Journal articles on the topic 'Friedliche Revolution in der DDR'

Eng verbunden mit der friedlichen Revolution in der DDR waren Fragen nach einer angemessenen Verfassung für das staatlich geeinte Deutschland. Als Folge der Entscheidung für den Weg des Beitritts wurde die Debatte über einigungsinduzierte Änderungen des Grundgesetzes nicht einem Verfassungsrat oder gar einer Verfassunggebenden Versammlung übertragen, sondern einer paritätisch aus Bundestag und Bundesrat gebildeten Gemeinsamen Verfassungskommission. Im Februar 1994 haben die parlamentarischen Beratungen über die Empfehlungen des nach fast zweijähriger Beratung vorgelegten Berichts begonnen. Der Beitrag schildert Gründe, Verfahren und Themen dieser Verfassungsdebatte zwischen Beharren und Innovation, im Spannungsfeld von Reform, Revision und Neukonstituierung, und versucht Gründe dafür zu benennen, daß die Chance einer zukunftsorientierten Verfassungsmodernisierung nicht genutzt worden ist.

AbstractTo what extent is the Peaceful Revolution an issue in religious education and how is it interpreted? This question will be answered based upon a critical analysis of curricula and textbooks for religious education. What follows is a critical classification in terms of pedagogy for religion and church history and in conclusion, reflections on how to teach about the Peaceful Revolution will be considered.

AbstractThe term “Peaceful Revolution” (“Friedliche Revolution”) means the process of social, political, and religious change that led to the end of Communist rule 30 years ago in Germany as well as other European countries such as Poland, Czechoslovakia, and Hungary. How did this turning point affect religious education of the time? And how does it affect religious education today? With regard to the papers and interviews in the present journal we argue that the Peaceful Revolution and its relevance for religious education should be examined in a European reference framework. To achieve this, we systematically extend comparative approaches by using the methods of transnational history, such as connected history and global history. Finally, the article lines out didactical consequences of this approach.

In ‘Dance Dance Revolution’ (DDR), an arcade and home video game distributed by the Japanese entertainment corporation Konami, players move their feet in specific patterns set to electronic dance music. Only by achieving a high accuracy rate can a player advance from one level to the next. DDR enjoys worldwide popularity among teenagers and young adults, partially due to the marketing of the game's ‘soundtracks’ as separate, purchasable collections of underground techno, house, and drum ‘n’ bass. This article considers the Internet communities of DDR fans and their debates concerning ‘mainstream’ culture and musical taste.

Dokumentarische Fotografien und Bewegtbilder - speziell historischer Aufnahmen - spielen in Erinnerungsdiskursen und Gedenken in und durch Medien eine besondere Rolle. Das gilt für das mediale Gedenken an den Holocaust ebenso wie an die friedliche Revolution 1989, an 9/11 oder an jüngere Ereignisse wie den Anschlag in Halle 2019. Visuelles Erinnern birgt spezifische ethische Herausforderungen im journalistischen Produktions- und Publikationskontext. Die kommunikationswissenschaftliche Erinnerungsforschung beobachtet ferner eine „Transnationalisierung“ und „Transkulturalisierung“ medialer Erinnerungsdiskurse und -praktiken. Angesichts dieser Transformationen wird sichtbar, dass sich die Funktionen von Bildern im medialen Erinnern mit den bisherigen Theorien kollektiver Erinnerung nicht mehr adäquat erfassen lassen und neue ethische Fragen aufwerfen.

Background:Dance Dance Revolution (DDR) is considered a tool to help children promote a healthy active lifestyle. Empirical studies in this field have been largely unexplored. The purpose of this study was to examine the relationships between students’ mastery experiences, situational motivation, and physical activity levels in DDR.Methods:One hundred and ninety-five seventh, eighth, and ninth graders participated in a 2-week DDR unit. Students’ physical activity levels and situational motivation [intrinsic motivation (IM), identified regulation (IR), external regulation, and amotivation) were measured for 3 classes.Results:Students were motivated to play DDR, but their moderate-to-vigorous physical activity (MVPA) was low (ie, mean = 4.95%). In addition, students with successful mastery experiences had significantly higher IM, IR, and MVPA.Conclusions:Although students were motivated for DDR, they were not physically active in DDR. In addition, successful mastery experience played an important role in students’ motivation and physical activity levels in DDR.

Cancer-specific DNA repair defects are abundant in malignant tissue and present an opportunity to capitalize on these aberrations for therapeutic benefit. Early preclinical data demonstrated the concept of synthetic lethality between BRCA genetic defects and pharmacologic PARP inhibition, suggesting that there may be monotherapy activity with this class of agents and supporting the early trial testing of this molecularly driven approach. Although the first foray into the clinic for PARP inhibitors was in combination with DNA-damaging cytotoxic agents, clinical development was limited by the more-than-additive toxicity, in particular dose-limiting myelosuppression. As more tolerable single agents, PARP inhibitors are now approved for the treatment of ovarian cancer in different settings and BRCA-mutant breast cancers. Beyond PARP inhibitors, there is now a large armamentarium of potent and relatively selective inhibitors in clinical trial testing against key targets involved in the DNA damage response (DDR), including ATR, ATM, CHK1/2, WEE1, and DNA-PK. These agents are being developed for patients with molecularly selected tumors and in rational combinations with other molecularly targeted agents and immune checkpoint inhibitors. We detail the clinical progress made in the development of PARP inhibitors, review rational combinations, and discuss the development of emerging inhibitors against novel DDR targets, including DNA repair proteins, DNA damage signaling, and DNA metabolism.

