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  1. Acknowledgments
  2. Kandinsky : Russian and Bauhaus years, 1915-1933
  3. Related titles
  4. 20701321 BAUHAUS a Conceptual Model
  5. BAUHAUS a Conceptual Model

Keynote Speaker: Dr. Eric J. Nuetzel, Washington University in St. From its theoretical origins in Freud, psychoanalysis has often turned to theatrical texts and metaphors in order to explore its own meaning as a therapeutic practice. Conversely, theories of theater from Aristotle to Artaud have emphasized the therapeutic value of stage performance.


This conference proposes to explore the complex interactions between psychoanalytic and theatrical theories and practices. How is theatre therapeutic? How is the clinical setting theatrical? How are clinicians served by theatrical ways of thinking and being?

Has theater as a literary and performing art changed since the advent of psychoanalysis? We encourage submissions from clinicians as well as humanities and social science scholars in order to make this conference a truly interdisciplinary endeavor. Papers are invited to address but are not limited to the following topics:. Please send a word abstract for a twenty-minute presentation to.

As submissions will be reviewed blindly, please remove all identifying information from your attached abstract. Be sure to include your name, email address and telephone number in the body of your email. Louisiana State University. January February 1.

Kandinsky : Russian and Bauhaus years, 1915-1933

Keynote Speaker: Cathy Davidson. An Interdisciplinary Conference. University of California, Santa Barbara. The recent death of Jean Baudrillard has stimulated an engagement with his work and its legacy across various fields both within academia and beyond it. Whether or not we accept their validity, how can we apply, transform, refigure, critique and salvage these ideas?

What has his work fostered in the different modes of critical theory: social scientific, cultural, literary, technological, popular, communication and new media theory? We invite papers engaging the future of this discussion. How do we succeed Baudrillard?

Related titles

How should his work and thought be disseminated, disintegrated, dispersed, and employed? We welcome papers responding but not limited to the following topics:. Simulacra and Second Life. The Desert and the Real: Mediating Iraq. Mirror s of Production. Consumer Culture. Baudrillard Broadly: Influences, Allusions, Legacy. Stockpiling the Past. The Metaphysic of the Code. The Evil Genie of Passion.

The Historicity of Postmodernism. Universalization, Globalization and Technological Progress. The Desert of the Matrix: Misreading Baudrillard. Advertising and the Ecology of Media. Guerrilla Graffiti Art. March 28 - 29, , Johns Hopkins University. The conference will be held at The Johns Hopkins University on March 28th and 29th, , and will consist of selected graduate student papers relevant to the topic and keynote addresses by the following scholars:. Reinhard Brandt, University of Marburg.

Rolf-Peter Horstmann, University of Berlin. Manfred Kuehn, Boston University. The deadline for submission to this conference is January 15th, , and a response will be given by February 15th, Submitted papers should be between 4, and 7, words, and accompanied by an abstract that explains the thesis of the paper. Submission deadline: January 15, Jennifer A. Baltimore MD February 20 - 23, , Dallas. Contrary to traditional aesthetic theories that argue for the primacy of either the subjective and phenomenological, or formal and objective interpretations of artwork, the aesthetics of electronic media, like the logic of technical media itself, is thoroughly removed from anthropomorphic sensibility.

One could say that electronic media aesthetics are marked by technical trauma.

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  2. Títulos relacionados.
  3. Full text of "Kandinsky : Russian and Bauhaus years, "?
  4. Babel Minute Zéro (Folio Policier) (French Edition).
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Is this approach problematic for the logic of technical media? Can certain attributes such as color, form, affect, or sound, effectively reconcile computer based artwork with the subjective and humanistic drives in art making? The panel invites papers that address the aesthetics of New Media art in distinction to previous aesthetic models or media platforms.

For instance, papers suggesting the ways in which color, sound, line, form, symbolism, affect, anti-aesthetics or ideology may be distinct to new media aesthetics are all welcomed. Essentially the panel inquires: what do theoreticians and practitioners address in New Media art, and why? Special attention will be given to those abstracts that are concerned with the use of color in New Media work. Presenters can propose brief lectures; media or artist presentations of their own, or other artist's work; discussions; or other acceptable suggestions.

