A new understanding of economy emerged in the German states since the mid-eighteen century. Until then, the economic discourse had only focused on increasing the wealth of the rulers. Now the focus shifted to the 'citizens' and their needs. With this new orientation, two topics were prioritised: As the early modern economy was characterised by scarcity, the question of how to use resources in the best and efficient way gained significance. Secondly, efforts were intensified to find substitutes for scarce raw material. In particular, the comprehensive exploration of the 'three kingdoms of nature' (animals, vegetables, minerals) became the status of an economic guiding programme. In this context, the new genre of building estimates emerged in the 1740s. The genre combined aspects of precise resource calculation, which incorporated quantitative needs as well as monetary evaluation. Calculability and monetarisation of resources have become increasingly integral. The paper sketches this development while integrating the new genre in the economic discourse of the eighteen century. In the contemporary concept of a 'cameralistic economy of resources' the genre of the building estimates played a key role that had previously been overlooked: In contrast to other cameralistic genres, building estimates were characterised by their monetary calculability. By placing the genre of building estimates in the context of eighteen-century cameralistics, the paper is also a methodological plea for a construction history that is well informed by cultural and social history.

AbstractFor some years now, fundamental ideas of newer theoretical trends in the context of Actor Network Theory have been leaking into the minds of that generation of (post-internet) artists who no longer regard the radical change in the socio-technical conditions of digital media cultures as something special or new. These trends are also leaking into the theories of the subject and thus also into the theory(s) of art education. This coincides with the assumption that the humanistic conception of the human individual as a subject, and the associated understanding of education in modernity, no longer matches neither with the artistic practices based on collaborative networked socio-technical processes that can be observed in the post-internet culture. Therefore, changing mediality leads to changing subjectivity.

Kein Schrott!? – Über „Zeitschichten des Technischen“, „technische Eigenzeiten“ und den Wandel des Objektstatus einer Abraumförderbrücke im Niederlausitzer Braunkohlenrevier was published in Materielle Kulturen des Bergbaus | Material Cultures of Mining on page 159.

This chapter addresses the assumptions by the media and cultural theorists. It considers a new idea of school which could be the school of the next society. The next society produces a next economy, a next politics, a next science, a next humanity, a next university, a next museum, a next school, a next architecture, and a next art. If the computer is the dominant medium of the next society, the significance of the figure of the hacker is evident. The artist of the next society is someone who is able to crack a code, whether that code is technological, social, psychological, or cultural. The next society prefers the new means of communication for disseminating information in space, which comes with ignoring the means of disseminating information in time. The excess of control associated with the introduction of the computer not only provokes a next society, but also a next nature, from which the next society distinguishes its own culture.

The history of construction has recently undergone a spectacular renewal. This book provides a Europe-wide assessment. On the one hand, each country presents a state of the art in the field (publishing, research, teaching). On the other, an anthology of references is provided for further reading.

The next art is the art of the Next Society. Sociologist and cultural theorist Dirk Baecker pinpoints the term Next Society to the society based on the computer as the leading media technology. Baecker develops his argument on the assumption that nothing influences societal structures and cultural forms as significantly as the respective dominating media technology. As a result in the long run, the introduction of the computer will impact society as dramatically as the introduction of language, writing and printing press. Next Art Education is the attempt to tie in with this assumption by looking for adequate considerations in the field of art education.

Education Design geht davon aus, dass physischer and virtueller Raum für den Lern- und Bildungsprozess gleich wichtig sind und legt den Fokus auf flexible Umgebungen und Mehrzwecklösungen für formelles und informelles Lernen. Mit den Veränderungen der digitalen Infrastrukturen erwartet man ebensolch grundsätzliche Veränderungen der Lehr- und Lernkultur. Um auf diese Umformungsprozesse zu reagieren, geht es darum, raum- und zeitabhängige und dennoch flexible Konzepte für Räume des Lernens zu entwerfen und Muster unterschiedlicher Arten des Lernens zu identifizieren und entwickeln. Wo Technik an Bedeutung gewinnt, scheint Architektur häufig in den Hintergrund zu rücken. Für die Prozesse des informellen und formellen Lernens und die sich ständig verändernden Anforderungen scheint es aber dementgegen besonders notwendig, dass den Datatekturen und Architekturen größtmögliche Flexibiltät zugestanden wird. Räume des Lernens, die diesem Anspruch folgen, sollten - wie Medien - als gleichberechtigte Akteure in einem als Akteurinnen- und Akteuren-Netzwerk-Geschehen gedachtem Bildungsprozess verstanden werden. 13.01.2012 | Torsten Meyer, Timo Meisel & Konstanze Schuetze (Köln)

Die Netzhaut des menschlichen Auges weist nahe dem Zentrum ein winziges Loch auf. Durch dieses Loch tritt der Sehnerv hinter dem Auge aus. An dieser Stelle fehlen die Sehzellen, es ist hier keine Lichtempfindung möglich. Man sieht dort nicht. Aber das kann man nicht sehen.

Der Film »true fiction« erzählt die fiktive Geschichte einer Studierenden mit Namen Laura. Sie ist 23 Jahre alt, lebt und studiert in Hamburg. Laura lebt in einer Welt, in der Gleichzeitigkeit, Kontingenz, das Ineinandergreifen von Realität und Virtualität, ein Weltweitwerden der Kommunikation und ein zuvor nicht gekannter Zugang zu Informationen alltäglich sind. Für klassische Institutionen wie die Universität stellt das eine große Herausforderung dar. Studierende wie Laura stellen traditionelle Strukturen in Frage und wollen beim Aufbau und Austesten neuer Strukturen und Lösungen dieses Problems helfen. Lösungen, von denen sie wissen, dass sie immer vorläufig bleiben werden, wie Werner Sesink deutlich macht: