Bitte sehen Sie eine Liste von Arbeiten zwischen Wissenschaft und Kunst von Werner Jauk seit dem Beginn der 80er Jahre:

https://homepage.uni-graz.at/de/werner.jauk/projekte/wissenschaft-und-kunst/

Bitte sehen Sie eine Liste von wissenschaftichen Arbeiten von Werner Jauk seit dem Beginn der 80er Jahre:

https://homepage.uni-graz.at/de/werner.jauk/publikationen/

Please see a list of works between science and art of Werner Jauk back to the early eighties at:

https://homepage.uni-graz.at/de/werner.jauk/projekte/wissenschaft-und-kunst/

Please see a list of scientific works of Werner Jauk about media-art and everyday life back to the eighties at:

https://homepage.uni-graz.at/de/werner.jauk/publikationen/

Werner Jauk (AT) & Laura Sophie Meyer (DE) - 2023

EVERY BODY knows/owns the TRUTH

An installation of the Ars Electronica Research Institute AERI "auditory culture"

The world view of the seeing understanding draws truth as reality made by humans and exaggerates this thinking in the feasibility of humans and environment - carriers of these pictures are powers of the domination of humans and environment.

Now this human-made culture has also / just because of the mediatization of the "mechanically" body and its making and thinking human overcame itself in the Anthropocene.

It is to "auf-hören"/stop this progress of thinking just in re-thinking and to live the "sensing" on alternative life - a cultural-evolutionary step "forward back" leads humans and their generating interactions with the environment back to the phylogenetically older hearing. This builds on the intentionality of interactions, not on the intention as being "motivated" by in-sight but on the "being-in-tension". Experimental aesthetics as well as experimental philosophy prove, it is middle excitement, which determines the interaction of the body with the environment - thereby human being and the environment keep themselves in symbiotic relation of a common survival-life. Every body "knows" this truth, it deserves respect - it is necessary to live this natural form as culture as "listen-up" to stop think what is law and order - arousal-based bodily life regulates not only interactions between humans and machines, but ethics, morals and yields a bio-politics of basal democracy for every body - finally a mediatized culture as humane digital culture.

Ars Electronica Research Institute AERI "auditory culture"

shows the scientific and artistic research work on the transgression of the mechanistic in the digital cultures of the past years and condenses the expression of the body in the evolution of language and music in an artificially emotional installation to experience bodily truth in mediatized worlds.

It goes "forward back" from the seeing understanding "world view" to the experiencing / "intentional" (being in tension) hearing as "listen up & stop thinking, what is right and order (of things)", especially in mediatized worlds, which are outside of the bodily grasping of the visible and therefore its understanding - but "touching" the body hedonically.

The paradigm of modernity turns from linear progress, the striving for "the more, the better", to the inverted u-shaped function of living "middle of intensity" which is most "pleasing" - a human-made cultural evolution turns "forward back" into a natural evolution as human digital culture by/for EVERY BODY

Ars Electronica Festival 2023

Werner Jauk (AT) & Laura Sophie Meyer (DE) - 2022

Ver-Hand-lung versus? Ver-Hand-eln

scrabble & scribble - medial forms of creating worlds

Plan(et) B: Forward back - cultures of corpo-reality after those of in-sight and under-standing

The work is based on the German language, which allows "Ver-hand-lung"/negotiation to be etymologically derived from "ver-hand-eln" through "handling" hands. The english term more focuses on commercial activities.

Content

Wittgenstein`s idea, thinking takes place in language based on corporeality, today is explained by embodied cognition: Understanding "secondary information" as signifying seeing perception of the mechanical body is based on experiencing "primary information" as meaning through the excitation of the seen for the hedonic body, the paradigm of hearing,

Information in social media symbolic signs/words as media of understanding "Ver-hand-lung" is "reduced" to emoticons as signals of the experience of the "ver-hand-elnden" body. Visual culture of modernity turns "forward back" to postmodern culture of the hearing body, to "auditory culture" as plan(et) B.

Form

As epistemological media art/artistic research, the work uses an experimental design: understanding symbolic Ver-hand-lung versus experiencing bodily Ver-hand-eln, seeing symbolic signs as media of logic in language versus hearing signals as immediate bodily forms of interaction through arousal. Meanings are thereby dynamic forms of relations between culture and nature.

