Why? And what for?

Please!Look at it!

akismetSpam statistic for my blog in last 6 monthes

Everyday every blogger got from one to some hundreds spams. Since beginning till yesterday I got 45305 spam comments. Yellow is spam and green ham it means something I like and want have. If you are a reader, you do not see them. WordPress uses a special function (Akismet) to stop them with accuracy of 99,9%. They are not destroyed but send to a special pool, where you can see and decide, what you want to do with them. Sometimes they are short f.e. it is wonderfull blog! Or: I was looking since a long time for a good blog and I find you and I am very pleased. Or – buy Vuitton Bag for 20 €. Or even more: I love you. OK, I know it is spam, but I can understand the idea staying behind. Getting a love declaration or appreciating my doing I am pleased. And when I am pleased I click at the sender, to see who loves me… and then everything can happen. A trojan is possible or invitation tu buy viagra or oh oh indeed a great love. But that text…

What is that? Why? And what for? If you know, yeah, please write!

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{I have|I’ve} been {surfing|browsing} online more than {three|3|2|4} hours today, yet I
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{In my opinion|Personally|In my view}, if all {webmasters|site
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{Very well|Perfectly|Well|Exceptionally well} written!|
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Thanks.|
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{also very|extremely|very|also really|really} good.|
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{Superb|Exceptional|Outstanding|Excellent} Blog!|
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Any way keep up wrinting.|
{I love|I really like|I enjoy|I like|Everyone loves} what you guys
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{I love|I really like|I enjoy|I like|Everyone
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{This sort of|This type of|Such|This kind of} clever work and {exposure|coverage|reporting}!
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{tough|difficult|hard} time {making a decision|selecting|choosing|deciding} between BlogEngine/Wordpress/B2evolution and Drupal.
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{Howdy|Hi there|Hi|Hey there|Hello|Hey} would you
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{Thanks a lot|Kudos|Cheers|Thank you|Many thanks|Thanks}, I appreciate it!|
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{Where|Exactly where} are your contact details though?|
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{Hola|Hey there|Hi|Hello|Greetings}! I’ve been {following|reading}
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{have a good|have a very good|have a great} read.

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Is this a paid theme or did you {customize|modify} it yourself?
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Reblog: Oldest music in the world

Josh Jones

A Sumerian Hymn Written 3,400 Years Ago

In the early 1950s, archaeologists unearthed several clay tablets from the 14th century B.C.E.. Found, WFMU tells us, “in the ancient Syrian city of Ugarit,” these tablets “contained cuneiform signs in the hurrian language,” which turned out to be the oldest known piece of music ever discovered, a 3,400 year-old cult hymn. Anne Draffkorn Kilmer, professor of Assyriology at the University of California, produced the interpretation above in 1972. (She describes how she arrived at the musical notation— in some technical detail— in this interview.) Since her initial publications in the 60s on the ancient Sumerian tablets and the musical theory found within, other scholars of the ancient world have published their own versions.

The piece, writes Richard Fink in a 1988 Archeologia Musicalis article, confirms a theory that “the 7-note diatonic scale as well as harmony existed 3,400 years ago.” This, Fink tells us, “flies in the face of most musicologist’s views that ancient harmony was virtually non-existent (or even impossible) and the scale only about as old as the Ancient Greeks.” Kilmer’s colleague Richard Crocker claims that the discovery “revolutionized the whole concept of the origin of western music.” So, academic debates aside, what does the oldest song in the world sound like? Listen to a midi version below and hear it for yourself. Doubtless, the midi keyboard was not the Sumerians instrument of choice, but it suffices to give us a sense of this strange composition, though the rhythm of the piece is only a guess.

Kilmer and Crocker published an audio book on vinyl (now on CD) called Sounds From Silence in which they narrate information about ancient Near Eastern music, and, in an accompanying booklet, present photographs and translations of the tablets from which the song above comes. They also give listeners an interpretation the song, titled “A Hurrian Cult Song from Ancient Ugarit,” performed on a lyre, an instrument likely much closer to what the song’s first audiences heard. Unfortunately, for that version, you’ll have to make a purchase, but you can hear a different lyre interpretation of the song by Michael Levy below, as transcribed by its original discoverer Dr. Richard Dumbrill.

