Simon Krause: Exploring the Discography of an Australian Musician

Who is Simon Krause. What are his notable musical projects. How has he contributed to the Australian music scene. What genres does his work encompass. Where can you find his releases. How has his music evolved over time.

Simon Krause: A Versatile Voice in Australian Music

Simon Krause is an Australian musician whose diverse discography spans multiple projects and genres. While not a household name, Krause has made significant contributions to the underground music scene in Australia, particularly in Tasmania. His work demonstrates a willingness to experiment with different sounds and collaborations, showcasing his versatility as an artist.

Notable Projects and Bands

• Hammering The Cramps
• Howling Gruel
• Drunk Elk
• Wendy In The Mountains And The Caves With The Slaves

Each of these projects represents a different facet of Krause’s musical interests, ranging from experimental rock to more avant-garde soundscapes.

Hammering The Cramps: Krause’s Punk-Inspired Venture

One of Simon Krause’s most notable projects is Hammering The Cramps. This band released a self-titled album in 2011 on Wormwood Grasshopper Records, an Australian independent label. The album, cataloged as WG-02, suggests it was an early release for the label.

Is Hammering The Cramps a tribute to the legendary punk band The Cramps? While the name certainly evokes that iconic group, Krause’s project likely puts its own spin on the punk and garage rock genres. The self-titled nature of the album implies a statement of intent, perhaps introducing listeners to a raw, energetic sound that pays homage to punk’s roots while carving out its own identity.

Howling Gruel: Experimenting with Sound and Style

Another significant entry in Krause’s discography is his work with Howling Gruel. This project released an album titled “Jolly Jape” in 2015, also on Wormwood Grasshopper Records (catalog number WG-08). The playful album title suggests a more lighthearted or perhaps satirical approach to music-making.

How does Howling Gruel differ from Krause’s other projects? Given the gap in years between this and the Hammering The Cramps release, it’s possible that Howling Gruel represents an evolution in Krause’s musical style. The term “gruel” in the band name might hint at a more stripped-down or raw sound, while “howling” could imply a noisier or more experimental approach.

Drunk Elk: Early Solo Explorations

Drunk Elk appears to be one of Simon Krause’s earlier solo projects. In 2010, he released an album titled “Pieces Of People We Have Known” under this moniker. Interestingly, this album was self-released on CD-R, indicating a DIY ethos common in underground music scenes.

What does the album title “Pieces Of People We Have Known” suggest about its content? This evocative phrase hints at a more introspective, possibly autobiographical work. It could be a collection of songs inspired by various individuals in Krause’s life, each track representing a “piece” of someone he’s known.

Contributions to Compilations: Community and Collaboration

Simon Krause’s involvement in the Australian music scene extends beyond his own projects. In 2011, he appeared on a compilation album titled “Community 2 – A Compilation Of Hobart Music” released by Rough Skies Records. This compilation, featuring various artists, highlights Krause’s connection to the Hobart music community.

Why are compilation albums important for local music scenes? Compilations like “Community 2” serve several purposes:

• They showcase the diversity of talent in a specific area
• They help introduce artists to new audiences
• They foster a sense of community among musicians
• They provide a snapshot of a particular moment in a local music scene’s history

Krause’s inclusion in this compilation demonstrates his active participation in Hobart’s musical landscape and his willingness to collaborate with and support fellow local artists.

Wormwood Grasshopper Records: A Home for Krause’s Music

Many of Simon Krause’s releases have been through Wormwood Grasshopper Records, an independent Australian label. This consistent relationship suggests a strong connection between the artist and the label, possibly indicating shared artistic values or a supportive, artist-friendly environment.

How do independent labels like Wormwood Grasshopper contribute to an artist’s development? Small, independent labels often provide:

• Greater creative freedom for artists
• A more personalized approach to promotion and distribution
• A supportive community of like-minded musicians
• Opportunities for collaboration and cross-promotion

For an artist like Simon Krause, working with Wormwood Grasshopper likely allows him to explore his diverse musical interests without the pressures often associated with major labels.

The Evolution of Simon Krause’s Musical Journey

Examining Simon Krause’s discography reveals a musical journey spanning over a decade. From his early self-released work as Drunk Elk in 2010 to his later projects like Howling Gruel in 2015, we can trace the development of an artist unafraid to explore different sounds and collaborative opportunities.

How has Krause’s music evolved over time? While we don’t have detailed information about the specific sound of each project, we can infer some potential developments:

• Experimentation with different genres and styles
• Increased production values as he moved from self-releases to label-backed albums
• Exploration of both solo work and band formats
• Possible refinement of his songwriting and instrumental skills

This evolution demonstrates Krause’s commitment to his craft and his willingness to push his artistic boundaries.

Simon Krause’s Role in the Australian Underground Music Scene

While Simon Krause may not be a mainstream name, his diverse discography and involvement in compilations suggest he plays a significant role in Australia’s underground music scene, particularly in Tasmania. His work contributes to the rich tapestry of independent and alternative music that thrives outside the mainstream.

What makes underground music scenes important? They often:

• Nurture innovative and experimental approaches to music
• Provide platforms for voices and styles not represented in mainstream media
• Foster tight-knit communities of musicians and fans
• Serve as incubators for new trends that may eventually influence broader musical landscapes

Through his various projects and collaborations, Simon Krause appears to be an active participant in this vital aspect of Australia’s musical culture.

Exploring Simon Krause’s Lyrical Themes

While we don’t have direct access to Simon Krause’s lyrics, the titles of his projects and albums offer some intriguing hints about potential lyrical themes. For instance, “Pieces Of People We Have Known” suggests a focus on personal relationships and experiences. The name “Drunk Elk” might imply an interest in nature or Australian wildlife, possibly viewed through a surreal or humorous lens.

What can we infer about Krause’s lyrical approach? Based on the available information, it’s possible that his lyrics might:

• Draw from personal experiences and observations
• Incorporate elements of humor or satire
• Explore themes of community and local culture
• Use vivid imagery, potentially inspired by Tasmania’s unique landscape

Of course, without access to the actual lyrics, these are speculative interpretations. The true nature of Krause’s lyrical content may be more diverse or unexpected than these inferences suggest.

The Influence of Tasmania on Simon Krause’s Music

Given that Simon Krause is associated with Hobart, the capital city of Tasmania, it’s worth considering how this unique location might influence his music. Tasmania, known for its rugged wilderness and vibrant arts scene, could provide rich inspiration for a musician.

How might Tasmania’s environment and culture shape Krause’s work?

• The island’s isolation might foster a distinctive local sound
• Tasmania’s natural beauty could inspire lyrical themes or atmospheric musical elements
• The close-knit nature of Hobart’s music scene might encourage collaboration and experimentation
• The contrast between urban life in Hobart and the surrounding wilderness could create interesting musical juxtapositions

While we can’t say for certain how much Tasmania directly influences Krause’s music, the connection to place is often significant for many artists, shaping their perspectives and creative output.

Simon Krause’s Approach to Instrumentation and Performance

The available information doesn’t provide specific details about Simon Krause’s instrumental skills or performance style. However, his involvement in multiple projects suggests a versatile approach to music-making. It’s likely that Krause is proficient in several instruments, possibly including guitar, given the rock-oriented nature of some of his projects.

What can we reasonably assume about Krause’s musical abilities?

• Proficiency in at least one primary instrument, likely guitar or vocals
• Possible multi-instrumentalist skills, common among solo artists and those involved in multiple projects
• An understanding of different musical styles, from punk to more experimental genres
• Potential experience with both live performance and studio recording techniques

These assumptions are based on typical patterns seen in similar underground musicians, but it’s important to note that Krause’s actual skills and approach may differ.

The DIY Ethic in Simon Krause’s Career

The self-released nature of some of Simon Krause’s work, particularly the Drunk Elk CD-R release, points to a DIY (Do It Yourself) ethic that’s common in underground music scenes. This approach often extends beyond just self-releasing music to include aspects like promotion, merchandise creation, and booking shows.

What are the advantages and challenges of a DIY approach in music?

Advantages:

• Complete creative control over all aspects of music production and release
• Direct connection with fans and supporters
• Flexibility to release music on one’s own schedule
• Potential for higher profit margins on sales

Challenges:

• Limited resources for promotion and distribution
• Need to wear many hats (musician, promoter, manager, etc.)
• Difficulty in reaching wider audiences
• Potential for burnout due to handling all aspects of a music career

For an artist like Simon Krause, the DIY approach likely allows for greater artistic freedom and authenticity, even if it means potentially reaching a smaller audience than mainstream artists.

Collaborative Spirit in Simon Krause’s Music

Simon Krause’s involvement in various band projects and compilations suggests a strong collaborative spirit. This willingness to work with other musicians can be a valuable asset in developing one’s skills and expanding creative horizons.

How does collaboration benefit musicians like Krause?

• Exposure to new ideas and techniques from fellow artists
• Opportunity to reach new audiences through cross-pollination of fan bases
• Potential for creative breakthroughs through the combination of different perspectives
• Building a supportive network within the music community

Krause’s participation in projects like the Hobart music compilation demonstrates his connection to the local scene and his openness to working with others, traits that can contribute significantly to an artist’s growth and longevity in the industry.

The Role of Live Performance in Simon Krause’s Career

While we don’t have specific information about Simon Krause’s live performances, it’s reasonable to assume that live shows play a significant role in his musical career. For underground and independent artists, live performances are often crucial for building a fan base, honing their craft, and generating income.

What might Simon Krause’s live shows be like? Based on his diverse projects, we could speculate:

• Varied setlists drawing from different projects and styles
• Possible use of different band configurations depending on the material being performed
• Intimate shows in small venues, typical of underground music scenes
• Potential for improvisation or experimentation, especially in his more avant-garde projects

Live performances also offer artists like Krause the opportunity to test new material, gauge audience reactions, and create a direct connection with their listeners that can’t be replicated through recorded music alone.

Future Directions for Simon Krause’s Music

Given Simon Krause’s history of diverse projects and collaborations, it’s exciting to consider what future directions his music might take. While we can’t predict with certainty, his past work suggests an artist open to exploration and new challenges.

What possibilities might lie ahead for Krause’s musical journey?

• Further experimentation with new genres or fusion of existing styles
• Collaboration with artists from different musical backgrounds or locations
• Expansion into other creative fields, such as scoring for film or theater
• Deeper exploration of production techniques or electronic music elements
• Potential mentorship of younger artists in the Tasmanian music scene

Whatever direction Simon Krause chooses to take, his established body of work suggests that he will continue to approach music with creativity, authenticity, and a willingness to push boundaries.

The Legacy of Simon Krause in Australian Independent Music

While Simon Krause may not be a household name, his consistent output and involvement in various projects have likely contributed to shaping the landscape of independent music in Tasmania and beyond. Artists like Krause, who dedicate themselves to their craft outside the mainstream spotlight, play a crucial role in maintaining the vitality and diversity of a country’s music scene.

How do artists like Simon Krause contribute to the broader musical ecosystem?

• They keep local music scenes active and vibrant
• They provide alternative voices and perspectives in music
• They often inspire and influence other musicians, creating a ripple effect of creativity
• They contribute to the cultural identity of their local areas
• They help maintain a diverse musical landscape that goes beyond commercial trends

While we may not be able to measure Simon Krause’s impact in terms of chart positions or stadium tours, his persistent creativity and involvement in the Australian independent music scene represent an important facet of the country’s rich musical tapestry.

Simon Krause | Discography | Discogs

Ben Böhmer – Give Me (Feat. Wood & Simon Krause): listen with lyrics

Ben Böhmer | Length : 08:32

This track is on the 6 following albums:

• org/MusicAlbum”>

  Dissensions

  Ben Böhmer

• Deep House in Your Mind, Vol. 2

  Ben Böhmer

• Essence of Deep House, Vol. 2

  Ben Böhmer

• Feier Abend, Vol. 4 – The Deep House Collection

  Ben Böhmer

• Wanderzirkus, Vol. 15

  Ben Böhmer

• Feier Abend, Vol. 4 – The Deep House Collection

  Ben Böhmer

Massive Pressure Amplification by Stimulated Contraction of Mesoporous Frameworks

Abstract

Herein we demonstrate mesoporous frameworks interacting with carbon dioxide leading to stimulated structural contractions and massive out‐of‐equilibrium pressure amplification well beyond ambient pressure. Carbon dioxide, a non‐toxic and non‐flammable working medium, is promising for the development of pressure‐amplifying frameworks for pneumatic technologies and safety systems. The strong interaction of the fluid with the framework even contracts DUT‐46, a framework hitherto considered as non‐flexible. Synchrotron‐based in situ PXRD/adsorption experiments reveal the characteristic contraction pressure for DUT‐49 pressure amplification in the range of 350–680 kPa. The stimulated framework contraction expels 1.1 to 2.4 mmol g⁻¹ CO₂ leading to autonomous pressure amplification in a pneumatic demonstrator system up to 428 kPa. According to system level estimations even higher theoretical pressure amplification may be achieved between 535 and 1011 kPa.

Keywords: DUT-49, metal–organic frameworks, negative gas adsorption, pneumatics, pressure amplification

Abstract

Negative Gas Adsorption is a unique counterintuitive phenomenon of responsive metal–organic frameworks hitherto only observed below atmospheric pressure. Carbon dioxide stimulates contraction at high absolute pressure inducing massive pressure amplification exceeding 500 kPa.

