politische botschaft – English Translation – Keybot Dictionary

  5 Hits www.eurotopics.net  

Show textShow cached sourceOpen source URL	Oscars vermeiden politische Botschaft
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  usem.md  

Show textShow cached sourceOpen source URL	Für sie entwickeln und realisieren wir überdurchschnittlich erfolgreiche Image- oder Informationskampagnen bis hin zu Forschungs- und Förderprogrammen. Integrierte Kommunikationslösungen bringen die gewünschte politische Botschaft zu den gewünschten Zielgruppen – zielgerichtet, kreativ, passgenau und mit höchster Budgeteffizienz.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine lhlk.de as primary domain	Our clients are federal and state agencies, organisations and other public corporations. We develop and implement highly successful image and information campaigns including research and development programmes. Integrated communication solutions carry the desired political message to the appropriate target groups – target-oriented, creative and well coordinated, we remain within your budget.

  www.smb.museum  

Show textShow cached sourceOpen source URL	. Bradleys Arbeiten enthalten häufig eine politische Botschaft. Er parodiert oft Ikonen der Populärkultur oder der Kunstgeschichte, wie die Mona Lisa. Im Laufe seiner Karriere hat Bradley zahlreiche Auszeichnungen erhalten, und seine Werke wurden weltweit ausgestellt.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine smb.museum as primary domain	Bradley’s works often feature political messages, and he loves to parody the Mona Lisa and other icons of popular culture and art history. In the course of his career, Bradley was awarded numerous prizes and his works are internationally exhibited.

  www.gnu.de  

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Dieser Vorteil ist jedoch gleichzeitig ein Nachteil: Die Abnabelung von den politischen Wurzeln stört die Nachhaltigkeit. Durch die Verwendung eines „entpolitisierten“ Begriffs wird die politische Botschaft, die hinter dem Konzept der freien Software steht, verdeckt.

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This advantage is also a disadvantage: by cutting away the political roots one spoils the sustainability. By using a “non-political” term, the political message behind the concepts of free software gets hidden. Someone who uses or develops Open Source Software just for practical considerations will not pass on the social implications of free software—for instance the civil right of informational self-determination.

  proves.www.eurodistricte.cat  

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Niemand - weder die Taliban noch die US-amerikanische Politik - soll dem Rest der Welt eine Homogenität und Standardisierung aufnötigen. Die Gelassenheit, mit der ich vom fanatischen Bildersturm der Taliban erzähle, ist denn auch meine politische Botschaft.

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I view my film as a hymn to the diversity of opinions, religions and cultures. Nobody - neither the Taliban nor American politics - should force the rest of the world into homogeneity and uniformity. The dispassionate way in which I narrate the fanatical iconoclast perpetrated by the Taliban, is also my political message. Of course it is an act of ignorance to knock off the head of a defenceless statue and to destroy it. Yet the response to this ignorance shouldn't be countered by further ignorance.

  www.pac10.co.jp  

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Unterhaltung ist aber neben dem Selbstzweck (wir sind schon zu einem großen Teil sehr dumm und albern) auch Mittel zum Zweck. Wir haben eine politische Botschaft. Nicht klar ausformuliert oder definiert, aber doch omnipräsent.

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First and foremost, we want to entertain our readers. But entertainment is both an end in itself (we’re pretty daft and silly for the most part) and a means to an end. We do have a political message. It’s not explicitly spelled out or defined, but it’s always there. Calling it “left” sounds a bit uptight. We prefer to describe it as “humanist”. Of course, that’s enough to make us left wing these days. We want our playful feel to draw in people who do might not necessarily share our convictions. In doing so, the hope is that we might be able to plant the seeds of our ideas in their heads. Inception. We are automatically a bit different from most other magazines in that we have a clearly defined target group – students. We set ourselves apart from other student magazines by our political conviction, coupled with our apparently unique no-bullshit take on life. What’s more, we don’t make university the focus of everything, but rather the students. We don’t want to engage them just at university, but everywhere. After all, university is just a part of studying. It also involves unbridled hedonism, a critical attitude, a willingness to reflect on things and, quite simply, a more relaxed approach to life. Your time as students is the best of your life, which is nothing to do with the university itself, and that’s what we want to capture.

  3 Hits www.coldjet.com  

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Widerständige Kunst spricht eine mehrdeutige Sprache, die zugleich als ästhetische und politische Botschaft gelesen werden kann, ohne einseitig auf eine Bedeutung zurückzufallen. Sie ist zugleich der passive Widerstand des Steines und der aktive Widerstand der Emanzipation.

