An introduction to the impact of Bauhaus multi-disciplinary pedagogical model on its female students

The German school of the Bauhaus (1919-1933) had turned, in only fourteen years, into a pedagogic, investigative and artistic model. Their new improved pedagogical example is defined by the way in which their different academic programs were based on the multidisciplinary of the classical arts, which until then had been separately classified in painting, sculpture and architecture. The Bauhaus constructive ideal was at the service of society, hence, its pedagogical method was oriented towards the formation of professionals, so they would be able to master the knowledge that allowed them to design everyday objects, and to create an architecture style based on a single-family dwelling unit. In other to produce functional, cheap products that were full of spirituality, they based their programs on formal, plastic or aesthetic theories whose origin lies on the artistic thought. Society was changed due to their artistic creations.The artists that were educated in the Bauhaus changed the history of the modern design, imposing an educational model that opened the doors to the kind of multidisciplinary research that nowadays we still support in contemporary art centres. Accordingly, one of the Bauhaus' most affected sectors by the training and multidisciplinary research was the group of female students who were educated in this famous centre, being known today as artists of recognized international prestige. This group of students changed the society with their historical contributions about furniture, creation in lamps, textiles or household objects. Therefore, it brought out a significant number of artists as Marianne Brandt (1893-1983) in metal, Anni Albers (1899-1994) and her fabrics, Alma Buscher (1899-1944) with her toys, Wera Meyer-Waldeck (1906-1964) with her objects or Margarete Leischner (1907-1970) in textiles, among others

The Bauhaus and its “unnecessary experiments”: the deserter women architect

Este texto aborda la fascinante experiencia de las mujeres que estudiaron en la célebre escuela de la Bauhaus (1919-1933). Se centra en el colectivo femenino que se formó allí en arquitectura y que se convertirían con posterioridad en profesionales de prestigio en este ámbito. Tras una descripción de la situación general de estos estudios en la Alemania de entreguerras -periodo que coincide con la existencia de la República de Weimar y la Bauhaus- aborda la curiosa política de género que practicó el famoso centro artístico con respecto a sus alumnas. Unas alumas que fueron, inicialmente, la mitad de su alumnado. El artículo desarrolla el caso de tres figuras de reconocido prestigio internacional que se formaron en aquella institución: Lotte Stam-Beese, Annemarie Mauck y Wera Meyer-Waldeck. Un estudio desarrollado a partir de los documentos originales que se conservan inventariados en el Bauhaus-Archiv Museum für Gestaltung en Berlín (BHA).This text approaches the fascinating experience of the women who studied in the famous school of the Bauhaus (1919-1933). It centres on the feminine group that was formed there in architecture and that they would turn with posteriority into professionals of prestige into this area. After a description of the general situation of these studies in the Germany of period between the wars -period that coincides with the existence of the Republic of Weimar and the Bauhaus- approaches the curious politics of kind that practised the famous artistic center with regard to his pupils. A few students that were, initially, the half of his student body. The article develops the case of three figures of recognized international prestige that were formed in that institution: Lotte Stam-Beese, Annemarie Mauck and Wera Meyer-Waldeck. Original that remain inventoried in the Bauhaus-Archiv Museum für Gestaltung in Berlin (BHA)

La Bauhaus y sus “experimentos innecesarios”: las arquitectas prófugas

Este texto aborda la fascinante experiencia de las mujeres que estudiaron en la célebre escuela de la Bauhaus (1919-1933). Se centra en el colectivo femenino que se formó allí en arquitectura y que se convertirían con posterioridad en profesionales de prestigio en este ámbito. Tras una descripción de la situación general de estos estudios en la Alemania de entreguerras -periodo que coincide con la existencia de la República de Weimar y la Bauhaus- aborda la curiosa política de género que practicó el famoso centro artístico con respecto a sus alumnas. Unas alumas que fueron, inicialmente, la mitad de su alumnado. El artículo desarrolla el caso de tres figuras de reconocido prestigio internacional que se formaron en aquella institución: Lotte Stam-Beese, Annemarie Mauck y Wera Meyer-Waldeck. Un estudio desarrollado a partir de los documentos originales que se conservan inventariados en el Bauhaus-Archiv Museum für Gestaltung en Berlín (BHA).</p

La revolución del objeto cotidiano: Creación, formas, espíritu y superficie a través de sus estudiantes femeninas

El artículo propone una aproximación específica al impacto que ha supuesto para occidente la Bauhaus alemana (19191933) desde su creación. Un planteamiento que se ha centrado en el objeto cotidiano como material de reflexión, abordado como un catalizador de su pedagogía, de sus principales inquietudes y de su vinculación con el arte desde que se inaugurase el célebre centro educativo en 1919. A través de obras y referencias de protagonistas femeninas de la escuela como Gertrud Grunow (1870-1944), Anni Albers (1899-1994), Alma Buscher (1899-1944) o Wera Meyer-Waldeck (19061964), el texto construye una visión transversal a una producción imprescindible que fusionó diseño y arte plástico.

