Zwei Dresdner Xylographen schufen um 1900 feine Illustrationen mit Radfahrmotiven, die in Tourenbüchern, Zeitungen für Radfahrerinnen und Radfahrer abgedruckt wurden: Gustav Hermann Bauer und Heinrich Emil Trautmann, beide lebten und arbeiteten zur selben Zeit in Dresden-Plauen.

Das Museum der Moderne in Salzburg hat sich seit einigen Jahren unter der neuen Leitung von Sabine Breitwieser den Themen Choreographie, Bewegung und Performance geöffnet. Nach Ausstellungen über Simone Forti („Simone Forti. Mit dem Körper denken: Eine Retrospektive in Bewegung“, 18. Juli 2014 bis 9. November 2014), Billy Klüver („E.A.T. Experiments in Art and Technology“, 25. Juli 2015 bis 1. November 2015) oder Carolee Schneeman („Carolee Schneemann. Kinetische Malerei“, 21. November 2015 bis 28. Februar 2016) lud sie die ebenfalls in Salzburg ansässigen Derra de Moroda Dance Archives zu einem Projekt in ihr Haus ein.

In dieser Untersuchung wird zum ersten Mal der Versuch unternommen, die private und künstlerische Biografie der Malerin Hedwig Ruetz zu rekonstruieren. Über fünfzig Jahre nach ihrem Tod haben mir die Erben ermöglicht, bisher unbekanntes und unveröffentlichtes Material aus Hedwig Ruetz’ Nachlass zu sichten und auszuwerten. Vorgefunden wurden über 200 Ölgemälde, an die 600 Papierarbeiten mit Aquarellen und Zeichnungen, vier Skizzenblöcke, Gästebücher, Fotoalben, Einlieferungslisten bei Galerien sowie Alben mit Zeitungsartikeln über ihre Ausstellungen. Der Nachlass Hedwig Ruetz ist die wichtigste Quelle und das Fundament, auf dem meine Forschung ruht. Er belegt, dass Hedwig Ruetz eine begabte, wandlungsfähige und lebenslang produktive Künstlerin war. Das Ziel dieser Arbeit ist die erstmalige monografische Erfassung und Einordnung des künstlerischen Werks und die Rekonstruktion des Lebensweges der Künstlerin sowie die kunsthistorische Analyse und Kontextualisierung ihres Schaffens. Gleichwohl ist sie als eine erste Bestandsaufnahme angelegt, die den Grundstein für weitere Forschung legen soll. / Die vorliegende Arbeit basiert auf dem Nachlass der Künstlerin Hedwig Ruetz, der mir zur Erforschung übergeben wurde. Hedwig Ruetz kam nach ihrer Ausbildung an der privaten Zeichenschule für Frauen von Elise von Jung-Stilling in Riga, der Malerinnenschule in Karlsruhe und Stationen in München und Paris um 1902 nach Berlin und galt als Schülerin von Max Liebermann. Sie reüssierte als junge Künstlerin im Umfeld der etablierten Avantgarde der Berliner Secession: Ihre Arbeiten wurde nachweislich zwischen 1902 und 1910 mindestens fünf Mal in den Kunstausstellungen der Berliner Secession gezeigt, sowie 1910 und 1911 in Kollektivausstellungen im Salon Paul Cassirer. Auch in ihrer Heimatstadt Riga war sie ab 1899 in drei aufeinanderfolgenden Jahren in drei Kollektivausstellungen zu sehen sowie in einer Einzelausstellung im Kunstverein 1914. Von besonderer Bedeutung für ihren Werdegang war das Schülerinnen-Lehrerverhältnis zwischen ihr und Max Liebermann, das Hedwig Ruetz zeitlebens betont hat und zahlreichen zeitgenössischen Ausstellungsbesprechungen auftaucht. In diesem Kontext kann auch ihr Porträt „Bildnis Fräulein Hedwig Ruetz“, das Max Liebermann 1903 von ihr gemalt hat, neu bewertet werden. In ihm zeigt sich, dass er ihr Talent erkannt, sie gefördert hat und als ihr Mentor angesehen werden kann: Zum einen ist das Bildnis das erste familienferne Frauenporträt in Öl von seiner Hand, zum anderen verfolgte er mit ihm eine Ausstellungspraxis, die sowohl für ihn als auch für Hedwig Ruetz dienlich war: Er zeigte es werbewirksam für beide Seiten innerhalb von zwei Jahren in fünf Ausstellungen und die Presseresonanz war überwiegend positiv. Damit war Hedwig Ruetz von Anbeginn ihrer Laufbahn keine Unbekannte in der Kunstwelt; sie war als jene junge Künstlerin bekannt, die von Max Liebermann geschätzt wurde. Dessen Porträt von ihr war ihre „Eintrittskarte“ in die Berliner Kunstwelt im Umfeld der Secession. / This paper is based on the estate of the artist Hedwig Ruetz, which was entrusted to me for research. After her education at Elise von Jung-Stilling's private drawing school for women in Riga, the Malerinnenschule in Karlsruhe and stations in Munich and Paris, Hedwig Ruetz came to Berlin around 1902 and was considered a student of Max Liebermann. In the years that followed, the young artist was successful in the cultural environment of the established avant-garde of the Berlin Secession: Her work was shown at least five times between 1902 and 1910 in the art exhibitions of the Berlin Secession, as well as in 1910 and 1911 in collective exhibitions at the Salon Paul Cassirer. From 1899, she was in three consecutive years also on view in her hometown Riga in three collective exhibitions and in a solo exhibition at the Kunstverein in 1914. The student-teacher-relationship between her and Max Liebermann, which Hedwig Ruetz emphasized throughout her life and which was mentioned in numerous contemporary exhibition reviews, was of particular importance for her career. Her portrait "Portrait of Fräulein Hedwig Ruetz", painted by Max Liebermann in 1903, can also be re-evaluated in this context. It shows he recognized her talent, encouraged her and can be regarded as her mentor: First of all the portrait is the first oil portrait of a non-dependant woman, and further he pursued an exhibition practice with it which was useful for both–him and Hedwig Ruetz: he showed it in five exhibitions within two years, which was effective in advertising for both sides, and the press response was mostly positive. Therefore Hedwig Ruetz was no stranger to the art world from the beginning of her career; she was known as the young artist appreciated by Max Liebermann. Her portrait by his hand was her "ticket" to the Berlin art world surrounding the Berlin Secession.