Symbolic "Ver-hand-lung" as well as immediate bodily "ver-hand-eln" always takes place within social life in cultural and biological networks. These are implicitly initiated by the spontaneous "secret" imagination of "whatever" a person wants to "share" with the other.

Symbolic Ver-hand-lung is done by "scrabble", the com-position of text by social negotiation of two interactors within culturally formed language. The dynamics of the logic of thought in language is described by information-theory; finally the basis of AI.

This seeing under-standing of the negotiation, formalized in language/visual arts, is externalized in symbolic images.

The bodily Ver-hand-eln is done by "scribble", the social negotiation of two interactors. Motion tracking captures handling agitations indicating communicative expression of the meaning for the body as sound-gesture.

The exciting action of "Ver-hand-eln", formalized in music, is externalized by "sonification".

These participatory processes interact with a learning system analyzing culturally semiological and individually biological meanings. It supports commonality by artificial emotionality reinforcing embodied cognition — commonality of understanding and experience in "syn-bios".

Supported by:

Ars Electronica Festival 2022

See the video

See me, feel me, touch me ... hear me & heal me ... tries to make the breath of the voice to be experienced as a bodily excitement / mood.

It is methodologically epistemological media art, that expands cognition from understanding to experience; theory and method identify it as part of AERI auditory culture, which makes post-digital as human culture of corporeality experienceable in the paradigm of hearing.

Determining characteristics of sonic performative proximity-stimulation are experimentally transferred to air movement, ultimately sound, and smell in an amplifying manner. Finally, the paradigm of hearing is mapped onto the phylogenetically younger seeing in order to enrich understanding with primary meanings of corporeality through iconic images and symbolic designations of what is seen. In doing so, it is important to minimise the distance of cognitive thinking through the proximity of the pre-cognitive body, to reflect on the life-regulating intentionality of any body-environment-interaction.

Interactors have the opportunity to experience how information exchange in a form that externalises and "amplifies" the meaning of this information for their body as physical/psychic meaning leads to a process of communication, to reduce distance but also to increase distance. In the process, appropriately sensitive clothing will adapt to the wearer's state of arousal in its shape and colour and transmit these qualities as an interface close to the body into the social space of the interaction partner; the actors are thus in each other's mood space, at the same time their own mood can be experienced by themselves through their clothing as amplified externalised feedback - internal and external participants can experience a gap or fusion of the private emotion spaces in the social space.

Depending on one's own experience of the other's physicality, a communis becomes a one-sound or a distinction, a two-sound.

This multimedia / modal whole-body experience of complete agents, whose interaction is (imitatively) exaggerated by an artificially intelligent system, it makes primary meaning experienceable as meaning for the body in the communication process.

The installative setting juxtaposes two walk-in "mobile phone screen" spaces. These serve as interaction systems for excitation-induced interaction with other interactors. Their juxtaposition is the cognitive irritation of experiencing closeness and distance in relation to emotional and physical distance - emotionally close and far at the same time, independent of physical distance, which is not possible in unmediated worlds.

The visual styling is based on the TikTok aesthetic and thus refers to a technology as an interaction system that enables visual karaoke of pop songs on the principle of the sonic performative, the excitement-determined self-expression and the creative interaction with other interactors - privacy and publicity merge.

As part of popular culture, the TikTok aesthetic deconstructs techno video art through the availability of its means, collective and collectivising design of the net arts through its exaltation and finally the art & life claim in the hedonism of popular culture of neoliberal market economy - against all admonitions of modernity, sonic performative youth of sound-dominated pop culture has informalised and individualised corporeality.

Ars Electronica Festival 2021

See the video

(c) Robert Bauernhansl / AE

supported by:

sounding garments & sound-gardens: emotional interface zones as auditory spaces

the transparency of envelopes of the body as social interfaces amplifying the hdonic body

Bekleidung wie der Garten sind Extensionen des Körpers in der sozialen Interaktion und darin Kultur gestaltend. Bevor ihr "Stil" Mode wird ist ihre Gestaltung unmittelbar körperlich - wobei die Umhüllung den Körper in seiner Ausdruckskraft "amplified". Dabei agiert der Körper "sonisch" - Er drückt die Empfindung von Erregung aus, die instrumentarisiert und mediatisiert zu Musizieren und Musik wird.

