Manual Die Elbe: Europas Geschichte im Fluss (German Edition)

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  1. Schiffsuntergang: Dieses Unglück ruinierte die Deutschen in New York - WELT
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The Elbe has been navigable by commercial vessels since , and provides important trade links as far inland as Prague. The contract of lease with Germany, and supervised by the United Kingdom , was signed on February 14, ending in Since the Czech Republic holds the former Czechoslovak legal position.

Before Germany was reunited, waterway transport in Western Germany was hindered by the fact that inland navigation to Hamburg had to pass through the German Democratic Republic. When the two nations were reunited, works were begun to improve and restore the original links: the Magdeburg Water Bridge now allows large barges to cross the Elbe without having to enter the river. The often low water levels of the Elbe no longer hinder navigation to Berlin.

The Elbe is crossed by many ferries, both passenger and car carrying. In downstream order, these include: [8]. Many of these ferries are traditional reaction ferries , a type of cable ferry that uses the current flow of the river to provide propulsion. First attested in Latin as Albis , the name Elbe means "river" or "river-bed" and is nothing more than the High German version of a word albiz found elsewhere in Germanic; cf.

The Elbe has long been an important delineator of European geography. In the Middle Ages it formed the eastern limit of the Empire of Charlemagne. The river's navigable sections were also essential to the success of the Hanseatic League and much trade was carried on its waters. Since the early 6th century the areas east of the rivers Elbe and Saale which had been depopulated since the 4th century were populated by Slavic tribes called the Polabian Slavs. From the 10th century onward, these lands were conquered by the Ottonian Dynasty and slowly Germanized, including during the Wendish Crusade of The Elbe delineated the western parts of Germany from the eastern so-called East Elbia , where soccage and serfdom were more strict and prevailed longer, than westwards of the river, and where feudal lords held bigger estates than in the west.

Thus incumbents of huge land-holdings became characterised as East Elbian Junkers. When the four Lutheran church bodies there united in they chose the name North Elbian Evangelical Lutheran Church. In , as World War II was drawing to a close, Nazi Germany was caught between the armies of the western Allies advancing from the west and the Soviet Union advancing from the east. Introduction by Ernst Heike, Peter Lang. Wenn Berge Weichen, Ibid. Hilliger [5]. Hilliger aus Ratzeburg. Ren ata Sloman, geb. Und sie war Chilenin, jedoch vergessen von der deutschen Geschichte.

Die Slomans bauten das impossanteste Kontorhaus Chilehaus in Hamburg. Die Famile Hilliger aus Lauenburg ist nicht verschwunden. Quellen: 1.

Schiffsuntergang: Dieses Unglück ruinierte die Deutschen in New York - WELT

Einleitung von Ernst Heike, Walter Hilliger. Chile Haus in University of Chicago Press, Keyes, George S. Latour, Bruno. Levinson, Marc. The box. How the shipping container made the world smaller and the world economy bigger Princeton N. J: Oxford, Princeton University Press, Quilley, Geoff, Empire to nation. Swyngedouw, Erik. All sessions are planned as a series of short talks 15mn , followed by a roundtable. As an historian working at Altonaer Museum, I focus on the cultural history of Altona, and of the region of Schleswig and Holstein, because this is what our museum is dealing with.

Altona has been an independent city from to , until it merged with Hamburg. Altona was given a town charter by the Danish crown in , in order to encourage its growth as a city for commerce a port city and a place for commerce and manufacture. Geographically, the city of Altona has always been extremely close to Hamburg, a port city and a center of trade and commerce in Northern Germany since the middle ages. The idea in was to create a competitor to Hamburg in its direct vicinity and increase the economic potential of the Danish crown which controlled the duchies of Schleswig and Holstein, where Altona is situated, but not Hamburg and the region south of the Elbe.

Die Elbe

That attracted people that were not allowed to practice their faith in Hamburg: Jews, Calvinists, Catholics, Mennonites. So, what makes Altona special is that it is — historically - an open city that welcomes foreigners. This is an aspect that is relevant for its inhabitants until today. Being liberal, being a bit different. Yet, it must be said that Hamburg has been the far more successful port city during the last three centuries, which is why Altona is not an independent city any more.

Yet its history is different in many aspects, which is why it is still worth telling it and it is why we still have an entire museum for telling this history. Historically, there has always been a close connection between Altona and its hinterland: The duchies of Schleswig and Holstein, a region that is shaped by its closeness to the sea. In Altona, the goods produced in the region, were traded. In regional culture, the sea is understood as a promise: new, and extremely fertile land can be gained by diking, agriculture can work for export as ports are close — but, on the contrary, the sea is a threat, floods can destroy everything in a couple of hours.

The sea brings wealth for seamen or fishermen, but on the other hand, the profession is dangerous and ships can sink easily. Since the early 19 th century, the sea attracts tourists: still a source of wealth today.

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As for the maritime business, things have changed a lot during the last decades. I will try to talk about how this influences my museum work, trying to explain why the past is still influencing the present. The waterfront and its charming influence on our imagination, changes from region to region. The seascape, the reflecting blue of its light between water and sky, is never the same from Naples to Apulia, from Venice to Amsterdam.

These elements do not create the sense that emerges from the encounter with local anthropological culture.

Dieses Unglück ruinierte die Deutschen in New York

These narratives create new layers to the city, even if they ignore its history and tradition. This presentation provides some narrative examples of cityscapes using photography and video starting from one of the very first European projects on city-port post-industrial representation that took place in Naples in early eighties. The substitution of human labor with robotic technologies is challenging European welfare systems, generating a complex debate about the policies that should be adopted to regulate this process.