The principle of Le Châtelier and Braun elaborated between 1884 and 1888 is famous and among the most important guiding principles in chemistry.
[1]
A disturbance in a system will cause a shift to counterbalance the effect of this disturbance. Pressurizing a gas phase in contact with a porous solid will always result in a spontaneous pressure drop and the system responds by adsorbing the fluid inside the pores to counterbalance the outer gas pressure increase. The discovery of spontaneous gas desorption stimulated by pressure increase does not follow this principle, instead it is a counterintuitive phenomenon far out of equilibrium.
[2]
However, the initially observed gas release initiated only a rather tiny pressure amplification of a few kPa and the operating conditions (methane, 111 K) were considered as unpractical so far. In recent years the understanding of counterintuitive pressure amplification (PA) by porous frameworks (also termed “Negative Gas Adsorption”, NGA) has been significantly advanced. Only mesoporous switchable frameworks with a pore size above 2 nm lead to PA.
[3]
The micromechanics require stiff building blocks which only buckle upon exertion of a critical adsorption stress.
[4]
A wide range of fluids can stimulate PA and the operating temperature is closely connected to the critical temperature of the fluid indicating fluid nucleation to play an important role in controlling the out‐of‐equilibrium stability against perturbation.
[5]

Switchable metal–organic frameworks (MOFs) were serendipitously discovered in 2001
[6]
and today are at the forefront of porous materials research.
[7]
They counterbalance a gas pressure increase by the inclusion of guest molecules adapting their pore size, which in some cases results in tremendous cell volume changes.[
7a
,
7b
,
7f
,
8
] Beyond guest‐induced switchability,
[7c]
also temperature,
[9]
UV‐ and visible light,
[10]
electric and magnetic fields
[11]
have been demonstrated as external stimuli. The combination of flexibility, crystallinity, and porosity renders switchable MOFs an important class of materials for advanced applications such as gas storage,
[12]
threshold sensors,
[13]
or molecular separation.
[14]
Mechanical aspects make bistable frameworks promising shock absorbers or nanosprings.
[15]

However, only a very limited number of switchable MOFs demonstrate counterintuitive out‐of‐equilibrium pressure amplification phenomena. The prototypical pressure amplifying frameworks, DUT‐49(Cu) analogues, are based on porous cuboctahedral metal–organic polyhedral (MOP) cages (Figure ), built of copper paddle‐wheels and 9H‐carbazole‐3,6‐dicarboxylates,
[16]
assembled in a ccp‐analog packing (Figure ) with mesoporous tetrahedral and octahedral cages
[17]
(Figure ) of adjustable dimensions defined by the spacer length between adjacent metal–organic polyhedra (Figure ).
[3]
During pore filling of the large mesopores the systems traverse through a metastable state, an overloaded pore, shortly before a massive contraction is initiated by the cohesive forces of the fluid resulting overall in the expulsion of gas moles Δn
_NGA from the pores (Negative Gas Adsorption) and the expelled gas molecules increase the total pressure of the closed system (pressure amplification).

a–d) Pore structure of carbazole‐MOP‐based MOFs; e) spacers used in the ligands of DUT‐48, 46, 49, and 50; f) theoretical pore‐size distribution for open‐pore phases of DUT‐48, 46, 49, and 50.

The exotic operation conditions (p<30 kPa) of this counterintuitive phenomenon so far hampered an implementation in real‐world applications, typically requiring pressure amplification in the range of 0.1–1 MPa.
[5]
In this sense there is a strong need for the identification of non‐toxic, non‐flammable fluids inducing PA above ambient atmospheric pressure. The latter would enable the exploitation of PA materials as a technology platform.

Herein, we demonstrate pressure amplification beyond 100 kPa for the first time using CO₂ as a stimulus. Carbon dioxide is a non‐flammable, non‐toxic, and inexpensive gas, the molecule of which shows a quadrupolar moment and high adsorption enthalpy.
[18]
It is an ideal fluid for the operation of pneumatic devices and machines such as dampers, fire extinguishers, or life jackets,
[19]
and more recently is gaining attention in the field of pneumatic logic circuits for electronics‐free control of soft‐legged pneumatic robots.
[20]
This motivated us to assess the value of carbon dioxide for high‐pressure amplification by NGA materials.

To achieve this goal, we studied pressure amplification by CO₂ using a series of isoreticular frameworks: DUT‐48(Cu), DUT‐46(Cu), DUT‐49(Cu), and DUT‐50(Cu) in an industrially relevant temperature range of 195–298 K with the ambition to maximize the magnitude of PA. Advanced in situ X‐ray diffraction analysis provides important insights into the contraction mechanisms of the solids. Finally, we establish guidelines for the integration of PA materials into pneumatic systems.

The metal–organic frameworks DUT‐48(Cu)/PCN‐81,
[21]
DUT‐46(Cu), DUT‐49(Cu), and DUT‐50(Cu) belong to an isoreticular series in which the spacer, linking the MOPs, varies in length (48: phenyl, 46: naphthyl, 49: biphenyl, 50: terphenyl, Figure ).
[3]
Phase purity of as‐made and supercritically desolvated samples was confirmed by powder X‐ray diffraction. SEM analysis reveals a particle size ranging from 2 to 14 μm (Supporting Information, Figure S1). Upon ligand elongation the pore size increases step‐wise from 1.5 to 2.1 nm for the tetrahedral voids and 1.8 to 3.1 nm for the octahedral voids (Figure ).

A characteristic feature of all these structures is bistability with two minima in the free energy profiles, but the relative energy of the minima varies widely with the spacer length. The energetic difference (ΔF, Table ) of the two minima is higher for the shorter ligands and they buckle only under high adsorption stress. The contraction of the open‐pore framework (op) thus requires significant energy and the magnitude is dominated by the buckling deformation of the ligand.
[3]
Therefore, weakly interacting fluids are not able to stimulate structural contraction in these solids. In case of nitrogen physisorption at 77 K hysteretic isotherms and NGA were only observed for DUT‐49 and DUT‐50 (Figure S4a, Supporting Information). In contrast, DUT‐48 and DUT‐46 show reversible type Ib isotherms, typical for rigid porous solids with small mesopores. The difference in adsorption behavior is a result of the higher mechanical stiffness of DUT‐46 and DUT‐48 which do not contract under the marginal adsorption‐induced stress generated by N₂ adsorption at 77 K.

Table 1

Experimental and theoretical mechanical properties of investigated MOFs.
[3]

For achieving high‐pressure amplification we applied CO₂ as a probe molecule in physisorption experiments at 195 K. In the phase diagram of CO₂, the triple point is located at 216.5 K and 0.51 MPa. However, according to theoretical and experimental studies adsorbed CO₂ at 195 K behaves as an undercooled fluid, showing strong fluid–fluid interactions and in the temperature range of 210–240 K the condensation of CO₂ in mesopores was observed.
[22]

In order to analyze the impact of adsorption stress exerted by CO₂ on the series of DUT‐49‐type frameworks, we first systematically studied the isoreticular series of DUT‐48, ‐46, ‐49, and ‐50 at 195 K (Figure S4b, Supporting Information). Although the free energy profiles of these isoreticular frameworks show a local minimum with reduced cell volume, hitherto guest‐induced switchability was only observed for DUT‐49 and DUT‐50. In contrast, DUT‐48 and DUT‐46, containing quite stiff linkers appeared as rigid and showed no contraction in the presence of other probe molecules at all temperatures tested so far.

DUT‐48 in the presence of CO₂ at 195 K shows no indications of network switchability, the isotherm shows a distinct step at p/p
₀=0.25 (which is most likely not associated with the flexibility)
[22b]
reaching a plateau at p/p
₀=0.3 with saturation capacity of 48.8 mmol g⁻¹ (Figure S4b, Supporting Information). In order to prove whether this step is caused by structural deformation, in parallel to the adsorption experiment we collected PXRD patterns at 32 pressure points using a recently developed laboratory instrumentation. Interestingly, we detect a narrow h2‐type hysteresis, however no structural deformation is observed (Figure S3, Supporting Information). The pore volume calculated at p/p
₀=0.8 reaches 1.906 cm³ g⁻¹, which matches the value calculated from the nitrogen isotherm at 77 K.

Surprisingly, the CO₂ physisorption isotherm of DUT‐46 shows relatively low uptake in saturation after a step at p/p
₀=0.4 (Figure S4b, Supporting Information), reaching 31.5 mmol g⁻¹ (V
_p=1.18 cm³g⁻¹ at p/p
₀=0.8), which is unexpected compared with the porosity calculated from the crystal structure (V_p=1.89 cm³ g⁻¹, Table )
[3]
and nitrogen physisorption (V_p=2.132 cm³g⁻¹ at p/p
₀=0.8). In addition, the desorption branch of the isotherm does not follow the adsorption branch at p/p
₀ below 0.4 (Figure S4b, Supporting Information), indicating adsorption‐induced changes of the pore system and structural transformations of the framework. Similar features and hystereses are observed for DUT‐49 and DUT‐50 with characteristic steps at p/p
₀=0.5 and p/p
₀=0.7 and small saturation uptakes of only 20.6 and 22.3 mmol g⁻¹ at p/p
₀=0.8 (corresponding to a specific pore volume of only V
_p(DUT‐49)=0.76 cm³ g⁻¹, V
_p(DUT‐50)=0.82 cm³ g⁻¹) in contrast to porosity estimated from nitrogen adsorption isotherms (V
_p(DUT‐49)=2.82 cm³ g⁻¹, V
_p(DUT‐50)=3.67 cm³ g⁻¹; Figure S4b, Table S1, Supporting Information).

To investigate potential framework transitions in the adsorption process, the physisorption of CO₂ on DUT‐46 and DUT‐49 was analyzed by advanced in situ X‐ray powder diffraction at KMC‐2 beamline of the BESSY‐II synchrotron in parallel to the adsorption and desorption of CO₂ at 195 K (Figure ).
[7d]

a) Structural contraction from open‐pore (blue) to contracted‐pore (red) phase, followed by in situ PXRD during CO₂ adsorption at 195 K on b) DUT‐46 and c) DUT‐49 (numbers and color codes in the isotherm and PXRD patterns indicate the parallel measurements).

In situ studies clearly reveal pronounced structural contractions for both frameworks at a distinct relative pressures (p/p₀=0.45 for DUT‐46 and 0.50 for DUT‐49) (Figure ). In case of DUT‐46, the isotherm measured in situ shows an additional step at p/p
₀=0.9 and a second hysteresis, absent in the ex situ experiment. This second step can be assigned to the reopening of the structure (Figure ) during adsorption at increasing relative pressure. Powder X‐ray diffraction (PXRD) patterns measured upon adsorption before reaching the plateau at p/p
₀=0.4 (PXRDs 1–11) indicated the op phase of the DUT‐46. Along the plateau (0.4<p/p
₀<0.9 in adsorption), a set of peaks different from the op phase appears which can be assigned to the formation of a contracted cp state (PXRDs 12–16), indicating the presence of phase mixture in this pressure range. Peaks assigned to the cp phase disappeared at the second step and only the op phase is detected at saturation at p/p
₀=0.98, which indicates reversible reopening (PXRDs 17–22). Again, cp and op phase mixtures appear along the desorption branch at p/p
₀≤0.45 (PXRDs 23–40). This finding is remarkable as it demonstrates for the first time adsorption‐induced switchability of DUT‐46, a network hitherto considered as non‐flexible due to the high mechanical stiffness. No other molecular stimulus investigated so far was able to induce structural contraction as type I isotherms were observed for N₂ (77 K), Ar (87 K), CH₄ (111 K), and n‐butane (273–298 K) characteristic for non‐responsive frameworks.
[3]
For DUT‐49 a similar adsorption‐induced deformation mechanism is recorded as discussed for DUT‐46. Firstly, at a relative pressure of 0.55 (PXRDs 11–14), the framework contracts into the pure cp phase (Figure ). However, in contrast to DUT‐46, no reopening is observed for DUT‐49 even at p/p
₀>0.98 and the cp phase is retained throughout the entire desorption process (PXRDs 15–19). This structural evolution explains the reduced adsorption capacity for DUT‐49 at elevated relative pressure. Interestingly, the structures of CO₂‐loaded cp phases of DUT‐46 and DUT‐49 show an additional reflection at 2θ between 3.5 and 3.6° (Figure ), which was not observed in earlier studies using methane as a stimulus at 111 K. Detailed analysis of PXRD patterns of CO₂‐filled cp phases indicates a lower symmetry (P2₁3) to be the origin. Unfortunately, detailed structural refinement of cp phases is challenging because of op/cp phase mixture in case of DUT‐46 and broadening of the reflections in case of DUT‐49. However, comparison of experimentally measured PXRD patterns with corresponding simulated PXRDs for CO₂‐loaded DUT‐46cp and DUT‐49cp structures indicates a good agreement in terms of positions and intensities (Figure S2, Supporting Information). Specific details of the crystal structures of the cp phases are discussed in Supporting Information section 2. A possible reason explaining the adsorption characteristics of CO₂ at 195 K could be the strong intermolecular interactions between the CO₂ molecules in the pores of the cp phase after contraction and enhanced host–guest interactions that hinder reopening of the structure.