Si la Technique vient compenser un défaut d'être, quelle est la responsabilité de l’homme face à l’évolution de sa condition? La question du développement des capacités humaines en interaction avec les machines crée des interférences avec les limites traditionnelles, et fait ressortir de nombreuses questions éthiques autour de l’émergence d’une Intelligence artificielle et d’une transformation biotechnologique. Ces dernières opèrent un éclatement de l’ontologie même du vivant. Par conséquent, quel rôle peut jouer l’artiste face à la recréation de sa condition humaine ? Quel est le statut de ces œuvres d’art d’êtres vivants autonomes ? L’Art est-il prêt à s'engager sur des questions sociales, culturelles et biopolitiques plus larges, non seulement avec la création de nouveaux objets, mais aussi de nouveaux sujets comme celui que pose la matière vivante ? Nous verrons comment les artistes s’approprient les nouvelles technologies pour les questionner, afin d’en explorer toutes les réalités phénoménologiques et physiologiques auxquelles elles leur donnent accès. La perfectibilité du corps sous forme de réalisation technique ou microbiologique est envisagée. Le corps s’expose, au risque de perdre son statut d’espèce protégée. Dans le cadre de la partie pratique de cette thèse, notre projet utilisera un dispositif permettant de donner la parole à des organismes vivants et de montrer leurs capacités à manifester une intentionnalité. Nous exposerons ainsi le concept d’une intelligence naturelle au delà de la vision restreinte de la science objective actuelle. La question de la fin de l’exception de l’intelligence humaine dans son arrogance et sa prédation est posée. / If technology compensates for a lack of being, what is man's responsibility within the evolution of his condition? The intertwining of human capabilities with machines transgresses traditional boundaries, and brings to light many ethical questions. Artificial intelligence and biotechnological transformation completely redefine the ontology of life. What role does the artist play in the recreation of the human condition? What is the status of autonomous living beings turned into works of art? Is Art ready to engage in broader social, cultural, and biopolitical issues, not only with the creation of new objects, but also with new subjects such as living matter? We will see how artists are seizing new technologies to question them, in order to explore all the phenomenological and physiological realities to which they give them access. The perfectibility of the body as a technical or microbiological embodiment is envisaged. The body is exposed, at the risk of losing its status as a protected species. For the practical part of this thesis, we will use a device to give voice to living organisms and show their ability to manifest intentionality. We will thus expose the concept of a natural intelligence beyond the limited vision of current objective science. The prospect of the end of human exceptionality in its arrogance and predation is considered.