Soziale Interaktion ist wesentlich durch Erregung bestimmt. Unterschiedliche Entfernungen vom Körper wirken als psychische Distanzzonen mit unterschiedlich "angenehmer" Erregung - der Körper drückt diese unvermittelt aus, Kleidung ist das "Echo des Körpers", der Garten erweitertes Spielfeld des Körpers.

Kleidung "amplified" durch ihren Schnitt die Ausdrucksbewegung des Körpers, morphing garments "amplify" die Erregung des Körpers mediatisiert und verändern damit "künstlich" verstärkend die Ausdrucks-"Form" des Körpers. Was uns aus dem Tierreich bekannt ist, was wir als Körper-"Sprache" bezeichnen sind emotionale Kommunikationsformen des Körpers die every body" eigen sind - bevor sie zeichenhafte Moden werden.

Solch sonisches Verhalten als erregungsbasierte Interaktion ist formalisiert in Musik und Paradigma der menschlichen Gestaltung von extended Welten, durch künstliche Intelligenzen bereichert um Emotionalität in auditory cultures.

Clothes, like the garden, are extensions of the body in social interaction, shaping culture. Before their "style" becomes fashion, their design is directly physical - whereby the wrapping "amplifies" the body in its expressive power. In the process, the body acts "sonically" - it expresses the sensation of arousal, which is instrumentalised and mediatised into music-making and music.

Social interaction is essentially determined by arousal. Different distances from the body act as psychic distance zones with differently "pleasant" arousal - the body expresses this abruptly, clothing is the "echo of the body", the garden extended playing field of the body.

Clothes "amplify" the expressive movement of the body through their cut, morphing garments "amplify" the excitement of the body mediatised and thus "artificially" amplify the expressive "form" of the body. What we know from the animal kingdom, what we call body "language", are emotional forms of communication of the body that are inherent to every body - before they become sign-like fashions.

Such sonic behaviour as arousal-based interaction is formalised in music and paradigm of human creation of extended worlds, even by artificial intelligences enriched by emotionality in auditory cultures.

AI-Pop.

Walking sound-knowledge-base.

hedonic post-digital body-culture: “backlash” towards an emotionally intelligent “auditory culture”

It is the bodily experience of sound that deter- mines its structuring: sound brings the body in motion leading to e-motion generating sound — interaction leads to a collective and collec- tivizing dynamic soundstream of being “com- munis.” Participants enter an ever “new” sound environment; its “affordance” excites e-motion, by this sound. Despite a semiological concept of “information transmission,” sound stimulates “communication.” Sonic performative interaction communicates by the expression of the meaning of the sound / the motion to the body and the stimulation of “emotional contagion.” Basically, it is “intensity” that is the meaning of sound to the body. The concept “sound-gesture” describes / explains this process. Its mediatization, the

coding of its “picturing,” brought up the “sight” of musical structuring as “relational thinking” — “forward back” media technologies close to the body allow immediate bodily structuring for every body. Analysis of this kind of motion is the analysis of emotionally “intelligent” experience — this knowledge base generates an emotionally intelligent system, “popular” music: AI-Pop for every body. Being a paradigm of structuring envi- ronments based on the “needs” of the body, the entrance into the sound-environment is a struc- turing entrance into post-digital media-worlds: Because of the transgression of the mechanistic paradigm in digital culture it is a “backlash” to the hedonic nature of media-culture as “auditory culture”.

Ars Electronica Festival 2019

the magical tension of the number "3" is a participatory concert, which makes it possible to physically experience the special feature of the number 3 in the sound space as a compositional work. Although in the same culture the "tritone" is the musical sign of the devil in the middle ages, the magic of the "3" signifies eternal divinity in the Holy Trinity in Christianity; the "3" played a "magically beloved" role in Tesla's life; in a duodecimal mathematical system, as music is, it is the basis of the greatest degree of freedom to create sound structures through "relations"; the "odd" temporal shaping of sound occurs out of the highest physical tension and overcomes the uniformity of marching "straight" forms.

Harmonically, the experience of tempered 3-tone scales results in a diminished, depressed gesture of tension that strives indefatigably towards resolution; rhythmically, the 3-tone division of time allows the body to "roll", to "waltz". Both musical dimensions come out of and arouse high physical tension of the perception of sounds, they are mediatized in the "relational thinking" of their structuring - finally intensified by high intensity sound spectra and loudness.

