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This translation contains errors due to the insurmountable language differences between German and English. Before reading onward, please read this necessary prerequisite to understanding this document. Billy and Ptaah discuss the futility of providing predictions and the futility of the efforts of those in power who attended the recent Copenhagen conference and the pathetically insufficient agreements they managed to produce.

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The correct solution is again reiterated: population reduction through worldwide birth control. James Moore. This is only a portion of the entire contact.

It is an unofficial but authorized translation and may contain errors. We Dyson Devine and Vivienne Legg of www. Please be advised that our translations may contain errors. Please read this explanatory word about our translations. Unless rigorous and responsible efforts are taken by individuals in all governments and leadership positions to limit population growth by mandatory birth restrictions, overpopulation and its inevitable consequences will spiral out of control leaving humanity to torment in its own self-created misery.

In a nutshell, the unchecked population explosion will ever increasingly multiply our global problems because it is the root cause of our problems. Depletion of all resources. Depletion of forests for farmland and wood. Diminishing quality of atmosphere, increasing air pollution and lowering of oxygen levels. Extinction of flora and fauna due to destruction of natural habitats.

Soil degradation as a result of over-cultivation. Increasing food shortages leading to malnourishment, starvation, diminishing health and disease. Decreasing quality and increasing cost of food. Depletion of fish stocks in our rivers, lakes, seas and oceans. Poisoning of fresh water supplies due to industry.

Overrunning of fertile land as a result of urban sprawl. Ever expanding garbage and dump sites leading to further pollution of land and water. Melting of the glacial polar caps due to global warming resulting in the flooding of low lying populated areas. Intensification of storm patterns which include typhoons, hurricanes and tornadoes.

Flooding and droughts. Immense rolling fire storms due to the lack of moisture in conjunction with high winds. Tectonic displacements due to the immense concentrated weights of cities. Further destruction of the ozone layer leading to an increase in cases of skin cancer. Exhaustion of oil supplies, transportation as we know it will come to a standstill. Global tensions, vying for resources, water wars. Increasing criminality as a means of survival. Increasing flow of refugees from war torn nations into neighbouring countries leading to difficult economic pressures placed on the hosting countries and subsequently, breeding hatred towards foreigners.

Further exploitation of the weak and vulnerable for financial gain. Increasing disease and epidemics due to the lack of sanitation, nourishment, etc. Sexual exploitation of women and children. Diminishing water supplies as a result of irrigation and consumption. Continued suffering of billions of animals inhumanely bred for human consumption. Cheapening of human life — murder and the trafficking of humans.

Diminishing quality of life. Increasing disparity between the rich and poor. Deterioration of infrastructures such as roads, bridges, sewage systems, etc. Exponential population growth compounding all of the above problems with no comprehensive solutions available. The forecast is bleak. The clock is ticking and the window of opportunity to avert the most unimaginable catastrophes and disasters is rapidly closing. Act now to educate and inform your fellow human and all those who have the might to positively influence change towards mandatory birth restrictions or else we as a species will inevitably have to face the calamities brought on by our own inaction and lack of foresight.

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Userpage tools. Namespaces Page Discussion. Page actions View View source History More. Billy On the 14th of October, in our most recent private conversation, you mentioned, in regard to the predictions, that you would deliberate about whether such predictions should continue to be made or not. So what is the corresponding conclusion? Billy Am Was ist nun das entsprechende Resultat? Ptaah We have found that all the predictions that have been made since up to the current time have in no way borne any fruit with the Earth human beings.

This has been just as much the case with your predictions and prophetic warnings, which were given no heed, consequently many things from your warnings have, in the meantime, come true, and also continue to come true. It is a question of perspective. In Iran, too, people lead normal lives, just not in public, says the director of the project.

Further shows would have put the female performers at risk. Now, six exiled Iranian women in tents speak of their alienation in Europe. But appearances are deceptive. They may tilt, twist and fold their polyamide cages just as in the first version. The letters by the Tehran women are no longer delivered.

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Female dancers veiled by tents, this means inner exile for dance. Tents can do even more. Their tragic ballet bears the core of fine art, even humor. A window opens on an animated film, on object theatre with slapstick elements. But the subject matter is serious. One of the tent bodies is transformed into a tortured dragon, repeatedly smashing its head against the floor, crushed by Western bureaucracy and psychological pressure.

Their tears remain invisible. Others fold themselves their tent like a piece of paper. Stamped and branded. Tossed here and there. Turned inside out. What you see on the outside are confident, Western-looking women. Thus the piece becomes a universal metaphor for the problem of uprootedness. Their breathing difficulties start in the mind. They are not alien to their own bodies, but to their environment. There is the fear of saying or doing something in the West which might make their families in Iran a target of the regime.