Jean-Baptiste Tavernier (1605-1689), aventurier français parti dès 1631 sur les routes de l’Asie, est l’une des figures majeures du Grand Siècle. Ses voyages en Asie – au nombre de six et dont il publie les relations dès 1676 – témoignent du nouvel engouement européen pour l’Asie et ses contrées exotiques et mystérieuses. Mais au-delà de ses qualités de conteur, Tavernier est avant tout un négociant : pierres de couleurs, perles, pièces de joaillerie et d’orfèvrerie, et surtout diamants provenant des fameuses mines de Golconde en Inde, tous ces objets témoignent de la richesse et de la variété des produits négociés par Tavernier. A chacune des étapes de ses périples, ses cargaisons suscitent curiosité, envie et fascination. Sa clientèle est riche et diversifiée et prouve la facilité avec laquelle Tavernier maîtrise l’art du négoce et celui de la diplomatie. Homme de son temps, acteur majeur des relations entre Orient et Occident en pleine époque de création des nombreuses compagnies des Indes orientales, témoin de l’évolution de la société et des grands conflits socio politiques du XVIIe siècle, Jean-Baptiste Tavernier reflète parfaitement l’évolution du Grand Siècle et les diversités de son approche. Quel est l’héritage de ce personnage essentiel du commerce des pierres précieuses et de l’histoire de la joaillerie ? / Jean-Baptiste Tavernier (1605-1689), a French adventurer who left for Asia in 1631, is one of the major figures of the Grand Siècle. His voyages to Asia – six in total and told thanks to his travelogues he published for the first time in 1676 – bear witness of the new European interest for the Asian continent and its exotic and mysterious cultures. But beyond his qualities as a storyteller, Tavernier was first and foremost a merchant : colored stones, pearls, items of jewelry and gold, and especially diamonds from the famous Golconda mines in India, are examples of the opulent goods bought and sold by Tavernier. At each step of his expeditions, his cargoes arouse curiosity, envy and fascination. His clients are wealthy and eclectic and prove the ease with which Tavernier másters the arts of trading and diplomacy. A man of his time, playing a major role in the forging of relations between the East and the West during the creation of the various East Indian Companies, a witness to social changes and the great sóciopolitical conflits of the XVIIth century, Tavernier’s trajectory mirrors perfectly the evolution of the Grand Siècle and the particularities of his time. What is the legacy of this essential character in the History of jewelry and the precious gemstones trade?