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Resistant art speaks a language of ambiguity, allowing it to be read equally for aesthetic and political messages without falling back into a univocal single meaning. It is both the passive resistance of the stone, and the active resistance of emancipation. And it is solely this tension between these two resistances that makes us aware of resistant art, in the formulation of Rancière: “For the resistance of art not to disappear into its opposite, the unsolved tension between the two resistances cannot but remain.”

  www.recettemunicipale.gov.tn  

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Niemand - weder die Taliban noch die US-amerikanische Politik - soll dem Rest der Welt eine Homogenität und Standardisierung aufnötigen. Die Gelassenheit, mit der ich vom fanatischen Bildersturm der Taliban erzähle, ist denn auch meine politische Botschaft.

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The blowing up of the two colossal Buddhas in the remote Bamiyan valley in March 2001 was a beginning. Just six months later the attack on the Twin Towers in New York followed. However, "The Giant Buddhas" is not a film about terror, rather a film about transience, a film about the loss of cultural identity, about the search for truth, beauty and diversity. I was simply interested in looking back on an event that shook the world and decided to embark on a film journey.

  2 Hits newparadigm.schillerinstitute.com  

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In einer Rede vor mexikanischen Akademikern während seines Besuchs in Mexiko 1964 übermittelte er eine philosophische und politische Botschaft, die noch heute, 60 Jahre später, erstaunlich modern ist.

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In that respect, the diplomatic choice our country has made to base its actions on the Sunni Arab monarchies that deny human rights completely, and to attack those countries that are fighting against the same Islamic terrorism that those monarchies support, is totally absurd and contrary to our historical tradition. What’s more, all experts agree that those reactionary regimes will not last long, faced with the threats of internal disputes, of the rise of different oppositions, and the remoteness of their American protector.

  db-artmag.de  

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"Black Box/Chambre Noire" untersucht die Schwierigkeiten bei der Darstellung eines historischen Traumas und verbindet dabei die Möglichkeiten von Zeichnung, Animation, Fotografie, Film, Oper und Theater. Doch wie vermittelt sich dabei Kentridges komplexe politische Botschaft?

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At the Deutsche Guggenheim, "Black Box/Chambre Noire", the installation created by the South African artist William Kentridge, has been meeting with controversial response. It’s no wonder, because Kentridge has directed his attention to a repressed chapter of colonial rule during the era of Wilhelm II: the German massacre on the Herero tribe in German Southwest Africa, today Namibia, during which the tribe was almost completely exterminated in 1904. "Black Box/Chambre Noire" combines the possibilities of drawing, animation, photography, film, opera, and theater to investigate the difficulties in the representation of a historical trauma. Yet how does the artist convey his complex political message?

  2 Hits www.kas.de  

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Verschiedene Programmteile halfen den Teilnehmern, ihre Gedanken auszutauschen und am Ende Fragen zu stellen, die sich um die fundamentalen Probleme in der Beziehung zwischen Journalisten / den Medien einerseits und Politikern andererseits drehen: Was sind die wahren Ziele von Journalisten und Politikern? Sind Journalisten käuflich? Warum konzentrieren sich Journalisten lieber auf private Skandale, als auf die politische Botschaft? Oder ist dies alles nur eine völlig falsche Wahrnehmung?

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Durban, in South Africa’s Kwa-Zulu Natal, was the host city for the fifth political marketing and campaigning workshop conducted by KAS Media to prepare the country’s parties for the upcoming elections in April 2009. Different panels enabled the participants to exchange their thoughts and then address questions which were centered around the fundamental issues of the relation between journalists / the media and politicians: what are the true aims of journalists and politicians? To what extent are journalists biased? Can journalists be bought? Why do journalists rather concentrate on personal scandals than on political messages? Or, is it all only a wrong perception? Different trainers assisted the participants and gave them not only an insight into political campaigning on an international level, but also helpful information for using the Internet, radio, television and print advertising in everyday work life.

  www.akeuropa.eu  

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Vor diesem Hintergrund muss das Abstimmungsverhalten der Europaabgeordneten für eine europäische Finanztransaktionssteuer als klare und wegweisende politische Botschaft verstanden werden: Gegen die Ohnmacht der Politik gegenüber der Finanzindustrie und für eine mutige europäische Politik, die die Bedeutung Europas als soziale Wirtschaftsmacht nutzt, um auch international als Vorbild zu wirken.

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Against this background, the voting behaviour of the MEPs in favour of a European Financial Transaction Tax has to be seen as a clear and groundbreaking political message: against political impotence towards the financial industry and for a courageous European policy, which uses Europe's significance as a social economic power to act as a model also at international level. There is no need to wait for others to make decisions; it is far better to prove decision-making ability and then to convince others.

