not sure how but she succeeded. Maraya is a truly breathtaking structure. As the largest mirrored building in the world, it stands as a testament to the country's forward-thinking approach to architecture and design. The building's unique reflective exterior is made out of thousands of individual panels, each one carefully placed to create a mesmerising optical illusion. The result is a structure that appears to change with the movement of the sun and the sky, creating an ever-changing visual experience for those who take the time to admire it. Inside, the building houses a concert hall, exhibition spaces, and a state-of-the-art auditorium. The mirrored building is covered by almost 10,000 m² of the mirrored facade (that's almost 105,000 ft²) and was opened in December 2019. It's located just north of Al Ula. Make sure you try to get in there if you're in Al Ula. And make sure you go and see my pictures of it on theradiovagabond.com. DIGITAL NOMAD CHECK Saudi Arabia may still not be the ideal destination for digital nomads, but that being said, the country does have a number of modern cities with good infrastructure and a high standard of living, such as Riyadh and Jeddah. However, it is important to remember that Saudi Arabia has a conservative culture and social norms that may differ from those in other countries. It is important to respect local customs and laws and to be mindful of your actions and behaviours while living in Saudi Arabia. Suppose you are considering living and working as a digital nomad in Saudi Arabia. In that case, it is advisable to research the country thoroughly and make sure you understand the local laws and customs before making any decisions. It may also be helpful to reach out to other digital nomads who have experience living in Saudi Arabia to get their perspectives. On the plus side: It's a safe and modern country, with decent internet speed in most places. On the downside: It's not exactly cheap but not that expensive either. A lot more expensive than Thailand and a lot cheaper than say, Copenhagen. Around the same price level as Lisbon, which is the third most popular digital nomad hotspot, according to NomadList.com, as of this recording. So, Saudi Arabia may still not be the most popular destination for digital nomads, but I could see it being attractive in the future. GETTING STUCK IN THE SAND … AGAIN Dalan had suggested that we go where the locals go for sunset to "Wadi Rum;" she even found it for us on Google Maps. We followed two local 4x4 trucks into the area along one of the sandy 'paths', easily enough. We separated from them at a large, flat area (let's call it a flood plain without water, surrounded by dunes that are backed by dramatic mountains). There were maybe ten cars, as far as we could see, in a very large area. We climbed a dune to watch the sunset, which was not dramatic. A man in a Toyota truck was having a lot of fun “dune bashing” (driving crazy in the sand dunes) and got badly stuck. I went down to help him out of the sand while Cynthia had fun sliding down the sand dunes on a piece of plastic she found. After that, she wanted to have some more fun driving crazy round patterns and testing the car on the flood plain. But by then, it was getting dark, and we needed to head out. I got behind the wheel and headed towards two trucks on the north side of the flood plain, as we thought we could get out there. But we were wrong. In the episode, you can hear the sound of what happens when you get stuck in the soft sand in Saudi Arabia. Psssssssst. It is the tires of our car being deflated by some locals. As soon as we got stuck, three Saudi men from the trucks came running and helped deflate the car tires and push to get our car unstuck. Apparently, it's much easier to get out with flat tires, and all of them had a little tool in their pockets to do that. After we got out, they showed us where to go further east in the floodplain to exit safely. As we got back to the pavement, the sky exploded in colour. Truly a dramatic end to an amazing day. GETTING FREE AIR BACK The first thing the next morning, before the drive of the day, we needed to get some air back in the tires. We went to a garage because we couldn't find any air at the gas stations in town. I insisted on paying for it, but the nice guys insisted it was free. All the time, we were meeting nice people in Saudi Arabia. They all want to help and talk to us. And not being able to speak English never seem to be a problem. There's just a curiosity and an interest in who these foreigners are. With the tires refilled, we left scenic Al Ula to drive the 365 km (close to 230 miles) to Yanbu on the Red Sea. There is very little traffic – not just today, but really since we left Riyadh four days earlier. Technically it's just a four-and-a-half-hour drive, but we enjoyed the changing scenery all day and made plenty of stops so it to us 5-6 hours to reach Yanbu. At first, it's volcanic mountains with loose black rock. There are small towns, but nothing large. Mostly, they look poor and half-built. A few towns appear to have grand entrances with trees and pavers on fancy divided lanes – one town had a sign for the "Saudi 2030" campaign. In the afternoon, we got a view of Big Jagged Mountains – twice the size of those in the foreground. When we're 30 minutes from Yanbu, the mountains disappear as we come towards the coastline. And just after 5 pm, arrived at Yanbu Beach to watch the sunset before checking in at our hotel for the night. Small groups of friends and families had pulled their cars up to the Red Sea edge. It was a common sight throughout Saudi that small groups always have a carpet and pot of tea for a cosy time after work. NEXT ON THE RADIO VAGABOND That's all we have time for in this episode of The Radio Vagabond. We have part two of the interview with my Saudi friend “J” on Thursday, and then we have another travel episode next Tuesday. In that one, we're going to Jeddah, after a stop in beautiful Yanbu at the Red Sea, and stay with a local and look at a very special construction site standing still. And then, head back to Riyadh to visit The Camel Festival and have a look at some beautiful camels entering the Camel Beauty Contest. My name is Palle Bo, and I gotta keep moving.

durée : 00:55:00 - Les Nuits de France Culture - Par Pascale Werner - Avec Claude Nicolet, Pierre Rosanvallon et Michelle Perrot - Réalisation Arlette Dave

