Journal articles on the topic 'Beethoven Museum (Vienna, Austria)'

The article discusses trends of Vienna’s architectonic spatial development. Vienna is a city that, one the one hand, lives in its historical arhitecture and city planning and, on the other hand, has allowed innovative building in certain areas. Historical development of Vienna was analyzed, underlining aspects which have had the most impact to the current urban fabric. Since in the federal country of Austria Vienna is a state and a municipality at the same time, it has created its own special planning instruments and regulation for city planning. In achieving more sucessfull city planning results, city planners have admitted that development of informal planning is necessary, paying large attention to involving society in the planning process.

Abstract Historical fossil assemblages from the Lower Jurassic to Lower Cretaceous of the Sankt Veit Klippen Unit (SVK) on the western outskirts of Vienna were re-evaluated. Collections of the material from the St. Veit Klippen Unit comprise 3497 specimens. An appropriate nomenclature was used, and the taxonomy was partly revised. Historical collections from Franz Toula (1845–1920) and Friedrich Trauth (1883–1967) were investigated in the collections of the Natural History Museum Vienna, the Geological Survey Vienna, the Department of Geology and the Department of Palaeontology (both University Vienna). Additional collections were studied in the district museums Hietzing (13th district Vienna) and Liesing (23rd district Vienna), in the district municipal office of Hietzing and in the Wienerwald Museum (Eichgraben, Lower Austria). The study area is situated in the easternmost part of the St. Veit Klippen Unit in the Wienerwald (Vienna Woods), part of the 13th Viennese district Hietzing. New data allowed a revision of the biostratigraphy of several lithological units of the SVK. Two main fossil complexes could be distinguished: 1) the Hohenauer Wiese assemblage from the wildlife park Lainz (= “Lainzer Tiergarten”) and 2) the Glasauer quarry assemblage from St. Veit.

Sigmund Freud spent the last year of his life at 20 Maresfield Gardens, an impressive redbrick Hampstead residence. The house was bought by his friends after the penniless psychoanalyst and his family fled from Vienna in 1938. His personal assets had been extorted from him by the authorities following the Anschluss of Austria to the Third Reich. When the family took up residence, Freud's daughter, Anna, organised his new study to resemble his Viennese consulting rooms. Before her own death in 1982, Anna arranged for the house to become a museum in honour of her father. Once again the study was refashioned to Freud's original specifications. This time capsule was opened to the public in July 1986.

Biscuit beetle (<em>Stegobium paniceum</em>) and webbing clothes moth (<em>Tineola bisselliella</em>) cause much damage to museum objects. Some objects and materials are very attractive to these two pest species and objects are often re-infested after treatment. For some years parasitoid wasps have been used in biological pest control to treat and reduce infestations of stored product pests in food processing facilities. Their application in museums is still new and in a research stage. Results from five different museums in Germany and Austria and their application are presented. <em>Lariophagus distinguendus</em> wasps were released against <em>Stegobium paniceum</em> in the municipal library Augsburger Stadtarchiv (Germany), the Ethnological Museum in Berlin (Germany) and the Picture Gallery in the Kunsthistorisches Museum in Vienna (Austria). <em>Trichogramma evanescens </em>were released against <em>Tineola bisselliella </em>in the Technisches Museum in Vienna (Austria) and in the Deutsches Museum Verkehrszentrum in Munich (Germany). Results show that for active biscuit beetle infestations good results can be expected using the <em>Lariophagus distinguendus </em>in museums. Active clothes moth infestations are harder to treat but with a very regular and long-term exposure to the wasps, the clothes moth population can be reduced over the years. We see the application of parasitoid wasps as part of an Integrated Pest Management concept that should be used besides regular insect monitoring and other preventive measures. Difficulties, limitations and research needs in the application of parasitoid wasps in museums are discussed.

Austria has a very long tradition in monument protection. Already in 1853, the central commission to research and preserve the built historic monuments started to operate. The current law on monument protection is from the year 1923. Hence, the most successful steps to secure the country’s built cultural heritage date back to a new provincial legislation, administration and finance system implemented in the early 70ies of the 19th century based on so-called Old-City Preservation Acts. By this sensitive approach, Austria safeguarded the most important historic city centers of Austria like Salzburg, Graz and Vienna vividly in their traditional characteristics without turning them into museum cities without contemporary life. Especially Vienna managed to balance the protection of its extent historic urban environments with parallel ongoing directed urban expansion. This paper will reflect the genesis of this very successful integrated conservation process for its capital Vienna in the context of the Austrian tradition of monument protection and the European Year of Architectural Heritage 1975. Further, it will outline its legal, administrative and financial framework. Finally, it will describe its different phases of development reacting on shifting goals during the course of the times.

The Austrian Museum for Folk Culture (Österreichisches Museum für Volkskunde) was established in 1895 in Vienna, the capital of the Austro-Hungarian Empire. Initially founded as ‘monument of a state of nations [Völkerstaat]’ it acted on and facilitated larger imperial projects of statecraft, war and international diplomacy that spanned the Empire and its displacement in the interwar period (Schmidt 1960: 29). While much of the Museum’s collection was acquired in the years before the Empire’s collapse in 1918, I argue that it was only in the Empire’s afterlife that the Museum was able to perform its memory work for an entombed ‘state of nations’. The Museum projected this site of imperial memory initially onto a post-imperial pan-European map and then, following the rise of German nationalism in Germany and Austria, onto a pan-German vision of empire and nationhood.

Abstract In the last few years, collaborating with representatives of indigenous communities became an important topic for European ethnographic museums. The Weltmuseum Wien (former Museum of Ethnology Vienna, Austria) adheres to this form of sharing cultural heritage. Its Brazilian collection offers rich opportunities to back up Amazonian cultures in their struggle for cultural survival. However, to establish collaborative work in a European museum on a sustained basis is still a difficult endeavor. The article will discuss the projects which have been realized during the past five years with several groups from Amazonia, such as the Warí, Kanoé, Makushí, Shipibo and Sateré-Mawé. Projects were carried out in Austria, Brazil, and Guyana and ranged from short visit to longer periods of co-curating an exhibition. As for the Museum, results are documented in the collection, in two exhibitions and in the accompanying catalogues. It is less clear what the indigenous communities might take away from such collaborations. It will be argued that museum collaborations can help establish a new contact zone, ‘indoors’ and ‘outdoors’, in which members of heritage communities are able to break through the silence in the old contact zone and finally make their own voices heard.

As part of an ongoing phylogenetic study on the Neotropical Philonthina (Coleoptera: Staphylinidae) that includes species of Belonuchus Nordmann, 1837, Hesperus Fauvel, 1874 and Paederomimus Sharp, 1885 (Chani Posse & Ramírez Salamanca in prep.), we examined type material of species belonging to these genera as well as conspecific material from different European and North American collections. Type and non-type material were either examined by MCP during a visit to the Natural History Museum, London, UK (BMNH) or borrowed from the following institutions: Field Museum of Natural History, Chicago, IL, USA (FMNH), Museum für Naturkunde der Humboldt-Universität, Berlin, Germany (ZMHB), Naturhistorisches Museum Wien, Vienna, Austria (NMW), Canadian National Collection of Insects, Ottawa, Canada (CNC) and Snow Entomological Collection, Natural History Museum/Biodiversity Research Center, University of Kansas, Lawrence, USA (SEMC). Based on our revision of relevant material from the abovementioned collections, two new synonyms are here proposed.

Supplementary descriptions of three cecidophyine species based on topotype specimens recovered from vials from the Nalepa collection kept in the Natural History Museum (Vienna, Austria) are given: Cecidophyes galii (Karpelles 1884) from Asperula aparine M. Bieb. and Galium mollugo L. (Rubiaceae), Chrecidus ruebsaameni (Nalepa 1895) com. nov. (transferred from Cecidophyopsis) from Andromeda polifolia L. (Ericaceae) and Colomerus bucidae (Nalepa 1904) from Bucida buceras L. (Combretaceae). Observations on the morphological variability of Colomerus bucidae from different host plants are given. Morphological differences between two closely related species, Cecidophyes galii and Cecidophyes rouhollahi Craemer 1999 are discussed.

Abstract As one component of cultural memory, museums have the potential to co-form the remembrance of an entire society. They try to minimise the experience deficiency of their visitors and help them further to know and understand history in an interesting and vivid way. The present paper will show how and to what extent important museums in Japan, Germany and Austria try to shape the historical consciousness of their visitors. With the Yūshūkan in Tōkyō, the Heiwa Kinen Shiryōkan in Hiroshima, the Deutsches Historisches Museum in Berlin and the Heeresgeschichtliches Museum in Vienna, four representative institutions will be taken as indicators of the national efforts to re-appraise the history of World War II. Analyses of the different exhibitions, together with an international comparison, will document the individual position of each museum as well as its political intention. In addition, legal and cultural backgrounds that can lead to a country-specific, ideologically biased museum-based depiction of World War II will also be taken into consideration.

Abstract Seven historical bat specimens of four species (Rhinolophus ferrumequinum, R. mehelyi, Taphozous nudiventris, Myotis myotis), attributed to originate from the territory of the present-day Lebanon, are deposited and documented in the modern database of the mammal collection of the Natural History Museum, Vienna, Austria (Naturhistorisches Museum Wien). Two of these species (R. mehelyi, T. nudiventris) have never been reported for Lebanon in the existing literature and recent surveys have also failed to find them in this country. Since these bats were collected in the period 1824–1885, the history of the all respective specimens was evaluated in detail. The revision brought rather unexpected results. Only one specimen (R. ferrumequinum) was found to come (most probably) from Lebanon, being collected by W. Hemprich and Ch. Ehrenberg in 1824. In the remaining six specimens, the origin could not be defined, thus rendering the statement that they were collected in Lebanon insecure. This case demonstrates that careful checks of modern interpretations of historical records are necessary when examining past distributions of organisms.

Rudolf Sturany, the curator of molluscs of the Natural History Museum of Vienna between the late 19th and early 20th century described 21 species of bivalves from the Red Sea collected by the pioneering expeditions of the vessel “Pola” which took place between 1895 and 1898. We here list and illustrate the type material of these species, provide the original descriptions, a translation into English, and curatorial and taxonomic comments. All species are illustrated in colour and with SEM imaging. To stabilize the nomenclature, we designate lectotypes for Gastrochaena weinkauffi, Cuspidaria brachyrhynchus, and C. dissociata, whose type series contained specimens belonging to other species. This paper concludes the series on the type specimens of marine molluscs described by Sturany from the “Pola” expeditions.

The reception of the works of Bruno Schulz in Italy has been growing wider and more diversified in the last few years. Among the examples of such a reception there are two essays by Paolo Caneppele: La Repubblica dei Sogni Bruno Schulz, Cinema e Arti Figurative tra Galizia e Vienna (The Republic of Dreams: Bruno Schulz, Cinema and Figurative Arts between Galicia and Vienna, 2004) and I Capelli della Cometa. Di Esseri in Fiamme, Catastrofi Varie e Donne in Bicicletta (The Hair of the Comet. Of Beings on Fire, Various Catastrophes and Women on the Bicycle, 2008). Caneppele, whose main research interest is in cinema, analyzes Schulz’s work through the lens of the visual, thus providing a theory according to which everything produced by him (prose and paintings) is influenced by the aspect of vision, color, and movement. The aim of this essay is not only to acknowledge this particular reception of Schulz in Italy (and in Austria as well, as Caneppele is the head of the film related material collection of the Austrian Film Museum in Vienna), but also to retrace the visual path embodying cinema, plastic arts, and fiction in his work, which is a strand of studies that can be furtherly expanded and explored.

