For thousands of years, coloring agents have been employed to dye textiles and other materials. Apart from the time-honored use of colors in many fields of design, research into colors has increased considerably as regards function and importance, particularly in recent years. The material witnesses associated with these processes have also found their way into the Dye Collection of the TUD Dresden University of Technology, one of the most comprehensive and significant collections of its kind in Europe. The inventory currently includes around 1,500 natural dyes of plant or animal origin, more than 20,000 synthetic dye samples and over 3,000 sample cards and books, as well as numerous samples of dyes prepared in the Institute of Colour Chemistry, the domicile of the Dye Collection. It also contains coal and tar products, various fiber materials, earth and mineral colors, and a collection of the Institute’s scientific papers and specimens from 1897 onwards. The Collection documents the development of color chemistry and the dye industry from the mid-19th century onwards and is still used today as a source of visual aids and as a reference work in teaching and for scientific purposes.

When scientists today talk of a mathematical model, they usually do not refer to objects such as those presented in this Collection, but to a formalized description − employing mathematical means − of a sub-problem from the world we experience. The more precisely an event is “modeled,” the better it can be predicted. Accurate weather forecasts, analyses of financial markets and the characterization of complicated processes from physics, chemistry and biology become possible when the power of computers is harnessed. Despite these obvious successes in almost all areas of life, despite their key role in advanced technology, and despite many attempts at mediation, mathematicians and the rest of society remain thoroughly divided: Their formalistic science is often regarded as incomprehensible and remote, not least because of its highly condensed language.

Universities have been setting up collections for teaching and research purposes since the 16th century. Cartographic collections deserving this name, however, only came into being during the 19th century, due to the development of geography (in German often referred to as “Erdkunde”) and geodesy. The late emergence of cartography as a science also had a delaying effect. Early attempts in collecting were, for example made, at the University of Wittenberg, founded in 1502. Here, Phillip Melanchthon had a store of wall maps he used in teaching (Stams 1985).

Industrial design at TUD Dresden University of Technology prioritizes human needs and experiencing in designing complex novel systems for desirable futures. For this purpose, it integrates human-centred design, engineering and social sciences, with a tradition going back to the 1950s. The Industrial Design Collection is comparatively young. It is also a relatively small and unprocessed collection. Nevertheless, it is of relevance for research into the history of design, product development and material culture in the GDR. Parts of the estate of Rudi Högner form the cornerstone of the Collection. Högner was the founder of design at TUD and had a particular influence on design in the GDR. In addition, there are objects from conceptual and development projects of the 1970s and 1980s undertaken by the Industrial Design Working Group at TUD in collaboration with industry. These objects provide an insight into the processes of design in the GDR. Design in Eastern Europe and especially in the GDR has attracted increased attention in academic research in terms of its history, its approaches and solutions. TUD’s Industrial Design Collection provides a piece of the puzzle concerned with researching design in the GDR, together with extensive inventories in the Federal Archives and at the “Haus der Geschichte der Bundesrepublik Deutschland” in Berlin, and at the Horst Michel Archive of the Bauhaus University in Weimar, which has been processed in recent years. Other inventories are held at the archives and academic heritage offices of Burg Giebichenstein University of Art and Design Halle, at the Weißensee Academy of Art in Berlin, and also at the Dresden Academy of Fine Arts (HfBK). 25 years after the fall of the Berlin Wall, interest in the subject had become visible in various ways. In 2014, Karl Clauss Dietel was the first designer from East Germany to receive the Federal Award for Design for his life’s work. Likewise, in 2014, the biography of Martin Kelm, the long-time head of the GDR’s Office of Industrial Design, was published in a collaborative project at TUD. Inventories from the Industrial Design Collection were also used for this publication (Wölfel et al. 2014). Similarily, inventories from the Collection have been used for the touring exhibition on German Design 1949—1989 by the Saxon State Collections and the Vitra Design Museum. Additions from 1990 onwards complement the inventory from the GDR. The Collection includes a total of well over 100 objects from the field of aesthetic design fundamentals, more than 50 design models of products, machines, vehicles, airplanes and other items, some prototypes and series products as well as numerous documents, drawings, photographs, and slides, most of which were created at TUD or are related to the activities of designers at TUD.

International Telemetering Conference Proceedings / October 27-30, 1997 / Riviera Hotel and Convention Center, Las Vegas, Nevada / This paper addresses the development requirements for a digital recorder to be used for fighter environment and attack Helicopter applications. This development is focused on triservice requirements to allow for a common system to meet the needs of various test centers.

published_or_final_version / Environmental Management / Master / Master of Science in Environmental Management

This thesis contains five short stories, "The Playground at the End of the Neighborhood," "The Daylight Monster," "Union, Justice, and Confidence," "Traction," and "Exercise." The five stories presented here seek to utilize the freedom of the "tale." They vary in degree of employment of the fantastic, are the product of another culture and a different outlook, and utilize the freedom of the short story to operate on strengths other than reader-protagonist identification. A theme of caution serves as a unifying thread for these five tales

The forty-four poems of this collection reflect the diversity of ideas which intrigue the poet, the attitudes by which she chooses to live, the relationships which are important to her, and the emotions which influence all of those ideas, attitudes, and relationships.

This thesis is composed of a collection of thirty-four original poems with an introduction by the author. The introduction attempts to justify the collection by discussing common influences and techniques employed in its creation. The introduction also supplies background information on each poem and, on occasion, discusses the relation of a poem to the rest of the collection.

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