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Maximilian Schöll, Universität Innsbruck, Masterarbeit, 2021, (VLID)5924522

PLR (Personal-Local-Remote) is a spatially-oriented syntax for mapping digital/physical experiences as a system of relationships structuring an actor-centered information architecture that is surveyed, explored, and described by means of a set of simple rules. These rules represent the cognitive load, the relationships, and the relative importance of any element in the experience through spatial primitives such as position, proximity, and size. We here present and discuss a case centering on the mobility system in the city of Augsburg, Germany, where the PLR syntax was applied to gain a strategic understanding of Mobil-Flat, a transport service offered by Stadtwerke Augsburg, to map the local mobility experience ecosystem and identify possible leverage points for change.

[ES] En este Trabajo de Fin de Grado se concibe, se implementa y se prueba un juego de geolocalización y realidad virtual. La aplicación de realidad virtual consiste en un juego de aventura para turistas y estudiantes que quieran explorar los sitios más interesantes a través de minijuegos en la ciudad de Augsburgo. En este proyecto se trabajan diferentes aspectos como trabajo en equipo en ambiente internacional, investigación en geolocalización, generación de ideas de diseño, desarrollo técnico del prototipo, pruebas funcionales y pruebas de usuario., [EN] Augsburger102 is the continuation of project Augsburger101, created by previous international students as their semester project which is the design of a geolocation and virtual reality game to explore the city of Augsburg. In this paper, we have provided an overview of the research and process that have undertaken to understand and creating of a working application that focused on tourism exploration in Augsburg. Our prerequisite required in a thorough study of the previous project and look for new areas/ interactions to integrate into the product. Since each country has a different aspect that defines its culture, we had to understand what makes up a Bavarian culture. So we being asking question such as “What makes Augsburg special?”, “What significance does this building hold towards Augsburg culture?”, “Does building counts as the culture? ”, “What type of food contains the Bavarian culture and why?”, “Is there any specific clothing of Bavaria? ” Since curiosity has been inside humans since the start of dawn. We explored lands in search of food, water, shelter. And as age progressed, few settled in one place and others moved on, and it goes on and on. But, we as a human never left the curiousness that resides inside us. Curiousness to explore and understand. And with this inside our DNA, humans have been exploring the world trying to learn new culture and to understand what makes it special. With this we tried to answer and explain everything in this report.

Games were important to the Augsburg art agent Philipp Hainhofer (1578-1647), and this ludic category was included in most of his art cabinets, procured over period of thirty years during the first half of the seventeenth century. It offered amusement (Kurzweil) as part of an overall ambition for the cabinets to be of service and use (“nutzen vnd dienst”). Board games, dice, packs of cards and games of both chance and skill represented many of the various game types of their day, while constituting a material taxonomy of games. The encyclopaedic ambition of a Kunstkammer is apparent, and games provide an insight to courtly practices of the early modern period. This thesis investigates Hainhofer’s relationship with games through the materiality of the still extant games of his art cabinets, categorised within a taxonomy of board games, playing cards, miscellaneous games and games paraphernalia. Via a material culture studies framework, it sets their design in a late Renaissance context while also examining how contemporary game practices influenced game design and use. Further, the games, their placements within the cabinets, and other associated material traces are used to reconstruct original, now lost, games and how they would function in intended art cabinet use. It further explores the progression of Hainhofer agency towards games, types and designs over a long period of time, and devises the hypothesis that he, to a certain degree formed, rather than conformed to, the taste of his patrons and clients in terms of games. Games were evidently required by Hainhofer to be at the inventive and artistic forefront, just as important as technical, scientific, natural or colonial discoveries would be to any Kunstkammer owner.

A major shift in our society is the one from a goods-dominant logic to a service-dominant one. Ownership becomes less important, while services from the area of sharing economy experience a rising demand. Municipalities and private companies are adapting and different shared mobility systems are emerging from their pursuit of new forms of mobility. In 2019, Augsburg created a shared mobility system where public transport, carsharing and bikesharing are all provided via one subscription. As this form of subscription does not have many customers yet, this thesis aims to first identify the system and research which reason and components motivate the people in Augsburg to use the system, as well as collecting different ideas for improvement. An expert interview was conducted with someone from the operator side and then customer interviews were held to get an insight from the customers’ point of view. This data was analyzed using tools from the area of information system as well as information architecture and the system was mapped out and discussed. The system was mapped out around the user and the connections were shown, which indicated that the user wants simplicity and clarity, as too many platforms and ways to book a mobility service was stated negatively.