Réveil aux quatre coins du monde Acte 1 : Néo Géo Nova vous propose un réveil aux quatre coins du monde avec un florilège musical.Vous pourrez découvrir le titre “Nsera” de Fatoumata Diawara. La chanteuse et actrice malienne sera le 28 janvier 2023 à l'Espace Lino Ventura de Garges Les Gonesse et le 29 janvier 2023 à La Filature à Mulhouse. C'est aussi l'occasion d'écouter “No confusion” du groupe de jazz londonien Ezra Collective, de leur dernier album de 2022 Where I'm Meant To Be, et qui seront le 4 février à l'Épicerie Moderne à Lyon, le 12 février à l'Aéronef de Lille, et le 14 février à Paris au Trabendo. Puis, “Rêvasser” de Fantasydub & Rachel Fannan et “Declaration of rights”, classique reggae du jamaïcain Johnny Clarke. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In der ersten Folge 2023 beschäftigen wir uns mit „Allan Kardec“, dem Pseudonym unter dem der französische Gelehrte Hippolyte Léon Denizard Rivail insgesamt fünf Bücher veröffentlichte, die sich dem Spiritismus widmeten. Inspiriert von den Fox Schwestern ging Allan Kardec auf die Suche nach einer spirituellen Welt, die die Wissenschaft noch nicht verstanden hat. Der sog. Kardecismus existiert bis heute und weist einige sehr merkwürdige Ansichten auf, die gerade im Bereich der psychischen Erkrankungen sogar gefährlich werden können. Wir begeben uns zurück in die Mitte des 19. Jahrhunderts und zeichnen den Weg Allan Kardecs bis in unsere Moderne nach. Wir freuen uns zudem, dass wir dreimal „Öl- und Glaubenskriege – Wie das Schwarze Gold Politik, Wirtschaft und Religionen vergiftet“ aus dem jmb-Verlag verlosen können. Dafür schickt eure Gewinnspielmail mit der richtigen Antwort bis zum 06.02.2023, 23:59 Uhr an info(at)hoaxilla(dot)com. Wie man uns unterstützen kann, könnt ihr hier nachlesen. Zum HOAXILLA Merchandise geht es hier.

In seiner Goethe-Biografie stellt der britische Germanist den deutschen Dichter als Erfinder der Moderne vor, der nicht zuletzt durch die Figur "Faust" die Inkarnation dieser Epoche geschaffen habe. Goethe erscheint hier als treibende Kraft all dessen, was im Laufe des 19. Jahrhunderts die moderne Welt hervorgebracht habe. Deren zunehmende Beschleunigung des Lebens - Goethe spricht vom Veloziferischen - ist dem Autor des Faust jedoch eher ein Greuel. Dies ist ein erheblicher Einwand gegen die Charakterisierung Goethes als "Erfinder der Moderne". Rezension von Clemens Klünemann. C.H. Beck Verlag, 655 Seiten, 34 Euro ISBN 978-3-406-77696-0

NRJ Ciné News - Découvrez au cinéma "16 ans", un Roméo et Juliette moderne et "Tirailleurs" avec Omar Sy - Samedi 7 Janvier

Après l'excellent Radyo Siwèl en 2018, Mélissa Laveaux est de retour avec un nouvel et quatrième album studio : Mama Forgot Her Name Was Miracle, un disque spirituel, poétique et hautement émancipatoire. ⇒ Facebook de Mélissa Laveaux. À ses débuts en 2008, Mélissa Laveaux se faisait déjà alchimiste de la chanson au fil de son premier album Camphor & Copper (No Format), dévoilant les contours de sa cosmogonie : une guitare offerte par son père à 13 ans, des textes poétiques en anglais et en créole, une voix féline, une folkblues hantée où réside un mystère. Celle qui a fait ses armes de militante dans le milieu punk-fém d'Ottawa poursuivra son chemin de musique en traversant l'Atlantique pour s'installer à Paris où elle vit désormais et donner naissance à Dying Is A Wild Night (No Format, 2013), un deuxième opus largement inspiré par ce voyage initiatique. Le déracinement fait partie intégrante de l'ADN musical de Mélissa Laveaux : avant elle, ses parents ont fui Haïti pour Montréal au Canada quand sa grande idole, la résistante haïtienne Martha Jean-Claude, chantait son île chérie depuis Cuba, où elle s'est réfugiée dans les années 50 alors que sévissait la dynastie Duvalier. Et c'est en partie pour restaurer ce lien perdu avec Haïti, pour guérir l'exil, qu'avec Radyo Siwèl (No Format, 2018), Mélissa Laveaux puisait en ethnomusicologue dans ses traditions musicales pour en exhumer comptines et chants perdus, nous rappelant aussi combien la musique peut être un instrument de résistance politique. Après une tournée triomphale qui s'achevait au Trianon à Paris en octobre 2019, la guitariste, chanteuse et poétesse se dévoile à présent sous un jour plus intime. À 37 ans, Mélissa Laveaux explore aujourd'hui la dimension thérapeutique et spirituelle de la musique en revisitant une forme ancestrale : la berceuse. Car si les rituels et les modèles dont on hérite sont parfois défaillants, dépassés voire rétrogrades, libre à nous d'innover ! Avec Mama Forgot Her Name Was Miracle, Mélissa Laveaux ré-ensauvage donc la berceuse en convoquant de puissantes voix d'outre-temps pour créer une toute nouvelle mythologie. Alternative. Moderne. Subversive. Car changer les légendes, c'est changer le présent. En archiviste des luttes féministes et sociales, en passeuse, Mélissa Laveaux fait donc appel à une communauté d'héroïnes que l'Histoire a oubliées ou volontairement mises à la marge. Autant d'archétypes dont le talent, le culot, l'engagement, la résilience et la grande liberté constituent pour la musicienne une source d'inspiration inépuisable. Ainsi d'un titre à l'autre croise-t-on Harriet Tubman, Jackie Shane, Audre Lorde, Helen Stephens, la déesse Lilith, La Papesse Jeanne, Ching Shih, Alice Walker, James Baldwin, Faith Ringgold, Ana Mendieta ou encore Alexis Pauline Gumbs... Tour à tour guérisseuses et guerrières, les membres de ce chœur-courage se sont affirmées en refusant de se contenter de survivre, de se soumettre à des normes assignées ou de subir un destin qu'elles n'avaient pas choisi. A l'image de Jackie Shane, pionnière transgenre de la soul canadienne dont les chants d'amour révolutionnaires ont ouvert la voie à tant d'autres. A l'image de Ching Shih, travailleuse du sexe chinoise qui préféra devenir la pirate la plus respectée des Mers du Sud au début du XIXe siècle. À l'image encore d'Harriet Tubman, ancienne esclave afro-américaine qui a aidé des centaines d'autres opprimé.e.s à retrouver les routes de la liberté. Trait-d'union immémorial entre les mondes et les cultures, musicothérapie originelle, musique-sorcière par excellence, la berceuse demeure sans doute le premier geste de soin, le chant d'amour le plus pur. Un rituel magique qui chez Mélissa Laveaux regorge d'incantations, de prières et de clés, mystiques ou métaphoriques, pour trouver la force de déconstruire ses peurs, transcender ses traumatismes et renaître guérie – ou au moins aguerrie. Collier d'amulettes électriques porté par une conversation rythmique entre les Caraïbes et l'Afrique de l'Ouest, Mama Forgot Her Name Was Miracle dit alors : «Osons vivre ! Férocement, libres et flamboyant.e.s ! #subjectivation». L'union fait la force, l'adage a déjà fait ses preuves, ainsi Mélissa Laveaux s'entoure donc d'une brigade sûre de sorciers du son. Citons notamment à la réalisation Guillaume Ferran (Griefjoy, Julien Doré, Victor Solf), Fin Greenall aka Fink (Ninja Tunes) ou Mathieu Senechal (Charlotte Cardin). Aux instruments  : Voyou (trompette, clarinette), Clyde Rabatel (claviers, piano), Mathieu Gramoli (batterie), Steve Yameogo (basse, guitare), Sébastien Delage (guitare). Sans oublier quelques invité.e.s de choix qui viennent ajouter un peu de leur magie au tout : November Ultra («Rosewater»), Dope Saint Jude («Half a Wizard, Half a Witch») et Oxmo Puccino («Lilit»). Dans Mama Forgot Her Name Was Miracle, Mélissa Laveaux met sa poésie militante et son groove folk-punk au service d'une pop atypique, mobilisant ces super-pouvoirs que sont le don, la créativité, la joie, la beauté, la métamorphose ou encore l'intuition. Pour nous et pour elle-même, Mélissa Laveaux réactive ainsi, en formidable conteuse des eaux profondes, une force vitale miraculeuse qui contrairement aux apparences n'est jamais totalement anéantie. Un grand album, à découvrir en live dans cette émission et le 20 janvier 2023 au Théâtre du Châtelet.  Titres interprétés au Grand studio - La Baleine Live RFI voir le clip  - Rosewater, Feat. November Ultra, extrait de l'album voir le clip  - Half Wizard, Half Witch Live RFI voir le clip.    Line Up : Mélissa Laveaux (guitare-voix). Son : Benoît Letirant, Fabien Mugneret.   Playlist de Mélissa Laveaux - Bulerias de un caballo malo - Ralphie Choo  - Pisonia prologue - Tora-i voir le clip  - The Truth - Sampa the Great  - Ayuwe - Martha Da'ro.  ► Album Mama Forgot Her Name Was Miracle (Twanet 2022).