As doenças cardiovasculares (DCVs) estão entre as principais causas de morte no mundo e os processos patológicos associados com o seu desenvolvimento têm início na infância. O objetivo do estudo foi analisar e comparar as respostas de variáveis cardiovasculares durante e após a prática de vídeo game interativo e televisão. A amostra foi composta de oito crianças saudáveis (9,8 ± 0,5 anos; 30,1 ± 3,4kg; 133,3 ± 13,6 cm; 17,4 ± 4,7 kg/m²). O estudo consistiu de três sessões das quais a 1ª destinou-se a avaliação antropométrica e familiarização (FAM) com os equipamentos e o laboratório, e as demais sessões foram realizadas em ordem randomizada, sendo 30 minutos de Dance Dance Revolution (DDR), nível iniciante; e 30 minutos de televisão (TV) em que dois desenhos infantis (Ben 10 e Bob Esponja) foram apresentados. Durante as sessões foram aferidas a freqüência cardíaca (FC), Pressão Arterial Sistólica (PAS) e Pressão Arterial Diastólica (PAD) aos 10 minutos de repouso sentado, bem como aos 10, 20 e 30min de atividade (DDR ou TV) e aos 2, 10, 20, 30 e 40 min após finalização das atividades. Para a análise estatística foi verificada a distribuição normal dos dados pelo teste de Kolgomorov-Smirnov, ANOVA one-way, com Post Hoc de Scheffé para comparação entre sessões e ANOVA para medidas repetidas na comparação entre os momentos de cada sessão que foram testados. O nível de significância adotado foi p≤0,05 (ESTATÍSTICA 6.0). Aumento significativo dos valores de FC, PAS e PAM durante o DDR (30 min: 110 bpm, 116 e 89 mmHg) foram observados quando comparados com a TV (30 min: 86 bpm, 102 e 70 mmHg) respectivamente. Foi observada uma tendência de queda da FC e PAS aos 40 min de recuperação após sessão DDR, bem como uma tendência de elevação da FC, PAS, PAD e PAM após TV quando comparadas ao repouso, porém estas não foram significantes (p>0,05). Concluímos que o vídeo game interativo DDR pode ser uma alternativa interessante para aumentar o nível de atividade física, podendo trazer benefícios cardiovasculares pós-exercício. Caso estes valores de PAS se mantenham inferiores nessas crianças ao longo do dia, podemos considerar o uso desse instrumento na proteção cardiovascular durante a infância, podendo impactar positivamente na atenuação de eventos cardiovasculares na idade adulta futura, o que seria muito importante para a saúde pública.

The purpose of the study was to compare the learning curve and motor retention of the Dance Dance Revolution (DDR) video game in healthy adults. Twenty young (M= 23.9 ± 2.8 yr.) and 18 older adults (M= 60.7 ± 5.9 yr.), were randomly assigned to two experimental conditions: a) DDR 7 trials and b) DDR 14 trials. Participants danced the same song six sessions, followed by a detraining period of eight days. Then participants returned to the laboratory and danced again in order to detect a motor retention effect. A three-way ANOVA revealed mean score interactions (sessions x groups x trials; p = 0.017). Follow-up analyses revealed differences between young and older participants in both trial sessions (p < 0.05). Compared to young adults, older adults showed a learning curve of four sessions when performing 14 trials per session. After eight days of detraining only older participants in the DDR14 condition reduced motor performance. In conclusion, older subjects can learn the DDR game after playing four sessions; however, those dancing the same song 14 times were more likely to reduce their scores after eight days of detraining. Younger participants scored high regardless of the number of trials and sessions with little variability.Key words. exergames, learning curve, elderly, motor learning, video games.Resumen. El propósito del estudio fue comparar la curva de aprendizaje y la retención motriz del juego de video «Dance Dance Revolution» (DDR) en adultos sanos. Veinte adultos jóvenes (M= 23.9 ± 2.8 años) y 18 adultos mayores (M= 60.7 ± 5.9 años), fueron asignados aleatoriamente a dos condiciones experimentales: a) bailar DDR 7 intentos, y b) bailar DDR 14 intentos. Los participantes bailaron la misma canción seis sesiones, seguidas por un periodo de desentrenamiento de ocho días. Luego los participantes regresaron al laboratorio y bailaron de nuevo para obtener el efecto de retención motriz. La prueba de ANOVA de tres vías reveló interacciones en los puntajes promedio (sesiones x grupos x intentos; p = 0.017). Los análisis de seguimiento revelaron diferencias entre los participantes jóvenes y mayores en ambas sesiones de intentos (p < 0.05). En comparación con los adultos jóvenes, los adultos mayores mostraron una curva de aprendizaje de cuatro sesiones cuando bailaron 14 veces por sesión. Después de ocho días de desentrenamiento, solamente los adultos mayores del grupo de DDR 14 redujeron el desempeño motriz. En conclusión, los participantes mayores pueden aprender el juego DDR después de jugar cuatro sesiones; sin embargo, quien bailaron la misma canción 14 veces tuvieron más probabilidad de reducir sus puntajes después de ocho días de desentrenamiento. Los participantes más jóvenes obtuvieron puntajes mayores independientemente del número de intentos y sesiones con poca variabilidad.Palabras claves. «exergames», curva de aprendizaje, adulto mayor, aprendizaje motor, juegos de video

