Anton Topic

[Granville Turley]

ArsenyZhilyaev: Your recent films, which deal with the problematic of Russian cosmism, may come across as strange or even exotic. I know that your initial encounter with this topic was rather unusual. How did you start to work with this subject?

AZ: Can you tell me more about the origins of your film The Communist Revolution Was Caused By the Sun? Where did the idea come from? How did you develop the work? You chose to shoot the film in Karaganda, Kazakhstan, a rather unusual location. The landscape, with its Soviet industrial architecture and Muslim cemeteries, looks very weird even to Russians.

AV: At first, my plan was to make one feature-length film about cosmism. But as I started doing research, then filming and editing material, I realized that a single feature film would be impossible: the topic is just too vast, because there are so many different dimensions to this movement, from art to literature, poetry, theater, film, architecture, design, science and technology, medicine, philosophy, politics, social organization, and so forth.

The second film, The Communist Revolution Was Caused By the Sun, is based on the work and ideas of Alexander Chizhevsky, a biophysicist who was exiled to Karaganda, which was a city populated primarily by political prisoners who were released from camps and prisons, but who were not allowed to return to Moscow or other central cities.

The owner of the company is hoping that these devices will be adopted by all carbon-producing factories on the planet, because they are very economical and consume hardly any energy. According to him, this would drastically reduce the amount of carbon in the atmosphere and return Earth to the climate conditions that existed before the effects of human activity. As a result, he thinks that the climate will improve and plants that have been extinct for many millennia will return, and Earth will become the Garden of Eden again: people will not need clothing anymore and we will all walk around naked, prehistoric plants and trees will grow plentiful fruit and we will not have to work for food, and so forth. So he is lobbying the office of the president of Kazakhstan, Nazarbayev, to include this device in the World Fair that will take place in the capital city, Astana, next year.

He was excited we were making a film about Chizhevsky and built a giant version of this lamp, which we then installed and tested at a local cemetery. After filming we donated it to the local museum of science and technology. They wanted it as a kind of an alternative monument to Chizhevsky: a functional monument. Hopefully it has been reinstalled there by now.

So when I was editing the first film, it occurred to me that I did not want to make a mere documentary about the history of cosmism, and that in order to transmit its ideas more accurately, I needed to somehow express its central desire, which is simply to prolong life. Essentially, film is light, color, and sound, and all of these means can produce a therapeutic effect on the human organism. We all know about light therapy for children and people who live in places lacking in sunlight. Color therapy has been practiced since the time of the ancient Egyptians. Sound also appears to have various medical uses. So basically the structural elements that make up a film can also be used for preventative or other types of treatment.

AZ: In your films there are many references to works by members of the Moscow conceptual school. In one way or another Ilya Kabakov, Boris Groys, and Andrei Monastyrski with Collective Actions Group are all present in these films. Can you tell me more about your relationship to this tradition? Do you think of yourself as belonging to it artistically?

Andrei Monastyrski is a very different figure. When I started working on this project, I asked one of the researchers who was helping me gather material, a young artist named Anastasia Ryabova, to ask Andrei about Fedorov and cosmism. At the time, he said that it had nothing to do with his work. But just a couple of months ago, I spoke with him again and this time around he told me that he was actually reading Fedorov in the late Seventies, and that some of the ideas did influence him.

Arseny Zhilyaev is an artist who lives and works in Moscow. With his recent projects, the artist casts a revisionist lens on the heritage of Soviet museology and the meaning of the museum in Russian cosmism. Zhilyaev is the editor of the book Avant-Garde Museology (e-flux with V-a-c Press and University of Minnesota Press, 2015).

Most ,if not all, Schroetter instruments from that era came from the Roderick Paesold shop in Germany. Some of the upper end instruments with the Schroetter label were from the Klier shop in Germany. They were sold as Schroetter instruments or sometimes Mathias Thoma instruments. They all came out of the same box.

If you do something like that and send it through the mail the postal inspector is liable to get involved and you're in big trouble if he's out of things to do. I used to prefer to have things sent to me through U.S. mail for just that reason.

Yes, I hear you, but the instruments had already been imported into the US with correct labelling as Czech and someone with a glue pot and a stack of Schroetter labels was happily relabelling them as German. The 'crime' was already committed. As an aside Almost every Ebay violin violates the labelling laws doesn't it and many of those are delivered in the mail?

A little off topic, but I'll raise a question here about labeling laws: I have a "da Salo" model Hfner violin labeled "made in Germany". Hfner was manufacturing in Schnbach (Czechoslovakia) until after World War II. I have assumed my violin is an early Bubenreuth product (1950's), on the assumption that by 1960 or so the labels would have to specify West Germany. Does anyone know when the phrase West Germany became mandatory? (This violin, by the way, was shipped not to the USA but to India.) Thanks for any info.

German products were always in general labelled as Made in Germany, what was enough to be legal for international standards (and this obligation wasn't an american invention at all, but first introduced in the UK). Just to separate the alleged better products of the Bundesrepublik (Federal Republic or West Germany) from these of the Deutsche Demokratische Republik (DDR/GDR/East Germany) some firms added a West/Western/W before the word Germany, but deliberate only.

Thread drift warning! Close, a veterinarian and telemark skier, just dragged the forum name across from another place when I joined here. I kinda like the complete irrelevance of it. It indirectly warns people to take anything I might say about violins with a large pinch of salt

That label, bearing the name Anton Schroetter, was very common in Mittenwald shop instruments produced in the early 1950s. It is generally believed there was no such person, but who knows? My original student cello was an 'Anton Schroetter', which my mom purchased used circa 1958 for $500 (a lot of money at the time). These are carved instruments, and if set up well they can be entirely serviceable. I still have it and use it as a practice cello in my second home.

I am an industrial Ph.D. student working at Aeterna Labs and associated with the Foundations of Language Processing group at Ume University. My research interests revolve around document clustering and topic modeling. Topic modeling is a field within text mining where the objective is to find a set of topics that best describe an unsorted collection of documents and then assign the documents to these topics. Particularly, I look at topic modeling evaluation and human validation. I have also developed a tool called STELLAR which is made for the analysis and human evaluation of topic models.

If you really want to have that website running from inside firefox (and not firefox-esr or Chrome, etc), you can create a .desktop file for it, and have it come up on your menu (or put it in your toolbar/desktop) for easy access-

just starting firefox with prefix apulse from console then opening anton gave me sound.

So many sound howto, in the forum, and often same problem for users, maybe you could put your

highly detailed howto for run in browser applications on the wiki..

Same method works for Tor, Ungoogled Chromium Firefox latest and others.

Anton (Tony) Dahbura is a researcher in computer science, co-director of the Johns Hopkins Institute for Assured Autonomy, and executive director of the Johns Hopkins Information Security Institute, which is the university's focal point for research and education in information security, assurance and privacy.

He is available to discuss how best to secure cyberspace and the nation's information infrastructure. Such security is more critical now than ever before, and it can be achieved only when the core technology, legal and policy issues are adequately addressed.

Dahbura is also advising students' analytic research of baseball that includes, among other topics, whether batters perform differently in games with wide score margins. He is part owner of the Hagerstown Suns minor league baseball team and, with his wife, Marlaina, provides data analytics consulting for professional teams in Mexico. Dahbura is also a partner with the startup SportsLynx.com, which uses data to help professional clubs around the world find the best players.

From 1983 until 1996 he was a researcher at AT&T Bell Laboratories, was a lecturer in Princeton University's computer science department, and was research director at the Motorola Cambridge Research Center in Cambridge, Mass.

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