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Text in English & German. The way we sit simultaneously defines
privileges, social status, power, and taboos. Parallel to the
presentation of China as the guest of honour at the Frankfurt Book
Fair 2009, the Museum fur Angewandte Kunst in Frankfurt presents a
panorama of Chinese sitting culture through a period of five
centuries. Exclusive, noble Ming chairs stand side by side with
chairs of the 18th and 19th century used by the middle class of
that time. Limited sitting sculptures by renowned artist designers
such as Shao Fan, Freeman Lau, Kenneth Cobonpue, XYZ-Design and Ji
Liwei, who is also in charge of the interior design of the Chinese
pavilion at the book fair, are confronted with the bourgeois sofas
and sitting of the Chinese middle class of today. The "Bastard
Chairs" of migrant workers and the homeless, day-to-day seats
improvised out of pure need and made of trash and leftover
materials, are commented in the sitting contexts of celebrities:
emperors and courtesans, politicians and pop stars, athletes and
students of product design show how sitting was done formerly and
is done today. It ranges from a man of letters from the Ming era to
the Qianglong emperor on the throne to Mao and Nixon in
characteristic armchairs in Mao's best room. The most famous
contemporary Chinese artist, Ai Weiwei, will also be represented
with an excerpt of his grandiose chair performance at the Dokumenta
XII. Of course, product piracy, which -- as the typical Chinese
dipping figure "Shanzhai" -- has mean-while adopted characteristics
that define society, is also dealt with.
BASIC wird sicherlich noch fur geraume Zeit die wohl verbreitetste
Programmiersprache darstellen. Den Vorteilen der leichten Erlern
barkeit und der interaktiven Programmerstellung stehen allerdings
einige Nachteile gegenuber, die bei der Verwendung von Turbo BASIC
entfallen, ohne dass die Vorteile des Interpreter-BASIC aufgegeben
werden mussten. Die Vorteile von Turbo BASIC lassen sich jedoch nur
dann umfassend nutzen, wenn man von einigen Techniken der ublichen
BASIC-Program mierung Abstand nimmt: Verwendung von
Programmablaufplanen, Voran stellen von Zeilennummern mit der
Formulierung von unbedingten Sprunganweisungen zu diesen Nummern,
Ausgliederung von Unterpro grammen, die lediglich mittels GOSUB und
RETURN angesprochen werden. Die Strukturierungsmoglichkeiten von
Turbo BASIC, die die Ermitt lung der Problemlosungen vereinfachen
und die Programme ubersicht licher werden lassen, sind nur dann
optimal zu nutzen, wenn man anstelle der Programm-Ablauf-Plane
Struktogramme (Nassi-Shneider man-Diagramme) verwendet.
Zeilennummern konnen eingesetzt werden; sie sind jedoch abgesehen
von Fallen der Fehlersuche mittels Trace-Laufen, bei denen sie
gezielt an kritischen Punkten des Programmes einzufugen sind, uber
flussig und sollten daher auch entfallen, um nicht doch zu einem
"GOTO 597" zu verleiten. Da Turbo BASIC anders als z.B. Pascal -
samtliche Struktur- rungselemente vollstandig durch schlusselworte
klammert, lasst sich ein Struktogramm eins zu eins in ein
Turbo-BASIC-Programm ubertra gen - umgekehrt lasst sich aus einem
Turbo-BASIC-Programm direkt das zugrundeliegende Struktogramm
ablesen, sofern der im Abschnitt 2.4 vorgeschlagene Weg der
Einruckung der Programmzeilen verfolgt wird."
Im Bereich der privaten Computeranwendung ist BASIC weitverbrei
tet. Dennoch lohnt es sich, einmal die Sprache COMAL COMmon
Algorithmic Language naher zu betrachten. FUr die im Vorwort
angesprochene Gruppe der SchUler, Studenten und Hobby-Programmierer
ist von besonderer Bedeutung, daB der Weg von der Problemlosung zum
lauffahigen Programm moglichst kurz und ein fach gehalten ist; der
Umgang z.B. mit mehreren Bedienungsebenen ist zu Ubungsintensiv.
