Nesta dissertação, procuramos, a partir da Grande Exposição Universal de Londres em 1851, o início de um debate mais intenso de aproximação da arte com a indústria para, assim, perceber como elementos estéticos começam a permear a vida cotidiana. Essas questões ganham fôlego com as vanguardas, principalmente, com a Bauhaus de Walter Gropius e com o ready-made de Marcel Duchamp. Problematizar como cada um desses artistas buscou o novo, para aproximar Arte e Vida, usando estratégias diferentes, mas recorrendo ao mesmo suporte: o objeto. Ao longo do século XX, perceberemos como, no pós-segunda guerra, há uma mudança no contexto histórico e como as artes plásticas e aplicadas respondem ao debate: arte e indústria, ready-made e Bauhaus. Veremos que as respostas serão com a pop art e as vanguardas italianas do design. Nas décadas de 1960 e 1970, analisamos a sobrecarga da narrativa moderna, tendo a implosão do conjunto residencial Pruitt-Igoe como marco desse processo. O resultado é o ocaso das vanguardas e a centralidade da cultura Kitsch, que inverte a questão levantada por elas de aproximar arte e vida; agora, é a vida cotidiana naquilo que tem de mais banal que se aproxima da arte. As consequências dessa mudança são as repetições de imagens do passado e a descontinuidade na história da arte. Assim, demonstraremos como a arte e os objetos de uso colaboraram com a construção do modo de vida nessa nova tradição. / In this research, we have studied, as from the Great Exhibition of the Works of Industry of All Nations in 1851, in London, the start-up of a more intense debate on the approximation of Art with Industry for, thus, realizing how aesthetic elements begin to make part of everyday life. Such issues are increased with the Avant-Gardes mainly with Walter Gropiuss Bauhaus and the Marcel Duchamps Ready-mades. We have also studied how each of these artists had searched the \"new\" to approach Art and Life using different strategies but the same support: the object. During the 20th century, after the second World War, we may realize that there is a change in the historical context and how Visual Arts and Applied Arts answer to the debate: Art and Industry, Ready-made and Bauhaus. We may see that the answers will be with Pop Art and the Italian Design Vanguards. In the decades of 1960 and 1970, we have analised the overload on the modern narrative, having the implosion of the Pruitt-Igoe residential condo as this process\' milestone. The result is the Avant- Gardes twilight and the Kitsch culture centrality, which inverts the issue they bring up in order to approach Art and Life; now, on the other hand, it\'s everyday life that is close to Art in what it has of most banal. This change consequences are the repetitions of past images and the discontinuity in Art History. Thus, we may demonstrate how Art and objects of use have contributed with the way life construction in this new tradition.

[pt] Esta dissertação propõe a análise da formação de uma cultura figurativa do Design a partir da experiência da Bauhaus. A escola surge, em 1919, imbuída de ideais expressionistas e obstinada em promover a união entre todas as artes. Porém, já em 1923, inicia-se um processo de ressignificação e adaptação dos métodos e pesquisas formais, tradicionalmente vinculadas à arte, a um pensamento técnico científico. Embora essa inflexão tenha atenuado a relevância da arte dentro da instituição – e dominado o pensamento subsequente acerca do design moderno –, a crença no potencial educativo da forma permaneceu forte graças à presença de grandes artistas-professores, como Paul Klee, Wassily Kandinsky, László Moholy-Nagy e Josef Albers. Ao retomar tal experiência, a pesquisa pretende resgatar a dimensão filosófica da cultura visual produzida pelo design, entendendo que a forma tem a capacidade de gerar reflexão e inovação. / [en] Taking the Bauhaus experience as a starting point, this research analyses the formation of a figurative culture of Design. The school emerges in 1919, imbued with expressionist ideals and obstinate to promote the union between all arts. However, already in 1923, a process of revision and adaptation of methods and researches of form begins to shift from the art sphere to the technical-scientific one. Although this inflection has undermined the relevance of art within the institution – and influenced the subsequent thinking on modern design –, the belief in form as an educational instrument have remained relevant thanks to the presence of great artist-teachers, such as Josef Albers, Wassily Kandinsky, Paul Klee and László Moholy-Nagy. With special reference to the Bauhaus, this dissertation intends to recover the philosophical dimension of the visual culture produced by design, understanding that the form has the capacity to generate reflection ad innovation.

