@article{SimonRitz, author = {Simon-Ritz, Frank}, title = {"Kultur ist Reichtum an Problemen": Wie sich der Kultur-Begriff der UNESCO an Egon Friedell ann{\"a}herte}, series = {Palmbaum: Literarisches Journal aus Th{\"u}ringen}, volume = {2023}, journal = {Palmbaum: Literarisches Journal aus Th{\"u}ringen}, number = {Heft 1}, publisher = {Quartus Verlag}, address = {Bucha bei Jena}, doi = {10.25643/bauhaus-universitaet.4952}, url = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230411-49524}, pages = {4}, abstract = {Der in H. 1/2023 erschienene Essay f{\"u}hrt Gedanken einer in H. 1/2022 des "Palmbaum" erschienene Betrachtung (https://doi.org/10.25643/bauhaus-universitaet.4628) weiter. Im Zentrum stehen dabei die Bem{\"u}hungen der UNESCO um das immaterielle Kulturerbe.}, subject = {UNESCO}, language = {de} } @phdthesis{Ajjour, author = {Ajjour, Yamen}, title = {Addressing Controversial Topics in Search Engines}, doi = {10.25643/bauhaus-universitaet.6403}, url = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230626-64037}, school = {Bauhaus-Universit{\"a}t Weimar}, pages = {133}, abstract = {Search engines are very good at answering queries that look for facts. Still, information needs that concern forming opinions on a controversial topic or making a decision remain a challenge for search engines. Since they are optimized to retrieve satisfying answers, search engines might emphasize a specific stance on a controversial topic in their ranking, amplifying bias in society in an undesired way. Argument retrieval systems support users in forming opinions about controversial topics by retrieving arguments for a given query. In this thesis, we address challenges in argument retrieval systems that concern integrating them in search engines, developing generalizable argument mining approaches, and enabling frame-guided delivery of arguments. Adapting argument retrieval systems to search engines should start by identifying and analyzing information needs that look for arguments. To identify questions that look for arguments we develop a two-step annotation scheme that first identifies whether the context of a question is controversial, and if so, assigns it one of several question types: factual, method, and argumentative. Using this annotation scheme, we create a question dataset from the logs of a major search engine and use it to analyze the characteristics of argumentative questions. The analysis shows that the proportion of argumentative questions on controversial topics is substantial and that they mainly ask for reasons and predictions. The dataset is further used to develop a classifier to uniquely map questions to the question types, reaching a convincing F1-score of 0.78. While the web offers an invaluable source of argumentative content to respond to argumentative questions, it is characterized by multiple genres (e.g., news articles and social fora). Exploiting the web as a source of arguments relies on developing argument mining approaches that generalize over genre. To this end, we approach the problem of how to extract argument units in a genre-robust way. Our experiments on argument unit segmentation show that transfer across genres is rather hard to achieve using existing sequence-to-sequence models. Another property of text which argument mining approaches should generalize over is topic. Since new topics appear daily on which argument mining approaches are not trained, argument mining approaches should be developed in a topic-generalizable way. Towards this goal, we analyze the coverage of 31 argument corpora across topics using three topic ontologies. The analysis shows that the topics covered by existing argument corpora are biased toward a small subset of easily accessible controversial topics, hinting at the inability of existing approaches to generalize across topics. In addition to corpus construction standards, fostering topic generalizability requires a careful formulation of argument mining tasks. Same side stance classification is a reformulation of stance classification that makes it less dependent on the topic. First experiments on this task show promising results in generalizing across topics. To be effective at persuading their audience, users of an argument retrieval system should select arguments from the retrieved results based on what frame they emphasize of a controversial topic. An open challenge is to develop an approach to identify the frames of an argument. To this end, we define a frame as a subset of arguments that share an aspect. We operationalize this model via an approach that identifies and removes the topic of arguments before clustering them into frames. We evaluate the approach on a dataset that covers 12,326 frames and show that identifying the topic of an argument and removing it helps to identify its frames.}, subject = {Informatik}, language = {en} } @phdthesis{Gapševičius, author = {Gapševičius, Mindaugas}, title = {Aesthetics of Maker Culture: the Active Role of the Audience}, doi = {10.25643/bauhaus-universitaet.4939}, url = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230313-49396}, school = {Bauhaus-Universit{\"a}t Weimar}, pages = {206}, abstract = {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.