Architectural drawings of the ›German Renaissance‹ have, with a few exceptions, remained unexplored objects. This is contrasted by the vast amount of surviving objects, of which roughly 8.000 drawings from the 16th to the early 17th century originate from the German territories. Despite being neglected for a long time, these drawings, however, convey a diverse picture of building in theory and practice, and are characterized by remarkable variations in their depiction of architecture.Aside from the various historical uses of the drawings, a closer examination can reveal the historical conditions for and the impacts of architectural drawing in general. The present study, therefore, aims to categorise the architectural drawings in order to extract their implied knowledge and to embed them in their respective historic discourses and epistemic systems.The main argument is that architectural drawings were not only tools for the design process of castles, gardens, civic buildings, or fortresses. Instead, they were part of complex communication processes, and were crucial objects of preserving architectural knowledge and invention. Architectural drawings should rather be understood as ›significant objects‹ (»Bedeutungsträger«) of cultural practices, conveying historic concepts of space and built environments.In order to determine the very diverse aspects of the architectural drawing in the Northern Renaissance, this study is based upon a select number of drawings from various regions of the German states and newly discovered written sources. Due to the lack of architectural drawings in the northern regions of Germany, the majority of the selected drawings are from the south and middle-east of Germany (e.g. in Dresden, Nuremberg, or Kassel).The lack of contemporary art historical studies on ›German Renaissance‹ architectural drawings has made it even more crucial to focus on historic material. Therefore, this study provides written sources dealing with concepts of ›drawing theories‹, as well as the thus far unknown concept of a treatise depicting design processes and functions of architectural drawings.In order to rethink the ›visual culture‹ of architectural drawings of the ›German Renaissance‹, this study relies on traditional art historical and historical methods (»Quellenkritik«) to evaluate the written and drawn sources, and on methods of media studies and visual studies (»Bildwissenschaft«) to disclose pictorial strategies of visualization and communication.This book is structured in four main chapters dealing with theory and profession, function and impact, practice, and design techniques of architectural drawings between 1500 and 1650 in the German countries. While the first three chapters are concerned with the theory, design techniques, historic, and social context of the drawings, the fourth chapter presents case studies reflecting their function, use, and impact.Although this analysis is hugely concerned with objects originating from the Holy Roman Empire, it aims to reconstruct a general idea of the complex phenomena of production, visualization, communication, display, and collecting of knowledge by the means of architectural drawings, which can easily be applied to objects from any other ›region‹ of that period.While being mainly used for common design processes, architectural drawings are defined by their wide-ranging utilisation, ranging from legal documents to material in the civic and princely education. It can be observed that draughtsmen of architectural drawings come from heterogeneous backgrounds to include not only architects, engineers, and town master masons, but also goldsmiths, structural draughtsmen, musicians, and even princes themselves. Accordingly, drawings could be plain administrative documents or, at times, valuable collection pieces, which is reflected in their depository – objects could be found at various places at the court or civic administration such as the registry, the library, and the armoury, but also in the Cabinet of Curiosities, or in the architect’s personal archive.Even with only a small number of known approaches theorizing architectural drawings and design practices during the 16th century, it is possible to reveal a broad influence on drawing theories, especially by perspective treatises and the so-called »Visier- und Messkunst« (measuring).Reconstructing the various places of producing, collecting, displaying, and studying architectural drawings shows that architectural drawings were a crucial part in cultural processes of understanding, organizing, and dealing with the built environment.