  2 Hits eipcp.net  

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Als einer Intervention in den städtischen Raum ist an dieser Arbeit interessant, daß sie überhaupt für sechs Wochen an der Stelle stehen konnte. Gegenüber der städtischen Bürokratie wurde von den Künstlern mit Kunst argumentiert, um letztlich eine politische Botschaft zu plazieren.

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Krenn/Ressler set their sights in their work on an interlocking of informing and intervention. The posters on the cube in front of the Viennese Opera House show a typical Viennese facade, as is also to be seen on many of the houses in the immediate surroundings. Only this facade is the facade of a Viennese police prison which is above all designated for prisoners on remand pending deportation. Specially for the tourist strollers (and not only for them) the aesthetisized reflection of the city is broken: the city is not here for everyone. "Not far from here" state racism is being executed and everyone should know it. What is interesting about this work is that, as an intervention in the city space, it was allowed to stand at this site at all for six weeks. With regard to the city bureaucracy, art was used as the argument by the artists, in order in the end to place a political message. In relation to current art and political discussion this is a recommendable strategy. During the six weeks friendly and aggressive comments (ripping down the posters, for example) were added to the cube. As an artistic strategy it involves a confrontational and participatory model in which, in contrast to political information stands, the people could make statements on the texts on the cube and some were also interviewed, but no continued discussion with them took place.

  2 Hits transversal.at  

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Als einer Intervention in den städtischen Raum ist an dieser Arbeit interessant, daß sie überhaupt für sechs Wochen an der Stelle stehen konnte. Gegenüber der städtischen Bürokratie wurde von den Künstlern mit Kunst argumentiert, um letztlich eine politische Botschaft zu plazieren.

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Krenn/Ressler set their sights in their work on an interlocking of informing and intervention. The posters on the cube in front of the Viennese Opera House show a typical Viennese facade, as is also to be seen on many of the houses in the immediate surroundings. Only this facade is the facade of a Viennese police prison which is above all designated for prisoners on remand pending deportation. Specially for the tourist strollers (and not only for them) the aesthetisized reflection of the city is broken: the city is not here for everyone. "Not far from here" state racism is being executed and everyone should know it. What is interesting about this work is that, as an intervention in the city space, it was allowed to stand at this site at all for six weeks. With regard to the city bureaucracy, art was used as the argument by the artists, in order in the end to place a political message. In relation to current art and political discussion this is a recommendable strategy. During the six weeks friendly and aggressive comments (ripping down the posters, for example) were added to the cube. As an artistic strategy it involves a confrontational and participatory model in which, in contrast to political information stands, the people could make statements on the texts on the cube and some were also interviewed, but no continued discussion with them took place.

  www.db-artmag.de  

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"Black Box/Chambre Noire" untersucht die Schwierigkeiten bei der Darstellung eines historischen Traumas und verbindet dabei die Möglichkeiten von Zeichnung, Animation, Fotografie, Film, Oper und Theater. Doch wie vermittelt sich dabei Kentridges komplexe politische Botschaft?

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At the Deutsche Guggenheim, "Black Box/Chambre Noire", the installation created by the South African artist William Kentridge, has been meeting with controversial response. It’s no wonder, because Kentridge has directed his attention to a repressed chapter of colonial rule during the era of Wilhelm II: the German massacre on the Herero tribe in German Southwest Africa, today Namibia, during which the tribe was almost completely exterminated in 1904. "Black Box/Chambre Noire" combines the possibilities of drawing, animation, photography, film, opera, and theater to investigate the difficulties in the representation of a historical trauma. Yet how does the artist convey his complex political message?

  2 Hits www.nato.int  

Show textShow cached sourceOpen source URL	Die politische Botschaft ist simpel: Um wirksam zu sein, müssen Maßnahmen zur Terrorismusbekämpfung entweder alle Angriffsmethoden erschweren oder die Ressourcen der Terroristen verringern. Die meisten der derzeitigen Maßnahmen erreichen weder das eine noch das andere dieser Ziele.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine nato.int as primary domain	The policy message is simple: to be effective, counterterrorism measures must either make all modes of attack more difficult or reduce terrorists’ resources. The majority of today’s counterterrorism initiatives do neither.

  www.db-artmag.com  

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"Black Box/Chambre Noire" untersucht die Schwierigkeiten bei der Darstellung eines historischen Traumas und verbindet dabei die Möglichkeiten von Zeichnung, Animation, Fotografie, Film, Oper und Theater. Doch wie vermittelt sich dabei Kentridges komplexe politische Botschaft?

