Der vermessene Mensch ist im Kino angelaufen. Die deutsche Kolonialmacht im südlichen Afrika weilte nur kurz, aber überaus grausam. Das ist mit aller Härte im Film von Lars Kraume dargestellt. Zu viele explizite Gewalttaten im Film erlauben nur eine Zulassung ab 14 Jahren. Das sollte ernst genommen werden. Die Kolonialgeschichten der Imperialmächte sind alle mit abscheulichen Verstößen gegen Menschenrechte verlaufen. Da darf nichts beschönigt werden. Der Film bietet daher eine gnadenlose Abrechnung mit den Verbrechen der damaligen Zeit. Und das ist gut so.
Die Wissenschaft und viele der Wissenschaftler haben sich in den Dienst der Machthaber einspannen lassen und nicht nur die Wissenschaft, sondern auch sich selbst verraten. Karriere, gesellschaftliche Stellung und Ansehen winkten den Kollaborateuren. Da wurde viel für die späteren Greueltaten und abscheuliche Praxis der Nationalsozialisten vorgeführt. Wichtig und sehenswert, aber keine leichte Kost mit Safari -Atmosphäre. Die Vermessenheit des Menschen, als seine Selbstüberschätzung gemeint, ist nahezu ein biblisches und religiöses Thema. Das passt in die Fastenzeit und den Ramadan. Dieser ausgesprochen gute Titel bleibt mir jedoch beständig als “Der vergessene Mensch” in Erinnerung. Wir haben lange so getan, als ob wir die Verbrechen mit Vergessenheit abmildern könnten. Verdrängtes kommt jedoch meist mit größerem Bumerangeffekt zurück. Der Mensch und die Angehörigen hinter diesem Mensch, alle Opfer des Verbrechens, werden zu dem vergessenen Mensch. Auch Wissenschaftler vergessen oft den Mensch hinter ihren Theorie und Datengerüsten. Für jede Person, die das Vermessen vergessen hatte, kommt der Bumerang noch heftiger zurück. 
20th Century
The 20th century has told us many lessons. History does not repeat itself, but it appears that new variants of old themes keep coming back. Slowly passing the century like a movie in decades instead of episodes, we witness socio-emotional tides. The first decade, the 00s intensify the beginning of urban planning and social revolutions. The 10s show the arousal and subsequent extinction of masses of people in trenches. The 20s were described as the Carefree Twenties. In the 30s we observed the rising tides of fascist organisations followed shortly afterwards by the disastrous 40s. After the Shoah and the World War the 50s were fabulous viewed from the U.S. and Western Europe. The 60s propagated sex, drugs and rock n’ roll spreading across continents. The wild 70s became almost inescapable through the continued rise of mass media. The 80s were depicted as the colourful 80s as the 2 previous decades had set the scene for psychedelic colours. The 1990s have been coined as the gay 90s by some. Coming out as a gay person became easier and Western societies more sensitive and open to diversity. The back cover of the recent publication by Aurélien Bellanger “Le vingtième siècle” (The 20th century) speaks of the book as “roman polyphonique virtuose”. I look back on the 20th century as “polyphone” in many respects. It would be an illusion to believe we can only keep the nice sounding harmonies without the tensions or dissonances. 
20th Century
With 22 years into the 21st century it’s about time to dare to write the history of the 20th century. This is in many ways a steep challenge. Summarizing across so many decades (20s, 30s …) has to focus on a few events (wars) or topics (hate) that serve to characterize the century. Of course, intrinsic to the matter is the comparison to other centuries as well. Therefore, the task might be left to great historians only. Well other approaches are feasible as well and “Le vingtième siècle” by author and journalist Aurélien Bellanger constitutes a literary version of the time span of a hundred years corresponding to the 20th century. Bellanger chooses Walter Benjamin as philosophical anchor, both his works and life history. But as this history describes maybe the first half of the century he extends the reach of Benjamin into the 2nd half by introducing a “history-repeating” character into the narration. A literary circle interested in Benjamin as philosopher of the 20th century inquires about another disappearance of a poet and philosopher. Whereas the 19th century literature was full of romantic drama and “Freitod”, the 20th century has characterising deaths out of despair. Walter Benjamin is a prominent example of this. The solitude of the democraticly minded critic who ends in despair of the rising tide of fascism. Despite his premature death trying to escape the persecution of Nazi Germany, his writings live on beyond the fascists attempt to erradicate his critical thoughts. Loneliness of writers and poets in the 2nd half of the century is of another kind, but still frequently marked by isolation. Even fantastic libraries like the 2 sites of the Bibliothèque Nationale de France (BnF) houses many artists and researchers literally lost in archives. Most of them escape tragedy by publishing splendid pieces of their own creative minds. The “economy of attention” allows only very short time slots of recognition. The “Entzauberung der Welt”, the demystification of the world no longer allows for secrets and splendour at the end of the 20th century.
Long exchanges of long letters were an intellectual ritual at the beginning of the century subsequently lost to ever shorter and faster email exchanges. Acceleration is the time stamp of the 20th century and time for interpersonal exchange and group formation or circles of artists as well as scientists. Aurélien Bellanger achieves a splendid masterpiece that invites us to reflect on our recent past from a philosophical perspective. The philosophy of language is an interesting angle to choose. A cubist perspective asks us to add other angles to describe and analyse the prism of the 20th century. 
Caillebotte
Gustave Caillebotte has done it again. Son of a great beneficiary of war efforts himself. He started with support from his father’s fortune on a painting career. Soon after his father’s death, he joined the group of “alternative artists”, later called the impressionists in France. On the 1.2.2023 the Musée d’Orsay acquired a key painting of Caillebotte for 43 Million € with the help of a donation by LVMH. Where does the hype come from? A catalogue of the exhibition of the painter “Gustave Caillebotte, The painter’s eye” from the National Gallery of Art in Washington from 2015 established Caillebotte again as a key person of the impressionist movement. Rich in diversity of motifs, the painter and supporter of the impressionists (Philantropist) has foreseen the challenge photography could bring to painting. The painter’s eye is well explained by Michael Marrinan (pp.22) in the catalogue. In fact, the spatial depth of the views of the streets of Paris is a precursor to many photographers and movies of several decades later. Caillebotte’s images of Paris depict well the mixed feelings about a daunting city size and the isolation of people captured in their own little inner circles with little communication despite or because of the noisy surroundings. Misty atmospheres allow to focus on impressions. Almost meditative walking in the city is his modern topic. Reflecting on painting as profession versus painting as artist is somehow an impressionist’s sociology of professions. Gustave Caillebotte did not have to paint for money and he was aware of social class differences as son of a factory owner. It did not spoil his artistic view with social facts, but rather tried to reveal the intrinsic beauty not only of landscapes, but ordinary working people. Other impressionists painted beautiful ballerinas, Caillebotte painted workers and sometimes more challenging parts of Paris in his early years. With climate change near Caillebotte’s home in full swing, we shall “adore” the rainy days in Paris even more. And in the countryside, too. The painter’s eye reveals a visionary view of the modern and post-modern world. 
Flotow Stradella
Die Oper Stradella von Flotow wurde in 2006 eingehend besprochen. Sarah Hibbert hat ein immer wieder aktuelles Thema: Wie sollten vorherige Stilepochen in der Aufführungspraxis und der Komposition behandelt werden? Die Legende über den Sänger Stradella, der einem Fürsten die Braut ausgespannt hat und deswegen ermordet werden sollte, bietet einen interessanten (sex and crime) Plot. Wegen der Gesangskunst des Verführers, wollten die bestellten .Auftragsmörder den bezaubernden Sänger nicht töten. Tatort ist der Auftritt der Sängers in einer Kathedrale. Fritz von Flotow und Louis Niedermeyer haben beide fast zeitgleich eine Version des Librettos vertont. Es stellt sich nun die Frage, wie denn am besten der historische Stoff aus dem 17-ten Jahrhundert darzubieten ist. Beide Komponisten komponierten im Stil der romantischen Oper des 19-ten Jahrhunderts. Flotow wählt eine stärker historisierende Variante der mittelalterlichen Musik der Stradella-themen in seiner Oper. Die Klangfarben der mittelalterlichen Kirchenmusik passen aber nur schwerlich zu den Erwartungen des zeitgenössischen (1830er) Opernpublikums. Daraus resultiert,en eine spannende kompositorische Aufgabe und entsprechende Herausforderung für die Aufführung des Werks. Darüber hinaus müssen noch Unterschiede zwischen der ersten mehr populären Form der Oper für Paris (Vaudeville) und der später in Hamburg uraufgeführten Version der Flotowschen Stradella Fassung beachtet werden. Historisierung mit Anlehnungen an Gesänge von Palestrina sind nicht der Geschmack eines jeden im Publikum und der Kritiker. Grund genug, in die Opern mal wieder reinzuhören. Den Tenor, die Arie “Jungfrau Maria” singend, hätte ich wahrscheinlich auch nicht als Auftragsmörder töten können. Rolando Villazón ist darin recht überzeugend.
Quelle: Hibbert, S. 2006. Murder in the Cathedral. Stradella, Musical Power and Performing the Past in 1830s Paris. Music & Letters Vol 87 Nr. 4. doi:10.1093/ml/gcl081 (Photos, KS Kathedrale in Meaux, F).
20s
In retrospect from the 1930s and in prospect from the 1910s, the 1920s may well be described as “The Carefree Twenties”. Several other summary notions are attributed to the 1920s. “Les années folles” in the French speaking world, “The Jazz years” within the U.S. or the “Wild 20s” in Germany coined the decade after the disillusion of the 1st world war. The economic and cultural revival after the period of atrocities has seen thriving city centres and comparatively little economic hardship until the Wall Street crashed on October 24th in 1929 the so-called “Black Thursday”. The party was suddenly over and a lengthy economic crisis spread globally. It was within this carefree spirit of the 1920s that the counter movements of the 30s started to take roots. The 20s saw the skyscrapers soar and the credit-financed speculation was at its highest. Pierre Boudon (1991, pp. 137) characterises the architecture of the 1930s as “l’inversion des signes”. The Bauhaus of the 1920s was later forced into emigration. The film of F. Lang “Metropolis” (1927) prolonged the constructivist lines of the 1920s to a haunting vision of big cities with its daunting acceleration of economic and cultural experiences. Walter Benjamin later referred to the method of technical reproduction as one of the major foundations for the mass movements and mass culture, which turned the relatively carefree 20s into the disastrous 30s. Indeed, many scholars group the 20s and 30s into one historical period as the rise and decline between the 2 world wars of the 20th century. Certainly in terms of economic development many countries witness as steep rise in prosperity in the 20s followed by deep recession in the 30s. What went up in spectacular terms in the 20s, economic development, democratic participation, came down in the next decade due the rise of Fascist movements. 100 years later in 2020s we still struggle with many of the same issues. Poverty and “Existenzminimum” as topic of the 2nd International congress of modern architecture in 1929 in Frankfurt reflects the ever lasting need to address “social questions” throughout decades, if not whole centuries of mankind. 
White
White is white, we may say, just like in the song of the mid 1980s “Live is life”. Raimund Girke focused his paintings around the notion of white. White is pure energy he writes on his webpage summarising somehow his activity between 1986 and 1999 before he turned 70 years old. The energy of white can be experienced at the gallery and arts centre of Alex Vervoordt near Antwerp. Set in abundant white and otherwise empty space the paintings of white reflect Girke’s idea that white is rest and movement. The developmental process of white in the work of Raimund Girke reflects for me a conceptual proximity to the artists’ group of “zero”. Light and shadows are parts of the same coin. White is the sum of all colours, not only in the physical definition of it. Hence, white can serve as reflection of space and transposition of movement.
The experience in the gallery of Vervoordt allows to come to grips with our own perception of white. It needs a huge white space around the paintings to get into the mood of, maybe, purity. It is by putting colours together that white comes into existence in the spectators view. In seeing white, we see many additions of other colours. That creates the impression of energy. Up to you to test it, maybe, virtually live. 
Alkoholismus
Alkohol ist eine Droge, da Alkohol abhängig machen kann. Die Bewusstseinsveränderungen können beachtliche bis extreme Ausmaße erreichen. Das wissen wir alle und zwar seit Jahrhunderten. Mäßigung bei Rauschmitteln ist nötig, aber schwer erlernbar. Etwas Genuss ist gesellschaftlich nicht nur toleriert, sondern gewollt zur Förderung der Geselligkeit. Zu viel Genuss beeinträchtigt meistens andere und wird dann zu einer schwierigen Problematik. Ärztinnen, Psychologinnen und andere Heilberufe stehen oft hilflos, wie auch das nahe familiäre Umfeld, vor dieser Situation. Selbst neuere Studien weisen darauf hin, dass die Versorgung dieser Patienten (UK), bestenfalls in der Hälfte der Fälle als gut einzustufen ist. Die Studie zu Großbritannien beschreibt gleichfalls die Krankheitsgeschichte und -versorgung als „eskalierende Tragödie“. Für die meisten anderen Länder liegen keine wirklich guten Daten vor, die weder einen Handlungsbedarf noch auf einen gesellschaftlichen Gestaltungswillen hindeuten würden.
Die Radiosendung zum Thema „Umgang mit Alkoholkranken“ und die Initiative von Sänger Max Mutzke, „Kindern suchtkranker Eltern eine Stimme geben“ beschreibt eindrücklich die generationsübergreifende Bedeutung von Alkoholkrankheit. Alkohol ist eben nicht nur das Problem der betroffenen Person. Ein ganzes Umfeld ist betroffen. Das Problem wächst sich meistens aus zu einer Problematik für das weitere familiäre Umfeld, Freundeskreise und ArbeitskollegInnen. Es ist erstaunlich, dass wir seit Jahrhunderten keinen anderen Umgang mit alkoholbasierten Rauschmitteln gefunden haben, als alles erlaubt oder alles verboten, außer der Altersbegrenzung für Kinder und beim Autofahren. Der Maler Bruegel sah das wohl ähnlich. Den St. Martinswein kann sich heute jeder im Laden um die Ecke selbst kaufen. Mäßigung im Umgang mit Drogen ist nach wie vor ein schwieriger Lernprozess, für Einzelne (Jordaens – Der König drinkt!), wie für die Gesellschaft. ( fast betrunkenes Video Alko VLC Bruegel MRBA Bruxelles.jpg zur Bildexploration).
Narrative economics
Narratives have been with us as long as mankind exists. They just take different forms and content nowadays. Whereby narratives have first spread orally, then much later through written words, images and movies, they are forceful ways of communicating. Robert Shiller wrote a good story about narratives related to the field of economics. Referring to the writing of the polymath David Hume (1742), main proponent with Adam Smith of the Scottish enlightenment, contagion like in pandemics is mentioned for the first time to explain that “the multitude will certainly be seized by the common affection and be governed by it in all their actions”. (Shiller 2019, p. 58). In order to understand narratives going viral Shiller mentions the importance for narratives to be embedded in “narrative constellations”. Holding truth against spreading false narratives might not be enough in itself. Strong, catching narratives seem to bypass or override even truthful information. Additionally, narratives never die, but rather offer opportunities for repetition. On content of economic narratives Shiller exemplifies stock market panic, consumerism, financial stability, automation and AI fears, speculation bubbles, evil business and labour unions. Topics like lazy unemployed persons, too early entry into retirement, too late entry into the labour market for youth, women or migrants, all have endured stigmatising narratives across time and/or across countries. With emotional and powerful economic narratives all around us, trust and authenticity become a very important meta-currency. The instantly printing camera now serves as proof. Beware of the scenery, actors and action chosen. Medieval painter Gabriel Metsu (1629-1667 Leiden-Amsterdam) had chosen the economic narrative of the “women baking pan cakes and the child as beggar”. Ending up in a museum instead of the White House is probably the opposite of going viral. The same Photo in black and white might have more of a trustworthy documentary character than the suggestive colours. 
