Bøger af Anders V. Munch

Corporate communication er et paraplybegreb, som dækker over de mangeartede kommunikationsaktiviteter, der udøves i en virksomhed. Fokus er på en stringent og sammenhængende kommunikation af identitet og værdier i dialogen med omverdenen. I det strategiske og praktiske arbejde med corporate communication ligger muligheden for at danne og fastholde billedet af den unikke og troværdige virksomhed. Corporate communication – et tværfagligt perspektiv indeholder: Om corporate communication af Birgitte Norlyk, Institut for Fagsprog, Kommunikation og Informationsvidenskab (Syddansk Universitet) Storytelling og corporate communication af Per Krogh Hansen, Institut for Litteratur, Kultur og Medier (Syddansk Universitet) Om heltefiguren i corporate communication af Cindie Maagaard, Institut for Sprog og Kommunikation, og Birgitte Norlyk Virksomhed med stil – Design i corporate communication af Anders V. Munch, Institut for Litteratur, Kultur og Medier (Syddansk Universitet) Marketing, Public Relations og corporate communication af Elin Brandi Sørensen, Institut for Entreprenørskab og Relationsledelse (Syddansk Universitet) CSR: corporate communication som social ansvarlighed af Christa Thomsen, Institut for Sprog og Erhvervskommunikation (Aarhus School of Business – Aarhus Universitet) Et strategisk perspektiv på corporate communication af Per V. Freytag, Institut for Entreprenørskab og Relationsledelse (Syddansk Universitet), og Birgitte Norlyk Corporate communication – et tværfagligt perspektiv retter sig mod undervisningsforløb på videregående uddannelser samt mod praktikere, der ønsker en opdatering på kommunikationsområdet.

Drømmen om Gesamtkunstwerk'et - værket, der forener kunstarterne og forløser kulturen - har været drivkraft bag mange bevægelser og eksperimenter i den moderne kunst. Der er langt fra Richard Wagners Bayreuth-festspil til avantgardens mange blandformer og flygtige udkast til fremtidens samfund, men fælles er forestillingen om at tage alle kunstneriske midler i brug og overskride grænsen mellem kunst og liv.Wagner fremlægger sin vision om Gesamtkunstwerk'et som "Fremtidens kunstværk", og hans ideer finder såvel klangbund i jugendstilens indretninger som i teorierne bag den abstrakte kunst hos Kandinsky, Mondrain og Malevitj. De wagnerske tanker og begreber forplanter sig hos så forskellige kunstnere som Schönberg, Taut og Schwitters, der søger nye udtryksformer og livsrammer. De blomstrer på Bauhausskolen, der forbinder alle kunstarter for at forme samfundet ud fra koblingen af kunst, teknologi og medier. Det er i yderste konsekvens en kunst hinsides kunstværkernes kunst, som Nietzsche foreskrev.Fra Bayreuth til Bauhaus eftersporer drømmen om og ideerne bag Gesamtkunstwerk'et gennem kunstnerteorier og manifester og spejler den i værkformer og kunstnerisk praksis, der spænder fra scenekunst og poesi til kunstnerkolonier og havebyer, fabrikker og corporate identity.

The history of modern design and architecture has seen many attempts to embrace and merge different art forms, and to bring art into the framing of everyday life and the organisation of modern society, in a process understood as total design or total architecture. These attempts were historically based on the romanticist idea of merging all art forms into a uniting and transgressing work of art, mostly associated with – but certainly not limited to – Richard Wagner’s theoretical writings and musical dramas.This utopian dream of the Gesamtkunstwerk, or Total Work of Art, was intended both to bring unity to the people and to bring art into the everyday life of their homes, as well as into factories, cities and even modern media. As a result, the experiments ranged from music, poetry and drama to architecture, design, visual communication and city-planning. These ideas of merging art forms into more immersive and transgressive installations or design interventions to change everyday life are widespread today, but their complex and often problematic roots are mostly ignored. Design and architecture have delivered some of the broadest and most influential experiments with the Gesamtkunstwerk, from garden cities for workers and corporate identity design to the German AEG corporation.

Modern design was established as a discipline and a profession in its own right in the postwar decades, but its ideals and creative practices evolved out of art and architecture. This exchange goes back to a romantic dream of the union of all arts and the transgression from art to life as expressed in the writings and practices of both Richard Wagner and William Morris. But the unifications and transgressions have turned out very differently in the interiors of Art Nouveau, the experiments at Bauhaus, the total design of postwar Modernism and in contemporary hybrid constellations between design, art and architecture. This discussion of cultural vision and thinking in totalities is reflected in cases like Verner Panton’s interior designs, Arne Jacobsen’s SAS Hotel and Peter Behrens’ corporate identity for AEG.Anders V. Munch is professor in Design Culture at University of Southern Denmark and professor II in Design History at Oslo School of Architecture and Design. His background is history of ideas with a Ph.D. on Adolf Loos and a Post.Doc. on the notion ’Gesamtkunstwerk’, the total work of art.