https://www.akweb.de/bewegung/antifa-unter-terrorverdacht-budapest-komplex-kriminalisierung-von-antifaschismus-in-europa/

ARCHIVAL QUESTION:

ARCHIVAL QUESTION:

Three Red Whistles (The Butterflies, 1979; from “Autumn Journey”)

Surrounded by her grandchildren, the old woman points with her hand raised
Toward the dark forests beyond the Drau:
Now I’ll show you your land, now I’ll show you your land.
Over there, I toiled on the hillside when I was still a child.
At midnight Mass, to the sound of bells,
Ice hung from my skirt and hair, ice hung from my skirt and hair.
The mountain folk came from the Lindenwirt and whispered secretly, with cunning,
That something in the world will change,
Nothing must stay as it is; nothing must stay as it is.

Chorus:
Silent trees, conspiring forest.
And three red whistles, three red whistles, three red whistles in the forest.

Moon after moon drifted down the Drau; the fascist war broke out.
Then I had a husband at the front
And had three children at home, and had three children at home.
How the pithy Nazi songs resounded from German soil and blood.
Many in Burschin sprang from the forest.
I carried leaflets under my hat. I carried leaflets under my hat.
The Gestapo was cold, and the Gauleiter scolded: Partisans in our own country!
I carried whispers and bread into the forest.
They called me Jelka. They called me Jelka.

Chorus

The winter was wet, and hatred kept us warm; many are those whom the earth now holds.
We fought, up there on the pass,
Working toward our liberation. Working toward our liberation.
The war was over; there was silence in the land; even the loudest had fallen silent.
They took down the picture of Hitler
Their vests—they washed them white. Their vests—they washed them white.
You, my grandchildren, why do you listen so silently to these old, cold tales?
Now they’re trampling on your rights again,
Remember my story. Remember my story.

Chorus

Manipulative potential of sound:atmospheric violence

“Memorial sites must not be places where the police demonstrate their power!”

A-Zone http://haderlap.at/vinklhof.php?DOC_INST=3

ANTIFASCHISTISCHES SOMMERCAMP
FALTER PODCAST
https://www.falter.at/podcasts/radio/20250821/polizei-vs-persmanhof-kaerntner-lebensluegen-und-wir

Soundarchive Antifa Repression

Today, anti-fascism is being criminalized and threatened by repression.

Partizan★ke Art

https://partizanke-art.jimdosite.com/ueber-die-ausstellung/

https://www.doew.at/neues/partizan-ke-art-kommt-ins-doew-ausstellung-ab-30-april-im-otto-wagner-areal

27.07.2025:
“Home in the Heart, Shit in the Head”

How does sound operate as evidence (as a trace of an event) and as affect?

Spominska slovesnost pri Peršmanu - 28.06.2026
Commemorative Speech by Andrina Mračnikar

Today’s commemoration is overshadowed by the police operation that took place here one year ago. For many people, this operation was shocking, hurtful, and for some, even re-traumatizing.
For me, this place is associated above all with Anci and Ciril Sadovnik. As children, they survived the massacre carried out by the 13th SS Regiment at the Persmanhof in the spring of 1945. I met them in 2004 while filming my documentary *Der Kärntner spricht
Deutsch/ Korosec govori nemsko*. At the time, Ciril described the events to me and showed me where his mother and other family members were murdered. He recounted how the children hid, how Anci was seriously injured, and how both of them
survived the massacre.
What happened here is almost impossible to put into words. Life afterward was just as difficult—with the loss of family and deep trauma that was rarely discussed at the time. Added to this was the postwar political climate in Austria, which for a long time failed to give the victims of National Socialism and the resistance the recognition they deserved.
That is why I hope that, above all, the Sadovnik and Kogoj families will be remembered at this site—both those who were murdered and those who survived.

That does not mean we should not also commemorate the resistance of the Carinthian partisans here. Their struggle was a response to language bans, deportations, and the violence of National Socialism. It made an important contribution to the liberation of Austria and the establishment of the democratic republic.
That is precisely why I continue to believe it is necessary for there to be a permanent museum of anti-fascist resistance in the provincial capital of Klagenfurt/Celovec—one that is visible and accessible to all. That would be fitting for a province that takes a clear stand against fascism and in favor of anti-fascism.
As long as there is no such museum in Klagenfurt/Celovec or Villach/Beljak, this museum here high up in the mountains above Bad Eisenkappel/Zelezna Kapla remains the only place where the history of the Carinthian Slovenes and their resistance
is conveyed.
The fact that this very museum became the target of a large-scale police operation is shocking. For many Carinthian Slovenes, this brought back memories of times when state authorities persecuted and expelled their families. When
people can no longer trust that the police and state institutions will protect their rights, fear and uncertainty arise.

