In family histories we like to look on tree-like linking structures. Most frequently the choice is the descendant perspective (Top down). X, Y, Z have been the children of A and B and so on for a couple of generations. Bottom-up perspectives are equally feasible and modern patchwork families have more widespread representations of their families. Those representations were easy to do as families were lifelong bonds. Shorter family bonds, previously mainly caused by pre-mature deaths, are more common as people might have different partners and off-springs at different periods of their life course. Drawing family trees then looks more like a network structure of several families. History and literature is full of stories of how families aimed to keep their genealogy simple to the outside world. Modern days are no exception to this. Law had to adapt to these societal facts and changes thereof. Comparing decades over the last century there is, in my view, the remarkable trend to allow for more complexity in family histories, even after the 60s leading to many complete ruptures of family ties and links throughout the 70s and 80s.
With reducing fertility rates in most, not only western regions of the world, medical demography is back on the agenda. Similar to family trees, new forms of identifying promising pharmaceutical products have moved to more data-driven disease insights. Historically the local medical doctor had an overview about the likelihood of diseases following family’s medical histories over generations. Data-driven analyses, supported by data analytics and/or AI support, can learn permanently about potential and actual risks. New links of diseases are discovered this way extending the family doctor’s view of risks to watch out for in patients. Additional remedy and marketing potentials of existing drugs are also detected this way, beyond anecdotal evidence. Research published in the “Journal of biomedical semantics” by Vlietstra et al. (2020) classifies disease trajectories to construct knowledge graphs of biomolecular interactions. What previously a medical doctor in region could infer from his medical records in a less systematic way, can now be analysed on big data sets of countries, continents or even the global scale. Data is knowledge, and some already know, that this data-driven knowledge is worth a lot of money. Linking previously and seemingly unrelated facts or events, just like becoming aware of more complex family trees through DNA-analyses is the medical part of history. How we deal with this as families or societies as a whole, is the trickier part. Structural changes of societies are marked by decades-like changes, but specific events like “Fukushima”, Tschernobyl or other man-made rather than natural disasters have created new forms of contamination and the spreading of it. In addition to family trees we need broader consideration for knowledge bases to demonstrate, for example, the spread of cancer in the networked society. Additionally this evidence should have a stronger recognition in courts as prove of contamination lines. Statistical reasoning is more likely to become court-relevant. Hence, train the legal profession beyond what “statistical discrimination” is like. Causal mechanisms are manifold. Some are more likely than others. Semantic knowledge graphs remind us of the presence of reverse causality many relationships. Scientists need an optimistic state of mind to abstract from many intervening processes on health, be they tiny micro- or bigger macro-level societal effects. 
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. 
40s
The years spanning from January 1940 to December 1949 are probably the worst to cramp into one decade. However, there are a few historians that use this approach to throw new light on a distant series of historical events in the 40s. The European perspective is dominated by war years and still has to deal with the unimaginable atrocities committed by Nazi-Germany until the end of the Second World War. From a more global historical perspective the war in the pacific also leaves lasting political changes, which are important to understand international politics and affairs of today. After a disastrous beginning with war for the USA for the decade, on the 10-12-1948 the United Nations (Charter Ratification 24-10-1945) General Assembly adopted the Universal Declaration of Human Rights. On the timeline at the end of the 40s we find the founding of NATO (4.4.1949) and (12-8-1949) the Geneva Convention which specifies internationally accepted laws of warfare. The beginning of the Cold War (Yalta and Potsdam Conferences in 1945) with strategies of containment and confrontation (Thomas Tandy Lewis, 2011 p.220), Berlin blockade determined a long-lasting concern for a balance of power across the world. The 40s were a market period of de-colonisation as well. The U.S. enabled struggles for independence to succeed with a sticks and carrots politics towards their wartime allies. The Marshall Plan for European Recovery is the most prominent example of this period. Ronald Goldberg (2012) includes a chapter on the home front in his summary of the forties in the U.S.A. After the 2nd World War all countries had to re-establish their societies and economies that had suffered due to lack of sometimes even caring for the most basic needs. Important lessons have to be learnt from the 1940s (Dave Renton, 2000 p.144) concerning how Fascists could rise and why, for example Britain, could resist the fascist movement. Anti-fascism in Britain during the 1940s and the importance to stop beginnings of an undemocratic political movement early and with the help of the police are 2 elements of the lessons learnt. Goldberg argues that it is less the Fascist ideology that conquered the minds of people, but the organisation as a political and para-military movement that is the more important threat to democracy. 
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. 