Send abstract and CV to Carolyn Kane clk nyu. Carolyn Kane clk nyu. International Association of Empirical Aesthetics. August , Chicago, Illinois, USA. The International Association of Empirical Aesthetics IAEA is an organization whose members investigate the underlying factors that contribute to an aesthetic experience, as well as aesthetic behaviors, using scientific methods.

Currently we have members in 20 countries. Although the majority of members are psychologists, our membership includes sociologists, musicologists, philosophers, and researchers who specialize in the study of painting, sculpture, literature, film, museum visitor behavior, and so forth. The purpose of the Congress is to provide a forum for the exchange of ideas and information relating to various topics involving empirical aesthetics.

The official language of the Congress will be English. All written material abstracts, posters, and contributions to the proceedings and accompanying presentations must be in English. Submissions are invited for four types of events: 1 spoken papers, 2 posters, 3 symposia, and 4 an exhibition of art created by participants.

There will be parallel scientific sessions for oral presentations held during each of the four days of the Congress. Invited addresses and symposia will be scheduled throughout the program. An art exhibition will be open for the duration of the Congress for all those registered. The purpose of the exhibition is to show the art works of participants and stimulate discussion about the works and the creative process. Spoken Papers. The time allotted for spoken papers will be 20 minutes; 15 minutes for presentation and 5 minutes for discussion.

Each presentation will have a designated time-slot assigned to it. Posters will be organized in one or more poster sessions. Instructions concerning poster format and size will be provided along with acceptance notification. Since this is a new addition to the Congress, if not enough posters are submitted authors will be asked to do a spoken paper instead. Symposia will consist of a set of integrated spoken papers related to a theme. The maximum time allowed for symposia will be 3 hours including a min.

Symposia should consist of no more than five min. Symposia conveners should collect together abstracts for each paper which must be in the required format described. These should be submitted along with an abstract for the entire symposium, stating the rationale for the topic, the aims of the symposium, and the set of speakers proposed. A discussant may be included. Art Exhibition.

Art works will be limited to two-dimensional work with a maximum width of about 40 inches cm and small three-dimensional works e. Each participant can submit up to four pieces for consideration. You should plan to bring the works with you and hand-deliver them to the exhibition coordinator when you arrive. The works should be framed and ready to hang or display when you bring them.

We have no facilities for receiving shipped work. In order to be considered, please submit a word abstract in the same way that you would submit an abstract for a paper session see instructions below. In addition, on the same paper as the abstract, please list each work with the title, size framed or displayed and medium.

Also include a print, slide, or electronic file. Abstracts for all four types of events must be sent by December 31, via e-mail to:. Kenneth S. Bordens, Program Moderator, iaea08 ipfw. Send three copies of your abstract to:. Bordens, Program Moderator. Department of Psychology. Abstracts for papers, symposia and art exhibitions must be received no later than December 31, Abstracts should not exceed words in length word processor format, Times New Roman, 12 points, 1 inch margins.

The abstract must include: 1 Style of presentation paper, symposia or art exhibition ; 2 title; 3 author s ; 4 author affiliation s ; 5 abstract approximately words describing the rationale, methods, results, and a select list of references; 6 keywords; 7 postal address with telephone, fax numbers and e-mail address. Electronic submissions must be in either. Preferably, abstracts should be sent via email to: iaea08 ipfw. Final manuscripts to be published in the Congress Proceedings will be due by April 30, Details on the requirements for the final manuscript shall be provided at the time of notification of acceptance.

Carleton Hotel and Motor Inn. Oak Park, Illinois Phone Fax Member Non-member Student. Regular fees:. Opera is not dead. Its death may have been frequently predicted but, at the dawn of the 21st century, we see it reborn in forms using avant-garde, new media and post-modern media aesthetics that challenge and disrupt dominant forms of artistic production.

Yet it remains bound to its history. This conference examines the implications, across more than a century, of one strand of that history: the colonialist exotic as it was manifest particularly in works from Aida to Turandot. We are especially interested in the role of the exotic in the opera as it confronts the historical context of cultural globalization and interculturality.