From 1066 to about 1100 contacts between Augsburg and Girona on issues concerning the veneration of saints were particularly intense. Augsburg required information about bishop Narcissus, revered in Girona, who, according to the Conversio et passio (II) S. Afrae, converted a prostitute from Augsburg named Afra and her household to Christianity. On the other hand, Girona was interested in Afra’s legend, and has possessed since 1328 the most beautiful late–medieval representation of this legend in the reliefs of Narcissus’ tomb., Vom Jahr 1066 bis ca. 1100 gab es intensive Kontakte zwischen Augsburg und Gerona über Fragen der Heiligenverehrung. Augsburg wollte etwas über den in Gerona verehrten Bischof Narcissus erfahren, der nach der Conversio et passio (II) S. Afrae die Augsburger Dirne Afra und ihr Haus zum Christentum bekehrt hatte. Gerona wiederum interessierte sich für die Augsburger Afralegende und besitz seit 1328 mit den Plastiken des Narcissus–Schreins in St. Feliu die schönste spätmittelalterliche Darstellung dieser Legende.

The impact of rococo has been traditionally overlooked in the retablos of Peru. Although scholars recognized that rococo appeared on certain retablos of late-18th century Lima and Trujillo as decoration, little effort has been made to investigate how the style reached the viceroyalty. This article identifies printed sources from France and Germany (Augsburg) and considers how artists used them. It also compares the treatment of rococo motifs and forms in Trujillo with the way those forms are treated in the Cono Sur (present-day Argentina and Chile). Although the same sources were used in both areas, the retablos of the Cono Sur were frequently made by immigrants (especially from German-speaking lands) while those in the north were usually made by criollo craftsmen, El impacto del rococó ha sido tradicionalmente subestimado en el caso de los retablos del Perú. Aunque los estudiosos reconocen que el rococó se manifiesta en algunos retablos de Lima y Trujillo de finales del siglo XVIII como decoración, se ha hecho poco por investigar cómo este estilo llegó al virreinato. Este artículo identifica unas fuentes impresas francesas y alemanas (de la ciudad de Augsburgo) y considera la manera como los artistas locales las utilizaron. También compara el tratamiento de los adornos rococó y sus formas en Trujillo con la manera en que esas formas son tratados en el Cono Sur (actual Argentina y Chile). Aunque ambas áreas se nutrieron de las mismas fuentes, los retablos del Cono Sur con frecuencia fueron obra de artistas inmigrantes (especialmente de habla alemana), mientras que los del norte fueron hechos en su mayor parte por artesanos criollos.

Die Arbeit untersucht anhand einer Zusammenstellung überlieferter Bild- und Sachzeugnisse, welche sozialen Gruppen Reiterspiele in ihrer Wohn- und Sachkultur rezipierten. Dafür werden Erkennungsmerkmale entworfen und Fragen zur Kommunikation über Bilder und Objekte diskutiert. Zeitgenössische Quellen zeigen, dass die Bilder und Objekte vor allem in häuslichem, also teil-öffentlichem Raum zu sehen waren. Damit war auch der Betrachterkreis mit dem Besucherkreis und damit mit dem persönlichen Umfeld der Auftraggeber nahezu identisch. Es zeigt sich, dass verschiedene Sozialgruppen die Reiterspiele unterschiedlich rezipieren. Eine besondere Rolle kommt dabei Wappen als Identitätsmarkern zu. Die Bilder spiegeln somit teilweise das soziale Umfeld und die Herrschaftsstrukturen wider., Using a compilation of pictorial and sculptural testimonies from 14th–16th centuries, the work examines which social groups showed off with pictures of tournaments and jousts in their home decoration and material culture. For this, recognition features are designed and questions about visual communication are discussed. Contemporary sources show that the images and objects were mainly to be seen in domestic, partially public space. Thus, the audience was almost identical to the circle of visitors and thus to the personal environment of the owner. It turns out that different social groups used these images of equestrian games differently. A coat of arms as identity markers plays a special role here. The images thus partially reflect the social environment and the structures of power, vorgelegt von Fabian Brenker M.A., Abweichender Titel laut Übersetzung der Verfasserin/des Verfassers, Dissertation Universität Innsbruck 2018