Today' s Sport organizations faces many challenges; they are to compete not just only on the pitch but also in many other fields. The commercialization of sports has contributed to that these sport organizations has evolved to be more like a regular company rather than just a non-profit sport team. With it comes the importance of brand and sponsorship. Today in 2019 it’s more common than ever that companies that offers gambling sponsor sport organizations. Public debate about the topic has concluded that gambling addiction is a growing public health problem in Sweden. This creates a dilemma for sport clubs and their directors, funding from sponsors is crucial for the success of the team but at the same time these sport clubs need to care about their brand. The purpose of this study is to examine how the attitudes of the supporters is affected by the sponsor agreements with gambling companies. The study also aims at seeking understanding in how sport organizations act according with Corporate Social Responsibility and the ideals of sports. To examine this topic five different theories has been used, in which four are brand theories and one is the Corporate Social Responsibility. The brand theories are as follows: Brand Equity, Brand Relationships, Word of Mouth and Brand Image Transfer. This study uses Triangulation as a method in form as semi-structured interviews and surveys. The result from this study implies that supporters indeed has negative attitudes towards gambling organizations, these negative attitudes affect sport brands in a negative way. Sponsorship deals from other organizations that the supporters have positive attitudes towards can help to decrease these negative impacts. The result also implies that most of the supporters doesn’t have an opinion about the club’s sponsorship deals. / Dagens idrottsorganisationer ställs inför mängder med utmaningar, de behöver inte bara nå framgång på planen utan även inom många andra områden. Idrottens kommersialisering har bidragit till att föreningar drivs mer och mer som ett företag, där varumärke och sponsring är två centrala delar. Samtidigt har de sin grund i idrotten och dess normer samt ideal. Just nu, år 2019, är det vanligt förekommande att spelbolag sponsrar idrottsverksamheter. Detta är någonting som skapat en stor samhällsdebatt då många, inklusive folkhälsoinstitutet, menar att spelmissbruk är ett växande folkhälsoproblem i Sverige. Detta skapar ett stort dilemma för idrottsklubbarna, samtidigt som de behöver kapital för att bedriva verksamheten behöver de också värna om sitt varumärke. Studiens syfte är att söka förståelse för hur supportrarnas syn på idrottsvarumärkena påverkas av spelbolagens sponsring; samt hur idrottsorganisationerna förhåller sig till Corporate Social Responsibility och idrottens normer och värderingar. För att undersöka detta har de fyra varumärkesteorierna Brand Equity, Brand Relationships, Word of Mouth och Brand Image Transfer använts i denna studie. Corporate Social Responsibility har även använts som en kompletterande teori. I Studien används triangulering som forskningsmetod, där representanter från Brynäs IF och Linköping HC medverkat i semi-strukturerade intervjuer. Dessutom har 238 supportrar till Brynäs IF och 100 supportrar till Linköping HC svarat på studiens enkätundersökning. Resultatet i denna studie visar att det existerar negativa attityder gentemot spelbolag från klubbarnas supportrar, dessa negativa attityder har visat att det bidrar till en negativ påverkan på klubbarnas varumärken. Resultatet visar också att samma sponsoravtal kan ha varierande påverkan på olika klubbars varumärke. Sponsoravtal som supportrarna ställer sig positiva till kan dock hjälpa till att motverka dessa negativa effekter. Resultatet visar att de flesta av klubbarnas supportrar är neutralt inställda till klubbarnas sponsoravtal.