Architekturzeichnungen sind nicht nur Medien zur Planung und Visualisierung von Architektur, sondern bedeutende Quellen historischer Entwurfstheorien, Entwurfspraktiken und Wissensproduktion. Während italienische Architekturzeichnungen etablierte Quellen der Renaissanceforschung sind, wird hier erstmals der Blick auf bislang vernachlässigte Zeichnungen der ›deutschen Renaissance‹ gelegt. Die vorliegende Studie untersucht sowohl die zeichnerischen Darstellungstechniken und Theorien als auch ihre allgemeine Bedeutung als Form- und Wissensspeicher. Der Autor analysiert dabei etwa die variable Verwendung der Zeichnungen vom Entwurfsmedium über das Rechtsdokument bis hin zur Prinzenerziehung und hebt den Stellenwert von Zeichnung und Zeichnungstheorie für verschiedene Professionen sowie das Selbstverständnis der Architekten hervor. Zudem werden erste Einblicke in die fürstliche und reichsstädtische Sammlungsgeschichte von Architekturzeichnungen in Kunstkammern, Bibliotheken und Kanzleien gegeben. Anhand von exemplarischen Fallstudien und neu erschlossenem Quellenmaterial werden so nicht nur neue Einsichten in die Funktionen und Semantiken zeichnerischer Produktion eröffnet, sondern auch übergreifende Fragen der historischen Wahrnehmung von Architektur in der Frühen Neuzeit verhandelt.Sebastian Fitzner wurde 2013 im Fach Kunstgeschichte an der Ludwig-Maximilians-Universität bei Prof. Dr. Stephan Hoppe promoviert und war wissenschaftlicher Assistent am Institut für Kunstgeschichte der LMU (2010–2014). Zuvor war er wissenschaftlicher Mitarbeiter an der Sächsischen Landesbibliothek ‒ Staats- und Universitätsbibliothek Dresden (SLUB) im Rahmen des DFG-Projekts »Architektur- und Ingenieurzeichnungen der deutschen Renaissance. Digitalisierung und wissenschaftliche Erschließung des Zeichnungsbestandes von 1500‒1650« (2009–2010) und Mitglied des DFG-Forschungsnetzwerkes Schnittstelle Bild. Architekturgeschichte und Bildkritik im Dialog 1400–1800. Aktuell ist er Juniorprofessor für Architekturgeschichte und Architekturtheorie der Frühen Neuzeit in Europa und Amerika (1500–1800) am Kunsthistorischen Institut der Freien Universität Berlin.Beiträge zu seiner Forschung veröffentlicht er unter anderem in seinem Blog »ArchitecturalDrawings – Images and Representations of Architecture in the Early Modern Period«.Webseite: http://fu-berlin.academia.edu/SebastianFitzner

