onb bildarchiv

Unless Vienna Foto Perin ONB Bildarchiv. Karoline von Perin-Gradenstein was a pioneer in fighting for women's rights, an engagement for which she sacrificed. Österreichische Nationalbibliothek, Bildarchiv Austria, Vienna (ONB/Wien Bildarchiv Pk 3.662). Used by permission. The copyright holder reserves. Copyright holder, ONB Bildarchiv Austria. City shown, Vienna. Province or state shown, Vienna. Code for country shown, AUT. Country shown, Austria.

Onb bildarchiv -

Dictionary German-English

Mitgliedschaften seit 1990 Institut für die Erforschung der Frühen Neuzeit seit 1996 VÖB - Vereinigung österreichischer Bibliothekarinnen und Bibliothekare seit 1996 ÖGDI - Österreichische Gesellschaft für Information und Dokumentation seit 1998 American Library

[...]

Association seit 2002 Gesellschaft

[...] der Freunde derÖsterreichischen Nationalbibliothekseit2002 Verein [...]

Deutscher Bibliothekare e.V.

eculture.salzburgresearch.at

eculture.salzburgresearch.at

Memberships since 1990 Research Institute for the Early Modern Times since 1996 VÖB - Association of Austrian Librarians since 1996 ÖGDI - Austrian Society of Documentation and Information since 1998 American

[...]

Library Association since 2002

[...] Association of Friends of the Austrian National Library since 2002 [...]

Verein Deutscher Bibliothekare

[...]

e.V. (Society of German Librarians)

eculture.salzburgresearch.at

eculture.salzburgresearch.at

DieÖsterreichische Nationalbibliothekbetreibt seit [...]

etwa 1997 kontinuierlich Digitalisierungsprojekte.

eculture.salzburgresearch.at

eculture.salzburgresearch.at

Since 1997, the Austrian National Library hasbeen continuously [...]

conducting digitisation projects.

eculture.salzburgresearch.at

eculture.salzburgresearch.at

Beim Versand von Reproduktionen und

[...] Publikationen durch dieÖsterreichische Nationalbibliothekwerden Porto [...]

(je nach Gewicht) und Einschreibgebühr

[...]

laut Posttarif in Rechnung gestellt.

onb.ac.at

onb.ac.at

Dispatch of

[...] reproductions and publications by the Austrian National Library incurs postage [...]

(according to weight) and registered

[...]

mail fees according to postal charges.

onb.ac.at

onb.ac.at

DieÖsterreichische Nationalbibliothekzählt zu den [...]

wertvollsten Bibliotheken der Welt.

onb.ac.at

onb.ac.at

The Austrian National Library is one of the most important [...]

libraries of the world.

onb.ac.at

onb.ac.at

5. anlässlich der Verleihung des akademischen Grades je ein Exemplar ihrer Diplom- oder Magisterarbeit oder künstlerischen Diplom- oder Magisterarbeit oder Dissertation oder eine Dokumentation ihrer künstlerischen Diplom- oder Magisterarbeit

[...]

an die Universitätsbibliothek und je ein Exemplar der

[...] Dissertation an dieÖsterreichische Nationalbibliothekabzuliefern.

artbackstage.net

artbackstage.net

5. to deliver a copy of their diploma or master's dissertation, or art diploma or master's

[...]

submission or dissertation to the

[...] university library and the Austrian National Library, respectively, [...]

upon the award of their degree.

artbackstage.net

artbackstage.net

Ab 15. September 2009 bietet dieÖsterreichische Nationalbibliothekfür Druckschriften mit dem Signaturenzusatz [...]

"ALB", die

[...]

derzeit auf Grund der Sperre des Studiensaals der Albertina nicht benützt werden können, einen Ersatzlesesaal an.

albertina.at

albertina.at

As of September 15, 2009, the Austrian National Library offers a substitute reading room for printed [...]

matter with the call number

[...]

addition "ALB," which cannot be consulted because of the temporary closure of the Albertina Study Room.

albertina.at

albertina.at

DieÖsterreichische Nationalbibliothekist nicht nur [...]

die größte Bibliothek des Landes und ein modernes, dienstleistungsorientiertes

[...]

Kompetenzzentrum, sondern bietet im Prunksaal und den Museen - Papyrus-, Globen- und Esperantomuseum - permanente Präsentationen und themenspezifische Wechselausstellungen, die wertvolle Bücher und  Objekte aus den zehn Sondersammlungen des Hauses zeigen.

onb.ac.at

onb.ac.at

The Austrian National Library is notonly the biggest [...]

library in the country and a modern centre of competence oriented

[...]

to service to the public, it also offers with the Hall of State and its museums - the Papyrus, Globe, and Esperanto Museums - permanent exhibitions and theme-oriented changing exhibitions that show the public the valuable books and objects from the ten specialised Departments of the Library.

onb.ac.at

onb.ac.at

Gründungsmitglieder waren die Bundesstaatliche Hauptstelle für

[...]

Lichtbild und

[...] Bildungsfilm (SHB), dieÖsterreichische Nationalbibliothek,dieÖsterreichischeGesellschaft [...]

für Filmwissenschaft,

[...]

die Gesellschaft der Filmfreunde Österreichs und das Volksbildungshaus Wiener Urania.

filmarchiv.at

filmarchiv.at

Founding partners are the Federal Office for

[...]

Photography and

[...] Educational Film (SHB), the Austrian National Library, the Austrian Societyfor Film Studies, [...]

the Society for

[...]

Friends of Film in Austria and the Centre for National Education in the Viennese Urania.

filmarchiv.at

filmarchiv.at

Wenn man die von Andrea Rosenauer gestalteten "Suchhilfen" auf der Homepage des INST betrachtet, so sieht man, daß man durchaus in Lemberg/Lviv, in Rustschuk/Rousse, in Krakau/Kraków sitzen und doch

[...]

bibliographische Materialien

[...] der ÖsterreichischenNationalbibliothek, österreichischeTageszeitungen usw. [...]

studieren, aber auch Informationen

[...]

aus Datenbanken in den USA, Japan usw. erhalten kann.

inst.at

inst.at

If you care to take a look at the "Suchhilfe " or "Search Aid" designed by Andrea Rosenauer, which is to be found on the Homepage of the INST, you'll see that someone sitting in Lemberg/Lviv, or Rustschuk/Rousse, in Cracow/Krakcw can still

[...]

study bibliographic

[...] material from the Austrian National Library, Austrian newspapers, andso on, [...]

but also tap information

[...]

in databases in the USA or Japan.

inst.at

inst.at

Google finanziert die Digitalisierung der etwa 120 Millionen

[...] Buchseiten, dieÖsterreichische Nationalbibliothekträgt die Kosten [...]

für die Vorbereitung der

[...]

Bücher sowie für Speicherung und Zugänglichmachung der Digitalisate in ihrer Digitalen Bibliothek.

onb.ac.at

onb.ac.at

Google funds the digitisation of the

[...]

entire book collection of

[...] about 120 Mio pages, the Austrian National Library meets the expenses [...]

for the preparation of the

[...]

books and for storing and making available the digital copies in its digital library.

onb.ac.at

onb.ac.at

Mit einzelnen außerordentlichen

[...]

Mitgliedern sind Kooperationen

[...] im Gespräch(Österreichische Nationalbibliothek(ÖNB), Universitätsbibliothek [...]

Wien (UBW)).

vwi.or.at

vwi.or.at

Cooperation discussions are being held with

[...] individual associate members (Austrian National Library (ÖNB), University [...]

Library of Vienna (UBW)).

vwi.or.at

vwi.or.at

Die positiv beurteilte Dissertation ist überdies durch

[...] Übergabe an dieÖsterreichische Nationalbibliothekzu veröffentlichen.

reko.ac.at

reko.ac.at

Accepted doctoral theses shall also be

[...] published by lodging a copy with the Austrian National Library.

reko.ac.at

reko.ac.at

DieÖsterreichische Nationalbibliothekübernimmt weiters [...]

keine Haftung für direkte oder indirekte Schäden, die aus dem Datentransfer,

[...]

einem Übertragungsfehler, einem Datenverlust, einer Datenunsicherheit oder aus sonstigen Gründen resultieren.

onb.ac.at

onb.ac.at

The Austrian National Library accepts no responsibility [...]

for direct or indirect damages that result from a transfer of data,

[...]

an error in transferring, a loss of data, data insecurity, or from any other cause.

onb.ac.at

onb.ac.at

Da das Theaterarchiv des ehemaligen Neuen deutschen Theaters nach dem Zweiten Weltkrieg vernichtet wurde, war es auch diesmal nötig, einen großen Teil der Bilddokumente aus der Vorkriegszeit aus anderen

[...]

Institutionen (Nationalmuseum Prag, Institut der Kunst -

[...] Theaterinstitut Prag,ÖsterreichischeTheatermuseum in Wien, Bildarchiv derÖsterreichischen Nationalbibliothekin Wien, Stiftung [...]

Stadtmuseum Berlin, Nationalbibliothek in Budapest), aber

[...]

auch aus zahlreichen Operntheatern aus aller Welt einschließelich der Metropolitan Opera New York zu beschaffen.

sop.cz

sop.cz

Owing to the demise of the theatre's archives after the Second World War, it was again necessary to reconstruct substantial parts of prewar pictorial documentation from other archival sources, such as the National Museum in Prague, the Art

[...]

Institute/Theatre

[...] Institute in Prague, the Austrian TheatreMuseum in Vienna, the Austrian National Library Archives in Vienna, the German [...]

T

heatre Museum in Munich, the Berlin Municipal Museum Foundation, the Hungarian Theatre Institute in Budapest,
[...]

and last but not least, some of the most prestigious international opera houses, including the Metropolitan Opera of New York.

sop.cz

sop.cz

Источник: https://www.linguee.com/german-english/translation/%C3%B6sterreichische+nationalbibliothek.html

Machine Sample Clauses

Machine. An individual unit of a data processing system or subsystem, separately identified by a typeand/ormodel number, comprised of but not limited to mechanical, electro-mechanical, and electronic parts, microcode, and special featuresinstalledthereon and including any necessarysoftware, e.g., central processing unit, memory module, tape unit, card reader, etc.
Machine. Readable Cataloging (MARC/XML)‌ The sample data about the 170 codices from the ONB are described and delivered to DM2E in MARC/XML format. Each record has an unique identifier which can be used by DM2E. We can create some contextual resourceslikeedm:Agent and edm:Place from the source data as well. Missingelements: ore:Aggregation edm:rights edm:dataProvider edm:isShownBy or edm:isShownAt edm:ProvidedCHO edm:type For further contextual resources, e.g. edm:TimeSpan, it is necessary to normalise the input data because of some inconsistencies. For example, the metadata field includinginformation abouttime spans is delivered in two different ways: “1. Hälfte 5. Jhdt., 400- 450” and “1580-1599, Ende 16. Jhdt.”. It would be very useful if we had the possibility to extract the numerical time span in order to make this information searchable. In this case, we need a consistentstring which we can handle with regularexpressions. The MINTtool as well as the D2R server support regular expression functionality and were able to extract the necessary information. Furthermore, we have a problem to indicatethe rightURL that can be used as a webrepresentation of the object in the ONB data. It appears, that the same data fieldsstore more than one URL. For example, the data field tag with the number 856u contains the followinglinks: http://www.onb.ac.at/sammlungen/hschrift/bibliographie.htm, http:// www.bildarchiv.at/ProfiSzettel.aspx?a=b&wort=Cod%2015&Wien and http://www. manuscripta-mediaevalia.de/hs/katalogseiten/HSK0751a_b0002_jpg.htm. Only the last one leads to a properlanding page for the digitisedmanuscript page. This can only be sorted out manually.
Machine. (Wabash National, L.P.) 215 S. Newton St. Goodland, IN 47948 WileyMetalFabrication Inc. (Wabash National, L.P.) 816 W 34th St. Marion, IN 46952 The Zook Machine (Wabash National, L.P.) 110 W 1250 S Battleground, IN 47920 Anita Machine and Tool, Inc. (Wabash National, L.P.) 510 Elston Rd Lafayette, IN 47909 Serie’s Hardwoods, Inc. (Wabash National, L.P.) 2521 E Bethel Rd. Attica, IN 47918 Mid-AmericanTrailerRepair (Wabash National, L.P.) 4984 East 400 South Lafayette, IN 47905 MidlandStamping and Fabricating (Wabash National, L.P.) 9521 W Ainslie Schiller Park, IL 60176 Logan Stampings, Inc. (Wabash National, L.P.) 1100 E. Main Street Logansport, IN 46947 AZZ Galvanizing (Wabash National, L.P.) 2631 Jim Neu Drive Plymouth, IN 46563 (Wabash National, L.P.) 7825 S. HomesteadDr. Hamilton, IN 46742 (Wabash National, L.P.) 2415 S. Walnut St. Muncie, IN 47302 (Wabash National, L.P.) 625 MillsRoad Joliet, IL 60433 (Wabash National, L.P.) 310 East Progress Drive Dixon, IL 61021 D&L Realty (Wabash National Trailer Centers, Inc.) 400 KeystoneParkway Dunmore, PA David and Sharon McGraw d/b/a ClassicTireWheel and Auto SalesLLC (Wabash National Trailer Centers, Inc.) 2595 Hopkinsville Rd. Cadiz, KY 42211 Cadiz-Trigg County Industrial Development Authority (Transcraft Corporation) 489 International Drive Cadiz, KY 42211 City of Cadiz (Transcraft Corporation) 44 International Drive Cadiz, KY 42211 Tate & LyleIngredientsAmericas LLC (Wabash National, L.P.) 65 acres of Wabash Vacant Land south of US 52 and located on part of the Northwest and NortheastQuarters of Section 11, Township 22 North, Range 4 West of the SecondPrincipalMeridian, Wea Township, Tippecanoe County, Indiana.
Источник: https://www.lawinsider.com/clause/machine



E x t e r n a l . F i l e s
P r i n t e d . R e f e r e n c e



WEB-BIBLIOGRAPHY . . . EXTERNAL FILES
Historical Dictionaries click here
AEIOU, Austria from A to Z; options English, German versions
Military Wars of Austria-Hungary / Austria 1800-1999, from ACED
Österreichische Militärgeschichte ab 1918 (Austrian Military History since 1918), from www.doppeladler.com, in German
Economy & Finances Geschichte des Österreichischen Gewerbevereins (History of the Austrian Commercial Society), in German; History of Wiener Börse (Vienna Stock Exchange); Article Wirtschaftskammer Österreich (Austria Federal Chamber of Commerce), from Wikipedia German edition
Austria in ERM and on its Way to EMU, by Peter Mooslechner (2005)
International Textile History 1650-2000 : The Habsburg Monarchy and its Successor States Austria and Czechoslovakia, by Andrea Komlosy
List of Hydroelectric Power Stations, from Wikipedia, scroll down for Austria
Austrian Beers - Styles, History, Beers, from European Beer Guide
Austria, from European Textile Network (historical sites)
Web Compilations, General Austria Forum, click on "Österreichische Biographie"; in German
Biographie Portal, a common German - Swiss - Austrian project

WEB-BIBLIOGRAPHY . . . EXTERNALLY POSTED DOCUMENTS
Systematic Collections
Specialist
Constitutions, Laws ALEX - Historische Rechts- und Gesetzestexte Online, from ÖNB
Search Prassi Italiana di Dirito Internazionale, Indice delle leggi e degli altri atti normativi, for Austria, 357 entries, in Italian
List of Ratifications of International Labour Conventions by Austria, from ILO, 52 docs. since 1919
Internet Law Library : Austria
Document Collections European History Primary Sources : Austria
Documents on German History for the preparation of history class, from psm-data (in German and/or English)
Primary Documents to the History of Austria (-Hungary) from Eurodocs
Frauen in Bewegung 1918-1938, from ÖNB
Libraries Libraries in Austria, from LibDex, 21 entries

on Austria survey of bibliographies
general bibliographies C. Schmidt von Tavera, Bibliographie zur Geschichte des österreichischen Kaiserstaates, 1858, IA
pp.257-300 in Paula S. Fichtner (ed.), Historical Dictionary of Austria, London : Scarecrow 1999, 328 pp., Print : KMLA Library R 943.6 F445h
Online Bookstore Bookstore, from Virtual Vienna
Heeresgeschichtliches Museum, Wien (Museum of MilitAry History), Shop
General Accounts Barbara Jelavich, Modern Austria. Empire & Republic 1800-1986, Cambridge : UP 1987, KMLA Lib.Sign. 943.604 J48m
Regional, Local History Steven Beller, Vienna and the Jews 1867-1938. A Cultural History, Cambridge : UP 1938, KMLA Lib. Call Sign 943.6 B442v
Historical Dictionaries Paula S. Fichtner (ed.), Historical Dictionary of Austria, London : Scarecrow 1999, 328 pp., KMLA Lib.Sign. R 943.6 F445h







Impressum · Datenschutz

Источник: https://www.zum.de/whkmla/region/germany/xaustria.html

Hours of Mary of Burgundy

Description

Hours of Mary of Burgundy

The Book of Hours of Mary of Burgundy, daughter of Charles the Bold, is one of the most famous illuminated manuscripts to survive today and is a favorite among both art historians and connoisseurs of illumination. Originating from the 1470's, during the zenith of illumination, it is one of the most refined and artistically accomplished books of hours ever to be made and is a reflection of the wealth and sophistication of the Burgundian court at that time, while also giving a glimpse into their daily lives. Besides miniatures of Flemish origin, it also contains some of the most splendid compositions by leading artists of the Burgundian court. The manuscript features 20 full-page miniatures and every page of text is also embellished with marginal decorations and historiated initials. Furthermore, the text is hand written in gold and silver ink on a black ground. A true masterpiece of late medieval illumination!

Book of Hours of Mary of Burgundy

The Book of Hours of Mary of Burgundy, daughter of Charles the Bold, was made when book illumination had reached its peak, at a time when there were already printed books; however, this period also saw the production of precious hand-written codices, especially in the Netherlands and in France. This book of hours, with its magnificent miniatures and scrollwork reflecting the splendor of the Burgundian court, was a gift from Margaret of York to her stepdaughter Mary. The codex is well known among art historians and connoisseurs of illumination alike. Its outstandingly beautiful decoration makes it one of those manuscripts that both fascinates and astonishes the reader with every page. Besides miniatures of Flemish origin, it also contains some of the most splendid compositions by leading artists of the Burgundian court.

Enchanting Flemish Miniatures for a Famous Medieval Woman

All 378 pages (189 folios) of the prayer book fascinate with their artful decoration. The first 34 leaves containing the calendar excel by virtue of a special technique which seems well worth mentioning: the text is hand written in gold and silver ink on a black ground. With a total of 20 full-page miniatures, the book raises the curtain on everyday life and thinking in the Burgundian period. Each text page of the book is embellished with ornamental borders, drolleries, fantastic decorations and rich calligraphic elements. Only top artists were asked to make their contribution to this holistic work of art

The Masters of the Book of Hours

The production of a richly artful, illuminated book of hours was usually the work of a team. While a calligrapher was in charge of the writing, the ornamental borders were executed by a technically competent miniaturist who based his work on existing models or even prefabricated stencils. The illustrations as such were added by a different master at a later stage. A book of hours entrusted to a number of different masters would most likely suffer in its uniform identity. The person in charge of the overall planning and selection of the artists would therefore be anxious to choose painters of an equal level of accomplishment. The result is clearly visible in this work which combines the foremost achievements of Flemish book painting in the late 1470's.

Reflections of a Luxurious Court life

By today’s standards, the luxurious decoration of this book of hours does not always correspond with the character of a book of meditation. Although the illustrations show religious scenes, their composition and details are above all masterpieces of painting, as the emphasis seems to be more on artistic execution than on content. This book most impressively presents not only the way of thinking prevalent during the heyday of the Burgundian court, but also documents the courtly society of this period. The reader’s gaze is often pleasantly diverted from the contents of the picture, by idyllic landscape backgrounds, magnificent architecture, or fashionable and elegant clothing, not to mention the numerous amusing figures in the margins. If our secular age takes offence at the profane decoration of prayer books, this is because we have forgotten that people of these times were quite innocent of our radical separation of the spiritual and the secular today; they had a holistic Christian conception of the world in which the beautiful and the serene were present, side by side with the holy.

Alternative Titles
Stundenbuch der Maria von Burgund
Berliner Stundenbuch der Maria von Burgund und Kaiser Maximilian

Type
Manuscript on parchment

Size / Format
378 pages / 22.5 × 16.3 cm

Origin
Belgium

Date
1470–1480

Script
Littera bastarda

Illustrations
24 calendar pictures, 20 full-page miniatures, 14 initial ornaments, 16 pictures of saints

Content
Liturgy of the Hours

Artist / School
Master of Mary of Burgundy (fl. 1469–83)
Lieven van Lathem (1430–93)
Simon Marmion (ca. 1425–89)
Willelm Vrelant (fl. 1454–81)

Previous Owners
Holy Roman Emperor Matthias (1557–1619)

Detail Picture

Das Stundenbuch der Maria von Burgund

Single Page

Das Stundenbuch der Maria von Burgund

Facsimile Editions

#1 Das Stundenbuch der Maria von Burgund

Publisher: Akademische Druck- u. Verlagsanstalt (ADEVA) – Graz, 1968

Limited Edition: 1000 copies

Binding: Luxurious green velvet with and elegant gilded clasp in the style of the period. All folios are cut according to the original.

Commentary:

1 volume: Exact reproduction of the original document (extent, color and size) Reproduction of the entire original document as detailed as possible (scope, format, colors). The binding may not correspond to the original or current document binding.

Источник: https://www.facsimiles.com/facsimiles/hours-of-mary-of-burgundy

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Helene Postranecky

Politikerin, erstes weibliches Mitglied einer österreichischen Bundesregierung
geboren am 12. März 1903, gestorben am 5. Jänner 1995

Die KPÖ-Politikerin Helene Postranecky, verehelicht mit Karl Altmann (in der Provisorischen Staatsregierung Renner Unterstaatssekretär für Justiz und von 1945–1947 Bundesminister für Elektrifizierung und Energiewirtschaft), war die erste Frau in einer österreichischen Regierung. Sie war von 27. April bis 20. Dezember 1945 Unterstaatssekretärin für Volksernährung in der Provisorischen Staatsregierung Renner und damit in einem Ressort eingesetzt, das in der allgemeinen Nachkriegsnot von größter Wichtigkeit war. Als zweite Frau in einer österreichischen Regierung folgte ihr erst 1966 Grete Rehor als Sozialministerin in der ÖVP-Alleinregierung Klaus nach.

Helene Postranecky wurde 1903 als Kind einer Arbeiterfamilie in Wien geboren. Nach dem Besuch der Volks- und Bürgerschule arbeitete sie erst als Hausgehilfin, später (mit 16 Jahren) wurde sie Hilfsarbeiterin. 1919 trat sie der SDAP bei und wurde in der sozialistischen Frauenbewegung aktiv. Sie übernahm die Leitung des niederösterreichischen Landessekretariats und war seit Oktober 1933 Mitglied des Reichsparteivorstandes. 1934, im Bürgerkriegsjahr, wurde sie verhaftetet. Insgesamt verbrachte Postranecky acht Monate im Gefängnis. Nach dem "Anschluss" Österreichs an das nationalsozialistische Deutschland im März 1938 wechselte Postranecky zu den Kommunisten, die in der Illegalität eine besonders aktive Kraft gegen den Nationalsozialismus waren. Sie wurde Mitglied der Parteiführung, stellvertretende Vorsitzende der KPÖ und spielte eine wichtige Rolle bei der Entwicklung der kommunistischen Frauenpolitik. Nach der Gründung des Bundes Demokratischer Frauen Österreichs im Jahr 1946, der die kommunistischen Frauenaktivs ersetzen sollte, wurde Helene Postranecky dessen Generalsekretärin. Präsidentin des BDFÖ, der als überparteiliche Organisation gedacht war, im Wesentlichen aber immer eine kommunistisch dominierte Organisation blieb, war die Architektin und Widerstandskämpferin Grete Schütte-Lihotzky. Themen, für die der BDFÖ eintrat, waren u.a. Frieden und Abrüstung, eine Reform des veralteten Ehe- und Familienrechts und die Abschaffung des § 144, der die Abtreibung unter Strafe stellte, ausreichende Kinderbetreuungseinrichtungen, gleichen Lohn für gleiche Arbeit und gleiche Ausbildungschancen.

1968 trat Helene Postranecky wegen der Niederschlagung des "Prager Frühlings" aus der KPÖ aus. 1995 starb sie in Wien.

Quellen:
Mugrauer, Manfred (2006): Die KPÖ in der Provisorischen Regierung Renner. Innsbruck/Wien/Bozen.
Schwager, Irma (2005): Kommunistische Frauenpolitik in der Nachkriegszeit. In: Mitteilungen der Alfred Klahr-Gesellschaft, Nr. 2. S. 9–10.
Menschen des Volkes. Biographien von Spitzenkandidaten der Kommunistischen Partei Österreichs, hg. von der Kommunistischen Partei Österreichs, o.O., o.J.
Österreicher der 1. Stunde. Katalog zur Sonderausstellung im Dr. Karl Renner Museum Gloggnitz (Leitung und Gesamtgestaltung: Siegfried Nasko), Wien 1985

Weiterer Linktipp:
http://www.fraueninbewegung.onb.ac.at/Pages/PersonDetail.aspx?p_iPersonenID=8674928 (21.7.2015)

Bildquelle: Zentrales Parteiarchiv der KP, Bildarchiv

Schlagworte: Frauen, Frauenbewegung, Frauenpolitik, Gender, Geschlechterverhältnisse

Источник: http://www.demokratiezentrum.org/

Austria-Hungary

Technisches Museum Wien mit Österreichischer Mediathek

This website provides a timeline of World War I with audio-visual elements. The website is in German.

http://www.mediathek.at/erster-weltkrieg

ANNO – Austrian Newspapers Online, The National Austrian Library

An online archive of Austrian newspapers and periodicals from 1700 to 1941. There is also a section, “Extraausgaben des 1. Weltkrieges,” containing newspapers’ special editions – often only a single page – during WWI.

http://anno.onb.ac.at/

Austria-Forum

A German-language online encyclopedia containing a wealth of information about all things Austria. The site includes several different lexicons and dictionaries with tens of thousands of entries.

http://austria-lexikon.at/

Bildarchiv (Photo Archive), The National Austrian Library

An online archive of multiple photo collections, including Europeana Travel, Rübelt-Negativarchiv and Esperanto, containing tens of thousands of photos.

https://onb.wg.picturemaxx.com/

The First World War and the End of the Habsburg Monarchy

Online exhibition of Schloß Schönbrunn in Vienna, an innovative approach to showcasing WW1 history.

