Dinosaurier‐Skelette als Kriegsziel: Kulturgutraubplanungen,Besatzungspolitik und die deutsche Paläontologie in Belgien im Ersten Weltkrieg

The paper deals with the unnoticed and sweeping activities of German scientists and university disciplines in the context of German occupation policy and plannings of plundering cultural assets as war pillage during the First World War. It exemplarily shows the case of palaeontologists in occupied Belgium: Their main project was the famous excavation site of skeletons of the dinosaur Iguanodon in the small town Bernissart. After a new excavation between 1915 and 1918 they planned, with the support of occupation authorities, the transportation of dinosaur skeletons into German natural history museums and collections as war pillage.     

Hazor - a city state between the major powers

The problem of the identity of the conqueror of Hazor is discussed against the background of the basic political constellations in South Syria and North Canaan in the 13th century. The Biblical references to Hazor in Joshua and in Judges are critically examined. This is followed by a survey of the results of excavations in Hazor up to the present (Dec.1999). The thesis that Hazor was destroyed around 1230 B.C. is questioned in the light of the recent debate on the Mycenaean IIIB ware dating. The final destruction of Hazor is seen as one of the aftermaths of the battle of Kadesh, when Ramses II directed his first campaign at Upper Galilee to subdue his rebellious vassals.     

Biophysikalisches Doppelleben, 1939–1946. Oder: Räume der Lange‐weile. Zur (Nicht‐)Zäsur des ‘Informationsdiskurses’

Biophysical Double‐lives, 1939–1946. Or: Spaces of Boredom. On ‘Information Discourse’ and (Dis)continuities in the Life Sciences. Arguably, few things have shaped the historiography of the mid‐twentieth century psy‐sciences (and indeed, of the life sciences and science/technology/intellectual life quite generally) more profoundly than the story of cybernetics. This essay aims to undermine this technofuturistic picture of epistemological upheavals, of cyborg regimes of knowing, and of the incipient post‐human, by reinserting back into the story the rather dull and unspectacular lives (and occupations) of the great majority of British, ‘diverted’ biologists during World War II. Instead of Ratio Clubbers or Macy‐Conference frequenters, this essay is concerned with a much larger population of would‐be biologists and their most pedestrian appropriations of, and exposures to, electronics. What I argue is that the prevalence and systematicity of such exposures in the course of the personnel‐hungry radio‐war points to a very different – low‐key – picture of the war/technology‐induced deflections of biological science at mid‐century. As an example of how deeply at odds narrations of cybernetic's ascent tend to sit with developments on ground level, special attention will be devoted to the physiologists‐turned‐radar‐scientists Alan Hodgkin and Andrew Huxley, and their war‐time, or more properly, spare‐time investigations into the biophysics of nerve. The latter – technical, difficult, and utterly unphilosophical – while absent from the cyber‐theme‐focused historiography, provided the basis for the tremendous impact Hodkgin and Huxley would in fact have on the mainstream, disciplinarily conservative physiological sciences; the larger aim however is to weave these far from peculiar biographical trajectories into a somewhat bigger picture of the intersections between radar electronics and biological science: a picture which does not centre on sensational discourses but on mundane electronic practices; and thus, on the generational experience of those who were known at the time as “ex radar folk with biological leanings”.     

„Simulanten des Irrsinns auf dem Vortragspult“: Dada,Krieg und Psychiatrie,eine ‚Aktive Traumadynamik‘

“Simulanten des Irrsinns auf dem Vortragspult”: Dada, War and Psychiatry – ‘Active Dynamics of Trauma’. This paper relates stage performances of dada artists to war neurosis and shell shock as sociocultural phenomena. The leitmotif of this investigation is the notion of simulation, as dada artists were referred to as malingerers (simulators) of madness by the press at the time. I hypothesize that the performers imitate/simulate with drums, shouting and ‘bruitist’ sound poems, the noises of war, staging themselves as war neurotics in a kind of shocking clinical demonstration. Both discourses intersect in the fact that many dadaists try to dodge the draft by simulating madness. The scandalizing anti-art of dada will be understood as contagious anti-pedagogy, trying to vaccinate against the madness of the era.