TY - JOUR A1 - Bollerey, Franziska T1 - The changing face of european metopolis : the culture of urbanism N2 - Wissenschaftliches Kolloquium vom 18. bis 21. Juni 1992 in Weimar an der Hochschule für Architektur und Bauwesen zum Thema: ‚Architektur und Macht’ T3 - Wissenschaftliche Zeitschrift / Hochschule für Architektur und Bauwesen - 39.1993,1-2/139-141 KW - Europa KW - Metropole KW - Städtebau KW - Bauhaus-Kolloquium KW - Weimar KW - 1992 Y1 - 1993 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20111215-11351 ER - TY - JOUR A1 - Neef, Sonja T1 - Was ist Europäische Medienkultur? T1 - Translating Europe N2 - Der Sage nach wurde Europa, jene fremde Königstochter, vom Göttervater Zeus in der Verkleidung eines majestätischen Stiers vom fernen Phoenizien nach Kreta – wörtlich – „übertragen“, das heißt von hier nach dort getragen. So gesehen erzeugt Europa einen dritten Raum, einen Trenn- und/oder Bindestrich zwischen Orient und Okzident, als diasporadische Figur und auch als Kontinent. Die Logik eines solchen Strichs, der zugleich trennt und verbindet, findet eine kartographische Entsprechung im nullten Längengrad, der die ganze Welt in ein Einheit schaffendes Koordinatensystem „übersetzt“, mit Greenwich als Zentrum. Ein Äquivalent eines solchen fixen Ausgangspunktes findet sich in der perspektivischen Europa-Darstellung in Tiepolos Darstellung der Kontinente im Deckenfries des Treppenhauses der Fürstbischöflichen Residenz in Würzburg. In diesem architektonischen Gemälde bildet Europa das Frontispiz, das nur von einem privilegierten Standort auf dem ersten Treppenabsatz unverzerrt betrachtet werden kann. Gegenstand dieses Beitrags sind eben diese drei medienkulturellen Europa-Inszenierungen: 1.) eine Sage, 2.) das kartographische Element des Nullmeridians und 3.) Tiepolos Treppenhausgemälde, sie alle verstehe ich als medienkulturelle Übersetzungen Europas. Ziel dieses Beitrags ist es zu fragen, wie diese drei kulturellen Objekte in ihren jeweiligen medialen Modi am Europa-Begriff arbeiten. Dreh- und Angelpunkt ist dabei der Akt des Übersetzens, und zwar sowohl im Sinne einer Umschrift von einem medialen Modus in den anderen als auch als durchaus physisch zu verstehende Bewegung einer Migration zwischen Heimat und Fremde. Ergebnis dieser Betrachtungen ist ein Europa-Begriff, der nicht unproblematisch mit sich selbst identisch ist, sondern sich erst in der Bewegung des Übersetzens konstituiert, also im dritten Raum oder als Bindestrich zwischen den Kulturen. N2 - The “origin” of the idea of Europe—if there is one—may be found in Hesiod’s mythological writings. Europe, daughter of Agenor, was—literally—“translated” from Phoenicia to Crete by Zeus who was disguised as a majestic bull. Thus seen, deception and robbery form the foundation of the birth of a continent, at least mythologically. This idea of Europe from antiquity soon developed into a world view in which Europe formed the centre of the terra cognita. In order for the terra incognita to be positioned in relation to this, a fixed point was required. This was finally found in the cartographic element of the zero-meridian. As an ideological line, the longitude-zero provided a unifying system into which the whole world was to be “translated.” Such a euro-centristic zero-point is not only found in cartography, it also has an equivalent (or translation) in perspectival painting, namely in the zero-point or vanishing point. The cultural significance of a zero-point in relation to the idea of Europe is particularly striking in Tiepolo’s painting of the continents in the Treppenhaus in Würzburg. In this architectonic painting, Europe is the subject matter of the frontispiece painted on the stair-well. In order to view this work without distorting the representation, it must be seen from a privileged point on the first half-landing. Here again: deception and illusion. The aim of this paper is to destabilize precisely these fixed positions which establish a Europe that appears unproblematically identical with itself. To do so, I will risk gazing at Tiepolo’s Europe from marginal points of view; that is, from Africa or Asia. And—for the longitude-zero—I will question the cut of the world into two opposite hemispheres, east and west. Europe, then, appears to be always in a state of translation, never fixed in an origin, never being ‘home’ as a final destination. Likewise the Europe in mythology, Europe as a continent, is split by difference while simultaneously driven by desire for a foreign country (Crete). Similarly, the zero-meridian, is a hybrid in between west and east, a translation in between home and abroad. Europe is then always permeated with otherness. KW - Kulturwissenschaften KW - Studiengang Kulturwissenschaften KW - Kulturwissenschaftliches Studium KW - Kulturwissenschaftler KW - Medienkultur KW - Europa KW - Geschichte KW - Antike KW - Culture of Media KW - History KW - europe Y1 - 2004 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20111215-2262 N1 - Eine englische Version dieses Artikels erscheint in Discerning Translations, ed. Mieke Bal and Joanne Morra, Princeton UP (forthcoming). ER - TY - JOUR A1 - Cerovsek, Tomo A1 - Turk, Ziga T1 - Working Together: ICT Infrastructures to Support Collaboration N2 - The paper summarizes a part of research carried out in ICCI project and provides a current review of ICT infrastructures supporting collaboration. It covers taxonomies, protocols, standards, components, typical subsystems as well as future trends and recommendation for two most important technologies with applications in AEC: (1) EIP (Enterprise information portal) – a single gateway to a company's information, knowledge base, and applications for all actors; (2) RTC (Real-Time Communication and Collaboration technologies) that provide means for asynchronous communication between geographically dislocated people using ICT. Proposed future developments are: orientation towards web services - with building information models, business intelligence, personalization, AEC information retrieval, p2p workspaces and grids. KW - Informationstechnik KW - Forschung KW - Europa KW - Teamwork Y1 - 2004 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20111215-2055 ER - TY - JOUR A1 - Katranuschkov, Peter A1 - Gehre, Alexander A1 - Scherer, Raimar J. T1 - User Requirements Capture in Distributed Project Environments: A Process-centred Approach N2 - Efforts to define standards for representing AEC/FM data have been fairly successful. However defining a standard reference process model has not met with the same success. Yet almost every conceptual modelling or software development project starts by defining the business processes to be supported and the related requirements to be satisfied. This paper describes a new process-centred methodology for user requirements capture developed in the ICCI project (IST-2001-33022). Its essence is in recognising user requirements and use cases in the context of the real construction process, identifying the actors and roles for each individual activity and associating these activities with information, communication and standardisation requirements on the basis of a formalised specification, named the Process Matrix. In the paper we outline the history of process matrix development, introduce the basic structure of the matrix and show how it can be further extended and refined. We present also a web-based software implementation of the developed approach, describe how it has been used in ICCI and outline further perspectives. KW - Informationstechnik KW - Forschung KW - Europa KW - Bedarfsforschung Y1 - 2004 U6 - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:wim2-20111215-2029 ER -