‘DU bist Radio’ (DBR) is an award winning [DBR has been awarded with the “Catholic Media Award of the German Bishops Conference, Prädikat WERTvoll” (2011), the Suisse “Media Prize Aargau/Solothurn” (2010), the German “Alternative Media Award” (2009) and was nominated for the “Prix Europa” (2009)] monthly radio format that goes on air on three Swiss radio stations. The purpose of this program which was first broadcast in 2009 is the development of a new media format which—without applying any (...) journalistic (or other) filter and influence—conveys authenticity of expression amongst society’s most vulnerable fellow citizens such as patients, clients and the socially deprived. So-called marginal groups are encouraged to speak for themselves, as a possible paradigm case for encouraging the inclusion of patients’ and relatives’ “unfiltered” voices in general and in clinical ethics as well. Before handing over the microphone to the groups in focus, a team of journalists, educated in medical ethics, over a period of 4 days, teaches them on-site radio skills and craft. Once this task is completed and the actual production of the broadcast begins, the media crew does not exert any influence whatsoever on the content of the 1-h program. Thus, the final product is solely created and accounted for by the media-inexperienced participants, leading to unforeseen and often surprising results. It is discussed that the DBR approach of fostering authenticity of expression can serve as an enhancement to today’s respect and autonomy oriented field of medical ethics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Good HopeCarla Liesching Click for larger view View full resolution[End Page 111]Carla Liesching is an interdisciplinary artist working across photography, writing, collage, sculpture, bookmaking, and design. Grounded in experiences growing up in apartheid South Africa, she considers the intersections of representation, knowledge, and power, with a focus on colonial histories and enduring constructions of race and geography. Carla's ongoing project, Good Hope, was published by MACK in (...) 2021, and was shortlisted for the 2022 Aperture Paris Photo First Book Award, and the Arles 2022 Prix du Livre in the Photo-Text Category. An excerpt from Good Hope is also featured in On Whiteness, by SPBH Editions. Carla was a 2021 winner of the Open Walls Arles competition presented by The British Journal of Photography and exhibited work during Rencontres d'Arles Festival in 2021 and 2022. She is a 2021 Light Work Grant recipient and the 2022 recipient of the Silver Eye Fellowship, culminating in a photo-sculptural installation at Silver Eye Center for Photography in Pittsburgh. Carla was recently named a Foam Talent, with exhibitions at Foam Museum in Amsterdam, the Deutsche Börse Foundation in Frankfurt, along with a solo exhibition of Good Hope through PhMuseum in Bologna. Carla lives between South Africa and Ithaca. In Ithaca, she works as Visiting Critic in Cornell University's Art Architecture and Planning Department; as Lecturer in the Art, Art History and Architecture Department at Ithaca College; as faculty at the International Center of Photography; and as coordinator of the School of Criticism and Theory at Cornell. As part of her socially engaged practice, Carla is also a youth educator focused on image-making, visual literacy, and self-publishing as vehicles for expression and empowerment. [End Page 112] Click for larger view View full resolution'As soon as you are in a proper stage of defence you shall search for the best place for gardens, the best and fattest ground in which everything planted or sown will thrive.' Click for larger view View full resolution—Instructions from the Dutch East India Company inscribed on a yellowing sheet of parchment, 1651.1[End Page 113] Click for larger view View full resolution Click for larger view View full resolution[End Page 114]iYes, there are facts and figures to account for, timelines to trace, but have I told you of today's newspapers? Headlines like: 'Land Justice', 'Expropriation without Compensation', 'Revolution or Reform?' Have I told you of the monuments removed in the 'riots'? Or the groundsmen in green overalls scrubbing graffiti, repairing broken fountains, collecting debris? Black men White bosses still call 'boys'? Have I told you of the doves cooing gently, perched atop the sleeping bodies of migrant families on the lawns? Have I told you of the White children from the Cape of Good Hope Seminary dressed in their afternoon 'civilian clothes'? Or of the more racially integrated group from Mseki High in their grey-and-turquoise uniforms surrounding me on the main steps leading to the garden? The cacophony of lunch-time chatter, chip packets crinkling, the flap-flap of wings as seagulls scavenge for tasty morsels? Have I told you of the signs pointing to the Scientific Pleasure Garden? Or of the gift store filled with locally sourced flower oils, handmade candles, Delft-blue china tea-sets and postcards depicting the early colony? And what of Cecil John Rhodes cast in greening bronze, flanked by a Madagascar Cycad and a Queen Palm, announcing: Your Hinterland is There? Have I told you of the small rock in the corner of the vegetable garden with a label hidden beneath weeds? The arrival of the Dutch to establish a refreshment station, providing fresh produce for the ships plying the spice route, marked the end of a free and independent existence for the native Gorinhaiqua Khoikhoi. And what of the large label at the stone-walled entrance? A story of how a garden in 1654 brought together continents and affected the course of history. A story of how plants in the form of pepper, nutmeg, cloves and cinnamon changed the world economy. Have I told you the garden is the cause of it all? [End... (shrink)

