61 research outputs found
After the goldrush : Joe Felber, Sasha Grbich, Lisa Harms
No full textCatalogue of an exhibition held at SASA Gallery, Adelaide, 5 May-5 June 2009.Artist: Lisa Harms.
Editor: Mary Knights.
Includes bibliographical references
Unterhaltsanspruch wegen Betreuung eines nichtehelichen Kindes im Vergleich Deutschland – Österreich: Vorschlag für einen Systemwechsel im Recht des deutschen und österreichischen Betreuungsunterhalts
No full textDie Wiener Free-Jazz-Avantgarde: Revolution im Hinterzimmer
No full textThere are some strange stories heard in Viennese jazz scene. Already in the second half of the 1950s, two art students, who were in touch with painters like Arnulf Rainer, Friedensreich Hundertwasser and Ernst Fuchs, experimented with free improvisation – years before this music had a name even in the country of its origin, in the USA. Already in 1961, they did their first official concert – which might be not only the first Austrian free jazz concert, but one of the first performances of this music in whole Europe. While running an own gallery between 1959 and 1965 and hosting the whole Viennese art scene, they continued to develop their music. It wasn’t until 1966 that they had their first Viennese concert as “Masters of Unorthodox Jazz” (MoUJ), and, finally, the year 1969 brought a (modest) breaktrough with a scandalized appearance at the Austrian jazz festival at Vienna Konzerthaus and the release of their first record “Overground” – with cover art by Arnulf Rainer. The art scene remained the main audience until the end of the MoUJ in 1975: There were concerts at the Viennese “Museum of 20th century”, there was a second record with a provocative cover by Franz Ringel. Composers like Kurt Schwertsik and Otto M. Zykan showed interest in this unique free improvised music, Austria’s most famous photographer Franz Hubmann took photos, avantgarde filmmaker Kurt Kren used parts of his MoUJ concert-films for his experimental works.
Another group, the “Reform Art Unit” (RAU) led by multi-instrumentalist Fritz Novotny until today, took over the torch. They came out of another non-music scene: the so-called “Freundeskreis” (circle of friends) around writer Rolf Schwendter. Partly in touch with the MoUJ, the RAU developed a completely different style of free improvisation, on the one hand inspired by contemporary Austrian composers (Giselher Smekal, Günther Rabl, Mia Zabelka), on the other hand by oriental music: The debut “Darjeeling” (1970) was recorded with Indian sitar player Ram Chandra Mistry. In later years they became aware of their personal connections to twelve-tone composer Josef Matthias Hauer, filling the term of “Viennese school of improvised music” with sonic contents.
This work tries to point out the historic chronology of these two groundbreaking but internationally little known groups a) within the context of Austrian jazz history and b) within the context of European free jazz, which is called the movement of double liberation, due to the fact that many improvisers of the Old World for the first time stopped imitating American musicians and became aware of their own cultural roots. So this book reveals an unusual perspective on Austrian cultural history after 1945.Seltsame Kauze sollen das gewesen sein. Und ebenso bizarr wie spannend ist vieles, was über sie an Gerüchten und Geschichten kursiert. Zwei sollen Kunststudenten gewesen sein, ein anderer Jazzbassist, wieder ein anderer klassischer Fagottist im Grazer Philharmonischen Orchester. Nebenbei sollen sie schon in den 50er-Jahren frei improvisierten Jazz gespielt haben, wie er anderswo in Europa erst wesentlich später praktiziert wurde - der konservativen österreichischen Musikszene zum Trotz. Dementsprechend hört man von Skandalen, die auf der Tagesordnung gestanden sein sollen. Offenbar auch, weil sich das Anders-Sein der jungen Männer, um die es hier geht, in ihrer Konvertierung zum Islam und später zur Baha'i-Religion manifestierte, was sie in so exotisch-kriegerischen Namen wie Harun Ghulam Barabbas oder Richard Ahmad Pechoc zur Schau trugen.