Aim. The modern museum becomes an attractive learning place and space where the visitor, depending on age and competence, develops personal experience, and constructs the learning process based on personalized goals. The article aims to reveal how spaces in museums are exploited, in what ways visitors are involved in a narrative that connects the present and the past. Concept. The research uses a case-study method to investigate the POLIN Museum of the History of Polish Jews (Poland), Ruhr Museum (Germany), and Vienna Technical Museum (Austria). Within the smart learning environment context, this study explains how to encourage museum visitors to learn and seek answers. Results and conclusion. Four main directions are emphasized: the construction of a narrative through the creation of spaces and places, the creation of a historical narrative through simulacra, the educational effect of smart solutions, and the edutainment. The findings show that change in the museum by combining design solutions, historical narrative, time experience, and smart technologies leads to cognitive, engaging learning, touching, feeling, and experiencing different emotions, encouraging a return to the museum, inviting to learn, and shaping one's personal experience. Cognitive value. Contemporary museums invite visitors to a new experience combining artistic space design, storytelling, individual time management, and the use of smart learning environments. These challenges are shifting museum narratives and influencing non-formal learning programs. Authors raise a discussion of how, by exploiting museum spaces, the visitors are involved in the stories, and how the smart learning environment is created in a modern museum.

The research is concerning two unusual evidences of the late Medieval art, which could be seen in the Museum of the cathedral St. Stephan in Vienna. Both of them are related to Herzog Rudolf IV of Austria (1358 - 1365). One artefact in the museum is his silk gold woven shroud elaborated with especial mastership from Chinese silk in Tabriz, a city in present Iran. Especially important for this fabric is that thanks to the interwoven name of the ruler it could be dated precisely. The road of this Near East fabric to Europe and to the tomb of the Herzog in Vienna could be reconstructed. Rudolf IV died suddenly during the visit to his relative Bernabo Visconti in Milano who was one of the richest men in Europe by that time. Probably the fabric was brought across the Silk Road to Constantinople and further across the sea to Genova and to the city of silk Lucca and then to Milano. Such gold woven fabrics from the Islamic world could be found not rarely in the European ruler’s tombs. The second unusual object in the cathedral museum is a portrait of the Herzog. So far this portrait was attributed to a Prague artist. But it could be proved that it originated from Upper Italy and probably was painted by an artist from Verona who was associated to the society around the great humanist Francesco Petrarca. This portrait rises the question about the emergence of early ruler's portraits in Eu-rope and in this aspect is also related to achievements of the „Palaeologus Renaissance“ art in South – East Europe. The two objects are considered as expression forms of the ruler’s funeral culture of the late Medieval age. In the context formed by the comparative approach new possibilities for analysis are created which cross over the traditional methodology of History of Art.

The stay of Władysław Kędra, a charismatic virtuoso pianist representing the Columbus Gene- ration, in Vienna has so far seemed a very good and successful period in the life of this musician originating from Łódź. However, the studies conducted in the archives of the Akademie für Musik und darstellende Kunst Wien, cast a new light on these eight years. The information included in previous publications about the reasons why the Polish virtuoso left for Vienna and why he returned from the capital of Austria were not confirmed when confronted with the preserved documents. Thanks to a thorough analysis of source materials, the author of the article managed not only to recreate the course of events but also to uncover extremely important facts from the professor’s life, e.g. that he had Austrian citizenship. Now there is no doubt that Władysław Kędra intended to stay there and settle in Vienna for good. The analysis of the Viennese docu- ments allows for recreating to a significant extent the way how he fought for the life he had dreamt of during the occupation of the Stalin era. From the first preserved letter to Dr Hans Sittner, President of Vienna’s Akademie für Musik und darstellende Kunst, of 23 May 1957, we can follow the efforts of the Polish pianist to be given a contract, i.e., contract of employment for a fixed period, which was extended for him year by year, then to have an opportunity to see his family, have independent accommodation and bring his closest relatives to Vienna, and finally, find out how he applied for citizenship and was given a permanent contract of employment, which entailed awarding him with the lifelong title of Professor by Austrian authorities. Władysław Kędra achieved his goal – he became the citizen of his new home country, gained prestige and recognition, became music professor in the city of Haydn, Mozart, Beethoven and Schubert... And yet, at that very moment when he had everything and fulfilled his dreams, he suddenly left Austria in unclear circumstances. What dramatic events occurred on 2 June 1964 when Prof. Kędra suddenly wrote two applications for discharge from employment – in one of them he did not justify his decision, only referring very precisely to relevant regulations, which were undoubtedly dictated to him by some official, while in the second one he gave an untrue and completely unlikely in his situation reason for his quitting? There is no trace in the documents of the events which were the cause of that sudden decision. It needs to be stressed that the present article was written exclusively based on the docu- ments (including letters) kept at the Viennese Akademie für Musik und darstellende Kunst in Władysław Kędra’s personal file. The author did not refer to his family’s recollections or to texts published previously about the pianist so as to present facts in a reliable way, and not inter- pretations of these facts.

The examination of type material of presumed Australian orb-weaving spiders as part of a revision of the Araneidae of this country revealed that a number of species are not from Australia. The Natural History Museum, Vienna (Austria) holds the type material of three species of orb-weaving spiders that were originally described from Australia, however all of the species are undoubtedly of American, most likely southern Brazilian, origin and it is unlikely that they were collected in Australia. We propose the following synonymies and generic transfers: Acacesia tenella (L. Koch, 1871) comb. nov. (= Acacesia cornigera Petrunkevitch, 1925 new synonymy); Alpaida navicula (L. Koch, 1871) comb. nov. (= Alpaida roemeri (Strand, 1908) new synonymy); and Eustala mucronatella (Roewer, 1942) comb. nov. In addition, Novearanea queribunda (Keyserling, 1887) comb. nov. (= Araneus quaesitus (Keyserling, 1887) new synonymy; = Novaranea laevigata (Urquhart, 1891) new synonymy) is a New Zealand orb-weaving spider based on the labels that were found with the type specimens housed at the Natural History Museum, London (England). In the original description no locality data was given for N. queribunda and “Australien” was erroneously listed for A. quaesitus.

It is a truth universally acknowledged that nowhere is the past a greater burden on the present than in the historian's own area of interest. In Austria, in 2008, the past seemed to be more than usually present. From the outset, it was declared a year of multiple anniversaries; and the years 1848, 1918, 1968, and above all 1938 were recalled in conferences and books and in public discussion in the media. And yet some aspects of the past were curiously absent: Austrian democracy, we learned from an events listings handout distributed at Vienna airport, was established in 1918—only to be extinguished by the Nazis in 1938. In this context, Oliver Rathkolb's finding (presented at a conference on democracy held at the Vienna Museum in March), that forty percent of Austrians do not even know who Engelbert Dollfuss was, is hardly surprising. This is not to say that there is no engagement with the thornier questions of Austria's past—in the University's Institut für Zeitgeschichte, there is talk of little else—but that there is now, as delegates at the same conference agreed, something of a gulf between the general public's understanding of the past and that of academic historians and some sections of the press.

This article explores the multi-accentuality of the sign ‘gastarbajteri’, used as title word in an exhibition on labour migration that took place in Vienna, Austria, in 2004. Based on an ethnographic study of the exhibition, it addresses a variety of readings of this word, both at the level of production and reception. The analysis of texts shows, firstly, the divergent rationales of the two agents who cooperated as exhibition producers, the minority NGO who wished to signal self-empowerment of migrants on the hand and the city museum who aimed at selling the exhibition to a mainstream audience on the other hand. Secondly, it juxtaposes them with the plurality of readings by its recipients, which range from the recognition of an appeal to migrants via the mis-reading as ‘guestworker’ and its upvaluation through to an insider-perspective based on the knowledge of the word’s connotations in the former Yugoslavia.

Multiple Slovenian cemeteries of the early Iron Age/Hallstatt period (800–400 BC) yield mineralised textile finds. Due to preservation of the textiles on metal objects, they can be contextualised and analysed using a variety of methods. The current paper discusses the applicable methods and information that can be acquired from very small textiles fragments. Difficulties arise particularly due to the lack of documentation of the old excavations and the past restoration work. It is not only modern excavated material that can be meaningful; the finds from the late 19th century are worth re-examining, especially since technology and methodology have evolved. Gaining information from microstratigraphy, comparing relevant finds and fibre analysis are just a few methods shown within this research. The work was a collaborative project with Karina Grömer and the National History Museum Vienna (Austria) and formed a part of my master’s thesis.

Ctenolepisma calvum was first described in Sri Lanka (Ceylon) in 1910, and this island is probably the origin of this species. Later, it was also found in the Caribbean (Cuba and Trinidad and Tobago). Up until the present, it has only been identified within buildings (a synanthropic species), and its natural habitat is unknown. In 2007, it was discovered in Germany and was considered a neobiotic species of Lepismatidae in Europe. It has rapidly spread throughout Europe and beyond in recent years. This led us to analyze the available data of the first occurrences in Germany, Austria, and other European countries. Furthermore, we compared the spread inside of museums in Vienna (Austria) and Berlin (Germany). These museums have been monitored for a long period with sticky traps, representing the best source of information on the dispersion dynamics of Ctenolepisma calvum. We found a scattered occurrence of this species in 18 countries in Europe (including Russia and Ukraine). The first record for Poland has not previously been published; however, this species has been present there since 2014. Surprisingly, it was found in Hungary in 2003, but a record was only published online in 2021. Additionally, in Germany and Austria, where most data are available, the spread of the species does not follow any clear pattern. In museums in Berlin, the species has only been found in one location. In contrast, the species rapidly spread in museums in Vienna between 2014 and 2021, from four to 30 locations, and it is now a well-established species with occasional high abundance. We examined the spread of the species at three spatial scales: (i) Europe, (ii) national, and (iii) regional. Our observations indicate that it is possibly distributed with materials (packaging material, hygiene articles, paper, cardboard, and collection items). Little is yet known about the biology of this introduced pest. We describe its preferred habitat within buildings, its climate requirements, and its potential to act as a new museum pest in Central Europe. This species seems to thrive at room temperature in buildings. Further impact on the species due to climate change in the future is also discussed. We offer a simple morphological key and a detailed identification table to help correct species identification.

Hoverflies are a conspicuous and popular family within the Diptera. The larvae as well as the adults are able to colonize a wide range of habitats, and many species play important roles as pollinators, in pest management and nowadays in applied nature conservation issues. Despite of this, the state of knowledge on the hoverflies of Austria is deficient: Available literature is outdated in systematics and the species inventory is obviously incomplete. These facts led us to study the Austrian hoverfly fauna in more detail. Syrphidae records from an extensive literature search, additional unpublished data from museum collections and data from own fieldwork were compiled to build a comprehensive checklist of Austrian hoverflies. The species distributions are given by federal state in order to retain a precise overview of this Diptera group. The framework of this research is based on 20520 records and in total, 271957 individuals. The checklist includes 430 confirmed species. An additional 25 hoverfly species are discussed but not included in the list. These are species for which it is unclear if the locality lies within the present borders of Austria, or whose voucher specimens were not available for re-examination. In total 17 hoverfly species are new to Austria: Anasimyia contracta Claussen & Torp, 1980; Brachyopa grunewaldensis Kassebeer 2000; Brachyopa obscura Thompson & Torp, 1982; Brachyopa silviae Doczkal & Dziock, 2004; Cheilosia orthotricha Vujić & Claussen, 1994; Eristalis picea (Fallén, 1817); Melangyna ericarum (Collin, 1946); Melangyna lucifera Nielsen, 1980; Melangyna pavlovskyi Violovitsh, 1956; Melanogaster curvistylus Vujić & Stuke, 1998; Merodon moenium (Wiedemann, 1822); Paragus absidatus Goeldlin, 1971; Paragus bradescui Stanescu, 1981; Platycheirus laskai (Nielsen, 1999); Sphegina verecunda Collin, 1937; Temnostoma angustistriatum Krivosheina, 2002 and Temnostoma meridionale Krivosheina & Mamayev, 1962. In addition, 278 first records for several Austrian federal states are published. With 331 species, Styria currently hosts the largest number of documented species per federal state, followed by Lower Austria (307 spp.), Upper Austria (269 spp.), Carinthia (259 spp.), Vorarlberg (234 spp.), Burgenland (201 spp.), North Tyrol (172 spp.), Vienna (169 spp.), Salzburg (155 spp.) and Eastern Tyrol (154 spp.).