Le film Mille soleils de la cinéaste Mati Diop (Grand prix du FID de Marseille 2013) nous convie aujourd’hui à revoir le film de Djibril Diop Mambety, son premier long-métrage, Touki Bouki, le voyage de la hyène, considéré comme un classique du cinéma après avoir reçu le prix de la critique internationale du festival de Cannes en 1973. Par ses caractéristiques formelles très audacieuses et par les thèmes toujours actuels qu’il traite, ce film continue à nous questionner (...) : que nous dit-il sur l’histoire du cinéma depuis lors? De quelles manières Mati Diop le convoque-t-elle? Comment dialogue-t-il avec le Sénégal contemporain? Mais également avec les relations France-Afrique? Ou avec l’Occident? (shrink)

Les surprises et les soucis quotidiens d’un organisateur de festival d’art font entrevoir l’envers des jeux de valeur qui sous-tendent la circulation des œuvres. Une gravure de Goya manquant à l’appel vaut-elle une crise cardiaque? Un paquet qui n’est déclaré en douane que pour une valeur de 600 euros peut-il vraiment passer pour de l’art? La profonde ambivalence de l’œuvre fait surface à de telles occasions : côté pile, elle ne vaut rien ; côté face, elle n’a pas de (...) prix. L’évaluation de l’inévaluable est un piège. (shrink)

Zusammenfassung To Paul Meyer and Les Films de l’Églantine, Belgium Paul Meyer, filmmaker and documentarist, born September 29, 1920, died September 29, 2007 in Belgium. He had his own production company Les films de l´églantine in his hometown Barchon, Belgium. Due to lucky circumstances, I met him during the French Film Festival, Tübingen, in 1995 and am still in possession of a personal hand-written letter from him, dated August, 1995. Our talk is documented in Blickpunkt: Film of 17th July, (...) 1995. Der Beitrag beschreibt am Beispiel von vier Dokumentarfilmen exemplarisch die Arbeit und das Werk von Luigi di Gianni, einem wichtigen Vertreter visueller Anthropologie in Europa, Schüler von Ernesto de Martino und Paul Meyer. Die Arbeiten zeigen therapeutische Riten süditalienischer Volksreligiosität aus der Zeit zwischen den fünfziger Jahren bis in die erste Dekade des 21. Jahrhunderts hinein und würdigen das Werk di Giannis in seiner bisher vernachlässigten Bedeutung für die Religionswissenschaft und die Europäische Religionsgeschichte. (shrink)

Europe: The Space and Time of ReflectionOn the Complutense Research Group La Europa de la Escritura.