}, subject = {Medienkunst}, language = {en} } @phdthesis{Dief, author = {Dief, Shaima}, title = {Ancient Egyptian Hybrid Deities in Visual Form as Mediator in Cultural Transmission}, doi = {10.25643/bauhaus-universitaet.4933}, url = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230220-49337}, school = {Bauhaus-Universit{\"a}t Weimar}, pages = {170}, abstract = {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 162 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 Kr{\"a}mer'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.}, subject = {Kollektives Ged{\"a}chtnis}, language = {en} } @article{Coenen, author = {Coenen, Ekkehard}, title = {Anti-Gewalttrainings, Gewaltwissen und die institutionelle Erzeugung gewaltbefreiter Subjekte}, series = {Soziale Passagen}, volume = {2023}, journal = {Soziale Passagen}, publisher = {VS, Verl. f{\"u}r Sozialwissenschaften/GWV-Fachverlag}, address = {Wiesbaden}, doi = {10.1007/s12592-023-00453-9}, url = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230720-64104}, pages = {1 -- 16}, abstract = {Dieser Beitrag fragt danach, wie Wissen {\"u}ber Gewalt in Anti-Gewalttrainings produziert, vermittelt und sozial wirkm{\"a}chtig wird. Auf Basis des kommunikativen Konstruktivismus werden diese Kurse als gewaltbezogene Institutionen begriffen, in denen eine Wissensordnung der Gewalt stabilisiert wird. Sie sollen Abweichungen von institutionalisierten Wirklichkeitsvorstellungen in Bezug auf Gewalt entgegenwirken. Dabei lassen sie sich als Selbsttechniken begreifen, durch welche die Kursteilnehmer*innen eine spezifische Subjektposition ein{\"u}ben, n{\"a}mlich die des gewaltbefreiten Subjekts. Vor diesem Hintergrund wird anschließend zwischen konditionalen und konzessiven Anti-Gewalttrainings unterschieden. Erstere wenden sich an Personen, die tats{\"a}chlich von der institutionalisierten Wirklichkeitsvorstellung abgewichen sind und somit gesellschaftlich als Gewaltt{\"a}ter*innen eingestuft werden, w{\"a}hrend Letztere auf eine Klientel zielen, die potenziell von den g{\"a}ngigen Normen abweichen k{\"o}nnte, obwohl noch keine Gewalt aufgetreten sein muss. Abschließend wird gezeigt, dass den Kursleiter*innen eine wichtige Rolle im Subjektivierungsprozess und der Wissenskommunikation {\"u}ber Gewalt zukommt. Neben Wissen {\"u}ber Gewalt werden durch sie auch Wertbindungen, Legitimationen und Weltbilder vermittelt.}, subject = {Gewalt}, language = {de} } @article{LizarazuHarirchianShaiketal., author = {Lizarazu, Jorge and Harirchian, Ehsan and Shaik, Umar Arif and Shareef, Mohammed and Antoni-Zdziobek, Annie and Lahmer, Tom}, title = {Application of machine learning-based algorithms to predict the stress-strain curves of additively manufactured mild steel out of its microstructural characteristics}, series = {Results in Engineering}, volume = {2023}, journal = {Results in Engineering}, number = {Volume 20 (2023)}, publisher = {Elsevier}, address = {Amsterdam}, doi = {10.1016/j.rineng.2023.101587}, url = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20231207-65028}, pages = {1 -- 12}, abstract = {The study presents a Machine Learning (ML)-based framework designed to forecast the stress-strain relationship of arc-direct energy deposited mild steel. Based on microstructural characteristics previously extracted using microscopy and X-ray diffraction, approximately 1000 new parameter sets are generated by applying the Latin Hypercube Sampling Method (LHSM). For each parameter set, a Representative Volume Element (RVE) is synthetically created via Voronoi Tessellation. Input raw data for ML-based algorithms comprises these parameter sets or RVE-images, while output raw data includes their corresponding stress-strain relationships calculated after a Finite Element (FE) procedure. Input data undergoes preprocessing involving standardization, feature selection, and image resizing. Similarly, the stress-strain curves, initially unsuitable for training traditional ML algorithms, are preprocessed using cubic splines and occasionally Principal Component Analysis (PCA). The later part of the study focuses on employing multiple ML algorithms, utilizing two main models. The first model predicts stress-strain curves based on microstructural parameters, while the second model does so solely from RVE images. The most accurate prediction yields a Root Mean Squared Error of around 5 MPa, approximately 1\% of the yield stress. This outcome suggests that ML models offer precise and efficient methods for characterizing dual-phase steels, establishing a framework for accurate results in material analysis.}, subject = {Maschinelles Lernen}, language = {en} } @inproceedings{VoellmeckeSchwendnerHoetal., author = {V{\"o}llmecke, Lars and Schwendner, Sascha and Ho, Ai Phien and Fischer, Jens and Seim, Werner}, title = {Assessment of nailed connections in existing structures}, doi = {10.25643/bauhaus-universitaet.6361}, url = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230609-63615}, pages = {7}, abstract = {This paper presents the development of an assessment scheme for a visual qualitative evaluation of nailed connections in existing structures, such as board trusses. In terms of further use and preservation, a quick visual inspection will help to evaluate the quality of a structure regarding its load-bearing capacity and deformation behaviour. Tests of old and new nailed joints in combination with a rating scheme point out the correlation between the load-bearing capacity and condition of a joint. Old joints of comparatively good condition tend to exhibit better results than those of poor condition. Moreover, aged joints are generally more load-bearing than newly assembled ones.