ABSTRACT Introduction: Physical activity has become less frequent since the 1980s, even among more active children. Objective: To analyze excess post-exercise oxygen consumption (EPOC) and total energy expenditure (TEE) in children during and after three different activities. Methods: Sixteen healthy children (9.6±0.1 yrs.) randomly underwent the following procedures lasting 30 minutes on different days: (a) traditional games (PLAY), (b) active video game (Dance Dance Revolution; DDR), and (c) watching television (TV). Oxygen consumption (VO2) was measured at rest, at the 10th, 20th, and 30th minute of intervention, and for 40 minutes post-intervention. TEE was also measured. Results: At the end of intervention, VO2 had increased by 330% and 166% for PLAY and DDR, respectively, compared to the rest. EPOC in PLAY was seen to occur at the 10th, 20th, and 30th post-interventional minutes from 7.00±1.02 (at rest) to 10.83±0.94, 10.03±0.58, and 9.80±0.77mL.kg-1.min-1, respectively. However, EPOC in DDR occurred at only the 10th postinterventional minute (7.04 to 8.61 mL.kg-1.min-1; p<0.01). After intervention, TEE in PLAY was greater than in DDR and TV (112.08±19.45 vs 56.98±6.34 vs 36.39±4.5 kcal; p<0.01), respectively. Conclusions: PLAY induced children to reach a greater VO2 during activity and greater EPOC and TEE compared to DDR and TV. Level of evidence A1b; Crossover study.

Objetivo: determinar si la práctica aguda y crónica con el videojuego Dance Dance Revolution (DDR®) produce una mejora significativa en la atención, concentración, balance estático y balance dinámico en personas adultas mayores. Materiales y Método: Se administró un tratamiento de 15 sesiones con el video juego Dance Dance Revolution a 27 personas adultas mayores con edad promedio de 63.15 ± 5.79 años, quienes fueron asignados aleatoriamente a un grupo experimental y control. Se aplicó una batería de pruebas (TUAG, Plataforma de fuerza, Efecto Stroop y Toulouse Pierón) antes y después de la primera sesión y al finalizar la sesión 15. Resultados: El análisis de varianza mostró las siguientes interacciones significativas: TUAG (EA, p= 0.0001; EC, p= 0.0001), Stroop (EA, p= 0.0001; EC, p= 0.0001), Toulousse Pierón (EA, p= 0.015; EC, p= 0.002). En los componentes del balance estático se encontraron las siguientes interacciones significativas: DS [Fz/m] (EA, p= 0.015; EC, p= 0.004), VCopy (EC, p= 0.0001), DS Copx (EC, p= 0.006). Conclusión: La práctica del exergame DDR®, se mejora significativamente el balance dinámico y la atención. No se apoya la mejora de la concentración y el balance estático.Abstract. Objective: to determine whether acute and chronic practice of the video game “Dance Dance Revolution” produces significant improvements in attention, concentration, and static and dynamic balance in elderly. Methods: 15 treatment sessions with the video game “Dance Dance Revolution” were administered to 27 senior citizens with mean age of 63.15 ± 5.79 years, who were randomly assigned to either an experimental or control group. A battery of tests was applied (TUAG, force platform, Stroop Effect and Toulouse Pieron) before and after the first session and after session 15. Results: Analysis of variance showed the following significant interactions: TUAG (EA, p= 0.0001; EC, p= 0.0001), Stroop (EA, p= 0.0001; EC, p= 0.0001), and Toulousse Pierón (EA, p= 0.015; EC, p= 0.002). In the components of the static balance, significant interactions were found as follows: DS [Fz/m] (EA, p= 0.015; EC, p= 0.004), VCopy (EC, p= 0.0001), and DS Copx (EC, p= 0.006). Conclusion: The practice of the exergame DDR® significantly improved dynamic balance and attention. Improvement of concentration and static balance is not supported

Vorspann Die nicht heilbaren Konstruktionsmängel des Staatssozialismus liefern noch keine hinreichende Erklärung für „1989“. Erst angesichts der welthistorisch neuen Bedingungskonstellation, die sich ab Anfang der siebziger Jahre durch die elektronische Revolution und die Globalisierung herausbildete, erwiesen sich die Staatssozialismen in der Systemkonkurrenz als endgültig unterlegen. Ihr Todesurteil wurde bereits Anfang der siebziger Jahre gesprochen, die Wege zur Vollstreckung waren aber lang und unterschiedlich, wie der in Salzburg lehrende Zeithistoriker Christoph Boyer mit Blick auf die DDR, die Tschechoslowakei, auf Polen und Ungarn zu zeigen vermag.

There is a current trend toward using innovative interventions, such as active video gaming to increase physical activity levels among youth with visual impairments. Therefore, the purpose of this study was to compare three video games (Dance, Dance, Revolution [DDR]; EyeToy Kinetic; and Wii Boxing) in allowing youth with visual impairments to achieve time (seconds spent during a 10-min bout) in moderate-to-vigorous physical activity (MVPA). Participants with complete data were youth ( N = 5) with visual impairments aged 10–16 years who played three games for 10-min bouts. Heart rate monitors measured physical activity intensity. A Friedman’s analysis of variance (ANOVA) was used to determine differences between the three interactive video games. Most players were able to achieve time in MVPA in all three games and there was a significant difference in time spent in MVPA, χ2(2) = 7.4, p = .024, with the most time in MVPA from playing EyeToy Kinetic. This study demonstrated that EyeToy Kinetic, Wii Boxing, and DDR are capable of helping youth with visual impairments accrue time in MVPA.