That is precisely why we must not lose heart. Even if it sometimes seems hopeless in light of global developments, we must resolutely oppose fascism, nationalism, and right-wing extremism. And we must
stand firmly alongside the victims—all victims of fascism and dictatorships.
I would like to conclude with the words of Ciril Sadovnik:
“This remains an eternal memory. It is not just for a day or a month—it
is for many generations.”

“The Carinthians Speak German” by Andrina Mračnikar
Andrina Mračnikar gives a voice to people who have rarely been asked about their past as part of Austrian history: Carinthian Slovenes who were part of the resistance as well as the Wehrmacht, who fought underground with the partisans, and who were deported to labor and concentration camps. People who survived massacres and experienced the end of the war as well as the postwar years (...) and slowly, the individual stories and fates of these women and men begin to form a shared history. (...)
Andrina Mračnikar relies entirely on the spoken word; there are no photographs of relatives or footage intended to document what is already forever etched in the memories of those affected. With a single, all the more striking exception, the camera remains fixed on the people; only occasionally does the filmmaker ask a question. We should all do the same. (Press release, Viennale 2007)

Articles about Razzia 27.07.2025:

https://noviglas.online/2025/07/27/die-persman-razzia-mit-hunden-und-heli-gegen-antifa-sommercamp/

https://initiative.minderheiten.at/wordpress/index.php/2025/07/polizeieinsatz-in-der-gedenkstaette-und-im-museum-persman/

https://www.ots.at/presseaussendung/OTS_20250730_OTS0034/museumsbund-oesterreich-zum-polizeieinsatz-am-permanhof

https://www.partizani.at/novice/presseaussendung-des-drustvo-verein-persman-zum-polizeieinsatz-an-der-gedenkstatte-und-im-museum-persman-27-07-2025/

https://transformator-raum.at/field-diaries-pt-2/

https://youtube.com/shorts/8e4iUn6N_gw?si=2hbkEKcj9vRtt8PD

TRANSFORMATOR
https://transformator-raum.at/gedaechtnis-spomin/

https://transformator-raum.at/konzept-koncept/

https://www.persman.at/de/der-persmanhof-2/

a-zone

https://haderlap.at/termine.php

Theater "Newcomer"
https://skug.at/unsere-heimat-klatsch-stampf/

avArc. A Landscape of Memory and Temporalities

As an archive, the project documents all sites of Nazi crimes and anti-fascist resistance. avArc is an open-source project—an archive that is created and expanded through the collective knowledge of many people. We therefore view our work as an ongoing process, never complete or final.

https://archive.avarc.org/

graben//LANDSCHAFT//lesen –
kopati//GRAPO//brati

https://landschaftlesen.net/

ŽENSKE V ODPORU
Marca 1943. leta je bil v Lobniku ustanovljen prvi krajevni od-bor Antifašistične fronte žena. Sprva so ženske nosile največje breme za civilno terensko organizacijo OF. Oborožene borce so podpirale s hrano, perilom, sanitetnim materialom in medika-menti, pa tudi z informacijami o lokalnih dogodkih. Te informa-cije so bile pomembna osnova za vojaške in politične odločitve partizanskih enot. Za precej žensk je začetna podpora vodila do aktivnega vstopa v partizanske vrste, če so npr. nacistični or-gani zavohali kakršnokoli »pomoč banditom«. Vzrok, da so se ženske pridružile bojnim enotam, je bila pogosto aretacija ali de-portacija družinskega člana, pa tudi politični motivi. V struktu-rah OF so veljali moški in ženske načelno kot enakopravni. Naj-prej so vsi bili deležni politične in vojaške osnovne izobrazbe.
Ženske so bile na poti kot kurirke, bile so dejavne v oskrbi, borile so se v različnih enotah, pripravljale so propagandni material, dešifrirale poročila, prevzemale špijonažne naloge, delale so kot obveščevalke, zdravnice in bolničarke, sodelovale pri sabotažnih akcijah ter na vodilnih položajih prevzemale naloge na področju vojaškega in političnega šolanja.


WOMEN IN THE RESISTANCE
In March 1943, the first local committee of the Women’s Anti-Fascist Front was established in Lobnik. Initially, the women bore the greatest burden in organising the OF’s civilian field operations. They supported the armed fighters with food, laundry, medical supplies and medicines, as well as with information about local events. This information formed an important basis for the military and political decisions of the partisan units. For many women, this initial support led to them actively joining the partisan ranks, for example if Nazi authorities suspected any form of ‘aid to bandits’. The reason women joined combat units was often the arrest or deportation of a family member, as well as political motives. Within the structures of the Liberation Front (OF), men and women were, in principle, regarded as equals. First and foremost, everyone received basic political and military training.
Women served as couriers, were active in logistics, fought in various units, prepared propaganda material, deciphered reports, undertook espionage missions, worked as intelligence officers, doctors and nurses, took part in sabotage operations, and assumed leadership roles in the fields of military and political training.