A new species of the gecarcinucid freshwater crab genus, Spiralothelphusa Bott, 1968, is described from the Andhra Pradesh State of South India, with supporting data from mitochondrial cytochrome c oxidase subunit I. This brings the number of known species of Spiralothelphusa to seven, five from India and two from Sri Lanka. The identity of S. wuellerstorfi (Heller, 1862) has remained uncertain because the former lectotype designation was not clear. Bott (1968), while designating a male lectotype of S. wuellerstorfi from the Naturhistorisches Museum Wien, Vienna, Austria, had neither stated the catalogue number nor the size of the specimen. It is now difficult to trace the particular lectotype among several paralectotypes of the depository. A new lectotype is, therefore, designated herein for S. wuellerstorfi, and the species is redescribed. The new species, S. andhra sp. nov., has morphological affinities with S. wuellerstorfi, but can be distinguished from the latter species by the shape of the male telson and outer margin of the non-twisted portion of the male first gonopod. Phylogenetic analyses of the molecular data also corroborate their separation. An illustrated identification key is provided for the species of Spiralothelphusa.

This contribution presents the results of a long-term thermal comfort monitoring effort in the so-called OEKOHAUS building in Petronell, Lower Austria. This building mainly acts as an educational facility for the Museum of Natural History of Vienna and includes also office and short-term occupancy spaces. It was established in an existing building, adapted and refurbished in 1996. At the time of refurbishment, it clearly exceeded the applicable standard thermal requirements for building elements. Given the building's unique mixed use, it displays a highly fluctuating occupancy pattern. Subsequent to the recent installment of energy and indoor climate monitoring system, multiple streams of data are being collected. Specifically, indoor environmental variables relevant to thermal comfort in a number of zones in the building have been monitored and evaluated. Collected data include indoor temperature and relative humidity, which were represented and analyzed for different zones of the building in terms of psychrometric charts (for a monitoring period in Winter 2012/13). Moreover, indoor CO2 concentration was monitored to address indoor air quality conditions. The paper presents the monitoring results and their meaning within the larger context of a monitoring-based holistic building performance assessment strategy.

Prof. Radovan Danic, PhD (1893-1979), an honorary lifetime President of the Astronomical Society Rudjer Boskovic in Belgrade, owned a brass universal equinoctial ring sundial (98 mm in diameter), preserved by his descendants, who continued his work on popularizing astronomy through the activities of the society. The sundial (ring dial) was measured, tested and compared to similar portable sundials (pocket sundials) exhibited in various European museums. In the classification scheme, along with the Parmenion?s and astronomical rings, it belongs to a group of pocket armillary sundials that do not require a compass. More precisely, it is a self-orienting armillary sundial whose rings are located under the circles of the celestial sphere of the same name at the moment of measurement. Therefore, when the apparent solar time is known, it turns into a solar compass. A corresponding sundial on the horizon to the self-orienting armillary sundial is the analemmatic sundial. The construction of a self-orienting armillary sundial was first described in the late 16th century by the English mathematician William Oughtred (1574-1660). In collaboration with the gnomonists from England and Austria, we determined where and when Professor Danic?s sundial was constructed: Vienna, second quarter of the 18th century. Originally, the sundial was adjusted for the latitude of Belgrade or Zemun (nowadays, a Belgrade municipality), which were under the Austrian rule for a long time during the 18th century. It is a beautiful, well-crafted, well-preserved, expensive sundial and astronomical instrument that should be kept in a museum, in the first place in the Museum of Astronomy of the Astronomical Observatory in Belgrade.

We describe a new subspecies of Amyda ornata (Gray, 1861) from the southeastern parts of Bangladesh (Chittagong hill tracts), adjacent regions of north-eastern India (Mizoram, Assam and Tripura) and Myanmar, based on morphological characteristics. The holotype comprises some skeletal elements held by the Natural History Museum of Vienna; the five paratypes consist of living specimens in the private collection of PP “Turtle Island” (a turtle conservation zoo in Graz, Austria). After the genetic identity had been determined in a previous investigation, the morphological description was carried out by examining living specimens and photo documents; and additionally, by evaluating the computed tomography of further living animals with exact location data. Amyda ornata jongli ssp. nov. differs from the other Amyda ornata subspecies mainly by its relatively compact and stout head in subadults and adults, its paler, greyish and less contrasting colouration missing distinct bright yellow pigments, ochre-coloured irises, and the existence of more distinct tubercles in the neck region and in the posterior section of the carapace than both other subspecies of Amyda ornata. The tubercles along the front of the carapace protrude clearly in subadult and adult specimens. This softshell turtle is heavily exploited within its limited distribution. Therefore, special comments on conservation aspects are given together with a final discussion on distribution and systematics.

Abstract The “Easter Triptych” project was conducted in six annual editions (except for 2020 and 2021 – the years of the Coronavirus Pandemic). It was conceived and achieved in the name and in the spirit of the three important moments in the history of our humanity: Birth, Passion and Joy of the Resurrection of our Savior Jesus Christ. This great religious cultural project was attended by important personalities of Iaşi and not only, such as lyrical artists from the Romanian National Opera Iaşi, church persons from the Metropolitan Church of Moldavia and Bukovina, university professors, ethnographers, craftsmen and students. We were joined by Radio Romania Cultural Bucharest, Radio Iasi, TV Iasi, Radio “Trinitas” and “Moldova” National Museum Complex Iasi. With this important project, I also went to Austria, Vienna, to the Romanian Cultural Center and to the Republic of Moldova, to “Alecu Russo” State University Balti. Each edition presented under its generous scope, equally traditions, customs and beliefs firmly established in our soul and conscience as Romanians. The events included moments of musical art: classical musical works (lyrical, instrumental, choral), Christmas carols, Easter songs, religious poems, book launches, exhibitions of decorated eggs from the Bukovina area, exhibitions of icons, crosses, carpets woven in monasteries, ceramic objects from Horezu, wooden sculpture objects and traditional folk costumes. In addition to these, there was a CD: “Easter Triptych”.

The subgenus Tetramelus Motschulsky, 1869 with its currently 109 palaearctic species, is the largest Palaearctic subgenus of the largest world scydmaenine genus Euconnus Thomson, 1859. The nomenclatural validity of the subgenus-name has been recently supported by a detailed morphological study (Jałoszyński 2015). Euconnus (Tetramelus) kraussi was described by Edmund Reitter (1881a), with the type locality indicated as Caucasus, Martkopi. This was the second species of the subgenus Tetramelus known to occur in the entire Caucasus region, after Euconnus (Tetramelus) reitteri Saulcy, 1878, the latter with unknown type locality. The former was treated as a junior synonym of the latter by Croissandeau (1898), and as a subspecies by Karaman (1973). A modern redescription and illustration of the aedeagus was given by Vít & Hlaváč (1998), together with a key to all species of Tetramelus known at that time from the Caucasus. Castellini (2006: 102) placed Euconnus (Tetramelus) kraussi as a junior synonym of Euconnus (Tetramelus) reitteri. This taxonomic act was based just on the similarity of aedeagi of these two taxa illustrated by Vít & Hlaváč (1998). No type material was studied. Euconnus (Tetramelus) reitteri is smaller, only 1.25-1.30 mm long, against 1.40-1.60 mm for Euconnus (Tetramelus) kraussi. To combine this with differences on the aedeagus and with the allopatric distribution, we regard these two forms as two different species. Later, two new species were described, Euconnus (Tetramelus) marinae Franz, 1979, the type locality „Kachetien nächst Shuamta“ and Euconnus (Tetramelus) nachuzrischwilii Franz, 1986, the type locality „nördlich von Anamuri in etwa 1000 m“. Both were included in the key of Vít & Hlaváč (1998). The type material of both these species was found well-preserved in the Natural History Museum in Vienna (NMW), and thanks to Dr. Harald Schillhammer it was available to the senior author for study. A detailed study of this material proved that both species were conspecific with Euconnus (Tetramelus) kraussi, and their synonymy is formally established here. We are also providing new records for this species, which is so far endemic to eastern Georgia, well delimited by the Meskheti-Likhi range. The material treated in this study is deposited in the following collections: MNHN – Muséum National d‘Histoire Naturelle, Paris, France; NMW – Naturhistorisches Museum Wien, Vienna, Austria; PCAP – private collection of Andreas Pütz, Eisenhüttenstadt, Germany; PCHM – private collection of Heinrich Meybohm, Großhansdorf, Germany; PCMS – private collection of Michael Schülke, Berlin, Germany; PCPH – private collection of Peter Hlaváč, Prague, Czech Republic. The distributional map was created using Encarta software.

The earliest information on Sri Lankan echinoid species belonging to the Irregularia dates back to Alexander Agassiz (1872). However, the current knowledge of diversity and distribution of irregular echinoids from Sri Lanka (formerly Ceylon) remains sparse. In addition, there are no recent taxonomic studies or biodiversity surveys for irregular echinoids, and no illustrated field-guides or reference collections are available specifically for Sri Lanka. To address these gaps, left open for more than 100 years since the work of Clark (1915), this study was conducted as an island-wide systematic sampling survey. Over 200 echinoid specimens were collected from 24 localities in Sri Lankan coastal waters by snorkelling and SCUBA diving down to 33 m depth. The collected specimens were identified using existing keys and authenticated with specimens available at the Natural History Museum in Vienna, Austria. The present study records 22 irregular echinoid species belonging to 15 genera and nine families in four orders. Among the identified irregular echinoids, six species, Echinocyamus megapetalus H.L. Clark, 1914, Fibularia ovulum Lamarck, 1816, Fibulariella angulipora Mortensen, 1948, Echinodiscus cf. truncatus L. Agassiz, 1841, Peronella oblonga Mortensen, 1948 and Brissus cf. agassizii Döderlein, 1885, are new records for Sri Lanka. Four unidentified, possibly new species belonging to the genera Fibularia, Jacksonaster and Metalia are reported, but kept in open nomenclature until more material becomes available. At present, the diversity of irregular echinoids from Sri Lanka now stands at 37 species representing 11 families in four orders. A dichotomous key is presented for all Sri Lankan irregular echinoids.

Josef Prokop Pražák (1870–1904) published a number of papers from 1894–1900, mainly on faunistics and taxonomy of birds. In the 1890s his faunistic papers were shown to include many fraudulent data and were thus rejected or cited with caution. However, no comprehensive review of Pražák’s new bird taxa was made. My reconstruction of Pražák's Curriculum vitae shows that Pražák spent most of his life in his native Bohemia. In 1893–95 he studied at the Universität Wien, Austria, and volunteered at the Naturhistorisches Hofmuseum, and in 1896–98 he studied at the University of Edinburgh, Scotland. His taxonomic studies are connected with the ornithological collections in Vienna and Edinburgh. Although his contemporaries described Pražák as a charming and talented man, I document that his taxonomic papers include many fraudulent data and that his activities included stealing and relabeling museum specimens. The revision of Pražák's new bird taxa presented here reveals that Remizus and the following species-group names are available for nomenclatural purposes: Aegithalus caudatus japonica (Aegithalidae), Alauda arborea cherneli (Alaudidae), Carduelis elegans alpestris (Fringillidae), Carduelis elegans hortensis (Fringillidae), Carduelis elegans sylvestris (Fringillidae), Erithacus rubecula maior (Turdidae), Lophophanes cristatus brunnescens (Paridae), Lophophanes cristatus scotica (Paridae), Panurus biarmicus raddei (Paradoxornithidae), Parus caeruleus obscurus (Paridae), Parus major newtoni (Paridae), Parus major blanfordi (Paridae), Poecile cincta alascensis (Paridae), Poecile lugubris persica (Paridae), Remizus pendulinus raddei (Remizidae) and Sturnus vulgaris intermedius (Sturnidae). I defined type series for all, and I restricted type localities for most, of these species-group taxa. I synonymized Remizus pendulinus raddei Pražák, 1897g, with Remiz pendulinus pendulinus (Linnaeus, 1758). In addition I found that Vanellus grisescens was described by Grant (1912), not by Pražák, and I synonymized this species with Vanellus chilensis lampronotus (Wagler, 1827). I found that the following names created by Pražák have no standing in zoological nomenclature: Accentor modularis sclateri (hypothetical form), Anthus spipoletta reichenowi (hypothetical form), Scops scops taczanowskii (manuscript name), Trochalopteron hennickei (hypothetical form) and Vanellus grisescens (hypothetical form).