How, in a postcolonial age, does one best represent the opera of a colonial past? To what extent can modern technology or filmic representation help us reinterpret such opera in a new era? What challenges for staging and visual representation do such examples of cultural exchange present? As a uniquely hybrid, multi-media form of artistic output, straddled between music and theatre, between high and low culture, opera offers wide-ranging research possibilities in the fields of media and cultural studies.

Using the problem of the exotic legacy as its primary lens, this international interdisciplinary conference explores the shifting relationships between the multi-media genre of opera and the fast-changing world of visual culture. The conference will also examine the changing aesthetics of opera in composition and performance, historical dis continuity and the new relations of space and time as they may affect opera in the digital age.

A selection of presented papers will be published. Papers will be limited to 20 minutes. Please include your institutional details where relevant, and your email address. These details are for administrative use only in the first instance: the Programme Committee will judge abstracts anonymously. Flo Austin. Stewart House. The Philosophy of Computer Games Conference Deadline: We hereby invite scholars in any field who take a professional interest in the phenomenon of computer games to submit papers to the international conference "The Philosophy of Computer Games ", to be held in Potsdam, Germany, on May , Accepted papers will have a clear focus on philosophy and philosophical issues in relation to computer games.

They will also attempt to use specific examples rather than merely invoke "computer games" in general terms. We invite submissions focusing on, but not limited to, the following three headings:. Action Space. Papers submitted under this heading should address issues relating to the experiential, interactional and cognitive dimensions of computer game play.

What is the nature of perceptual experience in game space? How should we understand the relationship between action, interaction and space in computer game environments? What are the ethical responsibilities of game-makers in exerting influence on individual gamers and society in general? What role, if any, can games serve as a critical cultural corrective in relation to traditional forms of media and communicative practices, for example in economy and politics? Also: what is the nature of the ethical norms that apply within the gaming context, and what are the factors that allow or delimit philosophical justifications of their application there or elsewhere?

The Magic Circle. Terms such as "fictionality", "virtuality", "simulation" or representation" are often used to indicate specific functions of objects in games. But what is the nature of the phenomena these terms refer to in the interactive field of game play? And what is the structure of gaming-processes? What is the mediality of digital games? We are especially interested in discussions that aim at how the notion of a self-contained "magic circle" — representing an imagined border between play and reality, or the internal and external limits of game-programs — is being challenged by forms of individual action and social inter action which tend to transcend such limits.

Your paper should not exceed characters excluding blanks and be accompanied by an abstract of words. Please specify the primary focus topic of your submission. Deadline for submissions is February 15, All submitted papers will be subject to double blind peer review, and the program committee will make a final selection of papers for the conference on the basis of this. Notification of accepted papers will be sent out by March 12, Dieter Mersch. Olav Asheim. Patrick Coppock. Espen Aarseth.

The conference is a collaboration between the following institutions:. Ernst-Abbe-Platz 8, Jena. Forum for European Philosophy. Centre for Literature and Philosophy, University of Sussex. A Free One-Day Conference. Saturday 9 February , am - pm. Chichester Lecture Theatre University of Sussex.

To book a place, contact: Katerina Deligiorgi K. Deligiorgi sussex. Our presentations and panel discussion on modern poets will explore different ways that poets can be philosophical poets, that poetry can be seen as philosophy and that philosophical and poetic analysis can be related in understanding the works of the featured poets.

We shall have readings of some of the poems we discuss in English and the original language. Chair, Panel Discussion and Questions: Dr. Nicholas Bunnin. San Francisco, California, United States. Contact name: Peter Amato. Papers addressing issues in all areas of radical philosophy and praxis are welcome. Organized by: Radical Philosophy Association. Purdue University.

March , Keynote Speakers:. Leonard Lawlor University Of Memphis. The topic of memory is experiencing a revival of interest in Continental philosophy, literary theory programs, and the humanities in general. A broad range of scholarship has become increasingly devoted to thematizing memory across a spectrum of special disciplines, for instance, in aesthetics, psychology, phenomenology, ontology, social-political philosophy and literary theory.

The graduate students of Purdue University are holding a conference to promote interdisciplinary dialogue organized around this revival of interest. We encourage paper submissions from graduate students in philosophy, literary theory, film theory, art theory, feminist studies, political science, and all disciplines that are engaged with the ontological, epistemological, metaphysical, political, or aesthetic reconsiderations of memory. Topics welcome on any Continental thinker in relation to memory. Possible topics:. Papers should be sent as word documents, not exceeding 15 double spaced pages.

