@inproceedings{Beese,
  author    = {Beese, Christine},
  title     = {About the Internationality of Urbanism: The Influence of International Town Planning Ideas upon Marcello Piacentini's Work},
  series = {Urban design and dictatorship in the 20th century: Italy, Portugal, the Soviet Union, Spain and Germany. History and Historiography},
  booktitle = {Urban design and dictatorship in the 20th century: Italy, Portugal, the Soviet Union, Spain and Germany. History and Historiography},
  doi       = {10.25643/bauhaus-universitaet.2409},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20150619-24093},
  pages     = {1 -- 22},
  abstract  = {Beitr{\"a}ge zum Symposium „Urban design and dictatorship in the 20th century: Italy, Portugal, the Soviet Union, Spain and Germany. History and Historiography". Weimar, 21.-22. November 2013},
  subject      = {St{\"a}dtebau},
  language  = {en}
}
@inproceedings{Birkholz,
  author    = {Birkholz, Marie Luise},
  title     = {Granite on the Ground: Former Nazi Party Rally Grounds, Nuremberg/Germany. A brief introduction},
  series = {Urban design and dictatorship in the 20th century: Italy, Portugal, the Soviet Union, Spain and Germany. History and Historiography},
  booktitle = {Urban design and dictatorship in the 20th century: Italy, Portugal, the Soviet Union, Spain and Germany. History and Historiography},
  doi       = {10.25643/bauhaus-universitaet.2458},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20150925-24587},
  pages     = {1 -- 12},
  abstract  = {Beitr{\"a}ge zum Symposium „Urban design and dictatorship in the 20th century: Italy, Portugal, the Soviet Union, Spain and Germany. History and Historiography". Weimar, 21.-22. November 2013},
  subject      = {St{\"a}dtebau},
  language  = {en}
}
@misc{CarvalhoDaher,
  type      = {Master Thesis},
  author    = {Carvalho Daher, Cesar Felipe},
  title     = {Horoskopos: a virtual planetarium for astrology},
  doi       = {10.25643/bauhaus-universitaet.4718},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20220930-47181},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {104},
  abstract  = {This report details the development of Horoskopos, a virtual planetarium for astrology. This project was an attempt to develop a learning tool for studying astrological concepts as connected to observational astronomy. The premise that astrology and observational astronomy were once inseparable from each other in ancient times guided the conceptualization of this tool as an interactive planetarium. The main references were existing software and applications for visualization in astrology and astronomy. Professional astrology teachers were consulted in order to understand better the state of astrological teaching and learning, as well as existing tools and practice. Horoskopos was built using the Unity3D development interface, which is based on the C\# programming language. It also relied on the Swiss Ephemeris coding interface from Astrodienst. The development process was experimental and many of the needed skills were developed as needed. Usability tests were performed as new features were added to the interface. The final version of Horoskopos is fully usable, with many interactive visualization features and a defined visual identity. It was validated together with professional astrologers for its effectiveness in concept and visualization.},
  subject      = {Mediendesign},
  language  = {en}
}
@article{Assmann,
  author    = {Assmann, Aleida},
  title     = {Welche Zuk{\"u}nfte?},
  doi       = {10.25643/bauhaus-universitaet.3613},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20171130-36136},
  abstract  = {Vortrag, gehalten am 20.04.2017 zur Einf{\"u}hrung von Prof. Dr. Winfried Speitkamp in das Amt des Pr{\"a}sidenten der Bauhaus-Universit{\"a}t Weimar},
  subject      = {Fortschritt},
  language  = {de}
}
@phdthesis{Hawranke,
  author    = {Hawranke, Thomas},