Aphorismen
Eine Sammlung von Aphorismen, wie sie Georg Christoph Lichtenberg hinterlassen hatte, regten viele Denkende an, sich mit seinem Gedankengebäude zu befassen. Die prägnante Form der Zusammenfassungen, Hypothesen oder Vermutungen zu jeweils einem großen Thema hat ihn unsterblich werden lassen. In Form von Gedankenblitzen, Neudeutsch Tweets, vor mehr als 222 Jahren, gestorben ist er im Jahr 1799, zeugen von großem Weitblick, Tiefe und Breite seines Wissens (Polymath). Jede Person, die sich heute in der Schule mit der Infinitesimalrechnung befasst, der mathematischen Annäherung an einen GrenzwertS (Mathe Vorlesungsnotizen pdf), findet bei Lichtenberg zum Beispiel die Anwendung dieser Methode auf soziale Phänomene. Einer Wahrheit werden wir uns auch nur annähern können, selbst wenn wir sie auf unsere Weise, zumindest temporär, als solche definieren. Vor mehr als 250 Jahren hat Lichtenberg bereits in seinem ersten „Sudelbuch“ interessante Gedanken niedergeschrieben, die uns heute noch Nachdenken lassen. „Unser Leben hängt so genau in der Mitte zwischen Vergnügen und Schmerz, dass uns schon zuweilen Dinge schädlich werden können, die uns zu unserm Unterhalt dienen, wie ganz natürlich veränderte Luft, da wir doch in die Luft geschaffen sind.“
Dem modernen Menschen ist das Bewusstsein, in die Luft geschaffen zu sein, fast vollständig abhandengekommen. Unsere Eingriffe, wider besseren Wissens, lassen weltweit jährlich Millionen Menschen vorzeitig sterben am Smog der Moderne. Innovation ist enervierend, wenn sie nicht vornehmlich den Menschen im Blick hat. Es sollte noch einige Jahre nach Lichtenberg brauchen bis Goethe Faust den Satz sagen ließ: Die Geister, die ich rief, ich werd’ sie nicht mehr los. Lichtenberg setzte das obige Zitat so fort: „Allein wer weiß, ob nicht vieles von unserem Vergnügen von diesem Balancement abhängt; diese Empfindlichkeit ist vielleicht ein wichtiges Stück von dem, was unsern Vorzug vor den Tieren ausmacht.“ Aus dem Akt der Balance den jede/r Einzelne zwischen Schmerz und Vergnügen im Lebensverlauf beschreibt ist längst ein gesellschaftlicher und politischer Balanceakt geworden, zwischen gesellschaftlichen Gruppen sowie zwischen Generationen. Die Abweichungen von einem Grenzwert oder von einem ausbalancierten Zustand sind ebenfalls größer geworden, so dass der ganze Akt ins Wanken gerät. Mit dem beschriebenen, unserem Vorzug vor den Tieren, könnte jedoch ebenfalls ein Teil des Problems sein, denn die Vernichtung der Biodiversität ist nun mal noch die Lebensgrundlage des homo sapiens. Seien es Schwankungen um einen Mittelwert oder immer kleinere Annäherungen an einen Grenzwert, wir wanken auf Pfaden, die Lichtenberg angerissen hat. Blogposts sind wohl vergleichbar den Einträgen in Sudelbüchern. Aus vielen Puzzleteilen kann ein Gesamtbild entstehen, muss aber nicht. Die Begriffe „Random Walk“ oder „Brownsche Bewegung“ sind erst lange nach Lichtenberg entwickelt worden. Heute sind wir von dem „Random Walker Algorithmus“ begeistert oder erschreckt, wenn letzterer für „fake news“ statt Wahrheitsfindung missbraucht wird. 
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? 
50s
The fifties are remembered as the prosperous and booming years in the 20th century, worthy of nostalgy for some. Indeed, after the 2nd world war and its destruction the time of re-construction had come already some way, thanks to the Marshall plan of the late 1940s. Most countries had to turn huge military equipment industries into civil uses. After the Schumann Declaration, the European Coal and Steel Community was a first successful and lasting institution building in Central Europe. A mass production boom of cars, civil aircrafts, radio and the beginning of public television were landmark changes in the relationship of technology and society. The U.S. became a leading force in this evolution pushing for free trade between countries and consumerism. The deprived generations of the war period in the 40s welcomed the “fabulous fifties” (Arleen Kelin, 1978) as a dynamic and prosperous decade, despite dramatic speed to innovate new more deadly weapons. The atomic bombs were tested from superpowers and nuclear energy started to surface. Solar cells and optic fibres were also inventions of the mid-50s. Strange that we had to wait for another 70 years and multiple crises before these resource-efficient technologies achieved popular success. Integrated circuits, micro-chips, the laser, Tupperware, Coke, Lego, Mickey Mouse and global cinema came upon us during the 50s. The Sputnik effect re-opened an arms race as part of the cold war including outer space beyond airplane reach.
Families longed for and indulged in an as normal as possible family life. Unfortunately, this meant for many women, who had worked outside home during wartimes, to return to a role of housekeeping. Rock n Roll and increasing consumption of mass produced products could compensate for some of this deprivation. Higher divorce rates in the 60s and/or lack of own pensions were the dire consequences for many women. Showtime, and showing-off were the mantra of the 50s. Glamour (Magazine) rose to cult status and prepared popular culture and art. Following fashion and awareness of design spread across societies enabled by the easier access to “sewing machines” allowing more home production for the middle-class persons. The “people of plenty” (Andrew Dunar, 2006 p.167-8, referring to David Potter, 1954) were effectively sold a car culture with the automobile as an agent of change.
The atomic era was believed to continue prosperity for more decades (Expo 58 in Brussels) and a delicate, but relatively stable balance of power restricted open wars. “The End of Ideologies” during the fifties (Daniel Bell, 1960) lead to focus on Realpolitik and a race for prosperity, oblivious of the ecological consequences for many decades to come. 
Protest
In studying the 60s we still come up with a number of remarkable ideas. Not only concerts moved the masses but also new ideas flourished. Many subcultures developed specific forms of protest. To implement new ideas, new forms of protest were applied to advance civil rights, to overcome established routines and to raise awareness for inequalities and injustices. New forms of participatory democracy were tested and some reached public attention and/or approval. Burner (1996, p.162) even goes as far as defining freedom as “continuing exercise in decision-making” which hinges on the taking-in of all voices across society. The coming together of freedom and community constitutes the cross-roads of politics. Besides terrible effects of violent abuses, peaceful forms originated in Gandhi’s peaceful resistance in 1930. Martin Luther King and later Nelson Mandela reached historical milestones through peaceful forms of protest. In 1967 in Oakland, California, the form of “action protest” took place. The basis of protest was civil disobedience going beyond sit-ins as the civil rights movement had applied. “They involved blocking roads and entrances to buildings, peacefully inasmuch as the demonstrators used no force beyond the presence of their own bodies or other obstacles to passage.” (p.163). The new feature was, that protesting persons take the risk of being a victim of violence without a violent response from themselves. The intention is to “convert temporary antagonists into permanent friends”. Through the repercussions in mass media protesting persons can reach larger audiences and touch “uninvolved or possibly sympathetic bystanders” (p.163). Such new forms of participatory democracy, acting in the public arena, are stretching the idea of peaceful protest to its limit, where the freedom of others might be impinged. Participatory democracy, therefore, is a balancing act. Some recent forms of protest, in fact, have their origins in the 1960s or the year 1968 a focal point. They continue to be influential 55 years later in many countries and at all instances where basic freedoms or minority rights are violated or threatened.