Josh Jones is a writer and musician based in Durham

Reblog: Barbie just different

Emerald Pellot

What a doll

When I was a kid, I had a pile of dolls, and I loved each and every one of them. I gave each of them names, biographies, and stories.

I’d even make them tiny meals! We went on adventures together. I was devastated if I lost one. I was heartbroken when one broke. Each of them was a very real friend to me as a kid.

Yet, for whatever reason, my mom insisted that I shouldn’t play with Barbie dolls, no matter how cool her dollhouse was. I didn’t quite understand why until I was older.

Dolls have always garnered much controversy. Their curvy, idealized bodies, overt makeup, and even skin tone can greatly affect the way young girls perceive themselves.

With such high expectations projected onto our daughters, how are they supposed to feel when they look in the mirror?

If dolls represent “pretty” but don’t represent or resemble the girls who play with them, what are they to believe about themselves?

Moms around the world often struggle with this predicament. They want their daughters to have awesome toys, but they certainly don’t want them to have self-esteem issues.

How do you provide a little girl with this traditional and sentimental gift without the potential of harming her sense of self?

The solution is difficult, but one mom is figuring out how to navigate the world of hyper-sexualized dolls and imagery.

barbienew

Alexandras Wohnung / Alexandra’s flat

Von der Redaktion über Aleksandra Hołownia

Heute gibt es Alexandras Veranstaltung in der Regenbogenfabrik. Man braucht sie hier, auf diesem Blog nicht vorzustellen- sie ist bei uns so wie in Berlin und in der ganz großen Welt sehr bekannt. Sehet nur HIER, und HIER, und HIER, und HIER, und HIER. Unsere Autorin, Johanna Rubinroth, machte für Kowalski und Schmidt einen Film über sie – Provokation in pink.

Kommt alle, es wird kleine Filme geben, Gespräche, künstlerische Interaktionen, eine Mini-Ausstellung, Kostümanprobe, Verkauf…

Wo: Kino in der Regenbogenfabrik / Lausitzer Str. 22 (im Hof) / Berlin 10999

Und als Kostprobe – ein paar Fotos von der Alexandras Wohnung in Prenzlauer Berg. Verrückt!

w kuchni X aleksandra-pokoj-doppelX Alex Stube 3 X Alex Zimmer 2-doppeltX Alex Zimmer 7X

 

Remorsed feelings

remorsedfeeling

Director: Markus Helmersson
Writer: Markus Helmersson
Composer: Marcos Ciscar

Casting:

Joanna Kozlowska
Wilhelm Forsnäsgård
Remzi Halimi

Aby obejrzeć film, proszę kliknąć na obrazek – link odeśle widza do strony konkursowej “Short of the month” / Um den Film zu sehen, bitte aufs Bild klicken – der Link leitet uns weiter zur Homepage of Wettbewerb “Short of the month” / If you want to see the film, please “klick” on the picture – link leading to the Homepage of the Competition “Short of the month”

Reblog: Why we “love” to read?

EMS: It is my grandson 13 years ago as we the first time went to library.

Ocalałe / Salvaged

O wystawieSylwia Kościuszko

W niedzielę 1 lutego oglądałam razem z koleżankami i kolegami ze Stowarzyszenia Drugie Pokolenie wystawę „Ocalałe” („Salvaged”) w Żydowskim Instytucie Historycznym w Warszawie. Było to niezwykłe przeżycie, móc oglądać obrazy artystów żydowskich, powstałe w latach 1890-1939 oraz w okresie wojennym, w towarzystwie kuratorki wystawy i zarazem Kierowniczki Działu Sztuki w Żydowskim Instytucie Historycznym, Teresy Śmiechowskiej. Teresa, która, jak sama powiedziała, czuje się jedną z nas, w niezwykle interesujący sposób opowiadała o poszczególnych twórcach i ich dziełach, przez co pozwoliła nam umieścić oglądane obrazy w konkretnym kontekście oraz głębiej przeżyć i zrozumieć to, co widzieliśmy. Nie ukrywała swoich emocji – czuliśmy, że ma osobisty stosunek do tej wystawy, dzieliła się z nami tym, co na niej zrobiło największe wrażenie, zwracała uwagę na szczegóły, które mimo woli mogły nam umknąć.