Under 2018–20 har jag under min masterutbildning i komposition inkluderat mina egna erfarenheter av synestesi och associerad synestesi i komponerandet och här även försökt att beskriva mina metoder för detta. Jag har försökt överföra upplevelser av text, färg, form och rörelse till musik. Detta är delvis inspirerat av pedagogen Gertrud Grunows arbete på Bauhaus för 100 år sedan men även av mina tidigare arbeten med kollage, grafiska partitur och dans. De ensembler jag skrivit för har varit mycket varierade idiomatiskt och storleksmässigt. För mig som komponist, sångare och improvisatör, men också pedagog är de synestetiska (associativa eller konkreta) metoderna en för mig oändlig källa till inspiration och ett praktiskt sätt att närma sig det kreativa arbetet. Min roll som utövande improvisationsmusiker är också en del av det, då improvisationen aktiverar så många delar av sinnet. Visuell, auditiv, kinestetisk och taktil inlärning påverkar hur vi förnimmer världen. Om du förstår individens unika perception får du större medkänsla och dessutom ett mindre prestationsladdat förhållande till ditt eget skapande. Det bild- eller textmaterial jag skapar hjälper mej att minnas mina grundidéer. Syftet med att vandra mellan olika medium, idiom och förnimmelser är att hitta ett sätt att komma kreativiteten nära – i smyg. / During the years 2018–20 I have included my own experiences of synesthesia and associated synesthesia in my composition processes, and in this essay I am describing the methods I have been using. I have tried to transform experiences of words, color, texture, form, and movement to music. This is, to some extent, inspired by the work of the pedagogue Gertrud Grunow at the Bauhaus art school in Germany 100 years ago, but also by my own earlier works with collages, graphic scores and dance. The ensembles I have been writing for have been varied idiomatically and in size. To me, as a composer, singer and improviser, but also as a pedagogue, synesthetic methods (both associative or concrete) are an endless source of inspiration and a practical way to approach the creative work. My role as a performing, improvising musician also takes a part of it since the improvisation activates so many different sections of the sensory system. Our different ways of learning, through the visual, audiative, kinesthetic and tactile, affect how we perceive the world. If you can learn to recognize different modes of individual perception, you will get a greater respect for your fellow humans, and also diminish the performance anxiety you might have in relation to the creativity. The texts and visual material I create in my processes help me to remember the original sources of inspiration. The purpose of wandering in between different media, idioms and sensations is to find practical ways to stealthily approach creativity. / <p>"From Ash to Birch" Lina Nyberg, KMH Symphony Orchestra, conducted by Simon Bång</p><p></p>

In der neuen Broschüre greift das Landesamt für Denkmalpflege Sachsen das Jubiläum „100 Jahre Bauhaus“ 2019 auf. Sachsen verfügt nur über wenige unmittelbare Bezüge zum Bauhaus. Jedoch haben sich im Lande zahlreiche Zeugnisse der Architekturmoderne erhalten, die die sächsische Denkmallandschaft bereichern. Die Auswahl der 32 in Fotografie und Text vorgestellten Objekte berücksichtigt sowohl Vorläufer als auch die verschiedenen parallelen Stilrichtungen, die die Architekturgeschichte des ersten Drittels des 20. Jahrhunderts prägten. Redaktionsschluss: 01.10.2018

Call number: LD2668 .T4 1984 D52 / Master of Arts

In the graphic design, successful use of white space provides the designed object with a strong reference to its material quality and internal structure. Showing the paper breaks the wall between the design and the viewer, and gives the audience a better understanding of the construction of graphic design. White space is devoid representation, which leads the work to become completely honest about its materiality. This project explores different methods and processes for creating aesthetic/conceptual integrity in graphic design by using white space as a primary device.