http://ww1.habsburger.net/en

Frontlines and Hinterland, Institute of Political History, Hungary

Frontlines and Hinterland publishes Hungarian Great War newspaper and periodical excerpts alongside commentaries and short articles. Longer blogposts on selected issues supply the reader with a broader thematic overview. The website is available in English and Hungarian.

http://elsovh.hu

Digitale Landesbibliothek Oberösterreich

The Landesbibliothek Oberösterreich’s (State Library Upper Austria) collection of digitized texts and prints in public domain.

http://digi.landesbibliothek.at/viewer/

1914-1918 Hundert Jahre Erster Weltkrieg, Österreichisches Staatsarchiv

Articles and images focusing on the Austrian involvement in the First World War.

http://wk1.staatsarchiv.at/

Das Kriegstagebuch des Alfred Hermann Fried

A digital version of the diaries kept by Austrian journalist and pacifist Alfred Hermann Fried (1864-1921).

http://www.kriegstagebuch.at/

World War One Sites – The Networld Database

World War One Sites contributes to the preservation of architectural and cultural heritage of the First World War in the Danube region. It documents different types of architectural heritages from war monuments and fortifications to POW-camps and museums in nine different countries.

https://ww1sites.eu

Denkmal-Heer, Austrian war memorials, Austrian Ministry of Defence

The database offers access and information about memorials on the Austrian Ministry of Defence's properties across Austria. It includes memorials dedicated to individuals, events as well as art and religious memorials. Denkmal-Heer aims to raise awareness, to promote a transparent and open commemoration-culture and to serve as an inventory of existing memorials.

https://www.denkmal-heer.at/

Источник: http://www.1914-1918-online.net/06_WWI_websites/Austria-Hungary.html

Onb bildarchiv -

Machine Sample Clauses

Machine. An individual unit of a data processing system or subsystem, separately identified by a typeand/ormodel number, comprised of but not limited to mechanical, electro-mechanical, and electronic parts, microcode, and special featuresinstalledthereon and including any necessarysoftware, e.g., central processing unit, memory module, tape unit, card reader, etc.
Machine. Readable Cataloging (MARC/XML)‌ The sample data about the 170 codices from the ONB are described and delivered to DM2E in MARC/XML format. Each record has an unique identifier which can be used by DM2E. We can create some contextual resourceslikeedm:Agent and edm:Place from the source data as well. Missingelements: ore:Aggregation edm:rights edm:dataProvider edm:isShownBy or edm:isShownAt edm:ProvidedCHO edm:type For further contextual resources, e.g. edm:TimeSpan, it is necessary to normalise the input data because of some inconsistencies. For example, the metadata field includinginformation abouttime spans is delivered in two different ways: “1. Hälfte 5. Jhdt., 400- 450” and “1580-1599, Ende 16. Jhdt.”. It would be very useful if we had the possibility to extract the numerical time span in order to make this information searchable. In this case, we need a consistentstring which we can handle with regularexpressions. The MINTtool as well as the D2R server support regular expression functionality and were able to extract the necessary information. Furthermore, we have a problem to indicatethe rightURL that can be used as a webrepresentation of the object in the ONB data. It appears, that the same data fieldsstore more than one URL. For example, the data field tag with the number 856u contains the followinglinks: http://www.onb.ac.at/sammlungen/hschrift/bibliographie.htm, http:// www.bildarchiv.at/ProfiSzettel.aspx?a=b&wort=Cod%2015&Wien and http://www. manuscripta-mediaevalia.de/hs/katalogseiten/HSK0751a_b0002_jpg.htm. Only the last one leads to a properlanding page for the digitisedmanuscript page. This can only be sorted out manually.
Machine. (Wabash National, L.P.) 215 S. Newton St. Goodland, IN 47948 WileyMetalFabrication Inc. (Wabash National, L.P.) 816 W 34th St. Marion, IN 46952 The Zook Machine (Wabash National, L.P.) 110 W 1250 S Battleground, IN 47920 Anita Machine and Tool, Inc. (Wabash National, L.P.) 510 Elston Rd Lafayette, IN 47909 Serie’s Hardwoods, Inc. (Wabash National, L.P.) 2521 E Bethel Rd. Attica, IN 47918 Mid-AmericanTrailerRepair (Wabash National, L.P.) 4984 East 400 South Lafayette, IN 47905 MidlandStamping and Fabricating (Wabash National, L.P.) 9521 W Ainslie Schiller Park, IL 60176 Logan Stampings, Inc. (Wabash National, L.P.) 1100 E. Main Street Logansport, IN 46947 AZZ Galvanizing (Wabash National, L.P.) 2631 Jim Neu Drive Plymouth, IN 46563 (Wabash National, L.P.) 7825 S. HomesteadDr. Hamilton, IN 46742 (Wabash National, L.P.) 2415 S. Walnut St. Muncie, IN 47302 (Wabash National, L.P.) 625 MillsRoad Joliet, IL 60433 (Wabash National, L.P.) 310 East Progress Drive Dixon, IL 61021 D&L Realty (Wabash National Trailer Centers, Inc.) 400 KeystoneParkway Dunmore, PA David and Sharon McGraw d/b/a ClassicTireWheel and Auto SalesLLC (Wabash National Trailer Centers, Inc.) 2595 Hopkinsville Rd. Cadiz, KY 42211 Cadiz-Trigg County Industrial Development Authority (Transcraft Corporation) 489 International Drive Cadiz, KY 42211 City of Cadiz (Transcraft Corporation) 44 International Drive Cadiz, KY 42211 Tate & LyleIngredientsAmericas LLC (Wabash National, L.P.) 65 acres of Wabash Vacant Land south of US 52 and located on part of the Northwest and NortheastQuarters of Section 11, Township 22 North, Range 4 West of the SecondPrincipalMeridian, Wea Township, Tippecanoe County, Indiana.
Источник: https://www.lawinsider.com/clause/machine
The Picture Archive of the Austrian National Library(Bildarchiv der Österreichischen Nationalbibliothek) is part of the Austrian National Library (Österreichische Nationalbibliothek), which unites several historical libraries, four museums and several special collections. The Picture Archive is the biggest centre of pictorial documentation in Austria. It combines three important historical collections: the Department of Portraits, the Picture Archive and the royal family’s library. The catalogue, from which pictures can be ordered, are available online.

The origin of the collection is the former ‘royal and imperial family Fidei Commis Library’ of the House of Habsburg, a comprehensive collection of portraits, graphics, books, historic photographs and valuable art objects. The Picture Archives contain over 1 million photographic negatives, covering a wide spectrum of subjects: from portraits, photographs of architecture, historic documents and pictures of everyday life to artistic photographs.

The Archive’s main areas of focus:

- Habsburgica: Emperor Franz Joseph, Empress Elisabeth, and other members of the imperial family

- Topographic and architectural photography. The main focus is Austria, with abundant and detailed material on Vienna and a large collection of picture postcards.
- Contemporary history: e.g., the photo archives of Wiener Kurier (the newspaper Vienna Courier)
- Portrait photography: politicians, artists, business people, sportspeople, and scientists
- Theatre photography: Salzburg Festivals, Viennese theatres, etc.

The Special Collections comprise several photographers’ archives like those of:
- Harry Weber: News photography from the period 1950 – 1975, with a focus on Austrian political events such as the state treaty, consequences of the uprising in Hungary; theatre photography, particularly Salzburg Festivals, state opera; photographs of contemporary Jewry in Vienna 

- Franz Linschinger: News photography, such as the opening up of the border by Hungary in 1989 and portrait photography of artists

- Kurt Aigner: News photography of Upper Austria from 1954 to about 1987. The collection contains about 20 years of the photographic archives of the newspaper Oberösterreichischen Nachrichten (Upper Austrian News)


The online archive is available here.

country: Austria
city: Vienna
adress: Josefsplatz 1
phone: +43(0)153410337
website: http://www.onb.ac.at/
email: bildarchiv@onb.ac.at

last modified : 2010-08-23 13:20:30

Источник: https://www.dutch-doc.nl/docupedia/picture+archive+of+the+austrian+national+library

During World War I, the Italian Front saw a series of battles between Italy and Austria-Hungary. There was a series of battles fought along the Isonzo River between 1915 and the end of the war in 1918. The two images featured in this post were taken along this front in what is now Slovenia. The first image shows a wine magazine in Britof in what appears to be a rugged location. There is a central large tent flanked by 13 men and a large cache of wine in barrels. The wine is stored in both large casks and smaller barrels. Amongst the casks are what appears to be a box with two poles used to carry the smaller barrels. There is also a small barrel on a dolly or cart. In the back left are donkies or mules that might have carried the smaller barrels of wine.

Wine magazine at Britof. 1915 [1]

Wine magazine at Britof. 1915 [1]

The second images was taken in Haidenschaft or Ajdovščina. This image features a large wine magazine but this one also contained rum. The location is in an industrial setting. There are numerous casks of various sizes stored in two different locations.  It would be interesting to learn where the wine was requisitioned from.
Wine and rum magazine at Haidenschaft. Circa 1917. [2]

Wine and rum magazine at Haidenschaft. Circa 1917. [2]


[1] Wein – Fassungsmagazin in Britof. Ort/Verlag: K.u.k. Kriegspressequartier, Lichtbildstelle – Wien. 1915. ÖNB Bildarchiv und Grafiksammlung (POR). URL: http://data.onb.ac.at/rec/baa15385243
[2] Haidenschaft. Ort/Verlag: K.u.k. Kriegspressequartier, Lichtbildstelle – Wien. circa 1917. ÖNB Bildarchiv und Grafiksammlung (POR). URL: http://data.onb.ac.at/rec/baa4815356

Categories: History of WineTags: History of Wine, HistoryOfWineImagesJune2015, HistoryOfWineWW1

Источник: https://hogsheadwine.wordpress.com/tag/historyofwineww1/

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Helene Postranecky

Politikerin, erstes weibliches Mitglied einer österreichischen Bundesregierung
geboren am 12. März 1903, gestorben am 5. Jänner 1995

Die KPÖ-Politikerin Helene Postranecky, verehelicht mit Karl Altmann (in der Provisorischen Staatsregierung Renner Unterstaatssekretär für Justiz und von 1945–1947 Bundesminister für Elektrifizierung und Energiewirtschaft), war die erste Frau in einer österreichischen Regierung. Sie war von 27. April bis 20. Dezember 1945 Unterstaatssekretärin für Volksernährung in der Provisorischen Staatsregierung Renner und damit in einem Ressort eingesetzt, das in der allgemeinen Nachkriegsnot von größter Wichtigkeit war. Als zweite Frau in einer österreichischen Regierung folgte ihr erst 1966 Grete Rehor als Sozialministerin in der ÖVP-Alleinregierung Klaus nach.

Helene Postranecky wurde 1903 als Kind einer Arbeiterfamilie in Wien geboren. Nach dem Besuch der Volks- und Bürgerschule arbeitete sie erst als Hausgehilfin, später (mit 16 Jahren) wurde sie Hilfsarbeiterin. 1919 trat sie der SDAP bei und wurde in der sozialistischen Frauenbewegung aktiv. Sie übernahm die Leitung des niederösterreichischen Landessekretariats und war seit Oktober 1933 Mitglied des Reichsparteivorstandes. 1934, im Bürgerkriegsjahr, wurde sie verhaftetet. Insgesamt verbrachte Postranecky acht Monate im Gefängnis. Nach dem "Anschluss" Österreichs an das nationalsozialistische Deutschland im März 1938 wechselte Postranecky zu den Kommunisten, die in der Illegalität eine besonders aktive Kraft gegen den Nationalsozialismus waren. Sie wurde Mitglied der Parteiführung, stellvertretende Vorsitzende der KPÖ und spielte eine wichtige Rolle bei der Entwicklung der kommunistischen Frauenpolitik. Nach der Gründung des Bundes Demokratischer Frauen Österreichs im Jahr 1946, der die kommunistischen Frauenaktivs ersetzen sollte, wurde Helene Postranecky dessen Generalsekretärin. Präsidentin des BDFÖ, der als überparteiliche Organisation gedacht war, im Wesentlichen aber immer eine kommunistisch dominierte Organisation blieb, war die Architektin und Widerstandskämpferin Grete Schütte-Lihotzky. Themen, für die der BDFÖ eintrat, waren u.a. Frieden und Abrüstung, eine Reform des veralteten Ehe- und Familienrechts und die Abschaffung des § 144, der die Abtreibung unter Strafe stellte, ausreichende Kinderbetreuungseinrichtungen, gleichen Lohn für gleiche Arbeit und gleiche Ausbildungschancen.

1968 trat Helene Postranecky wegen der Niederschlagung des "Prager Frühlings" aus der KPÖ aus. 1995 starb sie in Wien.