Anekdoten- und mythenumrankt sind die Berichte, die man aus der Frühzeit der Wiener Free-Jazz-Avantgarde vernimmt, die sich im Wesentlichen auf die beiden Formationen der "Masters of Unorthodox Jazz" (MoUJ) und der "Reform Art Unit" (RAU) reduzieren lässt. Je stärker das retrospektive Bild durch Musiker-Garn, Fehlinformation und Datenmangel verunklart wird, desto sensationslüsterner und phantasievoller blühen Spekulationen und Mutmaßungen über jene erstaunlicherweise nicht einmal besonders weit zurück liegenden Jahre. "Der Schrecklichste der Schrecken" titelte etwa 1992 ein Artikel in einer Wiener Kultur-Zeitschrift, in dem Walter Muhammad Malli, das einzige heute noch als Musiker aktive Mitglied der MoUJ, kurz vor der Premiere von Peter Zachs ihm gewidmeten Film-Porträt abgehandelt wurde. Das mit MoUJ und RAU assoziierte Geschichtsbild oszilliert heute zwischen als Topoi zu bezeichnenden Klischeevorstellungen: jener der skurrilen Provokateure, der Scharlatanerie verdächtigen Dilettanten einerseits, sowie der der verkannten, isolierten Avantgardisten, die internationale Entwicklungen antizipierten. Die vorliegende Arbeit bringt Licht in dieses bislang gänzlich unaufgearbeitete Kapitel österreichischer Musikgeschichte. Und wirft in der grundlegenden, kritischen Darstellung der chronologischen Ereignisabfolge über den primären Gegenstand hinaus Schlaglichter auf die österreichische, insbesondere die Wiener Nachkriegskunstszene.
Die Chronologie setzt Mitte der 50er Jahre an, als zwei junge Kunststudenten, Schüler sowohl von Carl Unger an der "Angewandten" als auch von Albert Paris Gütersloh an der Akademie der bildenden Künste, ihre gemeinsame Begeisterung für den Jazz entdecken und vorerst ausschließlich im privaten Kämmerlein zu experimentieren beginnen. Künstler-Lokale wie die "Adebar" und des Café Havelka sind Stamm-Domizile der heranreifenden Maler und Zeichner, die sich u. a. als Assistenten von Arnulf Rainer und Friedensreich Hundertwasser verdingen sowie von Ernst Fuchs gefördert werden, darüber hinaus in flüchtigen Kontakt mit den Exponenten der "Wiener Gruppe" kommen (und so Zeugen des 2. "Literarischen Cabarets" 1959 werden). 1959 eröffnen die beiden, kaum 20-jährig, in Wien-Landstraße ihre eigene "Galerie zum Roten Apfel", in der bis 1965 die gesamte Wiener Szeneprominenz ein und aus geht, und in der neben eigenen Werken jene von Martha Jungwirth, Jürgen Leskowa, Hermann Painitz, Othmar Zechyr, einmal auch von Hermann Nitsch u.v.a. ausgestellt werden. Währenddessen dient die Galerie auch als Zentrum für die kontinuierlich weiter betriebenen musikalischen Versuche. Deren erste öffentliche Präsentation bezeichnenderweise nicht in Wien, sondern im neu gegründeten Grazer Forum Stadtpark stattfindet und auch dort nur wütende Pfiffe von Seiten des Publikums erntet. Erst 1966, als die beiden Galeriebetreiber bereits Aufnahme in die Künstlervereinigung "Der Kreis" gefunden haben, können sie und ihre Mitstreiter als "Masters of Unorthodox Jazz" in Wien debütieren. Das Jahr 1969 bringt mit einem skandalumwitterten Konzert beim Amateur-Jazzfestival im Wiener Konzerthaus und dem Platten-Erst
Die Wiener Free-Jazz-Avantgarde: Revolution im Hinterzimmer
No full textThere are some strange stories heard in Viennese jazz scene. Already in the second half of the 1950s, two art students, who were in touch with painters like Arnulf Rainer, Friedensreich Hundertwasser and Ernst Fuchs, experimented with free improvisation – years before this music had a name even in the country of its origin, in the USA. Already in 1961, they did their first official concert – which might be not only the first Austrian free jazz concert, but one of the first performances of this music in whole Europe. While running an own gallery between 1959 and 1965 and hosting the whole Viennese art scene, they continued to develop their music. It wasn’t until 1966 that they had their first Viennese concert as “Masters of Unorthodox Jazz” (MoUJ), and, finally, the year 1969 brought a (modest) breaktrough with a scandalized appearance at the Austrian jazz festival at Vienna Konzerthaus and the release of their first record “Overground” – with cover art by Arnulf Rainer. The art scene remained the main audience until the end of the MoUJ in 1975: There were concerts at the Viennese “Museum of 20th century”, there was a second record with a provocative cover by Franz Ringel. Composers like Kurt Schwertsik and Otto M. Zykan showed interest in this unique free improvised music, Austria’s most famous photographer Franz Hubmann took photos, avantgarde filmmaker Kurt Kren used parts of his MoUJ concert-films for his experimental works.