Der Weg von der Problemlosung zum Programm ist bei der Sprache
BASIC extrem kurz - das ist sicher zumindest einer der GrUnde fUr
ihre weite Verbreitung. Den Vorteilen der Sprache BASIC -
Dialogfahigkeit, gute Fehler lokalisierung, Fehlen von zusatzlichen
Befehlstrennzeichen infolge der Zeilenorientierung der Sprache -
stehen jedoch einige Nach teile gegenUber, die insbesondere dann
zum Tragen kommen, wenn die zu erstellenden Programme Uber den
'IO-Zeiler' hinausgehen. So gibt es in den verbreiteten
BASIC-Dialekten zwar die Zahl schleife, es fehlen jedoch
Sprachelemente, die es gestatten, eine Folge von Anweisungen zu
wiederholen, solange eine bestimmte Bedingung erfUllt ist bzw. bis
eine Bedingung erfUllt ist. Die Simulation derartiger Moglichkeiten
mit Hilfe von 'goto Zeilen nummer' - Anweisungen erschwert die
Lesbarkeit von Programmen wesentlich. UnglUcklich ist weiterhin die
Verwendung eines Symbols fUr zwei Zusammenhange. Der dynamische
Vorgang, einer Variablen ein n Wert zuzuweisen, sollte streng von
dem statischen Vorgang des Uber prUfens der Ubereinstimmung zweier
Terme getrennt werden - in der Sprache BASIC Ubernimmt das
'='-Zeichen beide Bedeutungen. Hier wUrde die Verwendung des
symbolisierten Zuweisungspfeiles ' =' die Lesbarkeit der Programme
deutlich erhohen."
Sculptor Claus Bury (b. 1946) has been enhancing public spaces in
Germany for more than four decades with his monumental sculptures,
which by now total more than 100. His canon of forms is comprised
of geometric basic corpuses, such as squares and cubes, triangles
and pyramids, rectangles, rhombuses and segments, which he employs
in a contemporary Archaic style oriented on the antique structures
of Egypt, Greece and Mexico. Bury's sculptures are almost always
accessible, and the contingent changes in perspective do not only
thematise the basic requirements of the human experience of form
and space; they also articulate people's experience in their
surroundings, impressively underpinning Hegel's theory that the
world has a 'house character' and that man is fundamentally a
domestic creature. A spectacular review of Claus Bury's monumental
works in ships, gates, houses, arches, bridges and temples. Text in
English and German.
Text in German. The theme of this book is nutrition: the
manufacture and availability of foodstuffs, and their preparation
and presentation in the context of a societys social and cultural
development. Nutrition and physical wellbeing are closely linked.
Human beings and animals alike need to eat in order to survive. In
our rich industrial nations, where the availability of food is
taken for granted, attitudes towards food tend toward extremes:
asceticism on the one hand, and overindulgence and excess on the
other. Over the centuries, methods of food consumption and food
preparation have become refined in tandem with the ever more
differentiated organisation of human coexistence between these two
poles. Regional and social differences in taste-related culture
have arisen, each representative of the lifestyle of their time.
Today, cooking and the arranging of food may have an almost
artistic form, with high expectations for the quality of the
product and its preparation. The fact is, however, that we live in
a society in which almost all products are industrially produced.
We have no power to influence the production process, and the lists
of ingredients on the packaging that provide information on the
composition of individual foods are puzzling, and make us doubt
whether the product is really what it pretends to be. In a
wide-ranging tour dhorizon, this book investigates the complex
contemporary semantic fields of foods, their production and
preparation, their presentation in a commercial context, and their
marketing in the media. The author also takes a critical look at
the new enthusiasm for DIY food production, baking, and even
livestock slaughter, and examines the star system way cooking is
presented in the media. The resulting book is a cultural history of
food and of eating from a cultural history, sociology, psychology,
economy, and media perspective, as they exist within the
contemporary discourse on nutrition with its extremes of hype and
hubris. Volker Fischer was deputy director of the Deutsches
Architekturmuseum in Frankfurt am Main for over ten years. From
1994 to 2012 he has built up a new design department at the Museum
for Applied Arts in Frankfurt. At the same time, he taught on the
history of architecture and design at the Hochschule fur Gestaltung
in Offenbach. Fischer is already represented in Edition Axel Menges
by books on Stefan Heiliger, Richard Meier, Stefan Wewerka, the
Commerzbank in Frankfurt am Main by Norman Foster, Hall 3 of Messe
Frankfurt by Nicholas Grimshaw, on "beauty design" as well as on
the design activities of Lufthansa and Apple.