  title     = {Modding - K{\"u}nstlerische Forschung in Computerspielen},
  doi       = {10.25643/bauhaus-universitaet.3788},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20180919-37886},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {299},
  abstract  = {Die hier vorliegende Arbeit befasst sich mit dem Modifizieren von Computerspielen (Modding). Die Ann{\"a}herung an das Modding geschieht aus zwei unterschiedlichen Blickrichtungen: Zum einen wird mit einem analytischen Blick auf das Themenfeld geschaut, der das bereits Erforschte mit den eigenen Suchbewegungen kombiniert. Zum anderen wird die Perspektive der Handlung eingenommen, die sich in der Widerst{\"a}ndigkeit des Materials, der Werkzeuge und der Spieltechnologie {\"a}ußert. Im Mittelpunkt der Auseinandersetzung stehen das Modding als Praxis, die Mods als Derivate und die Erforschung des Computerspiels mit den Praktiken und Derivaten des Modifizierens. Das Modding wird so zu einer epistemischen Praxis des Computerspiels. Die hier formulierten {\"U}berlegungen zum Modding, als eine forschende Praxis des Computerspiels, pr{\"a}sentieren eine Vorgehensweise, die {\"a}sthetische, widerst{\"a}ndige und stabilisierende Aspekte in sich vereint. Sie dient der Erforschung des Computerspiels entlang seiner Diskussionen, Materialien, Technologien und Praktiken und fokussiert hierbei auf das Abseitige, dass als integraler Bestandteil des Computerspiels verstanden wird. Mit diesem Blick auf die Grenzen des Computerspielens werden Dinge sichtbar, die zwar Teil der synthetischen Computerspielwelten sind, durch dessen Inszenierungen und Atmosph{\"a}ren jedoch verschleiert werden. Der hier entwickelte Ansatz erm{\"o}glicht einen Perspektivenwechsel innerhalb dieser Welten und die Erforschung des Computerspiels unter besonderer Ber{\"u}cksichtigung seiner eingeschriebenen Normen und Machtverh{\"a}ltnissen. Das Modding dient hierbei als eine kritische Praxis zur Entschl{\"u}sselung dieser medial vermittelten Konstellationen.},
  subject      = {K{\"u}nstlerische Forschung},
  language  = {de}
}
@periodical{BognerKarpfWilleretal.,
  author    = {Bogner, Simone and Karpf, Michael and Willer, Stefan and Aquilar, Giorgia and Springer, J{\"o}rg and Euler-Rolle, Bernd and Sikiaridi, Elizabeth and Vogelaar, Frans and von Beckerath, Verena and Klei, Alexandra and Raheem, Oluwafunminiyi and Grundig, Ronny and Sezer, {\"O}zge and Kutkina, Anna and Manka, Inge and Hettchen, Karolina and J{\"u}ttner, Monique and Blunk, Julian},
  title     = {Praktiken des Erbens. Metaphern, Materialisierungen, Machtkonstellationen},
  editor    = {Bogner, Simone and Karpf, Michael and Meier, Hans-Rudolf},
  publisher = {Bauhaus-Universit{\"a}tsverlag},
  address   = {Weinstraße-Ilmtal},
  doi       = {10.25643/bauhaus-universitaet.4702},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20220810-47025},
  abstract  = {Ausgehend von der Bemerkung des Philosophen Jacques Derrida, dass Erbe immer auch eine Aufgabe sei, widmet sich der dritte Band der Schriftenreihe des Graduiertenkollegs „Identit{\"a}t und Erbe" den sozialen und kulturellen Praktiken der Bezugnahme auf Vergangenheit(en) und Identit{\"a}t(en). Mit einem (kulturellen) Erbe soll und muss etwas getan werden, um es {\"u}berhaupt hervorzubringen. Es konstituiert sich erst im Akt des (Nicht-)Erbens, das heißt im Wechselverh{\"a}ltnis mit den mit und an ihm ausgef{\"u}hrten Praktiken. Gleichwohl erm{\"o}glicht erst deren Verbindung mit den materiellen {\"U}berresten und {\"U}berlieferungen des Erbes eine Aneignung oder Ablehnung der Vergangenheit sowie die Fort- und Umschreibung eines bereits bestehenden Erbes. Diese Vorg{\"a}nge sind nicht willk{\"u}rlicher Natur: Die M{\"o}glichkeiten zur Interpretation und Deutung werden durch die sozialen, politischen, kulturellen, {\"o}konomischen und technischen Bedingungen der Gegenwart sowie durch die Geschichte und Materialit{\"a}t des Erbes beschr{\"a}nkt, erweitert und gelenkt. Erbe und Erbeprozesse m{\"u}ssen deshalb notwendigerweise miteinander in Beziehung gesetzt werden. Mit Beitr{\"a}gen von Simone Bogner und Michael Karpf, Stefan Willer, Giorgia Aquilar, J{\"o}rg Springer, Bernd Euler-Rolle, Elizabeth Sikiaridi und Frans Vogelaar, Verena von Beckerath, Alexandra Klei, Oluwafunminiyi Raheem, Ronny Grundig, {\"O}zge Sezer, Anna Kutkina, Inge Manka, Karolina Hettchen und Monique J{\"u}ttner sowie Julian Blunk.},