LANGUAGE NOTE | Document text in English; abstract also in Chinese. The obesity pandemic is sweeping the world at an alarming rate. Poor food choices and lack of activity in children are helping providing the building blocks for this issue. With the increase of video games and computers, it is important to identify ways to incorporate these into physical activity. The purpose of this study was to find out what differences and similarities exist in students’ attitudes, motivation, and heart rate levels when participating in the use of Dance Dance Revolution (DDR) versus traditional dance. Although not statistically significant, results indicated that students had a higher overall self-rated perception of enjoyment, work effort, motivation, and performance during the DDR activities than during the traditional dance. With a Physical Education focus of attaining as much physical activity by our students as possible, outside of school, it is important to identify activities they enjoy significantly. 學童肥胖的問題愈來愈嚴重。本研究旨在探討採用科技遊戲來提升學生的運動量，結果顯示學生對活動的興趣是重要的。

The East German poet-clowns Hans-Eckardt Wenzel and Steffen Mensching rose to prominence during the GDR's (German Democratic Republic; Deutsche Demokratische Republik, DDR) Peaceful Revolution of autumn 1989 with their cabaret production Letztes aus der Da Da eR. A film adaptation of the production was made by Jörg Foth in 1990, which was finally released on DVD with English subtitles in the United Kingdom and North America in 2009 (Latest from the Da-Da-R). In light of this long-overdue interest in Wenzel & Mensching, this article will attempt to put the work of the duo in historical and aesthetic context. Their use of character, masks, music, and philosophy combined to create the distinctly grotesque world that constituted their Liedertheater performances.

The experience of a successful adolescent learner will be described from the student’s perspective about learning the video game Dance Dance Revolution (DDR) through selected passages from a phenomenological interview. The question driving this investigation is, “Why did she sustain engagement in learning?” The importance of this question came out of the need for background on how to create an afterschool program that was to use DDR as an after school activity that might engage adolescents and tweens to become more physically active and reduce the risk of adult obesity, and to increase bone density for these developing young people through playing the game over time. The difficulty of creating this program was the risk that the students would not sustain engagement in the activity, and thus we would not have a viable sample for the bone density adolescent obesity study. Implications of this study include understanding the potential construction of learning environments that motivate and sustain engagement in learning and the importance of identity construction for teachers to motivate and engage their students. In addition to the analysis of sustained engagement through the four socio- and cultural-cognitive theories, four major principals were extracted from the operationalized themes into a framework for instructional design techniques and theory for engaging learners for game design, training, and in classroom learning.

Hans Heese: Amsterdam tot Zeeland. Slawestand tot Middestand? ‘n Stellenbosse Slawegeskiedenis (1679-1834) (Ulrich van der Heyden) Larissa Förster, Holger Stoecker: Haut, Haar und Knochen. Koloniale Spuren in naturkundlichen Sammlungen der Universität Jena (Ulrich van der Heyden) Lafcadio Hearn: Vom Lasterleben am Kai. Große Reportagen (Elmar Schenkel) Ewald Frie, Ute Planert (Hg.): Revolution, Krieg und die Geburt von Staat und Nation. Staatsbildung in Europa und den Amerikas (1770-1930) (Karsten Ruppert) Ulrich van der Heyden: Kwame Nkrumah – Diktator oder Panafrikanist? Die politische Bewertung des ghanaischen Politikers in der DDR im Span-nungsfeld der deutsch-deutschen Konkurrenz in Westafrika (Bea Lundt) Archille Mbembe: Ausgang aus der langen Nacht. Versuch über ein entkolonisiertes Afrika (Ulrich van der Heyden) Mark Nash (Ed.): Red Africa. Affective Communities and the Cold War (Ulrich van der Heyden)

Effective 3D stacking of DRAM devices can offer many benefits; improved performance, increased component density and greater surface area utilization. To enable the new generations of processors to reach their performance potential many manufacturers have developed more efficient interface formats that enable greater memory bandwidth. This revolution in performance driven electronic systems continues to challenge the IC packaging industry. The challenge is clear. To ensure that the memory functions are able to support the increased signal speed, product developers will need to explore more innovative 3D package assembly techniques and process refinement methodologies. The methodology selected for package assembly, however, must consider process complexity, the costs associated with each process, overall package assembly yield and, from the users perspective, end product reliability. For some applications companies have had limited success in stacking die elements directly onto an interposer substrate using wire-bond processes. High performance DRAM die, however, is especially difficult to stack. This is due to the center positioned wire-bond sites. This factor has complicated the DRAM die stacking process and because of the excessively long wire-bond interface, functional signal speed is significantly degraded. Stacking individually packaged DRAM (package-on-package) has had considerable success but the package outline dimension and package height can be excessive. In this paper the authors will introduce a very innovative and very thin 3D package developed specifically for center-bond pad DRAM die. The package assembly methodology promises to remain economical because it requires no special die level process steps and it can utilize the existing package assembly infrastructure. Additionally, data compiled during extensive performance and reliability modeling will be presented along with the results from actual physical qualification testing.

Background:The Transtheoretical Model (TTM) has been widely used to understand individuals’ physical activity (PA) correlates and behavior. However, the theory’s application among children in exergaming remains unknown.Purpose:Investigate the effects of an exergaming program on children’s TTM-based PA correlates and PA levels.Methods:At pretest and posttest, 212 upper elementary children (mean age = 11.17 years) from the greater Mountain West Region were administered measures regarding stages of change (SOC) for PA behavior, decisional balance for PA behaviors, PA self-efficacy, and self-reported PA levels. Following the pretest, a weekly 30-minute, 18-week Dance Dance Revolution (DDR) program was implemented. Children were classified into 3 SOC groups: progressive children (ie, progressed to a higher SOC stage); stable children (ie, remained at the same SOC stage); and regressive children (ie, regressed to a lower SOC stage).Results:Progressive children had greater increased PA levels than regressive children (P < .01) from pretest to posttest. Similarly, progressive children had greater increased self-efficacy (P < .05) and decision balance (P < .05) than regressive children.Conclusions:The findings indicate that progressive children had more improvements on self-efficacy, decisional balance, and PA levels than regressive children over time. Implications of findings are discussed.

