This book is an anthology about transformation processes. It brings together contributions that were made during the 16th International Congress of the German Society for Semiotics 2021. Due to the Corona pandemic, it was finally not held in attendance at the TU Chemnitz, in Germany, but took place online. 11 sections with different focuses from archaeology, architecture, design, digital humanities, on the body, from the field of literature & youth and subcultures, media, fashion, environment, and carto/atlas semiotics and sign philosophy (...) had each published their own call for papers. -/- The focus of the IMAGE & Cultural study sections' call, published with the volume, was to understand images as agents - according to art and cultural studies scholar Aby M. Warburg - and to recognize and understand not only their potential for cognition, but also their potential for action. As an active part of culture, they not only convey it, but at the same time stimulate action. In this respect, images can be understood not only as documents and testimonies of collective history, but also as active carriers and repositories of affectively effective elements of communication. As agents of cultural transformation processes, images take on a status of their own within the human capacity for expression and action. The essays in this volume bear eloquent witness to this. (shrink)

These notes contain an annotated edition of the only four extant letters of Burchard de Volder to Philipp van Limborch. In the first letter De Volder provides Van Limborch with some information about the subscription to the Dordrecht Confession of Faith by professors. In the second letter De Volder comments upon Van Limborch’s De veritate religionis Christianae. This letter is interesting as it provides insights into De Volder’s views on religion and theology. The third letter served as a cover letter (...) for De Volder’s sending to Van Limborch a copy of the honestum testimonium on Jacobus Arminius that was requested by Arminius’s widow in 1611. In the fourth letter Volder comments upon the visit that Pieter Burman had paid him. The visit was an episode in the quarrel between Pieter Burman, his brother Frans Burman jr., and Van Limborch, caused by Van Limborch’s remark, in his Theologia Christiana, that Frans Burman sr. had used Spinoza’s words while treating the issue of divine omnipotence in his Synopsis theologiae. (shrink)

The 16th and 17th centuries witnessed a philosophical shift that would help pave the way for modern science, a shift from metaphysical theories of material objects to other views embracing only the empirically-accessible parts of material things. One much-debated topic in the course of this shift was regarding prime matter. The late scholastic Jacobus Zabarella (1533-1589) arrived upon his views about prime matter via his version of the regressus method, a program for a sort of scientific reasoning. In his (...) De rebus naturalibus, Zabarella defends the position that prime matter is extended. However, it is less clear how he accounts for its extension. There is an important text where he apparently suggests that prime matter is extended in and of itself. However, there are two other texts apparently stating that matter is extended in virtue of a distinct accident in the category of quantity. I argue that a decisive reading based solely upon any particular texts is not available. Nevertheless, examining Zabarella’s writing on the topic as a whole, the trajectory of his overall argument is remarkably sympathetic to Averroes, who famously took the accidentally quantified position. Thus, from this systematic feature, the accidentally quantified reading is more reasonable. (shrink)

Chemical visualizations and models are special kinds of situated, inductive arguments. In this paper, I examine several historical case studies—an archive of images from museums, special collections, and popular magazines—as examples of emergent practices of physical modeling as theoretical play which became the basis for molecular biology and structural chemistry. Specifically, I trace a legacy of visualization tools that starts with Archibald Scott Cooper and Friedrich Kekulé in the late 1800s, crystallizes as material manipulatives in Kekulé’s student Jacobus Henricus (...) Van’t Hoff and his folded paper “toys,” is legitimized in the California lab of Linus Pauling, and is glorified in the popular imaginary with James Watson and Francis Crick’s model of DNA. My tracing then follows several threads into contemporary modeling practices. I ultimately argue that modeling play, originally outside of the boundary of deductive, positivist science, is now an accepted mode of inductive reasoning in these related chemical fields. (shrink)

This paper inquires into how the new techniques of 14th-century physics, especially the doctrines of the maxima and minima of powers and the latitudes of forms, were applied to the issue of propagation of light. The focus is on several Prague disputed questions, originating between 1377 and 1409, dealing with whether illumination has infinite or finite reach and whether illumination’s intensity remains constant (uniformis) or is rather uniformly decreasing (uniformiter difformis). These questions are contextualised through examination of Oxford, Paris, and (...) Prague sources of the era (John Dumbleton, John Buridan, Nicole Oresme, Albert of Saxony, Henry of Langenstein, John of Holland) to construct a fresh survey of late medieval theories of light. Along the way, the discovery of a hitherto unknown Prague disputation from the 1370s is announced, and new evidence for the dating and Central European dissemination of Jacobus de Sancto Martino’s De latitudinibus formarum and Nicole Oresme’s Questiones super Geometriam is uncovered. (shrink)

Neither the art historians Panofsky and Warburg nor the philosopher Cassirer had any interest with their cultural-historical research in fact-based, historical questions. An approach that had become common in the 19th century due to the loss of validity of the speculative aesthetics. On the contrary, instead of this substantial understanding as the documentary concept represents, these researchers focused on a functional understanding of art historical sources. Nevertheless, in contrast to this starting point, Panofsky invented a methodological procedure, the so-called iconological (...) method, which in turn led back to a documentary-focused historical analysis of artistic artefacts that is still recognized today. The goal is to rediscover the original background of Panofsky´s method. This should make it clear that the original idea of the image concept pursued by Warburg and Cassirer, which had been lost or obscured by the aftermath of National Socialism in Germany, can be made fruitful in a new light today. This path may open up iconology to “image science”/Bildwissenschaft and thus transform the former from a purely historical approach to an understanding relevant to cultural processes and thus to human action. (shrink)