SeksztajnPierwsza część wystawy poświęcona jest obrazom i rysunkom z lat 1939-1945. Ich siła wyrazu, niezależnie od wartości artystycznej, była porażająca. Jak choćby prace Geli Seksztajn umieszczone obok jej swoistego testamentu, w którym pisała „nie proszę o pochwały, lecz tylko o zachowanie pamięci o mnie i o mojej córeczce”, „ muszę zginąć, ale swoje zrobiłam. Chciałabym, aby przetrwała pamięć o moich obrazach”. To się udało – jej obrazy ocalały ukryte w zbiorach Podziemnego Archiwum Getta Warszawskiego. Ze wzruszeniem ściskającym gardło oglądałam portrety dzieci, w tym także jej córeczki Margolit, rysowane ołówkiem, kredką, węglem.


Gela Seksztajn

Wszystkie prace w tej części wystawy miały przejmujące historie, przedstawiały w sposób niezwykle oszczędny w formie i mocny w ekspresji tragizm tamtych czasów – głód, cierpienie, samotność, śmierć. Powstawały w gettach – łódzkim, białostockim, warszawskim jak np. prace Rozenfelda (artysty o nieznanym imieniu i biografii), który do swoich rysunków dołączył komentarze opisujące rzeczywistość getta warszawskiego. Duże wrażenie zrobiły na nas rysunki Henryka Becka, lekarza i malarza, składające się na cykl „Bunkier 1944 roku”, dokumentujący miesiące, gdzie ukrywał się w opuszczonej po upadku powstania Warszawie.

Beck_BunkierHenryk Beck, „Bunkier 1944 roku”

Oglądaliśmy prace Witolda Lewinsona, Józefa Kownera, Stanisławy Cetnerszewerowej, Icchaka Braunera, Izraela Lejzerowicza, Maksymiliana Eljowicza, Romana Kramsztyka – żadne nie pozwalają przejść obok obojętnie.

***

ocalale-zwiedzanie
Druga część wystawy obejmowała prace powstałe w latach 1890-1939, autorstwa pierwszego pokolenia artystów pochodzenia żydowskiego, którzy tworzyli niesakralną sztukę żydowską. Większość z nich nie przeżyła Holokaustu.

Hirszenberg_Uliczka w KazimierzuZgromadzone na wystawie obrazy – portrety, pejzaże, martwe natury, widoki małych miast, w tym liczne Kazimierza Dolnego, malarstwo rodzajowe, akt, pokazywały znakomity kunszt ich twórców oraz przynależność do różnych stylów lub co najmniej otwartość na nie – od XIX-wiecznego realizmu, przez ekspresjonizm, kubizm aż po konstruktywizm. Teresa także o tych artystach i ich dziełach opowiadała ciekawie i z przejęciem, pozwalając nam miękko przejść od ciemności, smutku i cierpienia poprzedniej sali w świat kolorów i nowoczesnego patrzenia na przestrzeń i formę. Zapytani przez Teresę o dzieło, które zrobiło na nas największe wrażenie wymienialiśmy różne prace

Samuel Hirszenberg, Uliczka w Kazimierzu

Guterman_Portet kobiety„Portret kobiety” Abrahama Gutermana >>
czy „Ekstazę” Norberta Strassberga, „Kabalarkę” Jana Gotarda (którą, po wnikliwym przyjrzeniu się obrazowi, twórcy wystawy przemianowali na „Zielarkę”), któryś z pejzaży Kazimierza Dolnego. Wybór nie był łatwy spośród obrazów takich artystów jak Maurycy Trębacz, Samuel Hirszenberg, Abraham Berman, Samuel Finkelstein, Zygmunt Menkes, Józef Badower, Sasza Blonder, Bruno Schultz, Roman Kramsztyk i Maksymiliana Eljowicz. Mogliśmy także podziwiać rzeźbę Henryka Glicensteina „Mesjasz”.