<p class="AbstractEnglish"><strong>Abstract:</strong> The purpose of this research was to design student worksheet (LKM) based on model-eliciting activity in series and parallel circuit. This research is development research using Design and Development Research methods (DDR) product and tool research with three specific project phases (analysis, design, and development). In the analysis phase, a syllabus analysis and semester learning plan (RPS) were carried out, and the learning model applied. The results of the analysis phase were teachers centered and there was not a model that can build coordinating between students. In the design phase, the design of LKM based on the eliciting activity is designed. LKM was developed include three syntaxes, namely pre-reading, hands-on demonstration, a model to predict series and parallel circuits. The results obtained at the time of development resulted in an LKM based model-eliciting activity that could train one of the skills in the industrial revolution 4.0, namely coordinating with others and being feasible to be processed on the of a physics course.</p><p class="KeywordsEngish"><strong>Abstrak:</strong> Tujuan dari penelitian ini adalah untuk mendesain lembar kerja mahasiswa berbasis model-eliciting activity pada materi rangkaian hambatan seri dan paralel. Penelitian ini merupakan penelitian pengembangan dengan menggunakan metode design and development research (DDR) penelitian produk dan alat dengan tiga fase spesifik (analisis, desain, dan pengembangan). Pada tahap analisis dilakukan analisis silabus dan rencana pembelajaran semester (RPS), dan observasi terhadap model pembelajaran yang diterapkan. Hasil pada tahap analisis adalah perkuliahan masih berpusat pada dosen dan belum digunakan model pembelajaran yang dapat membangun kerja sama antar mahasiswa. Pada tahapan desain dilakukan rancangan LKM berbasis model-eliciting activity. LKM dikembangkan meliputi tiga sintaks yaitu pre-reading, hands on demonstration, a model to predict series and parallel circuit. Hasil yang diperoleh pada tahap pengembangan adalah dihasilkan LKM berbasis model-eliciting activity yang dapat membangun salah satu skill pada revolusi industry 4.0 yaitu coordinating with other dan layak untuk digunakan pada perkuliahan fisika dasar.</p>

Die Literatur der letzten dreissig Jahre nach dem Fall der Berliner Mauer bestätigt, was Imre Kertész in seinem Essay Freiheit der Selbstbestimmung zu bedenken gibt, dass die Frage, wie ein jeder in der Gesellschaft, der er angehört, der sein kann, der er ist, nicht so trivial ist, wie es zunächst scheinen mag, und auch die westlichen Demokratien bloss deshalb, weil sie Demokratien sind, keine Patentlösungen haben. Deutschland ist dabei keine Ausnahme, wie die Literatur exemplarisch zeigt. Zu komplex ist die Nachkriegsgeschichte beider deutscher Staaten, zu unterschiedlich sind die Lebenserfahrungen und die Konzepte dessen, was Freiheit der Selbstbestimmung meint; zu heterogen sind die politischen, ökonomischen, sozialen wie individuellen Interessen und Erwartungen der Bürgerinnen und Bürger im Osten wie im Westen, die 1989 aufeinandertreffen. Auch nach dreissig Jahren ist die Frage nach dem Sinn des Lebens jenseits von Konsum und Kapital nicht beantwortet. Merkwürdigerweise kommt bei den Rückblicken auf die untergegangene, durch friedliche Demonstrationen aufgelöste DDR in der Literatur die Selbstbestimmung als das Novum der Wiedervereinigung, als die Qualität an sich bis heute schlechthin nicht vor. Die Schriftstellerinnen und Schriftsteller nehmen sich zwar ihre Freiheit und schreiben, worüber ihres Erachtens geschrieben werden muss: über die Vergangenheit und über die Gegenwart. Ausgespart jedoch bleibt die Zukunft, schon gar als utopischer Entwurf. Es gibt keinen Plan, so scheint es, wo die Reise, wo das Leben im wiedervereinigten Deutschland hingehen soll oder kann.

ZusammenfassungIn dem Aufsatz wird ein Vorschlag für eine Rettung des Bankensystems gemacht, der nicht zu Lasten der Steuerzahler geht. Dies geschieht durch die Anwendung des Instrument der Ausgleichsforderungen. Bereits zweimal, zum einen nach dem Ende des Dritten Reiches und zum anderen nach der deutschen Wiedervereinigung, wurden den Banken Ausgleichsforderungen zugeteilt, da die Aktiva durch Krieg bzw. friedliche Revolution zum größten Teil entwertet worden waren. Die Ausgleichsforderungen waren zum Bilanzausgleich gedacht, der aufgrund der asymmetrischen Umstellung von Forderungen und Verbindlichkeiten im Zuge der Währungsreform notwendig wurde. Diese Staatspapiere waren nicht fungibel, verzinslich und wurden im Laufe der Zeit langsam durch den Staat getilgt. Im Gegensatz zum damaligen Ansatz, schlagen wir vor, dass in der aktuellen Krise die toxischen Papiere, statt gegen verzinsliche, gegen unverzinsliche Staatspapiere ausgetauscht werden. Die Idee ist, die in den Bilanzen versteckten Risiken über die Zeit zu strecken und so dass die Banken die Zeche selber zahlen, ohne dass sie durch die Krise in die Insolvenz getrieben werden. Wie wir zeigen werden, ist diese Vorgehensweise aus ordoliberaler Sicht existierenden Lösungsansätzen vorzuziehen. Unverzinsliche Staatspapiere würden nicht nur den Steuerzahler schonen, sondern auch das Haftungsprinzip stärken und somit keine Anreize für ineffiziente Risikobereitschaft während der nächsten Blase schaffen.