Geschichte und Inhalte der arabischen und islamischen Philosophie und ihr Einfluß auf das europäische Denken. Die klassische arabische Philosophie ist einer der bedeutsamsten Höhepunkte der Geistesgeschichte. Dieses Buch ist geeignet, in diese Philosophie einzuführen und sich in ihre Inhalte zu vertiefen. Kenntnisse der arabischen Sprache oder sonstiges Vorwissen werden nicht vorausgesetzt. Es heißt zwar „Geschichte“, ist aber ein Buch für unsere Zeit mit Antworten auf unsere Fragen, vielleicht auch mit Lösungen für die jetzige Geisteskrise. Die Hauptlinien des arabischen philosophischen Denkens (...) werden verständnisorientiert dargelegt. Wichtige Philosophen wie Kindī, Rāzī, Farābī, die Lauteren Geschwister Iḫwān aṣ-Ṣafāʾ, Ibn-Sīnā, Ġazālī, Ibn-Rušd und Musa b. Maimūn werden präsentiert, ihre Lehren jedem Menschen verständlich vorgestellt. Die stark humanistisch und ethisch betonten Ansätze werden vor dem Hintergrund ihres historischen Kontextes aufbereitet. Die arabische Klassik gewinnt in der Gegenwart erneute Aktualität. (shrink)

El Festival Publicatessen se desarrolla desde hace catorce ediciones en el campus María Zambrano de la Universidad de Valladolid. Está organizado por el alumnado de cuarto curso del grado en Publicidad y RR.PP., con la coordinación directa del profesorado. El objetivo de esta publicación es conocer la valoración de aquellos exestudiantes que han participado, y conocer qué competencias han desarrollado de cara a su vida profesional. Los resultados muestran que es una acción muy positiva para ellos y la reconocen (...) como fundamental para su formación en el mundo de la Publicidad. (shrink)

The present volume contains the lectures and papers given at the 1994 international conference on hermeneutics in Halle (Germany). The conference aimed at a state of the art in the light of recent developments in science and humanities. The place in which the conference was held is renowned for its centuries-old tradition in hermeneutics and among the lectures there are indeed some devoted to this history. For the most part, however, the papers concentrate on present-day problems in fields as different (...) as comparative literature, religious studies, bible exegesis, esthetics, social sciences, intercultural dialogue. The theme of the conference, "strangeness and familiarity", reflects the tension in which any interpretation process is situated and that any theory of interpretation has to account for. The contributions to the volume are in German and French. (shrink)

Kapitel II/3: Zuchwil und Solothurn, Schweiz (Seiten 160-200).

This article shows that the question of “Historical Thinking and the Human” demands expanding the field of the philosophy of history. What I propose is to investigate the issue from two perspectives: firstly, by positioning it in the broader philosophical context, one that increasingly transcends the boundaries of the humanities to enter the realm of the life sciences; and secondly, by drawing on a wider range of analytical material than has usually been the case in classic works in the philosophy (...) of history. I will critically reflect upon history’s anthropocentric biases, highlighting the need to develop an alternative to history. My thinking is aligned, on the one hand, with notions of the agency of images that have emerged from art criticism and visual culture studies, and, on the other hand, with the idea of theriomorphism, which I explore in terms of new animism, new totemism and philosophical ethology. In my analysis of works by the South African artist Nandipha Mntambo, I argue that a future-oriented redefinition of the human should transcend the limited categories that have emerged within the framework of history understood as a Eurocentric approach to the past rooted in Greco-Judaic-Christian tradition. (shrink)

The old aphorism saying “no pic, no news” is still very alive, although the immediacy of social networks has modified this in a way: the truth is that a set of factors has conspired to cloud the communicative landscape on networks, so what was once considered reliable proof of fact – a photo – cannot be taken as such, without the assistance of experts whose criteria cannot be easily understood by the public. Turning into a matter of discussion and opinion (...) what would otherwise be incontrovertible facts. Fabricating facts has never been so convincingly available to so many. (shrink)

A partir de uma perspectiva decolonial pretendo mostrar, por um lado, que o tratamento habitual das fronteiras ignora a génese colonial do sistema-mundo moderno e não distingue entre duas lógicas, duas formas jurídicas, duas políticas de delimitação e demarcação de fronteiras, que se podem observar com grande precisão no cenário escolhido para esta análise. Por outro lado, tentarei questionar as visões evolucionistas do território e as fronteiras que pensam a pós-modernidade a partir do centro do sistema-mundo.