The findings from adsorption and in situ PXRD experiments at 195 K motivated us to expand physisorption experiments on DUT‐46, DUT‐49, and DUT‐50 to a wider temperature range close and beyond the triple point of CO₂ (Figure S5, Supporting Information). Adsorption of CO₂ on DUT‐46 at 210, 220, and 230 K shows a gradual shift of the mesopore filling step from p/p
₀=0.4 towards lower relative pressures of p/p
₀=0.3 (210 K) and p/p
₀=0.25 (220 and 230 K). This effect confirms the changes in the guest–guest interactions between CO₂ molecules in the pores, which are obviously attributed to the change of the adsorbed state of the fluid beyond the triple point.
[22b]
All isotherms show a saturation uptake, expected for the pore volume derived from nitrogen physisorption at 77 K (Figure S5a, Table S1, Supporting Information). The isotherms at 220 and 230 K are completely reversible and show no indications of framework structural phase transitions. In the case of DUT‐49, isotherms measured in the temperature range between 220 and 250 K show similar behavior in terms of the shift of the adsorption step towards the lower p/p
₀ values (Figure S5b, Supporting Information). However, the isotherms measured in the range of 220–240 K show hystereses and isotherms typical for DUT‐49 PA transitions.
[2]
A characteristic plateau in the relative pressure range of 0.3–0.7 indicates the contraction to a cp phase. After reopening, the solid reaches again an adsorption capacity of 55–70 mmol g⁻¹. DUT‐50 follows the same trend as observed for DUT‐49 (Figure S5c, Supporting Information), however, the transition pressure is shifted towards higher values as it may be expected for larger pores.
[3]

These observations motivated us to apply DUT‐49 and DUT‐50 as suitable pressure‐amplifying solids using CO₂ at 230–240 K (Figure ). In a custom‐built pressure amplifier (for details see section 2.5, Figure S13a, Supporting Information), we demonstrate the validity of the theoretically estimated pressure amplification values. After reaching p_NGA=340 kPa, the pressure in the adsorption cell spontaneously increased reaching 428 kPa within 360 s (Figure ). Such massive pressure amplification up to 428 kPa has never been reported before, demonstrating the effectiveness of pressure‐amplifying materials at pressure levels well beyond ambient pressure relevant for pneumatic systems (Figure S13, Supporting Information). Moreover, repeatable pressure amplification was demonstrated in a second cycle after reopening the framework. In the second cycle p_NGA is only slightly shifted to 354 kPa and the overall pressure reaches 425 kPa in 470 s (Figure S13c, Supporting Information), an almost identical performance compared to the first run. A full CO₂ adsorption isotherm at 230 K was recorded after reopening reaching Δn_NGA=1.3 mmolg⁻¹ and full capacity in terms of the pore volume compared to the first run (Figure S13d, Supporting Information). These results show for the first time dynamic framework materials capable of generating high pressures well beyond 100 kPa.

Adsorption isotherms of carbon dioxide on DUT‐49 at a) 230 K, b) DUT‐50 at 240 K; c) pressure amplification phenomenon during isothermal adsorption; d) pressure amplification in the adsorption demonstrator experiment at 230 K.

In summary, we identified conditions for massive pressure amplification by porous frameworks based on an isoreticular platform of PA frameworks, namely DUT‐48, DUT‐46, DUT‐49, and DUT‐50, offering a gradual increase in the pore size and specific pore volume. The mechanism behind this, an adsorption‐stimulated contraction, was analyzed by in situ X‐ray diffraction in the presence of CO₂ at 195 K. The adsorption stress exerted by CO₂ even contracts the relatively stiff DUT‐46, a framework hitherto considered as non‐deformable in the presence of other adsorbate molecules such as N₂, CH₄, and n‐butane. The strong interaction of CO₂ with the host framework also leads to contraction of DUT‐49 and DUT‐50, however, reopening and breathing is suppressed in these less rigid systems. Breathing is only observed at higher temperatures above the carbon dioxide triple point. The gas release reaches 1.1–2.4 mmol g⁻¹ at 230–240 K, leading to high absolute pressures for the PA transitions. The maximal estimated pressure operation window ranges from 350 to 600 kPa for DUT‐49 at 230 K, and from 538 and 680 kPa to 1000 kPa for DUT‐49 and DUT‐50 at 240 K, respectively. These estimations are fully validated by experimental demonstration of pressure amplification up to 428 kPa. Our observations provide fundamental insights for the understanding of porous systems far from equilibrium and represent a decisive step towards developing pressure amplifying frameworks for the integration in pneumatic architectures and safety systems.
[23]

Conflict of interest

The authors declare no conflict of interest.

Dekel and Simon Krause – Air Writer [2i68f8y7eee]

Simon Krause | zeitgeschichte | online

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Control system for mobile self-propelled aerial lift

BACKGROUND OF THE INVENTION

1. Field of Use

This invention relates generally to control systems for variable speed hydraulic motors such as are used in mobile self-propelled aerial lifts which have an adjustably movable work platform on which the operator’s controls for the functions of the aerial lift are located.

2. Description of the Prior Art

Mobile self-propelled aerial lifts typically include a work platform which is supported at the outer end of an elevatable telescopic boom which is carried on a swingable boom support structure on the vehicle chassis. Variable speed hydraulic motors are used to propel and steer the vehicle, rotate the boom support structure, raise and lower the boom, and extend and retract the boom. Some prior art electrohydraulic control systems for operating the aerial lift comprise an engine-driven constant flow pump located on the boom support structure for supplying pressurized hydraulic fluid through proportional solenoid operated proportional flow control valves to operate the hydraulic motors. In such prior art control systems, each proportional solenoid for a control valve is operated by a proportional type of electric control which operates the proportional valve so as to meter fluid flow therethrough to the hydraulic motor being controlled to thereby regulate the speed of movement of the motor and thus, the speed at which the particular function is carried out. Typically, the operator’s control panel is located on the adjustably movable work platform and includes several proportional electrical controls as there are functions to be controlled. Proportional solenoid operated valves and the proportional electrical controls therefor are relatively complex and expensive and undue redundancy adds to the cost of manufacturing and servicing. The following U.S. patents depict prior art aerial lifts: U.S. Pat. Nos. 3,212,604 and 3,937,340.

SUMMARY OF THE PRESENT INVENTION

Broadly considered, a control system in accordance with the present invention for a hydraulic motor operable at variable speeds comprises a pump having a pressure port and a control port and being of a type wherein a change in the rate of fluid flow to the control port effects a change in the fluid pressure at the pressure port. A selector valve is provided and is operable to permit fluid flow from the pressure port to the hydraulic motor. Means are provided for operating the selector valve. A modulatable flow control valve is provided for controlling the rate of fluid flow to the control port to thereby control the speed of the hydraulic motor when the selector valve is operated. Means are provided for modulating the flow control valve.

In a preferred embodiment, a conduit is provided for supplying fluid from the pressure port to the control port and the modulatable flow control valve is connected to the conduit. The selector valve is a solenoid valve, the means for operating the selector valve is a manually operable selector switch, and the means for modulating the flow control valve is a foot pedal. A pump in accordance with the invention may take the form of a radial piston destrokable pump and the control port is a destroke port.

A mobile self-propelled aerial lift machine in accordance with the invention comprises a chassis, drivable and steerable ground-engaging wheels mounted on the chassis, a rotatable support structure mounted on the chassis, an elevatable telescopic boom mounted on the boom support structure, and a work platform mounted on the boom. A plurality of hydraulic motors are provided, including a drive motor for driving the wheels, a steering motor for steering the wheels, a swing motor for rotating the support structure, a boom hoist motor for raising and lowering the boom, and a telescope cylinder for extending and retracting the boom, each of the hydraulic motors being operable at variable speeds. The pump is mounted on the support structure and has a pressure port and a control port and is of the type wherein a change in rate of fluid flow to the control port effects a change in fluid pressure at the pressure port. An engine is provided on the support structure for driving the pump. A plurality of solenoid operated selector valves are mounted on the support structure, each selector valve being operable to permit fluid flow from the pressure port of the pump to one of the hydraulic motors. A plurality of manually operable selector switches are mounted on a control panel on the work platform, each selector switch controlling a solenoid for a selector valve. An electrical power source is provided on the support structure for energizing the solenoids. Conductor wires extend along the boom for connecting the selector switches to effect energization of the solenoids. Fluid conduit means extend along the boom between said support structure and the work platform for supplying fluid from the pressure port to the control port of the pump. A modulatable flow control valve is located on the work platform and is connected to the fluid conduit means for controlling the rate of fluid flow to the control port of the pump to thereby control the speed of any hydraulic motor selected for operation and the component moved thereby when the selector valve therefor is actuated by a selector switch. A foot-pedal control is located on the work platform for modulating the modulatable flow control valve.

An aerial lift machine in accordance with the invention also includes a pair of levelling cylinders, one connected between the support structure and the boom and the other connected between the boom and the work platform. Fluid conduit means are located along the boom and connected between the two levelling cylinders whereby movement of the one levelling cylinder effects related levelling movement of the other levelling cylinder. A manually operable levelling control valve is located on the work platform for effecting levelling adjustment of the other cylinder. The levelling control valve is connected to the same fluid conduit means to which the modulatable flow control valve is connected.

A control system in accordance with the present invention has many advantages over prior art arrangements. For example, costly and redundant proportional solenoid valves and proportional electrical controls therefor are eliminated, thereby substantially reducing the cost of manufacturing and maintaining the machine. Use of a radial piston pump which can be destroked by means of a destroke port thereon to control the pressure of fluid flow from the pressure port of the pump enables economic and effective regulation of fluid flow to any of the fluid motors in the system and eliminates the need for proportional flow control valves since standard more economic multi-position control valves operated by simple on-off solenoids and controlled by on-off switches can be used instead. Furthermore, in accordance with the invention, the pump is destroked by means of a pedal-operated proportional flow control valve thereby freeing the operator’s hands and enabling him to devote his attention to selection of the appropriate selector switches for required control function selection. The pedal-operated valve effects variable fluid flow to the pump crank-case thereby making possible fully variable speeds in all functions being controlled, and this is accomplished by relatively simple direct-acting electrical switches and control valves. Other objects and advantages of the invention will hereinafter appear.

BRIEF DESCRIPTION OF THE DRAWINGS

FIG. 1 is a perspective view of a mobile self-propelled aerial lift having an electrohydraulic control system in accordance with the invention and showing the telescopic boom raised and extended and the work platform in elevated position;

FIG. 2 is a side elevational view of the aerial lift shown in FIG. 1 and shows the telescopic boom fully retracted and fully lowered and the work platform in lowered position;

FIG. 3 is an enlarged perspective view of the work platform of FIGS. 1 and 2, with portions broken away to show details, and showing the operator’s control panel and showing the independently operable foot pedal for effecting modulation or proportional control;

FIG. 4 is an enlarged perspective view of the operator’s control panel shown in FIG. 3;

FIG. 5 is a schematic diagram of the hydraulic portion of the electrohydraulic control system in accordance with the invention; and

FIG. 6 is a schematic diagram of the electrical portion of the electrohydraulic control system in accordance with the invention and depicts the electrical connection of the solenoids of the solenoid controlled valves shown in FIG. 5.

DESCRIPTION OF A PREFERRED EMBODIMENT

Referring to FIGS. 1 and 2, the numeral 10 designates a mobile self-propelled aerial lift machine of a type in which an electrohydraulic control system in accordance with the present invention is advantageously employed. Machine 10 comprises a vehicle chassis 11 having a pair of ground-engaging driven rear wheels 12, a pair of ground-engaging steerable front wheels 13, and a horizontally rotatable boom support structure 14 mounted thereon. Support structure 14 supports a vertically pivotable telescopic boom 15, comprising a base section 16 and movable section 17, which has a work platform 18 mounted on the outer end thereof.

Base section 16 of boom 15 is connected to a bracket assembly 20 on support structure 14 for pivotal movement in a vertical plane by a pivot pin 21. Platform 18 is connected by means of a bracket assembly 22 thereon and a pivot pin 23 to movable boom section 17 for adjustable pivotal movement in a vertical plane.

As FIGS. 1, 2, and 5 make clear, the rear wheels 12 are driven by a pair of hydraulic reversable drive motors 25. Front wheels 13 are steerable by a hydraulic double-acting steering cylinder 26. Support structure 14 is rotatable in either direction by a hydraulic reversable swing motor 27. Boom 15 is raised and lowered by a hydraulic double-acting boom hoist cylinder 28 connected between support structure 14 and boom base section 16 by pivot pins 30 and 31, respectively. Movable boom section 17 is extendable and retractable relative to boom base section 16 by a hydraulic double-acting boom telescope cylinder 35 located within boom 15 and connected between the base end of boom base section 16 by a pin 36 and the base end of movable boom section 17 by a pin 37. Platform 18 is levelled by a hydraulic double-acting platform levelling cylinder 40 connected between movable boom section 17 by a pin 41 and a bracket 24 on the bottom of platform 18 by a pin 42. Cylinder 40 is operated by a hydraulic double-acting master levelling cylinder 44 connected between support structure 14 by a pin 45 and boom base section 16 by a pin 46.

The drive motors 25 are controlled by two double solenoid operated three-position four-way selector valves 48 (for low speed operation) and 49 (for high speed operation). Spring-applied fluid-released brake cylinders 29 are provided for the drive wheels 12.

Steering motor 26, swing motor 27, boom hoist cylinder 28, and boom telescope cylinder 35, are controlled by the double solenoid operated three-position four-way selector valves 50, 51, 52, and 53, respectively, which are spring biased to neutral position and actuatable therefrom in one direction (extend, right, forward) or another (retract, left, reverse) upon energization of the appropriate one of the two solenoids associated therewith.

As FIGS. 5 and 6 show, the on-off solenoids for the control valves 50, 51, 52, and 53 are designated by the same reference numeral as the valve with which they are associated followed by the suffix letter a or b.

Platform levelling cylinder 40 is adjustably controlled by a manually operable three-position four-way platform adjust control valve 54.

The cylinders and motors hereinbefore described are supplied with pressurized hydraulic fluid through their respective control valves from an engine-driven main pump 60, hereinafter described in detail, or in the event of emergency, from an emergency pump 61 driven by an electric motor 62, shown in FIG. 5. The pumps 60 and 61, the boom hoist cylinder 28 and the boom telescope cylinder 35 are provided with conventional pressure relief valves 63.

Engine driven radial piston destrokable main pump 60, shown in FIGS. 2 and 5, is driven by engine 67 and receives fluid from a reservoir 64 through fluid lines 65 and 66 and supplies pressurized fluid from its pressure port 68 through a main supply line 70 to the selector valves 48, 49, 50, 51, 52, 53, and through a branch supply line 70A to control valve 54. These valves supply pressurized fluid to the hydraulic motor controlled by a particular valve when the valve is moved from neutral to either of its operative positions. Pump 60 is a known commercially available pump which is capable of supplying fluid on demand, whenever a control valve is opened, at a pressure ranging, for example, from near 0 psi (30 to 40 psi) to 1800 psi, depending on the pilot fluid pressure maintained at a destroke port 72 on the pump. Thus, if the pressure at destroke port 72 is the same as that at pump pressure port 68, fluid pressure at the pressure port will be near zero. However, as the fluid pressure to destroke port 72 is reduced or choked off (as by means of closure of either of the normally open proportional destroke control valves 75 (pedal operated) and 76 (manually operated) in a destroke line 77 shown in FIG. 5), fluid pressure at pump pressure port 68 increases proportionately. A radial piston pump suitable for use as pump 60 is described in detail as regards construction and mode of operation in a publication designated FPD (7-74) entitled “PR24, 30, 40 and 60 Series Hydraulic Pumps Technical Manual” published by the John Deere Company, Waterloo, Iowa.