  subject      = {Kulturerbe},
  language  = {de}
}
@phdthesis{Held,
  author    = {Held, Tobias},
  title     = {Einblick: Gestalterische Potentiale und Perspektiven der Videotelefonie im Kontext von N{\"a}he und Distanz. Eine praxis-basierte, (re-)kontextualisierende und diskursanalytische Studie.},
  doi       = {10.25643/bauhaus-universitaet.4886},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230111-48867},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {534},
  abstract  = {Inhaltlich besch{\"a}ftigt sich die Arbeit, die im Rahmen des Promotionsstudiengangs Kunst und Gestaltung an der Bauhaus-Universit{\"a}t entstand, mit der Erforschung sozio-interaktiver Potentiale der Videotelefonie im Kontext von N{\"a}he und Verbundenheit mit Fokus auf Eigenbild, Embodiment sowie den Rederechtswechsel. Die Videotelefonie als Kommunikationsform hat sich - und darauf deuten die Erfahrungen der Co- vid-19-Pandemie hin - im lebensweltlichen Alltag der Menschen etabliert und wird dort in naher Zukunft nicht mehr wegzudenken sein. Auf Basis ihrer M{\"o}glichkeiten und Errungenschaften ist es inzwischen Realit{\"a}t und Lebenswirklichkeit, dass die Kommunikation sowohl im privaten als auch im gesch{\"a}ftlichen Kontext mittels verschiedenster Kan{\"a}le stattfindet. Der Videotelefonie kommt hierbei als solche nicht nur eine tragende Funktion, sondern auch eine herausragende Rolle bei der vermeintlichen Reproduktion der Face-to-Face-Kommunikation im digitalen Raum zu und wird wie selbstverst{\"a}ndlich zum zwischenmenschlichen Austausch genutzt. Just an diesem Punkt kn{\"u}pft die Forschungsarbeit an. Zentral stand dabei das Vorhaben einer dezidierte Untersuchung des Forschungsgegenstandes Videotelefonie, sowohl aus Kultur- als auch Technikhistorischer, aber auch Medien-, Wahrnehmungs- wie Kommunikations- theoretischer Perspektive, indem analytische und ph{\"a}nosemiotische Perspektiven miteinander in Beziehung gesetzt werden (z.B. Wahrnehmungsbedingungen, Interaktionsmerkmale, realisierte Kommunikationsprozesse etc.). Damit verbundenes, w{\"u}nschenswertes Ziel war es, eine m{\"o}glichst zeitgem{\"a}ße wie relevante Forschungsfrage zu adressieren, die neben den kulturellen Technisierungs- und Mediatisierungstendenzen in institutionellen und privaten Milieus ebenfalls eine conditio sine qua non der pandemischen (Massen-)Kommunikation entwirft. Die Arbeit ist damit vor allem im Bereich des Produkt- und Interactiondesigns zu verorten. Dar{\"u}ber hinaus hatte sie das Ziel der Darlegung und Begr{\"u}ndung der Videotelefonie als eigenst{\"a}ndige Kommunikationsform, welche durch eigene, kommunikative Besonderheiten, die sich in ihrer jeweiligen Ingebrauchnahme sowie durch spezielle Wahrnehmungsbedingungen {\"a}ußern, und die die Videotelefonie als »Rederechtswechselmedium« avant la lettre konsolidieren, gekennzeichnet ist. Dabei sollte der Beweis erbracht werden, dass die Videotelefonie nicht als Schwundstufe einer Kommunikation Face-to-Face, sondern als ein eigenst{\"a}ndiges Mediatisierungs- und Kommunikationsereignis zu verstehen sei. Und eben nicht als eine beliebige - sich linear vom Telefon ausgehende - entwickelte Form der audio-visuellen Fernkommunikation darstellt, sondern die gestalterische (Bewegtbild-)Technizit{\"a}t ein eigenst{\"a}ndiges Funktionsmaß offeriert, welches wiederum ein innovatives Kommunikationsmilieu im Kontext einer Rederechtswechsel-Medialit{\"a}t stabilisiert.},
  subject      = {Videotelefonie},