"„Sok szíves üdvözlettel régi barátos...” (“With kind regards, your old friend...”). Coriolan Petranu’s Friendly Connections to the Hungarian Historians. Coriolan Petranu is the founder of modern art history education and scientific research in Transylvania. He had received special education in this field of study that is relatively new in the region. He started his studies in 1911 at the University of Budapest, attending courses in law and art history. During the 1912-1913 academic year he joined the class of Professor Adolph Goldschmiedt (1863-1944) at the Friedrich-Wilhelm University in Berlin. The professor was an illustrious personality from the same generation as art historians Emil Mâle, Wilhelm Vögte, Bernard Berenson, Roger Fry, Aby Warburg, and Heinrich Wölfflin, specialists who had provided a decisive impetus to art historical research during the twentieth century. In the end of 1913, Coriolan Petranu favored Vienna, with its prestigious art historical school attached to the university from the capital of the Austro-Hungarian Empire. There he completed and perfected his education under the supervision of Professor Josef Strzygowski (1862-1941). The latter scholar was highly appreciated for his contributions to the field of universal art history by including the cultures of Asia Minor (Syria, Mesopotamia, Armenia, and Persia), revealing the influence that this area had on proto-Christian art, as well as by researching ancient art in Northern Europe. In March 1920 the young art historian successfully defended his doctoral dissertation entitled Inhaltsproblem und Kunstgeschichte (”Content and art history”). He thus earned his doctor in philosophy title that opened him access to higher education teaching and art history research. His debut was positively marked by his activity as museographer at the Fine Art Museum in Budapest (Szepműveszeti Muzeum) in 1917-1918. Coriolan Petranu has researched Romanian vernacular architecture (creating a topography of wooden churches in Transylvania) and his publications were appreciated, published in the era’s specialized periodicals and volumes or presented during international congresses (such as those held in Stockholm in 1933, Warsaw in 1933, Sofia in 1934, Basel in 1936 and Paris in 1937). The Transylvanian art historian under analysis has exchanged numerous letters with specialists in the field. The valuable lot of correspondence, comprising several thousands of letters that he has received from the United States of America, Great Britain, Spain, France, Switzerland, The Netherlands, Denmark, Sweden, Norway, Finland, Estonia, Latvia, Czechoslovakia, Austria, Hungary, Poland, the USSR, Serbia, Bulgaria, and Egypt represents a true history of the stage and development of art history as a field of study during the Interwar Period. The archive of the Art History Seminary of the University in Cluj preserves one section dedicated to Hungarian letters that he has send to Hungarian specialists, art historians, ethnographers, ethnologists or colleagues passionate about fine art (Prof. Gerevich Tibor, Prof. Takács Zoltán, Dr. Viski Károly, Count Dr. Teleki Domokos). His correspondence with Fritz Valjavec, editor of the “Südostdeutsche Forschungen” periodical printed in München, is also significant and revealing. The letters in question reveal C. Petranu’s significant contribution through his reviews of books published by Hungarian art historians and ethnographers. Beyond the theoretical debates during which Prof. Petranu has criticized the theories formulated by Prof. Gerevich’s school that envisaged the globalization of Hungarian art between the Middle Ages and the Early Modern Period and that also included in this general category the works of German masters and artists with other ethnic backgrounds, he has also displayed a friendly attitude and appreciation for the activity/works of his Hungarian colleagues (Viski Károly and Takács Zoltán). The previously unpublished Romanian-Hungarian and Hungarian-Romanian set of letters discussed here attest to this. Keywords: Transylvania, correspondence, vernacular architecture, reviews, photographs, Gerevich Tibor, Dr. Viski Károly "

