The present book is based on the author's diploma thesis written at the Institute of Media and Phototechnology University of Applied Sciences Cologne and describes the recent development of digital interactive art and the usage of the graphical programming environment Max/MSP/Jitter. In the beginning, a brief overview of the present scientific discourse on the key issues interactivity and interface design are given. Furthermore, it portrays exceptional examples of digital art within the past five years, focusing on the main themes of digital installations and software art. This is followed by a description of Max's main features and programming methods, its extensibility with control devices and micro controllers, as well as differences to important alternative graphical programming environments such as Pure data and vvvv. The second part documents the whole process of creating an interactive installation using Max/MSP and its graphics extension Jitter. This includes a description of the creative concept, the different parts of the soft- and hardware as well as some of their important key techniques. Finally, a summary of user feedback and a personal reflection on the project is given. The book is dedicated to both technicians and artists seeking an introduction to the present digital interactive art and practical information about the new emerging graphical programming techniques like Max or Pure Data for creating meaningful interactive systems.

Functional beauty Founded in Welmar in 1919, the Bauhaus school developed a revolutionary approach that fused fine art with craftsmanship and engineering in everything from architecture to furniture, typography, and even theater. Originally headed by Walter Gropius, the Bauhaus counted among its members artists and architects such as Paul Klee, Lyonel Feininger, Wassily Kandinsky, Laszlo Moholy-Nagy, and Marcel Breuer. In 1930 Ludwig Mies van der Rohe took over as the leader, but soon after, in 1933, the Nazi government shut down the school. During its fourteen years of existence, Bauhaus managed to change the faces of art, architecture, and industrial design forever and is still hugely influential today.

The career of the pioneering designer Muriel Cooper, whose work spanned media from printed book to software interface; generously illustrated in color. Muriel Cooper (1925-1994) was the pioneering designer who created the iconic MIT Press colophon (or logo)-seven bars that represent the lowercase letters "mitp" as abstracted books on a shelf. She designed a modernist monument, the encyclopedic volume The Bauhaus (1969), and the graphically dazzling and controversial first edition of Learning from Las Vegas (1972). She used an offset press as an artistic tool, worked with a large-format Polaroid camera, and had an early vision of e-books. Cooper was the first design director of the MIT Press, the cofounder of the Visible Language Workshop at MIT, and the first woman to be granted tenure at MIT's Media Lab, where she developed software interfaces and taught a new generation of designers. She began her four-decade career at MIT by designing vibrant printed flyers for the Office of Publications; her final projects were digital. This lavishly illustrated volume documents Cooper's career in abundant detail, with prints, sketches, book covers, posters, mechanicals, student projects, and photographs, from her work in design, teaching, and research at MIT. A humanist among scientists, Cooper embraced dynamism, simultaneity, transparency, and expressiveness across all the media she worked in. More than two decades after her career came to a premature end, Muriel Cooper's legacy is still unfolding. This beautiful slip-cased volume, designed by Yasuyo Iguchi, looks back at a body of work that is as contemporary now as it was when Cooper was experimenting with IBM Selectric typewriters. She designed design's future.

Jugendstil, that is Germany's distinct engagement with the international Art Nouveau movement, is now firmly engrained in histories of modern art, architecture and design. Recent exhibitions and publications across the world explored Jugendstil's key protagonists and artistic centres to firmly anchor their activities within the trajectories of German modernism. Women, however, continue to be largely absent from these revisionist accounts. Jugendstil Women and the Making of Modern Design argues that women in fact actively participated in the cultural and socio-economic exchanges that generated German design responses to European modernity. By drawing on previously unpublished archival material and a series of original case studies including Elsa Bruckmann's Munich salon, the Photo Studio Elvira and the Debschitz School, the book explores women's important contributions to modern German culture as collectors, consumers, critics, designers, educators, and patrons. This book offers a new interpretation of this vibrant period by considering diverse manifestations of historical female agency that pushed against historically entrenched conventions and gender roles. The book's rigorous approach reshapes Jugendstil historiography by positing women's lived experiences against dominant ideologies that emerged at this precise moment. In short, the book advocates women as an integral part of the emergence, dissemination and reception of Jugendstil and questions the deeply gendered histories of this key period in modern art, architecture and design.

Bauhaus Diaspora and Beyond presents an extraordinary new Australasian cultural history. It is a migrant and refugee story: from 1930, the arrival of so many emigre, internee and refugee educators helped to transform art, architecture and design in Australia and New Zealand. Fifteen thematic essays and twenty individual case studies bring to light a tremendous amount of new archival material in order to show how these innovative educators, exiled from Nazism, introduced Bauhaus ideas and models to a new world.