  language  = {de}
}
@phdthesis{PuentesRivera,
  author    = {Puentes-Rivera, Yomayra},
  title     = {WHISPERS OF MEMORY, MURMURS OF HISTORY ACOUSTIC MONU-MEMORIALS IN PUBLIC SPACES. Exploratory research of strategies used to create acoustic experiences of commemoration, remembrance, mourning and memory},
  doi       = {10.25643/bauhaus-universitaet.3932},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20190603-39323},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {265},
  abstract  = {This research seeks to make an exploratory study of the strategies used by the creators of monuments, memorials, and commemorative places located in the public spaces that use sound as one of the primary raw material in their design. The term acoustic monu-memorials was coined in this research to encircle these structures and places. In order to achieve the goal of this research, it was necessary to compile a number of samples, primarily after the digital recording era of captured sound around 1971 to the present. The compilation was relevant because such a compendium was not found in the literature, and to the author's knowledge, a comprehensive investigation of the strategies used in planning acoustic monu-memorials in the urban spaces does not exist. The method used to create such compendium was to send a question to people with different background identities, such as visual and sound artists, musicians, art curators, and heritage scholars among others. This question produced a selection of 51 examples of acoustic monu-memorials located in public spaces. Subsequently, the examples were classified into four major categories according to their form and nature. Additionally, two examples from the main categories were chosen as case studies: The Sinti and Roma Memorial in Berlin, Germany and the Niche monument in Cali, Colombia. These study cases were presented, described, and analysed in detail as they represent the type of what could be defined as an acoustic monu-memorial in general. Lynch's (1960) five elements that help individuals build the image of the city were transferred and used as a tool to help to build this image into acoustic terms. A thorough analysis of the acquired data yielded found the strategies used by the designers to shape, modify, transform, and structure public space. These strategies are entitled Sound Spaces. Moreover, a list entitled Urban Acoustic Commemoration Code was compiled. This list of suggestions addresses urban planners, architects, artists, designers, and general public interested in the aspects involved when creating acoustic commemoration phenomena in public spaces.},
  subject      = {Stadtentwicklung},
  language  = {en}
}
@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}
}
@phdthesis{Schlaffke,
  author    = {Schlaffke, Markus},
  title     = {Die Rekonstruktion des Menaka-Archivs: Navigationen durch die Tanz-Moderne zwischen Kolkata, Mumbai und Berlin 1936-38},
  doi       = {10.25643/bauhaus-universitaet.4706},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20220823-47069},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  abstract  = {Die Europatournee des Indischen Menaka-Balletts von 1936-38 ist der Ausgangspunkt dieser archivologischen Navigation entlang der Spuren indischer K{\"u}nstlerInnen in Europa. In einer breit angelegten Archivrecherche wurden dazu Dokumente, Fundst{\"u}cke, orale Erinnerungen und ethnografische Beobachtungen aus dem Kontext der Menaka-Tournee durch das nationalsozialistische Deutschland zusammengetragen. Das Buch beschreibt den Rekonstruktionsprozess eines bedeutsamen Projekts der indischen Tanzmoderne. Es verfolgt dabei eine Methode, mit der sich die fragmentierten Dokumente des Medienereignisses als Spur lesen lassen und nutzt eine k{\"u}nstlerisch-forschende Involvierung in gegenw{\"a}rtige Erinnerungspolitiken, in welche die verflochtenen Strukturen der k{\"u}nstlerischen Avantgarde zwischen