Collection, Laboratory, Theater: Scenes of Knowledge in the by Helmar Schramm, Ludger Schwarte, Jan Lazardzig

By Helmar Schramm, Ludger Schwarte, Jan Lazardzig

This quantity launches a brand new, eight-volume sequence entitled Theatrum Scientiarum at the background of technological know-how and the media which has arisen from the paintings of the Berlin targeted study undertaking on "Performative Cultures" less than the aegis of the Theatre experiences division of the loose collage. the quantity examines the function of area within the structure of information within the early sleek age. "Kunstkammern" (art and curiosities cabinets), laboratories and phases arose within the seventeenth century as tools of study and illustration. there's, in spite of the fact that, nonetheless a scarcity of certain descriptions of the epistemic contribution made by means of fabric and immaterial area within the functionality of information. hence, the authors current a singular view of the stipulations surrounding the production of those spatial types. Account is taken either one of the institutional framework of those areas and their placement in the background of rules, the architectural types and the modular differentiations, and the clinical outcomes of specific layout judgements. Manifold paths are among the site of the observer within the representational area of technology and the association in time and house of sight, speech and motion within the canon of eu theatrical types. not just is an account given of the mutual architectural and highbrow impression of the areas of data and the functionality areas of artwork; also they are analyzed to envision what used to be attainable in them and during them. This quantity is the English translation of Kunstkammer, Laboratorium, B?hne (de Gruyter, Berlin, 2003).

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Anscombe. 3rd ed. Oxford: Blackwell, 2001. Cf. Josef G. F. Rothhaupt. ” Farbthemen in Wittgensteins Gesamtnachlaß. Philologisch-philosophische Untersuchungen im Längsschnitt und in Querschnitten. Weinheim: Beltz Athenäum, 1996. 243-54. Werner Heisenberg. “Die Goethesche und die Newtonsche Farbenlehre im Lichte Kunstkammer – Laboratory – Theater in the ‘Theatrum Europaeum’ 11 It is not, however, only in the light of modern physics that the architecture of thought is altered in the 20th century. Also making its mark is the shift in the dominance of media technology from the traditional culture of writing to completely new images and textual spaces.

TE, IX (1672, 1699). 623. In this sense, there are revealing connections between corresponding spectacular presentations in Theatrum Europaeum and in: Jacob Döpler. Theatrum poenarum, suppliciorum et executiorum criminalium. Oder Schau=Platz derer Leibes= und Lebens= Straffen. Vol. I “Leibesstrafen,” Vol. ” Sondershausen, 1693-97. Cf. Jürgen Martschukat. “Das ‘Theatrum Poenarum’ vom 16. bis zum 18. ” Inszeniertes Töten. Eine Geschichte der Todesstrafe vom 17. bis zum 19. Jahrhundert. Cologne, Weimar, Vienna: Böhlau, 2000.

The cargos of ships from India are mentioned and precisely recorded. Complete registers of the most varied kinds of objects and facts keep turning up. The large number of pictures alone, wondrous copper plates,36 present an impressive collection over a time span of 100 years. And this collection of pictures is multiplied both in the mirror-cabinet of a graphic, analogy-laden language as well as through the direct thematization of the pictures’ techniques, functions and effects. The Hussite iconoclasm in Prague is reported just as is the burning of a portrait of Cromwell.

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