Protest has also moved online. Internet sites are not only used for simple communication, but they serve as port of entry to prepare and organise protest. High-jacking of company or political adverts in the public arena can be taken online as well. Challenges to conventional politics and media representation is enacted through webpages like www.adbusters.org or www.indymedia.org the latter page comprises a whole network of local activist groups. Brian D. Loader (2003, p.1320) has added activist approaches against particular corporations to the list of online protest forms. Through public shaming of brands these activists attempt to raise awareness of the public for abusive employment practices, cruelty towards animals, environmental disasters or fake information using online channels like social media, email-lists or chatgroups via mobile phone numbers. The funding of protesting persons is another relatively new form which ranges from crowd-funding initiatives through platforms as well as forms of corruptive practices applied by states or corporate interests. Protest against protest is online and offline the next round of activist forms of protest. Democracy, law and the police have to balance out these new forms of protest. Learning about the way democracy functions is a continuous task, some would say a continuous struggle. Evaluations of the short-term or long-term effectiveness of protests yields important insights about the functioning of democracies and autocratic regimes. New forms of protest need new forms of measuring impact as well. 
60s
“Make love, not war”, is a summary slogan of all sorts of protests that have moved the sixties. With the spread of television impressive images caught attention no longer just locally, but almost across the whole world. With the inauguration of political debates on TV between Kennedy and Nixon, reaching millions of persons at once and images travelling borders faster than to translate text, spreading of new ideas and political actions was more rapid and more emotional. Commonly the 60s are described as the sex, drug and rock-n-roll period. But there is much more to it. Yes, the sex revolution got started and access to, as well as experimenting with, drugs became more widely spread. Music became a defining moment for young people from teenage years onwards. After Rock n Roll from the 50s, came the rock music and pop culture, which were able to bring together huge crowds of several hundred thousand party-goers. The Woodstock festival and hippie gatherings became a defining moment mainly for the young. Older generations still battled for affordable housing and the “Great society”, as a large-scale anti-poverty program was called.
The phenomenon of the Beatles co-defined the 60s. The Beatles captured more than just one generation with their popular songs and iconic style. Mary Quant, attributed to have designed the mini-skirt, equally co-defined a period with a visual provocation to conservative life-styles. In parallel, the sixties saw the civil rights movement grow, Black Power succeeding with peaceful actions more widespread attention, leading to the abolition of openly racist practices. The peaceful movements and happenings, however, had to face the deadly attacks on J.F. Kennedy and Martin Luther King during the 60s. The whole decade was influential in the field of education as well. Based on a new spirit of altruism and happiness combined with, but also beyond religious feelings, new forms of living together, sharing and the common good were tried out. Anti-authoritarian educational practices were influential beyond the 60s.
Books covering the 60s are manifold. In addition to Arthur Marwick’s impressive, multi-faceted volume “The sixities”, I enjoyed the book by David Burner “Making peace with the 60s”, especially his approach to burn some received wisdoms about the 60s, namely the restriction of it to those 10 years. “The withering away of philosophy”, the beginnings of postmodernism and a theory-driven or conceptual approach to the decade, amongst other topics, is the merit of Fredric Jameson (1984, p.192). “The 60s without apology” is a programmatic title well worth thinking about seriously as the editors and authors did.
Besides the ecological disasters of the 60s already, (nuclear, oil and wars), Mini Cooper cars, Lava Lamps as well as Blow or Ball Chairs, Barbies, Frisbees, Brigitte Bardot and Pippi Longstocking (Patricia Massó, 2010), all were dressed to impress. “The 60s without apology” by a group of editors nicely summarises the review of the 60s and their lasting effects on us, for better and/or worse. 2 generations later in 2023 youth is again threatening mass mobilisation in France as depicted in LeMonde 4.2.2023. It is a kind of “déjà vu experience”. 
Time3
The evolution of time is fascinating as research topic. Both in theoretical as well as empirical approaches. Beyond the precise measurement of time and the use of time in measuring working time, which intensified during the industrial revolution, we witness continued struggles over the length and the organisation of working time. The 30+X hours week working time could be reorganised into a 4-days week to improve work-life balances for millions of people. The effects are not only on employees directly concerned, but also on their families and/or households involved.
The changing perception of time (as being short of time) and its evolution over time needs huge surveys collected over time (known as “Time use studies”). Inequality over the life course remains an issue with a persistent gender bias. Unhealthy and excessive overtime work is still a problem, usually negated by upper ranks in hierarchies.
Let us start to imagine different concepts of time to maybe one day overcome the shortcomings of our current understanding and use of time. Usually, time is considered a linear concept, one day follows another day and so on. Time, depicted as an arrow or a horizontal axis in graphical representations, is helpful for most processes we observe. If our aim is to explain a social process which evolves over time, we could perceive time as running with different speed in, for example, urban and rural areas of the same country. The liberalisation of women or peace movements evolved or spread with different speed in different regions. The 60s became known for many women as the decade when the control of reproduction allowed different life styles. Concerning reproductive behaviour and divorce rates a break in series compared to previous periods is observable, reduction of reproduction and diffusion of divorce throughout societies. Instead of continuous time we might speak of discrete time, in for example decades like the 60s, 70s, 80s. In retrospect “social time” seems to have passed faster in one decade than the other. We might also imagine time as growing exponentially as time². Taking into account the slowing down and successive rise again of evolution over time, the time trend might look like a rising wave (time² + time³). In econometric models testing of such hypotheses is feasible, although it is more difficult to convince reviewers of an alternative theoretical model of time.
