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Research into bio-based epoxy resins has intensified in recent decades. Here, it is of great importance to use raw materials whose use does not compete with food production. In addition, the performance of the newly developed materials should be comparable to that of conventional products. Possible starting materials are lignin degradation products, such as vanillin and syringaldehyde, for which new synthesis routes to the desired products must be found and their properties determined. In this article, the first synthesis of two amine hardeners, starting with vanillin and syringaldehyde, using the Smiles rearrangement reaction is reported. The amine hardeners were mixed with bisphenol A diglycidyl ether, and the curing was compared to isophorone diamine, 4-4′-diaminodiphenyl sulfone, and 4-Aminonbenzylamine by means of differential scanning calorimetry. It was found that the two amines prepared are cold-curing. As TG-MS studies showed, the thermal stability of at least one of the polymers prepared with the potentially bio-based amines is comparable to that of the polymer prepared with isophorone diamine, and similar degradation products are formed during pyrolysis.
Physical exercise demonstrates a special case of aerosol emission due to its associated elevated breathing rate. This can lead to a faster spread of airborne viruses and respiratory diseases. Therefore, this study investigates cross-infection risk during training. Twelve human subjects exercised on a cycle ergometer under three mask scenarios: no mask, surgical mask, and FFP2 mask. The emitted aerosols were measured in a grey room with a measurement setup equipped with an optical particle sensor. The spread of expired air was qualitatively and quantitatively assessed using schlieren imaging. Moreover, user satisfaction surveys were conducted to evaluate the comfort of wearing face masks during training. The results indicated that both surgical and FFP2 masks significantly reduced particles emission with a reduction efficiency of 87.1% and 91.3% of all particle sizes, respectively. However, compared to surgical masks, FFP2 masks provided a nearly tenfold greater reduction of the particle size range with long residence time in the air (0.3–0.5 μm). Furthermore, the investigated masks reduced exhalation spreading distances to less than 0.15 m and 0.1 m in the case of the surgical mask and FFP2 mask, respectively. User satisfaction solely differed with respect to perceived dyspnea between no mask and FFP2 mask conditions.
This paper addresses the scope for action by municipalities in a climate emergency and places it in the framework of ecomodern (urban) policy. We analyse the way in which two German ‘climate emergency municipalities’ translate conflicts of post-fossil transformation into concrete political and planning strategies. Although more than 2,200 authorities around the world have already declared a climate emergency, research on the impact of these resolutions on the political orientation of municipalities is very limited. Our research focus is on the (potentially agonistic) treatment of conflicts in planning. We argue that in times of a socio-ecological crisis, success in conflict resolution cannot refer to appeasement and depoliticisation. Instead, we propose a framework of five criteria, based on critical theory on ecomodern strategies, planning processes and degrowth. Thus, this practice-related and explorative paper connects empirical insights from the German cities of Constance and Berlin with an innovative normative framework. The findings tell a complex story of an, at least partial, admission of the failure of previous climate mitigation strategies, a lack of social institutions of limits, an instrumental relation to nature and a disregard for social injustices. The paper discusses how municipalities, in the context of ongoing tensions over the post-fossil transformation in Germany, on the one hand hold on to business-as-usual approaches, but on the other hand also set political impulses for change.
The present article aims to provide an overview of the consequences of dynamic soil-structure interaction (SSI) on building structures and the available modelling techniques to resolve SSI problems. The role of SSI has been traditionally considered beneficial to the response of structures. However, contemporary studies and evidence from past earthquakes showed detrimental effects of SSI in certain conditions. An overview of the related investigations and findings is presented and discussed in this article. Additionally, the main approaches to evaluate seismic soil-structure interaction problems with the commonly used modelling techniques and computational methods are highlighted. The strength, limitations, and application cases of each model are also discussed and compared. Moreover, the role of SSI in various design codes and global guidelines is summarized. Finally, the advancements and recent findings on the SSI effects on the seismic response of buildings with different structural systems and foundation types are presented. In addition, with the aim of helping new researchers to improve previous findings, the research gaps and future research tendencies in the SSI field are pointed out.
