'The Golden Hunger Years': Music and Superpower Rivalry in Occupied Berlin

This article investigates the evolution of American and Sovietarts policy in Berlin between 1945 and 1947, with special attentionto the role of music. Music's political ambiguity, and its receptionas at once a uniquely German and international form of artisticexpression, made it an ideal medium through which Allied militaryofficials could project their country's aesthetic ideals andprogrammes for German cultural reform. If Berliners and theirSoviet occupiers largely agreed upon the importance of élitemusical tradition as an expression of national accomplishmentand the mark of a cultured society, American authorities tendedto treat music more as an entertaining, but non-essential diversion.Under the city' quadripartite military administration, it wasdifficult for any one occupation authority to pursue culturalobjectives that were aesthetically or politically more restrictivethan the others. Thus, superpower rivalry initially createdmore opportunities than limitations for Berlin artists. Americanofficers were compelled to consent to more lenient denazificationstandards for musicians than they had initially intended, whilethe Soviets permitted and even encouraged modernist musicalexperiments in their sector of occupation. In competition witheach other and seeking the loyalties of their German charges,the Allies encouraged Berlin to become a lively—and heavilysubsidized—city of the arts.     

Indicting Auschwitz? The Paradox of the Frankfurt Auschwitz Trial

During the late 1950s, the German authorities in the publicprosecutor's office of the state of Hesse in Frankfurt beganto organize what would become the Frankfurt Auschwitz Trial1963–5 of twenty people alleged to have been responsiblefor some of the worst crimes at the Auschwitz concentrationcamp. The trial opened with a seven-hundred-page indictment,an extraordinary document that included the testimony of twohundred and fifty-two witnesses (both survivors and former SSofficers) and a two-hundred-page history of the camp writtenby experts. In the mind of its principal organizer, the trialwas to put the entire ‘Auschwitz Complex’ beforethe court. This concept, ‘Auschwitz on trial’, isat the core of German public confrontation with the Nazi pastin the 1960s. But legal constraints, I argue, created the paradoxical situationin which the prosecution initially attempted to put Auschwitzon trial, but instead had to use some of the conventions ofthe Nazi regime in order to show the personal initiative ofthe defendants and convict them of perpetrating murder. By elucidatingthe origins and exigencies of the West German penal code, andby examining both the historical background section and thecharges against the suspects in the 1963 indictment, I showthat the decision to use the German penal code for prosecutingNazi crimes created a paradoxical situation for the state attorney'soffice in Frankfurt: they had to use Nazi orders and regulationsto show that the defendants had acted above and beyond the ordersof the SS in Berlin.     

Long-term agrarian landscapes in the Troodos foothills,Cyprus

We investigate the temporal and environmental relationships between the terraced hill slopes of Politiko-Koloiokremmos and the adjacent Bronze Age settlement of Politiko-Troullia in foothills of the Troodos Mountains, central Cyprus. Mapping of 102 stone walls on Koloiokremmos is compared with 66 walls farther afield on Cyprus to create a six-part terrace typology. Sherd counts from 174 2-m radius collection circles over approximately 20 ha on Troullia and Koloiokremmos were used to create interpolated sherd density surfaces revealing distinctly different patterns of land use for four major archaeological eras between the Cypriot Bronze Age and Medieval Period. We compared sherd density patterns according to terrace types, length, slope and vegetation cover determined by SAVI (Soil-Adjusted Vegetation Index) from Ikonos and Quickbird satellite imagery.The most robust sherd patterning indicates Prehistoric Bronze Age settlement at Troullia, as confirmed by soil resistivity and excavation, and multi-period land use on Koloiokremmos immediately upslope of the village that may be associated with agricultural terracing. Scattered sherd concentrations indicate later use of this landscape as an agricultural hinterland for the Iron Age city of Tamassos. Sherds and a down slope spread of roof tiles from the Roman through Medieval periods suggest an isolated structure near the crest of Koloiokremmos. Longer terraces correlate with greater vegetation cover and are interpreted as agricultural, while shorter terraces, apparently for erosion control and arboriculture, are significantly related to Prehistoric Bronze Age sherd patterns. Our results suggest that coordinated analysis of archaeological, geographical and remotely sensed environmental data associated with terraced landscapes can be used to infer long-term patterns of agricultural land use.     

Gustav Metzger: iconoclasm and interdisciplinarity

ABSTRACT

Gustav Metzger (1926–2017) has been described as ‘the conscience of the art world’ for the consistently political content of his art and his commitment to political activism on the subject of nuclear weapons, capitalism and environmentalism. Metzger’s artistic output from the late 1950s onwards reflects a theory of art as both aesthetic form and social action and identifies him as a key precursor of activist art. This article considers the inherent interdisciplinarity of Metzger’s practice as it evolved during this early period between the late 1950s and early 1970s in relation to his agenda of social engagement.     

Engaging territorio cuerpo-tierra through body and community mapping: a methodology for making communities safer

We propose a new way of collectively creating data about gender violence through active participation and mapping women’s bodies and communities. We see this process of data creation, self-awareness and action as inherently linked to the native concept territorio cuerpo-tierra, the landscape of bodies-lands. The concept erases Western notions separating bodies and land and helps to decenter the public–private divide, which is an important obstacle to eliminating violence against women. Drawing on data from our work with Mexican women in the, U.S. and Mexico, we illuminate the continuity of women’s individual bodily experience of violence and collective spatial knowledge of community safety. We conclude that the process and outcomes of body and community mapping linking bodies and land, afford planners the prospect of engaging as partners and co-actants with community members in the goal of making places safe for women.     

Book-in-a-box to Xbox: materiality and the contemporary textual object

Book-in-a-box to Xbox is a discussion of developments in the material form of contemporary textual objects and of the impact this has on user/reader experience. The article formulates itself as a contemporary book history, situating the texts in question within the broader sphere of digital culture, and analyses textual function, reception, form and user interaction, presenting a cultural theorising of contemporary textual objects. The article conducts these discussions via a consideration of Marc Saporta's Composition No. 1 (a key example of materially experimental literature); recent developments in e-reading and the implications of these developments; designing interactivity in massively multiplayer online gaming; and emerging forms of sociality, or shared experience, in virtual reading and playing communities.