Die Materialitätsgeschichte der Aufklärung anhand der Sammelpraxis von Vater und Sohn Forster. Weltumsegler, im Feld forschende Naturhistoriker und Ethnologen, Gelehrte - Johann Reinhold (1729-1798) und sein Sohn Georg Forster (1754-1794) trugen grundlegend zur Erschließung außereuropäischer Welten bei. Durch Sammeln, Ordnen, Zeigen, Zeichnen, Transportieren und Präparieren sowie durch Schreiben und Übersetzen haben sie einen erheblichen Anteil an dem Prozess genommen, der die zusammen mit James Cook erkundeten Räume in Wissensgegenstände verwandelte. Insofern waren die Forsters Produzenten: Das arkadische O-Tahiti und die Freundschaftlichen Inseln oder die düsteren Gestade - der Charlotten-Sund und die verschneite Ödnis Feuerlands - sind zum einen tatsächlich in Augenschein genommene Orte, zum anderen sind es Gegenstände und Ergebnisse von Gestaltungsprojekten. Der vorliegende Band erschließt das Geflecht der Arbeitsfelder von Johann Reinhold und Georg Forster. In den Blick genommen werden die Materialitätsgeschichte der Aufklärung im Bereich der Sammlungs- und Objektpraxis sowie die sammlungsrelevanten Infrastrukturen und Institutionen des aufgeklärten Wissens.

"Das achtzehnte Jahrhundert" wurde 1977 als Mitteilungsblatt der "Deutschen Gesellschaft für die Erforschung des achtzehnten Jahrhunderts" (DGEJ) gegründet und erscheint seit 1987 als wissenschaftliche Zeitschrift. Die Zeitschrift erscheint halbjährlich und ist im Aufsatzteil im Wechsel aktuellen Themen gewidmet oder frei konzipiert. Im Rezensionsteil legt sie Wert auf aktuelle Besprechungen zu einem weit gefächerten Spektrum von thematisch repräsentativen und methodologisch aufschlussreichen Fachpublikationen. Entsprechend der interdisziplinären Ausrichtung der DGEJ enthält sie Beiträge aus allen Fachrichtungen.

What are active materials? This book aims to introduce and redefine conceptions of matter by considering materials as entities that ‘sense’ and respond to their environment. By examining the modeling of, the experiments on, and the construction of these materials, and by developing a theory of their structure, their collective activity, and their functionality, this volume identifies and develops a novel scientific approach to active materials. Moreover, essays on the history and philosophy of metallurgy, chemistry, biology, and materials science provide these various approaches to active materials with a historical and cultural context. The interviews with experts from the natural sciences included in this volume develop new understandings of ‘active matter’ and active materials in relation to a range of research objects and from the perspective of different scientific disciplines, including biology, physics, chemistry, and materials science. These insights are complemented by contributions on the activity of matter and materials from the humanities and the design field. Discusses the mechanisms of active materials and their various conceptualizations in materials science. Redefines conceptions of active materials through interviews with experts from the natural sciences. Contextualizes, historizes, and reflects on different notions of matter/materials and activity through contributions from the humanities. A highly interdisciplinary approach to a cutting-edge research topic, with contributions from both the sciences and the humanities.

Between 2008 and 2014, ETH Studio Basel, under the guidance of Roger Diener and Marcel Meili, has been investigating the process of urbanisation taking place outside cities. Territory - in the context of this investigation denotes both: the surroundings that a city subsumes into its own structure and the core city itself, which is the centre of this process of urbanisation, or "confiscation". Investigated were six regions on six continents: The Nile Valley with the dense corset of natural landscape surrounding a linear city; Rome-Adria, where territorial cells have formed within the territory, spawning an urban type of tremendous dynamism; Florida, presenting highly complex patterns of territorial organisation; Vietnam's Red River Delta, where recent reform exposed traditional settlement and cultivation of the delta to freer forces; Oman, where urbanisation of a territory essentially means reclaiming the desert with the immediate necessity to develop a system for water distribution; and Belo Horizonte, where natural conditions likewise play a major role in organising the territory as surface mining entails huge transformations of the natural terrain. The new book features two introductory essays on ETH Studio Basel's research approach and on terminology, concise illustrated reports on the six regions, and four concluding topical essays.