In the video gameDance Dance Revolution(DDR), players earn points by depressing buttons with their feet in time with instructions given on the screen by scrolling arrows. The arrows, which reveal the step components of pre-programmed dance routines, are spaced such that all rhythmic attacks are perfectly coordinated with the beats and/or rhythms of Electronic Dance Music. Many aspects of the game, including its emphasis on accurate rhythmic performance and the presence of an objective, real-time scoring mechanism, causeDDRto have significant implications for musicianship training. This article discusses howDDRmay be profitably incorporated into the undergraduate aural skills classroom to help improve sight-reading, rhythm performance, and the dictation of popular music. This article includes both video recorded demonstrations of the game along with a sample curriculum for instructors interested in setting up labs for students to train withDDR.

Allgemeines Das ist Militärgeschichte! Probleme - Projekte - Perspektiven. Hrsg. mit Unterstützung des MGFA von Christian Th. Müller und Matthias Rogg Dieter Langewiesche Lohn der Gewalt. Beutepraktiken von der Antike bis zur Neuzeit. Hrsg. von Horst Carl und Hans-Jürgen Bömelburg Birte Kundrus Piraterie von der Antike bis zur Gegenwart. Hrsg. von Volker Grieb und Sabine Todt. Unter Mitarb. von Sünje Prühlen Martin Rink Robert C. Doyle, The Enemy in Our Hands. America's Treatment of Enemy Prisoners of War from the Revolution to the War on Terror Rüdiger Overmans Maritime Wirtschaft in Deutschland. Schifffahrt - Werften - Handel - Seemacht im 19. und 20. Jahrhundert. Hrsg. von Jürgen Elvert, Sigurd Hess und Heinrich Walle Dieter Hartwig Guntram Schulze-Wegener, Das Eiserne Kreuz in der deutschen Geschichte Harald Potempa Michael Peters, Geschichte Frankens. Von der Zeit Napoleons bis zur Gegenwart Helmut R. Hammerich Johannes Leicht, Heinrich Claß 1868-1953. 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In a recent gaming anthology, Henry Jenkins cannot help contrasting his son's cramped, urban, media-saturated existence with his own idyllic, semi-rural childhood. After describing his own Huck Finn meanderings over "the spaces of my boyhood" including the imaginary kingdoms of Jungleoca and Freedonia, Jenkins relates his version of his son's experiences: My son, Henry, now 16 has never had a backyard He has grown up in various apartment complexes, surrounded by asphalt parking lots with, perhaps, a small grass buffer from the street… Once or twice, when I became exasperated by my son's constant presence around the house I would … tell him he should go out and play. He would look at me with confusion and ask, where? … Who wouldn't want to trade in the confinement of your room for the immersion promised by today's video games? … Perhaps my son finds in his video games what I found in the woods behind the school, on my bike whizzing down the hills of suburban backstreets, or settled into my treehouse with a good adventure novel intensity of experience, escape from adult regulation; in short, "complete freedom of movement". (Jenkins 1998, 263-265) Games here are connected with a shrinking availability of domestic and public space, and a highly mediated experience of the world. Despite his best intentions, creeping into Jenkins's piece is a sense that games act as a poor substitute for the natural spaces of a "healthy" childhood. Although "Video games did not make backyard play spaces disappear", they "offer children some way to respond to domestic confinement" (Jenkins 1998, 266). They emerge, then, as a palliation for the claustrophobic circumstances of contemporary urban life, though they offer only unreal spaces, replete with "lakes of fire … cities in the clouds … [and] dazzling neon-lit Asian marketplaces" (Jenkins 1998, 263), where the work of the childish imagination is already done. Despite Jenkins's assertion that games do offer "complete freedom of movement", it is hard to shake the feeling that he considers his own childhood far richer in exploratory and imaginative opportunities: Let me be clear I am not arguing that video games are as good for kids as the physical spaces of backyard play culture. As a father, I wish that my son would come home covered in mud or with scraped knees rather than carpet burns ... The psychological and social functions of playing outside are as significant as the impact of "sunshine and good exercise" upon our physical well-being. (Jenkins 1998, 266) Throughout the piece, games are framed by a romantic, anti-urban discourse: the expanding city is imagined as engulfing space and perhaps destroying childhood itself, such that "'sacred' places are now occupied by concrete, bricks or asphalt" (Jenkins 1998, 263). Games are complicit in this alienation of space and experience. If this is not quite Paul Virilio's recent dour contention that modern mass media forms work mainly to immobilise the body of the consumer--Virilio, luckily, has managed to escape the body-snatchers--games here are produced as a feeble response to an already-effected urban imprisonment of the young. Strikingly, Jenkins seems concerned about his son's "unhealthy" confinement to private, domestic space, and his inability to imaginatively possess a slice of the world outside. Jenkins's description of his son's confinement to the world of "carpet burns" rather than the great outdoors of "scraped knees" and "mud" implicitly leaves the distinction between domestic and public, internal and external, and even the imagined passivity of the domestic sphere as against the activity of the public intact. For those of us who see games as productive activities, which generate particular, unique kinds of pleasure in their own right, rather than as anaemic replacements for lost spaces, this seems to reduce a central cultural form. For those of us who have at least some sympathy with writers on the urban environment like Raban (1974) and Young (1990), who see the city's theatrical and erotic possibilities, Jenkins's fears might seem to erase the pleasures and opportunities that city life provides. Rather than seeing gamers and children (the two groups only partially overlap) as unwitting agents in their own confinement, we can arrive at a slightly more complex view of the relationship between games and urban space. By looking at the video games arcade as