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Architectural drawings of the ›German Renaissance‹ have, with a few exceptions, remained unexplored objects. This is contrasted by the vast amount of surviving objects, of which roughly 8.000 drawings from the 16th to the early 17th century originate from the German territories. Despite being neglected for a long time, these drawings, however, convey a diverse picture of building in theory and practice, and are characterized by remarkable variations in their depiction of architecture.Aside from the various historical uses of the drawings, a closer examination can reveal the historical conditions for and the impacts of architectural drawing in general. The present study, therefore, aims to categorise the architectural drawings in order to extract their implied knowledge and to embed them in their respective historic discourses and epistemic systems.The main argument is that architectural drawings were not only tools for the design process of castles, gardens, civic buildings, or fortresses. Instead, they were part of complex communication processes, and were crucial objects of preserving architectural knowledge and invention. Architectural drawings should rather be understood as ›significant objects‹ (»Bedeutungsträger«) of cultural practices, conveying historic concepts of space and built environments.In order to determine the very diverse aspects of the architectural drawing in the Northern Renaissance, this study is based upon a select number of drawings from various regions of the German states and newly discovered written sources. Due to the lack of architectural drawings in the northern regions of Germany, the majority of the selected drawings are from the south and middle-east of Germany (e.g. in Dresden, Nuremberg, or Kassel).The lack of contemporary art historical studies on ›German Renaissance‹ architectural drawings has made it even more crucial to focus on historic material. Therefore, this study provides written sources dealing with concepts of ›drawing theories‹, as well as the thus far unknown concept of a treatise depicting design processes and functions of architectural drawings.In order to rethink the ›visual culture‹ of architectural drawings of the ›German Renaissance‹, this study relies on traditional art historical and historical methods (»Quellenkritik«) to evaluate the written and drawn sources, and on methods of media studies and visual studies (»Bildwissenschaft«) to disclose pictorial strategies of visualization and communication.This book is structured in four main chapters dealing with theory and profession, function and impact, practice, and design techniques of architectural drawings between 1500 and 1650 in the German countries. While the first three chapters are concerned with the theory, design techniques, historic, and social context of the drawings, the fourth chapter presents case studies reflecting their function, use, and impact.Although this analysis is hugely concerned with objects originating from the Holy Roman Empire, it aims to reconstruct a general idea of the complex phenomena of production, visualization, communication, display, and collecting of knowledge by the means of architectural drawings, which can easily be applied to objects from any other ›region‹ of that period.While being mainly used for common design processes, architectural drawings are defined by their wide-ranging utilisation, ranging from legal documents to material in the civic and princely education. It can be observed that draughtsmen of architectural drawings come from heterogeneous backgrounds to include not only architects, engineers, and town master masons, but also goldsmiths, structural draughtsmen, musicians, and even princes themselves. Accordingly, drawings could be plain administrative documents or, at times, valuable collection pieces, which is reflected in their depository – objects could be found at various places at the court or civic administration such as the registry, the library, and the armoury, but also in the Cabinet of Curiosities, or in the architect’s personal archive.Even with only a small number of known approaches theorizing architectural drawings and design practices during the 16th century, it is possible to reveal a broad influence on drawing theories, especially by perspective treatises and the so-called »Visier- und Messkunst« (measuring).Reconstructing the various places of producing, collecting, displaying, and studying architectural drawings shows that architectural drawings were a crucial part in cultural processes of understanding, organizing, and dealing with the built environment.

Architekturzeichnungen sind nicht nur Medien zur Planung und Visualisierung von Architektur, sondern bedeutende Quellen historischer Entwurfstheorien, Entwurfspraktiken und Wissensproduktion. Während italienische Architekturzeichnungen etablierte Quellen der Renaissanceforschung sind, wird hier erstmals der Blick auf bislang vernachlässigte Zeichnungen der ›deutschen Renaissance‹ gelegt. Die vorliegende Studie untersucht sowohl die zeichnerischen Darstellungstechniken und Theorien als auch ihre allgemeine Bedeutung als Form- und Wissensspeicher. Der Autor analysiert dabei etwa die variable Verwendung der Zeichnungen vom Entwurfsmedium über das Rechtsdokument bis hin zur Prinzenerziehung und hebt den Stellenwert von Zeichnung und Zeichnungstheorie für verschiedene Professionen sowie das Selbstverständnis der Architekten hervor. Zudem werden erste Einblicke in die fürstliche und reichsstädtische Sammlungsgeschichte von Architekturzeichnungen in Kunstkammern, Bibliotheken und Kanzleien gegeben. Anhand von exemplarischen Fallstudien und neu erschlossenem Quellenmaterial werden so nicht nur neue Einsichten in die Funktionen und Semantiken zeichnerischer Produktion eröffnet, sondern auch übergreifende Fragen der historischen Wahrnehmung von Architektur in der Frühen Neuzeit verhandelt.Sebastian Fitzner wurde 2013 im Fach Kunstgeschichte an der Ludwig-Maximilians-Universität bei Prof. Dr. Stephan Hoppe promoviert und war wissenschaftlicher Assistent am Institut für Kunstgeschichte der LMU (2010–2014). Zuvor war er wissenschaftlicher Mitarbeiter an der Sächsischen Landesbibliothek ‒ Staats- und Universitätsbibliothek Dresden (SLUB) im Rahmen des DFG-Projekts »Architektur- und Ingenieurzeichnungen der deutschen Renaissance. Digitalisierung und wissenschaftliche Erschließung des Zeichnungsbestandes von 1500‒1650« (2009–2010) und Mitglied des DFG-Forschungsnetzwerkes Schnittstelle Bild. Architekturgeschichte und Bildkritik im Dialog 1400–1800. Aktuell ist er Juniorprofessor für Architekturgeschichte und Architekturtheorie der Frühen Neuzeit in Europa und Amerika (1500–1800) am Kunsthistorischen Institut der Freien Universität Berlin.Beiträge zu seiner Forschung veröffentlicht er unter anderem in seinem Blog »ArchitecturalDrawings – Images and Representations of Architecture in the Early Modern Period«.Webseite: http://fu-berlin.academia.edu/SebastianFitzner

