Suchergebnisse

Ergebnisse der amtlichen Volkszählung in Ungarn von 2001 mit Angaben zu Anzahl, Tradition und Muttersprache der Slowenen auf Gemeindeebene.
Der Datensatz wurde für die Datenbank Ethnodoc transkribiert und im Jahre 2010 gespeichert.

Intro -- Copyright -- Contents -- Foreword -- Ellon -- In October in the Kitchen I Listen to My Son -- Object Handling -- When It Hit Me It Was Slow, It Was Multiple -- dining -- Cleaning the Teapot -- 10:15 -- Fish House -- Weekend -- Rhaeadr -- Friday afternoon -- At Limekiln Dock -- Colour Job -- Y Gwdihŵ -- Ice Well -- Waking Up the Stones -- L'Ospedale -- Sign at the Start of the Road -- What Great Speed In Guernsey -- That water -- Mid-Atlantic Ridge -- Dear Loris -- Stuck in a Traffic Jam on the M25 -- Ode to Getting On -- You'll Get to Know Time -- May -- The Seventh Deadly Sin -- Muzzy McIntyre -- 'Wooden boulder (1978)' -- Parkin -- Cigarettes -- Acknowledgements -- About the Emma Press.

CONTENTS -- Preface -- Acknowledgements -- 1. Slow Living in the Global Everyday -- Slow living -- Everyday life -- Global culture -- Slow arts of the self -- 2. Slow Food -- Origins, philosophy and structure -- Projects -- Citt Slow -- New social movements and Slow Food -- 3. Time and Speed -- The temporalities of modernity -- An ethics of time -- Sloworld? -- 4. Space and Place -- Home and work -- Deterritorialization, the local and place -- Terroir and tradition -- Citt Slow -- 5. Food and Pleasure -- Pleasure -- Authenticity and taste -- The shared table -- 6. The Politics of Slow Living -- Visualizing global social movements -- The politics of eco-gastronomy -- Life politics -- Conclusion: Rage against the (bread) machine? -- Endnotes -- Appendix 1: Official Manifesto for the International Movement for the Defense of and the Right to Pleasure -- Bibliography -- Index.

Purpose. Discussion regarding the development potential of large cities with respect to the idea of slow tourism, especially in the context of designated areas of specific city districts. References were made to the city of Cracow.

Method. Analysis of literature on the subject made references to issues related to the idea of slow movement with respect to cities (slow city) and tourism (slow tourism). Analysis of Cracow's case, in the context of the establishment of a slow district which is scheduled in the city, allowed for practical references with respect to the discussed issue.

Findings. The performed analyses showed the complexity of the issue of slow movement, but also its attractiveness for large cities and tourists (e.g. on account of environmental protection). However, popularisation of the idea of slow movement also entails risks, especially related to its mass character and, in effect, its commercialisation.

Research and conclusion limitations. Analysis of literature on the subject only referred to a fragment of the issue and case analysis focused on only one municipal centre.

Practical implications. References were made to specific binding tasks from the Tourism Development Strategy of Cracow.

Originality. References were made to a large municipal centre which, in the context of the slow movement idea, is a rare subject of academic papers. The subject matter was connected to specific examples of slow districts, planned in the strategic document for Cracow.

Type of paper. Overview-type article and case study.

These slides were presented as part of a facilitated discussion at the June 2019 instance of the OpenCon Librarian Community Call (https://www.opencon2018.org/community_calls) on June 11, 2019. ; Drawing on concepts of Slow and Fast articulated in popular and scholarly literature, the presentation discusses Slow as an issue of workplace equity in the context of academic libraries. The event included several modes of engagement: presentation; anonymous discussion using RiseUp Pad, an anonymous web-based real-time collaborative text editor (https://pad.riseup.net/); and timed reflective writing in response to prompts. Attendees were asked to read an article on slow scholarship* in preparation for the call. * Mountz, A., et al. (2015). "For Slow Scholarship: A Feminist Politics of Resistance through Collective Action in the Neoliberal University." ACME: An International Journal for Critical Geographies 14(4), 1235-1259. https://acme-journal.org/index.php/acme/article/view/1058

AbstractThis article develops the idea of slow loss as a relationship to time, space, and feeling that Black feminist theory has described in distinctive ways, helping readers to consider both Black female subjectivity and the stakes of Black feminist theory anew. This article travels with the central and undertheorized place of slow loss in the Black feminist theoretical archive at least in part because of a desire to emphasize Black feminist theory's long-standing investment in understanding and describing the subject position of Black woman.