Another group, the “Reform Art Unit” (RAU) led by multi-instrumentalist Fritz Novotny until today, took over the torch. They came out of another non-music scene: the so-called “Freundeskreis” (circle of friends) around writer Rolf Schwendter. Partly in touch with the MoUJ, the RAU developed a completely different style of free improvisation, on the one hand inspired by contemporary Austrian composers (Giselher Smekal, Günther Rabl, Mia Zabelka), on the other hand by oriental music: The debut “Darjeeling” (1970) was recorded with Indian sitar player Ram Chandra Mistry. In later years they became aware of their personal connections to twelve-tone composer Josef Matthias Hauer, filling the term of “Viennese school of improvised music” with sonic contents.
This work tries to point out the historic chronology of these two groundbreaking but internationally little known groups a) within the context of Austrian jazz history and b) within the context of European free jazz, which is called the movement of double liberation, due to the fact that many improvisers of the Old World for the first time stopped imitating American musicians and became aware of their own cultural roots. So this book reveals an unusual perspective on Austrian cultural history after 1945
Transcultural communication as an ethical challenge in the health sector : current problems and innovative solutions
No full textMigrant/innen erhalten tendenziell eine schlechtere Gesundheitsversorgung als Menschen ohne Migrationshintergrund. Einer der Hauptgründe dafür liegt in der Sprachbarriere. Der Status Quo bei der Überwindung dieser Barriere stellt in Österreich vorwiegend die kurzfristige Beiziehung von Laiendolmetscher/innen, das Kommunizieren „mit Händen und Füßen“ und das Verwenden übersetzter Informationsmaterialien dar. Daraus entstehen Belastungen für Patient/innen und Mitarbeitende im Gesundheitswesen, die auf Basis der Forschungsliteratur gesammelt und diskutiert werden. Teilweise stehen Krankenhäusern Telefon- und Videodolmetschdienste zur Verfügung.Diese Masterarbeit geht der Frage nach, welche professionellen, transkulturellen Kommunikationsmaßnahmen im intramuralen Gesundheitswesen notwendig sind und durch welche rechtlichen Normen und ethische Argumente sich diese begründen lassen. Dafür werden österreichische und steirische Rechtsdokumente herangezogen. In weiterer Folge wird die ethische Dimension anhand der Menschenrechte, der bioethischen Prinzipien nach Beauchamp und Childress und des Genfer Gelöbnisses diskutiert. Sowohl aus den Erkenntnissen aus den rechtlichen Normen als auch aus den ethischen Argumenten werden Kriterien für eine gelingende transkulturelle Kommunikation abgeleitet. Diese Kriterien bilden die Basis für eine Beurteilung des Status Quo der Dolmetschlösungen in Österreich und der aktuellen technischen Innovationen, beispielsweise Dolmetschsoftware. Basierend auf den Ergebnissen der vorliegenden Masterarbeit fordert die Autorin diskriminierungsfreie Kommunikationsmöglichkeiten für alle Patient/innen, konkreter die selbstverständliche Beiziehung professioneller Dolmetscher/innen und/oder die Entwicklung von technischen Dolmetschmöglichkeiten speziell für das Gesundheitswesen unter Einhaltung strenger Datenschutzvorgaben.Migrants often receive poorer health care than people without a migration background. One of the main reasons is the language barrier. At the moment in Austria this barrier is often overcome by using amateur interpreters, by communicating through gestures and by using translated information. These practices put a strain on patients as well as healthcare workers, which is being discussed based on research literature. Some hospitals already have the opportunity to use telephone interpreting or video remote interpreting. This master thesis provides answers to the question of necessity for transcultural communication measures in the health care sector and if so, on which legal and ethical norms it is based on. Austrian and Styrian law offer one basis for this necessity, the other one being ethical dimensions such as human rights, The Principles of Biomedical Ethics (developed by Beauchamp and Childress) and The Declaration of Geneva and their respective arguments. These laws and theories are being compared and discussed using relevant literature. The author derives her own criteria for successful transcultural communication from the previously outlined legal and ethical dimensions. The status quo of interpreting in Austria as well as technological innovations for example interpreting software are judged by applying these criteria. As a conclusion to her findings the author demands communication measures for all patients in intramural healthcare, without any discrimination. Specifically, there is a need for professional interpreters and/or the development of technological interpreting measures that are especially fit for the healthcare sector and fulfill high data protection standards.Anna Felber, BAZusammenfassungen in Deutsch und EnglischAbweichender Titel laut Übersetzung des Verfassers/der VerfasserinMasterarbeit Karl-Franzens-Universität Graz 2020 D1146