An investigation of trends of democratic behaviour over time would need to adjust for the potential and sometime measurable return of undemocratic practices for periods. A depiction of such “social time” of democracies as an upward rising line with periodic relapses is a plausible theoretical framework. Trajectories of inwards or outwards spiralling processes are already fairly complex trends for the process of democratisation as the phenomenon to explain or the modelling of a time trend to explain the level of democratisation reached so far. Challenges of time frames for independent and dependent variables in social processes might be questioned altogether to claim that time is a spurious occurrence of events much like a process of a so-called “Brownian motion” also named white noise. In fact, not being explicit about the concept of time applied in social analyses amounts to a severe neglect. Examples of such neglect are certainly all those cross-section studies, still pervasive practice, in social sciences or opinion polls. The linear concept of time, as a chronologically processing arrow of time, is a convention useful for synchronisation of action. However, this synchronisation is already debated more forcefully with more persons being unsatisfied with the use of synchronisation as a tool to regulate our “social time” and social processes. Time zones, summer and winter times challenge our day-to-day perception of everybody living at the same time, speed or intensity. Bedtime for me, wake-up call for others, or vice versa. 
70s
In autumn 2019 the Cosmopolitan featured a headline “Stop fighting it: the ´70s are back”. At least in fashion the 70s are still with us. Platform soles, moon boots, hot pants, all had their first appearance in the 70s. We keep seeing them in fashion shows even 50 years later. In politics, the retreat of the U.S. from Vietnam in 1972, with more than 50.000 killed soldiers from the U.S. and many more Vietnamese persons, is certainly a success of the sizable activists’ peace movement of the 60s. Willy Brandt’s kneeling in Warsaw in front of the heroes monument in honour of the Warsaw ghetto marked the beginning of a reconciliation with Eastern parts of Europe.
The oil crises 1973 and 1979 caused mass unemployment and from the beginning of the 70s “Greenpeace” started its on-site activist approach against nuclear weapons, killing of whales and dumping of toxic waste. The network of independent organisations is contemporaneous to the invention of e-mail between large so-called mainframe computers using the now common address format x@y.z. The feminist movement achieved major successes with a UN resolution to ban discrimination against women. The male dominated aggressive and excessive punk movement occurred almost in parallel. New products like the Polaroid camera for instant photos and prints, video cassette recorder, the chopper bike “Bonanza” as well as the collapsible Maclaren Buggy for children defined a lifestyle around a more mobile society. Plastic furniture, bright colours with uncommon combinations brought with it a more diverse culture. Societies exploded into different lifestyles. Some taking the new Concorde, so-called supersonic speed delta airplane between Paris and New York, whereas others walked around in “wooden clogs” as a kind of folk fashion, watched Kojak the bold police inspector, listened or sang to ABBA tunes, danced like in “Saturday night fever”. In December 1979 Pink Floyd released “The Wall” which became with 23 million sales the top seller of all 70s productions (Champ Hamish p.120). Some of these artists we can still enjoy jumping up and down on stages across the world or being honoured with a Nobel prize in literature like Bruce Springsteen.
The wild 70s are remembered for the sexual revolution, the philosophy of love and peace as well as the continued spirit of the civil rights movements (Particia Massó, 2010). The sexual revolution spurred women’s liberation just as additional exploitation by thriving borderless consumption industry. Sex sells and it sold well. The cinema and print industry cashed in on the new trends and the spreading the new trends. Social relationships became much more unstable, divorce rates increased sharply in the 70s. In response, “surviving the 70s” (DeMott, 1971) a kind of survival guide tried to give advice of how to stem the tide, largely unsuccess for some decades.
Societies continued to explore new forms of life, while some niches of conservative life styles started to shield themselves from these outrageous trends. Vasarely imitating tapestry and design invited new forms of facing your own walls. Where to go on from this liberalisation? More equal rights for all, was a claim, but it took several additional decades to achieve some of the claims. Intersectionality, viewing for example violence as an across gender, social class and ethnicity as an overall mankind issue, became a claim much later only. “All in all, it was just bricks in the wall”, a huge wall it still is. We haven’t climbed it yet. 
80s
The colourful 80s. That could be a summary of the years from 1980 to 1989. Certainly in fashion and design a multitude of colours dominated the 80s. Mariel Marohn (2010, Ed.) published 20 years later a visual summary of the 80s. Often thought as less spectacular than other decades, the 80s had seen some defeats to start with. John Lennon shot dead in New York December 1980. The NASA space shuttle Challenger explodes 2 minutes after the launch in 1986. Nuclear accidents (after three mile island 1979, Tschernobyl 1986,or the finding of the Titanic demonstrated not only the “limits to growth” (1972), but reminded us of deadly consequences of technological ambitions wanting to move too fast in time. Ghettoblaster, Walkman, first cell phones, facilitated a more mobile life style to more people. Overcoming the oil crises of the 70s, mobility roared ahead again. Cars, bikes, planes, CDs, windsurfing and aerobics become part of the lifestyle in these years.
Mass culture in music reached all levels of society. Music was no longer perceived as a protest movement, but a normal part of the freedom of expression. Fusion of music and dance, but also music and street art like in hip-hop music and graffiti art become part of day-to-day experiences of commuters. In the anthology of poems of the 80s we find on page 141 “Commuters” by Edward Hirsch 1983 who singles out the commuting practice as the way of life, he does not want to identify with. “Malgré lui”, in spite of himself, he finds himself in cars, trains travelling distances every day. More, faster and with more colours, time moved on. The fall of the Berlin wall 1989 was thought of as a “Zeitenwende” already. Royalty in the press with the marriage of Diana & Charles, was replaced by Madonna as the Queen of Pop and Michael Jackson as the King of Pop. The digital age entered into a new era with the Apple Macintosh desktop computer with an accessible visual interface to computing. Reaganomics and Thatcherism pushed for a revival of liberal market economies ploughing the fields for digital multinationals (GAFAM) to thrive ever since. These lasting technological changes define this period as colourful, grabbing all our senses and attention. Want to breathe a bit of the air of the 80s – visit MAD Paris. 
