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Auditory displays with the ability to dynamically spatialize virtual sound sources under real-time conditions enable advanced applications for art and music. A listener can be deeply immersed while interacting and participating in the experience. We review some of those applications while focusing on the Helical Keyboard project and discussing the required technology. Inspired by the cyclical nature of octaves and helical structure of a scale, a model of a piano-style keyboard was prepared, which was then geometrically warped into a helicoidal configuration, one octave/revolution, pitch mapped to height and chroma. It can be driven by MIDI events, real-time or sequenced, which stream is both synthesized and spatialized by a spatial sound display. The sound of the respective notes is spatialized with respect to sinks, avatars of the human user, by default in the tube of the helix. Alternative coloring schemes can be applied, including a color map compatible with chromastereoptic eyewear. The graphical display animates polygons, interpolating between the notes of a chord across the tube of the helix. Recognition of simple chords allows directionalization of all the notes of a major triad from the position of its musical root. The system is designed to allow, for instance, separate audition of harmony and melody, commonly played by the left and right hands, respectively, on a normal keyboard. Perhaps the most exotic feature of the interface is the ability to fork oneÃs presence, replicating subject instead of object by installing multiple sinks at arbitrary places around a virtual scene so that, for example, harmony and melody can be separately spatialized, using two heads to normalize the octave; such a technique effectively doubles the helix from the perspective of a single listener. Rather than a symmetric arrangement of the individual helices, they are perceptually superimposed in-phase, co-extensively, so that corresponding notes in different registers are at the same azimuth.
The groupuscularization of neo-Nazism in Germany: the case of the Aktionsbüro Norddeutschland
(2004)
The German banking system and the global financial crisis: causes, developments and policy responses
(2009)
Germany’s banking sector has been severely hit by the global financial crisis. In a German context as of February, 2009, this paper reviews briefly the structure of the banking industry, quantifies effects of the crisis on banks and surveys responses of economic policy. It is argued that policy design needs to enhance transparency and enforce the liability principle. In addition, economic policy should not eclipse principles of competition policy.
A 3-stage model of a low pressure steam turbine has been equipped with extensive instrumentation to assess aerodynamic performance and for validation of numerical methods. Emphasis was placed on detailed measurements at the inlet and exit of the last stage guide vane. Two configurations were examined – the first used a guide vane with lean in the last stage and a the second used a guide vane combining both lean and sweep. The experimental results from the two configurations have been compared with data from various design methods, ranging from through-flow to 3D multistage viscous simulations with mixing planes. Despite the challenges in modelling complex rotating blades in a wet steam environment, good agreement between the numerical and experimental results was obtained, and the new stator vane combining lean and sweep achieved the desired increase in reaction at the hub section.
The effect of inattention and cognitive load on unpleasantness judgments of environmental sounds
(2020)
In German music education, the focus has historically been on formal music education in schools. Participatory music making in the community, or community music, has so far received little attention in theory or practice. This thesis constitutes the first in-depth analysis of the development of community music in Germany, conducted using empirical data and literature analysis. The development of the Munich Community Music Action Research Group is highlighted as an example of the potential of community music in the German context. The research shows that the context-specific development of a framework for community music in Germany, within the community music spirit of participation reflected in the action research methodology, gives voice to and connects community musicians, and has contributed considerably to the development of community music theory and practice, not only in Munich, but across Germany.
The article argues that European innovators can profit from some of the concepts of philosophical Daoism, namely "wu-wei" (non-interference) and "ziran" ("go with the flow"). Whereas most Western approaches to innovation emphasize the different stages of the creative process as well as tools to enhance creativity, the Daoist world view allows for the mind to just wander and thus spontaneously discover the solution to a problem in a rather detached state of mind. Creative minds need space for personal development and the permission to wander around without being exposed to control and instant judgement on the results. Training individuals in the tools and techniques of problem solving and creativity as the common approach in innovation management is certainly necessary, but in the end it is the intellectual accomplishment of a creative mind that produces innovation. Managers can allow this to happen when they get the balance of control and non-interference right.