Kolkata, Mumbai und Berlin hineinreichen. Die Spur des Menaka-Ballett erweist sich dabei als Teil weitreichender ideologischer, t{\"a}nzerischer, musikalischer, filmischer und literarischer Str{\"o}mungen, die auch in gegenw{\"a}rtigen kulturellen Bestimmungen fortwirken. Fotografien, Zeitungsberichte, Film- und Tonaufnahmen, Briefe und pers{\"o}nliche Erinnerungst{\"u}cke erz{\"a}hlen davon, wie sich, vor dem Hintergrund der im antikolonialen Aufbruch befindlichen Kulturreform in Indien, und der nationsozialistisch-v{\"o}lkischen Kulturpolitik in Deutschland, die T{\"a}nzerinnen und Musiker der indischen Ballettgruppe und die deutsche {\"O}ffentlichkeit im gegenseitigen Spiegel betrachteten, w{\"a}hrend die Vorzeichen des kommenden Krieges immer deutlicher wurden.},
  subject      = {Menaka <Madame>},
  language  = {de}
}
@phdthesis{Michel,
  author    = {Michel, Ralf},
  title     = {Licht - Farbe - Licht : Zur Integration von Design und Technik in der Designforschung mit Licht und Farbe},
  doi       = {10.25643/bauhaus-universitaet.3794},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20180921-37941},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {224},
  abstract  = {Die Thesis untersucht am Beispiel von Farb-Licht Forschungen (Interaktion dynamischen Lichts mit farbigen Oberfl{\"a}chen) und der Designforschungen am Potenzial der organisch Licht emittierenden Dioden (OLED) integrierende Aspekte des Designs im Kontext dieser Technologien. Des weiteren reflektiert die Thesis am Beispiel dieser Designforschungen das Verh{\"a}ltnis von Designforschung und Innovation f{\"u}r die gestalterischen Disziplinen.},
  subject      = {Design},
  language  = {de}
}
@phdthesis{Arboleda,
  author    = {Arboleda, Pablo},
  title     = {Reckoning with Incompiuto Siciliano: Unfinished Public Works as Modern Ruins and All which it Entails},
  doi       = {10.25643/bauhaus-universitaet.3265},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20170715-32656},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {150},
  abstract  = {Since the end of the 1950s, Italy has focused part of its modernization on the erection of public works. Due to corruption, mafia, and further malpractice, this form of development has occasionally failed, producing a high number of constructions that have remained unfinished for decades. In 2007, the group of artists Alterazioni Video constructed an informal survey in the form of an on-line tool open to public contributions, which revealed that there are 395 unfinished public works in Italy from which 156, approximately 39.5\%, are located in Sicily alone. In view of such a statistic, Alterazioni Video opted to coin the term 'Incompiuto Siciliano' - literally 'Sicilian Incompletion' - to refer to unfinished public works as a formal architectural style. This re-interpretation, which aims to convey the recovered dignity of these 'modern ruins', considers unfinished public works a type of heritage with the potential to represent the entirety of Italian society. Furthermore, it goes as far as to say an unfinished public work is 'Incompiuto Siciliano' despite being located in another of the Italian regions. This doctoral dissertation embraces the artists' argument to develop a complete study of Incompiuto Siciliano by embedding this architectural style/artistic project within the main debates on modern ruins at present. This is important because it is expected to contribute to the revalorization and eventual recommissioning of unfinished sites by validating Incompiuto Siciliano in the realm of academia. Furthermore, this work aspires to be a worthwhile source of information for future investigations dealing with cultural interpretations of incompletion in any other context - a not unreasonable goal considering how unfinished works are one of the key urban topics after the 2008 financial crisis. Hence, this doctoral dissertation uses Incompiuto Siciliano to discuss a different perspective in each of the five chapters and, though these can be read as independent contributions, the objective is that all chapters read together, form a clear, concise, continuous unit. And so it must be said this is not a dissertation about unfinished public works in Italy; this is a dissertation about Incompiuto Siciliano as an artistic response to unfinished public works in Italy - which clearly requires an interdisciplinary analysis involving Urban Studies, Cultural Geography, Contemporary Archaeology, Critical Heritage and Visual Arts.},