Time2
The concept of time has been dominated by “chronometry”. We used to take a look at our more or less reliable wrist watch for orientation in time. This is a cultural practice in all societies where such devices are readily available as consumer products. Before this time, even in the Europe, church bells or the sun played the role to locate people in time (Norbert Elias on civilization). Nowadays, even in remote areas of our planet the mobile phone has taken over to assist us to organize time. In the sociology of time, we observe multiple clocks. The personal time, social time – organized through laws, collective agreements, conventions or as behavioural features of us. So-called early birds have a specific awakening response of their cortisol level in their blood. For others this is delayed. We might conclude from this that different clocks are ticking within us. The societal challenge is to synchronize them. Starting time of schooling is another phenomenon of societal construction of life courses. Starting or ending time of a school day, week, month, year, adulthood, all are determined collectively and changed from time to time. Beyond points in time, there are durations in time to consider. Life spans are socially determined. Life expectancy varies a lot by social class and education levels. Therefore, at least in retrospect and keeping the duration constant across persons, life time clocks are ticking with different speeds for us as individual persons.
In the digital age and powerful search engines based on “web crawlers” we live more than ever in a global state of mind. Awareness of “global history of history” (Woolf, 2011) allows us to add perspectives from several parts of the world to our own version of history, historiographies and histories. Collective memories are continuously shaped and recreated. Due to easy reference to chronological time a perspective following decades has become a sort of collective mind map. This influences directly or indirectly through peer behaviour and preferences our own mindsets (Blanning, 2008 p.307). From a sociological point of view decades are at the crossroads of time, period and cohort effects, potentially mixing up all 3 effects. However, statistically speaking we might apply a spline function -´ to our otherwise / linear running of time. Thick description of decades like the 60s, 70s, 80s, is common practice in our communicative practices, preferences as well as behavioural features. A dialectic co-evolution of decades, one negating the other or one decade being a synthesis of 2 other decades are part of the critical assessment of lasting contributions to history through histories (Paul Ricoeur). 
Linguistics2
Languages are simple once you understood the making of them. Take children, they learn the alphabet first, and use notions or images in alphabetical order, which you associate with this list of short words from A to Z in western cultures. From short words like “Cat” and “Dog” the learner moves on to longer ones like “Bird”, just 4 letters now. More advanced learners then use more letter words like “supercalifragilisticexpialidocious” invented for amusement in the Disney-film Mary Poppins. It sounds a bit like one of those never-ending long German words with lots of nouns just added on. This is exactly what we shall do in the following. A bit like in computational linguistics when ChatGPT is predicting the next word, we use algorithmic thining to form new combinations of an alphabetical list of notions. We start in the table below with column 1, then tell our spreadsheet to copy cells A1-01 to Z1-26 list and insert it in the second column just one cell below and insert Z2-27 at the place on the top of the list of column 2, which is A2-01. Then take this column 2 and repeat. Stop after, lets say the repeat counter is N=25.
The first 2 words combination then is “Action Zero”. Take this, enter it into Computer Search and take the top entry. “ActionZero” is an actual company name proposing actions to achieve net-zero emissions. Following this, we produce a whole encyclopedia of pretty up-to-date knowledge from the WWW with hardly any humans involved anymore. We only need to cut out duplicates and nonsense entries. That’s what most editors or teachers are used to do. Knowledge creation might no longer be reserved to the human species. Oh my God – but the machine might eventually sort this word out as nonsense concept, too. The new mantra could be ZeroGod or let us try the reset like in GodZero. In other words we move from HamletMachine to our own KnowledgeMachine. 
knowledgeable
It is the role of scientists to ask questions. “The New Scientist” asked in one of its recent editions the fundamental question of what are the limits to knowledge? Nice, they provide 5 parts of an answer to the question. (1) According to Karl Popper, the falsification guy, knowledge is only valid as long as it has not yet been falsified. Hence, a limit to knowledge exists where we cannot falsify a hypothesis or theory, i.e. for example when empirical measurement is impossible. (2) Mary Douglas’s messy problems have been claimed as another limit, or as the New Scientist puts it, “when things are outrageously complicated”. Chaos theory, applied in climate modelling leads us to learn about the potentially huge impact of tiny, little things. (3) Our tools to look into the sky have improved since Ticho Brahe‘s time before the telescope was invented. Most of our knowledge about the universe has only be as accurate as the tools to capture radiation or to observe planetary movements. Therefore, the next limit arises from the fact, “when our best tool to describe the universe may be unreliable”. (4) “When we can’t directly experience something”, we might be unable to understand the concept of colour another person or animal is experiencing. Listening to colours is possible for some, but generally we would not accept such experiences without recourse to drugs, maybe. Bats use ultrasound frequencies, especially trained blind persons use “click sounds” for orientation. Dialetheism is another branch of the philosophy of science and knowledge, a bit hard to digest, as empirical evidence may lose its importance. Its all dialectic or what? (5) If “logic itself is fatally flawed”, what are we left with to construct as knowledge, beyond logical sequences or even causality itself is in question. The Condorcet paradoxon or the impossibility theorem shown by Ken Arrow is an example where it is impossible or very tricky to arrive at a logically consistent solution to a social choice issue. Our tree of science and knowledge grows, undeniably, every second even. Where are we located in this forest now? Thinking of a tree up-side-down shows some have roots even bigger than the visible branches.
Does the Panda bear in the Berlin Zoo have a cognitive map of the cage in his mind? Do they care? Only recently they even had a baby Panda bear there. 
