Enough of a simplistic event-announcement-machine

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Dear All,

several years have passed since we picked up our last “offline Time’s Up newsletter” from the printing house. Back then it was a folded A3 piece of paper – reaching our audience as a handy square little newspaper – in which different authors on different topics – all in varying close relationship to Time’s Up – came to speak.

Stopping this form of a newsletter had its reasons. As much as this “revival” of it – of course, in a modified form – has its reasons. Mainly, we simply got tired of our public-relations turning into a simplistic event-announcement-machine. Many reasons motivate us, but primarily it is the fact, that our main activities, strongly correlated with experiments, process and research, can only to a limited extend be buttoned down to dates.

Thus in the future, we will regularly share a richer picture of our activities under the following slogans: Time’s Up informs, announces and experiments, in order to mediate a richer picture of our activities. In addition: unsubscribing our newsletter is easy to do.

And here’s the official kick-off:

Time’s Up informs
* about our participation at the “Summit Practical Utopias” in late September.
* about descriptions and notes on future scenarios outlining topics such as: fear, cities and the legacy of Future Fabulators 

Time’s Up announces
* Future Lunchbox
Our kitchen table as platform for the introduction of regional initiatives that demonstrate what is already done to carry out possible futures now.

* Law & Lore of the Sea
The open ocean and the lands beyond it are often perceived as the last free places on earth. We want to discuss and explore the attractions, the legalities, the desires and the horrors of those trying for a better life on and over the sea. We invite you to participate in this discussion, for a more humane, open, free and fair oceanic commons.

Time’s Up experiments
Under the working title “Don’t fence me in,” for example, we stage the life of a “born with the golden spoon in her mouth” young woman as a tangible, explorable story. Her existence turns upside down when she, during one of her impulsive leisure sailing trips, decides to rescue distressed refugees. “Machinery of Night” on the other hand, processes in best “BEAT” style, the constant repetition of the murder of Joan Vollmer by William Burroughs with all its repercussions, bringing the vision of the early Beat generation to life, inviting interpretation in the present and into the future.

 

 

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