La música en la Bauhaus (1919-1933): Gertrud Grunow como profesora de armonía. La fusión del arte, el color y el sonido

In few occasions there has given in a school of art a few so original and complete theories like that the musical Gertrud Grunow (1870-1944) gave in his subject of ‘ Theory of the Harmony ‘ for the famous german Bauhaus, from 1919 to 1923. He had studied with teachers as Hans Guido von Bülow (1830-1894), Scharwenka (1850-1924) or Giovanni Battista Lamperti (1839-1910) and she came to the school being an authoress of a recognized intellectual prestige. The aim of her subject in the Bauhaus was the search of a balance and the analysis on the part of the students of her own artistic skills across the music. Being based on phenomena as the synaesthesia, she was thinking that to every colour a musical note was corresponding to her not only but also it was in relation with a feeling, movement, material and condition of the soul humanizes.En pocas ocasiones se ha impartido en una escuela de arte unas teorías tan originales y completas como las que impartió la música Gertrud Grunow (1870-1944) en su asignatura de Teoría de la Armonía para la célebre Bauhaus alemana, entre 1919 y 1923. Había estudiado con maestros como Hans Guido von Bülow (1830- 1894), Scharwenka (1850-1924) o Giovanni Battista Lamperti (1839-1910) y llegó a la escuela siendo una autora de un reconocido prestigio intelectual. El objetivo de su asignatura en la Bauhaus era la búsqueda de un equilibrio y el análisis por parte del alumnado de sus propias habilidades artísticas a través de la música. Basándose en fenómenos como la sinestesia, consideraba que a cada color le correspondía no sólo una nota musical sino que también estaba en relación con un sentimiento, movimiento, material y estado del alma humana

On the interplay between strain rate and strain rate sensitivity on flow localization in the dynamic expansion of ductile rings

In this work a stability analysis on flow localization in the dynamic expansion of ductile rings is con ducted. Within a 1 D theoretical framework, the boundary value problem of a radially expanding thin ring is posed. Based on a previous work, the equations governing the stretching process of the expanding ring are derived and solved using a linear perturbation method. Then, three different perfectly plastic material constitutive behaviours are analysed: the rate independent material, the rate dependent mate rial showing constant logarithmic rate sensitivity and the rate dependent material showing non constant and non monotonic logarithmic rate sensitivity. The latter allows to investigate the interaction between inertia and strain rate sensitivity on necking formation. The main feature of this work is rationally dem onstrate that under certain loading conditions and material behaviours: (1) decreasing rate sensitivity may not lead to more unstable material, (2) increasing loading rate may not lead to more stable material. This finding reveals that the relation between rate sensitivity and loading rate controls the unstable flow growth. Additionally a finite element model of the ring expansion problem is built in ABAQUS/Explicit. The stability analysis properly reflects the results obtained from the numerical simulations. Both proce dures, perturbation analysis and numerical simulations, allow for emphasizing the interplay between rate sensitivity and inertia on strain localization.The financial support of the Comunidad Autónoma de Madrid (Project CCG10 UC3M/DPI 5596) and of the Ministerio de Ciencia e Innovación de España (Project DPI/2008 06408) is kindly acknowledged.Publicad

Persistence of Causal Illusions After Extensive Training

We carried out an experiment using a conventional causal learning task but extending the number of learning trials participants were exposed to. Participants in the standard training group were exposed to 48 learning trials before being asked about the potential causal relationship under examination, whereas for participants in the long training group the length of training was extended to 288 trials. In both groups, the event acting as the potential cause had zero correlation with the occurrence of the outcome, but both the outcome density and the cause density were high, therefore providing a breeding ground for the emergence of a causal illusion. In contradiction to the predictions of associative models such the Rescorla-Wagner model, we found moderate evidence against the hypothesis that extending the learning phase alters the causal illusion. However, assessing causal impressions recurrently did weaken participants' causal illusions

Methane concentration and isotopic composition (d13C-CH4) in the Nerja Cave system (South Spain)

Air in underground caves often has methane (CH4) concentrations below the atmospheric level, due to methanotrophic or other unkown CH4 consuming processes. Caves are thus considered a potential sink for atmospheric methane. If globally important, this underground CH4 oxidation should be taken into account in the atmospheric methane budget, in addition to the known soil methanotrophy and tropospheric/stratospheric sinks. A large set of data is however necessary to understand how and how much methane from external atmospheric air is consumed in the caves. While methane concentration data are available for several caves worldwide, its isotopic composition and variations in space and time are poorly documented. We measured methane concentration and stable C isotope composition (d13C) in the Nerja cave (Southern Spain) air during two surveys in March and April 2015. CH4 concentration decreases progressively from the more external cave rooms, with atmospheric levels of 1.9 ppmv, to the more internal and isolated rooms down to 0.5 ppmv. d13C increases correspondingly from -47 h to -41 h (VPDB). CH4 is systematically 13C-enriched (d13C > -45 permil) in areas of the cave where the concentration is below 1.4 ppmv. This combination of concentration decrease and 13C-enrichment towards the more internal and isolated zones of the cave confirms the importance of CH4 oxidation, likely driven by methanotrophic bacteria. Further data, including stable H isotope composition of subatmospheric CH4 concentrations, CO2 and microbial analyses, shall be acquired over time to assess the actual role of methanotrophic bacteria and seasonal controls in the CH4 consumption process.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

Historical SST warming events in the Northeastern Pacific: How unique is the Warm Blob?

During 2013-2015 a patch of warm water called Warm Blob appeared in the northeastern Pacific, producing several effects at biological and physical level. This event appears to be unique, however, evidence was encountered for another three events similar to the recent Warm Blob event during the period from 1854 to 2017 through analyzing the historical anomalies of the SST anomalies in the Pacific Ocean. Each event showed the same distinctive Warm Blob spatial pattern —firstly, a patch of warm water develops in the northern Pacific south of Alaska, and gradually spreads southward along the coast reaching up to Baja California Peninsula”. During the 2013-2015 event, this warm water patch raised the seawater temperature anomalies above 0.5 °C, with a maximum of 4 °C. The other past events obtained in the time series analysis occurred in 1874, 1936 and 1962 and lasted around 18-24 months each. Each warming event is described, showing that the most intense was the 2013-15, followed by the 1935-36. The results suggest a periodicity of occurrence of 25 to 60 years that can also be traced on the biology of the region. These findings propose that such warmings are part of the climatic variability in the northeastern Pacific and should be studied with more detail to determine its cause.