Carter Wiseman presents an original, readable, and literate overview of the major figures, influential movements, and landmark buildings that have defined American architecture over the past hundred years. In a survey that is "as good . . . as anyone is likely to write . . . accurate in its facts, wise and fair in its judgments"(New York Times), he focuses to a large extent on architecture's makers--the commanding figures who by force of personality and sheer artistic ability indelibly influenced its progress: Louis Sullivan, Frank Lloyd Wright, Philip Johnson, I. M. Pei, Robert Venturi, Louis Kahn, Frank Gehry. The triumph of modernism; the growth of architectural preservation; the eclipse of the practical arts by money, theory, and abstraction; and the uncertain future of architecture in a country that celebrates both individualism and community are just some of the issues addressed in this highly praised work. Originally published in hardcover under the title Shaping a Nation.

This publication, accompanying the worldwide exhibition series, takes the quotation of the former Bauhaus student and subsequent university teacher Fritz Kuhr as a starting point for reflections on the Bauhaus; not only as a school in Weimar, Dessau and Berlin, but also in order to focus on the parallel Modernist movements in non-European regions. This volume explains in hitherto unknown depth the Bauhaus and its multi-faceted forms of expression, which extended far beyond the Constructivist language of the 1920s. Case studies from Buenos Aires, Mexico City, Santiago de Chile, Moscow, the USA and elsewhere show that the Bauhaus was not an exclusive undertaking of the modern age. Avant-gardes in many regions of the world examined the Bauhaus from their own point of view and integrated it into their discourses. In this way the Bauhaus became a global motor for new developments in society, culture and politics.

The worldwide use of building envelopes in steel and glass is one of the characteristic features of modern architecture. Many of these pre- and post-war buildings are now suffering severe defects in the building fabric, which necessitate measures to preserve the buildings. In this endeavor, aspects of architectural design, building physics, and the preservation of historic buildings play a key role. Using a selection of 20 iconic buildings in Europe and the USA, the book documents the current technological status of the three most common strategies used today: restoration, rehabilitation, and replacement. The buildings include Fallingwater House by Frank Lloyd Wright, Farnsworth House by Ludwig Mies van der Rohe, Fagus Factory and Bauhaus Building by Walter Gropius.

Julius Ralph Davidson is widely known as the architect of Thomas Mann's house. Born 1889 in Berlin, Davidson left Germany in 1923 and emigrated to the USA. In Los Angeles, he designed some 150 projects, among them three houses for the experimental Case Study House Program. This long overdue publication is a comprehensive documentation of Davidson's life and work, highlighting J.R.'s contribution to modernism in California in the 1930s and 1940s.

The orthodox concept of the Modern, as it was passed down from the 1920s to the post-war era, has been in a state of crisis for quite some time. This is particularly visible in the fields of urban planning, architecture, and design. Theorists and practitioners have either fiercely defended it as a crowning historical achievement to be upheld and further cultivated, or dismissively rejected it as a short-lived and outdated episode that needs to be replaced with something different and new. Architectural theorist and practitioner Vittorio Magnago Lampugnani suggests a third option: that we reformulate our understanding of the Modern, continuing to pursue its original social and humanist ambitions while radically re-examining its ideological, political, social, technical, functional, economic, ecological, and aesthetic assumptions. Our world, which continues to be shaken by dreadful wars, is also being sapped and polluted by our thoughtlessness and our greed. The capitalist compulsion to turn everything into a commodity has led to needless production and consumption, and we are both victims and accomplices of this predicament. The consumerist frenzy has brought completely new forms of exploitation and exacerbated the unjust inequalities between different parts of our world. Starting from these premises, the author puts forward a new design approach that strives for - and is defined by - durability. This is an approach that rejects the frivolous waste of resources and superficial prolif eration of images that have become commonplace today. It offers an alternative to the contemporary fixation on spectacles, both hollow and dangerous, and instead calls for measured restraint and substantial simplicity.

For self-made artist and soldier Horace Pippin-who served in the 369th all-black infantry in World War I until he was wounded-war provided a formative experience that defined much of his life and work. His ability to transform combat service into canvases of emotive power, psychological depth, and realism showed not only how he viewed the world but also his mastery as a painter. In Suffering and Sunset, Celeste-Marie Bernier painstakingly traces Pippin's life story of art as a life story of war. Illustrated with more than sixty photographs, including works in various mediums-many in full color-this is the first intellectual history and cultural biography of Pippin. Working from newly discovered archives and unpublished materials, Bernier provides an in-depth investigation into the artist's development of an alternative visual and textual lexicon and sheds light on his work in its aesthetic, social, and political contexts. Suffering and Sunset illustrates Pippin's status as a groundbreaking artist as it shows how this African American painter suffered from but also staged many artful resistances to racism in a white-dominated art world.