90s
Summary terms for the 1990s range from the “global 90s”, the “roaring (again) nineties”, the “fabulous 90s” to the “gay 90s”. After the fall of the Berlin Wall, a new era of reaping the economic benefits of more peaceful times had started. Re-unification or unification of Germany could have unsettled the balance of power on the continent. However, a firm integration into the European project and the withering away of the Cold War on a more global scale allowed economic growth in many countries and even continents. Joseph E. Stiglitz claimed it was the world’s most prosperous decade even. The overly popular view that unrestricted market principles will allow for rapid growth reached huge crowds before the new limits to growth (which were the old ones) and rising imbalances (in trade and among different firm sizes) became clear later on. The outlook of “America in the global ‘90s”, written in 1989 is overly optimistic. Nevertheless, it describes fairly well the almost euphoric view at the beginning of the nineties. “World economic growth will strengthen in the 1990s. Democracy and free markets are on the upswing. U.S. will retain its lead in technology and world trade. Openness to foreign capital, goods, immigrants is key. Budget and trade deficits will continue downward. America is a strong nation getting stronger.” (Kiplinger and Kiplinger, 1989 p.1)
Ten years make a decade, but the retrospective analysis might not make for such a rosy overall image. In other fields of study, many saw the real societal changes in the 90s in the liberation of views on gender. Gay movements and queer studies are on the rise throughout these years. The realisation of “Genders” beyond the male – female, binary vision captures more global attention as well. “Education reform in the ‘90s” (Finn et al. 1992) start to focus more on “higher-order learning skills, expanded methods of student assessment” (Joseph Murphy 1992 p.13) in addition to interdisciplinarity, core curriculum, original source materials and teacher choice. Diversification is high on the agenda, despite slow progress in social matters and high unemployment in many countries at the beginning of the 90s. Capture the peace dividend wherever it seems possible. Rapid globalization was the panacea of the decade; before the iron curtain would come down again 22 years later. The photographic art by Didier Engels (Affordable Art Fair Brussels 2023) reflects the bright and colourful side of globalisation as much as the overload. The 90s made us believe mainly in the bright side of it. 
Time5
The social sciences deal with time either as part of social theory and as part of social measurement in the broadest sense. The entry of time in “The encyclopedia of social theory” (Ritzer, 2006, p.837-41) reminds us that since the age of Augustinus, believing that time is a God-given concept, we have evolved with Kant’s notion of the “Ding an sich” that time exists within our experience, but also beyond our experience of it. It is Durkheim who sees time as a social institution and raises the issue of a social construction of the concept(s) of time. In the process of civilisation, Nobert Elias leads us to think of time as an evolving social process which allows us to reach higher levels of civilisations. Despite wars and other backlashes, the basic premise remains an eventual improvement on previous situations (Time 3). The phenomenological method applied by Husserl points at the “inner time consciousness” of persons, which finds its literary expression for example in Proust’s writings.
In addition to time as the object of social theories, we find frequent implicit use of concepts of time as a component of social theories. Life courses, social change, social mobility, social integration, learning, all these concepts are conceived with “time stamps” attached to the them. Their temporality, i.e. location in time and space, durations, sequential orders and interlinkages form huge fields of research. Whole societies have attempted to define when is the “normal”, “right” or “best” time to do something for the individual or the society as a whole. Social desirability is linked to time and space and varies accordingly. The 1960s probably were a decade where the questioning of social desirability was most obvious.
Social measurement of time and the location of social phenomena in time leads us to the empirical field of studying time or the treatment of time as a basic dimension in and of social processes. “The encyclopedia of social measurement” (Kempf-Leonard, 2005) list the sampling of time as a basic entry to the topic. Frequency of sampling, (yearly, quarterly), level of sampling (person, household, region, country), repeated surveys (prospective, retrospective) of same person or rotating samples of persons have their specific strengths and weaknesses. Analytical methods rely on the concepts of the measurement of time. It seems to be a fair observation that (Clarke and Granato, 2005, p.836) the future of time series analysis lies in the linkages to theory. After all, the 2 worlds of theory and empirical measurement are linked through the concept of time, despite the tendency to abstract from it or assuming a large overlap in the concept of time (and space) referred to. Clocks seems to be ticking differently in different places.
Image: Dali Paris. R. & N. Descharnes Salvador Dali Sculptures & Objects. Eccart. Ref. 615, page 238. 
Flotow Kontroversen
Während Flotows Lehrjahren in Paris ereigneten sich historische Ereignisse, wie zum Beispiel die Pariser Juli-Revolution 1830, Commune oder die 1848er Revolutionen in Paris und Deutschland. Später sollte der dt-frz. Krieg 1870 ein weiters einschneidendes Erlebnis darstellen. Über all diese historischen Verwerfungen hinweg sind Kunstschaffende ständig den nationalen Vereinnahmungen und Verwertungen ausgesetzt. Bei Flotow äußerst sich das in den Intrigen von unterschiedlichen Seiten, die gegen ihn gefahren werden. Von deutscher Seite mal als Demokrat verunglimpft (s.u.), wird er in Frankreich als frankreichfeindlich bezichtigt. Aktiv dagegenhalten, gehörte schon damals zum Geschäft im europäischen Raum. Mit dem Eintreten für Autorenrechte an Werken und deren Aufführungen schaffte er sich sicherlich nicht nur begeisterte Freunde in der Theaterwelt. Vergleichbar dem Disput über Patentrechte zu Hörnern, Trompeten und dem Saxophon, musste die Lebensgrundlage für viele Komponierende erst noch geschaffen werden. Eine Nominierung als Korrespondent der „Akadémie des Beaux-Arts“ ist da eine tolle Anerkennung. Die Probleme von höchst prekären Lebensverhältnissen von Kunstschaffenden im weitesten Sinne bleiben eine ständige Aufgabe und Herausforderung (Mäzene). Der kleine Fritz von Flotow hatte in seiner Kindheit mit genau diesen Einstellungen gegenüber dem oft brotlosen Beruf des Kunst– und/oder Musikschaffenden zu kämpfen. Als streitbarer Aristokrat mit demokratischen Zügen fiel er mitten in die soziale Zerrissenheit und politischen Wechselbäder des 19. Jahrhunderts.
