sondern vielmehr durch – English Translation – Keybot Dictionary

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  www.vipliving.cz  
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Studien haben gezeigt, dass mehr als die Hälfte der Probleme mit technischen Systemen nicht durch die Technik selbst verursacht wird, sondern vielmehr durch den Benutzer selbst. Individuelle Schulungen der Anwender beugen möglichen Problemen vor und führen zu einer Reduzierung der Servicekosten.
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Studies have shown that more than half of the problems with technical systems are not caused by the technology itself, but rather by the incorrect operation. Individual trainings of the user avoid possible problems and lead to a reduction in service costs.
  kunsthallezurich.ch  
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Dabei entdeckt man, vielleicht zur eigenen Überraschung, dass dieses sehr barock angelegte Werk sich immer auch mit Politik beschäftigt. Jedoch geschieht dies nicht einfach illustrativ und plakativ, sondern vielmehr durch gezielt doppeldeutige Parabeln, die in der Regel genauso viele Fragen aufwerfen wie beantworten.
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Another important strategy in their practice is the inclusion of various artistic worlds that are as respectfully acknowledged as they are shamelessly appropriated and adapted. This ranges from artworks and objects held in their own private collection to broader aspects of Iranian culture. Confronted with their projects, their thinking and art-making, one can learn a great deal about how Iranian artists have absorbed modernity – how, for instance, filmmakers, cartoonists and artists such as Ardeshir Mohasses, Ali Hatami, Mahmoud Khan Saba, Kamran Shirdel, or Noureddin Zarrinkelk combined Persian culture with Western influences and vernacular traditions. One realises that there is another chapter of (dissident) modernity yet to be written.
  2 Hits eipcp.net  
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Sie charakterisiert sich weder durch das Post-Punk-Ethos der ersten Welle noch durch das Party- oder NachtunternehmerInnentum der zweiten Welle, sondern vielmehr durch den Hollywood-Effekt: „the winner takes all“: In der Tat, wenn Großbritannien in Bezug auf den Krieg die Führung der USA akzeptierte, dann orientieren wir uns auch im Feld der Kultur und Kreativität an den USA und der globalen Unterhaltungsindustrie als Quelle für die Modellierung der Arbeitsleben, für die Los-Angelesierung Londons und die Auswirkungen, die das auf andere Regionen Großbritanniens sowie auf die britische Isolationspolitik im Kontext der europäischen Kulturpolitik hat.
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In the 2002 article Club to Company I chart the characteristics of the second wave young creatives in the more ‘speeded up’ cultural economy in the UK which benefits more directly from the growth of new media and the hovering presence of venture capitalists which converge in the clubbing spaces of network sociality (McRobbie 2002, Wittel 2001).[2] These include a) de-specialisation b) hybrid job designations e.g. events organiser, arts advisor c) internships, work for nothing and job creation from unpaid work d) the night economy creating day-time livelihoods with the growth of leisure culture, clubbing and party economy, e) the expansion of network and freelance culture in the light of big institutions undertaking organisational change, shedding the workforce and then taking them back on as self-employed f) the growth of London and other global cities as creative centres for arts and culture as attractions for the finance sector and for tourism and consequently the increase in the labour markets for multi-skilled and adaptable young people, g) decline in possibilities for association and collectivity in the light of the speeded-up new media and internet economy, replacement by network sociality i.e. informal grapevine for job search, in the club, or bar, in culture sector districts. I argued this is a more thoroughly neo-liberalised model. There is hardly any need to deal with bureaucracy, and without any of the anti-discrimination legislation in place what happens is that old and more elite and socially exclusive patterns re-emerge and come to distinguish the world of second wave small scale creative economies. Issues of race and ethnicity, of gender and sexuality have no space for expression because either it is assumed in this cultural field that such issues have now been dealt with and that equality is taken for granted, or else there is such competitive individualisation that there is no forum, no space or time for such concerns to be aired in a public milieu. Hence there is re-internalisation of anxiety, privatised modes of anger or disappointment, the must-try-harder ethos, patterns of self-blame in such a hyper-individualised environment (as Bauman explains) and in addition the non-existence of protection, means that new forms of self reliance must also be invented. (Where it is normal to be holding down let us say four projects at one time, if at least one of them is a contract with a public sector organisation or agency of the state, then there
  2 Hits transversal.at  
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Sie charakterisiert sich weder durch das Post-Punk-Ethos der ersten Welle noch durch das Party- oder NachtunternehmerInnentum der zweiten Welle, sondern vielmehr durch den Hollywood-Effekt: „the winner takes all“: In der Tat, wenn Großbritannien in Bezug auf den Krieg die Führung der USA akzeptierte, dann orientieren wir uns auch im Feld der Kultur und Kreativität an den USA und der globalen Unterhaltungsindustrie als Quelle für die Modellierung der Arbeitsleben, für die Los-Angelesierung Londons und die Auswirkungen, die das auf andere Regionen Großbritanniens sowie auf die britische Isolationspolitik im Kontext der europäischen Kulturpolitik hat.