In the interaction of a player with a digital music-making information processing system, a learning process takes place that formalises the excitation-based sound action (the playing of the guitar) into algorithms via processes of pattern recognition. Pattern-recognising analyses of the "perceptions" of a score follower of the played structures and a motion-tracking system of the player's playing movements as well as the sound generated thereby, formalized in the concept "sound-gesture", extract a dynamic set of rules from sonically performative, music-making behaviour - extracting the correlation of sound, sonic behaviour and its mediatization in notation indicating bodily tension allows to enrich artifical intelligence by artificial e-motion. The result is a dynamic platform for shaping sound "e-motionally", resulting from playing and resulting in playing music.

Subsequently, this platform of creation is gradually transferred from the producer to the recipients for participation and thus to free and self-determined creation; the listening behaviour of the hitherto emotionally moving audience of a concert situation becomes creative participation from their physical movement.

The ideas of a creator and a work in art are dissolved into a process of acting together, of collective and collectivising cultural shaping from physical interaction.

Knowledge from creation becomes a common "tool" for creation. Tesla's idea of the free distribution of naturally available energy is taken further. The uniqueness of the "flash of insight" in the composition of the "work" and the pre-scription of its reception become the collective and collectivising experience of shaping a body-based naturalness of democratic culture by an immersion into sound.

Power is the only error...

Collective/ collectivizing music-making as a paradigm of the hedonic self- organization of the dynamic adaptation of spaces as communal living spaces

Error is a construct of Modernism; conceived as a deviation from a theory-driven prognosis of an event, from the next step in the linear progress of culture .... Progress-avant-gardes of the early 20th century attempted, by shutting down rational idealist thinking, to radically break through the boundary between sense and non-sense; a deconstructivist attitude shifts thinking and focuses the error; that which is excluded can be said to provide information about that attitude of the norm that brings about this exclusion; at the same time, consideration of error is a political and cultural step towards awareness of “queerness”... The aesthetic and political “use” of error is familiar to us from the history of techno music, the music of glitches / clicks / cuts / bursts ... The Power is the only error ... project doesn’t aim to indulge the error of Modernism as the creative power of digital culture; it seeks, in the post-modern attitude of post-digital culture, to make it possible to experience the fact that hedonic self-organization knows no error...

Life is dynamic adaptation; human life is dynamic adaptation of body and environment in response to stimulus; music is play with the dynamism of stim- ulus, a playing-with-nature that becomes a culture, a paradigm of inclusion of the hedonic body in virtualities ....

What manifests itself as a cultural development was once a powerful act of overcoming nature, feasibil- ity and the necessity of taking action. Alternatively, culture is conceptualized in terms of the process of nature. With this comes the demise of the concept of feasibility and the emergence of consciousness that nature is the inviolable framework of culture. Cul- tural studies doesn’t only deal with power processes that differ from nature; it itself plays the role of the

“gouvernementalite”; it powerfully constructs culture. The concept of the evolution of plural, parallel, nat- ural life is increasingly applied to cultural developments. Explorative behavior determines not only gen- eral survival but also what culture brings forth and, ultimately, aesthetic behavior. Needless to say, this does not preclude power-driven influences on cultural developments...

It is the “affordance” of the respective (and, for human beings, indeterminately coincidental) operative envi- ronmental stimuli that cause the intentionality of the body-environment interactions that set the body “in tension.” This leads to stimulus-based interactions with the environment that continue to drive homeo- static reciprocal adaptation of body and environment. The “feeling the ex-tension” project attempted to enable participants to experience the arousal-based “regulation” of social interactions. Now, Power is the only error ... focuses on homeostasis, the arous- al-based self-regulation of life in which deviation is not error, but rather information about the change of a body interacting with the environment, which leads to reciprocal adaptation. The basal control principle of homeostasis is bodily arousal, dependent primar- ily on the intensity of stimuli. Only “afterwards” is its cognitive evaluation conveyed into another form— understanding—of intensity, by mediating excitement. Power is the only error ... is meant to allow participants to experience this self-regulating design process in the form of its externalization, the mediatization of a bodily regulation mechanism in social contact—the change the environment undergoes in the process of its adaptation to bodies’ behavior in response to stimulus both reciprocally and in interaction with the environment. The social as well as the physical