Sax and the Sax
Adolphe Sax is celebrated for his celebrated design of musical instruments in what it known and played as the Sax family of musical instruments. Most museums around the world have an example of an early Sax instrument in their collections. Beyond the many fascinating musical delights and emotions produced with the instrument, there is a century-old debate around the issue of the patent attributed to the various designs claimed by Adolphe Sax for the Saxophone among others. The patent attribution was hugely different across Europe in the 19th century (largely inexistant in other parts of the world at the time). The reason for this were differing laws guiding intellectual property rights. “In France no preliminary examination was necessary before a patent could be granted; in Germany examination was obligatory; and … British patent laws, which allowed makers to register designs or apply for patents for developments that had been copied from abroad (imported inventions), as long as they had not been published in Britain.” (Mitroulia and Myers, 2008 p.93). There is a well-documented controversy about the “Berlin valves” and the contested patent in France of it. Design of instruments, particularly popular ones, guarantee sizable earnings for producers of instruments. After 20 years of the 1846 patent in France 1866 the patent expired and the copies could become even cheaper. Some ugly disputes in the middle of Europe were fought around this issue. Remember that military music was still accompanying troops for better or worse. “Visionary or plagiarist? The authors are unable to give a simple verdict. … The fact that Sax claimed originality for some borrowed ideas seems in retrospect less important than the true vision shown.” (Mitroulia and Myers, 2008 p.135). We might not agree with this statement. The visit to the MIM in Brussels gives a good overview of the evolution of musical instruments over thousands of years and across continents, which pushes us to rethink the link of society and technology through the lens of music and technology. Welcome to techno music beyond patent laws. Pushing the boundaries of copyrights on sound sequences to new limits.
(Sources: MIM Brussels, Rice A. R. (2009). Making and improving the nineteenth-century saxophone. Journal of the American Musical Instrument Society. 35:81-122. Mitroulia, E., A. Myers. (2008). Adolphe Sax: Visionary or plagiarist? Historic Brass Society journal, 20, 93-141).
Flotow Singelée
Frédéric de Flotow hatte sicherlich in Jean-Baptiste Singelée einen Fan. 2 seiner frühen Opern, Stradella und Martha, wurden mit Fantasien für Violine und Klavier von Singelée neu arrangiert. Der Geiger, Dirigent und Komponist Jean-Baptiste Singelée, geboren 1812 in Brüssel (damals noch zugehörig zu Frankreich) ist in Ostende 1875 verstorben. Eine spätere Würdigung im Kursaal in Ostende mit einem Konzert verdeutlicht die Wertschätzung über sein Wirken als Konzertmeister und Dirigent hinaus u.a. in Brüssel. Sein kompositorisches Werk ist beachtlich, auch wenn seine einzige Oper vielleicht nicht so viel Nachhaltigkeit erreicht hat, trotz des einprägsamen Titels: „Les dentelles de Bruxelles“. Uns interessieren hier seine Fantasien basierend auf Themen von Flotow, die als Drucke erhalten geblieben sind und in der „public domain“ einsehbar sind. Interessant ist auch die gemeinsame Zeit am „Conservatoire Royale de Musique à Bruxelles“ mit Alphonse Sax, der später die Patente auf die Instrumentenfamilie der Saxophone erlangte. Klassische Musik populär machen, war schon ein frühes Bestreben vieler Komponierenden und Musikschaffenden. Ganz nach dem Motto: „Ich mag keine Klassik, aber das gefällt mir“ werden so Personen erreicht, die sich ansonsten für ganz andere Musik und Rhythmen interessieren. Da hat der Fritz oder Frédéric de Flotow vielleicht noch mehr Chancen in der Unterhaltungsmusik. Mit Jacques Offenbach verband ihn eine Freundschaft, die “Co-creation” hervorgebracht hat. Beide verdienten sich wohl etwas Geld für den Lebensunterhalt in Paris in jungen Jahren.
Dumky
In cultural performances it is always interesting to refer back to titles given or attributed for example to music pieces. Dumky is the title of Antonin Dvořák’s 4. Klavier-Trio opus 90. In the late 19th century Antonin Dvořák found inspiration in the notion of Dumky. Rather than just composing a “Trauergesang with few joyful intermezzi” he creates a new form for this Trio containing, quite unusual, 6 parts. Dvořák plays around with structure and sharp swings from “piano to forte” parts, “moll to dur” intonations reflecting sorrow and joy in frequent and refreshing short sequences. It feels sometimes like fireworks, but at times the sorrow of soldiers and their families becomes evident as well. However, the music proves resilient. Knowing that Dumky is a Ukrainian word and notion, the choice of one of the masterpieces of Antonin Dvořák close to the 24.2.2023, the day of the anniversary of the Russian attack on Ukraine is a commemoration of the sorrow caused by war and ways to overcome it. The “Concerts de Midi” of the Musée des Instruments de Musique” allowed us to travel through Ukraine a bit and experience the longing for better times. Joy will eventually prevail there again just listen to Dvořák’s version of the Dumky. Superb and effectful presentation of the work by the “Trio Impression” made for a memorable lunch break in the city centre of Brussels. The (virtual) visit of the Museum should be one of the attractions of visitors to Brussels as well, not just for the Art Nouveau architecture, but for the inclusive “global music” collection. 