Romanatik2
Zur romantischen Periode gehören die bekannten Lieder von Schumann und Schubert. Meine Auswahl dazu liebäugelt besonders mit den Liedern zum Lindenbaum. Die Linde mit ihrem süßlichen Duft an warmen Tagen hat Malende der Romantik sowie die Dichtenden und Komponierenden betört. “Am Brunnen vor dem Tore da steht ein Lindenbaum …” kannte vor 50 Jahren jedes Kind. Etwas weniger bekannt sind die fabelhaften Rückert-Lieder von Gustav Mahler: “Ich atmet’ einen linden Duft …”. Für mich steht dabei die Atmosphäre in der Nähe der Linde im Vordergrund. “Unter den Linden” assoziieren viele nur noch mit der Verkehr in der Hauptstadt auf dem Weg zum Brandenburger Tor. Zum Reinhören und Reinversetzen in die Romantik sind die Lieder ein idealer Weg. Der Frühlingsglaube (Schubert Op.20.2) besingt die linden Lüfte und das Aufblühen der Natur. Es keimt die Hoffnung auf, dass sich alles zum Besseren wendet. Doch etwas Skepsis ist schon angebracht. Im Lied “Die abgeblühte Linde“, ebenfalls von Schubert vertont, ist dann das Altern und die Treue thematisiert. Der Zyklus der Natur und Jahreszeiten nimmt scheinbar unaufhaltsam seinen Lauf. “Nur der Gärtner bleibt ihr treu, denn er liebt in ihr den Baum”. Das weise Herz will Gärtnern und erhalten, was so viele Emotionen und Optimismus hervorgebracht hat. Wir müssen die Bäume retten, aus Pflicht die Romantik inklusiv und erlebbar zu erhalten. Dazu können wir mit den Linden ja schon einmal anfangen. 
Romantik
Caspar David Friedrich gehört zum kollektiven Gedächtnis als Vertreter der Romantik und das nicht nur in Deutschland (see USA 2025). Seine stimmungsgeladenen Landschaftsgemälde und Zeichnungen sind einprägsam. Auf Rügen lässt sich nach 200 Jahren noch die Stimmung erahnen, die er einfangen wollte. Weiße Kreidefelsen, Königsstuhl und lange Strände können dort noch bewundert werden.
Große Anstrengungen sind nötig und werden bereits unternommen, um dieses Naturspektakel für die zukünftigen Generationen zu erhalten. Die brüchigen Kreidefelsen werden einer Erhöhung des Meeresspiegels und stärkeren Unwettern durch den Klimawandel nur schwer widerstehen können. Unsere kollektiven Schätze der Erinnerungen werden immer öfter mit kollektivem Versagen einhergehen, eventuell auch Denkmäler erhalten zu können.
Wie erklären wir unser kollektives Versagen einmal unseren Kindern und Enkelkindern sowie den zu erwartenden Leidtragenden des raschen Klimawandels? Die überaus erfolgreiche Entertainmentindustrie dröhnt uns schon den Kopf so zu, dass wir Bedenken verdrängen können. Romantik ist eh von gestern und nur was für nostalgisch veranlagte Menschen.
War schön sich einen Caspar-David-Friedrich-Moment gegönnt zu haben im Winterlicht bevor der alljährliche Overtourism wieder zuschlägt.
Link zu Gemälde Überblick bei www.wikiart.com
Photo
Photography has captured our imagination for years already.
It is now a daily activity of many people to “capture their experience”, if not even their existence in some photographed way. Susan Sontag (1977) coined the phrase that photography “feels like knowledge – and, therefore, like power”. You are in a relation to the world. Taking the photograph in my view is the Mephistopheles moment. You are in control of the object taken by the camera. Arranging the scenery, waiting for the perfect moment, expression, light or colours is like mastering a situation, an atmosphere, an emotion. Photographs have the power to work as a document. Editing has become easy and pervasive with digital tools. However, it was always present in the traditional technical parts of shooting and developing subsequently in the dark room.
“to be taken” on a photograph is more like the Faustian moment of realising that you are manipulated, or at risk of being made use of, for some purpose, unknown to you at that moment.
Beware, a photograph is always just an image of an image. The photographer is the intermediate person using a specific technology to transform his perception or vision of (her/his) reality into another image of it, creating some form of virtual reality.
In addition to this twofold transformation, the third transformation is historically the technical development of the negative into the print (see below). Nowadays, this is the compression and editing into a specific format. Despite these transformations, a photograph is admitted in court cases as providing evidence of guilt or to identify an illicit act (excess of speed limit). Infringements on privacy are the rule rather than the exception. Who is that person sitting next to you, and at what time of the day?
I, personally, apply photographs often like note-taking for research to capture spontaneous ideas or associations, which await further interpretation or may serve (served) as inspiration.
Compared to photography, painting has been a more elite artistic practice for many years. Taking photographs has democratised the image-taking art forms. Instead of originals, many of us have collections of photos from museums around the world. We take “photos of photos” to reveal the world around us and reflect on values. The social construction of the world is directly visible through the process of taking, collecting and curating photographs. Construct your own world or the world will construct or deconstruct you instead.
Politicians (e.g. Angela Merkel), John F. Kennedy or historical figures, all had their defining moment condensed into one or several photographs, what have been famous paintings in art history before. Susan Sontag wrote 50 years ago: “… a photograph can be treated as a narrowly selective transparency”. The third transformation of developing and/editing, shown in the images below, explains what we might learn from this citation in a technical sense. Just as courts have to evaluate, whether a proof is admittable and contributing to finding the truth; viewing photographs is a balancing act between art and truth.
“Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience.” (Sontag, p.6). Photographs document sequences of consumption. We should frame this as CO2 footprints in the 21st century. Restricting print to a few “best of” was and is necessary to reduce the dirty footprint of photography, particularly since photos have become a mass media as much as the preferred media of masses.
With photographs we certify our own certificates, for example in case of job applications or passports. We encounter “cosmopolitans accumulating photograph-trophies” in all instagram-able locations.
Taking photos is like a “friendly imitation of work” (p.9), you do something useful in documenting the images of a world in danger of being lost. We can give importance to otherwise forgotten realities, attach importance even immortality to something or someone of our choice. We make history through it or try to make it at least. “When we are afraid, we shoot. But when we are nostalgic, we take pictures.” (p.9) Sontag defines photographs as part of the repertoire of surrealism (p.77 ff), “to finding beautiful what other people found ugly or without interest and relevance …”). We are at risk to mistake photographs as reality and experience the original as “letdown” (p.147). The return to polaroid instant photography brings us back to a proclaimed authenticity of the orginal, unique moments, with supposed unfiltered not-edited images. The true moment of having had fun or joint experience without use of photoshop to add the missing member.