Audiovisuelles Cut-Up
(2023)
Diese Forschungsarbeit bezeichnet und analysiert ein ästhetisches Phänomen audiovisueller Arbeiten mit sehr schnellen Schnitten. Der Begriff „Audiovisuelles Cut-Up“ wird vorgeschlagen um dieses Phänomen zu bezeichnen. Verschiedenste audiovisuelle Arbeiten aus unterschiedlichen Kontexten werden analysiert, welche das formale Kriterium von extrem kurzen Einstellungen erfüllen – einschließlich der eigenen Forschungsbeiträge des Autors. Die Werkzeuge und Technologien, welche die neuartige Ästhetik ermöglichten werden vorgestellt. Oftmals wurden diese von den Künstlern selbst geschaffen, da fertige Lösungen nicht verfügbar waren. Audiovisuelle Cut-Ups werden nach Kontext und Medium systematisiert und verortet. Es schließen sich Beobachtungen an, in wie fern Audio und Video sich in ihrem Charakter unterscheiden, was die kleinste wahrnehmbare Einheit ist und welche Rolle Latenzen und Antizipation bei der Wahrnehmung von audiovisuellen Medien spielen.
Drei Hauptthesen werden Aufgestellt: 1. Audiovisuelles Cut-Up hat die Kraft winzige, vormals überdeckte Details deutlich zu machen. Damit kann es das Quellmaterial verdichten aber auch den Inhalt manipulieren. 2. Technische Entwicklungen haben das audiovisuelle Cut-Up hervorgerufen. 3. Heute ist die Ästhetik als ein Stilmittel im Werkzeugkasten audiovisueller Gestaltung etabliert.
Antimicrobial resistances (AMR) are ranked among the top ten threats to public health and societal development worldwide. Toilet wastewater contained in domestic wastewater is a significant source of AMR entering the aquatic environment. The current commonly implemented combined sewer systems at times cause overflows during rain events, resulting in the discharge of untreated wastewater into the aquatic environment, thus promoting AMR. In this short research article, we describe an approach to transform combined sewer systems into source separation-modified combined sewer systems that separately treat toilet wastewater. We employ simulations for demonstrating that source separation-modified combined sewer systems reduce the emission of AMR- causing substances by up to 11.5 logarithm levels. Thus, source separation- modified combined sewer systems are amongst the most effective means of combating AMR.
KEYWORDS
The most fundamental understating of hybridization methodology takes the form of stable but dynamic notions, accumulated over time in the memory of individuals. Schematized and abstracted, the hybrids representation needs to be reproduced and reused in order to reconstruct and bring back other memories. Reinvented, or reused hybrids can support getting access to social, traditional, religious understanding of nations. In this manner, they take the form of the messenger / the mediator an innate, equivalent to the use of mental places in the art of memory. We remember mythology in order to remember other things.
From individual memory perspective, or group collective memory, the act of recollection is assumed to be an individual act, biologically based in the brain, but by definition conditioned by social collectives. Following Halbwachs, this thesis does not recognize a dichotomy between individual and collective memory as two different types of remembering. Conversely, the collective is thought of as inherent to individual thought, questioning perspectives that regard individual recollection as isolated from social settings. The individual places himself in relation to the group and makes use of the collective frameworks of thought when he localizes and reconstructs the past, whether in private or in social settings. The frameworks of social relations, of time, and of space are constructs originating in social interaction and distributed in the memory of the group members. The individual has his own perspective on the collective frameworks of the group, and the group’s collective frameworks can be regarded as a common denominator of the individual outlooks on the framework.
In acts of remembering, the individual may actualize the depicted symbols in memory, but he could also employ precepts from the environment. The latter have been referred to as material or external frameworks of memory, suggesting their similar role as catalysts for processes of remembrance such as that of the hybrids in my paintings. It is only with reference to the hybrids, who work as messengers / mediators with a dual nature, that communicate between the past and the present, the internal and external space, that individual memory and group memory is in focus.
The exhibition at the Egyptian museum in Leipzig is my practical method to create a communicative memory, using hybrids as mediators in cultural transimission, as when the act refers to informal and everyday situations in which group members informally search for the past, it takes place in the communicative
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memory. As explained in chapter one, the exhibition at the Egyptian museum in Leipzig is an act of remembering in search for the past with support of my paintings, which then can considered as part of the cultural memory.
In addition to the theoretical framework summarized above, I have applied my hypothesis practically in the form of the public exhibition, and shared the methodology with public audience from Cairo / Egypt and Leipzig / German in the form of visual art workshops and open discussions. I have also suggested an analyzed description of the meaning of hybrids in my artwork as mediators and messengers for the purpose of cultural transmission, as well as in relation to other artists’ work and use of a similar concept.