Animation 23
The animation festival “Anima” in Brussels is a good chance to catch up with new trends in the field (teasers). AR and VR animation is taking the first few time slots there as well. As much as it is important to allow visits behind the scene in opera houses, it is part of our common knowledge to understand the creation of animated films. This pedagogic mission is taken seriously at “Anima”. Taking the example of the animation “Un amour de cochon“, with several farm stages where Babs and Oink are exposed in the original small scale production scenery for the animation. However, it needs a lot of professionals to let a story come alive (Images below).
The short AR films represented seem to get carried away with futuristic city and landscape designs, which you experience in 360° turning your head with the heavy headset. Beyond the futuristic, historic or folkish settings chosen, the intended message, narrative or story is key. A metaverse immersion experience alone is tedious, if there is not a strong emotion or message connected to the immersive images. Sitting at the bar in front of a virtual drink is a bit dry, but the Paul Klee experience conveys a terrifying message. Totalitarian regimes use unimaginable brutality in wars and against their own people and artists. This has not changed. Animations catch specific (younger) audiences and therefore we surely will have more of this kind of imagination become real, or virtual or a real virtual experience.
Aphorismen L
Lichtenberg hatte den späteren ausufernden Individualismus spekulativ in seinen Aphorismen vorweggenommen. Im ersten Band der Sudelbücher schrieb er bereits: „Je länger man Gesichter beobachtet, desto mehr wird man an den sogenannten nichtsbedeutenden Gesichtern Dinge wahrnehmen, die sie individuell machen.“ (1976, S.25). Unsere Fototechnik und soziale Medien haben eine wahre Revolution durch die Flut der allgegenwärtigen Fotos geschaffen. Was früher der Spiegel war, ist längst der schnelle morgendliche Blick in die Kamera des Handys geworden. Intelligente Spiegel wären also die durch Kamera aufgenommenen und direkt auf einen größeren Bildschirm übertragenen Bilder. Das Hautscannen auf Melanome oder checken von depressiven Phasen könnten eine frühzeitige Erkennung ermöglichen. Sollten wir das wollen? Aus derartigen Hinweisen lässt sich sozial invasiv Gefahren für den Einzelnen, die Einzelne ableiten, aber eben durch Bezug des Einzelfalls auf verallgemeinerungsfähige Vergleichsfotos. Gesichter länger anzusehen, das hat seine sozialen Grenzen. Mit Breughel durften wir das dann. Kindern wird früh erklärt Personen nicht anzustarren, dabei trainieren sie so, was das einzelne Gesicht so singulär macht, die Augen, Ohren, Mund, Zähne, Nase oder Schattierungen. Donatello, gepriesen als der Erfinder der Renaissance, spielte schon mit den Details der Gesichter. Mehr Mut zum längeren Hinsehen sollten wir aufbringen, auch beim Hinsehen auf einfache Charaktere, auf Armut statt Wegsehen. Oft ist David interessanter als Goliath. Die Rahmung des Bronzolino verstärkt geschickt eine zeitgenössische Analogie zum 24.2.2023.
Double bind
Knowledge and knowhow are a pair of notions that have strong links between each other. It is a challenge to see 2 knowledge systems, knowledges, to co-exist sometimes for a very long time. Medicine is a good example. The traditional Chinese medicine continues to exist in parallel to the western style science based medicine. It remains a challenge to analyse the effectiveness, efficiency and equality each system can provide. In terms of public health the border between knowledge and knowhow becomes more blurred. The knowledge about diseases needs to be transferred into knowhow of how to prevent the disease to the population at large. This is a steep challenge as the persistence of alcohol abuse, smoking habits and other drugs abuses show on a global scale. Knowledge alone on the negative consequences is far from enough to prevent abuse. The thin and blurred line between use and abuse of pharmaceutical products equally challenges our traditional views on knowledge and knowhow. In a knowledge graph knowledge would figure, for example, in the core and knowhow as a satellite on the periphery. However, despite the strong link between these 2 notions, knowhow has a lot of additional links to topics like health or yin and yang. Knowhow has a basic link also to notions like memory (techniques) or even war (equipment). The more abstract notion of knowledge, “le savoir”, has been seen for a long time superior to the less abstract notion of knowhow, “savoir faire”. Polymaths have been identified for touching on several fields of knowledge with little concern for the practical side of things, despite the fact that Leonardo da Vinci combined many fields of science of his time to improve technology of his time including visions for the future. The double bind link exists in the recursive element of a link between 2 notions. Rather than denying its existence we have a lot to do to incorporate the more complicated links into our scientific knowledge and the more practical knowhow. 
Flotow Potpourri
Über das musikalische Thema der Flotow Oper „Martha“ gibt es der heutigen Popmusik vergleichbar spätere verkürzte Versionen. Zu einiger Beliebtheit ist das Potpourri zu den Motiven von Martha gekommen. Kleineres Orchester und ein melodisches vereinfachtes Arrangement konnten für kurze Konzertabende verwandt werden. Der Komponist und Arrangeur Spasny Op. 65 hat Flotows Melodien aus „Martha“ publiziert (desgleichen von Wagner und Verdi). Die Kopie in der KBR Bruxelles ist ein kompletter Orchestersatz datiert von 1886 und 28.7.1894. Aufgeführt wurde das Potpourri im Kursaal von Ostende, wahrscheinlich für die Sommergäste in der Hafenstadt mit naheliegenden Erholungsgebieten und Küstenorten. Neben einigen schönen handschriftlichen Kopien für Violine (5 Seiten) oder Pauken (1 Seite, viele Pausentakte) ist die Partitur für die 1. Violino als „Conducteur“ (assisté?) ausgewiesen und sehr abgegriffen. Interessant sind die Anmerkungen und Einfügungen, wahrscheinlich zu wichtigen Parallelstimmen. Die komplette Streichung ab dem Larghetto am Ende der Partitur, anfänglich in Des-Dur, war vielleicht zu anspruchsvoll, für das zu erwartende Publikum. Ein F-Dur Abschlussakkord vorher klingt erholsamer, zumal im Urlaub nicht wahr. Der an einem Gag interessierte Musikfreund amüsiert sich an der Kritzelei am Anfang. Aus MARTHA; POTPOURRI ist Martha, Potpourrie geworden, was so viel heißt, wie „Martha verdorben“. Der Dirigent (Assistent? Es gibt noch ein sauberes Conducteurexemplar in der Mappe) hatte wohl einen schwierigen befristeten Sommerjob angenommen. Alternativ könnten wir das aber auch interpretieren als Kommentar zu der vereinfachten, aber verdorbenen Version der Flotowschen Martha als Originalstück. Genauer wollen wir das gar nicht wissen, oder?