durée : 00:07:55 - Info médias - Dominique Tenza, journaliste venu d'RTL s'installe à la présentation des JT du week-end sur M6.

Der männliche Geniekult in der Literatur hält sich hartnäckig. Dabei gab es schon früh im 20. Jahrhundert viele Schriftstellerinnen und zwar weltweit. Das zeigt die Sammlung "Prosaische Passionen. Die weibliche Moderne in 101 Short Storys".Sandra Kegel im Gespräch mit Vladimir Balzerwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Tonči Viljac je nakon kratke karijere u pomorstvu pokrenuo građevinsku firmu Modular Living koja radi posebnu vrstu modularnih montažnih kuća, s čeličnom konstrukcijom i modernim materijalima, s velikom fleksibilnosti u arhitekturi i površinskim materijalima, a najveći dio poslovanja im dolazi iz inozemstva. Ovakve kuće se i vrlo lako recikliraju, što ih čini prilično održivim izborom. U industriji koja je vrlo konkurentna, Modular Living nudi nešto doista inovativno na domaćem tržištu. S Tončijem smo pričali o tome kako je došao do ideje građevinske firme, koje iskustvo ima u toj industriji, kako je došao do stranih klijenata, te kakva je situacija s radnom snagom. Želite li da napredujemo u stvaranju ovakvog sadržaja? Onda podržite Surove Strasti na Patreonu (https://patreon.com/surovestrasti). To je platforma gdje možete odrediti da se Surovim Strastima svaki mjesec automatski pošalje neki iznos, na primjer 15-tak eura. Ovo nije veliki iznos - manje od jednog izlaska s par prijatelja, a nama puno znači da ostvarimo kvalitetniju produkciju. Tri načina kako slušati podcast Kako slušati podcast u autu koji nema Mp3 player Top lista najslušanijih epizoda

Roman Zieglgänsberger hat einen der schönsten Arbeitsplätze in Hessen. Als Kustos der Klassischen Moderne hütet er im Museum Wiesbaden nicht nur 111 Werke des Expressionisten Alexej von Jawlensky. Zur Wiesbadener Sammlung gehören auch Arbeiten berühmter Zeitgenossen wie Max Beckmann, Wassily Kandinsky, Paul Klee, Franz Marc, Gabriele Münter oder Emil Nolde.

Der emeritierte deutsche Papst Benedikt XVI. ist tot. Er starb im Alter von 95 Jahren in seiner Residenz im früheren Kloster Mater Ecclesiae in den Vatikanischen Gärten. Benedikt war schon vor fast zehn Jahren aus gesundheitlichen Gründen vom Amt des Papstes zurückgetreten und hatte damit Kirchengeschichte geschrieben. Ein Nachruf von Tilmann Kleinjung.

SWR2 Glauben Joseph Ratzinger – Brückenbauer zwischen Tradition und Moderne zum Tod des emeritierten Papstes Benedikt XVI. Von Tilmann Kleinjung

Welche Folgen hat es, wenn man den klassischen Kanon auf den Kopf stellt und ausschließlich Frauen aufnimmt? Sandra Kegel hat eine ebenso fesselnde wie überraschende Anthologie herausgegeben, die viele Entdeckungen erlaubt.Von Maike Albathwww.deutschlandfunk.de, BüchermarktDirekter Link zur Audiodatei

I denne episode har jeg besøg af Solveig Gade og Cecilie Ullerup Schmidt. De er forskere fra Teater og Performancestudier på Københavns Universitet, og vi taler om tendenser i tiden og teateret i 2022. I det moderne og unge teater handler det om opgøret med autoriteterne, om det kollektive, diversiteten og klimaet. Og om at komme ud af teaterrummet. Vært og tilrettelægger: Liv Thomsen. Lyd: Per Buhl  Ács. Musik: Upright Music Produceret for Dansk teater 300 år. Med støtte fra Augustinus Fonden, Konsul George Jorck og Hustru Emma Jorck's Fond, A.P. Møller Fonden, Gangstedfonden I næste episode handler det om Ludvig Holberg, som vi fejrer i år  