In the Montpellier Danse co-production, it is no longer suppressed people who rattle at the prison walls, but alien elements. As it is not about a problem in relation to Islamic culture anymore now, they are no longer inviting women for back-stage discussions, but male audience members. Not in order to speak about personal history, but about the unrecognized complexities of socio-political reality in their country of origin.


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  8. Political dance theatre is not dead. It is not even threatened by extinction — even if the orgies of self-reference that dominated the stage during the 90ies and continue to have an effect today have fed this fear. Interventionist dance of German origin, the critical, abstracting social analysis by successors of Kurt Jooss, Hans Kresnik, Gerhard Bohner and Pina Bausch has recently gained a new lease of life in manifold forms: sarcasm in Jochen Roller, challenge in Constanza Macras, humour in Marguerite Donlon, sensitivity in Christian Spuck, roughness in Sasha Waltz — the greatest controversy, however, in Helena Waldmann.

    The most recent pieces by the Berlin choreographer let us hope that dance will continue to be able to interfere in the way of the world, without descending into agitprop, and that abstraction does not necessarily equal escapism. The fact that the work could be made in Iran, where theatre dance has been a taboo for more than 20 years, yet again proved the power of aesthetic means to transcend borders. The ensemble produced 43 brilliant performances in 17 countries, until the Iranian government intervened eventually, suggesting to the dancers that it would really be in their own interest to forego dancing.

    As a result, Helena Waldmann cast six exiled Iranian women for a reprise. What did we know about Iranian women? And what did our oft-praised freedom really consist of, if not the chance to discover the worlds outside of our familiar world? The tents are still the same, made in Iran. But the inhabitants are others now, with other stories. But Helena Waldmann knows how to confront difficulties constructively. She decided to re-stage her piece, implementing a radical change of perspective.

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    She knows these letters will not reach Tehran, but she does not want the correspondence to be interrupted. And the real addressees are the spectators, of course. Six exiled Iranian women, all resident in Berlin, are now living in the tents. And first of all, this is a provocation. For most of the young performers some came to Germany as children with their parents, one has the status of a political refugee have never worn a chador, and their German is as good as their Farsi.

    They have experienced — or so it seems — the blessings of Western freedom and are in a position to invite solely the male audience members to a backstage talk after each performance with the Iranian women it used to be ladies only. Waldmann shoves these confident, attractive women into a tight enclosure which they are not allowed to leave until the end.

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    Here, it symbolizes the nomadic existence, the lack of an inner home. And it touches upon the invisibility of many foreign women. And the tent is also a reference to the baggage of memories dragged around by migrants. You constantly have to read between the lines. The amazing final image reveals a disclosure.

    A utopia, maybe, but a painful shedding of skin in any case. In a wild dance the women throw off their fabric sheathing. And one begins to grasp how difficult it is to liberate oneself form these tents, this protective layer, this hiding place.

    Individual tents are dwarfed by the backdrop of skyscrapers and landscapes. One of these dome tents sits on the empty stage. Inside, noises are stirring, the zip opens, but no-one steps out — instead, as if in labour, another tent slips out of the narrow gap, slides along the floor for a bit, rears up and then falls down. Tents dance like clumsy, semi-unfolded butterflies, they fall to one side, stand on their heads, sway to and fro in a line. With a bang, the tents drop to the floor, and radiant and charming young women invite the men, then the women in the audience to tea and a chat backstage.

    In a quiet, relaxed atmosphere Helena Waldmann and her dancers speak of the adventure of this choreography, and about the prejudices we inflict on ourselves and others. For a full hour the audience, performers and choreographer Helena Waldmann sit together on cushions and talk.

    It is an animated conversation, inquisitive and open. The atmosphere is relaxed — maybe because someone is serious about wanting to create more than just pretty, interesting and moving images. Helena Waldmann does not only create an artistically ambitious form for socially relevant themes. By enabling contact through conversations, her art really does interact with our societal reality. Vielleicht die besten, die Europa je hatte. Wir haben es mit einem neuen Totalitarismus zu tun.

    Nein, er ist nicht neu, er ist nur anders. Nach dem linken Faschismus der Sowjets, nach dem rechten Faschismus der Nazis, ist der Islamismus der Faschismus des Montag, Zur Startseite. Diesen Artikel Verwandte Artikel. Mehr zum Thema. Die Homepage wurde aktualisiert. Jetzt aufrufen.