A central question for managers in charge of innovation is to what extent creativity and inno-vation can be controlled and supervised, or whether they just have to be set free and allowed to take shape. In assessing this dilemma the authors conclude that there is a contradiction of action versus inaction on the personal level as well as a contradiction of control versus loss of control on the organizational level. What European innovators can learn from philosophical Daoism is an attitude that allows a process to just develop “naturally” and refrains from prem-ature interference with the intention to permanently be in control. In business structures that judge everything according to its usefulness, i.e. profitability for the company, a look at the laid-back attitude of Daoism where usefulness and uselessness are relative qualities might relief the pressure on people to perform in a premeditated way. Innovation can be supported, but creativity cannot be forced. It can only be allowed to happen when control, interference, and action are balanced out with non-interference, and go-with-the-flow. This attitude in not an excuse for stressed-out managers to neglect their duty, but a time honoured worldview of one of the oldest civilizations in the world that can give them the sovereignty to “get out of the way” and let innovation happen.
The conductor's philosophy
(2013)
Music-related decision-making encompasses a wide range of behaviours including those associated with listening choices, composition and performance, and decisions involving music education and therapy. Although research programmes in psychology and economics have contributed to an improved understanding of music-related behaviour, historically, these disciplines have been unconnected. Recently, however, researchers have begun to bridge this gap by employing tools from behavioural economics. This article contributes to the literature by providing a discussion about the benefits of using behavioural economics in music-decision research. We achieve this in two ways. First, through a systematic review, we identify the current state of the literature within four key areas of behavioural economics-heuristics and biases, social decision-making, behavioural time preferences, and dual-process theory. Second, taking findings of the literature as a starting point, we demonstrate how behavioural economics can inform future research. Based on this, we propose the Behavioural Economics of Music (BEM), an integrated research programme that aims to break new ground by stimulating interdisciplinary research in the intersection between music, psychology, and economics.
Multimediale Technologien werden in der Marktforschung immer stärker eingesetzt, um flexible und kostengünstige Studien durchzuführen. Im Innovationsprozess kann dabei auf die langjährigen Erfahrungen zurückgegriffen werden, die durch den Einsatz der Computersimulation in der technischen Produktentwicklung zustande gekommen sind. In sehr frühen Phasen des Innovationsprozesses können durch Einsatz der neuen Technologien die Markteinführungskonzepte für neue Produkte getestet werden. Die Applikationen der virtuellen Realität bieten ein einzigartiges Potential, neue Produkte einschlieï‚lich des Marketingkonzeptes zu testen, ohne dass dieses Produkt bereits physisch vorhanden sein muss. Am Beispiel eines Elementes des Marketingkonzeptes, der Preispolitik, zeigt die vorliegende Studie auf, welches Potential die virtuelle Kaufsituation von Produkten bietet. Der Fokus des Projektes liegt auf der interaktiven Produktpräsentation in einer virtuellen Umgebung, die in eine Online-Befragung mit zusätzlichen Werbefilmen eingebettet ist. Visuell hochwertige 3D-Produktpräsentationen versetzen den Probanden in eine virtuelle Einkaufsumgebung, die einem realen Szenario entspricht. Die virtuellen Produkte werden in mehreren Kaufentscheidungsrunden zu unterschiedlichen Preisen angeboten. Der Preisuntersuchung geht eine Präsentation ausgewählter Werbespots sowie eine produktbezogene Befragung voraus. Im Anschluss an die virtuellen Preisentscheidungen werden die Eindrücke sowie einige Kontrollgröen abgefragt. In weitergehenden Studien dieser Art können die Wirkungen mehrerer Marketing-Instrumente zu einem Zeitpunkt untersucht werden, in dem sich die Produkte noch im Entwicklungsprozess befinden. Auf diesem Weg lassen sich auch Wettbewerbsvorteile bestehender Produkte effizienter erkennen und nutzen. Mit den hoch entwickelten Computer- und Visualisierungstechnologien ist ein mächtiges Werkzeug entstanden, das bereits für kommerzielle Präsentationen und Produktstudien eingesetzt wird. Zukünftig kann es auch in Kombination mit Internetanwendungen und klassischen Methoden der Marktforschung zu einem sehr frühen Zeitpunkt umfassende Erkenntnisse über ein Produkt liefern.