Personal information is to be sent in the body of the email and should not appear on the paper itself. March 29, The Philosophy of Love and Affectivity. Hosted by the Marquette University. Philosophy Graduate Student Association. Milwaukee, Wisconsin. Keynote Address:. Burt Hopkins, Seattle University. Submissions are welcome across the topics of love and affectivity. The concept of love in philosophical traditions. The relationship between reason and emotion.

Philosophy as love, as encouraging love and acts of love. Explorations of affectivity in human life. Relationship between affectivity and desire. Other submissions within these broad bounds will be considered. Please submit papers in blind-review format to mupgsa mu. Please submit a coversheet with your paper indicating your name, paper title, affiliation, email address and mailing address.

Please limit your paper to words for review. Submissions are due January 15th, Decisions will be announced by February 10th, Papers are invited for presentations at the international and interdisciplinary conference:. April Papers should be accompanied by a one-page abstract, which should include name, affiliation, address, and email address.

Submitted papers will be limited to 30 minutes reading time there will be 15 minute discussion following each paper.

20701321 BAUHAUS a Conceptual Model

Deadline for submissions of papers and abstracts is December 15, Notification of acceptance will be mailed by January 15, Papers should be mailed to:. Professor Predrag Cicovacki. College of the Holy Cross. Engaging Objects. Engaging Objects is an interdisciplinary conference addressing general methodological and epistemological issues in the humanities.

BAUHAUS a Conceptual Model

Things in the world, objects of art and of everyday use, have functioned as core referents in contemporary cultural theory. Since the "linguistic turn", technological devices and philosophical texts, dirty windows, typewriter-erasers, and cyber-space, have been proposed and contested as possible sites for re-encountering material reality. The ASCA International Workshop is a space open to reflect on the methodological nuances, theoretical consequences and political implications of engaging objects within the humanities. These issues will be discussed in four panels:.

Engaging theory, which positions theory as an object of study. Sensory disruptions, which explores the possibilities and implications of encountering objects through different senses and their interrelations.

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  • Bodily interventions, which deals with the body as an object of study, and a site for alternative modes of knowledge production. Deadline for abstracts words : October 31, ; deadline for papers words : January 31, We are also looking for performances to be presented during the workshop that are relevant to the workshop theme of "engaging objects". Objects engage researchers: they attract our interest, involve us and position us as scholars in relation to their cultural emergence.

    Similarly, while engaging with objects we, as theorists, also produce them as objects of study. We further engage with culture at large through artistic or mundane, actual or virtual objects-they work as mediators of social relationships and as translators between imaginary and lived culture.


    This sense of engagement can be found in the root of the verb "to engage". According to the Oxford English Dictionary, a gage is "a valued object deposited as a guarantee of good faith", as well as "a pledge, especially a glove, thrown down as a symbol of a challenge to fight". Thus, engagement can be understood as an object's promise, its act of commitment or provocation. The concept of engagement gains its sense metaphorically, developing from a concrete action in which the object stands in for a socially charged gesture.

    The mediatory role of objects may also be abused, although objects are always already engaged with the world in ways that exceed our scholarly framing of them. The relationship between object and researcher is not only limited to a metaphorical promise; it is also an actual intervention. This engagement is not with the respective parties of a relation, but with the relationship itself. Thinking of this relationship as a site where the known and the knower are partly produced, we may focus on the fractures, irregularities and inconsistencies that are constitutive of our own production of knowledge today within fields such as visual culture, literature, history, art, music, performance, anthropology, theory, and politics.

    Engaging theory. This panel seeks to position theory as an object of study. In considering theory as an object, its material aspects are brought to the fore. Yet the material aspects of theory are not the same for scholars across different disciplines or schools of thought. Post-structuralist scholars, for example, might locate theory's materiality in the actual language used to construct abstract concepts.

    Their more Marxist-oriented critics, however, might use the term "material" to name the wider socio-cultural and political networks within which the theoretical text is inserted. Creatively re-articulating these different traditions may make our own engagements with theory more politically and intellectually productive. This panel invites participants to think through the metaphor of the "engaging object" in order to explore theory as a literary text, as a cultural object, as a social promise and as a political act. Sensory disruptions. Sensory perception is the primary way in which we encounter objects.