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In the 2002 article Club to Company I chart the characteristics of the second wave young creatives in the more ‘speeded up’ cultural economy in the UK which benefits more directly from the growth of new media and the hovering presence of venture capitalists which converge in the clubbing spaces of network sociality (McRobbie 2002, Wittel 2001).[2] These include a) de-specialisation b) hybrid job designations e.g. events organiser, arts advisor c) internships, work for nothing and job creation from unpaid work d) the night economy creating day-time livelihoods with the growth of leisure culture, clubbing and party economy, e) the expansion of network and freelance culture in the light of big institutions undertaking organisational change, shedding the workforce and then taking them back on as self-employed f) the growth of London and other global cities as creative centres for arts and culture as attractions for the finance sector and for tourism and consequently the increase in the labour markets for multi-skilled and adaptable young people, g) decline in possibilities for association and collectivity in the light of the speeded-up new media and internet economy, replacement by network sociality i.e. informal grapevine for job search, in the club, or bar, in culture sector districts. I argued this is a more thoroughly neo-liberalised model. There is hardly any need to deal with bureaucracy, and without any of the anti-discrimination legislation in place what happens is that old and more elite and socially exclusive patterns re-emerge and come to distinguish the world of second wave small scale creative economies. Issues of race and ethnicity, of gender and sexuality have no space for expression because either it is assumed in this cultural field that such issues have now been dealt with and that equality is taken for granted, or else there is such competitive individualisation that there is no forum, no space or time for such concerns to be aired in a public milieu. Hence there is re-internalisation of anxiety, privatised modes of anger or disappointment, the must-try-harder ethos, patterns of self-blame in such a hyper-individualised environment (as Bauman explains) and in addition the non-existence of protection, means that new forms of self reliance must also be invented. (Where it is normal to be holding down let us say four projects at one time, if at least one of them is a contract with a public sector organisation or agency of the state, then there
  archive.wilmes.belgium.be  
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Dabei treffen westliche Erwartungshaltung, überlieferte Erinnerungen von Familienmitgliedern und widersprüchliche Eindrücke der orientalischen Großstadt aufeinander. Der touristische Blick wird nicht geleugnet sondern vielmehr durch die Verwendung einer kleinen DV-Handkamera herausgestellt.
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Ascan Breuer was born in Hamburg in 1975. He studied at the Institute of Cultural Studies of the Humboldt University in Berlin, at the University of Vienna and at the Academy of Media Arts in Cologne. His works have been shown at many exhibitions and film festivals, including Videonale 13 and 14 in Bonn, the Berlinale, the Festival de Cannes, DokFest Kasseler Film- und Videotage, the Centre George Pompidou in Paris and MoMA New York. Forst won the prize for Best Short or Documentary Film at the Austrian film festival Diagonale in 2005; Paradise Later received a special mention in the Best International Short Film awards at Planet in Focus in 2010.
  www.kas.de  
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In den auswärtigen Beziehungen der EU mit den muslimischen Ländern erreiche man überdies nichts durch Zwang, Beherrschung und Auferlegung, sondern vielmehr durch das internationale Recht und die internationale Gerechtigkeit.
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Prof. Dr. Tuomo Melasuo, Senior Research Fellow at the Tampere Peace Research Institute –TAPRI (Finland) recalled that the terrorist attacks of 11 September 2001 prompted European Institutions to become aware of the importance of initiating an intercultural dialogue. Since then, the intercultural dimension of both the Euro-Mediterranean institutional dialogue and the European neighbourhood policy has certainly developed; but, according to him however, not in a sufficiently tangible way. The international responsibility of religious communities should not be underestimated and they should be fully associated in this dialogue.