This paper explores the tensions in team creativity. The tensions in team creativity are based on a tension between originality and effectiveness in the standard definition of creativity. To display the tensions in team creativity, the value square (“Wertequadrat”) developed by Schulz von Thun (1998) is used which balances a value with its countervalue. The author identifies tensions for cohesion, consensus and conformity. Cohesion is described as a tension between team diversity and team safety, consensus as a tension between constructive controversy and participatory decision-making and conformity as a tension between support for innovation and task orientation. Finally, the connection of individual and team creativity is described as an interplay between solitary and interactive components.
The definition of individual creativity is based on a tension between novelty on the one side and usefulness respectively appropriateness on the other side. The paper explores how this tension pervades the stage and componential theories of creativity. To achieve this, the so called value square (“Wertequadrat”) developed by Helwig (1967) and Schulz von Thun (1998)is used which balances a value with its countervalue to analyze creativity. The author identifies tensions of action and inaction, expertise and mindfulness, precision and ambiguity as well as immersion and detachment permeating the creative process and the components of creativity. As a conclusion a morphological box for creativity is presented which allows one to show which combination of characteristics of the tensions support different stages of creativity. Furthermore implications for development and time management are discussed.
The standard definition of creativity is based on a tension between originality and effectiveness. Borrowing from the wave-particle duality in physics one could say that there is an originality-effectiveness duality at work for creativity. The paper explores how this tension pervades Amabile's (1997) componential theory of organizational creativity with the components organizational motivation, management practices (including work assignment and work control) and resources. As a method the so called value square (" Wertequadrat ") developed by Helwig (1967) and Schulz von Thun (1998) is used which balances a value with its countervalue. The author identifies a tension of corporate tradition and corporate change for organizational motivation, a tension of skills and challenges for work assignment, a tension of management by control and management by loss of control for work control as well as a tension of organizational efficiency and organizational slack for resources. Additionally different implications of these tensions for the resistance of a company to creativity, for an organizational climate conducive to creativity as well as for resource allocation in creative endeavours are discussed.
This article is on a university course called Engineering Conferences. It has been developed by the authors and installed as a mandatory part of the curriculum in three master’s degree programs for engineering students. The participants of the course are postgraduates with different nationalities, mostly German, and different technical backgrounds. They study Mechanical Engineering, Simulation and Experimental Technology, or International Business Engineering. The basic idea of the course concept goes far beyond simply teaching the standards of academic writing and skills for using scientific publications. By using a learnercentered approach, the students get engaged in typical activities around an active attendance of a real conference. Students learn to locate the field of their bachelor thesis or project report in the world of research communities, scientific journals and engineering conferences. They learn about conferences matching their bachelor/project topic. They write a paper complying with common academic standards, submit it to a mock-up conference, and review submissions of their fellow students. Students also produce a poster and have to defend it in a poster session held publicly on the campus. Engineering Conferences is a course on scientific communication and presentation that also aims at the development of other skills and competences needed in the world of modern engineering.
The Long Tail theory serves as an explanation for market change triggered through evolving online market conditions. However, it is often referred to without empirical validation, or with inconsistent findings on its applicability. Therefore, this paper analyses the applicability of the Long Tail theory to German online media offerings as of 2014 and 2016, focusing on offerings that serve information purposes (information offerings). Based on a unique dataset of commercially oriented online media offerings (Longitudinal IntermediaPlus 2014–2016), an analysis for three Long Tail characteristics (variety increase, opposing concentration between hit and niche offerings and niche market share increase) is conducted. By additionally distinguishing between political and entertainment-oriented information offerings as boundaries of democratized online market conditions the analysis reveals that the Long Tail theory is not fully applicable to any market sample, and especially not to politically oriented offerings.