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Architectural drawings of the ›German Renaissance‹ have, with a few exceptions, remained unexplored objects. This is contrasted by the vast amount of surviving objects, of which roughly 8.000 drawings from the 16th to the early 17th century originate from the German territories. Despite being neglected for a long time, these drawings, however, convey a diverse picture of building in theory and practice, and are characterized by remarkable variations in their depiction of architecture.Aside from the various historical uses of the drawings, a closer examination can reveal the historical conditions for and the impacts of architectural drawing in general. The present study, therefore, aims to categorise the architectural drawings in order to extract their implied knowledge and to embed them in their respective historic discourses and epistemic systems.The main argument is that architectural drawings were not only tools for the design process of castles, gardens, civic buildings, or fortresses. Instead, they were part of complex communication processes, and were crucial objects of preserving architectural knowledge and invention. Architectural drawings should rather be understood as ›significant objects‹ (»Bedeutungsträger«) of cultural practices, conveying historic concepts of space and built environments.In order to determine the very diverse aspects of the architectural drawing in the Northern Renaissance, this study is based upon a select number of drawings from various regions of the German states and newly discovered written sources. Due to the lack of architectural drawings in the northern regions of Germany, the majority of the selected drawings are from the south and middle-east of Germany (e.g. in Dresden, Nuremberg, or Kassel).The lack of contemporary art historical studies on ›German Renaissance‹ architectural drawings has made it even more crucial to focus on historic material. Therefore, this study provides written sources dealing with concepts of ›drawing theories‹, as well as the thus far unknown concept of a treatise depicting design processes and functions of architectural drawings.In order to rethink the ›visual culture‹ of architectural drawings of the ›German Renaissance‹, this study relies on traditional art historical and historical methods (»Quellenkritik«) to evaluate the written and drawn sources, and on methods of media studies and visual studies (»Bildwissenschaft«) to disclose pictorial strategies of visualization and communication.This book is structured in four main chapters dealing with theory and profession, function and impact, practice, and design techniques of architectural drawings between 1500 and 1650 in the German countries. While the first three chapters are concerned with the theory, design techniques, historic, and social context of the drawings, the fourth chapter presents case studies reflecting their function, use, and impact.Although this analysis is hugely concerned with objects originating from the Holy Roman Empire, it aims to reconstruct a general idea of the complex phenomena of production, visualization, communication, display, and collecting of knowledge by the means of architectural drawings, which can easily be applied to objects from any other ›region‹ of that period.While being mainly used for common design processes, architectural drawings are defined by their wide-ranging utilisation, ranging from legal documents to material in the civic and princely education. It can be observed that draughtsmen of architectural drawings come from heterogeneous backgrounds to include not only architects, engineers, and town master masons, but also goldsmiths, structural draughtsmen, musicians, and even princes themselves. Accordingly, drawings could be plain administrative documents or, at times, valuable collection pieces, which is reflected in their depository – objects could be found at various places at the court or civic administration such as the registry, the library, and the armoury, but also in the Cabinet of Curiosities, or in the architect’s personal archive.Even with only a small number of known approaches theorizing architectural drawings and design practices during the 16th century, it is possible to reveal a broad influence on drawing theories, especially by perspective treatises and the so-called »Visier- und Messkunst« (measuring).Reconstructing the various places of producing, collecting, displaying, and studying architectural drawings shows that architectural drawings were a crucial part in cultural processes of understanding, organizing, and dealing with the built environment.