Eljowicz_Rabin

A co ja bym wybrała?

Coś mnie fascynuje w obrazie Maksymiliana Eljowicza “Rabin”, który łączy obie galerie.
Wisi w holu do sali z pracami 1939-45, bo był na zdjęciu/w kadrze z niemieckiego filmu propagandowego o Judenracie w getcie warszawskim, wisiał w gabinecie Czerniakowa, ale jest w stylu bardzo nowoczesnym.

Jest dla mnie łącznikiem miedzy obiema galeriami.
Samsung022015 133Z czym wyszłam z wystawy? Z dumą, że wśród polskich artystów XX wieku tylu było wspaniałych twórców żydowskiego pochodzenia. Z głębokim smutkiem, że życie większości z nich zostało w tak okrutny sposób przerwane. Z nadzieją, że kolejne pokolenia będą to, co po sobie pozostawili, odkrywały, przeżywały i podziwiały, tak jak to tej niedzieli stało się to moim udziałem. Z wdzięcznością, podziwem i szacunkiem wobec tych wszystkich, którzy ocalili tę sztukę i udostępniają ją publiczności. Z radością, że swoimi wrażeniami mam się z kim podzielić…

Józef Badower, „Nosiwoda” / Jan Gotard, „Kabalarka”
badower-gotard
X

X

X

X

X

X

X

***
Wystawa w Żydowskim Instytucie Historycznym
poniedziałek – piątek w godz. 8.00–18.00
i w niedzielę w godz. 10.00–18.00
ul. Tłomackie 3/5
00–090 Warszawa
tel.: (22) 827 92 21
fax: (22) 827 83 72

Wystawę można oglądać do końca marca.

Reblog: New Jews in Poland

  • The Guardian, Sunday 25 January 2015 18.22 GMT
    Thanks to the Facebook Group Róża Jerychońska for sharing this text

The third-generation Polish Jews rediscovering long-buried roots

Judaism has a history dating back 1,000 years in Poland but most see the country as a site of Jewish death and suffering

A family in Szeroka Street at the heart of the Jewish quarter in Krakow. Photograph: Eastway Pictures

First Agnieszka Markowska found a suspicious baptism certificate, then a trail of false names and invented hometowns. Hidden behind them was a Jewish family history her grandmother had sworn she would take to the grave.

“When I showed her what I had discovered, she still denied she knew anything,” said Markowska. So she made her way to Krakow’s Jewish Community Centre, the heart of resurgent Jewish life in a city that has long been more associated with Jewish tragedy.

“If my great-grandparents were Jewish, I wanted to know what they believed, what festivals they celebrated, how they lived. I exist because of them, and want to preserve their memory,” said Markowska, who now marks Jewish holidays herself.

The 45-year-old is part of a growing number of “third-generation” Polish Jews – they count back to the first generation of Holocaust survivors – who are rediscovering roots assiduously buried by parents and grandparents trying to escape death camps and then antisemitism, and helping to rebuild Jewish life in Poland.

Judaism has a history going back more than 1,000 years in the country, but because the Nazis carried out most of the murderous work of the Holocaust in occupied Poland, and reduced a population of more than three million to just a few thousand, many outside the country see it only as a site of Jewish death and suffering. Krakow was particularly notorious, with an infamous ghetto, and just an hour’s drive from Auschwitz.

“Many people in Israel have a very dark view of Poland,” said Kfir Katz, an Israeli with Polish roots who has settled in Krakow after months of research into family roots that allowed him to claim Polish citizenship.