}, subject = {Holzbau}, language = {en} } @phdthesis{Neupert, author = {Neupert, Max}, title = {Audiovisuelles Cut-Up}, doi = {10.25643/bauhaus-universitaet.4896}, url = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230123-48968}, school = {Bauhaus-Universit{\"a}t Weimar}, pages = {129}, abstract = {This research identifies and examines the aesthetic phenomenon of extremely fast cut audiovisual media works. The term 'audiovisual cut-up' is proposed. The literary form of cut-up is described and compared to the characteristics of the reviewed phenomenon. A wide range of audiovisual works across different contexts is analyzed; all of which are sharing the same formal criteria of extremely short edits, including the authors contributions to the field. The technological tools facilitating the novel aesthetic are often crafted by the artists themselves because ready made solutions did not preexist. Audiovisual cut-ups are classified according to their contexts and mediums. Some observations are made regarding how audio and video essentially differ in their character, what the smallest perceivable unit is, and which role latencies and anticipation play in the perception of audiovisual media. Three main theses are made: 1. Audiovisual cut-up has the power to amplify small, previously hidden details and may be used to distort and deride the source material. 2. Technological advances have led to the development of audiovisual cut-up. 3. The aesthetic possibilities of cut-ups have become an integral part in the spectrum of possible audio-visual techniques.}, subject = {Medienkunst}, language = {de} } @periodical{AinioBartetzkyGyőrffyetal., author = {Ainio, Anna and Bartetzky, Arnold and Győrffy, Rachel and Islam, Naslima and Khvadagiani, Irakli and Kibel, Jochen and Landau-Donnelly, Friederike and Leko, Kristina and Lenz, Patricia and Onuoha, Nnenna and Rathjen, Lukas and Reinsch, Natalie and Rykov, Anatol and Tajeri, Niloufar and Ullmanov{\´a}, Kl{\´a}ra}, title = {Censored? Conflicted Concepts of Cultural Heritage}, editor = {Din{\c{c}}{\c{c}}ağ Kahveci, Ay{\c{s}}eg{\"u}l and Hajdu, Marcell and H{\"o}hne, Wolfram and Jesse, Darja and Karpf, Michael and Torres Ruiz, Marta}, publisher = {Bauhaus-Universit{\"a}tsverlag}, address = {Weimar}, isbn = {978-3-95773-304-7}, doi = {10.25643/bauhaus-universitaet.4927}, url = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230213-49276}, pages = {181}, abstract = {Those who ask how social entities relate to the past, enter a field defined by competing interpretations and contested practices of a collectively shared heritage. Dissent and conflict among heritage communities represent productive moments in the negotiation of these varying constructs of the past, identities, and heritage. At the same time, they lead to omissions, the overwriting and amendment of existing constructs. A closer look at all that is suppressed, excluded or rejected opens up new perspectives: It reveals how social groups are formed through public disputes upon the material foundations of heritage constructs. Taking the concept of censorship, the volume engages with the exclusionary and inclusionary mechanisms that underlie the construction of heritage and thus social identities. Censorship is understood here as a discursive strategy in public debates. In current debates, allegations of censorship surface primarily in cases where the handling of a certain heritage constructs is subjected to critical evaluation, or on the contrary, needs to be protected from criticism or even destruction. The authors trace the connection between heritage and identity and show that identity constructs are not only manifested within heritage but are actively negotiated through it.}, subject = {Kulturerbe}, language = {en} } @article{WellbrockLobigsErbrichetal., author = {Wellbrock, Christian-Mathias and Lobigs, Frank and Erbrich, Lukas and Buschow, Christopher}, title = {Coopetition is King. {\"O}konomische Potentiale und medienpolitische Implikationen kooperativer Journalismusplattformen}, volume = {2023}, publisher = {Landesanstalt f{\"u}r Medien NRW}, address = {D{\"u}sseldorf}, doi = {10.25643/bauhaus-universitaet.4947}, url = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230320-49473}, pages = {1 -- 48}, abstract = {Die vorliegende Studie geht der Fragestellung nach, wie sich eine anbieter{\"u}bergreifende, abonnementbasierte Plattform f{\"u}r den digitalen Journalismus, also eine Art Spotify im Journalismus, auf die Ums{\"a}tze der Anbieter journalistischer Inhalte und die Abonnements im Digitaljournalismus in Deutschland auswirken w{\"u}rde. Auf Basis drei sich erg{\"a}nzender Sch{\"a}tzmethoden f{\"u}r Zahlungsbereitschaft, die in zwei Repr{\"a}sentativbefragungen der deutschen Online-Bev{\"o}lkerung mit insgesamt 8.000 Teilnehmenden angewandt wurden, gelangt das Whitepaper zu den folgenden Schl{\"u}sselbefunden.}, subject = {Journalistik}, language = {de} }