Flotow Europa
In der späteren Aufführungspraxis des Werks von „Fritz“ von Flotow, wie ihn seine Mutter in MeckPom nannte, sollte es für den in Frankreich ausgebildeten Jugendlichen einige Fallstricke zu überwinden geben. Bereits seine erste Oper „Alessandro Stradella“ hatte mit Produktpiraterie zu kämpfen. Der Übersetzer Gustave Oppelt (1844 Autor zu Stradella genannt BNF), mit Erwähnung auch von Alphonse Royer, hatten die Rechte des Librettos inne (Stempel des Dépôt Légal 1859 Nr 1139). Anlässlich der Erstaufführung in Brüssel am 2-3-1859 au Théâtre Royal de la Monnaie erschien das gedruckte Libretto versehen mit einem Echtheitsstempel. Bereits 1860 gab es dann Anlass, dass Gustave Oppelt mit der Unterstützung von „Frédéric de Flotow“ für seine Übersetzungsrechte kämpfen musste und dazu eine Notiz in der „La revue et gazette musicale de Paris“ veröffentlichen mussten. Autorenrechte waren und sind keine Selbstverständlichkeit. Die Lebensgrundlagen vieler Künstler, besonders der KünstlerInnen, auch heute, bleiben meistens prekär. Flotow war bereits beteiligt an Vereinen, die die Kompensation von AutorInnenrechten vertraten. Die „Dédicace“ an die königliche Hoheit Madame la grande Duchesse Douairière Alexandrine de Mecklembourg-Schwerin, née princesse de Prusse (Link Stammbaum), versteht sich dabei wohl auch als Dank für die Berufung von Flotow als Intendant an das Theater von Schwerin, gleich neben dem schönen Schloss. Mäzene konnten wohl über Stellenbesetzungen KünstlerInnen ihr künstlerisches Arbeiten weiterhin ermöglichen. Flotow brauchte auch die Unterstützung, die ihn zu seinem Lebensende nach Darmstadt umziehen ließ.
Ukraine 360
360 days of traumatising war of Russia in Ukraine. Yet, Ukrainians manage to stem the invasion this time for a year. My generation of baby boomers in Western Europe no longer knows the day to day horrors of war. A photo-realistic exhibition organised by Dr. Justyna Napiórkowsak together with the Ukrainian Embassy in Brussels brings to us more than images of destruction. The Exhibition builds on a transparent organisation. All day and night long you can feel and reflect in front of the gallery windows of what war means to people affected. Rather than passing over the daily horrific news, it is important to take in images that will last within you. Since the exhibitions excels in linking to strong own emotions, the images tell lasting stories. Communicating about war is difficult. This exposition at the “Mont des Arts 8” in Brussels, not far from the “Place des Martyres” is symbolic. Ukrainian artists are going to stay with us, showing us what “The year of resilience. courage, determination and solidarity” mean in the Europe of today. Ukrainian youth, like the whole population, demonstrates all of this in posing for their 2022 graduation photo (Stanyslav Senyk, 2022) actually within the ruins of their city. They seem to sing: “We shall build this city on rock and roll” again. Ukrainian culture is unique. Putin’s Russia is still living in the 50s state of mind. The Russian soldiers might soon have their 60s moment “make love, not war”. For persons with Russian roots in Eastern Europe it feels like what you believed or were told was a friend before is now turning around and you shooting at you including committing war crimes (Geneva convention) on you. The exposition is a “homage to Ukraine”, Ukraine’s resistance and resilience. Teaching us lessons, lessons we should like to learn fast for the survival of democracy and our way of life based on freedom not coercion. The sociology of war informs what the term “Zeitenwende” means. Look at it, rather than look away. As previous College Master at Jacobs University Bremen graduation ceremonies were very personal and emotional events meeting students, many with their families. Ukraine 3.0 will prevail eventually. Thanks, Justyna for putting images 360° and 360 days next to this optimistic message. 
From AI with Love
Love is action. Love is balance. Love is corruption.
Love is democracy. Love is enterprise. Love is freedom.
Love is god. Love is health. Love is imagination. Love is joy.
Love is knowledge. Love is law. Love is memory.
Love is nature. Love is optimism. Love is policy.
Love is question. Love is repairing. Love is society. Love is time.
Love is union. Love is value. Love is war.
Love is xeno. Love is yinyang.
Love is zero.
All you need is laugh. Love is all you need. 