By using my hybrid creatures in my visual artwork, I am creating a bridge, mediators to represent both the past and the present, what we remember of the past, and how we understand the past. It is as explained in chapter two; that the hybridization methodology in terms of double membership represented in different cultures –Cairo / Egypt and Leipzig / Germany- can provide a framework which allows artistic discussions and could be individually interpreted, so individual cultures / individual memory can become transparent without losing their identities and turn into communicative memory. This transmission through the hybridization theoretical approech was explicitly clarified with the support of Krämer’s hypothesis. The practical attempt was examined by creating a relationship between the witness –me as an artist– and the audience –the exhibition visitors–, to cross space and time, not to bridge differences, rather to represent the contrasts transparently.
The Kin-making proposition is adopted by many academics and scholars in modern society and theoretical research; the topic was represented in the roots of the ancient Egyptian mindset and supported theoretically by similar understandings such as Haraway’s definition of kin-making. The practical implementation of kin- making can be observed in many of my artwork and was analyzed visually and artistically in chapter three.
My practical project outcome tested success by using hybrids in my paintings as mediators, it opened a communicative artistic discussion. This methodology gave a possible path of communication through paintings / visual analyses, and offered relativity through image self-interpretation.
In this work, practice-based research is conducted to rethink the understanding of aesthetics, especially in relation to current media art. Granted, we live in times when technologies merge with living organisms, but we also live in times that provide unlimited resources of knowledge and maker tools. I raise the question: In what way does the hybridization of living organisms and non-living technologies affect art audiences in the culture that may be defined as Maker culture? My hypothesis is that active participation of an audience in an artwork is inevitable for experiencing the artwork itself, while also suggesting that the impact of the umwelt changes the perception of an artwork. I emphasize artistic projects that unfold through mutual interaction among diverse peers, including humans, non-human organisms, and machines. In my thesis, I pursue collaborative scenarios that lead to the realization of artistic ideas: (1) the development of ideas by others influenced by me and (2) the materialization of my own ideas influenced by others. By developing the scenarios of collaborative work as an artistic experience, I conclude that the role of an artist in Maker culture is to mediate different types of knowledge and different positions, whereas the role of the audience is to actively engage in the artwork itself. At the same time, aesthetics as experience is triggered by the other, including living and non-living actors. It is intended that the developed methodologies could be further adapted in artistic practices, philosophy, anthropology, and environmental studies.
Urban Heat Transition in Berlin: Corporate Strategies, Political Conflicts, and Just Solutions
(2023)
In the field of urban climate policy, heat production and demand are key sectors for achieving a sustainable city. Heat production has to shift from fossil to renewable energies, and the heat demand of most buildings has to be reduced significantly via building retrofits. However, analyses of heat transition still lack its contextualization within entangled urban politico-economic processes and materialities and require critical socio-theoretical examination. Asking about the embeddedness of heat transition within social relations and its implications for social justice issues, this article discusses the challenges and opportunities of heat transition, taking Berlin as an example. It uses an urban political ecology perspective to analyze the materialities of Berlin’s heating-housing nexus, its politico-economic context, implications for relations of inequality and power, and its contested strategies. The empirical analysis identifies major disputes about the future trajectory of heat production and about the distribution of retrofit costs. Using our conceptual approach, we discuss these empirical findings against the idea of a more just heat transition. For this purpose, we discuss three policy proposals regarding cost distribution, urban heat planning, and remunicipalization of heat utilities. We argue that this conceptual approach provides huge benefits for debates around heat transition and, more generally, energy justice and just transitions.
Beyond metropolitan areas, many peripheral regions and their cities in Europe have, in manifold ways, been significantly shaped by industrialisation. In the context of the relocation of industrial production to other countries over the last decades, the question has been raised as to the role this heritage can play in futural regional development as well as the potential local identification with this history. Hence, this article seeks to analyse the perception of the industrial heritage in the Vogtland region, located alongside the border of three German federal states and the Czech Republic. It inquires as to the perception of the industrial heritage by the local population and related potential future narrations. Based on spontaneous and explorative interviews with local people as an empirical base, a discrepancy between the perception of the tangible and intangible dimensions of the industrial heritage can be observed. On the one hand, the tangible heritage like older factories and production complexes are seen as a functional legacy and an “eyesore” narrative is attributed to them. On the other hand, people often reference the personal and familial connection to the industry and highlight its importance for the historical development and the wealth of the region. But these positive associations are mainly limited to the intangible dimension and are disconnected from the material artefacts of industrial production.