The problem of the forced film condensation heat transfer of pure steam and steam-air mixture flowing downward a tier of horizontal cylinders is investigated numerically and experimentally. Liquid and vapor-air mixture boundary layers were solved by an implicit finite difference scheme. The effects of the free stream non-condensable gas (air) concentration, free stream velocity (Reynolds number), cylinder diameter, temperature difference and angle of inclination on the condensation heat transfer are analyzed. Inline and staggered tubes arrangements are considered. The mathematical model takes into account the effect of staggering of the cylinders and how condensation is affected at the lower cylinders when condensate does not fall on to the center line of the cylinders. An experimental setup was also manufactured and mounted at METU workshop. A set of experiments were conducted to observe the condensation heat transfer phenomenon and to verify the theoretical results. Condensation heat transfer results are available in ranges from (U&amp / #61605 / = 1 - 30 m/s) for free stream velocity, (m1,&amp / #61605 / = 0.01 -0.8) for free stream air mass fraction, (d = 12.7 -50.8 mm) for cylinder diameter and (T&amp / #61605 / -Tw =10-40 K) for temperature difference. Results show that / a remarked reduction in the vapor side heat transfer coefficient is noticed when very small amounts of air mass fractions present in the vapor. In addition, it decreases by increasing in the cylinder diameter and the temperature difference. On the other hand, it increases by increasing the free stream velocity (Reynolds number). Average heat transfer coefficient at the middle and the bottom cylinders increases by increasing the angle of inclination, whereas, no significant change is observed for that of the upper cylinder. Although some discrepancies are noticed, the present study results are inline and in a reasonable agreement with the theory and experiment in the literature. Down the bank, a rapid decrease in the vapor side heat transfer coefficient is noticed. It may be resulted from the combined effects of inundation, decrease in the vapor velocity and increase in the non-condensable gas (air) at the bottom cylinders in the bank. Differences between the present study results and the theoretical and the experimental data may be resulted from the errors in the numerical schemes used. These errors include truncation and round off errors, approximations in the numerical differentiation for interfacial fluxes at the vapor-liquid interface, constant properties assumption and approximations in the initial profiles. Mixing and re-circulation in the steam-air mixture at the lower tubes may be the other reasons for these deviations.

EFFECTS OF OFF-CENTER ANGLE ON THE HEAT TRANSFER COEFFICIENT ON VERTiCAL TIER OF MULTIPLE SPHERICAL SURFACES Kaya, Ebubekir M.S., Department of Mechanical Engineering Supervisor: Assoc. Prof. Dr. Cemil Yamali December 2004, 112 pages The purpose of this study is to investigate the laminar film condensation phenomenon of steam on a vertical tier of multiple spherical surfaces by using both analytical and experimental methods. The analytical heat transfer results were obtained by following the Nusselt type of analysis and represented graphically. In addition, in order to observe the real behavior of the film condensation, an experimental setup was manufactured and experiments were done. In analytical section / mass flow rate, (mean) velocity, film thickness, local heat flux and local heat transfer coefficient values were obtained and plotted as depending on angular position. Moreover, mean heat flux and mean heat transfer coefficient variations were presented with respect to diameter of the sphere and sub-cooling. On the other hand, for the experimental section, heat flux and mean heat transfer coefficient values were obtained and expressed as depending on sub-cooling. To see the effects of off-center angle, setup was inclined for different angles and experiments were repeated for each inclination angle. At the end of the study, mean heat transfer coefficients belong to analytical and experimental studies were compared to each other as well as to the literature.

Cette recherche met en relation un travail de création artistique par le dessin et une réflexion sur le notion de transformation dans l'imaginaire taïwanais. Il s'agit de penser artistiquement les processus de reconstruction d'une identité, pendant la compréhension et l'adaptation à une culture différente. L'accent est mis sur le processus qui transforme des sentiments inhibés en expériences d'images. Ces images dont la composition peut rappeler les technique surréalistes ou de l'art fantastiques renvoient au rêve construit à partir d'un imaginaire vernaculaire propre à la culture Taïwanaise: rites familiaux, cérémonies collectives religionsyncrétique pour manifester ce choc et le décalage imaginaire. Le dessin peut montrer des images irréalistes, comme un rêve. Cette thèse entend comprendre comment cet imaginaireune fois formalisé par le dessin construit une identité tant artistique que culturelle / This research connects the creative artistic work of a drawing to reflections on the change in the Taiwanese imagination. It means to artistically think through the reconstruction process of an identity as it comprehends and adapts to another culture. The emphasis is placed on the way inhibited feeling are transformed into visual experiences. Using what could appear to be surrealist techniques or fantastic art, these images evoke dreams built on distinctive vernacular concepts found in the Taiwanese culture, as in family rituals, or collective syncretic religious ceremonies, to shock an highlight the differences. The illustration can depict unrealistic imaginings like in a dream. This thesis aims to explain how this imagination, once formalized by a drawing, shapes both artistic and cultural identity