Bildende Kunst ist als Betrachtungsgegenstand in den Berliner Qualitätszeitungen der Weimarer Republik durchaus verbreitet: Namhafte Kunstkritiker besuchen in den renommierten Galerien der Stadt regelmäßig illuster bestückte Kaufausstellungen von fast immer auch heute noch überaus namhaften (und längst nicht mehr bezahlbaren) Malern ihrer Zeit und ordnen das Gesehene kunsthistorisch ein. Die Haltung, die dabei eingenommen wird, ist freilich zumeist die analytische Vogelperspektive. Dass ein Text sich tatsächlich einmal näher auf einzelne Werke einlassen würde, kommt hingegen selten vor, ist als journalistisches Genre nicht etabliert. Umso interessanter, wenn es dann doch einmal passiert und, wie im vorliegenden Fall die Rote Fahne vom 30. Dezember 1922, mit George Grosz‘ Graphik-Mappe Ecce Homo ein Werk rezensiert wird, welches in den Kanon der Moderne zentral Eingang gefunden hat. Dass der Artikel zu einer eminent politischen Lesart tendiert, will weder bei diesem Künstler, noch bei der KPD-Parteizeitung überraschen. Es liest Frank Riede.

Feireiss, Kristinwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

L'émission qui dit tout haut ce que le monde du foot pense tout bas ! Cette année, l' « After Foot » fête ses 16 ans et propose un choc des générations ! Composée de ceux qui ont grandi avec l'After, la « Génération After » prendra les commandes de l'émission entre 20h et 22h. Avec Nicolas Jamain aux manettes, entouré de Kévin Diaz, Mathieu Bodmer, Walid Acherchour, Simon Dutin, Romain Canuti et Sofiane Zouaoui, cette nouvelle génération débattra avec passion, mais toujours en conservant les convictions et les codes de l'After. De 22h à minuit, place à la version originelle et historique de l'After autour de Gilbert Brisbois, Daniel Riolo, Stéphane Guy, et Florent Gautreau. Les soirs de Ligue des Champions, Jérôme Rothen rejoindra la bande pour les matchs du PSG et Mamadou Niang pour les matchs de l'OM. Nicolas Vilas sera aux commandes pour faire vivre les matchs dans l'After Live. Cette année, Thibaut Giangrande pilotera l' « After Foot » le vendredi et samedi.

Wie hätte der Jahresrückblick 1922 geklungen? Es war das Jahr der Erfindung der Gummibärchen, von Einsteins erster Vorlesung zur Relativitätstheorie, von Mussolinis Machtergreifung. Und 1922 waren die Menschen noch geprägt von den Nachwirkungen eines Weltkriegs, von dem noch niemand wusste, dass er später einmal der Erste Weltkrieg heißen würde... Autor: Thomas Pfaff Von Thomas Pfaff.

Det finnes utallige versjoner av "En julefortelling" av Charles Dickens, som også er utgangspunkt for årets juleføljetong her i Studio 2. Litteraturviter Tore Rem forteller oss hvordan dette verket har vært med på å populariserer jula som høytid. Hør episoden i appen NRK Radio

Episode 2061: Our random article of the day is Musée d'Art Moderne de Paris.

Pour la deuxième année consécutive, nous vous retrouvons pour une cérémonie un peu particulière : les Awards anti-écolo ! Enfilez vos costards et vos paillettes pour cet épisode ! CRÉDIT DE L'EPISODE 20 minutes avant la fin du monde est un podcast natif et indépendant produit par Fréquence Moderne et animé par Antoine Hardy, avec Olivier Duverger, Sarah Grau, Rémi Noyon et Sonia Salimon. Twitter : https://twitter.com/20minutesFM Instagram : https://www.instagram.com/20minutes.fm/ Tous nos liens : https://linktr.ee/20minutesavantlafindumonde

Mit ihrem Hörbuch "Roger Willemsens Landschaften" haben es die Geigerin Franziska Hölscher und die Pianistin Marianna Shirinyan zusammen mit der Schauspielerin Maria Schrader in die Bestsellerlisten geschafft. Beide Musikerinnen sind ein eingespieltes Duo, betreiben aber jede für sich noch verschiedene andere Projekte: Franziska Hölscher arbeitet zum Beispiel mit dem Pianisten Kit Armstrong zusammen und ist künstlerische Leiterin von zwei Festivals. Die Armenierin Marianna Shirinyan zählt, genau wie Franziska Hölscher, zu den gefragtesten Kammermusikerinnen weltweit und konzertiert als Solistin mit vielen großen Orchestern aus Skandinavien. Für ihren Liveauftritt bei NDR Kultur haben die beiden herausragenden Künstlerinnen ein abwechslungsreiches Programm zusammengestellt mit Werken vom Barock bis zur Moderne. Ein Video des ganzen Konzerts gibt es anschließend auf ndr.de/extra.

Pendant tout le mois de Décembre, ce sont les auditeurs du podcast qui viennent nous raconter pourquoi ils aiment cette franchise des Pistons, qu'ils soient fans de longue date ou qu'ils aient juste une affection particulière pour cette équipe. Pour ce 20eme jour, Antoine a beau avoir découvert les Pistons dans les années creuses, la riche histoire de la franchise l'a convaincu de rester et les belles perspectives d'avenir lui donnent envie de croire dans un meilleur futur Les Chroniques de Motor City, c'est votre podcast dédié à l'Histoire et à la Culture des Detroit Pistons. Ensemble, nous voyageons dans le temps pour découvrir ou re-découvrir les moments qui ont compté dans la vie de la Franchise. Podcast humblement piloté par @Motor_City_Pod