Architekturzeichnungen sind nicht nur Medien zur Planung und Visualisierung von Architektur, sondern bedeutende Quellen historischer Entwurfstheorien, Entwurfspraktiken und Wissensproduktion. Während italienische Architekturzeichnungen etablierte Quellen der Renaissanceforschung sind, wird hier erstmals der Blick auf bislang vernachlässigte Zeichnungen der ›deutschen Renaissance‹ gelegt. Die vorliegende Studie untersucht sowohl die zeichnerischen Darstellungstechniken und Theorien als auch ihre allgemeine Bedeutung als Form- und Wissensspeicher. Der Autor analysiert dabei etwa die variable Verwendung der Zeichnungen vom Entwurfsmedium über das Rechtsdokument bis hin zur Prinzenerziehung und hebt den Stellenwert von Zeichnung und Zeichnungstheorie für verschiedene Professionen sowie das Selbstverständnis der Architekten hervor. Zudem werden erste Einblicke in die fürstliche und reichsstädtische Sammlungsgeschichte von Architekturzeichnungen in Kunstkammern, Bibliotheken und Kanzleien gegeben. Anhand von exemplarischen Fallstudien und neu erschlossenem Quellenmaterial werden so nicht nur neue Einsichten in die Funktionen und Semantiken zeichnerischer Produktion eröffnet, sondern auch übergreifende Fragen der historischen Wahrnehmung von Architektur in der Frühen Neuzeit verhandelt.Sebastian Fitzner wurde 2013 im Fach Kunstgeschichte an der Ludwig-Maximilians-Universität bei Prof. Dr. Stephan Hoppe promoviert und war wissenschaftlicher Assistent am Institut für Kunstgeschichte der LMU (2010–2014). Zuvor war er wissenschaftlicher Mitarbeiter an der Sächsischen Landesbibliothek ‒ Staats- und Universitätsbibliothek Dresden (SLUB) im Rahmen des DFG-Projekts »Architektur- und Ingenieurzeichnungen der deutschen Renaissance. Digitalisierung und wissenschaftliche Erschließung des Zeichnungsbestandes von 1500‒1650« (2009–2010) und Mitglied des DFG-Forschungsnetzwerkes Schnittstelle Bild. Architekturgeschichte und Bildkritik im Dialog 1400–1800. Aktuell ist er Juniorprofessor für Architekturgeschichte und Architekturtheorie der Frühen Neuzeit in Europa und Amerika (1500–1800) am Kunsthistorischen Institut der Freien Universität Berlin.Beiträge zu seiner Forschung veröffentlicht er unter anderem in seinem Blog »ArchitecturalDrawings – Images and Representations of Architecture in the Early Modern Period«.Webseite: http://fu-berlin.academia.edu/SebastianFitzner

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This deeply researched collection offers a comprehensive introduction to the eighteenth-century trade in street literature – ballads, chapbooks, and popular prints – in England and Scotland. Offering detailed studies of a selection of the printers, types of publication, and places of publication that constituted the cheap and popular print trade during the period, these essays delve into ballads, slip songs, story books, pictures, and more to push back against neat divisions between low and high culture, or popular and high literature. The breadth and depth of the contributions give a much fuller and more nuanced picture of what was being widely published and read during this period than has previously been available. It will be of great value to scholars and students of eighteenth-century popular culture and literature, print history and the book trade, ballad and folk studies, children’s literature, and social history.