Approaching a new design project by performing preliminary visual research is a common practice in educational and studio settings, particularly in Jewellery and Fashion Design. Collecting images around a given subject or theme - for better understanding its visual traits, or for future reference - could be seen as the counterpart, in visual terms, of a literature search. However, ‘visual research’ is an expression often used rather vaguely for indicating a spectrum of unstructured methodological approaches, whose procedures and underlying assumptions tend to remain unexplained, undisclosed or unquestioned in everyday studio practice. When creative practice becomes an integral part of academic research, though, there is an increased need for rigor and explicitness regarding every aspect about it, including all the work preliminary to it. This research aims to develop and test a systematic method for conducting and documenting visual research in the preliminary stages of the design process, contributing to new knowledge in the form of a new visual method, also applicable as a design tool. A reflection on the vagueness and implicitness of the Intuitive Approach (IA) to visual research adopted in the initial stage of this PhD motivated the search for an alternative method that could make transparent and rigorous the taken-for-granted, subjective assumptions behind the research initially conducted. The iterative and data-driven nature of the IA oriented the methodological quest towards established qualitative approaches in the Social Sciences, focusing on Emergent Methods and Grounded Theory. By translating and adapting some of their procedures to suit a visual context, a new method, Grounded Visual Analysis (GVA), has been developed and tested, revealing its suitability for achieving a higher degree of explicitness and systematicity in the process of data collection and analysis, and increasing the richness of the visual patterns elicited from the data, thus their potential for stimulating reflective practice. The development of GVA is offered as the major contribution to knowledge of this research, together with its application on a practical case as the demonstration of its double functioning, either as a reflective method for conducting visual research in the preparatory phase of the design process, and as a design tool for stimulating the generation of new ideas and design briefs.

Within the framework of this thesis, three studies are presented that investigated cultural similarities and differences of preschool aged children’s self- and family-drawings. The research was guided by the assumption that besides the basic structure of the drawing, specific drawing characteristics would vary cross-culturally, according to differences in cultural models and the associated understanding of self and others. Based on an ecocultural approach, families were systematically selected from diverse cultural contexts across and within national boundaries, representing three different cultural models: (1) the cultural model of psychological autonomy (characteristic for Western urban middle-class contexts), (2) the cultural model of hierarchical relatedness (representative for non-Western rural traditional contexts), and (3) mixed cultural models of autonomous relatedness (e.g., non-Western urban middle-class contexts, migration contexts). The participating children were of similar age, gender distribution, and had reached comparable structural levels of human figure drawings. Overall, the studies revealed three main findings. First, it could be confirmed that there are basic similarities in children’s graphic development. In line with previous reports, the studies demonstrated that the structural composition of the human figure as well as production principles did not differ significantly across cultures. Second, several content-based drawing features varied with cultural context and the associated cultural model. In particular, figure size, the facial depiction, and gender-specific characteristics could be linked to the culturally shaped understanding of self and others in the respective cultural context. Third, it was shown that the composition of children’s family-drawings corresponded to the structure of families in the particular cultural context, mainly with regard to number and position of family members, figure size- and gender-differentiation. The results are discussed with a focus on the role of general and culture-specific drawing characteristics in preschool aged children’s drawings of self and family. Based on these and former research findings, an integrative framework of children’s self- and family-drawings is proposed in order to shed light on the origin and relationship of the investigated drawing characteristics. Open research questions are pointed out, as well as limitations and practical implications of the study results.