The Bauhaus sought to unite life, craftsmanship, and art under one roof. In this volume, Walter Gropius provides a comprehensive overview of the Bauhaus workshops. He explains the basic principles guiding the teaching, describes contemporary developments in architecture, and illuminates the Bauhaus point of view on household utensils, which was geared toward finding the most suitable form for the respective object. Here, Gropius presents the Bauhaus workshops in Weimar devoted to furniture, metals, textiles, and ceramics, among other subjects.

Das Bauhaus ist weltweit in der Architektur ein Begriff. 100 Jahre nach der Gru ndung der Avantgarde-Schule sind die Grundsatze, die UEberzeugungen und die Erinnerung an das Bauhaus nach wie vor lebendig: Das Bauhaus ist ein Mythos, dessen Erbe auch die heutige Welt in vielerlei Hinsicht pragt. Zum 100. Geburtstag legt Detail ein Poesiealbum auf, in dem 100 Architekten und Architektinnen aus verschiedenen Kontinenten gratulieren. Der Geburtstagsband zeichnet ihre Sicht auf das Bauhaus in Kurztexten, Fotos und Skizzen auf. So entsteht ein buntes Album, das Anekdoten, Erfahrungen sowie individuelle Erlebnisse festhalt und zum Schmunzeln oder Nachdenken einladt. Anstelle einer Definition zeigen die kurzen Statements, inwiefern das Bauhaus auch heute von Bedeutung ist.

Each technical information page contains: address, a location map, an artistic photograph and an explanatory text written by an expert. In addition to a short list of specifications, a QR code refers to qualified institutional websites where more information can be found. At the foot of each page, there is a reference to the maps in the final pages, organized by area and marked with routes adapted to the proximity of each work. Four blank pages follow for writing, drawing or pasting in memories of your visit, to turn the guide into a personalized object and a souvenir at the end of your trip.

Short-listed for the Fage & Oliver Prize for outstanding scholarly work published on Africa. Finalist, African Studies Association Book Prize. Finalist, ASA Bethwell A. Ogot Prize for best book in east African studies. If modernism initially came to Africa through colonial contact, what does Ethiopia's inimitable historical condition--its independence save for five years under Italian occupation--mean for its own modernist tradition? In Modernist Art in Ethiopia--the first book-length study of the topic--Elizabeth W. Giorgis recognizes that her home country's supposed singularity, particularly as it pertains to its history from 1900 to the present, cannot be conceived outside the broader colonial legacy. She uses the evolution of modernist art in Ethiopia to open up the intellectual, cultural, and political histories of it in a pan-African context. Giorgis explores the varied precedents of the country's political and intellectual history to understand the ways in which the import and range of visual narratives were mediated across different moments, and to reveal the conditions that account for the extraordinary dynamism of the visual arts in Ethiopia. In locating its arguments at the intersection of visual culture and literary and performance studies, Modernist Art in Ethiopia details how innovations in visual art intersected with shifts in philosophical and ideological narratives of modernity. The result is profoundly innovative work--a bold intellectual, cultural, and political history of Ethiopia, with art as its centerpiece.

Text in German. The title of Paul Wegener's film Hans Trutz im Schlaraffenland, dating from 1917, alludes to Pieter Bruegel's well-known picture Cockaigne (Das Schlaraffenland). For Wegener art history, which he counted as one of his 'favourite occupations' throughout his life, was an inexhaustible treasury of images. Although he did not always allude so openly to the relationship between film and other arts as he does here, it is always a tangible presence. Wegener was one of the most striking actors in the German theatre, from the time he joined Max Reinhardt's Deutsches Theater (1906) until his death in 1948. And at a very early stage he mastered the new pictorial language of the cinema, as a leading performer, director and author of many fairy-tale-like, imaginative films. He started in 1913 with his Student of Prague, which immediately brought him world fame. The high point was the 1920 film The Golem (with sets by Hans Poelzig), which played in New York, for example, for eleven months. Films like these placed Wegener at the beginning of a brilliant epoch in German film art. Wegener's pictorial world is seen both in the context of the art of his period and in a retrospective view of the history of the motif. Pictorial comparisons and analyses from the point of view of interdisciplinary iconography are revealing about Wegener's position in artistic development. Unknown aspects emerge, which show Wegener's personality and work in a new light. Comparative observation shows that this work is the film variant on the great Neo-Romantic renewal movement, which affected all fields of life and art at the beginning of our century. It has increasingly attracted academic attention in recent years, adding an interesting early phase to the excessively one-sided image of Modernism.

The Bauhaus master Johannes Ittenis one of the prominent protagonists of early Modernism in twentieth-century art. Few people are aware of the close links between his beginnings as an artist and his experience of landscape and nature in the town of Thun and Lake Thun. Johannes Itten gained decisive impulses for the development of his concept of art and his path towards abstraction through various stations and sojourns in Thun and its surroundings. By means of examples of the representations of nature in his early work the publication shows in scholarly depth how Itten discovered his own, very personal and later internationally famous approach to art and painting style and presents his pictorial transformation of natureextending through to the artist's late works.

