Design als ‘mediating interface’ Zur Zeugen‐ und Zeichenhaftigkeit des Radioapparates

Design as Mediating Interface: Historical Evidence and Symbolic Enunciation of the Radio Set. – Based on a case study on the invention of the radio station scale in the late 1920's and early 1930's, this article pleads for an interdisciplinary look at the importance of design as a mediating interface in the production‐consumption junction. In this cultural history perspective on technology, the material artifact matters both as a witness of and a sign for the symbolic meaning and appropriation of the technical object, which transgresses the functional logic of instrumental rationality. In presenting five different perspectives on design offering some alternative looks for a cultural history of technology, this theoretically inspired essay wants to sound the critical potential of a multilayered semantic approach to the radio apparatus as a prominent representation of a radical innovation in media technology.     

Zur Pluralisierung im Luthertum des 17. Jahrhunderts und ihrer Bedeutung für die Deutungen von ‚Natur’︁

Building on methodological considerations in cultural history and historical anthropology, the following contribution proceeds from the concept of ?nature’? rather than from ?natural science’?, with the former understood here as the object of culturally determined projections, values and practices. This ?constructive’?, practice‐oriented concept of nature exposes perceptions of and attitudes towards nature that, owing to the usual reduction of nature to natural science, would otherwise have remained hidden, but which may well be essential to its constitution. To a certain extent, the term ?nature’? continues the terminological extension from ?natural science’? to ?natural philosophy’?, but as a heuristic device it more strongly implies the significance of culturally mediated practices and dynamics. The essay raises the following questions: Which religious conceptions entered into which attitudes towards nature and which religious expectations and interpretive matrices were the motivating forces behind which studies of nature? The figures within seventeenth‐century Lutheranism who shaped and promoted nature‐oriented attitudes and practices were not the ?orthodox’? scholars more strongly tied to academic and controversialist theology, but rather reform‐oriented theologians critical of the church. In the context of the inner differentiation and pluralization of seventeenth‐century Lutheranism, these reform‐oriented groups not only inspired innovate theological projects but also assumed a leading role, along with liked‐minded Christian laypersons, in interpreting and studying ?nature’?.     

Die Rezeption der humanistischen Gedächtnislehre bei Luther: Natur,Kunst und Konfessionen

Iconoclasm is one of the central characteristic of the reformation movement. In several books it was argued that there was a connection between iconoclasm and the interpretation of nature as a language and as a text since about 1600. This article discusses the artist as a creator in Renaissance culture. It shows the reaction of Luther to this concept and to iconoclasm, focussing on the connection between the Lutheran control of pictures and images and his conception of the mind and of memory on the one hand and of creatures as images and natural history on the other. In Lutheran context the book of nature was a book made of images as signs of the word of God.