In der Mittagsfolge sprechen wir heute mit Massimo Cancellara, CEO und Co-Founder von Easy-Tutor, über die erfolgreich abgeschlossene Series-A-Finanzierungsrunde in Höhe von 4,8 Millionen Euro.Easy-Tutor ist ein Online-Nachhilfeanbieter, bei dem Eltern, Schülerinnen und Schüler eine digitale Plattform geboten wird, auf der ein besonderer Fokus auf Qualität, Transparenz und Nutzerfreundlichkeit liegt. Die Easy-Tutor-Technologie vermittelt Lernenden aller Klassenstufen für 20 verschiedene Fächer die passenden Tutorinnen und Tutoren. Die Unterrichtseinheiten werden komplett digital umgesetzt, sodass u.a. an einer digitalen Tafel gearbeitet wird und ein effektives Buchungs- und Zeitmanagement gewährleistet ist. Die Preisgestaltung ist transparent und die Terminbuchung flexibel. Die Stunden können einzeln oder bis zu 12-Monats-Paketen gebucht werden. Die Verträge verlängern sich nicht automatisch und Easy-Tutor bietet eine umfassende Zufriedenheitsgarantie an. Das EdTech arbeitet mit rund 200 Partnerschulen und Sportvereinen zusammen und kooperiert mit bekannten Unternehmen. Dazu gehören beispielsweise der FC Bayern München und Müller. Easy-Tutor wurde im Jahr 2017 von Massimo Cancellara, Jessica Contento und Alexander Liebisch in München gegründet. Mittlerweile beschäftigt das Startup über 40 Mitarbeitende und hat nach eigenen Angaben momentan 12.000 User auf der Plattform.Nun hat das Münchner EdTech in einer Series A 4,8 Millionen Euro eingesammelt. Zu den Investoren gehören u.a. der Bestandsinvestor Bayern Kapital, der sich über seinen Innovationsfonds BKI EFRE erneut beteiligt, sowie das Münchner Family Office K+K1 vom Timify-Gründer Andreas Knürr. Mit dem frischen Kapital soll die digitale Plattform weiterentwickelt, das Wachstum im deutschsprachigen Raum forciert und ab Mitte 2023 die Expansion in benachbarte Länder vorangetrieben werden.

durée : 00:05:20 - Dans la playlist de France Inter - par : Jean-Baptiste AUDIBERT, Julien Deflisque, Muriel Perez, Thierry Dupin - Cette semaine encore, on continue d'explorer les albums marquants de 2022, et au menu du jour Lomepal et son "Mauvais Ordre" dans la Playlist de France Inter.

durée : 00:27:54 - Simon Rattle 3/4 : Berlin dans l'ère moderne - A 20 ans, les plus grands le voulaient, mais il a préféré faire monter en première division un orchestre de province. A 40 il était à la tête du Philharmonique de Berlin. Peu d'autres ont autant modernisé la figure du chef.

Walter Höllerer hat in den fünfziger Jahren frischen Wind in die Adenauerrepublik gebracht und den Literaturbetrieb erfunden, wie wir ihn heute kennen. An diesem Montag wäre dieser erste moderne Literaturmanager 100 Jahre alt geworden.Von Helmut Böttigerwww.deutschlandfunk.de, BüchermarktDirekter Link zur Audiodatei

Mark Twains Urteil über München? Vernichtend: "Der furchtbarste, ödeste, unerträglichste Ort", schrieb er in seinen Notizen. Der Schriftsteller aus Amerika besuchte das Königreich Bayern Ende des 19. Jahrhunderts mehrfach - und entdeckte ein Land an der Schwelle zur Moderne.

durée : 00:58:44 - Avec philosophie - par : Géraldine Muhlmann - Bien que la philosophie de Pascal nous apprend que la cause de tous nos malheurs provient de notre condition mortelle, elle repose pourtant sur l'idée de bonheur, qui constitue le désir le plus absolu et universel des hommes, bien qu'ils ne puissent le trouver qu'en contemplant leur misère. - invités : Laurence Devillairs normalienne, agrégée, docteur habilitée à diriger les recherche.; Christophe Litwin maître de conférences en histoire de la philosophie moderne à Université Paris Cité.

Poppendieck, Kerstinwww.deutschlandfunk.de, CorsoDirekter Link zur Audiodatei

« Croire qu'on va changer le système en une nuit, ça ne marche pas ». C'est ce que le PDG de Total Energies a récemment déclaré. Je ne sais pas vous, mais ici, on n'a pas très envie de suivre ces leçons de morales paternalistes. Alors c'est parti pour un épisode consacré à Total. Pour parler de pétrole et autres énergies fossiles mais pas seulement. Car c'est faire une traversée dans une grande partie de l'histoire du XXe siècle. C'est aussi raconter comment cette entreprise, avec d'autres, a été informée de la réalité du changement climatique il y a bien longtemps et a décidé de saboter les réponses politiques et de promouvoir le doute. C'est, enfin, trouver des raisons de ne pas désespérer, car oui, il y en a ! CRÉDIT DE L'EPISODE 20 minutes avant la fin du monde est un podcast natif et indépendant produit par Fréquence Moderne et animé par Sarah Grau; avec Olivier Duverger, Antoine Hardy, et Rémi Noyon. Twitter : https://twitter.com/20minutesFM Instagram : https://www.instagram.com/20minutes.fm/ Tous nos liens : https://linktr.ee/20minutesavantlafindumonde