Quellen:
Mugrauer, Manfred (2006): Die KPÖ in der Provisorischen Regierung Renner. Innsbruck/Wien/Bozen.
Schwager, Irma (2005): Kommunistische Frauenpolitik in der Nachkriegszeit. In: Mitteilungen der Alfred Klahr-Gesellschaft, Nr. 2. S. 9–10.
Menschen des Volkes. Biographien von Spitzenkandidaten der Kommunistischen Partei Österreichs, hg. von der Kommunistischen Partei Österreichs, o.O., o.J.
Österreicher der 1. Stunde. Katalog zur Sonderausstellung im Dr. Karl Renner Museum Gloggnitz (Leitung und Gesamtgestaltung: Siegfried Nasko), Wien 1985

Weiterer Linktipp:
http://www.fraueninbewegung.onb.ac.at/Pages/PersonDetail.aspx?p_iPersonenID=8674928 (21.7.2015)

Bildquelle: Zentrales Parteiarchiv der KP, Bildarchiv

Schlagworte: Frauen, Frauenbewegung, Frauenpolitik, Gender, Geschlechterverhältnisse

Источник: http://www.demokratiezentrum.org/

Campus Medius – Digital Mapping in the Humanities

This text derives from a lecture given by the author at the University of Vienna on 25 April 2018. A preliminary, German version of the article was published in Ingo Börner, Wolfgang Straub, Christian Zolles (eds.), Germanistik digital. Digital Humanities in der Sprach- und Literaturwissenschaft, Vienna, Facultas, 2018, pp. 104–117. All 20 figures are available here.

I. Topography: Campus Medius 1.0

This article explores digital mapping in the humanities based on the research project Campus Medius. The first chapter presents the initial version of the website campusmedius.net, which I developed in collaboration with the programmer Rory Solomon and the designer Mallory Brennan at the New School in New York, and which has been online since 2014. The idea for the project originated in my doctoral studies on the media references in the writings of Karl Kraus (1874–1936) and Peter Altenberg (1859–1919), where I investigated a text that Kraus had written in Vienna in 1933: the Dritte Walpurgisnacht. In this 300-page essay, the events of a weekend that May are central to its critique of the contemporary political situation (i.e. the Nazi “seizure of power” in Germany and the Austrian response to these developments). By researching what had happened in Vienna on 13 and 14 May 1933, I soon understood why Kraus had experienced this weekend as a turning point. Consequently, I decided to digitally represent 15 selected events within 24 hours, from Saturday at 2 p.m. to Sunday at 2 p.m., on a map of Vienna from 1933.

The selection of the empirical material was also influenced by the concept of the chronotope. In the 1930s, Mikhail Bakhtin had written an essay on time-spaces or space-times in literature from antiquity to the Renaissance, which became very important in literary studies after its publication in 1975. His approach inspired us to limit the historical corpus to exactly 24 hours in Vienna – a temporal and spatial unity that not only emerged in the course of events, but also resembles the most significant chronotope of the modernist novel. Just think of James Joyce’s Ulysses, Virginia Woolf’s Mrs Dalloway, Andrei Bely’s Petersburg or – to name another medium – the documentary Berlin: Die Sinfonie der Großstadt by Walter Ruttmann. In all these artworks from the first third of the 20th century, one finds the attempt to capture modernity in a very specific time-space: a day in the city.

On campusmedius.net, users can discover what was happening simultaneously at different places in Vienna by moving the 24-hour timeline. [Fig. 1] For example, on Saturday evening, 13 May 1933, the Burgtheater staged the play Hundert Tage, which was co-written by Benito Mussolini; several cinemas screened Fritz Lang’s sound film Das Testament des Dr. Mabuse; in the Engelmann-Arena a National Socialist rally was held; and a small movie theatre near the Friedensbrücke hosted a Russian film night. [Fig. 2] The map also makes it possible to give a spatial overview of the selected events. [Fig. 3] However, we not only geo-referenced their sites, but used an established technique for historical mapping projects that is called rectification. [Fig. 4] In our case, a city map of Vienna from 1933 was scanned with high resolution at the Austrian National Library, then converted into a GeoTIFF-file and finally rectified to align with the underlying GIS data of OpenStreetMap. This rather banal matter discomfited me because of the idea that a digital map represents reality from which a printed map more or less deviates. What actually happens in the process of rectification, though, is a translation between different projections of reality that can and should be traced back to the historical conditions of their emergence. Mainly due to my scholarly discontent with this cartographical approach, we now strive to question and alienate these standardised representations of time and space in an entirely revised and substantially expanded version of the website that I will discuss in the second chapter of the article.

By selecting a pin on the map, an actor-network of the respective event pops up. [Fig. 5] Methodologically, this visualisation is derived from actor-network theory, which basically states that it is not a human consciousness that decides to act, and then things happen accordingly – in other words, that actions should not be understood as human intentional, but rather as interplays between human and non-human actors. Regarding the exemplary event on figure 5, a live broadcast of a political speech, certain microphones and radio sets, leader figures, protests and questionnaires made differences in the course of action. The colours of the icons designate political backgrounds, with red for socialist and communist, green for Austrofascist, brown for National Socialist and blue for bourgeois actors. If the user clicks on this window, a scholarly description of the associated event opens up, featuring photographs, sound recordings, movie clips, archival documents, press articles, etc. [Fig. 6]

This is, by and large, the first version of campusmedius.net as the website went online in 2014 – a kind of digital exhibition. The project’s take on digital humanities has been strongly influenced by the Digital Humanities Manifesto, which argued for “the scholar as curator and the curator as scholar”. With every historical document that is digitised, this claim becomes more important. By 14 March 2018, the Austrian National Library, for example, had made 20 million newspaper pages available online: what is such ‘big data’ good for if it is not correlated in meaningful ways? One way is to develop algorithms in cooperation with software engineers; another way is to tell factual stories by employing material from the digital archives. We started with the latter approach, used the empirical findings to translate our methodological concepts into a data model, and have begun to devise an algorithmic analysis based on the historical case study that I will present in the following chapter.

II. Topology: Campus Medius 2.0

In the forthcoming version of campusmedius.net, this overview of the historical chronotope will continue to exist in the website’s “Topography” section, comprising as before the 24-hour timeline and the rectified map of Vienna from 1933. [Fig. 7] The 15 events, however, will only be marked by ordinary pins as the concept of the actor-network moves to a new section that we call “Topology”. In this area, we focus on the main event of the selected time-space: a so-called “Turks Deliverance Celebration” (Türkenbefreiungsfeier) held in the gardens of Schönbrunn Palace on 14 May 1933, which is narrated or rather correlated three times. The narrative technique of telling a story from different perspectives is very common in novels, films and especially serials. In the case of Campus Medius, this approach is deployed to construct ideal-typical interfaces meant to spotlight and denaturalise representations of time and space that have become standardised in digital mapping.

The table shown in figure 8 outlines our triple narration or correlation of the “Turks Deliverance Celebration”. [Fig. 8] Conceptually, the scheme is based on a question that has bothered me since the outset of the project: what is a media experience? Or more precisely, what does it mean to have a media experience in modernity? This line of inquiry derives from Michel Foucault’s studies of criminality or sexuality as modern forms of experience. But can we also conceptualise mediality as an experiential field in the Foucauldian sense? What possibilities of having media experiences are opened up in modernity? The table answers this question with a bold thesis: having a media experience in modern societies essentially means using reason in sovereign signs, capturing life in examining gazes, or raising the voice in governed transmissions. These three possibilities of having media experiences – in Foucauldian terms: dispositifs of mediation – are expressed in heterogeneous mediators. As for the “Turks Deliverance Celebration” in Vienna on 14 May 1933, each mediation contains five mediators that are associated in specific types of connection, in distinct topologies. Are the mediators building territories or spreading in an unlimited space? Do they end sometime or potentially exist infinitely? Is a centralised or an equalised distribution taking place? Etc. The mapping interfaces result from these topologies, because seeing things from a bird’s-eye, panoramically or in street view entails certain mediations of the world, certain ideologies that we aim to elucidate.

Before discussing an example of each mediation, I would like to elaborate on the design of the mediators that are, following actor-network theory, humans or non-humans making differences in a course of action. My current job is to precisely describe the “Turks Deliverance Celebration” from the standpoints of these 15 selected mediators, whose provisional icons are shown in figure 9. [Fig. 9] Mallory Brennan, the designer of the initial version of campusmedius.net, had already styled the icons along the lines of the “International System of Typographic Picture Education” (Isotype) – a conceptually universal picture language developed under the direction of the political economist Otto Neurath, a member of the Vienna Circle, from the mid-1920s onwards. Susanne Kiesenhofer, who is designing our new website, has accordingly created icons for all 15 mediators based on Isotype, which we do not understand as a universal design concept, but rather as a visual vocabulary that is closely related to the historical setting of our case study.

So how will the new section “Topology” be implemented on the website? I start with the mediation “How to use reason: Sovereign Sign”, using the example of the mediator Ernst Rüdiger Starhemberg, the Federal Leader of the Austrian Home Guards (Heimwehr or Heimatschutz) and initiator of the “Turks Deliverance Celebration” in Vienna on 14 May 1933. [Fig. 10] Instead of a timeline, the Topology includes a slider beneath the map where users will be able to switch between the different mediations. In this case, the mediators are viewed from above and navigated via zooming. The network is centralised, i.e. all navigations have to pass a central node: the transcendent bird’s-eye, overarching the earth’s surface, which is not only the perspective of God, but also of the sovereign monarch overseeing his or her territory. This world view was very familiar to Starhemberg, who came from an old aristocratic family of the Habsburg Monarchy, which ended together with the First World War in 1918. One of his ancestors was Count Ernst Rüdiger von Starhemberg, the successful military commander of Vienna during the second Turkish siege of the city in summer 1683. Led by chancellor Engelbert Dollfuß, the Austrian government adopted an authoritarian course in March 1933. His cabinet prevented parliament from working and governed by emergency decree, but it was not clear that spring how things would continue. Supported by Benito Mussolini, Italy’s fascist prime minister, Starhemberg suggested holding a Home Guard rally to celebrate the 250th anniversary of Vienna’s liberation from the Turkish siege, which actually took place in mid-September 1683. However, the plan was to give a public signal of Austria as a fascist sovereign nation earlier in the year, and it worked out: on 14 May 1933, the chancellor swore fidelity to the leader of the Home Guards in front of up to 40,000 members of his paramilitary organisation, deployed radially in the Baroque gardens starting from the balcony of Schönbrunn Palace, where Dollfuß and Starhemberg were standing.

In the second mediation, “How to capture life: Examining Gaze”, the users view and navigate the map panoramically. Its topology is linear meaning they need to pan from the first to the fifth mediator one after another. The example in figure 11 is the 35mm movie camera “Bell & Howell 2709”, which was famously used by Charlie Chaplin. [Fig. 11] I recognised the camera with its characteristic film magazine on the very right of the photograph included in the figure, which shows the parade of the Home Guards following the rally in Schönbrunn, captured here on Mariahilferstraße near Vienna’s western railway station. On a high-resolution scan of the picture, we not only identified the model, but also realised that this unique camera had been equipped with an aftermarket motor and apparatus for recording sound. The reel was shot for the German version of Fox Movietone News and has survived in the Film Archive Austria. I am particularly interested in the question of which kind of film this assemblage was able to shoot, how this specific camera made it possible to capture the movement of the parade. In a way, this upgraded Bell & Howell 2709 reviewed the paramilitary procession not unlike the members of the Austrian government awaiting the march-past at Schwarzenbergplatz in the city centre. And the spectators viewing the newsreel in the cinemas later on, are they not taking up a similar position of examining these moving bodies?

The third mediation, “How to raise voice: Governed Transmission”, is determined by the mapping interface of the street view. Here, the users can navigate in all directions, but will not be able to escape this narrow perspective. As a corresponding mediator, I lastly present the shortwave vehicle of the Radio-Verkehrs-AG (RAVAG), the forerunner of today’s Austrian Broadcasting Corporation (ORF). [Fig. 12] Such vans that allowed live broadcasts from outside the radio studio had been available in Austria since the late 1920s. In the case of the “Turks Deliverance Celebration”, the shortwave vehicle was employed to transmit the speeches held at the rally in Schönbrunn live on Radio Wien. However, the transmission prompted more than 10,000 listeners to cancel their radio registration, because they wanted to protest against the usage of public broadcasting for party political ends. What these people express in collective letters of cancellation is an aversion to being patronised by the state and a strong will to raise their own voices. The protests correspond to the findings of a contemporary study carried out by the Wirtschaftspsychologische Forschungsstelle, based in Vienna and headed by Paul Lazarsfeld, who later became a major figure in American sociology after his emigration to New York. The RAVAG had commissioned this institute for economic-psychological research to run a statistical survey of the tastes of Austrian radio listeners. The innovative aspect of the study, which presented its findings in late 1932, was not only the quantitative measurement of listeners’ wishes, but above all the fact that it provided information on the likes and dislikes of various social groups. By correlating radio programmes with social data, the study broke down the mass audience into specific target groups. These are the beginnings of what is called ‘profiling’ today and what might be appreciated or rejected as management of the freedom to communicate in modern societies.

III. “The Database Is the Theory!”

As I want to emphasise the methodological potential of digital mapping in this article, the third chapter will deal with the data model on which the forthcoming version of campusmedius.net is based. In the first two chapters, I mainly discussed the website’s front end, i.e. issues related to the interface. On the other side of the software stack, however, an intrinsically invisible back end is located, a database in which all the content is stored. What I would like to stress here is that deciding which entities are included in the database and how they are related is a genuinely methodological question. In order to build a database, the research approach needs to be operationalised – at least working definitions of the central concepts are necessary. In a project within the field of the humanities, this work can definitely not be conducted by software engineers alone, because: “The database is the theory!” If we want a website to match up to the complexities of our theoretical approaches, both its database and its interface must be constructed in a truly interdisciplinary cooperation with programmers and designers.