As FIGS. 2 and 5 show, the steering cylinder 26, and the drive motors 25, and the brake cylinders 24 are located on chassis 11, whereas the control valves 48, 49, and 50 therefor are located on the swingable boom support structure 14. Accordingly, five swivel-type hydraulic connectors 80, shown in FIG. 5, are provided.

As FIG. 5 also shows, boom hoist cylinder 28 is provided with a holding valve 81 and boom telescope cylinder 35 is provided with a pilot-operated double ball check valve 82. Master levelling cylinder 44 is provided with holding valves 83 and platform levelling cylinder 40, which is slaved to cylinder 44, is provided with a pilot valve 84.

As FIGS. 2 and 5 make clear, main pump 60, solenoid operated selector valves 48, 49, 50, 51, 52, and 53, and manually operable destroke control valve 76 are physically located on boom support structure 14. However, as FIGS. 2, 3, 4, 5, and 6 make clear, the pedal operated destroke control valve 75 and the operating pedal assembly 89 therefor, the manually operable platform adjust control valve 54, and the selector switches (hereinafter described) for the solenoid operated valves are located on the work platform 18.

Branch supply line 70A, destroke line 77, and a fluid communication line 90 connecting the master levelling cylinder 44 and platform levelling cylinder 40 are located along telescopic boom 15, preferably within boom base section 16 and on the side of movable boom section 17, and arranged in such a manner as to allow for extension and retraction of the telescopic boom. Electric conductors for the selector switches on platform 18 are similarly arranged.

As FIGS. 3 and 4 best show, the movable work platform 18, which is adapted to carry a human operator to a desired elevated location and comprises a floor 91 and wire mesh sides 92, is provided with a control panel 93 hereinafter described. The operating pedal assembly 89 for operating destroke valve 75 comprises a foot pedal 94 which is pivotally connected by a pivot pin 95 to a support bracket 96 rigidly mounted on floor 91 and protected against accidental application by a protective housing 97. Pedal 94, which is operatively connected to valve 75 by a linkage 100, is biased by a biasing spring 101 to a non-depressed position wherein it maintains valve 75 in fully open position. Pedal 94 is depressable by the operator against the bias of spring 101 to effect movement of proportional valve 75 from fully open position, through partially closed position to fully closed position to thereby effect a desired reduction of fluid flow in destroke line 77. Reduction of fluid flow to destroke port 72 of pump 60 effects a corresponding increase of fluid pressure at pressure port 68 of the pump.

The control panel 93 supports a manual control lever 54a for levelling valve 54, the selector switch assemblies hereinafter described, which control the solenoids of the selector valves, and other switches, such as an on-off ignition switch 105, an engine start switch 106, an emergency power switch 107, an emergency stop switch 108, and a horn switch 109. The selector switch assemblies include a combined propulsion control and swing control switch assembly 110, a combined steering and boom lift control switch assembly 111, and a combined boom extension control switch assembly 112. The switch assemblies 110, 111, and 112, which are known commercially available devices, each include a joystick 110A, 111A, and 112A, respectively, which is movable from a spring centered neutral position in four cardinal directions to effect operation of one or more single pole double throw switches associated therewith. A suitable switch assembly for use in the present invention is identified as a Class 9001, Type K, Series F switch manufactured by the Square D Company, Milwaukee, Wisconsin.

As FIGS. 4, 5, and 6 show, in switch assembly 110, joystick 110A operates (when moved left and right in FIG. 4) a single pole double throw switch 110B for controlling the solenoids 51a and 51b of selector valve 51 for swing control motor 27 and also operates (when moved forward or rearward in FIG. 4) a single pole double throw switch 110C for controlling the solenoids 48a and 48b of selector valve 48 for the propulsion motors 25. A normally open limit switch LS2 controls energization of the solenoids 49a and 49b of selector valve 49 for high speed operation of the motors 25 and responds to full throw of joystick 110A in forward or reverse direction.

In switch assembly 111, joystick 111A operates (when moved left or right in FIG. 4) a single pole double throw switch 111B for controlling the solenoids 50a and 50b of selector valve 50 for steering motor 50 and also operates (when moved forward or rearward in FIG. 4) a single pole double throw switch 111C for controlling the solenoids 52a and 52b of selector valve 52 for boom hoist cylinder 28.

In switch assembly 112, joystick 112A operates (when moved forward or rearward in FIG. 4) a single pole double throw switch 112B for controlling the solenoids 53a and 53b of selector valve 53 for boom telescope cylinder 35.

As FIG. 6 shows, the normally open switches are in series circuit with the respective solenoids they control across supply lines L1 and L2 which are energizable from a generator G driven by engine 67, or alternatively by means of a selector switch S1, from a battery B on the vehicle.

OPERATION

The aerial lift machine 10 in accordance with the invention operates as follows. Assume that the machine is in the condition shown in FIG. 2 and that it is desired, for example, to operate it so that it assumes the position shown in FIG. 1 wherein support structure 14 is swung to the left, boom 15 is raised and extended, and platform 18 is level. Further assume that the machine operator is occupying the work platform 18 and has access to the controls therein. Also assume that engine 67 is in operation, that main pump 60 is running, that the selector switches 110, 111, and 112 shown in FIG. 4 are in neutral whereby the selector valves controlled thereby are in neutral and that foot pedal 94 is not depressed.

In this condition, fluid from pressure port 68 of pump 60 flows through lines 70, 70A, normally open destroke valve 75, destroke line 77, normally open manual destroke valve 76 to destroke port 72 of main pump 60. With the destroke valves 75 and 76 both fully open, fluid flow from pump pressure port 68 to destroke port 72 is at a maximum and, therefore, fluid pressure at port 68 is at a minimum value, i.e., about 30 to 40 psi and just sufficient to effect destroking of pump 60.

The operations necessary to change machine 10 from the condition shown in FIG. 2 to that shown in FIG. 1 can be carried out in any desired sequence. Furthermore, since operation of the selector switches and the selector valves controlled thereby are the same, only the operation of switch assembly 111 to effect boom lift will hereinafter be described in detail. Joystick 111A of switch assembly 111 is moved forwardly (with respect to FIG. 4) to the boom raise position thereby effecting closure of switch 111C to cause energization of solenoid 52a of selector valve 52 for boom hoist cylinder 28. As this occurs, pressurized fluid is able to flow from pressure port 68 of main pump 60, through main supply line 70, through branch line 52D, and through the branch line 52A connected between valve 52 and boom hoist cylinder 28 which supplies fluid to the extend chamber of cylinder 28. Fluid exhausted from the other chamber of boom hoist cylinder 28 flows through line 52B through valve 52 to the reservoir 64. While valve 52 is thus in the extended position and open, fluid pressure from pressure port 68 of pump 60 remains at the minimum value and boom hoist cylinder 28 extends at its slowest rate. However, if the machine operator depresses foot pedal 94 to effect proportional closure of modulatable destroke valve 75, fluid flow through destroke line 77 to destroke port 72 of main pump 60 is diminished. As this occurs, main pump 60 becomes destroked and the pressure at pressure port 68 increases in proportion to the degree of closure of destroke valve 75, thereby supplying fluid at increased pressure to boom hoist cylinder 28 and causing the cylinder to extend more rapidly. Modulation of pedal operated destroking valve 75 by the machine operator thus enables him to regulate the speed at which boom hoist cylinder 28 is extended. When boom hoist cylinder 28 is extended to the desired degree, closure of selector valve 52 is effected by returning joystick 111A of switch assembly 111 to neutral thereby deenergizing solenoid 52a and effecting return of valve 52 to neutral.

As hereinbefore explained, each of the hydraulic motors is operable in substantially the same manner for extend or retract (forward-reverse, right-left) operations.

As hereinbefore explained, the manually operable destroke valve 76 is located on support structure 14 and is accessible to a person standing on the ground to enable him to effect modulation of a control function being carried out by operation of the appropriate selector switch.

The emergency pump 61 is a conventional pump which merely provides sufficient fluid pressure in the event of failure of main pump 60 to enable valve operations necessary to return the machine to a safe condition.

As regards operation of platform levelling cylinder 40, it is to be understood that raising or lowering of telescopic boom 15 by means of boom hoist cylinder 28 causes the boom to move the piston of master levelling cylinder 44. Thus, fluid is exchanged between master levelling cylinder 44 and platform levelling cylinder 40 through the conduits 90 and 90A, thereby causing movement of platform levelling cylinder 40 which effects levelling of work platform 18. In the event that desired levelling does not result as a consequence of operation of master levelling cylinder 44, the machine operator can by manipulation of lever 54a operated levelling valve 54 so as to supply fluid from branch line 70A to the appropriate chamber of platform levelling cylinder 40, thereby effecting necessary levelling adjustment.

Der neue Vorstand stellt sich vor

Der neu gewählte Vorstand (von links nach rechts) Simon Krause, Nora Teepe und Jakob Großehagenbrock.

Hallo!

Ich bin Simon (31) und spiele seit 2005 Lacrosse, anfangs in den USA während eines Auslandsschuljahres, danach in Dresden mit Zwischenstopp in England und zur Zeit in Groningen (Niederlande) wo ich derzeit lebe. Ich habe in den letzten 5 Jahren die Indoor Lacrosse Sektion des DLaxV geleitet, mit der Indoor Lacrosse Nationalmannschaft als General Manager an zwei Weltmeisterschaften und einer Europameisterschaft teilgenommen, sowie den Aufbau der heimischen Indoor Lacrosse Ligen für Damen und Herren unterstützt. Mit Hilfe des Hannoveraner Organisationskomitees konnten wir uns erfolgreich um die Ausrichtung der Indoor Lacrosse Europameisterschaften 2021 in Deutschland bewerben. Alle die jetzt vermuten ich werde in Zukunft nur noch Indoor Lacrosse in Deutschland fördern muss ich enttäuschen. An erster Stelle steht für mich die Umsetzung der gerade beschlossenen Strukturreform und den Verband personell für die anstehenden Aufgaben vorzubereiten. Ich genieße es seit Jahren im Umfeld engagierter Ehrenamtlicher zu arbeiten und sehe noch viel Potential in der Koordinierung unserer Aufgaben. Neben der Stärkung der Verbandsstruktur möchte ich daher auch die Mitgliedsschaft stärker ins Verbandswesen einbinden um Synergieeffekte zu schaffen, aber auch um frühzeitig Handlungsbedarf zu identifizieren. Es erscheint mir momentan, dass nicht alle Mitglieder des DLaxV gleichermaßen vom postulierten Wachstum unseres Sports profitieren. Das möchte ich ändern und vor allem kleinen Vereinen die Möglichkeit geben weiterhin in den Ligen des Verbandes zu spielen. Damit verbunden steht für mich der Respekt gegenüber allen Beteiligten am Lacrosse Sport, Spielerinnen und Spielern, Trainerinnen und Trainern, Schiedsrichterinnen und Schiedsrichtern im Vordergrund, um auch den derzeitigen gesellschaftlichen Entwicklungen entgegenzuwirken. Die nächsten zwei Jahre bieten für den Lacrosse Sport in Deutschland viele Chancen an denen wir alle gleichermaßen teilhaben lassen möchten. Mit Nora und Jakob an meiner Seite, einem engagierten Team an Direktoren und Stabstellen im Verband, sowie den vielen fleißigen Ehrenamtlichen in den Mitgliedsvereinen blicke ich zuversichtlich in diese Zeit und freue mich auf die nächsten drei Jahre!

Ich bin Nora (37) aus Dortmund und ganz neu im Vorstand des DLaxV. Meine Lacrosse-Geschichte begann 2003 in Münster, wo ich durch den Hochschulsport zum Lacrosse gekommen bin, später habe ich daran mitgearbeitet, in Dortmund ein Team aufzubauen. Hier spiele ich auch heute noch aktiv Lacrosse und bin als Abteilungsleitung tätig. Die Wahl in den Vorstand kam für mich selbst überraschend und stellt mich vor eine neue, spannende Aufgabe. Meinen Arbeitsbereich verorte ich vor allem in der Entwicklung des Breitensports und möchte dort einen Schwerpunkt auf die Jugendarbeit legen. Hier sehe ich einen großen Handlungsbedarf, der Lacrosse in Deutschland langfristig sowohl im Breiten- als auch im Spitzensport noch weiter nach vorn bringen wird.

Ich bin Jakob (33) und bereits seit 2016 im Vorstand des DLaxV aktiv. Mit Lacrosse angefangen habe ich in München – nach mehreren Umzügen spiele ich aber aktuell nicht mehr aktiv, bin aber als Schiedsrichter in Lacrosse Deutschland unterwegs. Schwerpunkte meiner Arbeit in den letzten zwei Jahren waren die internationale Arbeit mit ELF und World Lacrosse und der organisatorische Rahmen für den Verband. Mein Herz schlägt für eine gesunde Balance zwischen Freizeit-, Breiten- und Leistungssport: Zum Einen müssen wir wieder dichter an die Sorgen und Nöte der Mitgliedsvereine herankommen, zum Anderen aber gleichzeitig danach streben, auch international an die Spitze heranzurücken – denn daran hängt das öffentliche Interesse für den Sport ebenso wie öffentliche Fördermittel. Für die kommenden Jahre will ich die drei Chancen nutzen, die sich mit World Games und Indoor-Europameisterschaft bieten: Den Menschen in Deutschland zeigen, warum Lacrosse einfach der beste Sport ist. Die Verbandsarbeit weiter professionalisieren. Und die Strukturen im Verband so aufstellen, dass wir die Mitgliedsvereine besser unterstützen können. Das geht aber immer nur mit allen Lacrosserinnen und Lacrossern zusammen – packen wir es gemeinsam an!

