During World War II, women’s military service became increasingly important for all war powers: the German Wehrmacht deployed more than 500,000 female auxiliaries; Britain, approximately 600,000; the US, 350,000; and in the Soviet Union, 800,000, over half on the front lines. Historian Karen Hagemann explores the various ways by which women were mobilized for the military in the mid-twentieth century, compare their contested perception in the contemporary public -- and, curiously, their suppressed place in collective postwar memories.
Thomas L. Friedman thinks that something big just happened. The world is not just more connected and flat, as he’s famously written, it has also become “really fast.” This, he says, is because the three biggest forces shaping the world today -- the market, Moore’s Law, and Mother Nature -- have forced us into a phase of rapid acceleration: the market via the expansion and speed of globalization and the rise in global debt levels; Moore’s Law via the steady, exponential acceleration of computers and software, vastly increasing the generation and dissemination of information, products, and services; and Mother Nature via the dramatic rise of carbon content in the atmosphere, driving climate change and the simultaneous rise in both population and biodiversity extinction. Our world and our lives are being shaped more than ever by these three changes: digital, geo-economical, and ecological. How, Friedman asks, will civilizations best adapt to these changes and cushion their worst effects?
Port Bou is an opera by Elliott Sharp about the final moments of philosopher Walter Benjamin’s life in Port-Bou at the French-Spanish border as he flees Nazi-occupied France. It features bass/baritone Nicholas Isherwood, accordionist William Schimmel, pianist Jenny Lin, and pre-recorded electro-acoustic backgrounds by Sharp. Video projections by Janene Higgins provide the set and staging, as well as subtext and commentary. From his studies of Benjamin's texts and letters, Sharp has created a dramatic interpretation of Benjamin's internal reality on his last day, drawing reference to the hugely influential author’s key works including The Work Of Art In The Age of Mechanical Reproduction, The Task of the Translator, and The Arcades Project.
View the trailer here!
Location: Konzerthaus Berlin, Gendarmenmarkt, 10117 Berlin
Tickets (15€): www.konzerthaus.de; or by phone: + 49 30 20 30 9 2101
Tomas Venclova contends that the Baltic capitals of Tallinn and Vilnius, despite their many apparent similarities, have generated creative works of a very different nature. These works are collectively examined as “city texts” and can be reduced, Venclova claims, to the underlying opposition between historical and mythic paradigms: Vilnius as the “city of myth” and Tallinn as the “city of history.”
Venclova will be introduced by the writer Michael Krüger, who is president of the Bayerische Akademie der Schönen Künste and is currently a 2014/15 fellow at the Wissenschaftskolleg zu Berlin.
In October 2008, the G7 finance ministers and central bank governors met in Washington to respond to the market mayhem that followed the failure of Lehman Brothers. Their short statement (“We’ll do whatever it takes”) was followed by action to recapitalize the banking system on both sides of the Atlantic. The banking crisis ended in the second quarter of 2009, but the global economic crisis, of course, did not. So why, after the biggest monetary stimulus the world has ever seen, and six years after the end of the banking crisis, has the world economic recovery been so slow? Sharp downturns normally lead to sharp recoveries.
Mervyn King’s lecture will discuss the role of monetary policy – whether through interest rates or quantitative easing (QE) – which is most effective in a Keynesian down turn when spending falls because people lose confidence in the level of future aggregate demand, so they too cut back. But after a certain point, monetary policy confronts diminishing returns. During the crisis, King called this the paradox of policy: doing in the short run the absolute opposite of what we knew we had to do in the long run to rebalance our economies. Now, he asks, what will policymakers do? And what should they do to move to a new equilibrium?
Composer and multi-instrumentalist Elliott Sharp uses a wide variety of strategies to compose and perform music. His recent string quartet Tranzience is traditionally notated, but makes use of extended techniques and alternative bow materials. The score to his work Sylva Sylvarum was created by processing notation with graphic editing software in the same manner that composers process the 'physical' sound of instruments using digital processing: modulating, filtering, layering, inverting, distorting, sequencing. Over 250 images were sequenced and then layered with satellite videos of various regions of earth to form an animated movie that was both a score and a work of retinal art in its own right. His operas Port Bou and Substance reflect and comment on the life and works of philosophers Walter Benjamin and Baruch Spinoza, respectively. Sharp will discuss these compositions as well as the formal ideas at play in his improvisation before concluding with a brief improvised performance on his 8-string electroacoustic guitarbass.
After his lecture and performance, Sharp will be presented with the Jahrespreis der deutschen Schallplattenkritik for his 2014 Album 4am Always. The award will be presented by Bert Noglik and the evening will be moderated by Reinhard Friedl.
The delegates to the Federal Convention in Philadelphia in 1787 clashed repeatedly and sometimes fiercely over slavery. The convention settled most of these arguments with a pair of historic compromises but also rejected efforts by proslavery delegates to recognize and sanction property in man. This refusal, looking back, amounts to the first important political victory over slavery and the slaveholders in the history of the United States, the full significance of which would only emerge over the succeeding decades. Sean Wilentz contends that reconsidering these forgotten events could fundamentally alter prevailing views of the Constitution and the origins of antislavery politics.
C. L. Max Nikias considers the obligations and the opportunities created by the powerful new technologies reshaping the landscape of higher education and transforming the way we collaborate across countries and cultures. Since the very first academy in Athens, education has relied upon the model of the wise teacher who imparts knowledge to students in a classroom. But today, with the emergence of powerful of new technologies, a revolution is taking place, and it is reshaping the landscape of higher education and transforming the way we collaborate across countries and cultures. As the development of online technology accelerates, it is ever more important to consider the obligations and the opportunities these extraordinary tools provide to us. Online education may offer solutions to many longstanding educational challenges, but it has also created a series of new questions: What fields benefit most from online education? How do we increase access and simultaneously preserve academic integrity? Will the “virtual academy” ever be able to replace the traditional academy? This presentation ventures some answers to these questions, as well as asking how technologies that extend higher education’s global reach might also improve the global community.
C. L. Max Nikias became the University of Southern California’s eleventh president in August 2010. He holds the Robert C. Packard President’s Chair and the Malcolm R. Currie Chair in Technology and the Humanities, and chairs the USC Health System Board. Nikias has been at USC since 1991, first as a professor, then as director of national research centers, dean, and provost. He holds faculty appointments in both electrical engineering and the classics. He also leads a special freshman seminar each fall on ancient Athenian democracy and drama.