This essay makes known two unpublished documents from the last years of the life of Sebald Beham (1500 Nuremberg–1550 Frankfurt) and uses them as a means to explore Beham’s relationship to printing, the town of Frankfurt, and the Augsburg printer Niclas vom Sand, who remains an unwritten part of the history of the period. The essay is organized as an autobiographical retrospective by an older man forced in prior decades to move from Nuremberg and seek employment and a new life elsewhere. The end of the essay evaluates the documents and aspects of them.

This dissertation explores the formation and evolution of religious identities in the latter half of the sixteenth century, particularly as they developed in the bi-confessional imperial free city of Augsburg. Taking as its primary focus the city’s evangelical ministers, it argues that the agency of these local clerics—in both promoting and resisting the social, political, and cultural effects of confessionalization—has been underappreciated. By exploring manuscript city chronicles, interrogation transcripts, contemporary public histories, and, above all, these clerics’ own written works, this dissertation will shed light on the systemic “adversarialism” of early modern confessional identities and ideologies, as well as on those local clergy who recognized the inherent danger of allowing their society to by riven by two competing identities. The proponents of “moderation” referenced in the title of this work were those clerics who tried to keep their religion nominally ambiguous, eschewing polarizing confessional identities. In contrast, the “militants” were those who reduced complex theological and liturgical systems to the level of identity-politics. They took tragedies like war, famine, and plague, and redirected blame for these tribulations on rhetorically-constructed enemies of the faith. Principally, I have elected to focus this analysis on a family of preachers whose service to the city over three generations spans a period of nearly six decades (1528-1586)—the Meckharts. Insofar as my sources allow, I use these three men—Johann, Georg, and Johann Baptist—to provide a narrative anchor for my analysis of developments within the city respecting religious culture, community, and identity. Within this one family, we see clearly the push and pull of conflict and concord as both communities and individuals struggled to reconcile the Reformation with the emergence of confessions. In short, I argue that the real drama of confessionalization was not simply that which

Un profilo biografico di uno dei più importanti tipografi tedeschi attivi a Venezia nell'ultimo Quattrocento. A lui si devono l'uso di splendide cornici silografiche, la stampa del primo frontespizio, uno specimen di caratteri tipografici impiegati nella sua officina. La sua carriera nel mondo del libro vede anche l'attività di copista, sempre a Venezia. L'ultima parte della sua vita vede il ritorno in patria, dove continuò a stampare libri fino agli anni Venti del Cinquecento.

In the last decade of the fourteenth century, German Waldensian communities became targets of a wave of inquisitorial campaigns. A significant part of these campaigns, unmatched by any other waves of anti-heretical persecution during the century, was perpetrated by mobile inquisitors—professional itinerant “heresy-hunters”—who served as catalysts for anti-heretical actions throughout the German lands. Analyzing and reconstructing the “careers” and motivations of these agents of persecution, this dissertation aims to outline a constellation of factors—social, political, cultural, and religious—that enabled itinerant inquisitors to intensify anti-Waldensian persecution in Germany during one decade. Three itinerant inquisitors—Martin of Amberg, Peter Zwicker, and Heinrich Angermeier—reacted, among other factors, to the internal fissures and problems within Waldensian communities across the German-speaking lands, as well as to the relative absence of stable institutions charged with repression of heterodoxy in Central Europe. Rise of city-centric ideology in German towns, as well as significant Waldensian communities there provided inquisitors with a particularly powerful way of establishing their authority in urban environments fraught with conflict. Motivated in part by the reformist ideology and religious developments in Prague, the Empire’s cultural and intellectual center, itinerant “heresy hunters” sought to strengthen Christian faith and Western Christendom as a whole by re-routing illicit spirituality into Catholic venues by promoting persuasion and conversion as methods of combating Waldensianism. Relying on networks of prestige, diplomacy, and influence that united the fragmented Holy Roman Empire, inquisitors also formed their own long-distance networks of persecutors, informers, and recent converts, which allowed them to pursue heresy more effectively and across all of the German territories.

