Austrian artist Marko Lulic (born 1972) investigates Yugoslavian and international modernism, addressing utopian aspects of the 20th century in different political contexts. This catalog accompanies an exhibition of his large-scale installations, video, posters and public works at Lentos Kunstmuseum in Linz.

Using the way in which artists from the former Eastern bloc perceive the experience of EU integration and transition from a Soviet past as a conceptual launching pad, this book explores how artists critically inhabit a permanent state of 'in-between' to capture the simultaneous existence of multiple and overlapping temporalities. Transitional aesthetics are artistic strategies that disrupt and interrogate ideologically loaded trajectories of cultural, social, or political transition. Examples of such trajectories include the movement from totalitarianism to democracy (post-socialism), from war to freedom and reconciliation (post-conflict), and from the edges of Europe to its centre (inclusion in the European Union). These transitional states include: the future orientation of (failed) socialism and the perpetual present of global capital; the history of unresolved past conflicts and reconciliation through 'transitional justice'; nationalist obsessions with the past and the cultural appeal of kitsch and retro objects in fashion, film and music; and the uncertain future promise of EU membership and resurgence of global right-wing populism, headed by figures like Berlusconi, Le Pen, and Trump. Transitional Aesthetics shows that apprehending time in contemporary art is fundamental to capturing the lived experience of a permanent state of instability; particularly relevant to Europe in the contemporary moment. In a world that has entered 'accelerated transition' towards instability, understanding this experience has broad and resonating relevance for politics, art and society.

Dynamic artificial light in museums In galleries and museums, one’s perception of art, space, and atmosphere is largely determined by lighting. But which light settings should art and museum experts and exhibition designers choose, and on what basis are those choices made? Pioneering LED technologies make customized lighting scenarios possible, turning artificial light into an interactive material in museum architecture – not only in terms of design practice, but also in terms of real-time spatial experiences. Computer-controlled lighting technologies are breaking boundaries, allowing the individual to take full control of lighting design. Light Up explores the potential of dynamic artificial lighting technologies in museum architecture, offering new insights into the use of light in exhibition spaces. How LED technologies can be used to develop customized lighting scenarios Studies in the real context of art institutions as well as programming of interactive light simulations Documents the research project “White Cube Teleporter”

This book presents the proceedings of the 20th Congress of the International Ergonomics Association (IEA 2018), held on August 26-30, 2018, in Florence, Italy. By highlighting the latest theories and models, as well as cutting-edge technologies and applications, and by combining findings from a range of disciplines including engineering, design, robotics, healthcare, management, computer science, human biology and behavioral science, it provides researchers and practitioners alike with a comprehensive, timely guide on human factors and ergonomics. It also offers an excellent source of innovative ideas to stimulate future discussions and developments aimed at applying knowledge and techniques to optimize system performance, while at the same time promoting the health, safety and wellbeing of individuals. The proceedings include papers from researchers and practitioners, scientists and physicians, institutional leaders, managers and policy makers that contribute to constructing the Human Factors and Ergonomics approach across a variety of methodologies, domains and productive sectors. This volume includes papers addressing the following topics: Transport Ergonomics and Human Factors (TEHF), and Aerospace Human Factors and Ergonomics.

von der Rolle Wer sich mit Gender befasst, begibt sich auf eine Reise durch alle Bereiche der gesellscha- lichen Verhältnisse, lernt die Mechanismen von Gruppenzwängen, Ein- und Ausgrenzungen in verschiedenster Gestalt kennen und entdeckt letztlich sich selbst zu einem nicht geringen Teil als Produkt dieser starken, allgemein wirksamen Kräfte. Gender, das ist die Rolle, der wir z- geschrieben sind, die uns auf den Leib geschrieben ist, in die wir hineingewachsen sind. Sehr oft aber ist es eine Rolle, die uns widerstrebt, mit der wir uns nicht identifizieren können, g- schweige denn wollen. Der Begriff beschreibt ein Muster, von dem wir abhängen – oft aus traditionsbedingter Anhänglichkeit, weil es eben „immer schon so war“ –, das uns ins Leben bindet oder aber wie ein Strick um den Hals in existentielle Krisen führt. Gender bezeichnet soziale Geschlechterrollen. Es geht weniger um rein körperliche Geschlechtsmerkmale als vielmehr um typische, von der Kultur vorgegebene Eigenschaften und Verhaltensweisen, die ein in ihr lebendes Geschlecht zu erfüllen hat. Wien hat schon in der Frühphase des Feminismus wichtige Positionen hervorgebracht und mit Helene von Druskowitz (1856–1918), der ersten promovierten Philosophin Österreichs und der zweiten überhaupt, eine seiner streitbarsten Vertreterinnen aufzuweisen. Der Begriff Gender wurde vor über 50 Jahren, Mitte der 1950er Jahre, eingeführt. In diese Zeit fällt auch die Gründung der Sammlung für zeitgenössische Kunst der Kulturabteilung der Stadt Wien, aus der die Ausstellungsobjekte des vorliegenden Kataloges stammen.