Herrnstein & Murray's The Bell Curve is a deeply controversial text that raises serious issues about the stakes involved in reasoning and interpretation.

The authors’ central contention is that intelligence is the primary factor determining social outcomes for individuals – and that it is a better predictor of achievement than income, background or socioeconomic status. One of the major issues raised by the book was its discussion of 'racial differences in intelligence,' and its contention that there is a link between the low observed test scores and social outcomes for African-Americans and their lack of social attainment.

While the authors produce and interpret a great deal of data to back up their contentions, they ultimately fail to tackle the problem that neither 'intelligence' nor 'race' have widely accepted definitions in biology, anthropology or sociology. In consequence, the book has been termed both ‘racist’ and ‘pseudoscientific’ thanks to what its critics see as both its faulty reasoning and its uncautious interpretation of evidence. The debate continues to this day, with academics on both sides engaged in fierce arguments over what can be argued from the data that Herrnstein and Murray used.

Herrnstein & Murray's The Bell Curve is a deeply controversial text that raises serious issues about the stakes involved in reasoning and interpretation. The authors' central contention is that intelligence is the primary factor determining social outcomes for individuals - and that it is a better predictor of achievement than income, background or socioeconomic status. One of the major issues raised by the book was its discussion of 'racial differences in intelligence,' and its contention that there is a link between the low observed test scores and social outcomes for African-Americans and their lack of social attainment. While the authors produce and interpret a great deal of data to back up their contentions, they ultimately fail to tackle the problem that neither 'intelligence' nor 'race' have widely accepted definitions in biology, anthropology or sociology. In consequence, the book has been termed both 'racist' and 'pseudoscientific' thanks to what its critics see as both its faulty reasoning and its uncautious interpretation of evidence. The debate continues to this day, with academics on both sides engaged in fierce arguments over what can be argued from the data that Herrnstein and Murray used.

Adrian Sauer (*1976) explores the nature of photography, occupying himself with the current state of the medium in pictures, self-written programs, texts, and installations. In his artistic work, he examines the functionality and pitfalls of photography and questions its big promise of being a reliable, objective reproduction of reality. His new book of works brings together “photo works� of the past ten years and simultaneously provides insights into the migration to digital photography and the new possibilities for showing and seeing that arise from it. Text in English and German.

Culture comes in many forms. Cultural Psychology: Cross-Cultural and Multicultural Perspectives combines hard science with everyday issues to explore how the intangible forces of our cultural milieu-including the power of race, religion, class, and gender-powerfully changes the way we want, think, and do the things that we do. It covers both cross-cultural differences and multicultural issues, incorporating both approaches to tackle modern issues of diversity and living in a diverse world. *Combines both cross-cultural and multicultural approaches in a single comprehensive text. *Includes chapters on the newest, most ground-breaking issues facing the study of culture: oUnpacks the origins of where culture comes from oDiscusses the history of culture and modern-day laboratory studies oExplains how culture shapes the brain (and how the brain changes culture) oDescribes cultural change in the era of globalization

Founded in 1984 by women around Gabriele Stötzer, the Erfurt Women Artists’ Group pursued a radically creative lifestyle to counter the rigid structures of everyday life in the GDR, over a period of ten years. Subversive, witty, borne of a liberating sense of defiance against normative gender roles, their artistic expressions provide an insight into the little-known feminist subculture in the GDR. Their pioneering role in terms of an exploration of female identity is particularly reflected through five experimental Super 8 films, subsequent live performances, and fashion-object shows. Often unfolding intuitively from sequences of audio, dance, and literary elements, self-created and provocative costumes that served as alter egos of the artists took centre stage. Their political commitment culminated in December 1989 in the first occupation of a Stasi, State Security Service, headquarters, initiated by five women, three of whom were part of the group.

The emergence of global knowledge societies is recently questioning the meaning and relevance of local knowledge in the context of Southern countries. Women have proved to be the central actors in the multiple channels of local-global networking, using these new social ties for the negotiation of old and new elements of knowledge, scientific knowledge and development discourses. The inherent politicisation of knowledge and the direct objective of transforming societal institutions are not only signs of resistance against global hegemony, but serve for a new definition and for a defence of local culture and of local knowledge.

Analogue photography is enjoying a revival. Whereas digital photography is predominantly used for documentary and everyday purposes, its analogue counterpart is becoming increasingly popular as an artistic and experimental medium. This catalogue showcases the wide variety of contemporary trends in analogue photography as exemplified by individual and serial works, as well as photographic installations. Produced by 24 artists from German-speaking countries, the works are grouped into four thematic sections that illustrate different facets of this art form, all with a distinct focus on the material and experimental uses of light, chemical ingredients, and technique. The publication highlights contemporary takes on photograms, chemigrams, and lumen printing, which all hark back to the early days of photography. Silver daguerreotypes and ambrotypes of modern-day sceneries create a disturbing anachronistic effect. Yet other artists employ very different forms of photography that go beyond simple cameras. The catalogue also includes artistic positions that blur the boundaries between analogue and digital photography, e.g., by interacting with artificial intelligence, collaborating with digital machines, and transposing digital images into analogue pictures. The show includes work by: Sylvia Ballhause, Eun Sun Cho, Günter Derleth, Jana Dillo, Tine Edel, Alexander Gehring, Spiros Hadjidjanos, Alexander Kadow, Georgia Krawiec, Martin Kreitl, Antje Kröger, Ute Lindner, Lilly Lulay, Harald Mairböck, Florian Merkel, Falk Messerschmidt, Elisabeth Moritz, Taiyo Onorato and Nico Krebs, Helena Petersen, René Schäffer, Karoline Schneider, Regina Stiegeler, Claus Stolz, Ria Wank. Text in English and German.