Der anhaltende Bauboom verändert das Aussehen deutscher Städte. Dabei werden insbesondere die Häuser im sog. Bauhausstil kritisiert, die in Baulücken gesetzt werden und traditionelle Bauensemble auseinanderreißen. Ziel des Beitrags ist es, die Zustimmung zum sog. Bauhausstil zu überprüfen, der deutsche Wohnsiedlungen überrennt. Wie viel Zuspruch erhalten diese Häuser wirklich? Wird dieser Stil tatsächlich geschätzt? Wie werden Häuser im Bauhausstil alleine und im Kontext anderer Immobilien bewertet? Die Ergebnisse lassen sich wie folgt zusammenfassen: Der Bauhausstil wird im Vergleich mit anderen Baustilen nur von einer Minderheit präferiert. Menschen in Deutschland präferieren üppiger verzierte und ornamentierte Gebäude. Die weiße Farbe ist absolut kein Muss. Flachdächer werden überwiegend abgelehnt. Bauhäuser, denen nachträglich schräge Dächer aufgesetzt wurden, werden präferiert. Werden Häuser im Bauhausstil in Baulücken gesetzt, so dass eine früher homogene Bausituation gestört wird, wird dies überwiegend abgelehnt. Häuser in homogenen Bausituationen haben einen höheren Wert als Häuser in Gebäudegruppen, die durch ein abweichendes Haus gestört wurden. Homogenität von Gebäudegruppen ist eine wertsteigernde Eigenschaft. Punkten können Häuser im Bauhausstil gegenüber traditionellen Immobilien vor allem durch ihre Neuwertigkeit: c.p. wird Neu gegenüber Alt bevorzugt. Wenn Häuser im Bauhausstil in einigen Jahren nicht mehr neu sein werden, dann wird die Zerstörung der Homogenität einer Bausituation übrigbleiben. Die Stadtplanung sollte stärker regulierend eingreifen. / The sustained and continuing construction boom alters the appearance of German cities. One project follows the other. There is no or limited willingness for serious urban planning. People criticise the disappearance of traditional structures. Especially new houses in the so called Bauhaus style are accused of being aesthetically unattractive. They would disturb and hinder a positive urban development. Aim of the article is to evaluate the consent or disapproval with the Bauhaus style. How serious is the criticism, and how deep is the aversion when residential property in the Bauhaus style fills a gap in a homogenous row of houses built in other styles? The results are as follows: The Bauhaus style is supported by a minority only. The vast majority prefers other styles, especially the classical style. People do not favour the white colour – other colours are equally liked. The same is true with the flat roof or the asymmetric windows – all typical elements of the Bauhaus style. Other types of roofs and windows are preferred. The disturbance of a homogenous row of houses by a house in the Bauhaus style is being negatively rated. Homogeneity of a neighbourhood is a very highly ranked criterion when valuing residential properties. It follows that urban planning should be more restrictive in regulating the appearance of new buildings in established urban areas.

Este projeto de pesquisa tem por objetivo estudar o desenvolvimento da linguagem da iluminação cênica em sua relação com os caminhos da encenação. O eixo central é a transformação da função da iluminação cênica de instrumento da visibilidade a elemento estrutural e estruturante da escrita cênica, constituindo-se como linguagem. Na primeira parte, através da pesquisa da luz no teatro expressionista alemão, pretende-se pontuar os trabalhos exemplares, de forma a descrever esse processo de transformação e suas variáveis, instituindo conceitos para uma análise específica da iluminação cênica. Na segunda parte, usamos desses conceitos para analisar outras poéticas da luz: o trabalho do encenador Erwin Piscator e o teatro da Bauhaus. / This research aims to investigate the development of Lighting Design language in its relation to the course of theatrical production. The central axis is the function of scenic transformation from instrument of visibility to structural and structuring element of the scenic narrative, constituting itself as language. In the first part, through the research of lighting in German Expressionist theatre, it is intended to point out the representative works and to describe this transformation process and its variants establishing concepts for a specific analyses of theatrical lightning. In the second part, these concepts are used to analyze other lightning poetics: Erwin Piscator´s theatrical work and the Bauhaus´s theatre.

Diss. Linköping : Univ.