Figure 13 shows a diagram of our current data model that I created collaboratively with the geomatics engineer Andreas Krimbacher, who has been the core developer of Campus Medius since 2015. [Fig. 13] We start with the entity at the top, the mediator as anyone or anything given in an experience that makes a difference in the course of action. In our terminology, a medium is none other than a type of mediators: Starhemberg appears as Federal Leader of the Austrian Home Guards on the stage of the “Turks Deliverance Celebration”, but ideally aligns himself with leader figures ranging from the Roman Caesars via the Habsburg emperors to the fascist Duce. This is an example of a one-to-many relationship, one medium comprises many mediators. It was important for us to attach the attributes space, time and value – the latter understood in terms of weighing the nodes in a network – to the relation, which connects different mediators, and not to the mediator itself. The common practice in digital cartography, however, is to determine where and when an entity occurs, i.e. to set its location (latitude/longitude) and its date and time. Yet this approach would have required a kind of transcendental gaze, an external perspective able to situate mediators in absolute time and space. In order to avoid this “god trick of seeing everything from nowhere”, we have conceptualised space, time and value relationally, in other words as differences in the network of mediators: Starhemberg stands on the garden terrace of Schönbrunn Palace, in front of carbon and condenser microphones; to his left an operator of Radio Wien wearing headphones and a man with a Tyrolean hat holding a still camera; among the Home Guard troops, arranged in the tree-lined avenues, a newsreel car with a movie camera on top; in the garden’s background the Gloriette; etc.

An experience, in the sense of our data model, is an individual subset of relations including the attached mediators. And just as in our terminology a medium is a type of mediator, a mediation is a pattern of relations (e.g. the centralised topology occurring again and again in the “Turks Deliverance Celebration”). In other words, a regularity of spatial, temporal and evaluative connections – but what is actually mediated in an experience? What drives a course of action? And how is this driving force answered in the given situation? These questions refer to the box at the foot of the data model, which summarises the Foucauldian concept of the dispositif in two words, namely as the interplay of demand and response that is at stake in every experience. While actor-network accounts focus on concrete empirical cases in order to precisely describe who or what makes a difference in a course of action, dispositif analysis searches for types of connection, for historical patterns of relations that are actualised in the given situation. Let us take the above-mentioned example of the protest against the live broadcast of the “Turks Deliverance Celebration”: the people who cancelled their registration wanted to raise their own voices and refused to be influenced or educated from above – a collective demand to which Austrian radio was not ready to respond in 1933. However, counselled by the emigrants Paul Lazarsfeld, his wife Herta Herzog and his friend Hans Zeisel, the Columbia Broadcasting System (CBS) and the New York ad agency McCann-Erickson soon learned how to steer free expression of opinion in specific directions.

Hence, the actor-network and the dispositif are the central methodological concepts that are operationalised in the data model of Campus Medius. Thus far, however, I have only elaborated on the right-hand part of the diagram in figure 13, the ontological structure of the database. To close this chapter, I will add a few words on its left-hand side, on those entities that make the stored data perceptible to the users. In order to appear on the website, a mediator needs to receive information, it literally has to be informed by texts, images, audio or video. The same applies to the mediation, which stays invisible as long as there is no link to an interface, understood here as a mapping perspective and a mode of navigation. Far from being neutral or free of ideology, these visualisations emerge from dispositifs of mediation, which are not varying representations of one reality, but rather different realities themselves.

IV. Mapping Modern Media

In the last chapter of the article, I will sketch out the long-term plans that we are pursuing for Campus Medius. We want to develop the website into a digital platform for mapping media experiences. Guided by a virtual assistant, the users should independently select a media experience in their daily lives, precisely describe its heterogeneous components, and map how these manifold things are connected with each other. The aim of the platform would be to subject the conceptual premises of our historical case study to a contemporary test: does having a media experience in the (post-)modern societies of the 21st century still mean using reason in sovereign signs, capturing life in examining gazes, or raising the voice in governed transmissions? In the case of the “Turks Deliverance Celebration”, these dispositifs of mediation arose from an interplay between the empirical material and a Foucauldian theory of modernity. I want to highlight the word interplay here, because no data explain themselves, but it also leads nowhere to obey a theoretical system that degrades them to mere placeholders. However, we are confident now that our data model enables us to define media and mediations immanently, so to say from below, by having hundreds of people “map modern media” and by analysing the gathered data in order to discover types of mediators and relational patterns that are distinctive of mediality as an experiential field.

The idea for this collaborative platform evolved from university courses I have taught in Europe and the United States since 2016. Instead of geo-referencing data sets, the students were encouraged to consider mapping as a critical practice by selecting and inquiring into media experiences in their daily lives: who or what is given in such a course of action? How are these mediators connected with each other? To which demand is the media experience responding? And what might an alternative response be? For these courses, I had to translate our data model into a series of practical operations or rather mapping exercises.

  1. Selection: What do you regard as a media experience? Choose a concrete situation, a course of action that plays a role in your everyday life, and give reasons for your choice.
  2. Inventory: Who or what is given in this media experience and actually makes a difference? Pick five mediators and describe the situation from each of their standpoints.
  3. Topology: How are the mediators connected in terms of space, time and value? Map the spatial, temporal and evaluative relations of the media experience.
  4. Analysis: What drives this course of action? To which urgent demand is the media experience responding? Observe, think, observe, think, finally write.
  5. Critique: Can you imagine another response to this demand? Which mediators are involved? How are they linked? Create a counter-map with an alternative mediation.

The exercise starts by selecting a concrete situation in everyday life that could be classified as a media experience and by explaining this choice. In the inventory, step two, the students are asked to define five mediators and describe the selected course of action from these heterogeneous standpoints. The actual mapping follows in a third step where charts or diagrams are created that visualise the relations between the mediators. I encourage the students to explore the connections in terms of space, time and value, but it is not strictly necessary for all three perspectives to be represented. Steps four and five are intended to be a critique of the analysed situation: after reflecting to which urgent demand the media experience is responding, identifying its leitmotif, an alternative response or answer should be given in the form of a counter-map. One student of mine chose to look into her habit of watching Tatort, for example, a very popular crime series produced and aired by public service broadcasters in Germany, Austria and Switzerland. She asked herself why she views this TV drama almost every Sunday evening and concluded that she mainly appreciates the sense of community, knowing that millions of other viewers see and hear the same programme at the same time. Yet if the “sense of community” is the real motive behind this media experience, what alternatives are there to feel in touch with others? Does it have to be a community of people with a similar language and cultural background (as in the case of Tatort)? Or could it also be a collective assembling highly diverse members, both humans and non-humans?

In conclusion, I will present some sketches, maps and diagrams created in my mapping courses. The first two examples were made by students from UCLA’s Center for Digital Humanities. Figure 14 shows a research map depicting the movement of the hose in a hookah session with five people sharing a water pipe, which the student described as an opportunity to have easy-going conversation. [Fig. 14] One of his classmates constructed a timeline of unboxing an iPhone, treated like a spiritual rite, and defined two points of no return, the removal of the plastic around the box and of the phone’s screen protector. [Fig. 15] The following two maps derive from a course on sound mapping at the University of Liechtenstein, where one student charted how his daily activity was influenced by pupils playing on a schoolyard nearby his office. [Fig. 16] Another participant in this class temporally arranged photos in order to visualise how he is woken every morning by a passing train. [Fig. 17] The last three drawings were created by students of media design at the University of Applied Sciences in Vorarlberg, Austria. Figure 18 outlines the intensity of concentration at the start of a paragliding flight and the following phase of relaxation in the view from above that motivated this student to spend much of her leisure time in the air. [Fig. 18] One of her classmates sketched a timeline of preparing espresso on the stove, a procedure that organises her morning routine into a phase of swift cleaning while the coffee is brewing, and a phase of calm me-time before the workday begins. [Fig. 19] The final diagram was made by a student who had a blood sample taken from a peripheral vein and documented this physical intervention in a series of sketches. [Fig. 20]

As you can see, these courses are quite experimental, a kind of laboratory to develop our digital mapping platform. The major challenge is to define a strict methodological procedure without predetermining what counts as a media experience, that is to clearly structure the steps of inquiry, but to leave the form of the inquired situation as open as possible. We aim to collaboratively map the experiential field of mediality, to explore which things are involved in media experiences and how they are related – whether the course of action be unboxing an iPhone or smoking a water pipe. In spite of this essential openness, however, the results have to be comparable so that a multitude of mappings will disclose types of mediators (i.e. media) and relational patterns (i.e. mediations).

Источник: https://spheres-journal.org/contribution/campus-medius-digital-mapping-in-the-humanities/

Austria-Hungary

Technisches Museum Wien mit Österreichischer Mediathek

This website provides a timeline of World War I with audio-visual elements. The website is in German.

http://www.mediathek.at/erster-weltkrieg

ANNO – Austrian Newspapers Online, The National Austrian Library

An online archive of Austrian newspapers and periodicals from 1700 to 1941. There is also a section, “Extraausgaben des 1. Weltkrieges,” containing newspapers’ special editions – often only a single page – during WWI.

http://anno.onb.ac.at/

Austria-Forum

A German-language online encyclopedia containing a wealth of information about all things Austria. The site includes several different lexicons and dictionaries with tens of thousands of entries.

http://austria-lexikon.at/

Bildarchiv (Photo Archive), The National Austrian Library

An online archive of multiple photo collections, including Europeana Travel, Rübelt-Negativarchiv and Esperanto, containing tens of thousands of photos.

https://onb.wg.picturemaxx.com/

The First World War and the End of the Habsburg Monarchy

Online exhibition of Schloß Schönbrunn in Vienna, an innovative approach to showcasing WW1 history.

http://ww1.habsburger.net/en

Frontlines and Hinterland, Institute of Political History, Hungary

Frontlines and Hinterland publishes Hungarian Great War newspaper and periodical excerpts alongside commentaries and short articles. Longer blogposts on selected issues supply the reader with a broader thematic overview. The website is available in English and Hungarian.

http://elsovh.hu

Digitale Landesbibliothek Oberösterreich

The Landesbibliothek Oberösterreich’s (State Library Upper Austria) collection of digitized texts and prints in public domain.

http://digi.landesbibliothek.at/viewer/

1914-1918 Hundert Jahre Erster Weltkrieg, Österreichisches Staatsarchiv

Articles and images focusing on the Austrian involvement in the First World War.

http://wk1.staatsarchiv.at/

Das Kriegstagebuch des Alfred Hermann Fried

A digital version of the diaries kept by Austrian journalist and pacifist Alfred Hermann Fried (1864-1921).

http://www.kriegstagebuch.at/

World War One Sites – The Networld Database

World War One Sites contributes to the preservation of architectural and cultural heritage of the First World War in the Danube region. It documents different types of architectural heritages from war monuments and fortifications to POW-camps and museums in nine different countries.

https://ww1sites.eu

Denkmal-Heer, Austrian war memorials, Austrian Ministry of Defence

The database offers access and information about memorials on the Austrian Ministry of Defence's properties across Austria. It includes memorials dedicated to individuals, events as well as art and religious memorials. Denkmal-Heer aims to raise awareness, to promote a transparent and open commemoration-culture and to serve as an inventory of existing memorials.

https://www.denkmal-heer.at/

Источник: http://www.1914-1918-online.net/06_WWI_websites/Austria-Hungary.html
onb bildarchiv

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Campus Medius – Digital Mapping in the Humanities

This text derives from a lecture given by the author at the University of Vienna on 25 April 2018. A preliminary, German version of the article was published in Ingo Börner, Wolfgang Straub, Christian Zolles (eds.), Germanistik digital. Digital Humanities in my facebook business account was disabled Sprach- und Literaturwissenschaft, Vienna, Facultas, 2018, pp. 104–117. All 20 figures are available here.

I. Topography: Campus Medius 1.0

This article explores digital mapping in the humanities based on the research project Campus Medius. The first chapter presents the initial version of the website campusmedius.net, which I developed in collaboration with the programmer Rory Solomon and the designer Mallory Brennan at the New School in New York, and which has been online since 2014. The idea for the project originated in my doctoral studies on the media references in the writings of Karl Kraus (1874–1936) and Peter Altenberg (1859–1919), where I investigated a text that Kraus had written in Vienna in 1933: the Dritte Walpurgisnacht. In this 300-page essay, the events of a weekend that May are central to its critique of the contemporary political situation (i.e. the Nazi “seizure of power” in Germany and the Austrian response to these developments). By researching what had happened in Vienna on 13 and 14 May 1933, I soon understood why Kraus had experienced this weekend as a turning point. Consequently, I decided to digitally represent 15 selected events within 24 hours, from Saturday at 2 p.m. to Sunday at 2 p.m., on a map of Vienna from 1933.

The selection of the empirical material was also influenced by the concept of the chronotope. In the 1930s, Mikhail Bakhtin had written an essay on time-spaces or space-times in literature from antiquity to the Renaissance, which became very important in literary studies after its publication in 1975. His approach inspired us to limit the historical corpus to exactly 24 hours in Vienna – a temporal and spatial unity that not only emerged in the course of events, but also resembles the most significant chronotope of the modernist novel. Just think of James Joyce’s Ulysses, Virginia Woolf’s Mrs Dalloway, Andrei Bely’s Petersburg or – to name another medium – the documentary Berlin: Die Sinfonie der Großstadt by Walter Ruttmann. In all these artworks from the first third of the 20th century, one finds the attempt to capture modernity in a very specific time-space: a day in the city.