What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places  About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany.  Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others.  Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. My guest today is Eva Eisler, Head of the Jewelry Department of the Academy of Arts in Prague. She's probably one of the most well-known artists in the Czech Republic. Welcome back.    How long were you in New York? A long time?   Eva: 25 years.    Sharon: Wow! I didn't realize that. And did you teach the whole time?   Eva: I taught for a few years at Parsons School of Design, and then New York University pulled me in. It was Judith Schwartz, who was the Director of the Department of Art Education, who wanted to expose the students to metalworking. So, she asked me to come and teach there.   Sharon: Did you do jewelry and other things because you wanted to have not so much grayness in the world, to have color, to have joy?   Eva: Are you asking?   Sharon: Yeah, I'm asking. Did you break out, in a sense, because of the world around you?   Eva: I think that one challenge after the other gave me strength and conviction. This is something I can work with, the medium of jewelry, because it's so communicative. I had so many incredible encounters through wearing a piece of jewelry. For example, I went to a party at Princeton University. I'm talking to this professor of physics. He's telling me how they are developing an artificial sun, and he's looking at my piece. When he finished talking about his project, he said, “Is this what I think it is?” I said, “Clearly, yes.” It was a piece of metal bent into an S, one line and one dot. It's basically telling you that it depends on a point of view and how you perceive things. I used to like to come up with a concept that I would play with in different theories.    Sharon: Did you expect to be in the States for 25 years? That's a long time.   Eva: No. We were allowed by Czechoslovakia to go for one year. After one year, we politely applied for an extension. It was denied to us. So, we were actually abroad illegally and we could not return because we did not obey the rules.    Sharon: When you came back, did you teach? We saw some of your students' work. What do you tell them about your work? What do you teach them?    Eva: It's a different system. In New York, you teach one class at a time if you're not a full-time professor at the university. In New York, it's very rare. The intensity and the high quality of professionals in all different fields allows schools to pull them in, so they can take a little bit of their time and share with students what they do. It's not that you devote your full time to teaching.    In the Czech Republic, it's different. At the academy where I have taught for 16 years, you're the professor, and you have a student for six years with a special degree in the master's program. For six years, you're developing the minds of these young people. I don't teach them techniques. We have a workshop and there is a workshop master. I talk to them about their ideas. We consult twice a week for six years. It's a long time. I would be happy if somebody talked about my work for half an hour once a year. I would have to ask somebody because I need it as well. It's a different system, the European system of schools.   Sharon: You're head of the K.O.V. Studio. How would you translate that?   Eva: The academy is divided into departments, and each department is a different media: Department of Architecture, Department of Industrial Design and so on. We are part of the Department of Applied Arts, which is divided between ceramics, glass, textile, fashion. My studio is about metal, and for metal in Czech, you write “kov.” When I took over the studio, I put dots in between the letters, which stands for “concept, object, meaning.” In Czech, meaning isn't even a word. That way, I could escape the strict specialization for metal, because when you're 20 and you go study somewhere, do you know you want to work for the rest of your life in metal? No. Today, we are also exploring different materials, discovering new materials. I am giving them assignments and tasks. Each of them has to choose the right material, so the person comes up with using concrete or cork or wood or paper or different things, glass or metal.   Sharon: How do you balance everything? You have so much going on. How do you balance it?    Eva: I have to do three jobs because teaching does not make a living, even though I'm a full-time professor. It's an underpaid profession, maybe everywhere.   Sharon: I was going to say that, everywhere.   Eva: Then I do my own art, and I do large projects like designing exhibitions, curating exhibitions, designing a design shop. Things like that to make money to support those other two. It's a lot, yes. I have grandchildren.   Sharon: A family. Yes, it's a lot. You've done jewelry shows and you've evaluated shows. What's important to you? What stands out? What jumps out at you?   Eva: I sit on juries. In 2015, I was invited to be a curator of Schmuck, the jewelry exhibition in Munich. It's a big challenge, selecting out of 600 applicants for a show that at the end has only 60 people from all over the world. When I looked at the work, we flipped through pictures one after the other. It's so incredible what jewelry has evolved into, this completely open, free thing, many different styles, many different trends and materials. There's organic and geometric and plastic. I noticed these different groups and that I could divide all these people into different groups, different styles, different materials. Then I was selecting the best representation of these groups. It made it quite clear and fast when I came up with this approach.   Sharon: Does something jump out at you, though, when you're looking through all these—let's say you've divided all the glass, all the metal—   Eva: Very rarely, because we go to Munich every year. I go and see exhibitions all over, so it's very random. You can see something completely different and new. I worked on a very interesting exhibition that year at the Prague Castle. Cartier does not have a building for their collection, a museum. They have the collection traveling around in palaces and castles and exhibition galleries around the world, and each place has a different curator. I was invited to curate it in Prague. It was the largest Cartier exhibition ever displayed. It was around 60 pieces for this show, and it was in Bridging Hall of the Prague Castle, an enormous space.    That was very interesting because at the moment I accepted this challenging job, I had never walked into a Cartier anywhere in the world, in New York, Paris, London, because I was never curious. It was real jewelry, but when I started working with the collection, which is based in Geneva, and I was going to Paris to these workshops and archives, I discovered the completely different world of making jewelry, how they, in the middle of the 19th century, approached this medium and based it on perfection and mechanisms and the material. So, the best of the best craftsmen were put together in one place. It was very challenging.   Another exhibit I worked on was for a craft museum. It was called The Radiant Geometries. Russell Newman was the curator, and I was doing the display faces. My work was part of the show as well. That was a super experience.    An interesting show I had was at Columbia University at the School of Architecture. The dean was Bernard Tschumi, the deconstructivist architect. He invited me to do an exhibition of jewelry and drawings for their students of architecture. Can you imagine? The students looked at the work, and they thought they were small architecture models. I developed a new system for how to hold them together. For that exhibition, I built cabinets that I later developed into a system with vitrines. After the exhibition with vitrines, I started making chairs and tables and benches, and later on I used it again for an exhibition when I was in Brussels. One thing leads me to another. One thing inspires the other. I go from flats, from drawings and paintings, into three-dimensional objects. I need a lance, so I design it and then some company makes it.   Sharon: Wow! What do you think has kept your attention? We'll have pictures of the jewelry on the website so people can see it. I love the necklace you have on. It's avant garde. Everything in the exhibit and everything your students did was avant garde. So, what holds your attention about it? How would you describe it?   Eva: I think making something like many people did before you doesn't make any sense. We are surrounded by so much stuff. It only makes it worth spending your talent and time when it's something new. You're discovering something new that somebody else can learn from and apply somewhere else. For example, this necklace is just held by the tension of the spring wire. Next time, maybe I can use it for some lighting. Who knows?   Sharon: I'd like to see that if you do it. What makes a good exhibit? You've been in charge of so many exhibits. What makes a good jewelry exhibit?   Eva: It should be based on a common theme or concept, and all the objects should together tell a story. Also, the exhibition design or architectural design of the show is very important. A lot of exhibition architects are creating something so powerful that you can't see the work that is showing. My rule is that the installation basically should disappear. The work is the most important thing, right?   Sharon: Yes, that's true. You mentioned a story, like each area or part should tell a story. Would you agree with that?   Eva: If it's large exhibition of jewelry in different styles, let's say, it should be grouped into similar topics so it empowers them. If you have one piece of this kind, another piece of a different kind next to each other, then—I don't know; it can be anything. It depends on the curator or the architect. Look at the Danner Rotunda in Munich. Their collection is strung together. Maybe the curator or the artist who did the installation wanted to create a dialogue of completely different characters, like when you have guests for dinner and you're thinking who sits next to whom. You want to create an exciting dialogue.   Sharon: When you came to New York, do you think you stood out? In Czechoslovakia did you stand out? Could you hold your own within these different parties?   Eva: I'm not the one who can judge it, but yes. I heard from different people what caught their attention, and why, for example, Judy Schwartz said, “I was waiting patiently all these years,” whenever she finds the time to teach at NYU. I was always amazed by her education. Toni Greenbaum wrote a beautiful piece when we first met. She was intrigued by what I wore and how I looked, but mostly by a piece of jewelry I wore. I sewed the dress a day before because I thought, “What am I going to wear?” I designed it myself. If somebody asks me what I collect—mostly everybody collects something—I usually say I collect people. People together create society, create culture. One cannot stand alone. Through the work I do, it brings me to people. I try, and the results bring me to better people. That's what I value most.   