SLOW DANS, 2019 Ten channel video projection Duration: 25 minutes SLOW DANS is a trilogy of three separate video works: KOHL, FELT TIP and THE TEACHERS which were conceived to be exhibited together. Expressed through a fictional past, an imagined future and a parallel present, each work touches upon recent social and political histories ranging from the systematic abandonment of coal mines, through technological and demographic revolutions of the office, to the corporatisation of education. KOHL, 2018 Four channel video projection Duration: 6 minutes When coal-mines are abandoned, one invisible result is that groundwater swiftly floods the underground tunnel systems. This information provides the premise for KOHL, a four channel video which imagines all the subterranean architectures of coal mining - the only mining architectures that still exist - unified as a single network by the liquid that now courses through them. The title KOHL gives a name to this liquid which, within the fiction of the work, acts as a febrile medium of transmission. Sound travels through it, and in particular, it conveys voice - songs and jokes - as expressive bodily emissions. The story is delivered by four narrators, each 'speaking' through a different projection. The projectors and screens are all oriented vertically, to stand in at various points during the story for flooded mine shafts, carboniferous swamps, ink wells, blackened lungs and digital caches. The work features the 35mm photographs of Albert Walker, courtesy of the National Coal Mining Museum for England, Wakefield. These show mine head architectures during the main period of mine abandonment in the UK, between the late 70s and the late 80s. FELT TIP, 2018 Two channel video projection Duration: 9 minutes In jokes, slang and innuendo, single things can take on multiple names, and different things may share the same name. This elasticity of naming and meaning underpins the short, narrative video called FELT TIP. The title of the work itself is the single name lent to many different things, shown, described or implied during its course. A 'felt tip' is slang for a man's neck tie, when worn by a woman - or so the narrators claim. In the fictional and futurological office world that they describe, a 'felt tip' is also a colloquial term for the fingertips of administrators - predominantly female - who are employed to retain vast corporate archives encoded within the DNA at the ends of their fingers. And within this fiction, it is also still a pen - with a soft, fabric wick. To write is also to commit to memory. This is true individually and collectively. In the digital age we may now only use ink in certain legal rituals, but we still use the word 'write' to describe how we encode files to memory storage. The administrative narrators of FELT TIP, employed to physically bear knowledge which is not their own, usurp and détourne the symbolic efficacy of the neck tie. They use it as a prop to compose a history of inscription - from ink to bytes via the Jacquard loom - and in so doing compose a marker for their own unwritten sexual history. (EP) THE TEACHERS, 2019 Four channel video projection Duration: 10 minutes A chorus of four narrators describe a strange contagion of elective muteness which once spread rapidly through certain professional groups. The worlds of publishing, museums and galleries were all affected to some degree, but academia succumbed particularly. It is primarily because of this - the narrators declare in unison - that all those who declined to speak as part of this phenomenon, soon became known as THE TEACHERS. As a proxy for speech, those affected made elaborate costumes and performed sombre rituals or slow dances. These became infamous for their absurd and profane gestures, and their singular use of oral percussion. For whilst all THE TEACHERS renounced speech, a minority still made a few distinct, non-verbal sounds. These include clicks, howls and hisses. The spine of a book is so called, because early bookbinding used animal hide to make covers, and for the sake of symmetry, aligned the spine of the hide with the fold of the book. The imagery of THE TEACHERS - points to a connection between the opening and closing of the pages of a book with the opening, closing and turning gestures of a human body.

Abstract: Recent critical thinking on anthropogenic climate change has mourned cinema's ability to capture the slow violence of large-scale environmental degradation and foresee a future of environmental disaster that is unchecked because it remains invisible to aesthetic representation. This essay argues that the rise of slow cinema aesthetics, particularly the affective mode of anxiety that it cultivates through the chronic violence of the long take, is one aesthetic approach within contemporary cinema to mediate slow violence. This argument is developed through a close reading of Tsai Ming-liang's film, I Don't Want to Sleep Alone (2006), paying particular attention to the representations of ambient toxicity, the exhausting forms of reproductive labor on display, and the queer forms of intimacy that are cultivated throughout.