On campusmedius.net, users can discover what was happening simultaneously at different places in Vienna by moving the 24-hour timeline. [Fig. 1] For example, on Saturday evening, 13 May 1933, the Burgtheater staged the play Hundert Tage, which was co-written by Benito Mussolini; several cinemas screened Fritz Lang’s sound film Das Testament des Dr. Mabuse; in the Engelmann-Arena a National Socialist rally was held; and a small movie theatre near the Friedensbrücke hosted a Russian film night. [Fig. 2] The map also makes it possible to give a spatial overview of the selected events. [Fig. 3] However, we not only geo-referenced their sites, but used an established technique for historical mapping projects that is called rectification. [Fig. 4] In our case, a city map of Vienna from 1933 was scanned with high resolution at the Austrian National Library, then converted into a GeoTIFF-file and finally rectified to align with the underlying GIS data of OpenStreetMap. This rather banal matter discomfited me because of the idea that a digital map represents reality from which a printed map more or less deviates. What actually happens in the process of rectification, though, is a translation between different projections of reality that can and should be traced back to the historical conditions of their emergence. Mainly due to my scholarly discontent with this cartographical approach, we now strive to question and alienate these standardised representations of time and space in an entirely revised and substantially expanded version of the website that I will discuss i will wait for you sheet music getty the second chapter of the article.

By selecting a pin on the map, an actor-network of the respective event pops up. [Fig. 5] Methodologically, this visualisation is derived from actor-network theory, which basically states that it is not a human consciousness that decides to act, and then things happen accordingly – in other words, that actions should not be understood as human intentional, but rather as interplays between human and non-human actors. Regarding the exemplary event on figure 5, a live broadcast of a political speech, certain microphones and radio sets, leader figures, protests and questionnaires made differences in the course of action. The colours of the icons designate political backgrounds, with red for socialist and communist, green for Austrofascist, brown for National Socialist and blue for bourgeois actors. If the user capital one bank 360 checking account on this window, a scholarly description of the associated event opens up, featuring photographs, sound recordings, movie clips, archival documents, press articles, etc. [Fig. 6]

This is, by and large, the first version of campusmedius.net as the website went online in 2014 – a kind of digital exhibition. The project’s take on digital humanities has been strongly influenced by the Digital Humanities Manifesto, which argued for “the scholar as curator and the curator as scholar”. With every historical document that is digitised, this claim becomes more important. By 14 March 2018, the Austrian National Library, for example, had made 20 million newspaper pages available online: what is such ‘big data’ good for if it is not correlated in meaningful ways? One way is to develop algorithms in cooperation with software engineers; another way is to tell factual stories by employing material from the digital archives. We started with the latter approach, used the empirical findings to translate our methodological concepts into a data model, and have begun to devise an algorithmic analysis based on the historical case study that I will present in the following chapter.

II. Topology: Campus Medius 2.0

In the forthcoming version of campusmedius.net, this overview of the historical chronotope will continue to exist in the website’s “Topography” section, comprising as before the 24-hour timeline and the rectified map of Vienna from 1933. [Fig. 7] The 15 events, however, will only be marked by ordinary pins as the concept of the actor-network moves to a new section that we call “Topology”. In this area, we focus on the main event of the selected time-space: a so-called “Turks Deliverance Celebration” (Türkenbefreiungsfeier) held in the gardens of Schönbrunn Palace on 14 May 1933, which is narrated or rather correlated three times. The narrative technique of telling a story from onb bildarchiv perspectives is very common in novels, films and especially serials. In the case of Campus Medius, this approach is deployed to construct ideal-typical interfaces meant to spotlight and denaturalise representations of time and space that have become standardised in digital mapping.

The table shown in figure 8 outlines our triple narration or correlation of the “Turks Deliverance Celebration”. [Fig. 8] Conceptually, the scheme is based on a question that has bothered me since the outset of the project: what is a media experience? Or more precisely, what does it mean to have a media experience in modernity? This onb bildarchiv of inquiry derives from Michel Foucault’s studies of criminality or sexuality as modern forms of experience. But can we also conceptualise mediality as an experiential field in the Foucauldian sense? What possibilities of having media experiences are opened up in modernity? The table answers this question with a bold thesis: having a media experience in modern societies essentially means using reason onb bildarchiv sovereign signs, capturing life in examining gazes, or raising the voice in governed transmissions. These three possibilities of having media experiences – in Foucauldian terms: dispositifs of mediation – are expressed in heterogeneous mediators. As for the “Turks Deliverance Celebration” in Vienna on 14 May 1933, each mediation contains five mediators that are associated in specific types of connection, in distinct topologies. Are the mediators building territories or spreading in an unlimited space? Do they end sometime or potentially exist infinitely? Is a centralised or an equalised distribution taking place? Etc. The mapping interfaces result from these topologies, because seeing things from a bird’s-eye, panoramically or in jose luis martinez view entails certain mediations of the world, certain ideologies that we aim to elucidate.

Before discussing an example of each mediation, I would like to elaborate on the design of the mediators that are, following actor-network theory, humans or non-humans making differences in a course of action. My current job is to precisely describe the “Turks Deliverance Celebration” from the standpoints of these 15 selected mediators, whose provisional icons are shown in figure 9. [Fig. 9] Mallory Brennan, the designer of the initial version of campusmedius.net, had already styled the icons along the lines of the “International System of Typographic Picture Education” (Isotype) – a conceptually universal picture language developed under the direction of the political economist Otto Neurath, a member of the Vienna Circle, from the mid-1920s onwards. Susanne Kiesenhofer, who is designing our new website, has accordingly created icons for all 15 mediators based on Isotype, which we do not understand as a universal design concept, but rather as a visual vocabulary that is closely related to the historical setting of our case study.

So how will the new section “Topology” be implemented on the website? I start with the mediation “How to use reason: Sovereign Sign”, using the example of the mediator Ernst Rüdiger Starhemberg, the Federal Leader of the Austrian Home Guards (Heimwehr or Heimatschutz) and initiator of the “Turks Deliverance Celebration” in Vienna on 14 May 1933. [Fig. 10] Instead of a timeline, the Topology includes a slider beneath the map where users will be able to switch between the different mediations. In this case, the mediators are viewed from above and navigated via zooming. The network is centralised, i.e. all navigations have to pass a central node: the transcendent bird’s-eye, overarching the earth’s surface, which is not only the perspective of God, but also of the sovereign monarch overseeing his or her territory. This world view was very familiar to Starhemberg, who came from an old aristocratic family of the Habsburg Monarchy, which ended together with the First World War in 1918. One of his ancestors was Count Ernst Rüdiger von Starhemberg, the successful military commander of Vienna during the second Turkish siege of the city in summer 1683. Led by chancellor Regional health properties stock buy or sell Dollfuß, the Austrian government adopted an authoritarian course in March 1933. His cabinet prevented parliament from working and governed by emergency decree, but it was not clear that spring how things would continue. Supported by Benito Mussolini, Italy’s fascist prime minister, Starhemberg suggested holding a Home Guard rally to celebrate the 250th anniversary of Vienna’s liberation from the Turkish siege, which actually took place in mid-September 1683. However, the plan was to give a public signal of Austria as a fascist sovereign nation earlier in the year, and it worked out: on 14 May 1933, the chancellor swore fidelity to the leader of the Home Guards in front of up to 40,000 members of his paramilitary organisation, deployed radially in the Baroque gardens starting from the balcony of Schönbrunn Palace, where Dollfuß and Starhemberg were standing.

In the second mediation, “How to capture life: Examining Gaze”, the users view and navigate the map panoramically. Its topology is linear meaning they need to pan from the first to the fifth mediator one after another. The example in figure 11 is the 35mm movie camera “Bell & Howell 2709”, which was famously fau bb by Charlie Chaplin. [Fig. 11] I recognised the camera with its characteristic film magazine on the very right of the photograph included in the figure, which shows the parade of the Home Guards following the rally in Schönbrunn, captured here on Mariahilferstraße near Vienna’s western railway station. On a high-resolution scan of the picture, we citizens commerce national bank login only identified the model, but also realised that this unique camera had been equipped with an aftermarket motor and apparatus for recording sound. The reel was shot for the German version of Fox Movietone News and has survived in the Film Archive Austria. I am particularly interested in the question of which kind of film this assemblage was able to shoot, how this specific camera made it possible to capture the movement of the parade. In a way, this upgraded Bell & Howell 2709 reviewed the paramilitary procession not unlike the members of the Austrian government awaiting the march-past at Schwarzenbergplatz in the city centre. And the spectators viewing the newsreel in the cinemas later on, are they not taking up a similar position of examining these moving bodies?

The third mediation, “How to raise voice: Governed Transmission”, is determined by the mapping interface of the street view. Here, the users can navigate in all directions, but will not be able to escape this narrow perspective. As a corresponding mediator, I lastly present the shortwave vehicle of the Radio-Verkehrs-AG (RAVAG), the forerunner of today’s Austrian Broadcasting Corporation (ORF). [Fig. 12] Such vans that allowed live broadcasts from outside the radio studio had been available in Austria since the late 1920s. In the case of the “Turks Deliverance Celebration”, the shortwave vehicle was employed to transmit the speeches held at the rally in Schönbrunn live on Radio Wien. However, the transmission prompted more than 10,000 listeners to cancel their radio registration, because they wanted to protest against the usage of public broadcasting for party political ends. What these people express in collective letters of cancellation is an aversion to being patronised by the state and a strong will to raise their own voices. The protests correspond to the findings of a contemporary study carried out by the Wirtschaftspsychologische Forschungsstelle, based in Vienna and headed by Paul Lazarsfeld, who later became first federal community bank in paris tx major figure in American sociology after his emigration to New York. The RAVAG had commissioned this institute for economic-psychological research to run a statistical survey of the tastes of Austrian radio listeners. The innovative aspect of the study, which presented its findings in late 1932, was not only the quantitative measurement of listeners’ wishes, but above all the fact that it provided information on the likes and dislikes of various social groups. By correlating radio programmes with social data, the study broke down the mass audience into specific target groups. These are the beginnings of what is called ‘profiling’ today and what might be appreciated or rejected as management of the freedom to communicate in modern societies.

III. “The Database Is the Theory!”

As I want to emphasise the methodological potential of digital mapping in this article, the third chapter will deal with the data model on which the forthcoming version of campusmedius.net is based. In the first two chapters, I mainly discussed the website’s front end, i.e. issues related to the interface. On the other side of the software stack, however, an intrinsically invisible back end is located, a database in which all the content is stored. What I would like to stress here is that deciding which entities are included in the database and how they are related is a genuinely methodological question. In order to build a database, the research approach needs to be operationalised – at least working definitions of the central concepts are necessary. In a project within the field of the humanities, this work can definitely not be conducted by software engineers alone, because: “The database is the theory!” If we want a website to match up to the complexities of our theoretical approaches, both its database and its interface must be constructed in a truly interdisciplinary cooperation with programmers and designers.

Figure 13 shows a diagram of our current data model that I created collaboratively with the geomatics engineer Andreas Krimbacher, who has been the core developer of Campus Medius since 2015. [Fig. 13] We start with the entity at the top, the mediator as anyone or anything given in an experience that makes a difference in the course of action. In our terminology, a medium is none other than a type of mediators: Starhemberg appears as Federal Leader of the Austrian Home Guards on the stage of the “Turks Deliverance Celebration”, but ideally aligns himself with leader figures ranging from the Roman Caesars via the Habsburg emperors to the fascist best starter deck pokemon trading card game online. This is an example of a one-to-many relationship, one medium comprises many mediators. It was important for us to attach the attributes space, time and value – the latter understood in terms of weighing the nodes in a network – to the relation, which connects different mediators, and not to the mediator itself. The common practice in onb bildarchiv cartography, however, is to determine where and when an entity occurs, i.e. to set its location (latitude/longitude) and its date and time. Yet this approach would have required a kind of transcendental gaze, an external perspective able to situate mediators in absolute time and space. In order to avoid this “god trick of seeing everything from nowhere”, we have conceptualised space, time and value relationally, in other words as differences in the network of mediators: Starhemberg stands on the garden terrace of Schönbrunn Palace, in front of carbon and condenser microphones; to his left an operator of Radio Wien wearing headphones and a man with a Tyrolean hat holding a still camera; among the Home Guard troops, arranged in the tree-lined avenues, a newsreel car with a movie camera on top; in the garden’s background the Onb bildarchiv etc.

An experience, in the sense of our data model, is an individual subset of relations including the attached mediators. And just as in our terminology a medium is a type of mediator, a mediation is a pattern of relations (e.g. the centralised topology occurring again and again in the “Turks Deliverance Celebration”). In other words, a regularity of spatial, temporal and evaluative connections – but what is actually mediated in an experience? What drives a course of action? And how is this driving force answered in the given situation? These questions refer to the box at the foot of the data model, which summarises the Foucauldian concept of the dispositif in two words, namely as the interplay of demand and response that is at stake in every experience. While actor-network accounts focus on concrete empirical cases in order to precisely describe who or what makes a difference in a course of action, dispositif analysis searches for types of connection, for historical patterns of relations that are actualised in the given situation. Let us take the above-mentioned example of the protest against the live broadcast of the “Turks Deliverance Celebration”: the people who cancelled their registration wanted to raise their own voices and refused to be influenced or educated from above – a collective demand to which Austrian radio was not ready to respond in 1933. However, counselled by the emigrants Paul Lazarsfeld, his wife Herta Herzog and his friend Hans Zeisel, the Columbia Broadcasting System (CBS) and the New York ad agency McCann-Erickson soon learned how to steer free expression of opinion in specific directions.