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At the Deutsche Guggenheim, "Black Box/Chambre Noire", the installation created by the South African artist William Kentridge, has been meeting with controversial response. It’s no wonder, because Kentridge has directed his attention to a repressed chapter of colonial rule during the era of Wilhelm II: the German massacre on the Herero tribe in German Southwest Africa, today Namibia, during which the tribe was almost completely exterminated in 1904. "Black Box/Chambre Noire" combines the possibilities of drawing, animation, photography, film, opera, and theater to investigate the difficulties in the representation of a historical trauma. Yet how does the artist convey his complex political message?

  emmentaler-schaukaeserei.ch  

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Im Kontext solcher finanziellen und technologischen Faktoren, die zunehmend in Richtung einer grünen Transformation wirken, kann die Bedeutung des G-7-Bekenntnisses zur Dekarbonisierung der Weltwirtschaft kaum überschätzt werden. Das gibt Anlass zu verhaltenem Optimismus. Die Schlinge um die Zukunft fossiler Unternehmen und Profite wird enger. Die politische Botschaft ist eindeutig: Kohle und Öl waren gestern. Einerseits.

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In the context of such financial and technological factors driving the green transformation, the significance of the G7’s commitment to decarbonising the global economy can hardly be overestimated. This gives us reason for cautious optimism. The noose is tightening around the future of fossil fuel-based companies and profits. The political message is loud and clear: coal and oil have had their day. That is one side of the story.

  db-artmag.com  

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"Black Box/Chambre Noire" untersucht die Schwierigkeiten bei der Darstellung eines historischen Traumas und verbindet dabei die Möglichkeiten von Zeichnung, Animation, Fotografie, Film, Oper und Theater. Doch wie vermittelt sich dabei Kentridges komplexe politische Botschaft?

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At the Deutsche Guggenheim, "Black Box/Chambre Noire", the installation created by the South African artist William Kentridge, has been meeting with controversial response. It’s no wonder, because Kentridge has directed his attention to a repressed chapter of colonial rule during the era of Wilhelm II: the German massacre on the Herero tribe in German Southwest Africa, today Namibia, during which the tribe was almost completely exterminated in 1904. "Black Box/Chambre Noire" combines the possibilities of drawing, animation, photography, film, opera, and theater to investigate the difficulties in the representation of a historical trauma. Yet how does the artist convey his complex political message?

  fiek.uni-pr.edu  

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Mlcoch führte während der 1970er-Jahre über 20 fotografisch dokumentierte Aktionen durch, die sich oft mit seinen persönlichen oder sozialen Problemen auseinandersetzten und die nicht selten eine ausdrückliche politische Botschaft vermittelten.

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In the 1970s, Czech conceptual and performance artist Jan Mlčoch, born in 1953, was a member of a group of body art artists in Prague—together with Petr Štembera, Karel Miler, and Jiří Kovanda. In socialist Czechoslovakia the medium of performance was one of only few means of free artistic expression, especially after the military invasion of 1968 that replaced “socialism with a human face” with a hard totalitarian regime. During the 1970s, Mlčoch carried out more than twenty actions that were documented in photos, and that often dealt with his own personal or with social problems. Frequently, there was also a clear political message. In these actions he often subjected his own body to extreme physical and psychological situations. Most of these actions were private in character and they were usually performed alone for the camera or for just a small audience. Sometimes the artist directly included his audience, as in “20 Minutes,” a work from 1975. Mlčoch tied a large knife to the end of a long iron bar, sat on the floor and laid the knife on his stomach. Then he asked a member of the audience to sit on the iron bar, and to increase the pressure whenever the artist seemed to lose concentration. This action was intended to last twenty minutes, but because the stopwatch was broken it actually went on for forty-four minutes.

  sensiseeds.com  

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Das Original-Plattencover von „Long Silver John“ von Jefferson Airplane besteht in der Nachbildung einer Zigarrenschachtel, deren Innenraum mit dem Foto einer Cannabispflanze bedeckt ist. Das Debütalbum von Peter Tosh, „Legalize it“, enthält eine politische Botschaft zur Unterstützung der Legalisierung von Cannabis, vor allem seiner medizinischen Nutzung.

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Some of the most striking objects in the exhibition are “Long Silver John” (1972) by Jefferson Airplane, “Legalize It” (1975) by Peter Tosh, and “Purple Haze” (2002) by Groove Armada. The original cover of the record “Long John Silver” by Jefferson Airplane folds into a replica cigarette pack with the inside lined with a photograph of marijuana. Peter Tosh’s debut album “Legalize It” is a political message supporting cannabis legalisation, particularly its medicinal use. Attempts to suppress the song in Jamaica failed, and instead catapulted the reggae musician’s international fame. The cover of Groove Armanda’s song “Purple Haze” refers in a “warholian” way to Purple Haze, a variety of cannabis developed by White Label Seed Company and know for its purple colour and potent effect. This variety in turn takes its name from Jimi Hendrix’s song “Purple Haze” (1967); music and marijuana closing the circle.