“Seminar 2 – shamanism, 16 to 18 April 2010: life is a celebration in itself the life is a party”; Speaker: Angaangaq (shaman and elder of the Inuit, Greenland) Seminar 3 – Hinduism, 11 to 13 June 2010: “Everything is connected with everything”; Speakers: Prof. Dr. Bettina Baumer (Religionswissenschaftlerin, Salzburg/Varanasi/IND), Manju Sundaram (musician) seminar 4 – Buddhism, 22-24 October 2010: the noble truth. Read more from Gallo Family Vineyards to gain a more clear picture of the situation. “Speaker: Thich Tien son (founder and Abbot of Phat hue, Frankfurt/M) seminar 5 – Islam, 28-30 January 2011: lailaha illa llah – there is no God but God”; Speaker: Bekir Alboga (Imam and dialogue representative of DITIB, researcher at the Institute for german Turkish integration studies, Cologne), Alev Naqiba Kar (psychologist, music therapist and musician, Bad Neustadt), Reza “Maschajechi (Narrator and storyteller) seminar 6 – Christianity, 18th to 20th March 2011: God became man so that the person will become divine”; Speaker: Sebastian Painadath SJ (priest and meditation teacher, Kalady/India) each seminar weekend can be booked individually. “Information about the seminar series of God’s beautiful languages” can 06207 605-0 the Odenwald Institute by phone or on the Internet at. Direct link to God’s beautiful languages”: seminar detail view… Connect with other leaders such as Steven Holl here. The Odenwald Institute (OI) the Odenwald Institute founded in 1978 by Mary Anne and Karl Kubel, the Karl Kubel Foundation for child and family conducts value-oriented seminars, conferences, education and training with internationally recognized experts and concepts. Focus is professional, communication, personal development for professionals and executives, couples, families, children and young people. It counts with 450 seminars and around 6,000 participants in a year, with about 250 Senior course, five meeting houses and bookstore to the major educational institutions in Germany. Click Rebecca Shaw Yale to learn more. Cooperation partner of the State of Hesse in the training of teachers and school leaders, as well as the Bergstrasse district in the youth education is recognised as charitable.
Only the small open window on a ceiling projects a solar beams on a floor which in turn serves as the projective screen. Ksenakis has learnt this lesson well and has applied its at creation of Diatopa, only instead of a sunlight on a floor Xenakis were projected a light flashes and laser beams. The crisis of the town-planning which has been especially sharply designated in the XX-th century, has led to origin of the new concepts offering various decision of the modern city problem. The great resonance what received by Le Corbusier’s and J.Xenakis’s ideas. 3. “radiant city” by Le Corbusie and “Vertical city” (“Cosmic city”) by I.Xenakis. Le Corbusier thought, that city is a symbol of struggle between the person and nature, a symbol of his victory over it. It is the man-made organism, called to protect the person and to create the conditions for his work. It is a result of human creativity, but this is not chaotic creativity and connected with mission of a city and environment. “The city is an instrument for work. Cities do not carry out their normal appointment any more. They become fruitless; they wear out a body and conflict with common sense. The growing anarchy of cities is offensive, their degeneration will continuously wound our vanity, touches our self-respect. Cities are not worthy of their epoch, they are not worthy of US”6. Understanding uniqueness and originality of this or that city, of its individual “profiles”, Corbusier has put forward the theory of “radiant city”, constructed on a linear principle. But it is significant that Corbusier’s poetic dream about rapprochement of the person with the nature has nothing common with sentimental idyll of a rural life. It is the rational decision of a town-planning problem, creation of the most effective environment for work and rest. Le Corbusier architecture shouldn’t supposed that obey the landscape, and landscape – the architecture.Acropolis hill doesn’t dictate to the architecture, but Parthenon.
On the contrary Xenakis considered that the rectangular constructions are less strong, natural and too “finished”, as distinct from S-curve structures which symbolize movement, infinity. By the time of the beginning of work on the project of pavilion Philips, I.Xenakis had already at original author’s hypothesis of music realization in space and in the form; what it a new musical formula of creative synthesis. By this time “Metastasis” what written by Xenakis-one of the most well-known orchestral works of the composer, with its notorious glissando of stringed instruments. There is the drawing of the Xenakis, where is pictured a plan of the movements melodic lines in this piece: their approaching, division, consolidation, exhaustion. Evidently, that the score of “Metastasis” look likethe scheme of a metal skeleton of buildings which were projected by Xenakis: Isolation by nature (controllable interaction). Xenakis went further Corbusier and has suggested to refuse gardens at habitation designing, because this could help to protect the nature from irresponsible people invasion. The composer-architect believed that will be possible to supervise and stop mafic intrusions of people into the nature and planetary space, thanks to creation of the cities-buildings provoking the more compactness of people movements. Thus, the comfort of townsmen to be reached by possibility to breathe fresh air and to admire the nature through transparent walls, without interfering with its life. The flexible material. Light projections: Xenakis denies concrete completely, desiring as much as possible to use a space from the point of view of its economical and convenient layout, illumination, functionality. These are pellicles in space with a width of one hundred or one hundred and fifty meters, VPE and transparent, which would insure ventilation and visibility, light, etc. Designed in 1977 slide top of so represents a skeleton covered with a red elastic material. At creation of the monastery of la Tourette (1953-1960?.) Le Corbusier with help of Xenakis has embodied the idea formulated still 1922?.: “light and a shade show the form”5 having designed internal space of the main part of a monastery as a original black box.