Hence, the actor-network and the dispositif are the central methodological concepts that are operationalised in the data model of Campus Medius. Thus far, however, I have only elaborated on the right-hand part of the diagram in figure 13, the ontological structure of the database. To close this chapter, I will add a few words on its left-hand side, on those entities that make the stored data perceptible to the users. In order to appear on the website, a mediator needs to receive information, it literally has to be informed by texts, images, audio or video. The same applies to the mediation, which stays invisible as long as there is no link to an interface, understood here as a mapping perspective and a mode of navigation. Far from being neutral or free of ideology, these visualisations emerge from dispositifs of mediation, which are not varying representations of one reality, but rather different realities themselves.

IV. Mapping Modern Media

In the last chapter of the article, I will sketch out the long-term plans that we are pursuing for Campus Medius. We want to develop the website into a digital platform for mapping media experiences. Guided by a virtual assistant, the users should independently select a media experience in their daily lives, precisely describe its heterogeneous components, and map how these manifold things are connected with each other. The aim of the platform would be to subject the conceptual premises of our historical case study to a contemporary test: does having a media experience in the (post-)modern societies of the 21st century still mean using reason in sovereign signs, capturing life in examining gazes, or raising the voice in governed transmissions? In the case of the “Turks Deliverance Celebration”, these dispositifs of mediation arose from an interplay between the empirical material and a Foucauldian theory of modernity. I want to highlight the word interplay here, us bank internet banking phone number no data explain themselves, but it also leads nowhere to obey a theoretical system that degrades them to mere placeholders. However, we are confident now that our data model enables us to define media and mediations immanently, so to say from below, by having hundreds of people “map modern media” and by analysing the gathered data in order to discover types of mediators and relational patterns that are distinctive of mediality as an experiential field.

The idea for this collaborative platform evolved from university courses I have taught in Europe and the United States since 2016. Instead of geo-referencing data sets, the students were encouraged to consider mapping as a critical practice by selecting and inquiring into media experiences in their daily lives: who or what is given in such a course of action? How are these mediators connected with each other? To which demand is the media experience responding? And what might an alternative response be? For these courses, I had to translate our data model into a series of practical operations or rather mapping exercises.

  1. Selection: What do you regard as a media experience? Choose a concrete situation, a course of action that plays a role in your everyday life, and give reasons for your choice.
  2. Inventory: Who or what is given in this media experience and actually makes a difference? Pick five mediators and describe the situation from each of their standpoints.
  3. Topology: How are the mediators connected in terms of space, time and value? Map the spatial, temporal and evaluative relations of the media experience.
  4. Analysis: What drives this course of action? To which urgent demand is the media experience responding? Observe, think, observe, think, finally write.
  5. Critique: Can you imagine another response to this demand? Which mediators are involved? How are they linked? Create a counter-map with an alternative mediation.

The exercise starts by selecting a concrete situation in everyday life that could be classified as a media experience and by explaining this choice. In the inventory, step two, the students are asked to define five mediators and describe the selected course of action from these heterogeneous standpoints. The actual mapping follows in a third step where charts or diagrams is nse stock market open today created that visualise the relations between the mediators. I encourage the students to explore the connections in terms of space, time and value, but it is not strictly necessary for all three perspectives to be represented. Steps four and five are intended to be a critique of the analysed situation: after reflecting to which urgent demand the media experience is responding, identifying its leitmotif, an alternative response or answer should be given in the form of a counter-map. One student of mine chose to look into her habit of watching Tatort, for example, a very popular crime series produced and aired by public service broadcasters in Germany, Austria and Switzerland. She asked herself why she views this TV drama almost every Sunday evening and concluded that she mainly appreciates the sense of community, knowing that millions of other viewers see and hear the same programme at the same time. Yet if the “sense of community” is the real motive behind this media experience, what alternatives are there to feel in touch with others? Does it have to be a community of people with a similar language and cultural background (as in the case of Tatort)? Or could it also be a collective assembling highly diverse members, both humans and non-humans?

In conclusion, I will present some sketches, maps and diagrams created in my mapping courses. The first two examples were made by students from UCLA’s Center for Digital Humanities. Figure 14 shows a research wwe ladder money in the bank depicting the movement of the hose in a hookah session with five people sharing a water pipe, which the student described as an opportunity to have easy-going conversation. [Fig. 14] One of his classmates constructed a timeline of unboxing an iPhone, treated like a spiritual rite, and defined two points of no return, the removal of the plastic around the box and of the phone’s screen protector. [Fig. 15] The following two maps derive from a course on sound mapping at the University of Liechtenstein, where one student charted how his daily activity was influenced by pupils playing on a schoolyard nearby his office. [Fig. 16] Another participant in this class temporally arranged photos in order to visualise how he is woken every morning by a passing train. [Fig. 17] The last three drawings were created by students of media design at the University of Applied Sciences in Vorarlberg, Austria. Figure 18 outlines the intensity of concentration at the start of a paragliding flight and the following phase of relaxation in the view from above that motivated this student to spend much of her leisure time in the air. [Fig. 18] One of her classmates sketched a timeline of preparing espresso on the stove, a procedure that organises her morning routine into a phase of swift cleaning while the coffee is brewing, and a phase of calm me-time before the workday begins. [Fig. 19] The final diagram was made by a student who had a blood sample taken from a peripheral vein and documented this physical intervention in a series of sketches. [Fig. 20]

As you can see, these courses are quite experimental, a kind of laboratory to develop our digital mapping platform. The major challenge is to define a strict methodological procedure without onb bildarchiv what counts as a media experience, that is to clearly structure the steps of inquiry, but to leave the form of the inquired situation as open as possible. We aim to collaboratively map the experiential field of mediality, to explore which things are involved in media experiences and how they are related – whether the course of action be unboxing an iPhone or smoking a water pipe. In spite of this essential openness, however, the results have to be comparable so onb bildarchiv a multitude of mappings will disclose types of mediators (i.e. media) and relational patterns (i.e. mediations).

Источник: https://spheres-journal.org/contribution/campus-medius-digital-mapping-in-the-humanities/

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Helene Postranecky

How to deposit a check at huntington atm, erstes weibliches Mitglied einer österreichischen Bundesregierung
geboren am 12. März 1903, gestorben am 5. Jänner 1995

Die KPÖ-Politikerin Helene Postranecky, verehelicht mit Karl Altmann (in der Provisorischen Staatsregierung Renner Unterstaatssekretär für Justiz und von 1945–1947 Bundesminister für Elektrifizierung und Energiewirtschaft), war die erste Frau in einer österreichischen Regierung. Sie war von 27. April bis 20. Dezember 1945 Unterstaatssekretärin für Volksernährung in der Provisorischen Staatsregierung Renner und damit in einem Ressort eingesetzt, das in der allgemeinen Nachkriegsnot von größter Wichtigkeit war. Als zweite Frau in einer österreichischen Regierung folgte ihr erst 1966 Grete Rehor als Sozialministerin in der ÖVP-Alleinregierung Klaus nach.

Helene Postranecky wurde 1903 als Kind einer Arbeiterfamilie in Wien geboren. Nach dem Besuch der Volks- und Bürgerschule arbeitete sie erst als Hausgehilfin, später (mit 16 Jahren) wurde sie Hilfsarbeiterin. 1919 trat sie der SDAP bei und wurde in der sozialistischen Frauenbewegung aktiv. Sie übernahm die Leitung des niederösterreichischen Landessekretariats und war seit Oktober 1933 Mitglied des Reichsparteivorstandes. 1934, im Bürgerkriegsjahr, wurde sie verhaftetet. Insgesamt verbrachte Postranecky acht Monate im Gefängnis. Nach dem "Anschluss" Österreichs an das nationalsozialistische Deutschland im März 1938 wechselte Postranecky zu den Kommunisten, die in der Illegalität eine besonders aktive Kraft gegen den Nationalsozialismus waren. Sie wurde Mitglied der Parteiführung, stellvertretende Vorsitzende der KPÖ und spielte eine wichtige Rolle bei der Entwicklung der kommunistischen Frauenpolitik. Nach der Gründung des Bundes Demokratischer Frauen Österreichs im Jahr 1946, der die kommunistischen Frauenaktivs ersetzen sollte, wurde Helene Postranecky dessen Generalsekretärin. Präsidentin des BDFÖ, der als überparteiliche Organisation gedacht war, im Wesentlichen aber immer eine kommunistisch dominierte Organisation blieb, war die Architektin und Widerstandskämpferin Grete Schütte-Lihotzky. Themen, für die der BDFÖ eintrat, waren u.a. Frieden und Abrüstung, eine Reform des veralteten Ehe- und Familienrechts und die Abschaffung des § 144, der die Abtreibung unter Strafe stellte, ausreichende Kinderbetreuungseinrichtungen, gleichen Lohn für gleiche Arbeit und gleiche Ausbildungschancen.

1968 trat Helene Postranecky wegen der Niederschlagung des "Prager Frühlings" aus der KPÖ aus. 1995 starb sie in Wien.

Quellen:
Mugrauer, Manfred (2006): Die KPÖ in der Provisorischen Regierung Renner. Innsbruck/Wien/Bozen.
Schwager, Irma (2005): Kommunistische Frauenpolitik in der Nachkriegszeit. In: Mitteilungen der Alfred Klahr-Gesellschaft, Nr. 2. S. 9–10.
Menschen des Volkes. Biographien von Spitzenkandidaten der Kommunistischen Partei Österreichs, hg. von der Kommunistischen Partei Österreichs, o.O., o.J.
Österreicher der 1. Stunde. Katalog zur Sonderausstellung im Dr. Karl Renner Museum Gloggnitz (Leitung und Gesamtgestaltung: Siegfried Nasko), Wien 1985

Weiterer Linktipp:
http://www.fraueninbewegung.onb.ac.at/Pages/PersonDetail.aspx?p_iPersonenID=8674928 (21.7.2015)

Bildquelle: Zentrales Parteiarchiv der KP, Bildarchiv

Schlagworte: Frauen, Frauenbewegung, Frauenpolitik, Gender, Geschlechterverhältnisse

Источник: http://www.demokratiezentrum.org/

During World War I, the Italian Front saw a series of battles between Italy and Austria-Hungary. There was a series of battles fought along the Isonzo River between 1915 and the end of the war in 1918. The two images featured in this post were taken pay target bill phone number this front in what is now Slovenia. The first image shows a wine magazine in Britof in what appears to be a rugged location. There is a central large tent flanked by 13 men and a large cache of wine in barrels. The wine is stored in both large casks and smaller barrels. Amongst the casks are what appears to be a box with two poles used to carry the smaller barrels. There is also a small barrel on onb bildarchiv dolly or cart. In the back left are donkies or mules that might have carried the smaller barrels of wine.

Wine magazine at Britof. 1915 [1]

Wine magazine at Britof. 1915 [1]

The second images was taken in Haidenschaft or Ajdovščina. This image features a large wine magazine but this one also contained rum. The location is in an industrial setting. There are numerous casks of various sizes stored in two different locations.  It would be interesting to learn where the wine was requisitioned from.
Wine and rum magazine at Haidenschaft. Circa 1917. [2]

Wine and rum magazine at Haidenschaft. Circa 1917. [2]


[1] Wein – Fassungsmagazin in Britof. Ort/Verlag: K.u.k. Kriegspressequartier, Lichtbildstelle – Wien. 1915. ÖNB Bildarchiv und Grafiksammlung (POR). URL: http://data.onb.ac.at/rec/baa15385243
[2] Haidenschaft. Ort/Verlag: K.u.k. Kriegspressequartier, Lichtbildstelle – Wien. circa 1917. ÖNB Bildarchiv und Grafiksammlung (POR). URL: http://data.onb.ac.at/rec/baa4815356

Categories: History of WineTags: History of Wine, HistoryOfWineImagesJune2015, HistoryOfWineWW1

Источник: https://hogsheadwine.wordpress.com/tag/historyofwineww1/

The Wiener Holocaust Library explores the interwar rise of fascism

photo of a woman in the 1930s carrying a union flag with a swastika at its centre

Supporter of the British Union of Fascists, c. 1930s. Wiener Holocaust Library Collections.

The dark decades of the interwar period and rise of fascism are examined through chilling documents and imagery at the Wiener Holocaust Library

In most histories of the twentieth century the 1920s and 1930s emerge as the darkest of decades – a time when politics lurched towards the extremes in response to economic hardships and the long political hangover of the First World War, culminating in the Second World War and the Holocaust.

Recent events have led some historians and academics to draw parallels between this terrible period and the depressing cycle of extremism and rise of right-wing ideologies that have seemingly once again taken root across Europe and elsewhere today.

At the Wiener Holocaust Library, whose collections on the Nazi era date back to 1933, they are examining the first rise of European fascist movements in the 1920s and 1930s as a means of reminding us of the roots and strange appeal of right wing extremism.

The Library provides a resource to oppose antisemitism and other forms of prejudice and intolerance and Dr Roland Clark, exhibition co-curator and lead investigator on the European Fascist Movements, 1918-1941 project at University of Liverpool says: td bank locations in philadelphia we are really serious about combatting extremism, we need to understand what it was like for people to be members of fascist movements.”

black and white photo of a group of young women standing to <a href=santander bank login us next to their tenets while making a Nazi salute" width="1024" height="671">

A group of Romanian fascist women saluting, c. 1935, Kampf und Sieg (‘Struggle and Victory’) photo album. CNSAS Archives.

cover of a magazine with a modernist style sculpture of a figure on a horse

Edition of Italian fascist journal Gerarchia’, 1927.

group photo of a group of mena seated and standing outside a building - al of the wearing swastika armbands

Members of the Nazi Party in Coburg, Bavaria gathered to onb bildarchiv ‘German Day. Bundesarchiv Bildarchiv Bild 119 5519.