Sharon: That's interesting. That was going to be my next question, but you answered it. Everybody does collect something, and people have different definitions of collections. Collecting people is a collection, yes, and you collect people all over the world. Thank you so much for being with us today, Eva. I really appreciate it.   Eva: Thank you so much for inviting me and talking to me. I'm saying hello to everyone who is listening.   Sharon: Well will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places  About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany.  Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others.  Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    My guest today is Eva Eisler, s. She's probably one of the most well-known artists in the Czech Republic. Her work is minimal and refined. She also designs clothing, furniture, sculpture and so many other things I can't tell you about. She has taught and studied at Parsons School of Design, and she'll fill us in on everything she's learned. I'm sure I'm leaving something out, but she'll fill us in today. Eva, welcome to the program.   Eva: Thank you for having me.   Sharon: Great to have you. Tell us about your jewelry journey. Did you study it? Were you artistic as a youth?   Eva: I only thought about this yesterday. You're the first person I'm going to tell this story to. During the war, my grandfather, because he was very practical and forward-thinking, was buying jewelry from people who needed money to have safety deposits for later, whatever happened after the war. When I was born in 1952, there was still a little bit left of the treasure he collected and enclosed in a beautiful wooden treasure box. When I was a good girl, I could play with real jewelry in gold and stones.    When I grew older, I never thought of jewelry as something I would design. It was something I could play with as a girl, but when I got older, living in a communist country—Czechoslovakia turned into a Soviet Bloc country after the war—everything was so gray and constrained and monotonous. People were afraid to say whatever they thought, and I was feeling that I had to start something provocative, to start some kind of dialogue about different things. So, I started making jewelry, but because I didn't know any techniques, I did it in the form of ready-mades, looking for different metal parts out of machines, kitchen utensils, a stainless-steel shower hose, a clock spring, sunglasses, all different things. I didn't know people like that existed somewhere else, like Anni Albers, who in the 40s created a beautiful necklace out of paperclips. I learned that much, much later.   I was not only making jewelry. I was also making lamps and small sculptures, because creating things always made me happy. My mother was an art teacher. My father was a scientist. He was one of the founders of robotics in the 50s, and he ended up teaching at the most famous universities around the world later on. That's how I started making jewelry, but I wanted to proceed with a profession in architecture. That was always my main interest. After school, I worked for a few years as an architect. Later on, I got married and had children, and I wanted to be free from a steady job and do what I loved most, create.   Sharon: When you were an architect, were you designing buildings?   Eva: I was part of a team for experience. I was given smaller tasks that I had to do, mostly parts of the interior.   Sharon: Did you do sculpture and jewelry on the side? Your sculpture is such a big part.   Eva: Yeah, we're talking about when I was 25, 26. In 1983, my husband and I and our two children moved to New York, because John was invited by Richard Maier to come and work for him. That was a big challenge that one should not refuse. So, we did the journey, even though it was not easy with two little children.   Sharon: Did you speak English at all, or did you have to learn when you came?   Eva: I did because my father, in the 60s, when it was possible, was on a contract with Manchester University in England teaching. Me and my brothers went there for summer vacations for two years. One year, I was sent to one of his colleagues to spend the summer, and then I married John, who is half-British. His British mother didn't speak Czech, so I had to learn somehow. But it was in Europe when I got really active, because I needed to express my ideas.   Sharon: Does your jewelry reflect Czechoslovakia, the Czech Republic? It's different than jewelry here, I think.   Eva: There were quite a few people who were working in the field of contemporary avant garde jewelry. I can name a few: Anton Setka, Wasoof Siegler. Those were brilliant artists whose work is part of major museums around the world, but I was not focused on this type of work when I still lived in the Czech Republic, Czechoslovakia at that time. It was when I arrived in New York. I thought, “What am I going to do? I have two little children. Should I go and look for a job in some architecture office?” It would be almost impossible if you don't have the means to hire babysitters and all the services. So, I thought, “I have experience with jewelry. I love it, and I always made it as a means of self-expression and a tool for communication. O.K., I am going to try to make jewelry, but from scratch, not as a ready-made piece out of components that I would find somewhere.”    I didn't know any techniques. Somebody gave me old tools after her late husband died. I started trying something, and I thought, “Maybe I can take a class.” I opened the Yellow Pages looking at schools, and I closed my eyes and pointed my finger at one of the schools and called there. This woman answered the phone, and she said, “Why don't you come and see me and show me what you did?” When I showed it to her, she said, “Are you kidding? You should be teaching here.” It was one of my ready-made pieces. Actually, a few years before I came to New York, I went to London and showed it to Barbara Cartlidge, who had the first gallery for contemporary jewelry anywhere in the world in London. She loved it. She loved my work, and she bought five pieces. She took my work seriously, because basically I was playing and wearing it myself and giving it to a few friends who would get it as a present. So, I was shocked and very pleased.    This is what I showed this woman at the Parsons School of Design. This woman was the chair that took care of the department. I said, “I cannot teach here. I don't know anything,” and she said, “Well, clearly you do, but you're right. You should take a class and get to know how the school works, and maybe we can talk about you teaching here a year later.” I took a foundation course in jewelry making. It was Deborah Quado(?) who taught it. One day she said to my classmates, “This woman is dangerous.” I forgot to say that before I started this class, the chair invited me to a party at her house to introduce me to her colleagues. It was funny, because I was fresh out of the Czech Republic, this isolated, closed country, and I was in New York going to a party. I needed those people that became my friends for life.    That was a super important beginning of my journey in New York into the world of jewelry. A few years later, when I made my first collection, someone suggested I show it to Helen Drutt. I had no idea who Helen Drutt was. She was somewhere in Philadelphia. I went there by train, and Helen is looking at the work and says, “Would you mind if I represent your work in the gallery?” I said, “Well, sure, that's great,” but I had no idea that this was the beginning of something, like a water drain that pulls me in. The jewelry world pulled me in, and I was hooked.    From then on, I continued working and evolving my work. When I started teaching at Parsons, students would ask me whether they could learn how to solder and I said, “I advise you not to learn any traditional techniques because when you do, you will start making the same work as everybody else. You should give it your own way of putting things together.” At the end, I did teach them how to solder, and I was right.    I tried to continue with the same techniques I started when I was making these ready-made pieces, but with elements I created myself. Then I tried to put it together held by tension and different springs and flexible circles. I got inspired by bridges, by scaffolding on buildings, by electric power towers. I was transforming it into jewelry, and it got immediate attention from the press and from different galleries and collectors. I was onto something that kept me in the field, but eventually, when my kids grew older, this medium was too small for me. I wanted to get larger. Eventually, I did get back into designing interiors, but it was not under my own name.   Sharon: When you look at your résumé, it's hard to distill it down. You did everything, sculpture, architecture, interior design and jewelry. It's very hard to distill down. Interior design, does it reflect the avant garde aspect?   Eva: Yes, I am trying to do it my way. I love to use plywood and exposed edges to make it look very rough, but precise in terms of the forms. If you think of Donald Judd, for example, and his sculptures and nice furniture, it's a similar direction, but I'm trying to go further than that. I'm putting together pieces of furniture and vitrines for exhibitions and exhibition designs. While I am taking advantage of the—   Sharon: Opportunity?   Eva: Opportunity, yes. Sorry. I don't have that many opportunities lately to speak English, so my English is—   Sharon: It's very good.    Eva: On the other hand, yes, I'm interested in doing all these things, especially things that I never did before. I always learn something, but it's confusing to the outside world. “So, what is she? What is she trying to say?” For example, this famous architectural historian and critic, Kenneth Frampton from Columbia University, once said, “If one day somebody will look at your architectural works all together, they will understand that it's tight with a link, an underlying link.”    Sharon: Do you think you have an underlying link? Is it the avant garde aspect? What's your underlying link?   Eva: It's the systems. It's the materials. It's the way it's constructed. I'm a humble worshipper of sacred geometry. I like numbers that have played an important role in the past.   Sharon: Do you think the jewelry you saw when you came to the States was different than what you had seen before? Was it run-of-the-mill?   Eva: When I came to New York a few years later, I formed a group because I needed to have a connection. I organized a traveling show for this group throughout Europe and the group was—   Sharon: In case people don't know the names, they are very well-known avant garde people.    Eva: All these people were from New York, and we exhibited together at Forum Gallery and Robert Lee Morris on West Broadway. That brought us together a few times in one show, and through the tours I organized in New York, Ghent, Frankfurt, Berlin, Vienna and Prague.   Sharon: Wow! We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Warum erinnert sich jeder an Franz Josef Strauß und nur wenige an Alfons Goppel? Eine gute Frage! Schließlich gelang Bayern unter Goppel, der länger regierte als jeder andere Ministerpräsident, der Aufbruch in die Moderne.