NOTICIAS / NEWS (“transfer”, 2018) 1) LIBROS – CAPÍTULOS DE LIBRO / BOOKS – BOOK CHAPTERS 1. Bandia, Paul F. (ed.). (2017). Orality and Translation. London: Routledge. <<www.routledge.com/Orality-and-Translation/Bandia/p/book/9781138232884>> 2. Trends in Translation and Interpretin, Institute of Translation & Interpreting<<www.iti.org.uk/news-media-industry-jobs/news/819-iti-publishes-trends-e-book>> 3. Schippel, Larisa & Cornelia Zwischenberger. (eds). (2017). Going East: Discovering New and Alternative Traditions in Translation Studies. Berlin: Frank & Timme.<<www.frank-timme.de/verlag/verlagsprogramm/buch/verlagsprogramm/bd-28-larisa-schippelcornelia-zwischenberger-eds-going-east-discovering-new-and-alternative/backPID/transkulturalitaet-translation-transfer.html>> 4. Godayol, Pilar. (2017). Tres escritoras censuradas: Simone de Beauvoir, Betty Friedan y Mary McCarthy. Granada: Comares.<<www.editorialcomares.com/TV/articulo/3149-Tres_escritoras_censuradas.html>> 5. Vanacker, Beatrijs & Tom Toremans. (eds). (2016). Pseudotranslation and Metafictionality/Pseudo-traduction: enjeux métafictionnels. Special issue of Interférences Littéraires.<<www.interferenceslitteraires.be/nr19>> 6. Jiménez-Crespo, Miguel A. (2017). Crowdsourcing and Online Collaborative Translations: Expanding the Limits of Translation Studies. Amsterdam: John Benjamins. <<https://benjamins.com/#catalog/books/btl.131>> 7. Quality Assurance and Assessment Practices in Translation and Interpreting<<www.igi-global.com/publish/call-for-papers/call-details/2640>> 8. Hurtado Albir, Amparo. (ed.). (2017). Researching Translation Competence by PACTE Group. Amsterdam: John Benjamins.<<www.benjamins.com/#catalog/books/btl.127/main>> 9. Taivalkoski-Shilov, Kristiina, Liisa Tittula and Maarit Koponen. (eds). (2017). Communities in Translation and Interpreting. Toronto: Vita Traductiva, York University<<http://vitatraductiva.blog.yorku.ca/publication/communities-in-translation-and-interpreting>> 10. Giczela-Pastwa, Justyna and Uchenna Oyali (eds). (2017). Norm-Focused and Culture-Related Inquiries in Translation Research. Selected Papers of the CETRA Research Summer School 2014. Frankfurt am Main: Peter Lang.<<www.peterlang.com/view/product/25509>> 11. Castro, Olga & Emek Ergun (eds). (2017). Feminist Translation Studies: Local and Transnational Perspectives. London: Routledge.<<www.routledge.com/Feminist-Translation-Studies-Local-and-Transnational-Perspectives/Castro-Ergun/p/book/9781138931657>> 12. Call for papers: New Trends in Translation Studies. Series Editor: Prof. Jorge Díaz-Cintas, Centre for Translation Studies (CenTraS), University College London.<<(www.ucl.ac.uk/centras)>>, <<www.peterlang.com/view/serial/NEWTRANS>> 13. Valero-Garcés, Carmen & Rebecca Tipton. (eds). (2017). Ideology, Ethics and Policy Development in Public Service Interpreting and Translation. Bristol: Multilingual Matters.<<www.multilingual-matters.com/display.asp?isb=9781783097517>> 14. Mahyub Rayaa, Bachir & Mourad Zarrouk. 2017. A Handbook for Simultaneous Interpreting Training from English, French and Spanish to Arabic / منهج تطبيقي في تعلّم الترجمة الفورية من الانجليزية والفرنسية والإسبانية إلى العربية. Toledo: Escuela de Traductores.<<https://issuu.com/escueladetraductorestoledo/docs/cuaderno_16_aertefinal_version_web>> 15. Lapeña, Alejandro L. (2017). A pie de escenario. Guía de traducción teatral. Valencia: JPM ediciones.<<http://jpm-ediciones.es/catalogo/details/56/11/humanidades/a-pie-de-escenario>> 16. Mével, Alex. (2017). Subtitling African American English into French: Can We Do the Right Thing? Oxford: Peter Lang.<<www.peterlang.com/view/product/47023>> 17. Díaz Cintas, Jorge & Kristijan Nikolić. (eds). (2017). Fast-Forwarding with Audiovisual Translation. Bristol: Multilingual Matters.<<www.multilingual-matters.com/display.asp?K=9781783099368>> 18. Taibi, Mustapha. (ed.). (2017). Translating for the Community. Bristol: Multilingual Matters.<<www.multilingual-matters.com/display.asp?isb= 9781783099122>> 19. Borodo, Michał. (2017). Translation, Globalization and Younger Audiences. The Situation in Poland. Oxford: Peter Lang.<<www.peterlang.com/view/product/81485>> 20. Reframing Realities through Translation Cambridge Scholars Publishing<<https://cambridgescholarsblog.wordpress.com/2017/07/28/call-for-papers-reframing-realities-through-translation>> 21. Gansel, Mireille. 2017. Translation as Transhumance. London: Les Fugitives<<www.lesfugitives.com/books/#/translation-as-transhumance>> 22. Goźdź-Roszkowski, S. and G. Pontrandolfo. (eds). (2018). Phraseology in Legal and Institutional Settings. A Corpus-based Interdisciplinary Perspective. London: Routledge<<www.routledge.com/Phraseology-in-Legal-and-Institutional-Settings-A-Corpus-based-Interdisciplinary/Roszkowski-Pontrandolfo/p/book/9781138214361>> 23. Deckert, Mikołaj. (ed.). (2017). Audiovisual Translation – Research and Use. Frankfurt am Main: Peter Lang.<<www.peterlang.com/view/product/80659>> 24. Castro, Olga; Sergi Mainer & Svetlana Page. (eds). (2017). Self-Translation and Power: Negotiating Identities in European Multilingual Contexts. London: Palgrave Macmillan.www.palgrave.com/gb/book/9781137507808 25. Gonzalo Claros, M. (2017). Cómo traducir y redactar textos científicos en español. Barcelona: Fundación Dr. Antonio Esteve.<<www.esteve.org/cuaderno-traducir-textos-cientificos>> 26. Tian, Chuanmao & Feng Wang. (2017).Translation and Culture. Beijing: China Social Sciences Press.<<http://product.dangdang.com/25164476.html>> 27. Malamatidou, Sofia. (2018). Corpus Triangulation: Combining Data and Methods in Corpus-Based Translation Studies. London: Routledge.<<www.routledge.com/Corpus-Triangulation-Combining-Data-and-=Methods-in-Corpus-Based-Translation/Malamatidou/p/book/9781138948501>> 28. Jakobsen, Arnt L. and Bartolomé Mesa-Lao. (eds). (2017). Translation in Transition: Between Translation, Cognition and Technology. Amsterdam: John Benjamins.<<https://benjamins.com/#catalog/books/btl.133>> 29. Santaemilia, José. (ed.). (2017). Traducir para la igualdad sexual / Translating for Sexual Equality. Granada: Comares.<<www.editorialcomares.com/TV/articulo/3198-Traducir_para_la_igualdad_sexual.html>> 30. Levine, Suzanne Jill & Katie Lateef-Jan. (eds). (2018). Untranslatability Goes Global. London: Routledge.<<www.routledge.com/Untranslatability-Goes-Global/Levine-Lateef-Jan/p/book/9781138744301>> 31. Baer, Brian J. & Klaus Kindle. (eds). (2017). Queering Translation, Translating the Queer. Theory, Practice, Activism. New York: Routledge.<<www.routledge.com/Queering-Translation-Translating-the-Queer-Theory-Practice-Activism/Baer-Kaindl/p/book/9781138201699>> 32. Survey: The translation of political terminology<<https://goo.gl/forms/w2SQ2nnl3AkpcRNq2>> 33. Estudio de encuesta sobre la traducción y la interpretación en México 2017<<http://italiamorayta.org/wp-content/uploads/2017/09/ENCUESTAS.pdf>> 34. Beseghi, Micòl. (2017). Multilingual Films in Translation: A Sociolinguistic and Intercultural Study of Diasporic Films. Oxford: Peter Lang.<<www.peterlang.com/view/product/78842>> 35. Vidal Claramonte, María Carmen África. (2017). Dile que le he escrito un blues: del texto como partitura a la partitura como traducción en la literatura latinoamericana. Madrid: Iberoamericana.<<www.iberoamericana-vervuert.es/FichaLibro.aspx?P1=104515>> 36. Figueira, Dorothy M. & Mohan, Chandra. (eds.). (2017). Literary Culture and Translation. New Aspects of Comparative Literature. Delhi: Primus Books. ISBN: 978-93-84082-51-2.<<www.primusbooks.com>> 37. Tomiche, Anne. (ed.). (2017). Le Comparatisme comme aproche critique / Comparative Literature as a Critical Approach. Tome IV: Traduction et transfers / Translation and Transferts. París: Classiques Garnier. ISBN: 978-2-406-06533-3. 2) REVISTAS / JOURNALS 1. Call for papers: The Translator, special issue on Translation and Development, 2019. Contact: jmarais@ufs.ac.za 2. Call for papers: Applied Language LearningContact: jiaying.howard@dliflc.edu<<www.dliflc.edu/resources/publications/applied-language-learning>> 3. Panace@: Revista de Medicina, Lenguaje y Traducción; special issue on “La comunicación escrita para pacientes”, vol. 44<<www.tremedica.org/panacea/PanaceaActual.htm>> 4. mTm, issue 9<<www.mtmjournal.gr/default.asp?catid=435>> 5. Asia Pacific Translation and Intercultural Studies, Volume 4 Issue 3 (November 2017)<<http://explore.tandfonline.com/cfp/ah/aptis>>, <<www.tandfonline.com/rtis>> 6. Call for papers: The Journal of Translation Studies, special issue on Translation and Social Engagement in the Digital AgeContact: Sang-Bin Lee, sblee0110@naver.com 7. Current Trends in Translation Teaching and Learning E<<www.cttl.org>> 8. Translation and Interpreting Studies, 15 (1), Special issue on The Ethics of Non-Professional Translation and Interpreting in Public Services and Legal Settings<<www.atisa.org/call-for-papers>> 9. Call for papers: Translation & Interpreting – The International Journal of Translation and Interpreting Research, Special issue on Translation of Questionnaires in Cross-national and Cross-cultural Research<<www.trans-int.org/index.php/transint/announcement/view/19>> 10. Revista Digital de Investigación en Docencia Universitaria (RIDU), Special issue on Pedagogía y didáctica de la traducción y la interpretación<<http://revistas.upc.edu.pe/index.php/docencia/pages/view/announcement>> 11. Translation, Cognition & Behavior<<https://benjamins.com/#catalog/journals/tcb/main>> 12. FITISPos International Journal, vol. 4 (2017)Shedding Light on the Grey Zone: A Comprehensive View on Public Services Interpreting and Translation<<www3.uah.es/fitispos_ij>> 13. Post-Editing in Practice: Process, Product and NetworksSpecial issue of JoSTrans, The Journal of Specialised Translation, 31<<www.jostrans.org/Post-Editing_in_Practice_Jostrans31.pdf>> 14. Call for papers: MonTI 10 (2018), Special issue on Retos actuales y tendencias emergentes en traducción médica<<https://dti.ua.es/es/monti/convocatorias.htm>> 15. Call for papers: trans‐kom Special Issue on Industry 4.0 meets Language and Knowledge Resources.Contact: Georg Löckinger (georg.loeckinger@fh‐wels.at)<<http://trans-kom.eu/index-en.html>> 16. Translaboration: Exploring Collaboration in Translation and Translation in CollaborationSpecial Issue, Target, vol 32(2), 2020.<<www.benjamins.com/series/target/cfp_target_32.pdf>> 17. redit, Revista Electrónica de Didáctica de la Traducción e Interpretación, nº11.<<www.revistas.uma.es/index.php/redit>> 18. Call for papers: InVerbis, special issue on Translating the Margin: Lost Voices in the Aesthetic Discourse, June 2018.Contact: alessandra.rizzo@unipa.it & karen.Seago1@city.ac.uk<<www.unipa.it/dipartimenti/dipartimentoscienzeumanistiche/CFP-Translating-the-margin-Lost-voices-in-the-aesthetic-discourse>> 19. trans-kom, Vol. 10 (1), 2017. <<www.trans-kom.eu>> 20. JoSTrans, The Journal of Specialised Translation, issue 28 (July 2017).<<www.jostrans.org/issue28/issue28_toc.php>> 21. Call for papers: InVerbis, special issue on Translating the Margin: Lost Voices in the Aesthetic Discourse, June 2018.<<www.unipa.it/dipartimenti/scienzeumanistiche/.content/documenti/CFPInverbis.pdf>> 22. Call for papers: TTR, special Issue on Lost and Found in Transcultural and Interlinguistic Translation/La traduction transculturelle et interlinguistique : s’y perdre et s’y retrouver<<http://professeure.umoncton.ca/umcm-merkle_denise/node/30>> 23. Call for proposals for thematic issues:Linguistica Antverpiensia, New Series – Themes in Translation Studies (LANS – TTS)<<https://lans-tts.uantwerpen.be>> 24. Call for papers: trans‑kom, special issue on Didactics for Technology in Translation and InterpretingVol. 11(2), December 2018.Contact: aietimonografia@gmail.com / carmen.valero@uah.es 25. Journal of Languages for Special PurposesVol 22/2, New Perspectives on the Translation of Advertising<<https://ojsspdc.ulpgc.es/ojs/index.php/LFE/issue/view/53>>Vol 23/1, Linguistics, Translation and Teaching in LSP<<https://ojsspdc.ulpgc.es/ojs/index.php/LFE/issue/view/72>> 26. Call for papers: Parallèles, special issue on La littérature belge francophone en traduction (in French), Volume 32(1), 2020.Contact: katrien.lievois@uantwerpen.be & catherine.gravet@umons.ac.be 27. Call for papers: Asia Pacific Translation and Intercultural Studies, Volume 5(1), 2018.<<www.tandfonline.com/rtis>> 28. Target, special issue on Translaboration: Exploring Collaboration in Translation and Translation in Collaboration<<www.benjamins.com/series/target/cfp_target_32.pdf>> 29. Research in Language, special issue on Translation and Cognition: Cases of Asymmetry, Volume 15(2).<<www.degruyter.com/view/j/rela.2017.15.issue-2/issue-files/rela.2017.15.issue-2.xml>> 30. Call for papers: Translation Spaces, special issue on Translation in Non-governmental Organisations, 7(1), 2018.<<www.reading.ac.uk/web/files/modern-languages-and-european-studies/CfP_SI_Translation_Spaces-translation_in_NGOs.pdf>> 31. Call for papers: Translating the Margin: Lost Voices in the Aesthetic Discourse, special issue of InVerbis (2018).<<www.unipa.it/dipartimenti/scienzeumanistiche/CFP-Translating-the-margin-Lost-voices-in-the-aesthetic-discourse>> 32. Call for papers: Translation and Disruption: Global and Local Perspectives, special issue of Revista Tradumàtica (2018).Contact: akiko.sakamoto@port.ac.uk; jonathan.evans@port.ac.uk and olga.torres.hostench@uab.cat 33. Call for papers: JoSTrans. The Journal of Specialised Translation 33 (January 2020), Special Issue on ‘Experimental Research and Cognition in Audiovisual Translation’. Guest editors: Jorge Díaz Cintas & Agnieszka Szarkowska. Deadline for proposals: 19 February 2018<<http://www.jostrans.org/>> 34. Dragoman – Journal of Translation Studies<<www.dragoman-journal.org/books>> 35. Call for papers: Translation Spaces 7(1) 2018, special issue on Translation in Non-governmental Organisations<<www.reading.ac.uk/web/files/modern-languages-and-european-studies/CfP_SI_Translation_Spaces-translation_in_NGOs-public-extended_deadline.pdf>> 36. Call for papers: Public Service Interpreting and Translation and New Technologies Participation through Communication with Technology, special issue of FITISPos International Journal, Vol 5 (2018).Contact: Michaela Albl-Mikasa (albm@zhaw.ch) & Stefanos Vlachopoulos (stefanos@teiep.gr) 37. Sendebar, Vol. 28 (2017)<<http://revistaseug.ugr.es/index.php/sendebar>> 38. Ranzato, Irene. (2016). North and South: British Dialects in Fictional Dialogue, special issue of Status Quaestionis – Language, Text, Culture, 11.<<http://statusquaestionis.uniroma1.it/index.php/statusquaestionis>> 39. Translation Studies 10 (2), special issue on Indirect Translation.<<www.tandfonline.com/toc/rtrs20/current>> 40. Translation & Interpreting – Special issue on Research Methods in Interpreting Studies, Vol 9 (1), 2017. 41. Translation and Translanguaging in Multilingual Contexts, special issue on Between Specialised Texts and Institutional Contexts – Competence and Choice in Legal Translation, edited by V. Dullion, 3 (1), 2017.<<https://benjamins.com/#catalog/journals/ttmc.3.1/toc>> 42. Translation and Performance, 9 (1), 2017<<https://journals.library.ualberta.ca/tc/index.php/TC/issue/view/1879>> 3) CONGRESOS / CONFERENCES 1. ATISA IX: Contexts of Translation and InterpretingUniversity of Wisconsin, Milwaukee, USA, 29 March – 1 April 2018<<www.atisa.org/sites/default/files/CFP_ATISA_2018_FINAL.pdf> 2. V International Translating Voices Translating Regions – Minority Languages, Risks, Disasters and Regional CrisesCentre for Translation Studies (CenTraS) at UCL and Europe House, London, UK, 13-15 December 2017.<<www.ucl.ac.uk/centras/translation-news-and-events/v-translating-voices>> 3. Translation and Health Humanities: The Role of Translated Personal Narratives in the Co-creation of Medical KnowledgeGenealogies of Knowledge I Translating Political and Scientific Thought across Time and Space, University of Manchester, UK7-9 December 2017.<<http://genealogiesofknowledge.net/2017/02/20/call-panel-papers-translation-health-humanities-role-translated-personal-narratives-co-creation-medical-knowledge>> 4. Fourth International Conference on Non-Professional Interpreting and Translation (NPIT4), Stellenbosch University, South Africa, 22-24 May 2018.<<http://conferences.sun.ac.za/index.php/NPIT4/npit4>> 5. I International Conference on Interdisciplinary Approaches for Total Communication: Education, Healthcare and Interpreting within Disability Settings, University of Málaga, Spain, 12-14 December 2017.<<https://ecplusproject.uma.es/cfp-iciatc>> 6. Translation & Minority 2: Freedom and DifferenceUniversity of Ottawa, Canada, 10-11 November 2017.<<https://translationandminority.wordpress.com>> 7. Staging the Literary Translator: Roles, Identities, PersonalitiesUniversity of Vienna, Austria, 17-19 May 2018.<<http://translit2018.univie.ac.at/home>> 8. IATIS 2018 – Translation and Cultural MobilityPanel 9: Translating Development: The Importance of Language(s) in Processes of Social Transformation in Developing CountriesHong Kong, 3-6 July 2018.<<www.iatis.org/index.php/6th-conference-hong-kong-2018/item/1459-panels#Panel09>> 9. Fun for All 5: Translation and Accessibility in Video Games Conference, Universitat Autònoma de Barcelona, Spain, 7-8 June 2018.<<http://jornades.uab.cat/videogamesaccess>> 10. ACT/Unlimited! 2 Symposium, Universitat Autònoma de Barcelona, Spain, 6 June 2018.<<http://pagines.uab.cat/act/content/actunlimited-2-symposium>> 11. IATIS 2018 – Translation and Cultural MobilityPANEL 06: Museum Translation: Encounters across Space and TimeHong Kong Baptist University, 3-6 July 2018.<<www.iatis.org/index.php/6th-conference-hong-kong-2018/item/1459-panels#Panel06>> 12. IATIS 2018 – Translation and Cultural Mobility PANEL 12: Advances in Discourse Analysis in Translation Studies: Theoretical Models and Applications Hong Kong Baptist University3-6 July 2018.<<www.iatis.org/index.php/6th-conference-hong-kong-2018/item/1459-panels#Panel12>> 13. Understanding Quality in Media Accessibility, Universidad Autònoma de Barcelona, Spain, 5 June 2018. <<http://pagines.uab.cat/umaq/content/umaq-conference>> 14. Managing Anaphora in Discourse: Towards an Interdisciplinary Approach, University of Grenoble Alpes, France, 5-6 April 2018.<<http://saesfrance.org/4071-2>> 15. Traduire les voix de la nature / Translating the Voices of Nature, Paris, France, 25-26 May 2018.<<www.utu.fi/en/units/hum/units/languages/mts/Documents/CFP.pdf>> 16. IATIS 2018 – Translation and Cultural MobilityPANEL 10: Audiovisual Translation as Cross-cultural Mediation – New Trajectories for Translation and Cultural Mobility?Hong Kong Baptist University, 3-6 July 2018. <<www.iatis.org/index.php/6th-conference-hong-kong-2018/item/1459-panels#Panel10>> 17. The Fourth International Conference on Research into the Didactics of Translation, Universitat Autònoma de Barcelona, Spain20-22 June 2018.<<http://grupsderecerca.uab.cat/pacte/en/firstcircular>> 18. I Coloquio Internacional Hispanoafricano de Lingüística, Literatura y Traducción. España en contacto con África, su(s) pueblo(s) y su(s= cultura(s) Universidad FHB de Cocody-Abidjan, Costa de Marfil 7-9 March 2018.<<www.afriqana.org/encuentros.php>> 19. Transius Conference 2018, Geneva, Switzerland, 18-20 June 2018.<<http://transius.unige.ch/en/conferences-and-seminars/conferences/18/>> 20. 39th International GERAS Conference - Diachronic Dimensions in Specialised Varieties of English: Implications in Communications, Didactics and Translation Studies, University of Mons, Belgium15-17 March 2018.<<www.geras.fr/index.php/presentation/breves/2-uncategorised/245-cfp-39th-international-geras-conference>> 21. 31st Annual Conference of the Canadian Association for Translation Studies - Translation and Adaptation, University of Regina, Canada, 28-30 May 2018.<<https://linguistlist.org/issues/28/28-3413.html>> 22. 2nd Valencia/Napoli Colloquium on Gender and Translation: Translating/Interpreting LSP through a Gender PerspectiveUniversità di Napoli 'L'Orientale', Italy, 8-9 February 2018.Contact: eleonorafederici@hotmail.com 23. Ninth Annual International Translation Conference: Translation in the Digital Age: From Translation Tools to Shifting Paradigms, Hamad Bin Khalifa’s Translation & Interpreting Institute (TII), Doha, Qatar, 27-28 March 2018.<<www.tii.qa/9th-annual-translation-conference-translation-digital-age-translation-tools-shifting-paradigms>> 24. ACT/Unlimited! 2 Symposium – Quality Training, Quality Service in Accessible Live Events, Barcelona, Spain, 6 June 2018.<<http://pagines.uab.cat/act/content/actunlimited-2-symposium>> 25. Fourth International Conference on Research into the Didactics of Translation, Universitat Autònoma de Barcelona, Spain, 20-22 June 2018.<<http://grupsderecerca.uab.cat/pacte/en/secondcircular2018>> 26. Talking to the World 3. International Conference in T&I Studies – Cognition, Emotion, and Creativity, Newcastle University, UK, 17-18 September 2018.<<www.ncl.ac.uk/sml/news-events/news/item/talkingtotheworld3ticonference.html>> 27. Translation & Interpreting in the Digital Era, Hankuk University of Foreign Studies, Seoul, South Korea, 29-30 January 2018.Contact: itri@hufs.ac.kr 28. 7th META-NET Annual Conference: Towards a Human Language Project, Hotel Le Plaza, Brussels, Belgium, 13-14 November 2017.<<www.meta-net.eu/events/meta-forum-2017>> 4) CURSOS – SEMINARIOS – POSGRADOS / COURSES – SEMINARS – MA PROGRAMMES 1. Certificate / Diploma / Master of Advanced Studies in Interpreter Training (online), FTI, University of Geneva, Switzerland,4 September 2017 - 10 September 2019.<<www.unige.ch/formcont/masit>> 2. Master’s Degree in Legal Translation, Institute of Advanced Legal Studies, London, UK.<<http://ials.sas.ac.uk/study/courses/llm-legal-translation>> 3. Certificat d’Université en Interprétation en contexte juridique : milieu judiciaire et secteur des demandes d’asile, University of Mons, Belgium.<<http://hosting.umons.ac.be/php/centrerusse/agenda/certificat-duniversite-en-interpretation-en-contexte-juridique-milieu-judiciaire-et-secteur-des-demandes-dasile.html>> 4. Online MA in Translation and Interpreting ResearchUniversitat Jaume I, Castellón, Spain.Contact: monzo@uji.es<<www.mastertraduccion.uji.es>> 5. MA in Intercultural Communication, Public Service Interpreting and Translation 2017-2018, University of Alcalá, Madrid, Spain.<<www3.uah.es/master-tisp-uah/introduction-2/introduction>> 6. Research Methods in Translation and Interpreting StudiesUniversity of Geneva, Switzerland.<<www.unige.ch/formcont/researchmethods-distance1>><<www.unige.ch/formcont/researchmethods-distance2>> 7. La Traducción audiovisual y el aprendizaje de lenguas extranjeras, Universidad Nacional de Educación a Distancia (UNED), Spain, 4 December 2017.<<https://goo.gl/3zpMgY>> 8. Fifth summer school in Chinese-English Translation and Interpretation (CETIP), University of Ottawa, Canada, 23 July – 17 August 2018.<<http://arts.uottawa.ca/translation/summer-programs>> 9. First summer school in Arabic – English Translation and Interpretation (AETP), University of Ottawa, Canada, 23 July – 17 August 2018.<<http://arts.uottawa.ca/translation/summer-programs>> 10. Third summer school in translation pedagogy (TTPP)University of Ottawa, Canada, 23 July – 17 August 2018.<<http://arts.uottawa.ca/translation/summer-programs>> 4) PREMIOS/AWARDS 1. The Warwick Prize for Women in Translation<<http://www2.warwick.ac.uk/fac/cross_fac/womenintranslation>

