By Helmar Schramm, Ludger Schwarte, Jan Lazardzig
This quantity launches a brand new, eight-volume sequence entitled Theatrum Scientiarum at the historical past of technological know-how and the media which has arisen from the paintings of the Berlin detailed examine venture on "Performative Cultures" below the aegis of the Theatre reports division of the unfastened collage. the amount examines the function of house within the structure of data within the early glossy age. "Kunstkammern" (art and curiosities cabinets), laboratories and phases arose within the seventeenth century as tools of study and illustration. there's, despite the fact that, nonetheless an absence of special descriptions of the epistemic contribution made by way of fabric and immaterial area within the functionality of data. accordingly, the authors current a singular view of the stipulations surrounding the construction of those spatial kinds. Account is taken either one of the institutional framework of those areas and their placement in the heritage of principles, the architectural types and the modular differentiations, and the medical effects of specific layout judgements. Manifold paths are among the site of the observer within the representational area of technological know-how and the association in time and house of sight, speech and motion within the canon of eu theatrical varieties. not just is an account given of the mutual architectural and highbrow impact of the areas of information and the functionality areas of artwork; also they are analyzed to examine 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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Extra info for Collection, Laboratory, Theater: Scenes of Knowledge in the 17th Century (Theatrum Scientiarum: English Edition) (Theatrum Scientiarum: English Edition)
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. 42-53. Kunstkammer – Laboratory – Theater in the ‘Theatrum Europaeum’ 19 representative of power, that it was expressed by the appropriate protagonist of Theatrum Europaeum, and not, for example, by the delinquent himself. ”28 In illustrations too, great importance is attached to representing the crowd of spectators and active participants (fig.
Ein Beitrag zur Publizistik des 17. und 18. Jahrhunderts [Reprint Lübeck, 1909]. Wiesbaden: M. Sändig, 1962. Bredekamp, Horst. The Lure of Antiquity and the Cult of the Machine: The Kunstkammer and the Evolution of Nature, Art and Technology. Princeton: Princeton University Press, 1995. Daston, Lorraine and Katherine Park. Wonders and the Order of Nature. 1150-1750. New York: Zone Books, 1998. Döpler, Jacob. Theatrum poenarum, suppliciorum et executiorum criminalium. Oder Schau=Platz derer Leibes= und Lebens=Straffen.
Naturally, this universal work, marked by the “universal wars spreading throughout Europe” (“durch Europam durchgenden universal Kriegen”) attracted the attention of historians repeatedly. 8 It finally culminated in a fatal reordering of the sources. Spun off as mere entertainment material were those layers which conjoined with the performative spaces of Kunstkammer, laboratory, and stage and thus also with time-dependent observational and presentational historical techniques. ”9 To be shown, as a countermeasure, is the way in which Kunstkammer, laboratory and stage have left decisively important traces in the main archive of the Theatrum Europaeum.