    The senses are culturally conditioned, and each society tends to privilege certain types of sensory engagement. Modernity has often been characterized by the dominance of visuality, which posits a distant, distinct and disembodied viewer, and as such is presumed to underlie Western epistemology and theories of subjectivity. This panel seeks to explore alternatives to this, arguably still prominent, mode of sensory engagement. How can it be disrupted through the intervention of other senses as in haptic visuality? What kinds of engagement do the other senses, and their different interrelations, bring about?

    What alternative relationships between the object and the researcher do they generate e. These questions imply a change of sensibility that is both perceptual and conceptual. What are the theoretical consequences of this shift from the visual to the aural, the tactile, to kinesis and proprioception?

    What can be gained from thinking synaesthetically? And, more generally, what art of knowing is produced in this new, sensuous engagement? Bodily interventions. The living body has, as Crary and Kwinter state, a "menacing and delirious concreteness" and serves as a complex and fascinating object of study in cultural theory. Especially within academic research around minority subjectivities including queer and feminist theory, disability and race studies , the body acquired an important role: it became a site for alternative modes of knowledge production.

    This focus on extraordinary forms of embodiment politicized certain traditions of thought. But to the extent that specifically marked bodies might feature as seductive and spectacular objects of study, it is essential to reflect on the relationship between the shape of our theories and our conceptions of embodiment. This panel further aims to explore how a critical analysis of the "unmarked" white, male, "standard" body helps to investigate the failures of cultural theory. Where are the limitations of treating the body in theory as meaningful object?

    No matter what discipline we work in, when we engage with our objects of study, we are always involved in some form of comparison. With "parity" at its etymological root, comparison is usually understood as a methodology based on similarity and equality. But comparison is a dangerous activity, one that often conceals universalist and essentialist suppositions and whose terms are never neutral. How do we decide on these terms and how do we incorporate this decision process within the practice of comparison itself?

    This draws attention to the necessity for scholars to acknowledge their own role in positioning objects in relation to each other and themselves. Is it possible to stand back and let objects engage with each other, or is this engagement only possible through us?

    If so, how does such a mediating role affect our research position? In this panel, we would like to discuss ways of dealing with the politics of comparison and to explore how and to what extent the objects we study can affect both our terms and methodologies of comparative engagement. Confirmed keynote lecturers are:. He teaches and writes on 19th- and 20th-century European philosophy, intellectual history, aesthetics, and philosophy of contemporary music.

    She is a renowned gender theorist, specializing in cultural studies, queer theory and visual culture. She writes on the literature of colonialism and imperialism, and on imperial imaginaries and postcolonial theory. Zylinska is a cultural theorist writing on new technologies and new media, ethics and feminist theory. And what is the role of Philosophy? We welcome participants from any discipline. Please e-mail or send your one-page proposal words maximum and a short biographical note by October 31, to the ASCA office: asca-fgw uva. Please indicate which panel theme out of the four mentioned above you believe your proposal would best fit in.

    Selected participants will be asked to send their words papers by January 31, so that papers can be distributed among participants in advance. To allow enough time for discussion, papers will not be read during the workshop. Instead, participants are expected to give a 10 minute summary, relating their argument to that of their fellow panelists.

    Please send a proposal words maximum indicating duration, number of participants and technical requirements. We also require a sample of your work hard copy or electronic reference. Source: asca-fgw uva. Dates: mercredi 14 et jeudi 15 mai Pour les intervenants:. Hoppenot paris. Milon u-paris Les communications dureront au plus 30 minutes. Nordic Society of Aesthetics. Historical and Contemporary Perpectives. Since Baumgarten coined the term in and established aesthetics as a branch of philosophy, in aesthetics as a discipline, or, rather as a loosely organized field of heterogeneous but related activities a great variety of conflicting as well as interacting theories, approaches and trends has emerged.

    In the 19 th century aesthetics was predominantly conceived of as the philosophy of art, that is, aesthetics was basically an art-centered philosophical enterprise. As a reaction against the great systems of philosophy of art, interest in historical and psychological research into aesthetic phenomena, in particular art, grew and became institutionalised.