Photo K
The self portrait is a timely topic for an exhibition of photography. As part of the European month of photography (EMOP), the PhotoBrusselsFestival offers a good overview of what photography deals with in the 21 century. The Korean cultural centre (KCC) in Brussels has a long tradition to serve as an exposition in the centre of Brussels (Sablon) and is joining this year’s photo festival. The 2023 photography festival has the “Self-Portrait” as a guiding theme. Rather than entering the debate about “portrait chosen or portrait endured” (Photographica 5,2022) the self-portrait has more degrees of freedom in it. Even if it is apparently a choice to portrait oneself, there are ample examples, where the urge to produce a self-portrait is part of a wider concern for fundamental issues.
The exhibition of 5 artists from Korea at the KCC invites us to reflect on the pervasive self-portrait practice all around us. The self-portrait is not only a tool of self-reflection, which has a long tradition in art (just think of a famous drawing by Albrecht Dürer of himself), but self-portraits are also pervasive on media and social media today. Additionally, the self-portrait is a powerful tool of thinking and imagining yourself at various stages of the life-course. For centuries it had been a social or political privilege to have your portrait taken. It still is to some extent, but only if the person taking the photograph, has a special reputation. In a market difference to the selfie, the exhibition of artists in the KCC highlights the process of self-reflection that is part of creating the portrait as well as the ensuing reflection by the spectator. In looking at the self-portrait of the photographer, we might involuntarily deal first with our own perception of the image. Danger, dreams, fantasy, sorrow, pain, self-assertion and reconstruction of the self, all these themes come to mind when confronted with the self-portraits of the 5 artists (Bae Chan-hyo, Jeong Yun-soon, Lee Jee-young, Ahn Jun, Choi Young-kwi).
KCC director Kim Jae-hwan names this collection, curated by Seok Jae-hyun, “An odyssey of images leading to self-re-flection”. In referring back to the protagonists in novels from Hermann Hesse, he points our attention to the “unique journey through images as they find themselves”. To embark on the journey visit KCC in Brussels, ask for a copy of the catalogue or start by reading the title of the exposition: “Who Am I” – it is apparently no longer a question after the journey. Is it for you? More reflection on images and photos here. 
Affordable Art
The affordable art fair in Brussels 2023 has different rules than other art fairs. First of all, well behaved dogs are allowed to visit. Underdogs might have a problem. The entry fee is an astonishing 20€, only 5€ less than “Brafa”. Inflation hits affordable art apparently more than the prestigious fair, at least at first impression. It remains questionable, whether artists represented as affordable art can actually afford to make a decent living from their art, now and at retirement. Taking into account the cost of rent, material and working time of artist, gallerist and transportation, art is frequently the art of minimalist approaches. The “garbage cycle N18” by Alessandro Gerull presented by WinArts challenges our habits of endless production of garbage by use of recycled material for making art. Not an entirely new idea, but still intriguing at affordable prices. Similarly, from the same gallery the work from Golsa Golchini invites us to “Remember to water the plants” as we might have asked somebody to help us out.
Re-use of material or innovation in photography are present at many places. Discovering new talents at affordable prices is a feasible feature of affordable art around the globe. The thresholds of entry are considerably lower than at Brafa. The surroundings of the old Tour & Taxis Logistics Centre in Brussels are an interesting excursion in modern renovation of old industrial sites as well. Not many skill-shortages in arts, except the more critical and provocative artists probably have still a hard time to find their way into galleries and art fairs. Other cities dare more daring art, be it affordable or not. The concept is a bit like coffee or “art to go”, quite many people walk away with a nice, little parcel in their hands. Even participatory art is represented, a kind of do-it-yourself, or finish it yourself drawing. It is fun to experience and to be part of affordable art of that kind to leave with some positive vibes (Roxehga). Enjoy!
Art Un-Fair
The Brussels Art Fair (Brafa 2023) with its long tradition is certainly a major highlight in the world of art in Brussels. In view of the languages spoken at the fair, mainly French and Dutch, some English with here and there a word in Spanish or German, the international reach is probably still not at the level of before the corona crisis.
The availability of established, internationally recognized art over many centuries on the art market is remarkable. Whereas before the crisis speculators bought art to shield their fortunes from a high inflation and/or politically instable period, nowadays it seems to me, that some art is returning to the market due to the need for liquidity of speculators or risks of confiscation in case of dubious previous acquisitions or ownerships. Renowned galleries, of course, provide impeccable certificates or information on them, a tricky business in itself. Anyway, the tour on the fair is a “parcour” through the history of art, mainly through the Western or European arts across centuries rather than decades. Most persons will find splendid examples according to their preferences of art ranging from paintings, sculpture, prints or other artefacts. Beyond the impressive individual art work, the arrangements and “mise en scene” of art is another learning experience at the fair. Whereas most public museums are happy to make accessible as much as they can of their collections and archives, the private art market has another objective. Effective and convincing presentation of the artefact is likely to “enrich” the value of art work as well as the seller and the dealer. Technology allows great lighting and some otherwise “sombre” artwork becomes a shiny little piece catching eyes, hearts and wallets. For some visitors it works probably the other way round.
For persons overly stimulated by art, I recommend to close the actual or virtual visit with a look at the little bit cheeky artwork presenting Belgian chocolate next to royalty (Gallery Delaive, showing Peter Anton’s “Paradise Variety” next to Andy Warhal’s depiction of a Queen, see below or their Instagram presentation). A sublime moment to repeat the experience at home at moderate prices with your very own box of chocolates. At a price of 10€ each box you can enjoy roughly 2000 of them for the price of the art work. The question is: What is more healthy? Think about mental health as well. Alternative question: Art on a Fair is fair, unfair or fair traide? 