Rückfragen zu unseren Zielen und unserer Arbeit im Verband können jederzeit via email an [email protected] gerichtet werden.

An dieser Stelle möchten wir uns bei Ake Kriwall (1.Vorsitzender), Bernhard Minke (Finanzdirektor), Ruth Giesen (Sportwart Damen) und Philip Werfs (Sportwart Herren) für die Arbeit im Vorstand der zurückliegenden Jahre bedanken und hoffen Ihr bleibt dem Lacrosse Sport und Verband in der ein oder anderen Funktion erhalten.

Hintergrund:

Am 16.02.2020 wurde zur jährlichen Mitgliederversammlung eine tiefgreifende Strukturreform beschlossen. Der geschäftsführende Vorstand blieb mit drei Personen in der Größe gleich, allerdings wurde die Amtszeit auf drei Jahre verlängert. Die durch die Sportdirektoren, einzelne Warte und Stabsstellen wahrgenommenen Aufgaben sollen in der Zukunft durch sechs Direktor*innen, jeweils mit eigener Budgetverantwortung betreut werden. Dies ermöglicht die Bündelung von Themen und gibt dem  Vorstand mehr zeitliche Freiräume zur Führung und Zukunftsausrichtung des Verbandes. Um in den Rhythmus alternierender Wahlen zu kommen, wurden die Vorstandsmitglieder zum Auftakt auf verschiedene Amtszeiten gewählt (Simon Krause, Vorsitzender, 3 Jahre; Nora Teepe, Stellvertretende Vorsitzende, 1 Jahr; Jakob Großehagenbrock, Stellvertretender Vorsitzender, 2 Jahre).

Simon Phillips – collaborations – KinoPoisk

Malcolm Martineau

Malcolm Martino was born in Edinburgh. Studied at St. Catherine University of Cambridge and the Royal College of Music, London.Collaborated with such vocalists as Thomas Allen, Jenit Baker, Olaf Baer, ​​Ian Bostridge, Angela Georgiou, Susan Graham, Thomas Hampson, Della Jones, Simon Keenleyside, Algelika Kirchschlager, Magdalena Kozena, Solveig Kringelitiemborn, John Fyodor , Sarah Walker and Bryn Turfel.

Performed songs by Britten, Poulenc and German composers at Wigmore Hall and all of Wolf’s songs at the Edinburgh Festival. Has performed at the Barbican Center, the Queen Elizabeth Hall and the Royal Theater Covent Garden in London, La Scala in Milan, the Châtelet Theater in Paris, the Bolshoi Liceo in Barcelona, ​​the Berlin Philharmonic, the Concertgebouw in Amsterdam, the Musikverein in Vienna, the Carnegie Hall in New York opera, as well as festivals in Aix-en-Provence, Vienna, Munich and Salzburg.

Recorded songs by Schubert, Schumann and songs by English composers with Brin Törfel (Deutsche Gramophone), works by Schubert and Strauss with Simon Keenlyside (EMI) and the album “Songs of War” with Simon Keenlyside, which won a Grammy. The discography also includes recordings of recitals with Angela Gheorghiu, Barbara Bonney, Magdalena Kozena, Amanda Roecroft, Faure’s songs with Sarah Walker and Tom Krause, songs by Britten, Beethoven, Poulenc, Schubert’s Winter Road and Swan Song, and much more.

Among the engagements for the current season are performances with Elina Garanca, Christian Karg, Anna Netrebko, Christopher Maltman, Brin Törfel, Dorothea Roschmann, Florian Bösch and Anna Schwanewilms, concerts at Carnegie Hall, Concert Hall. Pierre Boulez in Berlin, the Bolshoi Theater in Geneva, Wigmore Hall, Vienna’s Musikverein and at the Songs in Leeds Festival, as well as a US tour with Simon Keenlyside.

Malcolm Martineau is Honorary Doctorate of the Royal Scottish Academy of Music and Drama (2004).In 2011, he was director of the Leeds Songs Festival, in 2016 he received the Order of the British Empire.
Information for November 2018

New episode of the podcast “From chorus to hardcore” – about the German opera • Arzamas

Host: Lev Gankin
Editor: Irina Kaliteevskaya
Factchecker: Yulia Gizatullina
Sound engineers: Kamil Shaimardanov and Yulia Glukhova
Decryptors: Ivan Volovik and Mikhail Zybin
Studio: Resonant Arts

We also thank the photo editor Natalia Karelskaya for the help, proofreader Daria Gogoleva and executive editor Marina Nafikova.

The splash screen uses fragment of the Prelude and Fugue No. 2 in C minor, BWV 871, from the second volume of The Well-Tempered Clavier by Johann Sebastian Bach performed by Svyatoslav Richter.

In addition, the podcast contains excerpts from the following works:

Richard Wagner. “Flight of the Valkyries” from the opera “Valkyrie” from the cycle “Ring of the Nibelungen”. Performed by the Berlin Philharmonic under the baton of James Levine.

Reinhard Kaiser. Overture to the “Funny Prince Yodelet” symphony. Performed by the Berlin Academy of Early Music.

Wolfgang Amadeus Mozart. The Abduction from the Seraglio opera. Performed by Luba Orgonashova, Stanford Olsen, Cornelius Hauptman, Cindia Syden, Uwe Peper, Monteverdi Choir and the English Baroque Soloists under the baton of John Eliot Gardiner.

Wolfgang Amadeus Mozart. Der Hölle Rache (aria of the Queen of the Night) from The Magic Flute.Performed by Sabine Deviel and the Ensemble Pygmalion, conducted by Raphael Pichon.

Wolfgang Amadeus Mozart. “Ach ich fühl’s, es ist verschwunden” (Pamina’s aria) from the opera “The Magic Flute”. Performed by Evelyn Lear and the Berlin Philharmonic Orchestra conducted by Karl Boehm.

Ludwig van Beethoven. “Abscheulicher! .. Komm, Hoffnung” (Leonora’s aria). Performed by Christa Ludwig and the Deutsche Oper Berlin under the baton of Arthur Rother.

Carl Maria von Weber. Opera “Free Shooter”. Performed by Ernst Kotsub, Arlene Saunders, Gottlob Frick, Edith Mathis, Tom Krause, Tony Blankenheim, Franz Grundheber, Hans Zotin, Bernhard Minetti and the Hamburg Philharmonic Orchestra conducted by Leopold Ludwig.

Ernst Theodor Amadeus Hoffmann. Opera “Ondine”. Performed by Marcel Kord, Georg Wieter, Ina Gerhein, Max Prebstl, Antonia Fabberg and the Bamberg Symphony Orchestra conducted by Robert Heger.

Louis Spohr. “Stille noch dies Wutverlangen” (Mephistopheles’ aria) from the opera “Faust”.Performed by Bo Skovus and the Southwest German Radio Orchestra in Kaiserslautern under the baton of Klaus Arp.

Carl Maria von Weber. The finale of the second act of the opera The Free Shooter. Performed by Simon O’Neill, Stefan Lodges, Lars Woldt, London Symphony Choir and London Symphony Orchestra conducted by Colin Davis.

Heinrich Marschner. “Leise dort zur fernen Laube” (duet of Emma and Ruthven) from the opera “Vampire”. Performed by Anke Hoffmann, Franz Havlata and the Cologne Radio Orchestra conducted by Helmut Froschauer.

Richard Wagner. “Liebesnacht” (duet of Tristan and Isolde). Performed by Siegfried Jerusalem, Waltraud Mayer, Bayreuth Festival Choir and Orchestra conducted by Daniel Barenboim.

Richard Strauss. Final of the opera “Electra”. Performed by Hildegard Behrens, Deborah Voight and the Metropolitan Opera Orchestra conducted by Christian Thielemann.

Richard Strauss. Opera “Capriccio”. Performed by Anna Tomova-Sintova, Wolfgang Schöne, Eberhard Büchner, Andreas Schmidt, Theo Adam, Iris Vermilion and others, as well as the Vienna Philharmonic under Horst Stein.

Arnold Schoenberg. Opera “Waiting”. Performed by Evelyn Herlitzius and the Berlin Philharmonic under the baton of Simon Rattle.

Alban Berg. Opera “Wozzeck”. Performed by Dale Dusing, Ronald Hamilton, Barry Banks and others, as well as the Frankfurt Opera Choir and Children’s Choir under Johannes Mikkelsen and the Frankfurt Museum Orchestra under Sylvain Cambreling.

Erich Korngold. Finale of the opera The Miracle of Eliana.Performed by Anna Tomova-Sintova, John David de Haan and the Berlin Radio Symphony Orchestra conducted by John Moseri.

Kurt Weil and Bertolt Brecht. “Die Moritat von Mackie Messer” from The Threepenny Opera. Performed by Lotte Lenya and Orchestra Roger Bean.

Bernd Alois Zimmermann. Finale of the opera “Soldiers”. Performed by Barbara Hannigan, Michael Nagy, Christoph Stefinger and others, as well as the Bavarian State Orchestra conducted by Kirill Petrenko.

Karlheinz Stockhausen. Quartet for strings and helicopters from the opera heptalogy “Light”. Performed by the Arditti String Quartet.

Wolfgang Rome. Opera “Dionysus”. Performed by Sindia Syden, Sine Bundgard, Matthias Klink and others, as well as the Netherlands Philharmonic Orchestra and the Cappella Amsterdam chamber choir conducted by Ingo Metzmacher and Peter Tilling.

Heinz Holliger. Opera “Come and Go”. Performed by the Solistes de Bale ensemble under the baton of Jürg Henneberger.

Helmut Lachenmann. Opera “Girl with matches”. Performed by the Southwest German Radio Orchestra and Vocal Ensemble conducted by Sylvian Cambreling.

Sergei Nevsky. Opera “Second-Hand Time” from the Boris project. Performed by Adam Palka, Alexandra Urquiola, Matthias Klink, Maria Teresa Ulrich and others, as well as the Stuttgart Opera Orchestra and Chorus under the baton of Titus Engel.

Wolfgang Amadeus Mozart. Overture to the opera The Magic Flute.Performed by the Vienna Philharmonic Orchestra under the baton of Riccardo Muti. …

The second season of the podcast “From chorus to hardcore” Arzamas together with Goethe-Institut in Moscow in the framework of Year of Germany in Russia – 2020/21. You can find out about other projects and events of the year on the website godgermany.rf.

Serial Dirty Wet Money: photo, video, description of the series

American drama series about the richest family in New York and her lawyer. Show idea – Craig Wright / Craig Wright.The main roles in the series were played by Peter Krause / Peter Krause, Donald Sutherland / Donald Sutherland, Natalie Zea / Natalie Zea / Lucy Liu / Lucy Liu) and William Baldwin / William Baldwin. Dirty Wet Money aired on ABC from September 2007 to August 2009.

The plot of the TV series Dirty Wet Money

Nick George (Peter Krause), a 30-year-old New York lawyer, works in a small office and is more interested in civic debt than money. The thing is that big money destroyed his family.His father, Delvin George, was a lawyer for the Darlings, the wealthiest family in New York, for many years. Nick’s mother committed suicide when he was six years old. The father spent much more time with the Darling couple and their children than with his son. Nick’s childhood was spent in the Darling’s house, but he was never his own for the younger Darlings, although he was in love with Darling’s eldest daughter Karen (Natalie Zia). Their feelings were mutual, and Nick became the first man in Karen’s life. At the age of 19, he proposed to her, but later she broke off the engagement.Nick went to college and vowed that he would never be like his father.

However, everything changed the day Devlin died in a strange plane crash. The head of the family, Patrick “Tripp” Darling (Donald Sutherland), expresses his sincere condolences to Nick and invites him to take his father’s place. Nick initially refuses, but Tripp is well aware of his weaknesses: he assures Nick that he will have a normal work schedule, and in addition to his high salary, he will receive an annual bonus of $ 10 million for charity.Nick succumbs to temptation. In addition to money, he is interested in the circumstances of his father’s death. He is going to investigate the accident and the Darling’s connection to his death. In the course of the investigation, shocking news awaits him: for many years his father had an affair with Tripp’s wife, socialite Letizia (Jill Clayburgh), the mother of younger Darlings, one of whom turns out to be Nick’s half-brother.

Unlike his father, Nick is an exemplary family man. He is married to art dealer Lisa (Zoe McLellan), they raise their daughter Kiki (Chloe Moretz) together.But the return to the Darling home causes intense jealousy on the part of Lisa, who suspects that Nick’s feelings for Karen have not cooled. Nick’s marriage is cracking and threatens to end in the collapse of the family.

Tripp Darling lives with his family in a luxury residence in Manhattan. Tripp’s company is valued at $ 50 billion. He and Letizia are very warm to Nick, especially Tripp. He always dreamed that his own children were like Nick, and Laetitia would be glad to see Nick as husband Karen.But her own family is threatened when Tripp finds out about her betrayal.

The eldest son of Tripp and Laetitia, Patrick (William Baldwin), at the age of 40, is already the Attorney General of New York. He is married and has two children, but also has a transsexual lover. Father really wants to see Patrick in the chair of the Senator, and then the President of the United States, but Patrick does not like his pressure. He tries to find his own way, and until then runs for the Senate and starts an affair with the wife of a homosexual congressman.

Darling’s eldest daughter, Karen (Natalie Zia), is well educated and runs the family’s charitable foundation, but is also a frequent visitor to the gossip column. She has four marriages, all ended in divorce. Since childhood, Karen wanted to be with Nick and now regrets that they did not get married in their youth. After another divorce, she is fond of Simon Elder (Blair Underwood), not realizing that she is a pawn in his war with Tripp.