environments configure themselves in association with human beings.
This is, on a large scale, the sociological approach of interactionism and the architecture of the Chicago School; on a small scale, this is the essence of group dynamics: Interaction as reciprocal formation of arous- al-balanced living spaces. In the 1990s, in what was tantamount to a reinvention, this was applied to Net Art as a collective and collectivizing interaction as design. What has been added in the last few decades is the acceptance of physical interaction as stimulative interaction, immediate physical deeds, and not the exclusive assumption of symbolic interaction in terms of signs, by means of symbolic negotiation—where even the symbolism of this term, in its metaphorical nature, attests to an embodiment (LAKOFF) that is ultimately interwoven with physical significance for the body.

A physical space becomes a social space through the emotional interactions of human beings, human bod- ies, in it. It is stimulation that determines interper- sonal interaction. Sound-gesture as imagination of the movement around the body and as expression of the meaning (of the arousal level) of this movement for the body is, therefore, the paradigm of emotional interfaces facilitating adaptation (according to hedonic human as measure) of physical and social spaces as cultural spaces—of real, virtual and converged realities. These motility-induced movements, (gestural) bodily behavior, facial expressions, and sound production will be reflected in the arousal level of the space, as move- ment that ultimately “causes” sound, is sound. The space will change adaptively, and not only for the pur- pose of mood management; it will adjust to all the pro- tagonists within it on a homeostatic level. The room will become a jointly configured supra-vival space.

Ars Electronica Festival 2018

e-mot-ivat-ion
Feeling the Ex-Tension

“Any extension of wo-man” (McLuhan 1964) is media mediating the process of immediate body-environ- ment interaction adopting both agents and the way of interacting. Any interaction of the body with material / social environments is “intentional” (Gibson 1982), regulated by tension / arousal, lead- ing to a homeostatic state of pleasure. Any inter- action, immediate or mediated, is intentional. Any aesthetic behavior is nothing but an explorative behavior (Berlyne 1971). Media arts explore cultural evolutions by various mediated interactions— bridging the gap between science and art in order to experience the creative power of extension, to make its tension to be felt.

Whatever is generated by interaction is based on arousal—the feeling of tension-relaxation. It is the hedonic body creating environments, realities and virtualities. Overcoming mechanical extensions in robotics, telematics and the conversion of immaterial information into material qualities, it is the meaning of coded information to the body intending interac- tion, it is the feeling of emotion to motivate motion. Because of the interaction of the body with the immaterialities of the digital code, digital culture is the transgression of the mechanistic paradigm, embodiments arising from experiences of the inter- action of the body with material environments, leading, for example, to a “reasoning” within be- havior, as “Schocks und Schübe” (Lévy 2000) no longer work. Post-digital culture focuses on bodily life in virtualities. It is hearing, the analysis of occurrences around the body by the meaning to the body, that is assumed to be the appropriate power interacting with virtualities, overcoming the mechanical extension, overcoming the rationality of the point of view.

Hearing, the arousal-based analyzing subtractive synthesis, is formalized in music; pop music is the cultivation of hedonic interaction, of sound gestures amplified by media technologies; sound gestures serve as intuitive emotional interfaces adopting sensual environments; hedonic post-digital cultures become pop-musicalized cultures (Jauk 2014).

The installation makes the interaction (in social situations) felt by media—by sound as some kind of psychological hedonic feedback mediating bodily interaction and in this way creating common (social) environments. People who come into contact inter- act by bodily behavior, following natural and cultural implicit knowledge (Polanyi 1966). This interaction is a multimodal process controlled by tension—there is some kind of border to a person’s space where intimacy starts.

Nonverbal bodily interactions are amplified by sound-gestures, mediating tension, and transferred to a multimodal intimate stimulation around the bodies—an arousing date leading to a common space of pleasure—virtualities become bodily, intensifying the body. Finally the installation is an experimen- tal setting between art and science, to experience the creative power of Feeling the Ex-Tension, as bio-acoustics acquire the knowledge-intensifying sonic and sonifying behavioral interaction of animals (Willkomm 2013) to get communis—the sound of mating behavior is the most sensual.

Berlyne, Daniel E., Aesthetics and Psychobiology (New York: Appleton-Century-Crofts, 1971).