it is situated in urban retail space, we can see how gameplay simultaneously acts to regulate urban space, mediates a unique kind of urban performance, and allows sophisticated representations, manipulations and appropriations of differently conceived urban spaces. Despite being a long-standing feature of the urban and retail environment, and despite also being a key site for the "exhibition" of a by-now central media form, the video game arcade has a surprisingly small literature devoted to it. Its prehistory in pinball arcades and pachinko parlours has been noted (by, for example, Steven Poole 2000) but seldom deeply explored, and its relations with a wider urban space have been given no real attention at all. The arcade's complexity, both in terms of its positioning and functions, may contribute to this. The arcade is a space of conflicting, contradictory uses and tendencies, though this is precisely what makes it as important a space as the cinema or penny theatre before it. Let me explain why I think so. The arcade is always simultaneously a part of and apart from the retail centres to which it tends to attach itself.1 If it is part of a suburban shopping mall, it is often located on the ground floor near the entrance, or is semi-detached as cinema complexes often are, so that the player has to leave the mall's main building to get there, or never enter. If it is part of a city or high street shopping area, it is often in a side street or a street parallel to the main retail thoroughfare, or requires the player to mount a set of stairs into an off-street arcade. At other times the arcade is located in a space more strongly marked as liminal in relation to the city -- the seaside resort, sideshow alley or within the fences of a theme park. Despite this, the videogame arcade's interior is usually wholly or mostly visible from the street, arcade or thoroughfare that it faces, whether this visibility is effected by means of glass walls, a front window or a fully retractable sliding door. This slight distance from the mainstream of retail activity and the visibility of the arcade's interior are in part related to the economics of the arcade industry. Arcade machines involve relatively low margins -- witness the industry's recent feting and embrace of redemption (i.e. low-level gambling) games that offer slightly higher turnovers -- and are hungry for space. At the same time, arcades are dependent on street traffic, relentless technological novelty and their de facto use as gathering space to keep the coins rolling in. A balance must be found between affordability, access and visibility, hence their positioning at a slight remove from areas of high retail traffic. The story becomes more complicated, though, when we remember that arcades are heavily marked as deviant, disreputable spaces, whether in the media, government reports or in sociological and psychological literature. As a visible, public, urban space where young people are seen to mix with one another and unfamiliar and novel technologies, the arcade is bound to give rise to adult anxieties. As John Springhall (1998) puts it: More recent youth leisure… occupies visible public space, is seen as hedonistic and presents problems within the dominant discourse of 'enlightenment' … [T]he most popular forms of entertainment among the young at any given historical moment tend also to provide the focus of the most intense social concern. A new medium with mass appeal, and with a technology best understood by the young… almost invariably attracts a desire for adult or government control (160-161, emphasis mine) Where discourses of deviant youth have also been employed in extending the surveillance and policing of retail space, it is unsurprising that spaces seen as points for the concentration of such deviance will be forced away from the main retail thoroughfares, in the process effecting a particular kind of confinement, and opportunity for surveillance. Michel Foucault writes, in Discipline and Punish, about the classical age's refinements of methods for distributing and articulating bodies, and the replacement of spectacular punishment with the crafting of "docile bodies". Though historical circumstances have changed, we can see arcades as disciplinary spaces that reflect aspects of those that Foucault describes. The efficiency of arcade games in distributing bodies in rows, and side by side demonstrates that" even if the compartments it assigns become purely ideal, the disciplinary space is always, basically, cellular" (Foucault 1977, 143). The efficiency of games from Pong (Atari:1972) to Percussion Freaks (Konami: 1999) in articulating bodies in play, in demanding specific and often spectacular bodily movements and competencies means that "over the whole surface of contact between the body and the object it handles, power is introduced, fastening them to one another. It constitutes a body weapon, body-tool, body-machine complex" (Foucault 1977,153). What is extraordinary is the extent to which the articulation of bodies proceeds only through a direct engagement with the game. Pong's instructions famously read only "avoid missing ball for high score"--a whole economy of movement, arising from this effort, is condensed into six words. The distribution and articulation of bodies also entails a confinement in the space of the arcade, away from the main areas of retail trade, and renders occupants easily observable from the exterior. We can see that games keep kids off the streets. On the other hand, the same games mediate spectacular forms of urban performance and allow particular kinds of reoccupation of urban space. Games descended or spun off from Dance Dance Revolution (Konami: 1998) require players to dance, in time with thumping (if occasionally cheesy) techno, and in accordance with on-screen instructions, in more and more complex sequences on lit footpads. These games occupy a lot of space, and the newest instalment (DDR has just issued its "7th Mix") is often installed at the front of street level arcades. When played with flair, games such as these are apt to attract a crowd of onlookers to gather, not only inside, but also on the footpath outside. Indeed games such as these have given rise to websites like http://www.dancegames.com/au which tells fans not only when and where new games are arriving, but whether or not the positioning