Polyglott svenska-engelska med engelsk titel For the love of knowledge

Ein wichtiges Konstruktionselement von Räderuhren ist das Zahnrad. Wie haben Uhrmacher früher ihre Zahnräder geschnitten? Nach Augenmaß, mathematisch errechnet oder mit Schablone? Der Beitrag erklärt am Beispiel einer Zahnrad-Schneidmaschine mit Teilungsscheibe von Johann Leonhard Schütze, Augsburg 1792, die Funktion und erklärt den technikgeschichtlichen Hintergrund.

Im Gegensatz zu elementaren Zeitmessern wie Sonnenuhren, Wasseruhren oder Feueruhren sind mechanische Räderuhren ab etwa 1320 nachweisbar. Ein wesentliches Konstruktionselement der Räderuhren ist das Zahnrad. Der Beitrag geht der Frage nach, wie die frühen Uhrmacher die Zahnräder konstruiert und geschnitten haben. Am Beispiel einer Zahnrad-Schneidmaschine mit Teilungsscheibe von Johann Leonhard Schütze, Augsburg 1792, wird die Funktion und der technikgeschichtliche Hintergrund erklärt.

Unter der geringen Anzahl der bis heute erhaltenen Glasemailen mit figurativen Kompositionen lassen sich nur zwei Objekte mit einem bestimmten Namen verbinden; nach dem auf 1623 datierten Kupferstich von Valentin Sezenius wurde die Plakette mit "Anbetung der Hirten", Victoria and Albert Museum, und das Medaillon mit identischer Komposition, Wallace Collection in London, verfertigt. Die hier vorgestellte größere Sammlung von Emaillen, die in derselben Technik hergestellt wurde, zeigt eine andere Hand und kann mit dem Werk von Sezenius nicht unmittelbar in Zusammenhang gebracht werden. Die mythologisch-allegorische Thematik aller Plaketten scheint darauf hinzuweisen, dass die Sammlung ursprünglich eine Dekoration eines kostbaren Kabinettschrankes von circa 1620 bildete. Die Verfasserin stellt die Hypothese auf, dass der Meister im Kreis der Augsburger Goldschmiede zu suchen sei. Manieristische, kompliziert ideologische Programme und Juwelendekorationen wurden in Augsburg (z. B. von David Altenstetter) in den mehrfarbigen Emailles champleve oft verwendet. Dieser Aufsatz wird seinen Zweck erreichen, wenn die Veröffentlichung dieses reichen Vergleichsmaterials helfen würde, die graphischen Vorlagen zu den einzelnen Kompositionen zu finden und die Identifizierung oder Lokalisierung der bestimmten Emailleurwerkstatt zu ermöglichen.

2 Briefe von A. Gandon an Max Horkheimer, Februrar 1936 (S. 202-203); 1 Brief von Max Horkheimer an Lloyd K. Garrison, 25.03.1941 (S. 204); 4 Briefe zwischen Moritz Geiger und Max Horkheimer, 01.12.1935, 1935 (S. 205-208); 1 Lebenslauf von Alvin Johnsson an Friedrich Pollock (S. 209); 1 Brief von Alvon Johnson an Friedrich Pollock, 39.09.1940 (S. 210); 1 Brief von Max Horkheimer an Harald Genssler, 04.09.1949 (S. 211); 1 Brief von der George Washington University Washington an Max Horkheimer, 01.03.1939 (S. 212); 2 Briefe von Wolfgang Gerloff an Max Horkheimer, 1934, 1939 (S. 213-215); 2 Briefe zwsichen Hans Gerth und Max Horkheimer, 28.10.1937, 16.11.1937 (S. 216-220); 1 Brief von M. Getzer an Max Horkheimer, 04.05.1934 (S. 221); 12 Briefe zwsichen Edgar V. M. Gilbert und Max Horkheimer, 1935-1940 (S. 222-238); 1 Brief von der Gillespie, Kinsports & Bears Travel Agency New York an Max Horkheimer, 16.04.1935 (S. 239); 1 Entwurf von Max Horkheimer an Morris Ginsberg, Dezember 1935 (S. 240); 19 Briefe zwsichen Morris Ginsberg, Ethel Ginsberg und Max Horkheimer, 1935-1938 (S. 241-251, 255-266); 1 Brief von Morris Ginsberg an Franz L. Neumann, 28.12.1937 (S. 252); 2 Briefe zwischen Robert Morrison MacIver und Max Horkheimer, 18.08.1937, 16.08.1937 (S. 253-254); 1 Brief von H. Girsberger an Max Horkheimer, 17.08.1938 (S. 267); 1 Brief von Max Horkheimer an Glass, 24.12.1940 (S. 268); 1 Brief von der Glidden Buick Corporation New York an Max Horkheimer, 05.06.1940 (S. 269); 1 Heiratsanzeige von Vera Gold (S. 270-272); 4 Briefe zwischen Oskar Goldberg und Max Horkheimer, 1941, 27.08.1941 (S. 273-281); 10 Briefe zwischen Hans Goldmann und Max Horkheimer, 1934-1937 (S. 282-292); 7 Briefe zwsichen dem Greater New York Coordinating Committee for German Refugees, New York und Max Horkheimer, 1937-1939 (S. 293, 294, 302, 304, 305, 309, 310); 14 Briefe zwischen Alfons Goldschmidt und Max Horkheimer, 1936-1938 (S. 295-299, 303, 306-308, 311-318); 1 Brief von Max Horkheimer an, 131 Briefe