“I take photos, therefore I am”, has become the mantra of modern societies. We tend to ignore that we are taken on photos a million more times than we take some ourselves (video surveillance). It is a question of power in the end. Edit yourself or you become edited.
(Image: Prix du Tirage photographique BnF 2022 Laurent Lafolie, photo below). 
Flotow Analyse
Interessant ist der Aufsatz über Flotows’ Martha, der vor einigen Jahren in einer musikwissenschaftlichen Zeitschrift erschienen ist. Anselm Gerhard ordnet die Oper unter Berücksichtigung des Werdegangs des Aristokraten Flotow dem französischen Stil der Oper zu. Das Schicksal des von Flotow war es wohl, mit seiner aristokratischen Herkunft aus Preußen, Deutschland, ein Uraufführung in Österreich, dann mit Bel Canto assoziert überwiegend auf italienisch aufgeführt zu werden (Metropolitan Opera 1914? mit Caruso), aber ein französisches Opernschema basierend auf einer irischen Volksmusik mit einer Story in England zu verbinden. Kosmopolitisch nennen wir das im 21.-ten Jahrhundert, nicht oder schwer nationalistisch verwertbar im 19. und 20.-ten Jahrhundert. Für die Handschriften ist es wohl am besten, gleich in die Bibliothèque nationale de France (BnF) zu fahren. Im Saal Richelieu ist das dazu passende kunstgeschichtliche Ambiente noch nachvollziehbar. Quelle:
Gerhard, A. (2004). „Tinta musicale“ Flotows „Martha“ und die Frage nach Möglichkeiten und Grenzen Musikalischer Analyse in Opern des 19. Jahrhunderts. Archiv für Musikwissenschaft, 61(1), 1–18. 
Zigarre
Die Zeiten, in denen Zigarrenrauchen Schlagzeilen machten, sind eigentlich lange vorüber. Heute wundern wir uns lediglich über die Sorglosigkeit der Personen bezüblich ihrer Gesundheit. Friedrich von Flotow hat die Szene im Salon de Marquis de Custine (Paris) in seinen Erinnerungen vorzüglich beschrieben. Die Schriftstellerin George Sand hat die Gemüter mit dieser Rauchszene nachhaltig inspiriert. Frédéric Chopin (1810-1849) hat an diesem Abend seiner (späteren) Mäzenin eine Ovation dargebracht. Flotow hatte sicherlich einen inspirierenden Abend verbracht. Seine unveröffentlicht gebliebenen Memoiren wurden von seiner 3. Frau publiziert. Ein Vorabdruck auf Schwedisch habe ich in der Svensk Musiktidning vom 15-8-1883 gefunden. Datiert ca 6 Monate nach seinem Tod, heute vor 140 Jahren, ist das eine Würdigung des Komponisten in Schweden und eine Anerkennung der Aufarbeitung und Verbreitung seines Werks durch seine Frau. Die Aristokraten und ihre Kreise waren Anregung für viele künstlerische Kreise. Das wohlhabende Bürgertum hat später diese Rolle übernommen. Heute brauchen wir zahlreiche öffentliche und private Stiftungen oder Crowd-Funding für diese Events und Inspirationen.
(Quelle: Flotow, Friedrich von. (1883). F. von Flotows minnen. II. En soaré hos marquis de Custine [Beskrivning av G. Sand (baronesse Dudevant) och Chopin]. Svensk musiktidning, 3(16), 121–122. ) 
Writing
“Are you writing or what?”
New research on the fabrication of writing allows to debunk some of the received ideas about writers as living and drafting in a solitary space. However, the facts frequently show something different. In the journal of the BnF (images 2022), (Chroniques des la BnF Nr. 95 p.9 pdf-file) the BnF makes transparent the creative cosmos of Marcel Proust (Exhibition closed). From correspondence and other influential images, we learn about the “fabrique de l’oeuvre”. Far from writing his books from front to end in a linear fashion, Proust drafts “isolated sequences which he mounts, demounts and regroups sometimes even years later. These clippings of text are arranged by him like a patchwork, a collage rather than following a linear progression. Just peeping into the writer’s studio, drafting style and “paperoles” is fascinating. What a mess, some would say. What a huge imaginative space he has been living in, despite being reported to draft most of his work while actually being in his bed (Lire Magazine 12-2022). Beds are not always for sleeping, only. Today’s start-up enterprises frequently start from home, a century ago Proust demonstrated a lot can result from a very tiny physical space, but an enormous space in mind. 
Inspiration
Artists and scientists, all have their sources of inspiration. The most beautiful way of putting this is contained in a poem by Jacques Prévert. “Moi aussi, comme les peintres, j’ai mes modèles…”. The source of inspiration varies from physically present models to imagined ones. Painters and sculptors, we imagine, have their models right in front of them and build on their specific kind of observation, view and vision, seeing more or differently from others, at least since modern times. Poets and authors are believed to draw inspiration from abstraction and imaginative description and narration. Musicians tend to rely on hearing fine-tuned or creative tensions, as much as the resolution in harmonies through sequences of sound. All seem to have a sensitivity beyond the normal and a skill to find a way to transmit to others. Photographers catch representative moments or visualize artifacts and combinations of them in new ways. Scientists are not so different as we might think. Imagination of new hypotheses in established fields is part of their skill set. The transversal skill in all these processes of inspiration is the openness to cross-discipline fertilization. So-called Polymaths reached excellence in more than one field of science, “Polyartists” touch several fields of different arts. Further new innovative combinations of disciplines like they are practices in “centres of advanced studies” are a first step to brings down walls in mindsets and disciplinary ivory tower practices. It will take only a tiny little step forward to come back to the practice of royal courts. The person called “fou du roi” had an important role to play, not only in the game of chess, but in questioning and entertaining leaders. I wish universities, science centres and ministries would allow themselves more of this kind of inspiration. Inspiration is considered here as a source of questioning your own approach from another perspective. Look at your phenomenon of interest with a different model or imagination in mind. New synapses will follow. Let us welcome them to make the world around us a better or more beautiful place. Wait, is more beautiful enough already? Is this a contradiction, better versus more beautiful, or is the latter a subset of the former, or is a tautology anyway? The catalogue of the exposition “Archives des rêves” du Musée d’Orsay gives plenty of insights into images as sources of inspiration for people of all walks of life. 
