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This volume presents a collection of original papers at the
intersection of philosophy, the history of science, cultural and
theatrical studies. Based on a series of case studies on the 17th
century, it contributes to an understanding of the role played by
instruments at the interface of science and art. The papers pursue
the hypothesis that the development and construction of instruments
make a substantive contribution to the opening of new fields of
knowledge, the development of new cultural practices, but also to
the delineation of particular genres, methods, and disciplines.
This perspective leads the authors to reflect anew on what actually
defines an instrument and to develop a series of basic questions to
determine what an instrument is - which actions does the instrument
incorporate? - which actions does the instrument make possible? -
when do the objects of examination themselves become instruments? -
what skills are required to use an instrument, which skills does it
produce? With its combination of new theoretical models and
historical case studies, its detailed demonstration of the mutual
influence of art and science with the instrument as the point of
intersection, this volume enters new territory. It is of great
value for all those interested in the history of our perception of
instruments. Besides the editors, the authors of the papers are:
Joerg Jochen Berns, Olaf Breidbach, Georges Didi-Huberman, Peter
Galison, Sybille Kramer, Dieter Mersch, Hans-Joerg Rheinberger,
Wilhelm Schmidt-Biggemann, and Otto Sibum.
This volume launches a new, eight-volume series entitled Theatrum
Scientiarum on the history of science and the media which has
arisen from the work of the Berlin special research project on
"Performative Cultures" under the aegis of the Theatre Studies
Department of the Free University. The volume examines the role of
space in the constitution of knowledge in the early modern age.
"Kunst-kammern" (art and curiosities cabinets), laboratories and
stages arose in the 17th century as instruments of research and
representation. There is, however, still a lack of precise
descriptions of the epistemic contribution made by material and
immaterial space in the performance of knowledge. Therefore, the
authors present a novel view of the conditions surrounding the
creation of these spatial forms. Account is taken both of the
institutional framework of these spaces and their placement within
the history of ideas, the architectural models and the modular
differentiations, and the scientific consequences of particular
design decisions. Manifold paths are followed between the location
of the observer in the representational space of science and the
organization in time and space of sight, speech and action in the
canon of European theatrical forms. Not only is an account given of
the mutual architectural and intellectual influence of the spaces
of knowledge and the performance spaces of art; they are also
analyzed to ascertain what was possible in them and through them.
This volume is the English translation of Kunst-Kammer,
Laboratorium, Buhne (de Gruyter, Berlin, 2003).
Examining the recourse to alchemical experimental practices by the
early 20th century avant-garde movement in Europe opens up a
surprising perspective on the relationship between art and science
in the early modern and modern eras. This volume explores the
Theatrum alchemicum as a natural philosophical labyrinth, a hybrid
melting pot of mythical knowledge and rational understanding, and
as a skillful practice of philosophizing with materials.
The book series Theatrum Scientiarum compiles original studies at
the interface of philosophy, the history of science, cultural
studies and theatre studies. Now the 4th volume is published,
Traces of the Avant-garde: Theatrum machinarum, focusing on the
origins of the machine paradigm and its cultural establishment in
the 17th century from the perspective of the avant-garde obsession
with machinery. The aesthetic, epistemological and political
factors established with this paradigm are analysed from the
perspective of the artistic and artful questioning of the
mechanical in the 20th and 21st centuries.
This volume presents a collection of original papers at the
intersection of philosophy, the history of science, cultural and
theatrical studies. Based on a series of case studies on the 17th
century, it contributes to an understanding of the role played by
instruments at the interface of science and art. The papers pursue
the hypothesis that the development and construction of instruments
make a substantive contribution to the opening up of new fields of
knowledge, to the development of new cultural practices, but also
to the delineation of particular genres, methods and disciplines.
This perspective leads the authors of the papers to reflect anew on
what it is that actually defines an instrument and to develop a
series of basic questions to determine what an instrument is -
which actions does the instrument incorporate? - which actions does
the instrument make possible? - when do the objects of examination
themselves become instruments? - what skills are required to use an
instrument, which skills does it produce? With its combination of
new theoretical models and historical case studies, its detailed
demonstration of the mutual influence of art and science with the
instrument as the point of intersection, this volume enters new
territory. It is of great value for all those interested in the
history of our perception of instruments. Besides the editors, the
authors of the papers are: Joerg Jochen Berns, Olaf Breidbach,
Georges Didi-Huberman, Peter Galison, Sybille Kramer, Dieter
Mersch, Hans-Joerg Rheinberger, Wilhelm Schmidt-Biggemann, and Otto
Sibum.
This volume launches a new, eight-volume series entitled Theatrum
Scientiarum on the history of science and the media which has
arisen from the work of the Berlin special research project on
"Performative Cultures" under the aegis of the Theatre Studies
Department of the Free University. The volume, authored by
distinguished academics, examines the role of space in the
constitution of knowledge in the early modern age. Kunstkammern
(art and curiosities cabinets), laboratories and stages arise in
the 17th century as instruments of research and representation.
There is, however, still a lack of precise descriptions of the
epistemic contribution made by material and immaterial space in the
performance of knowledge. Therefore, the authors of this volume
present a novel view of the conditions surrounding the creation of
these spatial forms. Account is taken both to the institutional
framework of these spaces and their placement within the history of
ideas, the architectural models and the modular differentiations,
and to the scientific consequences of particular design decisions.
Manifold paths are followed between the location of the observer in
the representational space of science and the organisation in time
and space of sight, speech and action in the canon of European
theatrical forms. An account is given not only of the mutual
architectural and intellectual influence of the spaces of knowledge
and the performance spaces of art; they are also analysed to
ascertain what was possible in them and through them.
Dieser Band ist der dritte der auf insgesamt acht Bande angelegten
Reihe Theatrum Scientiarum, die die Konstituierungsphase
neuzeitlicher Kunst und Wissenschaft aus einem neuen Blickwinkel
untersucht. Im Mittelpunkt steht die Frage, auf welche Weise
Experimente und ihre Durchfuhrung dazu beigetragen haben, die
kulturelle Landschaft seit der Fruhen Neuzeit grundlegend zu
verandern. Die Beitrage zeigen auf, dass dem poetologischen Diskurs
und der barocken Inszenierungspraxis fur die Hervorbringung und
soziale Durchsetzung von experimentellem Wissen im 17. Jahrhundert
entscheidende Bedeutung zukommt.
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