  subject      = {Kulturerbe},
  language  = {en}
}
@misc{MuellerHennigAubeletal.,
  author    = {M{\"u}ller, Naira and Hennig, Christoph and Aubel, Mario and Hesse, Tobias and Schneider, Sascha},
  title     = {FlipLife als Mitarbeiterrekrutierungsquelle},
  doi       = {10.25643/bauhaus-universitaet.1572},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20120229-15727},
  pages     = {101},
  abstract  = {Ausgehend von der Aufgabenstellung umreißt diese Arbeit die Besonderheiten der Mitarbeiterrekrutierung und deren Anwendung im Internet, im speziellen bei Social-Games, gemessen an dem Spiel FlipLife.},
  subject      = {Fliplife Mitarbeiterrekrutierung},
  language  = {de}
}
@phdthesis{Ruhland,
  author    = {Ruhland, Grit},
  title     = {FOLGELANDSCHAFT. Eine Untersuchung der Auswirkungen des Uranbergbaus auf die Landschaft um Gera/Ronneburg.},
  doi       = {10.25643/bauhaus-universitaet.4495},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20210906-44953},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {357},
  abstract  = {Das Kernthema dieser Arbeit ist die Besch{\"a}ftigung mit den Folgen des Uranbergbaus in dem Gebiet um die ehemalige Abbauregion der Wismut SAG/SDAG in Ronneburg (Ostth{\"u}ringen). Dieses Thema wird unter historischen, sozialen, kulturanthropologischen und k{\"u}nstlerischen Aspekten betrachtet und in den Zusammenhang mit den weltweiten Voraussetzungen der Nuklearindustrie und Auswirkungen des Uranbergbaus und seiner Folgen gestellt. Die Arbeit legt dar, wie eine Uranbergbaufolgelandschaft entsteht und welches Wissen ist f{\"u}r ein angemessenes Verst{\"a}ndnis des Ph{\"a}nomens wichtig ist. Es wird untersucht, ob Kunst bez{\"u}glich der Uranbergbaufolgelandschaft einen relevanten Beitrag leisten kann bzw. in welcher Form dies versucht wurde, bzw. stellte Arbeiten vor, die verwandete Themen bearbeitet haben. In Kombination dieser beiden Hauptaspekte geht die Arbeit der Frage nach, welche Faktoren die Uranbergbaufolgelandschaft pr{\"a}gen und ob es sinnvolle Beteiligungsfelder f{\"u}r k{\"u}nstlerisches Forschen oder Handeln gibt sowie welche Bedingungen hierf{\"u}r erf{\"u}llt werdenm{\"u}ssten. Die Kernthese der Arbeit ist, dass k{\"u}nstlerische Arbeiten im Themenfeld des Uranbergbaus unter bestimmten Bedingungen relevante Beitr{\"a}ge leisten k{\"o}nnen.},
  subject      = {Uranbergbau},
  language  = {de}
}
@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{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{Arzmi,
  author    = {Arzmi, Azmah},
  title     = {Reinterpreting Marzahn, Berlin \& Petržalka, Bratislava: From Process of State Socialist Utopia to Utopia of State Capitalist Process},
  doi       = {10.25643/bauhaus-universitaet.4392},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20210315-43927},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  abstract  = {Housing estates were fundamentally conceived upon state socialist utopia ideas to provide standard housing for citizens. While former state socialist housing estates have been extensively researched in the field of architecture, urban and sociology studies, there is still a gap in identifying how production processes affect morphological changes during the post-socialist era. This thesis compares the processes in the production of the largest housing estates of Marzahn in GDR and Petržalka in Czechoslovakia