From the book „Peršman“ by Lisa Rettl, Gudrun Blohberger
Zveza koroških partizanov/ Drusivo Persman

How can we think of, practice and share:
Listening as a soft and radical form of boundless resistance
How can we cultivate, insist, fail and reimagine listening as a form of resistance, protest and care that can generate positive change?
 
In what way can keep gathering around the unknown, listening into our own limited abilities and foster a collective force of creation be a practice of resisting colonial, patriarchal, human-centered and capitalistic forces?
 
To what degree does listening travers the existing forms of mass protesting? How can listening be a deep and slow way of dealing with complex situations and conflicts beyond the individual experience and comprehension?
 
What concrete events, practices and tools for listening as a soft and radical form of boundless resistance can we exercise?

https://bureauforlistening.com/listening-as-a-soft-and-radical-form-of-boundless-resistance/?utm_source=ig&utm_medium=social&utm_content=link_in_bio

https://bureauforlistening.com/wp-content/uploads/2025/04/Anthologyforlistening_vol_II.pdf

Steve Goodman’s concept of “frequency politics” (or the micropolitics of frequency) refers to the strategic or tactical use of vibrations to modulate the “affective tonality” (mood, atmosphere) of spaces and bodies. While conventional analyses often focus on the “politics of noise” or the “politics of silence” (amplitude), Goodman shifts the focus to the physical power of vibration itself, which operates below the threshold of conscious perception.

Here are specific examples and an in-depth examination of frequency politics drawn from the sources:

1. Military and Police Control
- Sonic booms over Gaza: The Israeli Air Force deploys low-flying aircraft to create an atmosphere of terror and hypervigilance through the blast of breaking the sound barrier (lower frequencies with high sound pressure) [6]. This is described as “virtual fear,” which triggers physical tremors in the body and uses sleep deprivation as a form of collective punishment.
- The “Mosquito” device:** A commercially available device that emits an extremely high-pitched sound (15–20 kHz), which is usually audible only to adolescents. It is used to specifically drive young people out of public spaces by exploiting the biological limit of human hearing as a filter for social exclusion.
- LRAD (Long Range Acoustic Devices): These devices emit focused high-frequency beams that function as “acoustic bullets” to disperse crowds or inflict pain.

2. Affective Mobilization and Resistance
- Bass Materialism (Sound System Culture): In cultures such as dub or dancehall, frequency politics is used as a form of positive mobilization. Massive sub-bass frequencies are used to reach the body not only through the ears but as a whole. Goodman describes this as “dread-engineering”: the deliberate generation of vibrations that “flatten” the senses and create a collective, vibrating mass that transcends the individual.
- Sonic Recycling: Artists such as Mohamed Choucair use recordings from surveillance drones to create music. This is a tactical repurposing of a frequency that normally signals terror (the insect-like buzzing of the drones) into an artistic tool of resistance.

3. Technological and Commercial Modulation
- Data Compression (MP3 Police): Goodman views technical standards such as MP3 compression as a form of frequency policy. Frequencies considered “inaudible” are deleted, which Goodman refers to as “policing the sensory,” as it can reduce the physical effect of sound on the body (the “vibe”).
- Holosonic Control & Sonic Branding: Companies use ultrasound to project highly targeted advertising messages directly into a consumer’s mind. This creates acoustic temporal anomalies such as the “déjà-entendu” sensation (the feeling of having heard something before) to awaken desires for products that do not yet exist.

The “Unsound” and the Ecology of Fear
Frequency policy often operates in the realm of the “Unsound”—those vibrations (infrasound and ultrasound) that are too low or too high to be consciously heard, yet can still trigger neurophysiological effects such as nausea, fear, or euphoria. Goodman argues that the city of the future will be controlled by these invisible fields of vibration, with the “ecology of fear” becoming the norm through the constant use of drone hums, alarms, and directed sound waves.