Giselle
Once upon a time, not at the Opera de la Bastille, but next it, in a small theatre called Théâtre de la Bastille, the fairy tale of “Giselle…” was performed. The world-famous ballet Giselle (Karlsruhe Programmheft) is still amongst the most frequently performed magic piece of classical ballet. What is it about? In short: sex and crime. Yes, and it sells well.
Francois Gremaud tells the classic story of excitement, love, deception, death, regret, haunting and memory in a concise and witty fashion. The exemplary dancer is at the same time the narrator of the story as well as the critic and art historian accompanied by a 4 musicians strong orchestra. The educational piece with a “womanxplainer” on stage is great entertainment, full of references, why it is still okay to like the piece in spite of its fantasy-loaded content. Modern dance (Cunningham, De Keersmaeker) has decoupled or emancipated movement from music. In classical ballet, at least, you still know what comes next and this is aesthetically appealing for most people. Besides Wilfried, no he is not part of the “Wilis” (could be an interesting variant), but in the ballet there figures “Hilarion”. He is not hilarious at all. Splendid entries are from Myrtha (close to Martha, but not quite the same) and, of course, Giselle, when she leaves her tomb and turned into a “Wili”. Then there is Albrecht in a pas de deux with Giselle, swirling between earth and space. Aldi dances like mad on impulse from Myrtha, but Giselle vanishes nevertheless. End of story, or is it? Giselle is a Wili and Aldi is the wally. Maybe the story could be retold like in the film “Billy Elliot – I will dance”, which is an emancipatory tale where dance is the liberation rather than part of the dooming fate.
Francois Gremaud with the astonishing performer and choreographer Samantha van Wissen have created a version of Giselle that is musical, aesthetic, funny and critic. For those who enjoy an epic theatre version of Giselle including its “alienation effects”, referring back to Berthold Brecht, will want to read the script as well, kindly distributed as a gift after the show. 
Employment
Employment is back on top of the agenda. Not as we used to think, though. Previously unemployment had dominated societal concerns. Now it is the lack of persons seeking or available for employment. What has happened? The Covid-19 crisis has demonstrated the need of persons qualified to work in the health sector. From health care and urgency care, we are short of personnel in all these fields, everywhere. 
Then we discovered the role of essential services and the need to equip crucial infrastructures like ports, transport, shops, schools and ambulances with service persons resisting despite work overload. Larger cohorts leave employment to retire, some even early due to illness or burn-out. Additionally, war is back in Europe. Military personnel is in high demand again, drawing largely from younger cohorts. The need for conventional weapons. long thought to be oblivious, is forcefully back on the agenda.
Growth potentials are everywhere. However, these pre-modern facts encounter a population in the western democracies that insists on new approaches to employment. Beyond hard and soft skills, recruiters seek atypical skills, competences and trajectories. A parachute jump from an airplane, cooking and dining experiences, caring spells, periods in self-employment, all are directly or indirectly relevant for employment and teamwork. So, what is your specialty? Collecting stamps? Surely you are able to spot tiny differences in images with specific content. Fake news and fake image detection or video surveillance is in high demand, just try an application and discover the employment potential of your MAD skills. Sounds crazy? No joke. Skill needs are everywhere, just give it a start again and again. Read a serious newspaper regularly (here LeMonde 19.1.2023) for inspiration.
Sublime
The exposition of art work in the MAD “Musée des Arts Décoratifs” in Paris is sublime. Growing out of fashion design into the work of art can be a process of sublimation: passing from one state of designing one product to producing artwork. The intermediate state of artefacts created for designing a product, like the drawings of fashion designers or scenery and costumes in theatre and operas, are often less visible or subject of exposition. Objects become subjects. A trend in recent expositions is to devote more space to the applied arts like stage design, costumes as well as products of everyday use. “Bauhaus” has a lasting effect.
Elsa Schiaparelli has achieved this sublimation. Starting with extravagant fashion design, her designed fashion objects were adopted by Picasso before she developed into the sublime state of artist with her artefacts herself (see below). Now in this process of subjectivation she is the prime subject of an exposition herself. The combination or arts and crafts (Kunsthandwerk) has been always present in art history. The challenge of concepts combined with arts is more recent or just more explicit since the late 19th and 20th century. Being able to live from your artwork is still a challenge, though due to “Mäzene” and state subsidies it is more feasible to follow artistic trajectories. 
Invent
The nice thing about mathematics is that it asks you to invent new ways of thinking. Numbers, percentages, Venn-Diagramms, infinite series etc. have accompanied us at school. The story is far from finished. Under www.spektrum.de there is a nice introduction to the new theory of numbers, called “condensed mathematics“. Their lecture notes (pdf-file) are a tough read. My take home message simply is, the invention of new approaches to old problems, providing more general answers and/or unifying different fields are particularly rewarding. Maths is a fascinating discipline. You study abstract problems, hardly anybody else has had so far, but you are not considered strange as for example some artists at times. Imagine your new world in music, painting or the arts in more general terms or try to become a mathematician. Finding ways to communicate about your predilection and invention is the next challenge. Many scientist, inventors or artists found very few people to talk to about their new stuff. The internet and social media have changed this. Persons with interests or findings beyond the mainstream find colleagues in other parts of the world. Lighthouses from far away become visible through this. Navigation of other possible worlds turns into reality. These specialisations might turn out to be generalisations. The stretch between indepth knowledge and the polymath approach shall accompany us for a long time. Unified theories in several fields are indeed a step to be able to have an oversight about several, but not all fields. Polymaths probably start with condensed maths to move on to other fields of imagination. There is always a risk to get stuck somewhere on the road in a topological space. 