fileadmin/content/institute/physik/bilder-und-dokumente-aktuell/6-forschung/material-culture/ottaviani-celeste-a-temple-in-a-science-museum.-object-biography-of-gerzabeck-s-zuendmaschine.pdf
2020) Deutsches Museum 2020 (c). Vorläufer zur Uni. URL: https://www.deutsches-museum.de/ de/ausstellungen/ naturwissenschaft/akademiesammlung/vorlaeufer-zur-uni/ (11.08.2020) Deutsches Museum 2020 (d). 1827–1903: [...] to his contemporary time. This model has been developed in the context of the study of decorative arts, therefore, it is oriented towards this field and favours artifacts coming from that same area of [...] ”. However, when trying to apply this methodology to artifacts that do not pertain the decorative arts, such as scientific and technological instruments, the model is no longer adequate to grasp their
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analysis and interpretation) (Fleming 1974,1982). This model was developed in the context of decorative arts at the Winterthur Museum. The Winterthur model does not cover tacit knowledge or the practical fu [...] such as the Science Museum (London), the National Museums of Scotland (Edinburgh), the Musée des arts et métiers (Paris), the Collection of Historical Scientific Instruments (Harvard) and the National
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after the facts’ (Kremer 2012, 186). Still, this was the first time that a major art museum displayed photographs as art work and three year later established a new department: the Department of Photography [...] have accompanied the physicists constantly, which separated them from the general public, the applied arts and even other academic disciplines. New approaches were needed to reduce the gap and to reconnect [...] the above-mentioned interface by relating to the disciplines of electrical engineering, photographic art, common technological acceptancy and, finally, the museal exhibit. A case study of Material Culture
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1987). Ferdinand Meldahl (1827-1908), a Danish architect and art enthusiast, became a pro- fessor at the Royal Danish Academy of Fine Arts in 1863 (SchiØdte 2003). Despite being a prominent person at the [...] may reflect that the main applicability of the camera at the time of its invention was related to art. It seems that Newmann and the other Camera Lucida instrument-makers made no significant changes in [...] Edinburgh Journal of Science entitled “History of Mechanical Inven- tions and Processes in the Useful Arts” (Brewster 1825: 157). The instrument still used two glasses: the lens and a colored glass. The main
fileadmin/content/institute/physik/bilder-und-dokumente-aktuell/6-forschung/material-culture/hartung-lara-die-atwoodsche-fallmaschine-von-wisenpaintner.-inventarnummer-775.pdf
t/In-der-Tradition-der-alten-Handwerksmeister;art575,1820222 https://www.donaukurier.de/lokales/eichstaett/In-der-Tradition-der-alten-Handwerksmeister;art575,1820222 http://www.uhrmacherverzeichnis.de/ [...] staett/5WEST30-Werkstaette-beruehmter-Uhrmacher;art575,565412 https://www.donaukurier.de/lokales/eichstaett/5WEST30-Werkstaette-beruehmter-Uhrmacher;art575,565412 https://digital.deutsches-museum.de/p [...] Die Atwoodsche Fallmaschine von Wisenpaintner – Inventarnummer 775 Lara Hartung lara.hartung@uni-jena.de The Atwood Machine by Wisenpaintner – inventory number 775 The object with the inventory number
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Sören Carlson (soeren.carlson@uni-flensburg.de) Europa-Universität Flensburg, Germany _________________________________________________________________________ 1. State of the art – subjects and range within [...] stories, as induced by Western discourse. Local counter-narratives, as represented in the visual art pieces, may help in advancing the European project. Marlene Gärtner (2020) then contributes an empirical [...] 885- 899. Bal, M. (1997). Narratology: introduction to the theory of narrative (2. ed.). Toronto: Uni- versity of Toronto Press. Bamberg, M., & Andrews, M. (2004). Considering counter-narratives: narrating
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which subjects are invoked as part of a larger community, and national cultural goods, where European art and values and so on serve as material representations of European- ness. Second, the network structure [...] r for Culture, links the na- tional, European and global dimensions with the concept “culture” as art. Not surprisingly perhaps, the European Commissioner for European Capitals of Culture represents the [...] centuries, owners of manor houses looked towards Europe, they travelled and brought European fashion, art and culture back home to their estates. European en- counters re-examines these historical European
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European Cultural Foundation. Snelders, B. (2012). Narratives for Europe Not the Art of the State but a State of the Art. Amsterdam: European Cultural Foundation. Sunstein, C. R. (2007). Republic.com 2 [...] 2018 national elections. 2. The discursive construction of European identities: a brief state of the art descriptions of top-down and bottom-up narratives in the polarised debate Literature in social science [...] London: Verso. Chadwick, A. (2013). The Hybrid Media System Politics and Power. New York: Oxford Uni- versity Press. Charmaz, K. (2006). Constructing Grounded Theory: A Practical Guide through Qualitative
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representations of the refugee crisis at the periphery of Europe Ksenija Vidmar Horvat (ksenija.vidmar@ff.uni-lj.si) University of Ljubljana, Slovenia _________________________________________________________ [...] magazine Mladina, and was later presented in a gallery context as an autonomous work of (documentary) art. In my analysis, I treat both works as counter-narratives. Each of the two presents its own sets of [...] paradoxically leans towards de-objectification. Illustrations in the I Am a Refugee project invoke Art Spiegelman’s two-volume novel Maus, where he uses illustrations of animal characters of cats (Nazis)
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attempts to counter the ‘Paradise Europe’ narrative in Cameroon Marlene Gärtner (marlene.gaertner@uni-konstanz.de) University of Konstanz, Germany _____________________________________________________ [...] interview partners have been anonymised. The multiplicity of actors reflects “narration as a democratic art” where “stories thrive in the medium of socially shared knowledge” (Koschorke, 2018, 23). It is the