The demolition of the hand of the Persman monument in 1953 was an expression of anti-Slovenian and anti-partisan sentiments aimed at suppressing the memory of the Carinthian Slovenes’ resistance against the Nazi regime. This act of destruction was part of a larger conflict over the interpretation and recognition of Slovenian identity in Carinthia after World War II.

https://oe1.orf.at/artikel/205467/Denk-mal-Partisanen

Noise
In his work, Jacques Attali outlines a “political economy of music” that conceives of music not as a mere cultural byproduct, but as a “prophetic medium.” He divides the history of sound into four networks: “sacrifice,” “representation,” “repetition,” and “composition,” with each phase heralding impending social and economic change. Music serves here as an instrument of power to channel violence, legitimize order, or censor through mass production. Fredric Jameson’s foreword contextualizes Attali’s theses within the field of historiography and emphasizes the connection between abstract numerical relationships in music and the modern economy. Ultimately, Attali suggests that today’s crisis in music heralds a radical social restructuring and the “liberation of the creative individual.” The work calls on us not merely to observe the world, but to understand it by listening to its sounds and rhythms.

Archive of Nazis:

https://www.landesarchiv-bw.de/de/recherche/rechercheratgeber/78080

https://www.zeit.de/wissen/2026-04/nsdap-mitgliederkartei-karteikarten-familienmitglieder-suche

https://www.bundesarchiv.de/im-archiv-recherchieren/archivgut-recherchieren/personen-und-familienforschung/

https://alpinepeacecrossing.org/2-2021-persoenliche-erinnerungen/

Resisting a totalitarian regime that employs terrorist methods of oppression requires a great deal of courage and a willingness to risk everything, even one’s life. Very few people are willing to do this. In Austria, the organization of the resistance in 1938 encountered considerable difficulties: Austria’s surrender without a fight and the brutal and widespread persecution had just as negative an impact as the forced flight of thousands of potential opponents of the Nazis.

The resistance organizations were largely separate from German groups, so that one can speak of a distinct Austrian resistance. The resistance was structured along political and ideological lines, with two main forces standing out: the organized labor movement, concentrated mainly in the industrial centers of eastern Austria, and the Catholic-conservative-bourgeois camp.

Austrian resistance fighters limited themselves primarily to traditional forms of political activity, such as forming organizations, publishing leaflets and newspapers, and the like, which proved costly in terms of human lives but largely ineffective. Given the large number of casualties, the practical results of the resistance struggle—such as threatening the Nazi regime, seriously damaging the Nazi war machine, or gaining hegemony among the population—were rather modest. The liberation of Austria from Nazi rule was solely due to the Allied forces, more than 30,000 of whose soldiers fell on Austrian soil in 1945. However, the resistance was of eminent political value in terms of Austria’s “own contribution” to its liberation, as demanded by the Allies in the 1943 Moscow Declaration, as became evident during the efforts to negotiate the State Treaty.

https://ausstellung.de.doew.at/chapter7.html

Blind Spots in history:

https://alpinepeacecrossing.org/6-2025-verleugnet-verschwiegen-vergessen-ungehoerte-ns-opfer-im-kollektiven-gedaechtnis/

https://alpinepeacecrossing.org/5-2024-versaeumtes-erinnern-oesterreich-und-der-austrofaschismus/

The use of acoustic camouflage and the outer limits of unsound:

In Phantom Lure Angus Carlyle explores the ways in which the frequency spectrum can become a site for disguise and deception. Acoustic camouflage is deployed in the concrete curves of sound mirrors, military battlefield sensors, and snipers’ sonic concealment tactics, but also in the silent steps of the hunter and the mimicry of duck calls, antler rattles, and fox flutes.

This trail of decoys leads us into forensic acoustic analysis, electronic voice phenomena, and music encrypted with secret signals—from Metal Gear Solid to "Windowlicker," from moths’ thoraxes to horror-film whispers, from Silent Escape to Turing tests and vocoders.

In Notes on the Third Ear Steve Goodman plunges further into the thresholds of audibility and the Janus-faced instrumentalization of vibration involved in sonic warfare. Taking cues from the lore surrounding Nguyễn Văn Phong, an elusive Vietnamese bio-acoustician alleged to have influenced several US psyops campaigns, and folding in the friction and fabulations of his own experiences as an artist, Goodman charts the outskirts of aurality with an inventory of the tones, booms, blasts, bleeps, roars, hisses, and purrs that populate the liminal space between art and war, attack and defense, destruction and healing, detection and deception, aggression and seduction, fear and delight, signal and camouflage, the ferocious and the cute. In an era marked by the auricular multiplication of machine listening, three ears is the absolute minimum.

How can we build an open, inclusive archive while protecting everyone (from right-wing violence)?

Why are we looking at this example, and
why is it important to ARCHIVE the PRESENT?

What connects this resistance and active remembrance efforts to the countless contemporary examples of resistance under authoritarian regimes, during genocides, or in the context of other deadly border policies?

