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Begriff – Wahrnehmung – Installationen der zeitgenössischen Kunst
Digitale Codes bleiben in der Regel der Wahrnehmung entzogen, doch in Installationen der zeitgenössischen Kunst ist der Status zwischen immateriellem Code und sichtbarer Erscheinung künstlerisch reflektiert und ikonisch gewandelt.
Die Studie zeigt dies entlang eines Dreischritts: Die Theorie des Codes legt zunächst die Begriffsgeschichte des Codes dar und verleiht einem facettenreichen Begriff Kontur, indem sie dessen Verwendung in verschiedenen Forschungsdisziplinen systematisch analysiert. Die sodann entwickelte Ästhetik des Codes denkt Code, Bild und Erscheinung zusammen, legt den Fokus auf wahrnehmungsästhetische Fragestellungen und das transformative Potenzial des Codes. Im Zentrum einer Aisthesis des Codes stehen schließlich zeitgenössische Installationen, die sich durch generative Codierungsprozesse und codereflexive Verfahren auszeichnen. Detaillierte Analysen der installativen Arrangements zeigen auf, wie Code und Erscheinung in ein oszillierendes Wechselspiel versetzt werden.
We read the book, and the book is reading us. In his later novels, Charles Dickens uses the interaction between characters and their audiences within the fiction to dramatise his growing understanding of the pivotal role of spectatorship and choice in a more democratic society. Egotists of all stripes, intent on bending the world to their singular will, would appropriate the power of spectatorship by taking command of the detachment necessary for choice. Dickens’s pluralistic art of sameness and difference redefines that detachment, and liberates choice both inside and outside the novels, for the relationship between characters and their audiences within the narratives actually inscribes our own relationship with them in the performance of reading, a reflective doubling of the fiction upon the reader across time with moral consequences for our spectatorship of our own lives.
A peer-reviewed series on topics in early modern forms of theatre, theatricality and drama. Contributions may come from any of the disciplines within the humanities, such as theatre studies, musicology, literary history, art history, book history, church history, social history, cultural history, and history of ideas. The series aims to open up new areas of research or new approaches to early modern drama. It publishes monographs, collections of essays and key text editions.

The series publishes an average of one volume per year. The series' editor-in-chief is Jan Bloemendal.
New Perspectives in Edward Albee Studies is an annual peer-reviewed book series meant to provide an outlet for scholarship and criticism on, or related to, Edward Albee and his works. Volumes feature original, academic essays and review-essays centered around a special topic. Each volume is edited by a Guest Editor. The series welcomes and encourages different critical and theoretical scholarly approaches to Albee studies. In keeping with Albee’s own view that drama is literature, New Perspectives in Edward Albee Studies is also very interested in essays that examine Albee’s plays as dramatic literature.
Zur Wende im Kräfteverhältnis zweier Theaterformen zwischen 1869 und 1918 in Berlin
Anders als heute war der Zirkus um 1900 überaus erfolgreich in Berlin – so erfolgreich sogar, dass er für das bürgerliche Literaturtheater eine bedrohliche Konkurrenz darstellte. Dies führte nicht nur zu Diskreditierungen des Zirkus in theaterinternen Debatten, sondern auch zu politischen Vorstößen von Bühnenverbänden gegen die Präsenz und Aufführungspraxis der Zirkusse. Doch obwohl die Theatergesetze zwischen 1880 und 1900 zu Lasten der Zirkusse verschärft wurden, war ihr Erfolg bis in die 1910er Jahre ungebremst. Nach dem Ersten Weltkrieg kehrte sich das Kräfteverhältnis der beiden Theaterformen jedoch um. Das Buch beleuchtet die komplexe Verflechtung von Akteur:innen und Faktoren, die zu dieser Wende führten, und zeichnet ein Bild der Ausgangslage des heutigen Theatersystems im deutschsprachigen Raum, das heißt der Theaterpraxis wie auch des grundlegenden Förderverständnisses. Zudem gibt es Antworten auf die Frage, wie der Zirkus zu seinem Status als „niedere“ oder Nicht-Kunst kam.
At the same time whimsical and thought-provoking, Fluxus explored everyday life as an object of art. Behind mundane materials and activities, we find a large network of Fluxus artists who worked together for decades to create and share their art. This publication builds on archival materials that expose the nature of the artists’ working relationships, and methods for collaboration and circulation of artworks. It traces both people and things, exploring how the network expanded and was made solid, from Fluxus’s conception in the 1960s, to the 1990s, when it had eventually left its stealth flight under art history’s radar.
Volume Editor:
This second volume of Theaters and Public Sphere in a Global and Digital Society offers several different case studies in their relationship with society. Also here, the focus is the fundamental contribution that artistic and cultural forms bring to social dynamics and how these can consolidate cohabitation and create meaningfullness, in addition to fulfilling economic and regulatory needs. As symbolic forms of collective social practices, artistic and cultural forms weave the meaning of a territory, a context, and a people, but also of the generations who traverse these same cultures.
These forms of meaning interact with the social imagery, mediate marginalization, transform barriers into bridges, and are the indispensable tools for any social coexistence and its continuous rethinking in everyday life.

Contributors are: Claudio Bernardi, Marco Bernardi, Massimo Bertoldi, Martina Guerinoni, Mara Nerbano, Chiara Pasanisi, Benedetta Pratelli, Roberto Prestigiacomo, Ilaria Riccioni, Daniela Salinas Frigerio, Eleonora Sparano, Emanuele Stochino, Matteo Tamborrino, Tiziana Tesauro, Katia Trifirò, Alessandro Tolomelli, and Andrea Zardi.
Volume Editor:
Somaesthetics and Sport brings together a diverse set of explorations into the embodied experience of watching and playing sport. Sport can at once be a source of sensual beauty and pleasure, and also of pain and anguish; spectators can both celebrate and glorify athletes, but also expect certain forms of behaviour, and intentionally or otherwise police the movements of their bodies; sport and physical exercise can improve our health and increase the self-awareness of our abilities and limitations, but they also help us to shape our sense of what it means to live a good life. 
Philanthropy, the Arts, and the State in Leipzig (1750-1918)
This book offers a novel approach to the history of high culture and new perspectives on the history of civil society in provincial Germany. It makes the concept of place a central means for understanding how art culture was defined, consumed, and, importantly, distributed over the course of the long nineteenth century. It shows how “temples of culture” come to be built where they were built. It further demonstrates who participated in their planning, funding, construction, and ultimate evolution into public institutions, highlighting underexamined links between the history of art culture and that of urban history and civil society.