Fascist political parties, militia and movements emerged right across Europe in the years after the First World War united by ultra-nationalist ideas and similarities in style and action. Their appeal was huge.

These movements shaped, and in some places remade, politics and society as Fascists mobilised on the streets, physically attacking their opponents and supporting the accession to power of fascist parties in countries such as Italy, Germany, and Austria.

Later, they helped to enable German occupations and the Nazis’ policies of persecution and genocide across Europe.

In Britain, this scourge found its manifestation in Oswald Mosley’s British Union of Fascists (later the British Union), which became a political force that largely failed at the ballot box, yet drew thousands of disaffected people across the UK to their message of right wing nationalism.

poster with a woman stading withher children above a depressed looking man

A Nazi election poster “Women! Save the German family – vote for Adolf Hitler”, 1932. Wiener Holocaust Library Collections

photo of a large group of young people with their tops off working on earthworks many of them with a swastika scrawled across their chests

Romanian fascist students working at a brickworks as part of their summer camp activities, 1924, Kampf und Sieg (‘Struggle and Victory’) photo album. National Archives of Romania.

front cover <a href=bankfidelity magazine featuring a very muscular discus thrower" width="600" height="923">

Front page of the fascist newspaper Action, the newspaper of Oswald Mosley’s British Union of Fascists. 9 July 1936, p. 1.

Drawing upon The Wiener Holocaust Library’s unique archival collections, first assembled in the 1930s by Dr Alfred Wiener as part of his fight against fascism, as well as the expertise of an international group of specialists in interwar fascism, this exhibition focuses on the experiences of these rank-and-file members of fascist movements in the interwar period.

It explores the world of the young and socially diverse fascist activists and examines their motivations and activities through photographs, documents, posters, propaganda items and other ephemera. Together union bank of california san marcos ca frightening and often shocking images reveal the depth of fascism’s appeal.

There are many challenging images, not least a photo of a British woman holding a union flag with a swastika at its centre, which offers a conduit to the complexity of viewpoints that could be drawn to the fascist cause. In Britain by the mid-1930s women constituted almost a quarter of the membership of the British Union, whose position on some issues around women’s rights attracted feminists and even former Suffragettes to their cause.

Mosley’s own conversion to fascism – having been both a Conservative and Labour MP – mirrors this complexity and how, at its height, his party managed to attract over 50,000 members until their overt Nazism, anti-Semitism and tendency to street violence saw their high profile supporters desert them and their popular support wane.

Elsewhere the imagery reminds us of Fascism’s appeal to a broader range of people across Europe in the 1930s – like the artist intelligentsia of Mussolini’s Italy and Europe’s youth movements, as evidenced by the photo of Romanian teenagers (with bare chests adorned with crude swastikas) spending their summer camp working at a brickworks.

From the familiar images of young and middle aged Nazi men in 1920s Bavaria to a group of young fascist women saluting from the pages of the 1936 fascist annual, Kampf und Sieg (Struggle and Victory), it’s a sinister parade and a chilling reminder of the power onb bildarchiv fascism to attract a wide range of people.

Today, as extreme right-wing radicalism grows in strength in Europe and elsewhere, this is a timely look back to these first manifestations of a destructive phenomenon.

pamphlet with the headline up Britain stop war

An anti war flyer produced by the British Union of Fascists

photo of a group of people on steps making a Nazi salute

Students at the University of Vienna saluting a torchlight parade together with the Rector Hans Ubersberger in 1931.

magazine cover with sketch of an Aryan figure on the cover

Edition of Italian fascist journal Gerarchia’, 1927.

This Fascist Life: Radical Right Movements in lnterwar Europe is at the Wiener Holocaust Library untilFebruary 4 2022. 

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The Wiener Holocaust Library

London, Greater London

The Wiener Holocaust Library is one of the world's leading and most extensive archives on the Holocaust and Nazi era. The Library's unique collection of over one million items includes published and unpublished works, press cuttings, photographs and eyewitness testimony. It provides a resource to oppose antisemitism and other forms…

Источник: https://museumcrush.org/the-wiener-holocaust-library-explores-the-interwar-rise-of-fascism/
The Picture Archive of the Austrian National Library(Bildarchiv der Österreichischen Nationalbibliothek) is part of the Austrian National Library (Österreichische Nationalbibliothek), which unites several historical libraries, four museums and several special collections. The Picture Archive is the biggest centre of pictorial documentation in Austria. It combines three important historical collections: the Department of Portraits, the Picture Archive and the royal family’s library. The catalogue, from which pictures can be ordered, are available online.

The origin of the collection is the former ‘royal and imperial family Fidei Commis Library’ of the House of Habsburg, a comprehensive collection of portraits, graphics, books, historic photographs and valuable art objects. The Picture Archives contain over 1 million photographic negatives, covering a wide spectrum of subjects: from portraits, photographs of architecture, historic documents and pictures of everyday life to artistic photographs.

The Archive’s main areas of focus:

- Habsburgica: Emperor Franz Joseph, Empress Elisabeth, and other members of the imperial family

- Topographic and architectural photography. The main focus is Austria, with abundant and detailed material on Vienna and a large collection of picture postcards.
- Contemporary history: e.g., the photo archives of Wiener Kurier (the newspaper Vienna Courier)
- Portrait photography: politicians, artists, business people, sportspeople, and scientists
- Theatre photography: Salzburg Festivals, Viennese theatres, etc.

The Special Collections comprise several photographers’ archives like those of:
- Harry Weber: News photography from the period 1950 – 1975, with a focus on Austrian political events such as the state treaty, consequences of the uprising in Hungary; theatre photography, particularly Salzburg Festivals, state opera; photographs of contemporary Jewry in Vienna 

- Franz Linschinger: News photography, such as the opening up of the border by Hungary in 1989 and portrait photography of artists

- Kurt Aigner: News photography of Upper Austria from 1954 to about 1987. The collection contains about 20 years of the photographic archives of the newspaper Oberösterreichischen Nachrichten (Upper Austrian News)


The online archive is available here.

country: Austria
city: Vienna
adress: Josefsplatz 1
phone: +43(0)153410337
website: http://www.onb.ac.at/
email: bildarchiv@onb.ac.at

last modified : 2010-08-23 13:20:30

Источник: https://www.dutch-doc.nl/docupedia/picture+archive+of+the+austrian+national+library

Austria-Hungary

Technisches Museum Wien mit Österreichischer Mediathek

This website provides a timeline of World War I with audio-visual elements. The website is in German.

http://www.mediathek.at/erster-weltkrieg

ANNO – Austrian Newspapers Online, The National Austrian Library

An online archive of Austrian newspapers and periodicals from 1700 to 1941. There is also a section, “Extraausgaben des 1. Weltkrieges,” containing newspapers’ special editions – often only a single page – during WWI.

http://anno.onb.ac.at/

Austria-Forum

A German-language online encyclopedia containing a wealth of information about all things Austria. The site includes several different lexicons and dictionaries with tens of thousands of entries.

http://austria-lexikon.at/

Bildarchiv (Photo Archive), The National Austrian Library

An online archive of multiple photo collections, including Europeana Travel, Rübelt-Negativarchiv and Esperanto, containing tens of thousands of photos.

https://onb.wg.picturemaxx.com/

The First World War and the End of the Habsburg Monarchy

Online exhibition of Schloß Schönbrunn in Vienna, an innovative approach to showcasing WW1 history.

http://ww1.habsburger.net/en

Frontlines and Hinterland, Institute of Political History, Hungary

Frontlines and Hinterland publishes Hungarian Great War newspaper and periodical excerpts alongside commentaries and short articles. Longer blogposts on selected issues supply the reader with a broader thematic overview. The website is available in English and Hungarian.

http://elsovh.hu

Digitale Landesbibliothek Oberösterreich

The Landesbibliothek Oberösterreich’s (State Library Upper Austria) collection of digitized texts and prints in public domain.

http://digi.landesbibliothek.at/viewer/

1914-1918 Hundert Jahre Erster Weltkrieg, Österreichisches Staatsarchiv

Articles and images focusing on the Austrian involvement in the First World War.

http://wk1.staatsarchiv.at/

Das Kriegstagebuch des Alfred Hermann Fried

A digital version of the diaries kept by Austrian journalist and pacifist Alfred Hermann Fried (1864-1921).

http://www.kriegstagebuch.at/

World War One Sites – The Networld Database

World War One Sites contributes to the preservation of architectural and cultural heritage of the First World War in the Danube region. It documents different types of architectural heritages from war monuments and fortifications to POW-camps and museums in nine different countries.

https://ww1sites.eu

Denkmal-Heer, Austrian war memorials, Austrian Ministry of Defence

The database offers access and information about memorials on the Austrian Ministry of Defence's properties across Austria. It includes memorials dedicated to individuals, events as well as art and religious memorials. Denkmal-Heer aims to raise awareness, to promote a transparent and open commemoration-culture and to serve as an inventory of existing memorials.

https://www.denkmal-heer.at/

Источник: http://www.1914-1918-online.net/06_WWI_websites/Austria-Hungary.html

Machine Sample Clauses

Machine. An individual unit of a data processing system or subsystem, separately identified by a typeand/ormodel number, comprised of but not limited to mechanical, electro-mechanical, and electronic parts, microcode, and special featuresinstalledthereon and including any necessarysoftware, e.g., central processing unit, memory module, tape unit, card reader, etc.
Machine. Readable Cataloging (MARC/XML)‌ The sample data about the 170 codices from the ONB are described and delivered to DM2E in MARC/XML format. Each record has an unique identifier which can be used by DM2E. We can create some contextual resourceslikeedm:Agent and edm:Place from the source data as well. Missingelements: ore:Aggregation edm:rights edm:dataProvider edm:isShownBy or edm:isShownAt edm:ProvidedCHO edm:type For further contextual resources, e.g. edm:TimeSpan, it is necessary to normalise the input data because of some inconsistencies. For example, the metadata field includinginformation abouttime spans is delivered in two different ways: “1. Hälfte 5. Jhdt., 400- 450” and “1580-1599, Ende 16. Jhdt.”. It would be very useful if we had the possibility to extract the numerical time span in order to make this information searchable. In this case, we need a consistentstring which we can handle with regularexpressions. The MINTtool as well as the D2R server support regular expression functionality and were able to extract the necessary information. Furthermore, we have a problem to indicatethe rightURL that can be used as a webrepresentation of the object in the ONB data. It appears, that the same data fieldsstore more than one URL. For example, the data field tag with the number 856u contains the followinglinks: http://www.onb.ac.at/sammlungen/hschrift/bibliographie.htm, http:// www.bildarchiv.at/ProfiSzettel.aspx?a=b&wort=Cod%2015&Wien and http://www. manuscripta-mediaevalia.de/hs/katalogseiten/HSK0751a_b0002_jpg.htm. Only the last one leads to a properlanding page for the digitisedmanuscript page. This can only be sorted pathways financial credit union gahanna ohio manually.
Machine. (Wabash National, L.P.) 215 S. Newton St. Goodland, IN 47948 WileyMetalFabrication Inc. (Wabash National, L.P.) 816 W 34th St. Marion, IN 46952 The Zook Machine (Wabash National, L.P.) 110 W 1250 S Battleground, IN 47920 Anita Machine and Tool, Inc. (Wabash National, L.P.) 510 Elston Rd Lafayette, IN 47909 Serie’s Hardwoods, Inc. (Wabash National, L.P.) 2521 E Bethel Rd. Attica, IN 47918 Mid-AmericanTrailerRepair (Wabash National, L.P.) 4984 East 400 South Lafayette, IN 47905 MidlandStamping and Fabricating (Wabash National, L.P.) 9521 W Ainslie Schiller Park, IL 60176 Logan Stampings, Inc. (Wabash National, L.P.) 1100 E. Main Street Logansport, IN 46947 AZZ Galvanizing (Wabash National, L.P.) 2631 Jim Neu Drive Plymouth, IN 46563 (Wabash National, L.P.) 7825 S. HomesteadDr. Hamilton, IN 46742 (Wabash National, L.P.) 2415 S. Walnut St. Muncie, IN 47302 (Wabash National, L.P.) 625 MillsRoad Joliet, IL 60433 (Wabash National, L.P.) 310 East Progress Drive Dixon, IL 61021 D&L Realty (Wabash National Trailer Centers, Inc.) 400 KeystoneParkway Dunmore, PA David and Sharon McGraw d/b/a ClassicTireWheel and Auto SalesLLC (Wabash National Trailer Centers, Inc.) 2595 Hopkinsville Rd. Cadiz, KY 42211 Cadiz-Trigg County Industrial Development Authority (Transcraft Corporation) 489 International Drive Cadiz, KY 42211 City of Cadiz (Transcraft Corporation) 44 International Drive Cadiz, KY 42211 Tate & LyleIngredientsAmericas LLC (Wabash National, L.P.) 65 acres of Wabash Vacant Land south of US 52 and located on part of the Northwest and NortheastQuarters of Section 11, Township 22 North, Range 4 West of the SecondPrincipalMeridian, Wea Township, Tippecanoe County, Indiana.
Источник: https://www.lawinsider.com/clause/machine

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