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The first academic volume to theorize and historicize contemporary artistic practices and culture from Chile in the English language, Dismantling the Nation takes as its point of departure a radical criticism against the nation-state of Chile and its colonial, capitalist, heteronormative, and extractivist rule, proposing otherwise forms of inhabiting, creating, and relating in a more fluid, contingent, ecocritical, feminist, and caring worlds. From the case of Chile, the book expands the scholarly discussion around decolonial methodologies, attending to artistic practices and discourses from distinct and distant locations—from Arica and the Atacama Desert to Wallmapu and Tierra del Fuego, and from the Central Valley, the Pacific coast, and the Andes to territories beyond the nation's modern geographical borders. Analyzing how these practices refer to issues such as the environmental and cultural impact of extractivism, as well as memory, trauma, collectivity, and resistance towards neoliberal totality, the volume contributes to the fields of art history and visual culture, memory, ethnic, gender, and Indigenous studies, filmmaking, critical geography, and literature in Chile, Latin America, and other regions of the world, envisioning art history and visual culture from a transnational and transdisciplinary perspective.

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Bringing together pioneers in design and making within architecture, construction, engineering, manufacturing, materials technology and computation, Fabricate is a triennial international conference, now in its third year (ICD, University of Stuttgart, April 2017). Each year it produces a supporting publication, to date the only one of its kind specialising in Digital Fabrication. The 2017 edition features 32 illustrated articles on built projects and works in progress from academia and practice, including contributions from leading practices such as Foster + Partners, Zaha Hadid Architects, Arup, and Ron Arad, and from world-renowned institutions including ICD Stuttgart, Harvard, Yale, MIT, Princeton University, The Bartlett School of Architecture (UCL) and the Architectural Association.

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Bringing together pioneers in design and making within architecture, construction, engineering, manufacturing, materials technology and computation, Fabricate is a triennial international conference, now in its third year (ICD, University of Stuttgart, April 2017). Each year it produces a supporting publication, to date the only one of its kind specialising in Digital Fabrication. The 2017 edition features 32 illustrated articles on built projects and works in progress from academia and practice, including contributions from leading practices such as Foster + Partners, Zaha Hadid Architects, Arup, and Ron Arad, and from world-renowned institutions including ICD Stuttgart, Harvard, Yale, MIT, Princeton University, The Bartlett School of Architecture (UCL) and the Architectural Association.

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Manuscript albums are oftentimes contradictory objects: ephemeral yet monumental, coherent yet inviting change. Collecting items made by others, owners form their albums as representations of their selves, their worlds, and their traditions. The volume’s contributors – who come from musicology, European history, English literary studies, and Islamic art history – explore a set of these challenging manuscripts while addressing questions of manuscript studies through their respective disciplinary lenses. The albums under investigation range from Early Modern Stammbücher, or alba amicorum, to albums assembled jointly by nineteenth-century cultural elites, and from muraqqaʿs of the Persianate world to English and North American friendship albums, including some kept by women. This book is the first contribution to the comparative study of manuscript albums, focusing on their materiality and analysing the practices of all those involved in making and using them. Moreover, the collection introduces this hard-to-grasp type of written artefact to the field of cross-disciplinary manuscript studies and suggests albums as a touchstone for manuscriptological theories and terminologies.; Manuscript albums are oftentimes contradictory objects: ephemeral yet monumental, coherent yet inviting change. Collecting items made by others, owners form their albums as representations of their selves, their worlds, and their traditions. The volume’s contributors – who come from musicology, European history, English literary studies, and Islamic art history – explore a set of these challenging manuscripts while addressing questions of manuscript studies through their respective disciplinary lenses. The albums under investigation range from Early Modern Stammbücher, or alba amicorum, to albums assembled jointly by nineteenth-century cultural elites, and from muraqqaʿs of the Persianate world to English and North American friendship albums, including some kept by women. This book is the first contribution to the comparative study of manuscript albums, focusing on their materiality and analysing the practices of all those involved in making and using them. Moreover, the collection introduces this hard-to-grasp type of written artefact to the field of cross-disciplinary manuscript studies and suggests albums as a touchstone for manuscriptological theories and terminologies.