Unter dem faschistischen Regime wurde im Sudtiroler Martelltal 1937 das vom Architekten Gio Ponti geplante Hotel Paradiso eroeffnet. Das heute verlassene, ehemalige Sporthotel, ein langgestreckter, geschwungener Solitar, der einst die Qualitaten eines Luxushotels mit denen einer Schutzhutte zu kombinieren vermochte, wurde als Gesamtkunstwerk geplant. Eine Besonderheit sind Gio Pontis Studien zum eigenwilligen und bis ins Detail entworfenen Farbkonzept, das auf vier Grundfarben basierend fur die Wande und Decken der Raume verwendet wurde. Mangelnde Wartung und Vandalismus haben dem Hotel seit der Schliessung 1946 arg zugesetzt. Vor dem Hintergrund der Wurdigung der Anlage als Gesamtwerk und einer sorgfaltigen Bestandsaufnahme ist es moeglich, den Entwurfsprozess von den ersten Skizzen bis zur Ausfuhrung zu verfolgen.

"The marvelous story of one of New York City's most unique buildings
"Critics hated it. The public feared it would fall over. Passersby were knocked down by the winds. But even before it was completed, the Flatiron Building had become an unforgettable part of New York City.

Alice Sparberg Alexiou chronicles not just the story of the building, but the heady times in which it was built. It was the dawn of the twentieth century, a time when Madison Square Park shifted from a promenade for rich women to one for gay prostitutes; when photography became an art; motion pictures came into existence; the booming economy suffered increasing depressions; jazz came to the forefront of popular music--and all within steps of one of the city's best-known and best-loved buildings.

Text in English & German. When architects design a house for themselves, the often tense relationship between clients and builders is usually absent. That is why in many such buildings the architect-designers artistic stance and political position, preferences and antipathies, temperament and character are more pronounced than usual. Moreover the architectural theories, debates and trends of an epoch also leave their traces in them in a particular way. We encounter both attachment to tradition and commitment to the avant-garde, willingness to experiment and pragmatism, distinctive artistry and views shaped by the fact that a building is also a product of engineering. And last but not least, expressed in their houses are the personal life circumstances of the people concerned, or the messages the houses are meant to convey above and beyond their actual purpose: as a 'manifesto', as the 'self-portrait' of the architect, but also as an advertising tool or as a sign of connection to specific milieux or positions. Building for oneself has a special connotation under the conditionsof migration and exile. Among the most prominent examples are the private homes of Rudolph Schindler in West Hollywood (1921/22), Richard Neutra in Los Angeles (1932), Walter Gropius in Lincoln, Massachusetts (1937/1938), Ernst May near Nairobi (1937/1938), Bruno Taut in Istanbul (1937/1938), Ernoe Goldfinger in London (19371939), Marcel Breuer in New Canaan, Connecticut (1938/1939 and 1947/1948), Josep Lluis Sert in Lattingtown, New York (19471950) and Max Cetto in Mexiko-Stadt (1948/1949). What expression could voluntary migration or forced change of location find in these buildings? To what extent do the architects other buildings differ from such 'homes of ones own' in a foreign country, to use an expression borrowed and modified from Virginia Woolf? The book is a collection of contributions by internationally renowned authors and examines not only the buildings themselves but also other aspects of the topic that have hitherto received little attention.

This richly illustrated book explores the contested history of art and nationalism in the tumultuous last decades of British rule in India. Western avant-garde art inspired a powerful weapon of resistance among India's artists in their struggle against colonial repression, and it is this complex interplay of Western modernism and Indian nationalism that is the core of this book. "The Triumph of Modernism" takes the surprisingly unremarked Bauhaus exhibition in Calcutta in 1922 as marking the arrival of European modernism in India. In four broad sections Partha Mitter examines the decline of oriental art and the rise of naturalism as well as that of modernism in the 1920s, and the relationship between primitivism and modernism in Indian art: with Mahatma Gandhi inspiring the Indian elite to discover the peasant, the people of the soil became portrayed by artists as noble savages. A distinct feminine voice also evolved through the rise of female artists. Finally, the author probes the ambivalent relationship between Indian nationalism and imperial patronage of the arts. With a fascinating array of art works, few of which have either been seen or published in the West, "The Triumph of Modernism" throws much light on a previously neglected strand of modern art and introduces the work of artists who are little known in Europe or America. A book that challenges the dominance of Western modernism, it will be illuminating not just to students and scholars of modernism and Indian art, but to a wide international audience that admires India's culture and history.