ARCHIVAL QUESTION:

How Do We Build a HYBRID ARCHIVE?
-> Develop a questionnaire
for archivists and young anti-fascists from Peršmanhof

explore decolonial work with archives and critically examine how historical documents can be reevaluated in the present. Filipa César describes the project “Luta ca caba inda,” which deals with the decaying audiovisual remnants of militant cinema in Guinea-Bissau. In doing so, the concept of “irrelevance” is reinterpreted as a form of resistance against colonial power structures, as the ruins of the past serve as living material for contemporary discourses. In parallel, Nancy Dantas explores the “South African archive” as a site of fragmented memories that reflects the ongoing injustices of apartheid. Both texts advocate for a practice termed “epistemic disobedience,” which uses archives not as static monuments but as tools for social justice and liberation. Ultimately, the authors emphasize that the “return to the archive” requires a conscious decision to break through colonial glorification and instead foster an active culture of remembrance.

How are histories mediated through material and immaterial infrastructures?

Psychological manipulation

Acousmatic Sound:
you hear something without seeing its source

Acoustic minimalism in controlled (transition) spaces

subliminal frequencies
exhaustion
repetition
nervous tension
auditory uncertainty

Military music in Austria 2026:
https://militaermusik.bundesheer.at/

autonomy:
examine the power structures and colonial origins of traditional archives, as well as the urgent need for decolonial practices. Achille Mbembe describes the archive as a “sacred space” that, through selection and the “trade in death,” transforms fragments of the past into an instrument of state power. Complementing this, J. J. Ghaddar and Michelle Caswell call for a radical transformation that goes beyond mere diversity and centers on land restitution and the recognition of indigenous sovereignty. The texts illustrate that archives have often served to erase guilt and silence resistance movements. Ultimately, the authors advocate for a new archival ethic that shifts the focus from state control to the healing and self-determination of oppressed communities.

process of translation

artistic vocabularies

mobilize a display to highlight how the way something is presented affects the possible reading of it

How can research-based practices move between different registers of critique?

How are histories mediated through material and immaterial infrastructures?

"Bitte liebt Österreich"

https://jelinekschlingensief.wordpress.com/2011/01/28/barbel-lucke-christoph-schlingensiefs-bitte-liebt-osterreich-2000-und-elfriede-jelineks-kasperltheater-montage-ich-liebe-osterreich/

https://www.schlingensief.com/projekt.php?id=t033

give shape to systems that govern us
systems that manipulate perception, emotion and meaning

Archive work proposal: Persman

For the upcoming exhibition „Duhovi Uropa (Spirits of Resistance) in the slovenian cultural association „Zara“ in Celesna Kapla I want to work with spatial sound in a third-order 3D setting (or higher) to explore sonic archives and counter narratives through composition and conceptual work.

I am interested in invasive sound experiences, sonic weapons, and questions of sonic self­determination, sonic antifascism, collective empathic listening, noise, hearing and memory loss, communication in border areas, the loss of public observation and communication infrastructures, with ecological, technical, political, and social consequences.

The archive as a changing and permeable and extended body will be transmitted as a spatial fixed media installation that never repeats a moment of coexisting material in the composition.
I want to to combine historic and contemporary material, drawing the line from 1945 to 2025. Looking back at old documents with the eyes of today we can reanalyze and evaluate bits and pieces of history.
The work should operate under the commons and be accessible to people.
Different types of material of old and new stories build the core of this archive, that resists the logics of power structures in Austrias storytelling.
The ruins of the past connect to the stories of today.
The archive I imagine isn’t a stable monument, it can be a tool for social justice and liberation by being centered in an active remembrance culture.
It must find autonomous forms to connect with other decentralized forms of knowledge. It must be centered and developed in the community that creates and keeps the sound material.

Inspired by reading Achille Mbembe (describes the archive as sacred space which by selecting and „dealing with the death“ transforms pieces of the past into a state power tool), J. J. Ghaddar and Michelle Caswell (want a radical transformation that goes beyond pure diversity to return of land and center indigenous sovereignty)
I want to turn the classical logic of archives into something self determined - instead of their function to „payoff guilt“ and silence resistance I want to build something sustainable that serves the community (Slovenian speaking resistance and beyond) and not state control.

I have many technical questions concerning the setup of autonomous infrastructures:
Does it still make sense to build an online archive?
How is this possible in times of AI and loss of „real facts“ and sources?
How can we counteract companies that buy entire libraries and antiquariats to burn all books after scanning them to train their AI?
What is a contemporary answer to archival infrastructures like physical and digital storage room?
How to preserve sound and voices and secure media updates to the status quo?

subtitles Duhovi Upora