Text in English and German. The basic features of Deutsche
Lufthansa's present corporate image emerged almost 45 years ago. It
was created by Otl Aicher, one of the principal figures at the now
legendary Hochschule fur Gestaltung in Ulm. Another work by Aicher
that spoke to the whole of Germany, as it were (and still does, in
rudiments), is the 1972 corporate image for the Zweites Deutsches
Fernsehen. The corporate image he created for the Olympic Games in
Munich, which made an essential contribution to the ambience of the
event, has also remained memorable. Since the ideas developed by
Aicher and his colleagues were implemented in the early sixties,
the airline has been seen world-wide as a perfect example of a
consistently developed corporate image. Aicher based himself on
ideas from the Deutscher Werkbund and took the company's entire
inventory into consideration: "house colours, pictorial and
typographic logos, typeface, graphic and typographic rules and
standards, photographic style, quality of support materials,
packaging, exhibition systems, architectural characteristics, forms
(design) of interior furnishings and equipment, style of work and
service clothes". As well as Otl Aicher, numerous other product and
graphic designers, fashion designers and advertising and marketing
agencies have worked for Lufthansa. They include Otto Firle, whose
ideas led to the crane logo, Hartmut Esslinger and his company frog
design, Priestman & Goode, Muller Romca Industriedesign, Don
Wallance, Wilhelm Wagenfeld, Hans Theo Baumann, Nick Roericht,
Wolfgang Karnagel, Topel & Pauser and the bhar design practice,
fashion designers Uli Richter, Ursula Tautz and Werner Machnick,
Jurgen Weiss, Gabriele Strehle and the Jobis company as well as the
agencies Zintzmeyer & Lux, the Peter Schmidt Group, Ogilvy
& Mather, Young & Rubicam, Spiess/Ermisch/Abel, Springer
& Jacoby, McCann & Erickson and Fanghanel & Lohmann. An
exhibition of the same name at the Museum for Applied Arts in
Frankfurt deals with the same subject as the book.
Text in English & German. Cosmetically-enhanced beauty is
something that has existed for decades. Over the course of the last
century, however, a cosmetics industry has arisen that is worth
millions. Its products claim to optimise visual appearance, to
bestow inner and outer health and to delay aging, under a veneer of
medical credibility and reliable results. Cosmetics deals in
alleged 'deep-acting' substances, which are supposed to detoxify
and to purify the body from within. However, the whole arsenal of
cosmetic ingredients is founded more on persuasion than conviction.
Cosmetics is always a matter of mimicking an ideal. To this extent,
cosmetic discourse deals in what might be described as an
iconography of hunger -- it requires and is predicated upon a
feeling of lack. At the same time, it promises to remedy that lack.
The referential frame for cosmetics is constituted by cultural
history and iconology, by semiotics and sociology, by psychology
and rhetoric. Like fashion, it has called into being a linguistic
system of considerable depth and complexity; one that draws its
subtexts from futurology and history, from medicine and alchemy,
from nostalgia and from heritage preservation. Cosmetics are
supposed to make one more attractive and more seductive -- to make
one positively irresistible, in fact. Cosmetics hold out the
prospect of sexiness to women and men alike. All that one has to do
is to acquire the right creams and lotions, the right palette of
powders and rouges, of lipsticks and mascara, and one has a form of
beauty that can be bought! The persuasive power of cosmetics is as
dominant as it is irresistible. All of us could resist it if we
wished to. And yet we don't wish to. This book exposes the
rhetorical system behind the promises of cosmetics in terms of the
histories of cultures and of mentalities, analysing the
verbal/visual messages of selected examples. The internationally
known architecture and design historian Volker Fischer was deputy
director of the Deutsches Architekturmuseum in Frankfurt am Main
for over ten years. Since 1995 he has built up a new design
department in the Museum for Applied Arts in Frankfurt; in addition
to his museum work he teaches history of architecture and design at
the Hochschule fur Gestaltung in Offenbach. Volker Fischer is
already represented in Edition Axel Menges by books on Stefan
Wewerka, Richard Meier, the Commerzbank in Frankfurt by Norman
Foster, Hall 3 of Messe Frankfurt am Main by Nicholas Grimshaw, and
the design activities of Lufthansa.
Text in English & German. Apple Inc, the Californian computer
company, has been marked by unparalleled success over the past
three and a half decades. Like no other company, it has succeeded
in shifting the focus of use from utility to coveted possessions
when it comes to computers and electronic entertainment devices
such as the iPod, the iPhone and the iPad. In addition, each of the
products in the i-family have changed their product genres
technologically and ergonomically to such an extent that not only
have all competitors adopted these new 'user guidances', but
hundreds of complementary products have been created around these
products as well, from a wide range of accessories to docking
stations (ie: veritable radios with external speakers for the iPods
and iPhones) that allow users to experience the stored music
without headphones. The iPhone has compelled all manufacturers of
mobile phones to add smart phones with touch sensitive screens, the
touch phones, to their programs. And the iPad will fundamentally
transform the handling of video and news as well. Since the
introduction of the iPhone, over 200,000 special application
programs, the so-called apps, have been made available for these
i-devices. In their product genres, these devices have each caused
a paradigm shift: they are both leading and cult products, and they
represent a development that has leveraged the mobile Internet and
delocalised the act of surfing from the home to almost anywhere.
The book comments upon this process of 'disruptive technologies',
which has taken place only very rarely in the history of technology
and design. They leaf through the preconditions and position these
innovative devices in product-historical, social, and psychological
contexts.