This robot tax, some argue, should be used to finance a universal basic income. The robot tax ends up being a tax borne primarily by the manufacturing sector, and not by other sectors of the economy that will likely also invest heavily in automation, including autonomous vehicles in trucking and transport, smart conveyor belts in warehouses, electronic checkouts in retail, etc. However, former warehouse areas in particular are a testing ground for the practical and theoretical implementation of the robot tax, as well as for discussions as to the problems it may cause.

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This script for a role-playing game that does not confine itself to a consideration of a tax on robots that may indeed be introduced in the future, looks at the social and political impact of displacing a large physical labor force and replacing it with automation. Within this context, these notes identify and discuss ethical principles for the development and deployment of robots on social and civil life, leisure and work.

A preamble to the narration reads:. Both now exist in liminal zones, at the de-regulated, toxic edges of the city. In this short presentation, writer and co-curator of aemi Alice Butler will discuss facets of a number of works that featured in port river city , a programme of screenings and site-specific moving image installations that took place in Dublin across the month of September in This talk will focus particularly on works by Vanessa Daws, Dan Shipsides, Peter Hutton and others which suggest a fascination with industry that is bound by an astute understanding and appreciation of the natural world.

Artist Cliona Harmey will discuss how maritime space and the liminal area between sea and land has historically been a frontier of experimentation and invention with communication and signalling technologies whose influence has subsequently radiated back in to the realm of the hinterland and the modern everyday. This talk will focus on the marine debris such as seaweed and drifted wood that can be found on the Greek island of Amorgos.

Discussing with an herb expert, who harvests, dries, distils and distributes wild herbs products, I discovered a strong local lack of interest for the large amount of stranded seaweed, which is said to spoil the landscape and can merely be used for compost. On the beaches, large amounts of drifted wood can also be found. Most driftwood is the remains of trees washed into the ocean, by natural occurrences, or logging.

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They are often used in a variety of crafts. I got particularly interested in the multi folded character of these marine debris which can come from human craft, arrive on human shore as products of the sea and are occasionally reused as artefacts. When it comes to exposing invisible structures, I see strong similarities between the categorising of the taxonomy of plants invasive, decorative, useful , the system of labour career ladder and the hierarchy of creative practices crafts and art.

In this frame, I will look at the seaweed and floating wood as the meeting point between sea, coast and land, from maritime nature to culture and territorial reinventions. The talk sets out to explore the complexity and controversial nature of the environmental threat caused by plastic waste. For over 20 years I have had an opportunity to observe the Baltic Sea closely from a studio situated on Harakka island outside Helsinki. The works consider plastics and its adverse effects on the ecosystem from an aesthetic perspective.

Art works made of plastic waste washed up to shore combine the plasticity of visual arts with the creative and resilient capacity of marine life revealing the challenge plastics present to marine life. The Postcolonial Garden City? What is land? And what is scape? As we all know, human interventions do harm a lot nature. But does nature as we recall even exist any more? As a matter of fact, landscape is a human invention.

It is a perception, a point of view, a representation of the land. Thus, the vast majority of my works are based on these thoughts. The transdisciplinary project combines contemporary art with traditional popular culture and fosters dialogue between people, by sharing traditions, customs and stories from different cultures. Since then BLOCH has been on its journey travelling around the world, making at least one stop on every continent.

In the end Bloch is supposed to return to its origin in Switzerland The tree works with it as own medium and core of crystallization, asks questions and enables communication and collaboration. At each place, new actions, works and productions are developed in cooperation with local artists based on their traditions and customs, becoming part of a growing global Bloch-Archive and Network.

Also it is not the goal is to spread a custom or a production across the globe as a form of cultural imperialism. The BLOCH and its story to date are an experiment, a lab, an invitation to work together, to take up an active dialogue, to participate, partake and foster cultural exchange. Industry and industrious activity were reshaping the land in as yet unforeseen fashion, and the mode through which this revolution was taking place was tightly embedded to artistic technical and representational transformations.

A couple of decades later, and after the adoption of shipping containers in the , the photographer Allan Sekula pondered on the renewed importance of the sea as a major actor in the shaping of our global economies and cultures The world of commerce appears to historically tie the resonance of positive human connectivity and prosperity, and the negative assonance of degradation and competitive pressure, imprinted on landscapes and lived spaces.

Session 4 Global Interconnected histories. Since a largely invisible, ever-shifting and often contradictory latticework of agreements, laws and regulations have rendered the outer edges of the European continent the world's most treacherous border. In my talk I want to explore what that volatile exterior border means for the movement of refugees into the hinterlands of Europe, in particular into Switzerland, that curious country at the heart of Europe that is both included and excluded in the European Union.

It has been useful for me to think both the invisible matrices regulating the maritime waters of the outer border as well as the dispersal of refugees along different routes into Europe with a recent film by Swiss filmmaker Marcus Imhof, entitled Eldorado which both uncovers and obscures how these borders operate by working with stark opposites between the visible and the invisible, the past and the present, and the legal and the illegal.

Switzerland is the prrotopical hinterland. And yet, we have a merchant navy, that compromises more than 40 ships even today. In the haydyas hundreds of Swiss man came to be sailors, many of whom had never seen another country. What was their motivation, was there a certain literary romanticism involved?

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This talk will focus on a lost chapter of Swiss economic history while at the main time look at the motivations and reasons to set out, to what Joseph Conrad, a Pole, did a hundred years earlier. In extensive interviews, she is consulting participants of a historical event. Excerpts of these conversations form the soundtrack of her films and are the basis of her texts. At the same time, she develops with her conversation partners re-enactments of events from the past, moving images that represent a political or social situation.

Looking at a historical event from different perspectives together with its participants. Exchanging ideas with other artists. Building a community of ideas, images, perspectives.

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Seafaring is an example for a variety of viewpoints, of connecting different worlds. The seafarers were the first to report about formerly unknown territories.