This paper explores the thesis that the concept of cultural techniques should be strictly limited to symbolic technologies that allow for self-referential recursions. Writing enables one to write about writing itself; painting itself can be depicted in painting; films may feature other films. In other words, cultural techniques are defined by their ability to thematize themselves; they are second-order techniques as opposed to first-order techniques like cooking or tilling a field. To illustrate his thesis, Macho discusses a sequence of historical (...) examples, from body signs and death masks to digital code and ID papers. These examples serve to reiterate another basic proposal that is already announced in the paper’s title. The recursive, self-observing qualities of cultural techniques make them a ‘technology of the self’ and thus render them indispensable for the generation, repetition and maintenance of identity. (shrink)

The essay examines solitude not as fate, sacrifice or passion, but as an experience that is actively initiated, that is perceived ambivalently, sometimes painfully, but also sensually, and that functions as context as well as occasion for the practice of cultural techniques – talking (to oneself), reading, writing, drawing or painting. Solitude techniques are analysed as “technologies of the self” (Michel Foucault) and “techniques of the body” (Marcel Mauss), as strategies for self-perception and “internal policy” (Paul Valéry). The history of (...) these self-techniques as solitude techniques is unfolded using examples from Stoic philosophy and early Christian theology. An emphasis is placed on self-doubling or splitting techniques: those who are alone with themselves also see themselves as more or less resilient objects that can be strengthened against the influences of other voices and people. Among the techniques of solitude is, above all, the quest for suitable places that are often – desert, sea, mountain peak, etc. – characterised not only by being devoid of humans, but also by a kind of uniformity. In this way, they resemble writing or drawing surfaces on which meanings can be brought to light through sketches or graphic characters. (shrink)

Im Ausgang von der Unterscheidung zwischen Freiheit als passivem Schutzbegriff (etwa gegen Diskriminierung) und aktiver Freiheit (etwa der Meinungs- und Versammlungsfreiheit) werden Verfassungen, philosophische Positionen und literarische Referenzen verglichen. Ein Schwerpunkt wird auf das Gewicht und die Bedeutung der Gewaltenteilung, etwa unter Bezug auf Montesquieu und seine Untersuchung Vom Geist der Gesetze (1748), gelegt.

The varied reception history of Victor Hugo's novel L'Homme qui rit (1869) is outlined in the context of exemplary historicisations of the "laughing face"-character. This reconstruction deals with the interplay of aesthetics and passion, on the one hand, and with the effects of intermedia encounters of literature, photography and film, on the other. Not only the traditional naturalisation of medieval penalty practices (by defacing) is investigated, but also the modern media history of celebrities.

Translational History of Science: On Networks, Failed Trials and Thought Experiments. Starting with the question, why it could be difficult to write a history of history of science, the paper summarizes problems and risks of traditional concepts of interdisciplinarity. The essay postulates different modes of transgressive thinking and focuses on future topics of history of science, e.g. early networks of scientists, missed encounters, case studies of errors and failed experiments or methods of thought experiments.