from 1970 to 1989 through contextual analysis of primary and secondary sources, which include visual maps, diagrams from professional architecture and planning journals, government documents and textbooks, as well as academic journals, books and newspaper articles. Then it discusses how these processes inadvertently created conducive conditions affecting their development in the market economy after 1989. It then interprets the results through application of Actor-Network Theory and Historical Institutionalism, while conceptualising them through David Harvey's dialectical utopianism theory. Harvey (2000) delineates two types of utopia, one of spatial form and one of process. The former refers to materialised ideals in physical forms whereas the latter refers to the ongoing process of spatializing. The thesis aims to show how the production of Marzahn in GDR was more path dependent on policies established in 1950s and 1960s whereas Petržalka was a product of new Czechoslovakian policies in 1970s, changing aspects of the urban planning process, a manifestation of a more emphatic technocratic thinking on a wider scale. This ultimately influences the trajectories of development after 1989, showing more effects in Petržalka.},
  subject      = {Kulturerbe},
  language  = {en}
}
@phdthesis{Reshetnikova,
  author    = {Reshetnikova, Tatiana},
  title     = {Transformation of the Environment: Influence of "Urban Reagents." German and Russian Case Studies},
  doi       = {10.25643/bauhaus-universitaet.4351},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20210128-43517},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {256 (thesis) + 23 (Folder) + 83 (CD)},
  abstract  = {An urban regeneration manifests itself through urban objects operating as change agents. The en-tailed diverse effects on the surroundings demonstrate experimental origin - an experiment as a preplanned but unpredictable method. An understanding of influences and features of urban ob-jects requires scrutiny due to a high potential of the elements to force an alteration and reactions. This dissertation explores the transformation of the milieu and mechanisms of this transformation.},
  subject      = {Stadtentwicklung},
  language  = {en}
}
@misc{Koenigshofen,
  author    = {K{\"o}nigshofen, Max},
  title     = {Mahnmal oder Tanztempel? Das Funkhaus und seine Rolle in der Weimarer Clubkultur},
  volume    = {2021},
  publisher = {Lucia Verlag},
  address   = {Weimar},
  doi       = {10.25643/bauhaus-universitaet.4437},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20210603-44377},
  pages     = {40},
  abstract  = {Im S{\"u}dwesten Weimars befindet sich ein leerstehender Geb{\"a}udekomplex, der im Stadtraum heute unter dem Namen Funkhaus und vor allem f{\"u}r studentisch organisierte Partys bekannt ist. Doch das Geb{\"a}ude entstand urspr{\"u}nglich nicht als Radiostation, sondern zwischen 1937 und 1944 als Prestigeprojekt des nationalsozialistisch zugespitzten Nietzsche-Kults. Diese Projektarbeit beleuchtet anhand von Archivalien und Expertinneninterviews die Nutzungsgeschichte der ehemaligen »Nietzsche-Ged{\"a}chtnishalle« und wirft die Frage auf, ob und wie ein solcher NS-Bau als Partylocation genutzt werden kann.},
  subject      = {Funkhaus},
  language  = {de}
}
@misc{Freire,
  type      = {Master Thesis},
  author    = {Freire, Kamai},
  title     = {Panafricanism and African Revolution in Brazilian Music},
  doi       = {10.25643/bauhaus-universitaet.4353},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20210216-43536},
  school      = {Hochschule f{\"u}r Musik FRANZ LISZT},
  pages     = {163},
  abstract  = {This research departs from the teachings of Kwame Ture on the difference between mobilization and organization in the panafricanist struggle to analyze then the use of Music within the anti-racist and anti-colonialist struggle in Brazil.},
  subject      = {Saz},
  language  = {en}
}