Middle son Brian Darling (Glenn Fitzgerald) was sent to seminary at the behest of his mother and became an Episcopal priest.Despite his dignity and marriage to Mei Lin (Michelle Krusiec / Michelle Krusiec), Brian has an illegitimate child whom he cannot recognize. His child’s mother, Andrea (Sheryl Lee / Sheryl Lee), is trying to introduce her child to the Darling family. As a child, Brian was Nick’s main enemy, whom he always hated. What it was like for him to find out that his real father is not Tripp, but Devlin, and he and Nick are half-brothers!

The youngest children of Tripp and Letitia are twins Jeremy (Seth Gabel) and Juliet (Samaire Armstrong).Jeremy always gets into trouble, he leads a riotous lifestyle and sits on cocaine. Nick often has to get him out of jail. Jeremy is afraid he has disappointed his father. He meets with Nola Lyons (Lucy Liu). Juliet dreams of becoming an actress, but plans are dashed when her father secretly sponsors her first performance. Despite rumors of her depravity, Juliet is much more innocent than her relatives. To find herself, she leaves her father’s house and goes on a journey with her boyfriend.

The main negative character of the TV series “ Dirty Wet Money ” – Simon Elder, fabulously rich in the computer business. He is constantly at war with Tripp for the right to own Manhattan. The roots of his dislike for the Darlings lie in the past: his father worked for Tripp’s father. His father was rumored to have had an affair with Tripp’s mother, but his parents ended up tragically dead, and Simon blames the Darling clan for that.

His assistant in intrigues against the Darlings turns out to be the authoritative prosecutor Nola Lyons.Despite her antipathy towards the Darlings, she falls in love with Jeremy, leading to the ruin of her career. Simon forces her to play a double game in order to hurt the Darlings.

Fun Facts About Dirty Wet Money

In the second episode of the second season of “ Dirty Wet Money “, the famous saxophonist Kenny G.

The second season of Dirty Wet Money aired in October 2008 – 10 months after the first season finale aired.

The first season of Dirty Wet Money was watched by 8.28 million viewers. The audience for the second season was 4.68 million.

In Russia, the Dirty Wet Money series was shown on Channel One in the summer of 2008. In 2012, the series began to air on the Domashny channel.

Dirty Wet Money was nominated for an Emmy Award for Best Cinematography in 2008. Donald Sutherland received a Golden Globe nomination for Best Supporting Actor in a Drama Series.Blair Underwood has twice been nominated for the Image Award.

• Channel: ABC
• Number of episodes: 23
• Dirty Wet Money idea author: Craig Wright
• Dirty Wet Money stars: Peter Krause, Donald Sutherland, William Baldwin, Natalie Zia, Glenn Fitzgerald, Seth Gable, Zoe McLellan, Jill Clayberg, Blair Underwood, Lucy Liu, Sofia Vergara

Watch Dirty Wet Money on Sony Entertainment Television.

Support for lawyers in the context of a pandemic

Representatives of lawyers’ communities from Russia, Azerbaijan, Germany, France and England took part in the discussion.

According to the press service of the Federal Chamber of Lawyers, on April 12, during the St. Petersburg International Legal Forum “9 1/2: Laws of the Coronavirus”, a session “Pandemic and the Bar: Who Wins?” The session was moderated by Elena Avakyan, a member of the RF FPA Council.

Opening the session, the President of the RF FPA Yuri Pilipenko stated that the pandemic took society by surprise: “It feels like we were suddenly in the center of a night earthquake, when completely obvious and unshakable things disappear from under our feet, existence disappears.And this, naturally, affects our psycho-emotional state. ” According to the President of the FPA, lawyers are now seriously concerned about the sharp decline in the volume of work and, as a result, remuneration. This leads some of them to think about the impossibility of fulfilling membership, insurance and tax obligations.

Many are also worried about their health in a pandemic. “The right to health is the same constitutional value as the right to receive qualified legal assistance,” stressed Yuriy Pilipenko.The main concern of his colleagues, he called the lack of a clear horizon for the development of events – both professionally and personally.

Yuri Pilipenko recalled that the distinctive features of the legal profession are independence and self-regulation. And no one has ever guaranteed employment for lawyers, he stressed. When recently the number of criminal cases for various reasons has sharply decreased, this was especially felt by lawyers engaged in defense by appointment.However, the decline in the volume of work for them was compensated for by an almost threefold increase in the amount of pay, he stressed.

According to the information received by the President of the FPA in the course of a specially organized by him monitoring on April 10, the volume of work of the preliminary investigation bodies is practically equal to the pre-crisis level. Russian courts, although they continue to function, are in the amount of 10-15% of the usual workload for them before. At the same time, new needs have arisen for the provision of qualified legal assistance due to the emergence of “pandemic legislation” – numerous changes in regulation caused by the need to combat the pandemic and its negative impact on the economy.In the conditions of the expected recession, according to the deep conviction of Yuri Pilipenko, the services of lawyers will be in demand.

Yuri Pilipenko also spoke about the measures taken by the lawyers’ self-government bodies in order to minimize the negative consequences of the pandemic for the members of the corporation. “The Federal Chamber of Lawyers, realizing the rather difficult financial situation and the situation in which the Russian lawyers found themselves, turned to the state with a request to extend to them the support measures provided for small and medium-sized businesses.The Ministry of Justice supported us. We also expect a positive reaction from the government on this issue literally next week, ”he said.

Some regional chambers of lawyers, as noted by the president of the FPA, temporarily lowered the amount of deductions, many chambers are ready to provide an extension and even exempt lawyers from paying fees on an individual basis. However, there are also chambers that, due to their small size, cannot afford such measures.At the same time, the chambers of lawyers are independent in making appropriate decisions, he added.

Although a number of lawyers for various reasons were forced to suspend their activities and self-isolate, there is no information in the FPA that any urgent investigative actions or trials were disrupted due to the fault of the lawyers, Yuriy Pilipenko proudly noted. He suggested that the pandemic could lead to major changes in social life on a global scale, but the need for legal assistance from lawyers will remain.

Anar Bagirov, Chairman of the Bar Association of the Republic of Azerbaijan, spoke about the situation with the spread of coronavirus in Azerbaijan and the measures that the state is taking to combat the pandemic. According to him, since March 24, restrictions on the movement of citizens have been in effect in the republic, but this did not affect the activities of lawyers, since their profession is included in the list of especially significant ones. A legal document for movement is a lawyer’s certificate.“I think this is very important, since every citizen of the country has the right to receive qualified legal assistance,” said Anar Bagirov.

Answering the question of the moderator about the use of the electronic justice system in the context of a pandemic, the chairman of the Bar Association of the Republic of Azerbaijan explained that the measures taken contributed to even better provision of advocacy. In particular, electronic offices have been created for all Azerbaijani lawyers, the integration of the “Electronic Advocacy” system with the “Electronic Court” system has been ensured.In a pandemic, the use of electronic systems makes it possible to minimize personal contacts of lawyers with principals and court representatives.

Anar Bagirov informed that currently work is underway on a mobile application, with the help of which lawyers will be able to provide qualified legal assistance to citizens. “I think in the coming days we will hold a presentation, all lawyers of Azerbaijan will be able to use this platform,” he assured.

Moderator of the discussion Elena Avakyan, passing the floor to the adviser of the Committee on European and International Affairs of the National Council of Lawyers of France, Maria Bonon, noted that during a pandemic, when many countries are faced with political difficulties, the question of how active lawyers are in terms of politics is important.

Maria Bonon said that the state of emergency in France has been in effect since March 24. The declaration of a state of emergency caught French lawyers in a three-month strike to protest changes in the pension system. Most of all, according to the speaker, attorneys by appointment have suffered from this situation. The consideration of many cases was postponed by the courts until 2021. In this situation, French lawyers hope to move from legal representation to consulting.

The French legal profession maintains constant contact with the Ministry of Justice, but the proposals of the corporation rarely meet with the understanding of the authorities. Thus, an appeal to the State Council was rejected with a complaint that the extension of the period of detention was taking place without the participation of lawyers. Nonetheless, the Bar managed to secure a deferral for the payment of taxes and social contributions for members of the corporation, as well as the right to use lawyers’ benefits from the Solidarity Fund. “Our profession is one of the most lively, of those that adapt the fastest,” concluded Maria Bonon optimistically.

Sigrid Wienhues, Chairperson of the Administrative Law Committee of the Federal Chamber of Lawyers of Germany, noted that not only the health of citizens, but also the rule of law in a pandemic can be at risk, therefore the German AFP closely monitors what the state is doing to ensure justice in the current situation, in order to prevent abuse of restrictive measures. “We are analyzing all these rules and regulations, which are changing almost daily,” said the speaker.

She is convinced that not only the state, but also lawyers are responsible for upholding the rule of law in Germany. “We will be able to prevent the pandemic from winning and rule its laws,” said Sigrid Wienhues.

Simon Davis, President of the Law Society of England and Wales, said that most lawyers defending criminal defendants in the UK are paid by the state. Payments are small, which makes this area of ​​advocacy unattractive.And now a criminal lawyer who needs to visit places of detention and courts is also forced to risk his health.

In this regard, representatives of the legal community are in daily contact with the UK Department of Justice, with the leadership of the penitentiary system, the police and the judicial tribunal in order to develop recommendations on the organization of safe legal proceedings. After the restrictions imposed on March 23rd, court hearings in British courts are being held remotely using Skype, but this significantly slows down the process of considering cases.

The Law Society of England and Wales, according to its leader, is now in search of how to bring the judicial system back on track in a pandemic. Simon Davis said that English lawyers manage, nevertheless, even to derive some benefit from the current situation. First, the prevailing bureaucratic rules are no longer working: he could never have dreamed of being able to talk about the needs of lawyers every day with the leadership of the UK Department of Justice, the penitentiary system, the police and the judicial tribunal.Second, digital technologies are being used more widely than ever before. The speaker expressed the hope that their active use will continue after the end of the pandemic.

“Whatever the challenges, whatever the difficulties we face, each of us is looking for his own way to overcome them. And, of course, lawyers will always be with their clients. In today’s situation, the work of a lawyer is becoming more socially responsible. We need to strive to ensure that our clients finish their business in peace.Lawyers should focus on making society strive to restore peace, and not confrontation and transfer relations to court, ”Elena Avakyan said at the end of the session.

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nostalgia and terminal spaces of British stop rock

[p.161-175 paper version of the issue]

In the book “Retromania” Simon Reynolds notes that at least two related phenomena can be distinguished in the British musical landscape, zealously working with nostalgia, images of childhood and what was captured in childhood (mainly from television) that haunts the beholder throughout all subsequent life. Or at least an important part of it.

The first is the Boards of Canada, formed back in the 1980s, but really loudly declared themselves in the mid-late 1990s.Boards of Canada explicitly argued that people can truly manipulate music, but there was nothing sinister about such a statement. On the contrary, the collective of brothers Marcus Eion and Michael Sandison set out to evoke images and memories from childhood in the listener’s memory. Boards of Canada made their music mainly from fragments of TV and radio programs, the samples of which they preferred to distort with the help of analog instruments and computer programs [1].

The second phenomenon noted by Reynolds is the electronic artists associated with the labels Ghost Box, Mordant Music, Gecophonic and Café Kaput, whose activities began in the mid-2000s and continues to this day.Many of them [2] structure their work around the use of soundtracks, sounds and voices from British TV shows and TV shows of the 1960s and 1970s, music from horror films released by Hammer Films and Tigon British Film Productions, and also various manipulations with recordings of British folk. These musicians are characterized by the use of so-called “production music” ( library music ): imitations or live recordings of noises of anthropogenic and natural origin, as well as jingles and other short sound fragments intended for use in theatrical performances, cinema and radio, especially in news programs [3].

The philosopher and culturologist Mark Fisher devoted a lot of time to the study of the phenomenon of librotronics. It was he who introduced in relation to such music the term “chontology” [4], taken from the “Ghosts of Marx” by Jacques Derrida (Reynolds almost immediately picked up this term) [5]. Chontology in music (and, more broadly, in culture in general), according to Fischer, is an obsession with the ghosts of a possible, but never come future, generated by cultural artifacts and artistic acts of the recent past. Chontology gives rise to a longing for the time in which these artifacts were created, the acts functioned, and the subject obsessed with these phenomena was never present.This kind of music makes you feel vague anxiety or even quite distinct paranoia about a future that will never be what it was predicted.

At the same time, it seems curious that both Fischer and Reynolds were not very interested in the predecessor of librotronics, to which Reynolds himself, who paid more attention to sound rather than context, gave the name. We are talking about post-rock, a syncretic musical style that existed throughout the English-speaking sphere from the late 1980s to the late 1990s.Reynolds defined post-rock [6] in his review – published in MOJO magazine – of Bark Psychosis’ album Hex (March 1994) as “music played with rock instrumentation, but concentrating on creating sound canvases and landscapes with attention to the timbre and texture of sound ”[7].

However, music historian Janet Leach notes that post-rock is most easily defined as antigenre [8]. A formed genre scene of post-rock did not exist until the early 2000s: performers of early post-rock did not try to participate in the chart race (even if they hit the charts) and did not organize joint extra- or super-musical movements.By the time the term appeared, such music had already existed for five years. In addition, according to Leach, despite the commonality, post-rock on different continents differed significantly in origin. In America, for example, most of the post-rock bands (“Pell Mell”, “Slint”, “Rodan”, “Run On”, “Gastr del Sol”) came out of post-hardcore, noise-rock, mat-rock and others. progressive punk styles, as well as free improvisation. Artists from Australia and New Zealand (“Dirty Three”, “Thela”, “Dadamah”, “Dissolve”) preferred to create works based on kraut rock [9], ambient and modern academic music.Separate early post-rock bands also existed in Europe. The Dutch collective “Kleg” and the German orchestra “Rossburger Report” developed the ideas of totalism by Rhys Chatham and Glenn Branca [10], which emerged from the minimalism of composer music: totalist chamber works were performed using a large number of electric guitars. However, most of the post-rock bands emerged in the United Kingdom between 1989 and 2001, peaking in professional (but not mass) recognition in 1994-1996 [11].During this period, this style infused the widest possible spectrum of music popular in the British Isles: various psychedelia (kraut rock, shoegaze [12] and its pop predecessors, space rock [13]), post-punk and its offshoots, dub [14], dance and functional electronics, light and avant-garde jazz, collage sound technology, plus noise and the already mentioned production music. Sometimes – within one project.