Heterogeneous catalysts usually consist of porous, inorganic materials. Especially in the mobile application, e.g., in exhaust gas catalysis as a part of the gas line of an engine, there are loads due to vibrations and high gas velocities. It can be assumed that physical stress will lead to a loss of the catalytically active coating. The present contribution describes experimental setups and methods for a systematic and reproducible investigation of the main influences to the mass loss due to vibrational and fluid‐mechanical stress caused by particle‐free gas flows.
The organic Rankine cycle (ORC) is an established thermodynamic process that converts waste heat to electric energy. Due to the wide range of organic working fluids available the fluid selection adds an additional degree-of-freedom to the early design phase of an ORC process. Despite thermodynamic aspects such as the temperature level of the heat source, other technical, economic, and safety aspects have to be considered. For the fluid selection process in this paper, 22 criteria were identified in six main categories while distinguishing between elimination (EC) and tolerance criteria (TC). For an ORC design, the suggested method follows a practical engineering approach and can be used as a structured way to limit the number of interesting working fluids before starting a detailed performance analysis of the most promising candidates. For the first time, the selection process is applied to a two-stage reference cycle, which uses the waste heat of a large reciprocating engine for cogeneration power plants. It consists of a high temperature (HT) and a low temperature (LT) cycle in which the condensation heat of the HT cycle provides the heat input of the LT cycle. After the fluid selection process, the detailed thermodynamic cycle design is carried out with a thermodynamic design tool that also includes a database for organic working fluids. The investigated ORC cycle shows a net thermal efficiency of about 17.4% in the HT cycle with toluene as the working fluid and 6.2% in LT cycle with isobutane as the working fluid. The electric efficiency of the cogeneration plant increases from 40.4% to 46.97% with the both stages of the two-stage ORC in operation.
The organic Rankine cycle (ORC) is an established thermodynamic process that converts waste heat to electric energy. Due to the wide range of organic working fluids available the fluid selection adds an additional degree of freedom to the early design phase of an ORC process. Despite thermodynamic aspects such as the temperature level of the heat source, other technical, economic and safety aspects have to be considered. For the fluid selection process in this paper, 22 criteria were identified in six main categories while distinguishing between elimination and tolerance criteria. For an ORC design, the suggested method follows a practical engineering approach and can be used as a structured way to limit the number of interesting working fluids before starting a detailed performance analysis of the most promising candidates. For the first time the selection process is applied to a two-stage reference cycle which uses the waste heat of a large reciprocating engine for cogeneration power plants. It consists of a high temperature and a low temperature cycle in which the condensation heat of the high temperature (HT) cycle provides the heat input of the low temperature (LT) cycle. After the fluid selection process the detailed thermodynamic cycle design is carried out with a thermodynamic design tool that also includes a database for organic working fluids. The investigated ORC cycle shows a net thermal efficiency of about 17,4% in the high temperature cycle with Toluene as the working fluid and 6,2% in low temperature cycle with iso-Butane as the working fluid. The electric efficiency of the cogeneration plant increases from 40,4% to 46,97% with the both stages of the two-stage ORC in operation.
Synthesis and release of the bacterial compatible solute 5-hydroxyectoine in Hansenula polymorpha
(2013)
Ectoine and 5-hydroxyectoine belong to the family of compatible solutes which are known to mainly contribute to the adaptation of the cell to osmotic stress by mediation of a constant turgor. In addition the cell's essential functions are maintained under stress conditions like high salinity, heat or aridity stress. Hansenula polymorpha was engineered to catalyze the transformation of monomeric substrates to 5-hydroxyectoine. For this purpose four genes encoding the enzymes of the 5-hydroxyectoine biosynthesis pathway of Halomonas elongata, EctA, EctB, EctC, and EctD, were inserted into the genome of H. polymorpha. Subsequently the syntheses of ectoine and 5-hydroxyectoine were analyzed and optimized. We showed that H. polymorpha is a suitable system for recombinant 5-hydroxyectoine synthesis in gram per liter scale (2.8 g L⁻¹ culture supernatant, 365 μmol/g dcw) in which almost 100% conversion of ectoine to 5-hydroxyectoine without necessity of high salinity were achieved.