216 Jewish Hospital of St. Louis

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216 Jewish Hospital of St. Louis

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Good News, May 1993

A newsletter published for Deaf Catholics in Michigan, IN Good News Finding Ai

Washington University Record, April 22, 2005

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Von der Gstättn nach Auschwitz. Jüdische Kinderzwangsarbeiter 1938-1945

This lecture is based on a research project that evaluated – alongside contemporary documents – over 500 autobiographical testimonies in which survivors of the Holocaust reported on their time under German occupation, on ghettos and camps, on the fates of their families, and on forced labour. Jewish children were forced to work in all sectors of industry, mining, and agriculture. They worked in the ghettos, in the concentration and extermination camps, and in the construction of motorways and railways, defensive fortifications, barracks, and airstrips. On the basis of a sample, the lecture traces an arc from the forced labour performed by Jewish children in the Viennese dump in 1938 to the Sonderkommando in Auschwitz. In summary, the lecture focuses on the attempts made in the personal testimonies to explain one’s own survival and the lifelong consequences of forced labour in the shadow of the Holocaust

The Transformation Of Archival Philosophy And Practice Through Digital Art

In many ways, digital practices have precipitated remarkable changes in the global accessibility of art. However, the digital revolution has also radically influenced the conservation processes surrounding art, including archiving, preserving, and remembering. This paper explores the conservation of digital (or “variable media”) artworks for the future benefit of culture, with particular peference to creators and viewers of art, as well as participants in interactive artworks. More specifically, this paper focuses on the philosophical and technical approaches adopted by creators, conservators, and philosophers involved in the preservation of variable media artworks. Issues of programming, interoperability between archival systems, and enhanced public access increasingly inform the design of digital archives. Indeed, the continuously shifting technological landscape—marked by the centrality of digital technologies to everyday life—problematizes the preservation of digital art through mainstream museological paradigms. Part of this analysis of digital art conservation will be drawn from the archival philosophies of Boris Groys and Rick Prelinger