Contemporary biographies of Galilei emphasize, in several places, that he was a masterful draughtsman. In fact, Galilei studied at the art academy, which is where his friendship with Ludovico Cigoli developed, who later became the official court artist. The book focuses on this formative effect – it tracks Galilei’s trust in the epistemological strength of drawings. It also looks at Galilei’s activities in the world of art and his reflections on art theory, ending with an appreciation of his fame; after all, he was revered as a rebirth of Michelangelo. For the first time, this publication collects all aspects of the appreciation of Galilei as an artist, contemplating his art not only as another facet of his activities, but as an essential element of his research.

In its constructive and speculative nature, design has the critical potential to reshape prevalent socio-material realities. At the same time, design is inevitably normative, if not often violent, as it stabilises the past, normalises the present, and precludes just and sustainable futures. The contributions rethink concepts of critique that influence the field of design, question inherent blind spots of the discipline, and expand understandings of what critical design practices could be. With contributions from design theory, practice and education, art theory, philosophy, and informatics, »Critical by Design?« aims to question and unpack the ambivalent tensions between design and critique.

Heavily represented sections of contemporary philosophy subscribe to the notion of embodiment. However promising this pragmatic turn of events may be, it remains limited in that it interprets the world as a projection of the cognizing I. By contrast, Image Acts focuses on the counterforce of the form of images. The book subdivides this sphere into three parts: imitation, substitution, and the pure effect of the form. All three parts are contemplated with examples from antiquity through to the present and the iconoclastic controversies of our times. From this reconstruction of the image act springs the element of a new philosophy of affordance.

Preservation of natural and cultural heritage is often said to be something that is done for the future, or on behalf of future generations, but the precise relationship of such practices to the future is rarely reflected upon. Heritage Futures draws on research undertaken over four years by an interdisciplinary, international team of 16 researchers and more than 25 partner organisations to explore the role of heritage and heritage-like practices in building future worlds. Engaging broad themes such as diversity, transformation, profusion and uncertainty, Heritage Futures aims to understand how a range of conservation and preservation practices across a number of countries assemble and resource different kinds of futures, and the possibilities that emerge from such collaborative research for alternative approaches to heritage in the Anthropocene. Case studies include the cryopreservation of endangered DNA in frozen zoos, nuclear waste management, seed biobanking, landscape rewilding, social history collecting, space messaging, endangered language documentation, built and natural heritage management, domestic keeping and discarding practices, and world heritage site management.

Horst Bredekamp’s subject is the astute deployment and perennial resonance of the startling image of the body politic that dominates the frontispiece to Leviathan: a treatise on the psychology of the individual and the dynamic of the multitude, published in 1651 by the English philosopher Thomas Hobbes. Affirming the centrality of such a figural device for this pioneering theorist of the state, Bredekamp goes on to address the art-historical dimension of the mesmerising etched title-page. In his central chapters he explores the extraordinary range of sources – from socio-cultural tradition to scientific advances – on which the author and his artist-collaborator may have drawn. In conclusion, he reveals Hobbes to be no less passionate than shrewd in his belief that the constraints and amenities of a tolerable life in common attest to the potency of the visual. As appendices, two essays and catalogues explore the portraits made of Hobbes as well as illustrations that appeared in his other works, thus systematically completing the exploration of the images connected with this exceptional philosopher.

In science and technology, the images used to depict ideas, data, and reactions can be as striking and explosive as the concepts and processes they embody—both works of art and generative forces in their own right. Drawing on a close dialogue between the histories of art, science, and technology, The Technical Image explores these images not as mere illustrations or examples, but as productive agents and distinctive, multilayered elements of the process of generating knowledge. Using beautifully reproduced visuals, this book not only reveals how scientific images play a constructive role in shaping the findings and insights they illustrate, but also—however mechanical or detached from individual researchers’ choices their appearances may be—how they come to embody the styles of a period, a mindset, a research collective, or a device. Opening with a set of key questions about artistic representation in science, technology, and medicine, The Technical Image then investigates historical case studies focusing on specific images, such as James Watson’s models of genes, drawings of Darwin’s finches, and images of early modern musical automata. These case studies in turn are used to illustrate broad themes ranging from “Digital Images” to “Objectivity and Evidence” and to define and elaborate upon fundamental terms in the field. Taken as a whole, this collection will provide analytical tools for the interpretation and application of scientific and technological imagery.