Text in English & German. The inhabitants of our cities have
undoubtedly come down with a gardening virus. Gardening is being
propagated as the new sex. Wherever one looks, a gardening euphoria
is in bloom. We only have to think of the riverbanks restored to
their natural state, the urban gardening and urban farming projects
springing up all over the world, the green skyscrapers (prospective
and actually built) such as, for instance, the utopian farmscrapers
of Vincent Callebout, the conversion of former high rail lines into
green recreation spaces, the meditation gardens of Piet Oudolf, and
the vertical gardens of Patrick Blanc. We dwell on the growing and
sprouting, on the sowing and harvesting, with a kind of covert
pleasure and sublimated erotic desire. These days, we feel close to
greenery, just as we feel close to our pets. We tend and nurture
the seeds and stalks, the leaves and flowers, the shrubs and
grasses, the bushes and trees, with a matchless solicitude. These
culturally coded natural phenomena also have therapeutic qualities,
because they offer us self-determination and the possibility to
share in social development. This is nothing less than the
reintegration of the first, primal nature into the context of the
conditions that have become ubiquitous today into the context of
what has, today, become 'second nature'. For some people, such as
the campaigners of 'Guerilla Gardening', these plants, wild and
domestic, provide a way of criticizing the system; others, such as
vertical planners of wall gardens like Ken Yeang, utopia-infatuated
and bitten by the green bug, presumably see themselves as an
avant-garde working in harmony with the system. All of those coming
down the garden virus, however, have in common that they see
themselves as reformers, as campaigners and as voices arguing for a
reconciliation the first and the second, ubiquitous urban, nature,
but also between the ecology and the economy. Volker Fischer was
deputy director of the Deutsches Architekturmuseum in Frankfurt am
Main for over ten years. From 1994 to 2012 he has built up a new
design department at the Museum for Applied Arts in Frankfurt. At
the same time, he taught on the history of architecture and design
at the Hochschule fur Gestaltung in Offenbach. Fischer is already
represented in Edition Axel Menges by books on Stefan Heiliger,
Richard Meier, Stefan Wewerka, the Commerzbank in Frankfurt am Main
by Norman Foster, Hall 3 of Messe Frankfurt by Nicholas Grimshaw,
on 'beauty design' as well as on the design activities of Lufthansa
and Apple.
Diplomarbeit aus dem Jahr 2006 im Fachbereich Psychologie -
Medienpsychologie, Note: 1,0, Universitat des Saarlandes, 140
Quellen im Literaturverzeichnis, Sprache: Deutsch, Anmerkungen: Die
Diplomarbeit umfasst ca. 300 Seiten, detaillierte statistische
Berechnungen und ein Thema (Emotionen in der Medienpsychologie),
das im Kontext der heutigen Medienlandschaft immer spannender
werden wird., Abstract: Wir leben in einem medialen Zeitalter. Ob
man das standig wachsende Internet und die riesige Schar seiner
Nutzer in den Fokus der Aufmerksamkeit zieht, sich die unzahligen
Zeitschriften, Magazine und Werbebroschuren vergegenwartigt oder
Statistiken uber durchschnittliche Fernsehnutzungszeiten zu Gesicht
bekommt: die Omniprasenz der Medien ist zum Kennzeichen der
heutigen Informationsgesellschaft geworden.
Text in English and German. The distinguished architect and
Pritzker laureate Richard Meier has attracted public attention
mainly with his museum and cultural buildings including the
Atheneum in New Harmony, Indiana, the Museum fur Angewandte Kunst
in Frankfurt, the High Museum of Art in Atlanta, the Getty Center
in Los Angeles, the Stadthaus in Ulm and the Museu d'Art
Contemporani de Barcelona. The book accompanies the exhibition of
the same name at the Museum for Applied Arts in Frankfurt, which
has recently been relaunched with differently conceived museum
facilities and new service areas; these are addressed in detail in
an appendix to the book.
Norman Foster, one of the most consistent advocates of architec-
ture based on modern technology, achieved a world-wide reputa- tion
with the headquarters for the Hongkong & Shanghai Banking
Corporation in Hong Kong, Stansted Airport in London, Century Tower
in Tokyo and his telecommunications tower in Barcelona. His most
important projects in Germany are the conversion of the Reichstag
building in Berlin and the new Commerzbank headquar- ters in
Frankfurt am Main.
Diese Textsammlung vereint Schlusseltexte zu den wesentlichen
designtheoretischen Positionen des 20. Jahrhunderts. Sie fuhrt in
asthetische Fragestellungen zu Aspekten der materiellen
Erscheinungsweise von Gegenstanden ein. Die Beitrage u.a. von Adolf
Loos, Le Corbusier, Theodor W. Adorno und Frank Lloyd Wright
beschaftigen sich mit dem Verhaltnis von Handwerk und Industrie,
den Debatten um Ornament und Stil sowie mit dem Funktionalismus und
seinen Kritikern.
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