Forms and functions of multilingualism in the work of Carmine Abate
No full textElisa Maria Felber: FORMEN UND FUNKTIONEN DER MEHRSPRACHIGKEIT IM WERK CARMINE ABATESCarmine Abate, der als Angehöriger einer albanischen Minderheit in Kalabrien aufwuchs, später nach Deutschland emigrierte und heute im Trentino lebt, positioniert sich als Grenzgänger zwischen verschiedenen Sprachen und Kulturen. Die vorliegende Masterarbeit untersucht, auf welche Art und Weise die lebensweltliche Mehrsprachigkeit des Autors in seine literarischen Prosa- und Lyrikwerke einfließt, in denen er sowohl textübergreifend als auch textimmanent zwischen den Idiomen Italienisch, Arbëresh (einer archaischen Varietät des Albanischen), Deutsch und dem kalabresischen Dialekt wechselt. Anhand der ausgewählten Romane "Il mosaico del tempo grande" (2006), "La festa del ritorno" (2004), "La moto di Scanderbeg" (1999), "Il ballo tondo" (1991), der Erzählsammlung "Il muro dei muri" (1993) und dem Gedichtband "Terre di andata" (1996) werden die darin enthaltenen multilingualen Elemente hinsichtlich ihres formalen Charakters und insbesondere ihrer Funktionalität, das heißt Zweck und Wirkung ihrer literarischen Verwendung, untersucht. Unter Behandlung bestehender Funktionstypologien (insbesondere jener von András Horn, Tatiana Bisanti und Elke Sturm-Trigonakis) wird dabei ein Modell entworfen, das speziell auf das Werk Carmine Abates anwendbar ist und das die folgenden Schwerpunkte erkennen lässt: Während die Mehrsprachigkeit in der Prosa in erster Linie einer realistischen, authentischen Darstellungsweise dient, erfüllt sie in der Lyrik vorwiegend ludisch-experimentelle Funktion. Dabei modelliert die Sprachmischung allgemein jene Themen, die für die Gattung der Migrations- bzw. Minderheitenliteratur (der die Texte Abates zugerechnet werden) typisch sind: Sie erfüllt den Zweck, das Fremde und das Eigene zu markieren, die Koexistenz bzw. den Konflikt zwischen den Sprachen und Kulturen anzuzeigen und die multiple Identität der Figuren sowie des Autors darzustellen.Elisa Maria FelberFORMS AND FUNCTIONS OF MULTILINGUALISMIN THE WORK OF CARMINE ABATECarmine Abate, who grew up in an Italo-Albanian community in Calabria and emigrated to Germany at a young age, living in Trentino today, represents the restless wanderer between different languages and cultures. The thesis at hand investigates the relationship between the author?s multilingual life-experience and his literary work, where he switches between the different idioms: Italian, Arbëresh (an archaic variety of Albanian), German and the Calabrian dialect. On the basis of the selected novels, "Il mosaico del tempo grande" (2006), "La festa del ritorno" (2004), "La moto di Scanderbeg" (1999), "Il ballo tondo" (1991), the short story collection "Il muro dei muri" (1993) and the poetry collection "Terre di andata" (1996), it is the principal aim of this paper to examine the multilingual elements in terms of their formal character and in particular their functionality, i.e. the specific purpose and effect of their literary use. The thesis takes into account different typologies (especially those of András Horn, Tatiana Bisanti and Elke Sturm-Trigonakis) and develops a function model which can be in particular applied to the work of Abate. Basically, it shows that the use of multilingual interferences contributes to a mimetic mode of representation in the narrative genres, whereas in lyricism, it primarily fulfills a ludic experimental function. Generally, the mixture of different languages represents the typical issues of migration or minority literature (the genre Abates works are assigned to): its aim is to mark ?the Self and the Other?, to indicate the coexistence or the conflict between different languages and cultures and to symbolize the multiple identity of the characters as well as of the author.vorgelegt von Elisa Maria FelberAbweichender Titel laut Übersetzung der Verfasserin/des VerfassersGraz, Univ., Masterarb., 2010Text dt., teilw. ital. - Zsfassung dt. und ital
Hypercalcemia in the ED: prevalence, etiology, and outcome
No full textThe aim of the study was to describe the prevalence, demographic, and clinical characteristics and etiologies of hypercalcemia in emergency department patients
Primary Care Physician Workforce 2020 to 2025 - a cross-sectional study for the Canton of Bern.
