Einfahrt freihalten

Wir alle kennen die Schilder „Einfahrt freihalten“ auf dem Lande und in den Städten. Alle Personen, die eine Art von Garage oder Einfahrt für ihr Zuhause, Firmengelände oder Grundstück haben, sehen sich früher oder später gezwungen andere Personen auf die Einfahrtsmöglichkeit extra hinzuweisen. Ohne Hinweisschild könnte sich jemand die Freiheit nehmen, genau an dieser Stelle sein Vehikel abzustellen und die Ein- und Ausfahrt zu blockieren. Derartiger ziviler Ungehorsam oder einfach Faulheit eine andere, weniger anstößige Parkgelegenheit zu suchen, verleitet ständig zu leidenschaftlich geführten Streitigkeiten. Einsätze vom Ordnungsamt, der Polizei und einem Abschleppdienst gehören zu den üblichen Folgewirkungen. Rechtlich verbriefte Eigentumsrechte gehören in vielen Ländern der Erde zu den höchsten Rechtsgütern.
Interessant sind die verschiedenen Spielarten von „Einfahrt freihalten“ in der deutschen Sprache. „Ausfahrt freihalten“, beispielsweise, suggeriert die Bedeutung des raschen Verlassens, eventuell zu einem Einsatz. Zeitdruck bei der Heimkehr oder beim Wegfahren lassen auf die Begründung der Nachdrücklichkeit der Aufforderung schließen, bitte Ausfahrt freihalten.
Die neueste Berliner Variante der Aufforderung, bitte hier nicht parken, heißt „Freiheit aushalten“. Können wir die Freiheit der Person aushalten, jederzeit dieses Gelände zu verlassen oder zu befahren. Das ist anscheinend eine große Herausforderung an der viele Personen ständig scheitern und ihre eigene Parkfreiheit über die Freiheitsrechte der anderen Personen stellen. Gesellschaftliche und rechtliche Prinzipien lassen sich manchmal an alltäglichen Kleinigkeiten verdeutlichen.

Image History

The archives of the history of movies and/or television show to us the multiple ways how images capture our attention and memories. Visual narratives are an own category of our personal and collective memory. The wide range of visual experiences are a powerful way to influence. Not only the movies and stories matter, but the whole range of images associated with the cinema world. Poster collections, newspapers and today the so-called social media multiply the original images. The Deutsche Kinemathek allows a special, critical understanding of image history as Germany has been using and abusing images and movies in a very manipulating manner historically. The message is: do not take images for face value. The ways and techniques to manipulate images have been widely used and are all around us today. Whereas the mass media in previous decades have dominated the collective memories we have entered into an era with many more subcultures that evolve within their own bubble of images. An original attempt to cut 65 movies of German film history into less than 4 minutes is presented in the exhibition (Milkowski and Simbeni). It focuses on gestures and “les regards”, “Blicke”, how the actresses and actors seem to look at us. Eyes capture attention, and this as soon as we open our eyes as children. Our brain works as image recorder and our memory algorithms tend to favor image recognition while processing images continuously. We do not know much about our own image sorting algorithm or algorithms yet. Research on aging of the brain gives some hints. With declining short term memory the images stored in long term memory take the upper hand. This makes an understanding of the history of images even more important.

City Museums

Some city museums have a difficult time to present the richness of their historical heritage. Additionally, the question of city heritage maybe entangled with a process of nation building and citizenship altogether. The focus I advocate is on the evolution of democracy and the process of civilisation. The Zagreb City Museum on the top of the hill comes pretty close to such a perspective on history or historical perspective. Due to the recent efforts to excavate remains of the iron age underneath the more recent City Museum the historical line of Zagreb civilisation can be traced back even longer. The tumuli are worth a whole new section in the Museum. The process of civilisation with “burying cultures” are more than 2600-3000 years old in Zagreb. Democratisation as a process can also be studied with all its ups and downs over the history of the city and the Croation nation building. Capitals and city live play an important driving force in this process. Zagreb has experienced a bombing of the city centre as recently as 1991 (Banski Dvora) and again in 1995 (city of Zagreb) in the Croatian war of independence.
It is a real pleasure to walk through centuries of historical evolution beginning with the recent excavation of the iron age as well as the arts and crafts since the medieval times. Even passing the horrors of the 2nd world war through the eyes of the author and painter Cata Dujsin (image below from 1944) speak to us even today.
There is no linear process of civilisation which is improving over time. There have always been backlashes and there will be. It is even more important to be aware of the continuous risks to independence and democracy. The current setup of the Zagreb City Museum seems to focus on the Croatian population to remind them of their great heritage. With more English and foreign language subtitles and inscriptions the example of civilisation and democracy will be more accessible for even larger crowds of visitors. The online visit accessible in English is already an excellent appetiser.
The City Museum is moving from the internal Croatian function more and more to additional external function to offer learning experiences beyond the Croatian visitors in this tourist attraction that is internationalising in its work force at a rapid rate.