His mother warned him the country her parents had fled was just a “vast cemetery”, but instead he found a community several hundred strong, four active synagogues, and a Jewish cultural festival that draws thousands of visitors each summer.

If some of the Jewish-quarter restaurants with Hebrew names sell pork dishes, there is also a better supply of kosher food than there has been for decades, and shabbat dinners are celebrated by open windows.

It was a slow journey, though, for the handful of Holocaust survivors who decided to stay on in the ruins of a city that was once home to more than 60,000 Jews.

“I was never in hiding, but I was never saying ‘Hi, I’m Henryk Meller, I’m Jewish,’ either,” said one community leader, who was born in 1931 and lost both parents and his only sister during the war. “My friends know, some of them are antisemitic. But that’s the thing in Poland, each antisemite has his own Jew who is his best friend.”

Poles are the single largest group on the Yad Vashem Holocaust memorial’s list of “righteous among the nations” in Israel, those who risked their own lives to save Jewish friends, neighbours, colleagues or acquaintances.

But prejudice also has deep roots. Many Polish Jews survived the Holocaust only because they had fled pogroms before the Nazis arrived. And within months of the liberation of Auschwitz, dozens more had died in new pogroms and fights over confiscated property.

In 1968, one faction within the communist government launched a cynical antisemitic campaign, as part of an internal power struggle, which cost hundreds of people their jobs and prompted thousands more to leave for Israel.

For decades there was not even a rabbi based in the city, said Meller, whose own son has immigrated to Israel. Meller never wanted to leave, and was key to the founding in 2008 of the Jewish Community Centre (JCC) in Krakow, a welcoming building which hosts everything from shabbat dinners and Torah study to make-up lessons and belly dancing.

Funded by UK charity World Jewish Relief, with support from Prince Charles, who opened it, it provides a meeting place for the existing community, but also somewhere for Poles who uncover a secret family history to explore Jewish culture, religion and history.

Olga Danek grew up in a house full of Jewish books and artefacts, and was taken several times as a child to Auschwitz and the spooky, deserted former Jewish quarter of Krakow. Still, she celebrated Christmas and Easter, and was stunned to be told, aged 12, “your grandmother was Jewish”.

“My first feeling when my mother told me I was Jewish was ‘OK, but maybe the community don’t want me’,” said Danek, now 28 and head of the student group at the JCC.

“You don’t have the papers, you don’t have the Jewish knowledge, what are you going to do? I think I was afraid, that I was not Jewish enough for them.”

In her group of 16 young Poles, only one grew up knowing she was Jewish. The rest share dramatic stories of deathbed confessions, fearfully guarded secrets or reluctant admissions drawn out after months of research in dusty archives. In many of their families Jewish identity in effect skipped a generation. Some Holocaust survivors lied to their children to protect them. Others, such as Danek’s mother, knew the family secret but felt it was too dangerous to acknowledge.

“She was born in 1961, and after 1968 we didn’t have an official Jewish life. You were told, ‘If you are Jewish you must go to Israel, you are not Polish’ – it was very difficult. I think she is afraid to be Jewish,” Danek says.

Pope John Paul II did much to tackle antisemitic attitudes, condemning them outright, visiting Auschwitz to pray in 1979, on his first visit to the country since becoming leader of the world’s Catholics, and forging high-profile relationships with Jews and Jewish communities.

The spectre still haunts Krakow, though. On a road near the JCC, a large piece of football graffiti reads Cracovia JG – or Krakow Jewish Gang, with a star of David. When Markowska told one friend that she was Jewish, the woman replied “Don’t worry, I will still like you”, and Danek’s mother frets about her wearing a star of David in public.

For Danek that lingering prejudice, and the long shadow cast by the horrors of the Holocaust, is just one more reason to celebrate Jewish life in Krakow.

“Many people think the Jewish community doesn’t exist here, and so it’s important to me to show that we do,” Danek said. “I want to show that we are not prisoners of the Holocaust. We are living here in Poland.”