No full textAIM OF THIS STUDY
The Swiss primary care sector faces a lack in its workforce and the Canton of Bern - the second largest canton (i.e. federal state) - is believed to be more affected than others. To be able to predict a shortage in the overall workforce, reliable numbers for the workforce of all general practitioners (GPs) and paediatricians (primary care physicians, PCPs) actively working in the Canton of Bern are needed. Switzerland has no registry of active PCPs; therefore, our goal was to (1) define the number and characteristics of all PCPs in the Canton of Bern, (2) to establish the workforce density for the whole canton and its administrative districts, and (3) to forecast the next five years with respect to the PCP workforce development.
METHODS
In this cross-sectional study, we contacted all potential PCPs of the Canton of Bern. We included all board-certified physicians in general internal medicine, paediatrics and physicians with the title "Praktischer Arzt (practical doctor)" with a professional license from the available registers (MedReg and the FMH register). All potential PCPs received a questionnaire to assess their involvement in the primary care setting, their personal characteristics including workload (current and in 5 years to allow us to estimate the projected workforce per projected population size in 2025), type of practice, administrative district, and additional questions on their acceptance of new patients and their perception of a shortage in their region. The data from non-responders were collected via follow-up letters, emails and phone calls. The density was calculated as full-time equivalent PCPs per 1000 inhabitants in total and per district.
RESULTS
From all potential PCPs (n = 2217), we identified 972 working in the Canton of Bern, 851 as GPs (88%) and 121 as paediatricians (12%). From these physicians, we had a response rate of 95%. The mean age was 53 years for GPs and 50 years for paediatricians. Thirteen percent of all PCPs were aged 65 or older. The average workload was 7.6 half-days (GPs) and 6.9 half-days (paediatricians). We found a density of 0.75 (95% confidence interval [CI] 0.69-0.81) full-time equivalents per 1000 inhabitants for the total of the Canton of Bern, and a regional variability with densities between 0.59 to 0.93. Without new PCPs, the workforce density of PCPs will drop to 0.56 (95% CI 0.49-0.62) within the next 5years.
CONCLUSION
This is the first study in which 95% of active PCPs participated and it demonstrated that within the next 5 years there will be a shortage in the workforce of PCPs that can only be improved by higher numbers of new domestic PCPs - even after accounting for the current inflow of foreign PCPs
EDGETUNE: Inference-Aware Multi-Parameter Tuning
No full textDeep Neural Networks (DNNs) have demonstrated impressive performance on many machine-learning tasks such as image recognition and language modeling, and are becoming prevalent even on mobile platforms. Despite so, designing neural architectures still remains a manual, time-consuming process that requires profound domain knowledge. Recently, Parameter Tuning Servers have gathered the attention o industry and academia. Those systems allow users from all domains to automatically achieve the desired model accuracy for their applications. However, although the entire process of tuning and training models is performed solely to be deployed for inference, state-of-the-art approaches typically ignore system-oriented and inference-related objectives such as runtime, memory usage, and power consumption. This is a challenging problem: besides adding one more dimension to an already complex problem, the information about edge devices available to the user is rarely known or complete. To accommodate all these objectives together, it is crucial for tuning system to take a holistic approach to parameter tuning and consider all levels of parameters simultaneously into account. We present EdgeTune, a novel inference-aware parameter tuning server. It considers the tuning of parameters in all levels backed by an optimization function capturing multiple objectives. Our approach relies on inference estimated metrics collected from our emulation server running asynchronously from the main tuning process. The latter can then leverage the inference performance while still tuning the model. We propose a novel one-fold tuning algorithm that employs the principle of multi-fidelity and simultaneously explores multiple tuning budgets, which the prior art can only handle as suboptimal case of single type of budget. EdgeTune outputs inference recommendations to the user while improving tuning time and energy by at least 18\% and 53\% when compared to the baseline.Green Open Access added to TU Delft Institutional Repository 'You share, we take care!' - Taverne project https://www.openaccess.nl/en/you-share-we-take-care Otherwise as indicated in the copyright section: the publisher is the copyright holder of this work and the author uses the Dutch legislation to make this work public.Dataintensive System
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