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"Characters are a vital aspect of today’s transmedia practices. Combining theories on fictional persons from Japanese and Euro-American practices, this book discusses video game characters embedded in our popular media culture in which they are constantly produced and re-imagined. This book introduces the dynamic game character, a type of game character with a development structure that consists of multiple outcomes in a game. Through their actions and choices, players can influence these game characters’ identities and affect their possible destinies. Games subvert the idea that fictional persons must maintain a coherent identity. This book shows that dynamic game characters challenge strategies of top-down control through close readings of the Mass Effect series, Persona 5, Hades, Animal Crossing: New Horizons and more. It is directed to all scholars interested in the topics of transmedia storytelling, video games, characters, and Japanese narratology."

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Zu den besonderen Schätzen der Göttinger Universitätskunstsammlung gehören 129 Zeichnungen auf 92 Blatt sowie drei Skizzenbücher von Eduard Bendemann (1811-1889). Kulturell vielseitig vernetzt, war dieser Künstler einer der bedeutendsten Vertreter der Düsseldorfer Malerschule und sorgte gerade in den 1830er und 40er Jahren mit seinen Gemälden europaweit für großes Aufsehen. Der umfangreiche Göttinger Bendemann-Bestand wird hier erstmals vollständig in einem Katalog vorgestellt, der zugleich als Begleitband zu einer Ausstellung dieser Werke fungiert. Einen Großteil der hier präsentierten Zeichnungen schuf Bendemann als vorbereitende Studien zu komplexen Historienbildern. Vor den Gemälden: Eduard Bendemann zeichnet – unter diesem Motto gewähren Katalog und Ausstellung Einblicke in die faszinierende Welt akademischer Komponierpraxis des 19. Jahrhunderts und führen zugleich in deren historische und (kunst-)politische Grundlagen ein. Sie widmen sich einer Zeit, die von fundamentalen Umbrüchen, aber auch einem nahezu unerschütterlichen Vertrauen in die Wirkung von Kunst geprägt wurde.

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Dieser fünfte Band (und das mit ihm verbundene Bildarchiv) stellt eine Untersuchung der Eigenschaften und Entwicklung früher Bilder von Kindern Südindiens und Indonesiens dar und vergleicht die Ergebnisse mit denjenigen der vorgängigen Untersuchung europäischer Kinder (siehe Band 1). Im Zentrum steht dabei die Frage, ob sich ein substantieller Teil der frühen Bildentwicklung in der Ontogenese für sehr verschiedene Kontexte der Bildproduktion und -rezeption als quasiidentisch dokumentieren lässt, oder ob sich frühe Bilder grundsätzlich als konventionell und also als kodiert erweisen. (In der Literatur werden Studien dieser Art häufig als «kulturvergleichend» bezeichnet.) Band 1 «Eigenschaften und Entwicklung» (und das mit ihm verbundene Bildarchiv) erläutert und illustriert die zeichnerische und malerische Entwicklung von europäischen Kindern im Vorschulalter, untersucht anhand früher Bilder als fertigen Produkten. Band 2 «Bildarchiv Europa und Materialien» (inkl. DVD) enthält alle Bildersammlungen der in Band 1 dargestellten Untersuchung sowie zusätzliche Illustrationen, Texte, Tabellen und Abbildungen. Band 3 «Beschreibende Methode» erläutert und illustriert ausführlich die begrifflichen und methodischen Einzelheiten der Beschreibung früher Bilder als fertigen Produkten. Die untersuchten Bild- und Filmarchive sind über www.early-pictures.ch ein-sehbar. Band 4 «Prozess und Produkt» (und das mit ihm ver-bundene Filmarchiv) stellt eine Untersuchung des Verhältnisses von Prozess und Produkt früher Bilder in der Ontogenese vor.

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