Welcome to Vienna—the “city of music,” where more famous composers have lived, including Mozart, Beethoven, Schubert, and Johann Strauss, than in any other city. We are pleased to venture into this city for the 216th ECS Meeting, the 17th European Conference on Chemical Vapor Deposition (EuroCVD 17) and the 11th Symposium on Solid Oxide Fuel Cells (SOFC XI). This major international conference will be held at the Austria Center Vienna, and will include 44 topical symposia consisting of 3,196 technical presentations. You are invited to participate not only in the technical program, but also in the other social events planned for the meeting.

This paper examines the beginnings of Austrian studies on ancient Mexico by analyzing the work of Damian Kreichgauer and Friedrich Röck in the early twentieth century. Both argued that a priest elite intentionally “coded” astronomical data in ancient Mexican manuscripts. The first section of the article sheds light on the theoretical background of this interpretation. The main section, based on numerous archival sources, is dedicated to the deciphering procedure elaborated by Röck, the first director of the Ethnological Museum in Vienna (today Weltmuseum Wien). Since Röck’s method seemed to revolutionize the discipline, it gained a great deal of attention from German Nazi authorities. The final section deals with Röck’s student Karl Anton Nowotny, who elaborated an ethnographic approach of ancient Mexican studies in Austria after World War II. This study provides new insights into the historical background of post-war ancient Mexican studies in Austria.

The use of modified lime slurry as a sacrificial layer to protect the original porous substrate has a long tradition in the practice of building and monument conservation in Austria. This paper presents the results of analyses performed on the Natural History Museum Vienna to get more insight into the long-term performance of this conservation method. Stone surfaces on the facade and roof area, covered with an acrylic tempered lime sacrificial layer and subsequently made water-repellent, were tested in situ and in the laboratory. Whilst coatings in the exposed zones were completely vanished in certain areas, the samples from the facade were in a good condition even after nearly twenty years of exposure. Hydrophobic activity could be verified up to a depth of five mm in the porous stone substrates. Despite the general good state of preservation of most surfaces, the existence of highly hydrophobic substrates will definitely restrict the implementation of any future sustainable conservation effort.

ABSTRACTThe merging of art production and technological innovation during the Renaissance in Europe led to some of the world's most renowned master works in bronze. Published technical studies of such bronzes are still relatively few in number. The objective of the present study was to conduct a comprehensive investigation of comparative examination and analysis on fifty-two bronze sculptures which were attributed to a wide variety of workshops and individual artists. The sculptures are housed in the permanent collection of the Kunsthistorisches Museum in Vienna, Austria, and were shown in the museum's 1987 exhibition, Renaissance Master Bronzes. Technical analysis included identifying and characterizing casting and fabricating techniques through visual surface examination; studying x-radiographs; and identifying clay core materials through thin-section petrography. The results of these studies were subsequently compared to technical treatises/accounts of bronze techniques by three Renaissance artist-scholars: Biringuccio (ca. 1540), Vasari (ca. 1550), and Cellini (ca. 1568). The present investigation shows a strong correlation between its technical results and those set forth by the above scholars from the Renaissance period. The findings of this research and comparison indicate that many methods and procedures in Renaissance bronze production were not standardized. Rather, there is shown to have been a wide range of technical variation. The broad variance is demonstrated through numerous processes, including: modes of separate cast-piece attachment, armature construction, chaplet insertion, selection of clay core and additive materials, and removal of clay core portions after casting. The variance is also evident in the quality and extent of surface tooling and/or chasing, and in the visual appearance of patinas. One result of this study is a better understanding of the nature of bronze sculpture technology during the Renaissance period.