of arcades and games within them will enable a player to attract attention to their performance. This mediation of cyborg performance and display -- where success both achieves and exceeds perfect integration with a machine in urban space -- is particularly important to Asian-Australian youth subcultures, which are often marginalised in other forums for youthful display, like competitive sport. International dance gamer websites like Jason Ho's http://www.ddrstyle.com , which is emblazoned with the slogan "Asian Pride", explicitly make the connection between Asian youth subcultures and these new kinds of public performance. Games like those in the Time Crisis series, which may seem less innocuous, might be seen as effecting important inversions in the representation of urban space. Initially Time Crisis, which puts a gun in the player's hand and requires them to shoot at human figures on screen, might even be seen to live up to the dire claims made by figures like Dave Grossman that such games effectively train perpetrators of public violence (Grossman 1995). What we need to keep in mind, though, is that first, as "cops", players are asked to restore order to a representation of urban space, and second, that that they are reacting to images of criminality. When criminality and youth are so often closely linked in public discourse (not to mention criminality and Asian ethnicity) these games stage a reversal whereby the young player is responsible for performing a reordering of the unruly city. In a context where the ideology of privacy has progressively marked public space as risky and threatening,2 games like Time Crisis allow, within urban space, a performance aimed at the resolution of risk and danger in a representation of the urban which nevertheless involves and incorporates the material spaces that it is embedded in.This is a different kind of performance to DDR, involving different kinds of image and bodily attitude, that nevertheless articulates itself on the space of the arcade, a space which suddenly looks more complex and productive. The manifest complexity of the arcade as a site in relation to the urban environment -- both regulating space and allowing spectacular and sophisticated types of public performance -- means that we need to discard simplistic stories about games providing surrogate spaces. We reify game imagery wherever we see it as a space apart from the material spaces and bodies with which gaming is always involved. We also need to adopt a more complex attitude to urban space and its possibilities than any narrative of loss can encompass. The abandonment of such narratives will contribute to a position where we can recognise the difference between the older and younger Henrys' activities, and still see them as having a similar complexity and richness. With work and luck, we might also arrive at a material organisation of society where such differing spaces of play -- seen now by some as mutually exclusive -- are more easily available as choices for everyone. NOTES 1 Given the almost total absence of any spatial study of arcades, my observations here are based on my own experience of arcades in the urban environment. Many of my comments are derived from Brisbane, regional Queensland and urban-Australian arcades this is where I live but I have observed the same tendencies in many other urban environments. Even where the range of services and technologies in the arcades are different in Madrid and Lisbon they serve espresso and alcohol (!), in Saigon they often consist of a bank of TVs equipped with pirated PlayStation games which are hired by the hour their location (slightly to one side of major retail areas) and their openness to the street are maintained. 2 See Spigel, Lynn (2001) for an account of the effects and transformations of the ideology of privacy in relation to media forms. See Furedi, Frank (1997) and Douglas, Mary (1992) for accounts of the contemporary discourse of risk and its effects. References Douglas, M. (1992) Risk and Blame: Essays in Cultural Theory. London ; New York : Routledge. Foucault, M. (1979) Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. Harmondsworth, England: Penguin,. Furedi, F.(1997) Culture of Fear: Risk-taking and the Morality of Low Expectation. London ; Washington : Cassell. Grossman, D. (1995) On Killing: The Psychological Cost of Learning to Kill in War and Society. Boston: Little, Brown. Jenkins, H. (1998) Complete freedom of movement: video games as gendered play spaces. In Jenkins, Henry and Justine Cassell (eds) From Barbie to Mortal Kombat : Gender and Computer Games. Cambridge, Mass.: MIT Press. Poole, S. (2000) Trigger Happy: The Inner Life of Videogames. London: Fourth Estate. Raban, J. (1974) Soft City. London: Hamilton. Spigel, L. (2001) Welcome to the Dreamhouse: Popular Media and the Postwar Suburbs. Durham and London: Duke University Press. Springhall, J. (1998) Youth, Popular Culture and Moral Panics : Penny Gaffs to Gangsta-rap, 1830-1996. New York: St. Martin's Press. Young, I.M. (1990) Justice and the Politics of Difference. Princeton, NJ: Princeton University Press. Websites http://www.yesterdayland.com/popopedia/s... (Time Crisis synopsis and shots) http://www.dancegames.com/au (Site for a network of fans revealing something about the culture around dancing games) http://www.ddrstyle.com (website of Jason Ho, who connects his dance game performances with pride in his Asian identity). http://www.pong-story.com (The story of Pong, the very first arcade game) Games Dance Dance Revolution, Konami: 1998. Percussion Freaks, Konami: 1999. Pong, Atari: 1972. Time Crisis, Namco: 1996. Links http://www.dancegames.com/au http://www.yesterdayland.com/popopedia/shows/arcade/ag1154.php http://www.pong-story.com http://www.ddrstyle.com Citation reference for this article MLA Style Wilson, Jason A.. "Performance, anxiety" M/C: A Journal of Media and Culture 5.2 (2002). [your date of access] < http://www.media-culture.org.au/0205/performance.php>. Chicago Style Wilson, Jason A., "Performance, anxiety" M/C: A Journal of Media and Culture 5, no. 2 (2002), < http://www.media-culture.org.au/0205/performance.php> ([your date of access]). APA Style Wilson, Jason A.. (2002) Performance, anxiety. M/C: A Journal of Media and Culture 5(2). < http://www.media-culture.org.au/0205/performance.php> ([your date of access]).