2 Briefe von A. Gandon an Max Horkheimer, Februrar 1936 (S. 202-203); 1 Brief von Max Horkheimer an Lloyd K. Garrison, 25.03.1941 (S. 204); 4 Briefe zwischen Moritz Geiger und Max Horkheimer, 01.12.1935, 1935 (S. 205-208); 1 Lebenslauf von Alvin Johnsson an Friedrich Pollock (S. 209); 1 Brief von Alvon Johnson an Friedrich Pollock, 39.09.1940 (S. 210); 1 Brief von Max Horkheimer an Harald Genssler, 04.09.1949 (S. 211); 1 Brief von der George Washington University Washington an Max Horkheimer, 01.03.1939 (S. 212); 2 Briefe von Wolfgang Gerloff an Max Horkheimer, 1934, 1939 (S. 213-215); 2 Briefe zwsichen Hans Gerth und Max Horkheimer, 28.10.1937, 16.11.1937 (S. 216-220); 1 Brief von M. Getzer an Max Horkheimer, 04.05.1934 (S. 221); 12 Briefe zwsichen Edgar V. M. Gilbert und Max Horkheimer, 1935-1940 (S. 222-238); 1 Brief von der Gillespie, Kinsports & Bears Travel Agency New York an Max Horkheimer, 16.04.1935 (S. 239); 1 Entwurf von Max Horkheimer an Morris Ginsberg, Dezember 1935 (S. 240); 19 Briefe zwsichen Morris Ginsberg, Ethel Ginsberg und Max Horkheimer, 1935-1938 (S. 241-251, 255-266); 1 Brief von Morris Ginsberg an Franz L. Neumann, 28.12.1937 (S. 252); 2 Briefe zwischen Robert Morrison MacIver und Max Horkheimer, 18.08.1937, 16.08.1937 (S. 253-254); 1 Brief von H. Girsberger an Max Horkheimer, 17.08.1938 (S. 267); 1 Brief von Max Horkheimer an Glass, 24.12.1940 (S. 268); 1 Brief von der Glidden Buick Corporation New York an Max Horkheimer, 05.06.1940 (S. 269); 1 Heiratsanzeige von Vera Gold (S. 270-272); 4 Briefe zwischen Oskar Goldberg und Max Horkheimer, 1941, 27.08.1941 (S. 273-281); 10 Briefe zwischen Hans Goldmann und Max Horkheimer, 1934-1937 (S. 282-292); 7 Briefe zwsichen dem Greater New York Coordinating Committee for German Refugees, New York und Max Horkheimer, 1937-1939 (S. 293, 294, 302, 304, 305, 309, 310); 14 Briefe zwischen Alfons Goldschmidt und Max Horkheimer, 1936-1938 (S. 295-299, 303, 306-308, 311-318); 1 Brief von Max Horkheimer an, 131 Briefe