"e collection of medals in the National Museum of Banat from Timisoara boasts a silver medal (inv. no. 130) of great artistic, as well as memorialistic value. "e piece recalls the 1875 erection of the monument of Ferdinand Maximilian Josef of Habsburg (1832–1867), Archduke of Austria, Emperor of Mexico (1864–1867), in Trieste, who would remain in the memory of contemporaries due to his tragic fate."e medal was made by Josef Tautenhayn Senior (1837–1911), one of the most important Austrian medalists of the 19th century, a perfectionist of forms, famous for the beauty of his medals. With a diameter of 70.4 mm and a weight of 133.97 grams, the medal was donated to the museum in 1881 by the Minister of War Szende (Frummer) Béla (1823–1882), a native of Banat, along with six other medals.It presents the biography of Maximilian, who had a brilliant career in the Navy, and the special relationship he had with the city of Trieste, chosen as his residence in 1854. Married on July 27th, 1857 to Princess Maria Charlotte of Belgium (1840–1927), the couple would settle in Trieste in 1859, in the splendid Miramare Castle built between 1856–1860 based on the plans of the architect Carl Junker (1827–1882). Here, for several years, Maximilian, who was passionate about natural sciences (especially botany), history, art and literature, devoted himself to travel, scientific and literary pursuits.From here, Maximilian and Carlota will leave on April 14th, 1864 by the frigate Novara for Veracruz, after Maximilian’s acceptance of the crown of Mexico, in an attempt doomed to failure from the beginning. After the execution of Maximilian by the republicans on June 19th, 1867, his lifeless body was brought here by the frigate Novara in January 1868, on the way to Vienna.On July 13th, 1867 a Committee was already formed in Trieste for the erection of a monument dedicated to the memory of Maximilian, which brought together personalities of the city and gathered the necessary funds by public subscription. "e monument, made by the German sculptor Johann Schilling (1828–1910) was inaugurated on April 3rd, 1875 in the presence of Emperor Franz Josef in Giuseppina Square, overlooking the harbour. For this festive moment, the medal which is the subject of this article was issued, made of gold, silver and bronze at the Vienna Mint, designed and drawn by Prof. Johann Schilling, the designer of the monument, and engraved by Josef Tautenhayn Senior. It should be noted that on February 27th, 1875, when the foundation of the monument was built, two medals (one silver, one bronze) were deposited in the foundation along with several silver coins circulating at the time and two documents documenting the erection of the monument.In 1921, when the monument was dismantled to be relocated, the medals, coins and documents deposited in the foundation in February 1875 were discovered, were donated to the Museum of History and Arts in Trieste. "e monument was stored behind an annex in the park of Miramare Castle until 1961, when it was placed in a touristic area of the park. In December 2008, the monument was relocated to its original location, Giuseppina Square (now Piazza Venezia), as a sign of acceptance of the past.

The numismatic collection of the Banat Museum in Timişoara includes two rare bronze medals dedicated to members of the well known Weifert family from Pančevo (Serbia). One is a medal dedicated to Ignaz Weifert on his 64th anniversary by his son Georg Weifert, crafted by the Austrian engraver Anton Schar (1845 – 1903). The second one is dedicated to Georg Weifert on his 44th anniversary, created by the Austrian engraver Franz Xaver Pawlik (1865 – 1906). They were purchased in 1907 by the Banat Museum from Fejér József, antiquarian in Budapest, for the sum of 22 crowns. The medals were given inventory numbers 731 and 732 in the old register of the collections. The medal dedicated to Ignaz Weifert (1826 – 1911) is made of bronze, patinated (55.5 mm; inventory no 136; Pl. I.1 – 2). It is generally but wrongly dated in 1870. Given the marked date (MDCCCLXX), one considers that it had been realized on the occasion of Ignaz Weifert’s 20th year of industrial activity. Actually, one thousand eight hundred seventy represents the year of establishment for the Weifert brewery in Belgrade. There are several arguments in favor of a correct dating of the coin (i.e. 1890): the age of Ignaz Weifert, marked on the obverse of the medal (LXIV), as he fulfilled 64 in the year 1890. Secondly, the medal is mentioned among the works of the engraver Anton Schar from 1890 (in the same year Schar had also realized a plaque, 136 mm in diameter, with the portrait of Ignaz Weifert). More so, Felix Milleker affirmed in his study on the Weifert family that in December 1890 Georg Weifert dedicated a medal to his father Ignaz, crafted by the Austrian engraver Anton Schar (Milleker 1925, 11).The second medal, dedicated to Georg Weifert (1850 – 1937) on his 44th anniversary is made of bronze, has 52.2 mm in diameter (inventory no 84; Pl. III.1 – 2) and was created by Franz Xaver Pawlik in 1894. The same engraver had molded a medal dedicated to Ignaz and Georg Weifert in 1903, in two variants: 25 mm and 140 mm in diameter. We know about the existence of a 25 mm medal as part of a private collection in Timişoara. Originally from north Austria, the Weiferts settled in Banat during the first half of the 18th century, initially in Vršac, where from a certain Georg Weifert (1798 – 1887) moved to Pančevo. Here he became one of the prominent local merchants and, from 1841, the owner of the brewery (established in 1722). In 1849 the elder son of Georg, Ignaz Weifert (Ignjat Vajfert in Serbian) assumed the control of the brewery, after previously following a course of beer making in Munich (Bavaria). After expansion and modernization, the family business thrived and the Weifert brewery in Pančevo became one of the most important enterprises of the kind from Banat (Pl. II.1). In 1870 Ignaz expanded the business by building a new brewery in Belgrade, first in Serbia in time, on the Smutekovac Hill (nowadays Topčider). His son, Georg Weifert (Đorđe Vajfert in Serbian) took over its control in 1872. The Weifert brewery from Pančevo remained in care of Ignaz and his son Hugo. The one to become General Governor of the National Bank of Serbia, mighty industrialist and pioneer of modern mining in Serbia, Georg Weifert (Pl. IV) was born on June 15, 1850 in Pančevo. After elementary and secondary studies in Pančevo, he studied at the Commercial School in Budapest. Between 1869 and 1872 he followed the technology courses in brew at the Agricultural School in Weihenstephan, near Munich. He was 22 when he took his father’s brewery from Belgrade, which he modernized and turn into one of the most largest and modern of its kind from the Balkans (Pl. II.2). The Weifert beer became the most sought beer in Serbia. As one of the most rich and inuential person in Serbia, he is remembered as a great philanthropist, Maecenas for numerous institutions, cultural and charitable societies. He was awarded the highest Serbian and also French, Romanian or other orders. For decades he held the most important positions in the Serbian and Yugoslav Masonic lodges. He was married to Marie Gassner but had no ospring. In 1923, on the occasion of celebrating 50 years of marriage, he financed the building of St. Ana Church in Pančevo, in memory of his mother Anna. In the same year he was elected honorary citizen of his home city. He died aged 87 on January 12, 1937, at his villa on Vojvode Putnika Street. He was buried on January 16 in the Catholic cemetery in Pančevo, left of the portal built in 1924 on his expenses. The name Weifert is also associated with the well-known numismatic collection owned by this family, of which three members were passionate collectors: Ignaz and his sons, Hugo and Georg. The one who settle the collection (around 1878) was Hugo (1852 – 1885). After his early death in 1885, aged only 33, the collection passed to his father Ignaz, who continued to gather coins. In 1911, after the death of Ignaz, the numismatic collection passed to Georg Weifert. All three of them had been members of the Numismatic Society in Vienna: Hugo from 1879, Ignaz from 1885 and Georg from 1889. Although the members of Weifert family collected all kind of Greek and Roman coins, it seems that Hugo was the one passionate for medals concerning Belgrade, Ignaz paid special attention to Viminacium issued coins while Georg was interested in 4th century AD Roman coins. The numismatic collection held antique coins: Greek, Celtic and Roman, Byzantine coins, medieval Serbian ones, taler from Central Europe, medals concerning Belgrade etc. The Republican and Imperial Roman coins dated to 1st – 5th c. AD compose the largest part of the collection, including numerous rarities. There are also Roman colonial coins issued by the cities in the Balkans, especially Viminacium and from Asia Minor. Today we hold no longer information on the ending place of these coins, except for the golden Late Roman solidi found in the spring of 1879 near Borča, that are to be considered among the most valuable pieces of the collection. The PMS COL VIM type coins, issued between 239 and 255 AD in Viminacium (today Stari Kostolac, Serbia) are also important, although the collection does not comprise the complete series and all the variants. One can notice the interest of the Weiferts in collecting this monetary type and the existence of a special relation of the Weifert family with the area of the antique Viminacium (Kostolac). The first coins that entered the Weifert collection came from this area, where Georg held a coal mine and locals often brought him coins for his collection. In two cases, both on the medal dedicated to Georg Weifert in 1894 and on the one dedicated to Ignaz and Georg Weifert in 1903 (the 25 mm variant), realized by Pawlik, there are representations of reverse type of the Roman coins of PMS COL VIM type. The Weifert numismatic collection had been aected by the turmoil of WW I. The rare golden coins held in Belgrade were saved by Georg and taken to France. The rest of the numismatic collection, held in Pančevo, was taken to Vienna by his nephew Adolf Gramberg, where from it came back in 1925, completely disorganized. Unfortunately, the collection of medieval Serbian coins and medals concerning Belgrade that could not be saved disappeared during the war. Georg Weifert donated this valuable collection holding over 14,000 antique coins to the University of Belgrade on September 9, 1923. It had been taken over only in 1929 by Professors Miloje M. Vasić and Nikola Vulić, as representatives of the University, following its arranging by Balduin Saria, custodian of the National Museum in Belgrade and Georg Elmer, a nephew of Hugo Weifert, custodian of the Numismatic Cabinet of Kunsthistorisches Museum in Vienna. After World War II, the Weifert numismatic collection had been handed over to the National Museum in Belgrade, where is kept today.This donation made by Georg Weifert was not a singular act. Ignaz Weifert had donated over time numerous coins, antiquities and maps to the High Gymnasium in Pančevo and the Museum in Vršac. Georg had also donated in 1931 his collection of historic documents (photographs, lithographs, plans and maps) to the City Museum of Belgrade. The medals from the collection of the Banat Museum in Timişoara dedicated to the Weiferts are a testimony for a family that played an important role in the economical history of Banat and Serbia. Its name remains associated with a beer brand especially appreciated over time and for the numismatists with one of the most important collections from the end of the 19th century and beginning of the 20th century.

