In this paper, we trace the conceptual history of the term ?metamathematics? in the nineteenth century. It is well known that Hilbert introduced the term for his proof-theoretic enterprise in about 1922. But he was verifiably inspired by an earlier usage of the phrase in the 1870s. After outlining Hilbert's understanding of the term, we will explore the lines of inducement and elucidate the different meanings of ?metamathematics? in the final decades of the nineteenth century. Finally, we will investigate the (...) earlier occurrences and come to the conclusion that the conceptual prehistory of the Hilbertian notion of metamathematics dates back to 1870, whereas the history of the word starts in 1799 at the latest. What is this: metamathematics? It is something amazing everybody, [?] since it makes the mind dizzy and withdraws thinking its sole fulcrum.1 1 Brunner 1898, p. 832: ?Was ist das: Metamathematik? Es ist etwas, was einen Jeden in das äusserste Staunen versetzt, [?] was das Gehirn schwindlig macht und dem Denken seinen einzigen Stütz- und Angelpunkt zu entziehen droht? (shrink)

The essay begins with some historical considerations on design, philosophy and science. The subsequent reflections focus on the quasi-metaphysical prerequisites of the conditions under which design objects and design processes are produced and received. It is a question of the relationships that can be reconstructed – in the context of nature’s subjugation, work, and social interaction – between purposes of use and external and internal determination of form. Under the social conditions of the capitalist economy, design casts things, nature and (...) people into commodity form. This makes it possible to communicate them and to communicate with them. And by doing this in an aesthetic way, design produces at the same time images or representations of things, nature and people beyond their commodity form. In the sphere of the aesthetic appearance of objects and processes, their functionalisation is exceeded. The aesthetic paradigm shift from the primacy of the form of the design object to the primacy of the social function of aesthetic practice – introduced by Walter Benjamin’s media aesthetics – is actualised in a contradictory fashion in contemporary high-tech communication. (shrink)