It is noteworthy that Reynolds himself later used the term post-rock as an adjective [15], describing the aspiration of underground musicians of 1978-1984, who emerged from the original punk, to replay the pop contemporary to them and not only the music of other peoples, countries and cultures.However, I’m not sure if in such a context it is possible to speak of post-punk (and after it, specifically British post-rock) as rock music in general. The notorious rock instrumentation of electrified guitars and drums was also used in black pop music parallel to rock waves: at least in soul, fusion [16], funk and disco. In addition, in post-punk and the early British post-rock that emerged from it, it expanded to keyboards, winds, acoustic strings, samplers, synthesizers and other electronic devices assembled by musicians with their own hands.

Taking into account Reynolds’ characterization of the post-rock sound, it can be argued that we are dealing with a completely unique musical phenomenon, which even the British critics themselves call nothing but the “lost generation” [17]. It is unlikely that the situation is so sublime and tragic. Yes, none of the projects, which will be discussed in the future, crossed the threshold of the British single-chart “Top-40” (with the exception of “Talk Talk”, but still in its non-post-rock incarnation, and twice with the same the same single “It’s My Life” – in July 1986 (14th place) and retrospectively in May 1990 [18]).But over time, they became highly sought after by critics, diggers / collectors and simply music enthusiasts. At the same time, most of the groups did not consider themselves independent rock musicians at all: even the established indie industry seemed to them at once both high-flown and playing according to the same rules as the “official” BBC charts [19]. So in the future, to designate precisely the early British post-rock wave, I will use the term “stop-rock” so as not to confuse it with similar stories from other parts of the world, as well as with the ingrained idea of ​​the genre as a complex virtuoso guitar music, somewhat compositionally similar to the progressive rock of the 1970s.But if this fragmented movement was so uninterested in the formal rules of the music industry, then what were the stop-rock projects really aiming for?

It’s no exaggeration to say that British stop rock started with two albums by the same band. Talk Talk from 1981 to 1985 was one of the bands associated with the Blitz scene, with bands like Spandau Ballet and Duran Duran – that is, dance pop music whose performers and fans for their pretentious, colorful and at the same time emphasized strictly sustained style they were nicknamed “new romantics”.At the same time, “Talk Talk”, although they performed in the “Blitz”, preferred to stay away from this club scene [20]. Talk Talk leader Mark Hollis not only disliked giving interviews – he generally disliked speaking. With the passage of time, under the influence of Hollis, the band’s music acquired an increasingly hermetic character. Their 1986 album gravitated towards baroque pop music of the 1960s, only played with synthesizers in a modern studio.

The next record, Spirit of Eden, was a commercial flop for EMI.On it, “Talk Talk” played a cross between chamber, but retained an extremely improvisational structure, jazz and orchestral music based on the use of pauses and repetitions. Hollis believed that only silence can be really important in music [21] – the space in which the desired note is placed, vibrating to the last, but without unnecessary echoes. The 1991 Talk Talk album Laughing Stock was even more minimalist in composition. Hollis kept the band’s musicians and session artists in the studio for hours, forcing them to play endless repetitions of the same notes to the point where he realized that a more perfect result of individual parts could not be achieved.

“Spirit of Eden” and “Laughing Stock” are both related to new-wave pop music, with its focus on studio arrangements, and the experiences of minimalist composers, taking into account the spread of individual sounds in space. On these albums, not only the band’s music was transformed, but also the accompanying lyrics. Hollis began to write in much less detail and even less figuratively: his lines sometimes break up into separate words, repeated or delayed for a long time.At the same time, Mark Hollis was not interested in either social comments or other direct statements. Hollis did not really appreciate the popular music of his day – he was interested in the search for new sound forms. We can say that Talk Talk, which emerged from the new romanticism, for which the themes of hedonistic fullness of life, struggle and individualism were important, became new symbolists – musicians who wanted to capture and compress their sensory experience into a hermetic sign system. Most often, “Talk Talk” articulated themes of fear, getting rid of it and – as a contrast to human activity – the perfection of nature.

Stop-rock, which inherited the Talk Talk group, was born at a time when the musical vacuum was no longer in the capital or in other parts of Britain. 1992 was the last big year for Manchester Baggy (aka Madchester ). In Bristol, at the turn of the 1980s and 1990s, a scene was emerging that would later be called trip-hop. Breakbeats and jungle sounded in clubs in southern England [22]. Mass raves, despite the Broadcast Act of 1990 [23], continued until 1994.Why, despite the success with music critics (David Stubbs was also a big fan of stop-rock, besides Simon Reynolds [24]), this style did not become massively popular? Even if the major Virgin label released Monsters, Robots & Bug Men – A User’s Guide to the Rock Hinterland in 1996, collecting a track from each of the prominent or movement-affiliated artists?

According to Janet Leach, precisely because stop rock was music made by record collectors for record collectors.The same as the predecessor of stop rock, post-punk. But post-punk often carried a powerful dance component. Of course, some stop-rock bands included elements of the hardcore continuum in their work [25]. London-based group Bark Psychosis used techno and house elements in their music, while another, Moonshake, sometimes included drum and bass in their works [26]. Some projects, such as Bristol’s Third Eye Foundation and London’s Seefeel, were mostly associated with the electronic scene (and later focused on performing entirely electronic music).But then it was difficult to dance to stop-rock – even with a powerful dub component, the bands often brought down a lot of unknown, unusual and simply incomprehensible music on the listener. In this sense, stop rock has become the same mutation of rave culture as Intelligent Dance Music: not the end of the party, but its transfer to spaces outside the rave. The World Domination Recordings label, which released in 1997 the compilation Slow Death in the Metronome Factory, which consisted of one third of British stop-rock samples, provided it with the following subtitle: Post-, rock, mother [rock], intuitive music , electronics – call it what you want.This is today! ” Even when the brief media interest in the genre was a thing of the past, stop rock was still touted as “the music of the present.”

But in the present, stop rock had a serious competitor who achieved much greater success. In April 1992, the music newspaper Melody Maker named the British pop band Suede “the best new band in the country” – even before they released their first single. Graham Sutton of the stop-rock “Bark Psychosis” was terribly annoyed with how “people were singing [Blur’s hit all the time.”- AA] “Parklife” “[27]. Britpop, which emerged as a reaction to the expansion of American grunge, appealed to the legacy of British invasion music [28], to the “glorious era” of bands that reinterpreted American rhythm and blues and rock and roll in an island style. The massive popularity of Britpop in 1994-1996 coincided with the growth of the British economy after the financial turmoil and general economic stagnation of the early 1990s and with the growing popularity of the ideas of “New Labor” (which in 1997 led to Tony Blair’s election victory) [29 ].

Stop rock ignored the home myth of the past victories of British music. As already mentioned, this style accumulated genres that predated 1960s rock music, parallel to it, or emerged later. However, it wasn’t just the sonic texture of 1960s-like music that these musicians denied. The British cultural and social landscape of the first half of the 1990s appeared to stop-rock to be very gloomy and filled with the ghosts of exactly those things that were articulated in their later works “Talk Talk”.

In his book The Weird and the Eerie, Mark Fisher defines the “dark” ( eerie ) as something that is not present in everyday life, but that is inherent in places, things and conditions, devoid of the agency that was in them before. Unlike “strange” ( weird ), which is also not present in everyday life, “gloomy” does not make familiar something that previously existed outside the notions of existence and origin, but raises doubts about the origin of the already existing and familiar.According to Fischer, the presence of the “gloomy” asks a question directly related to existence itself: “Why is there something here that should not be? Why isn’t there what should be here? ” [thirty]

In the song “Summer’s Last Sound” from the mini-album of the same name, released in October 1992, the group “Disco Inferno” plays the splash of waves and cries of birds with the help of instruments, while vocalist Ian Krause does not sing, but almost utters the picture of fears of a typical representative of the middle class.Rising prices, attacks on emigrants, fear of being imprisoned, terrorist attacks by the IRA and most of all – the possibility of civil war (in which the class war is clearly read) and the inability to escape from it, at the very beginning of the song, all this is preceded by the following remark:

And the gulls are coming in off the coast
The smell of corpses pulls them in
Mass graves uncovered, must be abroad – it can’t be here
I can sense your violence, but I still don’t understand
How when the past looks dead and you’ve got the future
In the palm of your hand.

Seagulls come from the shore,
They are attracted by the cadaverous smell.
The uncovered mass graves are probably somewhere far away – this cannot be here.
I can sense your cruelty, but I still don’t understand,
Why the past looks dead and you got the future
Into your own hands.
Transfer my

The hero Krause is horrified by the very same question that Fischer poses: “It must be in another country – it cannot be here.”In 1996, the Daily Telegraph conducted a survey in the UK that revealed the overwhelming pessimism of respondents. In contrast to a similar study conducted in 1968, respondents said that the British became less educated, less healthy, but more prone to violence [31]. The conservative-backing middle-class newspaper, however, was unlikely to be particularly interested in workers’ opinions. According to a report by the New Economics Foundation think tank, which was presented in 2004, over the past thirty years since the beginning of the polls, the British have never been subjectively happier and financially better off than in the period from 1974 to 1978 (with a peak in 1976 ).According to the same report, there has indeed been an increase in crime since the late 1960s, but its big jump took place precisely between 1990 and 1997, during the premiership of Margaret Thatcher’s heir, the Conservative John Major, up to the very election as Prime Minister. Tony Blair [32].

Krause sang about the “dead past” – the era of the “old” Labor, who ruled from 1964 to 1979 (interrupted by the premiership of the Conservative Edward Heath in 1970-1974), during which Britain really experienced a cultural heyday.It was to this period of general prosperity that the “new Labor” appealed, recognizing the free market and relying on the middle class. Britpop, whose modus operandi was captured by the popular 1996 slogan “Cool Britannia”, was a vehicle for restorative nostalgia [33], a desire to accurately recreate the idealistic image of the cultural revolution of “swinging London”. If in the late 1960s the British flag, as David Stubbs writes, was seen primarily as a fashion accessory, and not an expression of patriotic feelings, then the Union Jack of Cool Britain already combined both qualities, which were now interdependent [34 ].

Stop rock was also nostalgic for the British past, but reflected on the theme of a bygone era, seeing it as a warning to the future. Birmingham group Pram uses a sample of the main theme song from The Prisoner in the fourth track from the album “Helium”, “Things Left on the Pavement”, and the lyrics describe one of the scenes of the eighth episode of the series, escaping under the cover of night. “The Prisoner” is a fantastic TV series from 1967, one of the cult works of the era of Labor rule, the fan-production of which was released in the 1970-1980s and is still being produced today.

The protagonist of “The Prisoner” played by Patrick McGuen (he was also the creator of the series), who decided to resign the spy, after a quarrel with his superiors, wakes up on an island built up with bizarre architecture inhabited by representatives of all races and nations. They all speak English, but instead of names, the inhabitants are assigned serial numbers, denoting the hierarchy in the island community. Strict etiquette reigns on the island, and the attempts of the protagonist to find out what is happening are attributed by most of the inhabitants to “adaptation that has not yet come.”The island’s leadership is trying to “adapt” the rebel, and at the same time – to extract extremely important information from him, which only he knows. All that remains in this situation for the hero of McGuen, wearing number 6, is either to escape from the village, or to find the person with number 1 and find out what is happening.

“The Prisoner” was filmed in the Welsh village of Portmeryon, built in 1925 by philanthropist architect Clough Williams-Ellis on his own peninsula, near the town of Porthmadog.Portmeryon is characterized by eccentric and colorful buildings in a pseudo-Renaissance style and remarkable solutions in the field of landscape design: the village seems to emerge from the surrounding mountains and, thanks to the many artificial green spaces, it seems to merge with the forest. In his essay Portmeirion: An Ideal for Living, Mark Fisher wonders how Williams-Ellis, founding member of the Rural England Council and Rural Wales Campaign, is 28 years ahead of situationist Ivan Scheglov with his “ A form of new urbanism ”[35].

Portmeryon really embodies Shcheglov’s wildest dreams – for example, about reviving paintings by Giorgio de Chirico in architecture and dividing living space not only according to functions, but also based on the state necessary for visiting them. It was not for nothing that McGuen chose Portmeryon for The Prisoner. Its architecture and layout in the series do play a key role in several plot twists, and serve as much of a tool for controlling and correcting the behavior of the island’s inhabitants as the technological gadgets used to spy on the inhabitants.To the detached observer, which is the viewer of the series, the cheerful architecture of the village, shown mainly in daylight, just seems gloomy, frighteningly unnatural for the dystopian regime reigning in it. In this, “The Prisoner” is reminiscent of “Noon Nets”, a silent film directed by Maya Derain in 1943, the important theme of which is the same theme of “daytime horror”. The self-titled instrumental track “Pram” (“Meshes in the Afternoon”) from the same album “Helium” captures this feeling: through the unassuming lounge melody, atonal polyphony breaks through, creating a distinct sense of anxiety.

Ian Krause, Paul Wilmott, and Robb Watley of Disco Inferno lived and rehearsed in just such “noon networks” [36]. By the early 1990s, after the rave revolution, London had become a definitively rediscovered city, in which finding something not just interesting, but also not owned by anyone was an occupation that required truly exceptional strength and desires. For stop-rock bands, London was no longer a post-war city of new block-ups in old working-class districts, nor a technocratic city of high-rise buildings and flyovers that amazed the post-punk generation.It was “just London”, in which it was worth looking for something non-London, belonging, if not to this place, then at least not to this time.

Owen Hatherley compares the Beckton, Woolwich and Stratford districts of east London to Tarkovsky’s Stalker Zone. “Places marked by the cyclopean remains of silos, gas tanks, factories and crumbling towers and galleries of over-ambitious social housing that come across here and there” [37]. Such a bleak landscape does not necessarily give birth to an esthete flaneur admiring paintings of industrial decline, or a criminal artist of the breed that fought boredom (from Dada to punk), the techno-barbarian of the outgoing modern.In it, a keen observer of life on the ruins of a previous civilization may appear, who will seek to study these places in order to try to leave them.

It was in East London that the members of another stop-rock band, Bark Psychosis, lived and recorded, joined by former Disco Inferno keyboardist Daniel Gish. On the album Hex (1994) praised by Reynolds, Bark Psychosis imitates the noise of the city reaching a secluded place. The hum of cars and factory mechanisms, the uterine sound of the blowing of heating pipes, turning into the background clang of railway wheels.The band’s vocalist Graham Sutton melodicates his reflections on memory (“Absent Friend”), human intimacy (“Eyes & Smiles”), the appropriateness of a direct gesture in the etiquette of everyday life (“Fingerspit”) and places associated with almost obscure memories (” A Street Scene “). “Hex” is a recreation of a psychogeographic walk, an attempt to wrest oneself out of the banality of modern life and the automatism of perception by exploring areas of the city that are not intended for entertainment.However, the sound promenade “Hex” is close to Situationist psychogeography – it is a sketch of my own experience.

Another version of psychogeography was proposed by the English writer James Graham Ballard. Like the Situationists, Ballard considered a concomitant sign of industrial society “death of affect,” the loss of emotional sensitivity due to the abundance of images broadcast by the media. But, according to Ballard, architecture and certain types of urban landscape can not only plunge a person into boredom and routine perception of reality or be tools for overcoming them, but also serve as catalysts for forms of unpredictable, and even revolutionary, behavior.Collision of a person experiencing “death of passion” with functional urban areas not intended for his daily visit, or visiting them without technical means, without which it is impossible to use them (for example, appearing on a highway without a car), as well as an extreme situation when using these means (car accident), give rise to the strongest emotional response, which the survivor of such a person will seek to repeat [38].

On the track “Disco Inferno” “A Crash at Every Speed” from the album “D.I. Go Pop ”(1994), which features a mix of keyboards samples from Miles Davis’s Bitches Brew and the sounds of bending and breaking metal, Krause cites Ballard’s novel Car Crash directly. Krause connects his own desire to get into a car accident with a feeling of betrayal on the part of loved ones, and the hypothetical avoidance of death at the decisive moment – with a sense of overcoming guilt. The song “Things Move Fast” from Disco Inferno’s latest album Technicolour (1996) “things moving fast” is a mismatch between the promises of fantastic experiences seen in childhood on television and the need to provide for their own existence in the ordinary world.Ballard himself called such situations terminal – the subject experiencing them is brought to the extreme limit of his functioning, followed by either destruction or transformation [39]. But if “Disco Inferno” did not always use such a plot, then the London group “Moonshake” practically drew a map of terminal states. The basis of Moonshake’s work is an accelerated dub (1991–1993), swing, idiomatic dance jazz (1994–1996) and monotonous bass lines similar to German kraut rock, plus accompanying noises and electronic elements.The heroes of their songs are restless vagabonds (“Wanderlust”), loners who have lost a partner (“We’re Making War”, “Séance”), midnight drunks (“Right to Fly”), quirky sailors (“Exotic Siren Song”), fathers of families (“Seen and Not Heard”) with addictions (“Mugshot Heroine”, “Gambler’s Blues”); and sex workers (“Just a Working Girl”). And besides – the planet itself (“Spaceship Earth”), London (“City Poison”), commuter trains (“Two Trains”) and tower cranes (“Cranes”). London “Moonshake”, its corners and surroundings, as well as the people living in it, are woven from micro-histories that are not connected with each other, but united by the theme of the immutability of the place in which the catastrophe occurred, as well as escape or striving for it.

Some of the stop-rock teams have exploited this urge in an almost exaggerated way. The principle of sounding the project “Main” on the records of 1991-1994 (“Hydra”, “Calm”, “Dry Stone Feed”, “Motion Pool”) is the creation of minimally developing sound canvases with the help of minimal technical means. Scott Dawson’s guitar sounded in short, slow, closed phrases, setting off the abstract noise field and dub reverb that Robert Hampson created with the help of bass, drum machine and tape loops.The main intention of “Main” was the display by auditory means of processes not just non-anthropogenic, but generally prebiogenetic in nature. Dream comprehension of actions taking place in silent dead space: compression of interstellar gas, streams of the solar wind, curves of motion of galaxies, trajectories of rotation of planets and the collision of inanimate matter. But if Londoners “Main” imagined space as not yet explored, alien and literally another space, then “Telstar Ponies” from Glasgow looked at it through a much more humanistic optics.On the album In the Space of a Few Minutes (1995) and its singles (Maps and Starcharts, Her Name, I Still Believe in Christmas Trees, Not Even Starcrossed), Telstar Ponies play somewhat modernized space rock – a subgenre of psychedelic music, focused on collaborative jams and long improvisational parts. It is interrupted by a few near-folk interludes, while the guitars of frontmen David Keenan and Rachel Devine try to mimic the music and sounds that composers from the BBC Radiophonic Workshop wrote for sci-fi series.In the closing song, “I Still Believe in Christmas Trees,” Keenan mimics David Bowie’s voice in “Space Oddity” and sings that thousands of Christmas trees can be seen from Earth orbit and that space is not a gloomy place.

The next album, “Voices from the New Music” (1996), continued that line, but the folk insertions expanded here to a full-fledged component of the music, and Devine’s girlish vocals take up as much space as Keenan’s almost whispering vocals.So, for example, the track “Sail Her On” repeats the rhythm of the sailor songs-shanti, and the ballad “Brewery of Eggshells”, written based on the Welsh fairy tale about pixie changelings, is electrified only in the choruses and in the code. The album’s ninth, tenth and eleventh tracks (“A Feather on the Breath”, “The Fall of Little Summer” and “Does Your Heart Have Wings?” –1970), filmed by the writer Alan Garner based on his own work of the same name.The music of this minitrilogy itself is based on replaying excerpts of music from the series, and the main melodic line “The Fall of Little Summer” is a melody whistled by the main character of “Owls”.

Garner wrote “Owls” based on the Welsh epic “Mabinogion”: the three main characters of “Owls on Plates” repeat the roles of his mythical figures. Mark Fisher calls what is happening in “The Owls” “a deadly erotic struggle, a combination of youthful erotic energy and an inorganic artifact, decorated with an owl ornament on the tea set, triggering a repetition of an ancient legend” [40].At the same time, Fischer doubts whether the word “repetition” is appropriate in this case. In “Owls” “Mabinogion” is recreated anew. But the myth does not so much repeat itself as it takes people away from linear time into their own, in which each iteration of the myth, in some sense, always happens for the first time. At the same time, Garner’s myth does not exist as a structure that can be realized under suitable conditions – it is more reminiscent of a repetitive compulsive behavioral pattern [41].

Interested in mythological thinking and the manifestation of the occult in culture, David Keenan made a name for himself a little later.Keenan, a journalist in parallel with music, has been featured in The Wire magazine since 1995. Seven years later, he published the book England’s Hidden Reverse – a lifetime biography of the projects Current 93, Coil and Nurse With Wound that emerged from experimental noise music, which drew inspiration from exotic religious cults, contemporary occultism and various mythological spaces. Only Matt Elliott, who is still playing folk music, and the band Stereolab, which crossed French-speaking pop music in the style of the 1960-1970s and a kind of kraut-rock, gained comparable popularity with him only Matt Elliott.Ian Krause and Moonshake frontman David Callahan eventually left Britain. Krause moved to Bolivia in the late 1990s, and Callahan settled in New York in 1997; both of them changed their place of residence due to the lack of recognition from the public and the work that suited them. Both only resumed their music studies in the 2010s, noticing a comparative interest in their past work on the Internet.

Nevertheless, in a short period of its existence, stop-rock managed to become not just an outlandish, but unpopular movement and “collector’s music”.Recalling his feelings from 1996, David Stubbs writes that Francis Fukuyama’s “end of history” concept, which was then popular among conservatives, was practically not felt by the working class of Great Britain. The future, which was denied by British punk in the late 1970s, had just come and carried a loss of sense of time and history: the endless “here and now”, as if pulled out of the album of Brit-pop hitmakers “Oasis”, released a year later – ” Be Here Now. ”

Under these conditions, stop rock was not the music that forever stopped the progress of sound evolution, as Britpop tried to do.He became a phenomenon that stopped British pop culture from losing a sense of historicity. It is fair to say that the stop-rock, pointing to the mistakes and failed cultural and architectural utopias of “old”, modernist Laborism, simultaneously warned against populism and the merger of “new” Labor with the forces of capital. To use the terminology of Zygmunt Baumann [42], London stop rock was looking for a retrotopia, a place / time that could reconcile its dark present with the lost projects of the modernist past.But in the end, he himself became such a retrotopia, which is referred to as one of the last manifestations of modernism in British culture.

[1] Reynolds S. Retromania: Pop Culture Trapped in Its Own Past. Moscow: White Apple, 2015. P. 384–387.

[2] For example – Julian House, aka The Focus Group; John Brooks, aka The Advisory Circle; Jim Jap, aka The Belbury Poly; Martin Jenkins aka Pye Corner Audio; group “Moon Wiring Club”.

[3] Reynolds S. Decree. Op. S. 390–394.

[4] Fisher M. What is ghostology? // Syg.ma. 2019.6 August (https://syg.ma/@triumphgallery/markfishier-chto-takoie-prizrakologhiia).

[5] Reynolds S. Decree. Op. P. 381.

[6] But for the first time, as Reynolds himself recalls, he used the term a year earlier in an interview with Project Insides for Melody Maker magazine: http: //reynoldsretro.blogspot.com / 2007/07 / insides-interviewmelody-maker-late.html.

[7] Reynolds S. Bark Psychosis Interview // Hex review (reynoldsretro.blogspot.com/2014/08/bark-psychosisinterview-hex-review.html).

[8] Leech J. Fearless: The Making of Post-Rock. London: Jawbone Press, 2017. P. 7-8.

[9] A general term for German rock music that emerged in the late 1960s and was often experimental in nature. Kraut rock has influenced many British musicians from David Bowie to Radiohead.

[10] Totalism is one of the offshoots of post-minimalist academic music that developed in the 1980s and 1990s. Among the famous representatives of the style are Kyle Gunn, Glenn Branca, John Luther Adams and others.

[11] Ibid. P. 144, 170.

[12] One of the directions of alternative rock that emerged in the late 1980s in the UK, and later spread throughout the Western world. Preceded to American grunge and British Britpop.

[13] The direction of rock music, combining electronics, psychedelia and passion for space images. The early recordings of Pink Floyd are considered the predecessor of space rock.

[14] A variety of pop music that emerged from the transformation of root reggae.

[15] Reynolds S. Rip It Up and Start Again. Post-Punk 1978-1984. London: Faber and Faber, 2006. P. 51.

[16] A popular 1970s mixture of jazz with rock and black pop music (soul, funk, early disco).

[17] Abebe N. The Lost Generation (https://pitchfork.com/features/article/6088-the-lost-generation/).

[18] According to chart aggregator MusicVF (www.musicvf.com/).

[19] Leech J. Op. cit. P. 76, 146.

[20] Webb P. Paul Webb Remembers the Early Talk Talk Gigs Alongside Mark Hollis (https://faroutmagazine.co.uk/
mark-hollis-talk-talk-early-gigs-paul-webb /).

[21] Leech J.Op. cit. P. 88.

[22] Here and above – progressive directions of electronic music of the 1980s, mainly dance.

[23] The Broadcasting Act of 1990 is a bill designed to re-regulate radio and television broadcasting in Britain. The third chapter of the Act, by the first paragraph, secured the possibility of the existence of independent music radio stations, but introduced their licensing. The fourth paragraph regulated the permissible frequency and volume of music during public events.Thus, despite the egalitarian wording, the entire radio broadcast was controlled by the state and large private companies, pirate radio stations were, in fact, outlawed, and holding large rave events became even more problematic.

[24] British music journalist who wrote for the magazine “Melody Maker” for many years, published books about Jimi Hendrix and Eminem, in the last five or six years became known as the author of books on modernist academic music of the last century, kraut rock and avant-garde electronics.

[25] Hardcore Continuum is British music critic Simon Reynolds’ term for British post-rave electronic music of the 1990s.

[26] Drum’n’bass is a genre of electronic music that emerged from old-fashioned rave and jungle.

[27] Leech J. Op. cit. P. 139.

[28] British invasion – this is how in the 1960s they began to call the crushing success of British bands like the Beatles and the Rolling Stones around the world, primarily in the USA.

[29] Stubbs D. 1996 & the End of History. London: Repeater Books, 2016. P. 42.

[30] Fisher M. The Weird and the Eerie. London: Repeater Books, 2016. P. 7-9.

[31] Stubbs D. Op. cit. P. 27.

[32] Chasing Progress: Beyond Measuring Economic Growth (https://neweconomics.org/uploads/files/70e2c4fbed
5826b19e_dvm6ib0x9.pdf).

[33] Boym S.Yu. The future of nostalgia.Moscow: New Literary Review, 2019, p. 15.

[34] Stubbs D. Op. cit. P. 16.

[35] Fisher M. Portmeirion: An Ideal for Living (What I Did on My Holyday, Part 2) (k-punk.abstractdynamics.org/ archives / 004048.html).

[36] Leech J. Op. cit. P. 139.

[37] Hatherley O. Militant Modernism. Ropley: Zero Books, 2008. P. 43. Since then, these areas have changed, of course, especially Stratford, where the Olympic Village was built for the London 2012 Olympics.Now Stratford is a combination of partially abandoned sports buildings, a huge shopping center and new high-rise buildings for the middle class.