Gibson, J. J., Wahrnehmung und Umwelt (Munich: Urban & Schwarzenberg, 1982).

Jauk, Werner, “Intuitive gestural interfaces/adaptive environments and mobile devices/apps: Playing music and the musical work as a role model for personalized gestural interaction in social environments,” in ICMWT International Conference on Mobile & Wireless Technology Congress-Book (Beijing, 2014), 280–284.

Lévy, Pierre, “Die Metapher des Hypertextes,” in Kursbuch Medienkultur: Die maßgeblichen Theorien von Brecht bis Baudrillard, ed. Claus Pias et al. (Stuttgart: DVA, 2000), 525–528.

McLuhan, Marshall, Understanding Media: The Extensions of Man (Cambridge, MA: MIT Press, 1994 [1964]).

Polanyi, Michael, The Tacit Dimension (Chicago: University of Chicago Press, 1966).

Willkomm, Judith: “Die Technik gibt den Ton an:
Zur auditiven Medienkultur der Bioakustik,” in Schröter, Jens and Volmar, Axel (eds.), Auditive Medienkulturen: Techniken des Hörens und Praktiken der Klanggestaltung (Bielefeld: Transcript, 2013) 393–417.

Ars Electronica Festival 2017

touch the sound

Sound is said to be intangible, but it can be felt. Sound is considered ephemeral; nevertheless, it constantly surrounds us. Sound is movement and yet it can be perceived only when sound waves strike our body. In the wake of touch my sound, touch the sound 2.0 / sound-sculpting now makes another concerted effort to focus auditory attention on the importance of the interface that is the human body and to explore the reality-constructions of two dissimilar, sensory forms of interaction:

On one hand, mechanical, passive, analytical hearing of fleeting sounds;

on the other, active deployment of our sensory apparatus and thus synthesizing vision.

The systemic variation of them forms the sound into stationary "gestalt", into a model of the physically tangible materialization of immateriality.

Ars Electronica Festival 2017

TU - Chemnitz, Industriemuseum 2018

Universität Passau, 2018

Universität Göttingen. 2019

iHome / personal home & "diverse" cities

In reference to what the term “personal” denotes in the age of command language as an interaction medium of wo-men-machine, as an echo of what the “i” in the age of intuitive interfaces connotes, “iHome / personal home” wants to be the continuation in the gesture-interaction of human beings with spaces, to a life with partner-like living spaces. Being based on the body-self-regulation-system by arousal, on the social domain, creating these iHomes does not collectivize the "I" but individualize the "we" - "diverse" social "places" are coming up.

It is not about the automated mechanical control of spatial conditions that are regarded as variable in spatial design architecture, the light and its mood or the multi-media entertainment program consisting of word, sound, image … it is about the emotional, whole body interaction with a multi-sensory environment, about mood management, it is about an adaption of the environment to the hedonic needs of the body following the paradigm of music to formalize the hedonic interaction of the body with an environment - finally creating a virtual environment, the "Werk", by the relations of tension- relaxation.

Transferred from film and especially music reception, mood management means the regulation of the body’s state of arousal in different moods towards an optimally pleasant sense of well-being. In the process, good moods are generally affirmed by good feelings, bad feelings are compensated by good feelings, but sad moods in particular are also “lived out” through the reception of sadness-inducing media in the form of the meta-emotion. People generally prefer the boosting or compensating type of mood regulation.

Like the choice of partners happens according to the similarity or supplementation to one’s own personality, that is, according to the strengthening or compensation of one’s own personality, this selection is also necessary for the mood management of the iHome. This then adjusts itself to the needs of the human being – on the musical paradigm it regulates the sound of the space and para-sonically the light, the smell, the tactually felt air movement in the space … The iHome recognizes the mood of the person by his/her gestural, whole-body expression, which primarily communicates arousal, and adaptively learns to homeostatically optimize the state of arousal according to the respective behavioral change – iHome is thereby an extension of the hedonic body and leads this way to the social domain: it creates common places for every body, it structures "diverse" post-cities.

iHome is based on the University of Graz’s sound-gesture research experiments and art-based research in the field of sound-gesture interaction in the social realm of "social sound design".

Ars Electronica Festival 2015

Art + Science, Belgrade 2016

some thematically selected publications ...

2000 -

see the whole list

https://homepage.uni-graz.at/de/werner.jauk/publikationen/