    The proliferation of approaches to aesthetic phenomena in a wide sense has continued and increased at the end of the 20th century and the beginning of the 21st century. There is, for example, a renewed interest in the aesthetics of nature alongside the emergence of an aesthetics of everyday life, phenomenological and conceptual analyses of art and the aesthetic compete and sometimes interact with semiotic, deconstructionist, and feminist approaches. The arts and aesthetic phenomena are, however, not studied only by art and literary theorists and historians or philosophers.

    Various branches of cognitive science and evolutionary psychology also focus on art and the aesthetic. The interrelation between various approaches to aesthetics and the aesthetic raises many methodological and conceptual problems. We welcome contributions dealing with general problems in the philosophy of art and aesthetics or with particular issues in some branches of aesthetics and art research including the disciplines of art history, literature, music, theatre and film , related to the theme of the conference.

    It would greatly facilitate our planning if those who wish to participate would fill in the enclosed form and send it as an attachment to the address below before 15 November Those who plan to present a paper are asked to send an abstract one page before 15 February and will be notified soon thereafter if their paper has been accepted. Those who wish to participate without a paper will be asked to confirm their participation before 15 February Presentations can be in English or in one of the Scandinavian languages. The enclosed form should be sent to:.

    Aahlberg estetik. Uppsala University. O Box SE 26 Uppsala. Gnomic, speculative, penetrating, Adorno's major work on music performance occupied him throughout his life. Unfinished at his death, the copious notes and drafts have recently been collated as Towards a Theory of Musical Reproduction , Eng. This conference will be based around readings of Adorno's text and its contexts, interpretations, and uses.

    The three institutes have joined forces to organize Bauhaus: A Conceptual Model, an exhibition which for the first time provides a wide-ranging survey of the schools activities, and one which fully considers all of the relevant aspects and each of the three locations. Not unlike the school itself, this exhibition will make its way throughout the world. We would like to take this opportunity to express our gratitude to all those who have made this enormous project possible: to our colleagues, to lenders of display objects, to our partners and sponsors.

    A glance at the publishers page of the present catalogue makes clear the impossibility of mentioning everyone by name. One sole exception, however, will serve to validate the rule. Without the support of the German federal government, the organizers would have been compelled to abandon their ambitious plans. Even during the early stages, the Kulturstiftung des Bundes chose to lend its support to this exhibition, freeing up the necessary funding base. At no other location, finally, could this exhibition have been presented so effectively than at the Martin-Gropius-Bau, which is maintained by the government, and whose director, Gereon Sievernich, graciously supported exhibition preparations in such an exemplary manner.

    Published on Oct View Download Supervision: A Conceptual Model Documents. A conceptual model for virtual Documents. Insignia Bauhaus, Schlemmer Poster Bauhaus. A Conceptual Glacio-hydrological Model Documents. Only Germanys unification in made it possible for these three institutes the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau, and the Klassik Stiftung Weimarto genuinely fulfill this task.

    The three institutes have joined forces to organize Bauhaus: A Conceptual Model, an exhibition which for the first time provides a wide-ranging survey of the schools activities, and one which fully considers all of the relevant aspects and each of the three locations. Not unlike the school itself, this exhibition will make its way throughout the world. We would like to take this opportunity to express our gratitude to all those who have made this enormous project possible: to our colleagues, to lenders of display objects, to our partners and sponsors.

    A glance at the publishers page of the present catalogue makes clear the impossibility of mentioning everyone by name. One sole exception, however, will serve to validate the rule. Without the support of the German federal government, the organizers would have been compelled to abandon their ambitious plans.

    Even during the early stages, the Kulturstiftung des Bundes chose to lend its support to this exhibition, freeing up the necessary funding base. At no other location, finally, could this exhibition have been presented so effectively than at the Martin-Gropius-Bau, which is maintained by the government, and whose director, Gereon Sievernich, graciously supported exhibition preparations in such an exemplary manner.

    Published on Oct View Download A conceptual model for virtual Documents. Development of a Conceptual Model of Disease Progression Conceptual model Developing a Conceptual Model for Examining the A Conceptual Glacio-hydrological Model Documents.