In Mexiko ist Olga Costa längst als bedeutende Vertreterin der Moderne anerkannt. In ihrer Geburtsstadt Leipzig wird Costas Werk nun erstmals in Deutschland präsentiert. Das zeigt ihr zentrales Thema: die Nähe zu den Menschen und zur Natur.Carsten Probst im Gespräch mit Andrea GerkDirekter Link zur Audiodatei

durée : 00:55:22 - Affaires culturelles - par : Arnaud Laporte - Alors qu'il publie un nouveau livre de photographies prises entre 1979 et 2006, intitulé “Entre-temps”, Raymond Depardon évoque, au micro d'Arnaud Laporte, ce qui nourrit son travail, et la façon dont son regard empathique nous donne à voir autrement le monde dans lequel nous vivons. - invités : Raymond Depardon Photographe, réalisateur, producteur, scénariste, journaliste

Merci à Somme Tourisme pour ce partenariat ! Pour en savoir plus sur leur podcast, c'est par ici : https://bit.ly/sommewhere_NBMes chers camarades, bien le bonjour !Aujourd'hui je vous emmène dans la Somme, le pays des fiers Samariens ! Eh oui, les Samariens c'est comme ça qu'on appelle les habitants de la Somme. C'est un nom qui date de l'Antiquité, quand Samara, “le fleuve qui s'écoule paisiblement” désignait encore la Somme. Et c'est en 2012 que les habitants de la région ont décidé de reprendre cette appellation pour rendre hommage à leurs quelques 760.000 ans d'Histoire ! Je vous propose donc de découvrir comment une population se développe au fil de l'Histoire grâce à un fleuve ! C'est pas anodin et vous allez le voir, c'est particulièrement enrichissant !Bonne écoute ! Become a member at https://plus.acast.com/s/notabenemovies. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Vom Lehrer zum Kultus- und Kunstminister. Diese Karriere hat Hans Zehetmair geschafft. Lange Jahre prägte der CSU-Mann die Bildungs- und Wissenschaftspolitik im Freistaat und sorgte schließlich dafür, dass in München die Pinakothek der Moderne gebaut wurde. Jetzt ist Zehetmair im Alter von 86 Jahren verstorben. Wir wiederholen ein Gespräch mit ihm von 2017. Moderation: Ursula Heller

Ce vendredi 25 novembre, l'étendu du marché du diamant de laboratoire a été abordé par Cyrielle Hariel et Alexandre Sasso, fondateur d'Atelier Lavoisier, dans la chronique La pépite RSE, dans l'émission Good Morning Business, présentée par Laure Closier et Christophe Jakubyszyn, sur BFM Business. Retrouvez l'émission du lundi au vendredi et réécoutez la en podcast.

durée : 00:57:03 - Avec philosophie - par : Géraldine Muhlmann - Comment Baudelaire, poète nostalgique et romantique, inquiet de voir s'éteindre un monde dont il est l'un des derniers représentants, peut-il être considéré comme le premier des modernes ? - invités : Rémi Brague Professeur émérite de philosophie à Paris I et à l'université de Munich, membre de l'Institut; Marc Goldschmit Philosophe

durée : 00:58:17 - Avec philosophie - par : Géraldine Muhlmann - Et si la querelle entre Constant et Rousseau n'était pas une opposition entre philosophie ancienne et philosophie moderne, mais entre deux versions de la philosophie moderne ?