“...children’s play seems to become more and more a product of the educational and cultural orientation of parents...” — Stephen Kline, The Making of Children’s Culture We live in a world saturated by design and through design artefacts, one can glean unique insights into a culture's values and norms. In fact, some academics, such as British media and film theorist Ben Highmore, see the two areas so inextricably intertwined as to suggest a wholesale “re-branding of the cultural sciences as design studies” (14). Too often, however, everyday objects are marginalised or overlooked as objects of scholarly attention. The field of material culture studies seeks to change that by focussing on the quotidian object and its ability to reveal much about the time, place, and culture in which it was designed and used. This article takes on one such object, a mid-century children's toy tea set, whose humble journey from 1968 Sears catalogue to 2014 thrift shop—and subsequently this author’s basement—reveals complex rhetorical messages communicated both visually and verbally. As material culture studies theorist Jules Prown notes, the field’s foundation is laid upon the understanding “that objects made ... by man reflect, consciously or unconsciously, directly or indirectly, the beliefs of individuals who made, commissioned, purchased or used them, and by extension the beliefs of the larger society to which they belonged” (1-2). In this case, the objects’ material and aesthetic characteristics can be shown to reflect some of the pervasive stereotypes and gender roles of the mid-century and trace some of the prevailing tastes of the American middle class of that era, or perhaps more accurately the type of design that came to represent good taste and a modern aesthetic for that audience. A wealth of research exists on the function of toys and play in learning about the world and even the role of toy selection in early sex-typing, socialisation, and personal identity of children (Teglasi). This particular research area isn’t the focus of this article; however, one aspect that is directly relevant and will be addressed is the notion of adult role-playing among children and the role of toys in communicating certain adult practices or values to the child—what sociologist David Oswell calls “the dedifferentiation of childhood and adulthood” (200). Neither is the focus of this article the practice nor indeed the ethicality of marketing to children. Relevant to this particular example I suggest, is as a product utilising messaging aimed not at children but at adults, appealing to certain parents’ interest in nurturing within their child a perceived era and class-appropriate sense of taste. This was fuelled in large part by the curatorial pursuits of the Museum of Modern Art (MoMA) in New York, coupled with an interest and investment in raising their children in a design-forward household and a desire for toys that reflected that priority; in essence, parents wishing to raise modern children. Following Prown’s model of material culture analysis, the tea set is examined in three stages, through description, deduction and speculation with each stage building on the previous one. Figure 1: Porcelain Toy Tea Set. Description The tea set consists of twenty-six pieces that allows service for six. Six cups, saucers, and plates; a tall carafe with spout, handle and lid; a smaller vessel with a spout and handle; a small round bowl with a lid; a larger oval bowl with a lid, and a coordinated oval platter. The cups are just under two inches tall and two inches in diameter. The largest piece, the platter is roughly six inches by four inches. The pieces are made of a ceramic material white in colour and glossy in texture and are very lightweight. The rim or edge of each piece is decorated with a motif of three straight lines in two different shades of blue and in different thicknesses, interspersed with a set of three black wiggly lines. Figure 2: Porcelain Toy Tea Set Box. The set is packaged for retail purposes and the original box appears to be fully intact. The packaging of an object carries artefactual evidence just as important as what it contains that falls into the category of a “‘para-artefact’ … paraphernalia that accompanies the product (labels, packaging, instructions etc.), all of which contribute to a product’s discourse” (Folkmann and Jensen 83). The graphics on the box are colourful, featuring similar shades of teal blue as found on the objects, with the addition of orange and a silver sticker featuring the logo of the American retailer Sears. The cover features an illustration of the objects on an orange tabletop. The most prominent text that confirms that the toy is a “Porcelain Toy Tea Set” is in an organic, almost psychedelic style that mimics both popular graphics of this era—especially album art and concert posters—as well as the organic curves of steam that emanate from the illustrated teapot’s spout. Additional messages appear on the box, in particular “Contemporary DESIGN” and “handsome, clean-line styling for modern little hostesses”. Along the edges of the box lid, a detail of the decorative motif is reproduced somewhat abstracted from what actually appears on the ceramic objects. Figure 3: Sears’s Christmas Wishbook Catalogue, page 574 (1968). Sears, Roebuck and Co. (Sears) is well-known for its over one-hundred-year history of producing printed merchandise catalogues. The catalogue is another important para-artefact to consider in analysing the objects. The tea set first appeared in the 1968 Sears Christmas Wishbook. There is no date or copyright on the box, so only its inclusion in the catalogue allows the set to be accurately dated. It also allows us to understand how the set was originally marketed. Deduction In the deduction phase, we focus on the sensory aesthetic and functional interactive qualities of the various components of the set. In terms of its function, it is critical that we situate the objects in their original use context, play. The light weight of the objects and thinness of the ceramic material lends the objects a delicate, if not fragile, feeling which indicates that this set is not for rough use. Toy historian Lorraine May Punchard differentiates between toy tea sets “meant to be used by little girls, having parties for their friends and practising the social graces of the times” and smaller sets or doll dishes “made for little girls to have parties with their dolls, or for their dolls to have parties among themselves” (7). Similar sets sold by Sears feature images of girls using the sets with both human playmates and dolls. The quantity allowing service for six invites multiple users to join the party. The packaging makes clear that these toy tea sets were intended for imaginary play only, rendering them non-functional through an all-capitals caution declaiming “IMPORTANT: Do not use near heat”. The walls and handles of the cups are so thin one can imagine that they would quickly become dangerous if filled with a hot liquid. Nevertheless, the lid of the oval bowl has a tan stain or watermark which suggests actual use. The box is broken up by pink cardboard partitions dividing it into segments sized for each item in the set. Interestingly even the small squares of unfinished corrugated cardboard used as cushioning between each stacked plate have survived. The evidence of careful re-packing indicates that great care was taken in keeping the objects safe. It may suggest that even though the set was used, the children or perhaps the parents, considered the set as something to care for and conserve for the future. Flaws in the glaze and applique of the design motif can be found on several pieces in the set and offer some insight as to the technique used in producing these items. Errors such as the design being perfectly evenly spaced but crooked in its alignment to the rim, or pieces of the design becoming detached or accidentally folded over and overlapping itself could only be the result of a print transfer technique popularised with decorative china of the Victorian era, a technique which lends itself to mass production and lower cost when compared to hand decoration. Speculation In the speculation stage, we can consider the external evidence and begin a more rigorous investigation of the messaging, iconography, and possible meanings of the material artefact. Aspects of the set allow a number of useful observations about the role of such an object in its own time and context. Sociologists observe the role of toys as embodiments of particular types of parental messages and values (Cross 292) and note how particularly in the twentieth century “children’s play seems to become more and more a product of the educational and cultural orientation of parents” (Kline 96). Throughout history children’s toys often reflected a miniaturised version of the adult world allowing children to role-play as imagined adult-selves. Kristina Ranalli explored parallels between the practice of drinking tea and the play-acting of the child’s tea party, particularly in the nineteenth century, as a gendered ritual of gentility; a method of socialisation and education, and an opportunity for exploratory and even transgressive play by “spontaneously creating mini-societies with rules of their own” (20). Such toys and objects were available through the Sears mail-order catalogue from the very beginning at the end of the nineteenth century (McGuire). Propelled by the post-war boom of suburban development and homeownership—that generation’s manifestation of the American Dream—concern with home décor and design was elevated among the American mainstream to a degree never before seen. There was a hunger for new, streamlined, efficient, modernist living. In his essay titled “Domesticating Modernity”, historian Jeffrey L. Meikle notes that many early modernist designers found that perhaps the most potent way to “‘domesticate’ modernism and make it more familiar was to miniaturise it; for example, to shrink the skyscraper and put it into the home as furniture or tableware” (143). Dr Timothy Blade, curator of the 1985 exhibition of girls’ toys at the University of Minnesota’s Goldstein Gallery—now the Goldstein Museum of Design—described in his introduction “a miniaturised world with little props which duplicate, however rudely, the larger world of adults” (5). Noting the power of such toys to reflect adult values of their time, Blade continues: “the microcosm of the child’s world, remarkably furnished by the miniaturised props of their parents’ world, holds many direct and implied messages about the society which brought it into being” (9). In large part, the mid-century Sears catalogues capture the spirit of an era when, as collector Thomas Holland observes, “little girls were still primarily being offered only the options of glamour, beauty and parenthood as the stuff of their fantasies” (175). Holland notes that “the Wishbooks of the fifties [and, I would add, the sixties] assumed most girls would follow in their mother’s footsteps to become full-time housewives and mommies” (1). Blade grouped toys into three categories: cooking, cleaning, and sewing. A tea set could arguably be considered part of the cooking category, but closer examination of the language used in marketing this object—“little hostesses”, et cetera—suggests an emphasis not on cooking but on serving or entertaining. This particular category was not prevalent in the era examined by Blade, but the cultural shifts of the mid-twentieth century, particularly the rapid popularisation of a suburban lifestyle, may have led to the use of entertaining as an additional distinct category of role play in the process of learning to become a “proper” homemaker. Sears and other retailers offered a wide variety of styles of toy tea sets during this era. Blade and numerous other sources observe that children’s toy furniture and appliances tended to reflect the style and aesthetic qualities of their contemporary parallels in the adult world, the better to associate the child’s objects to its adult equivalent. The toy tea set’s packaging trumpets messages intended to appeal to modernist values and identity including “Contemporary Design” and “handsome, clean-line styling for modern little hostesses”. The use of this coded marketing language, aimed particularly at parents, can be traced back several decades. In 1928 a group of American industrial and textile designers established the American Designers' Gallery in New York, in part to encourage American designers to innovate and adopt new styles such as those seen in the L’ Exposition Internationale des Arts Decoratifs et Industriels Modernes (1925) in Paris, the exposition that sparked international interest in the Art Deco or Art Moderne aesthetic. One of the gallery founders, Ilonka Karasz, a Hungarian-American industrial and textile designer who had studied in Austria and was influenced by the Wiener Werkstätte in Vienna, publicised her new style of nursery furnishings as “designed for the very modern American child” (Brown 80). Sears itself was no stranger to the appeal of such language. The term “contemporary design” was ubiquitous in catalogue copy of the nineteen-fifties and sixties, used to describe everything from draperies (1959) and bedspreads (1961) to spice racks (1964) and the Lady Kenmore portable dishwasher (1961). An emphasis on the role of design in one’s life and surroundings can be traced back to efforts by MoMA. The museum’s interest in modern design hearkens back almost to the institution’s inception, particularly in relation to industrial design and the aestheticisation of everyday objects (Marshall). Through exhibitions and in partnership with mass-market magazines, department stores and manufacturer showrooms, MoMA curators evangelised the importance of “good design” a term that can be found in use as early as 1942. What Is Good Design? followed the pattern of prior exhibitions such as What Is Modern Painting? and situated modern design at the centre of exhibitions that toured the United States in the first half of the nineteen-fifties. To MoMA and its partners, “good design” signified the narrow identification of proper taste in furniture, home decor and accessories; effectively, the establishment of a design canon. The viewpoints enshrined in these exhibitions and partnerships were highly influential on the nation’s perception of taste for decades to come, as the trickle-down effect reached a much broader segment of consumers than those that directly experienced the museum or its exhibitions (Lawrence.) This was evident not only at high-end shops such as Bloomingdale’s and Macy’s. Even mass-market retailers sought out well-known figures of modernist design to contribute to their offerings. Sears, for example, commissioned noted modernist designer and ceramicist Russel Wright to produce a variety of serving ware and decor items exclusively for the company. Notably for this study, he was also commissioned to create a toy tea set for children. The 1957 Wishbook touts the set as “especially created to delight modern little misses”. Within its Good Design series, MoMA exhibitions celebrated numerous prominent Nordic designers who were exploring simplified forms and new material technologies. In the 1968 Wishbook, the retailer describes the Porcelain Toy Tea Set as “Danish-inspired china for young moderns”. The reference to Danish design is certainly compatible with the modernist appeal; after the explosion in popularity of Danish furniture design, the term “Danish Modern” was commonly used in the nineteen-fifties and sixties as shorthand for pan-Scandinavian or Nordic design, or more broadly for any modern furniture design regardless of origin that exhibited similar characteristics. In subsequent decades the notion of a monolithic Scandinavian-Nordic design aesthetic or movement has been debunked as primarily an economically motivated marketing ploy (Olivarez et al.; Fallan). In the United States, the term “Danish Modern” became so commonly misused that the Danish Society for Arts and Crafts called upon the American Federal Trade Commission (FTC) to legally restrict the use of the labels “Danish” and “Danish Modern” to companies genuinely originating in Denmark. Coincidentally the FTC ruled on this in 1968, noting “that ‘Danish Modern’ carries certain meanings, and... that consumers might prefer goods that are identified with a foreign culture” (Hansen 451). In the case of the Porcelain Toy Tea Set examined here, Sears was not claiming that the design was “Danish” but rather “Danish-inspired”. One must wonder, was this another coded marketing ploy to communicate a sense of “Good Design” to potential customers? An examination of the formal qualities of the set’s components, particularly the simplified geometric forms and the handle style of the cups, confirms that it is unlike a traditional—say, Victorian-style—tea set. Punchard observes that during this era some American tea sets were actually being modelled on coffee services rather than traditional tea services (148). A visual comparison of other sets sold by Sears in the same year reveals a variety of cup and pot shapes—with some similar to the set in question—while others exhibit more traditional teapot and cup shapes. Coffee culture was historically prominent in Nordic cultures so there is at least a passing reference to that aspect of Nordic—if not specifically Danish—influence in the design. But what of the decorative motif? Simple curved lines were certainly prominent in Danish furniture and architecture of this era, and occasionally found in combination with straight lines, but no connection back to any specific Danish motif could be found even after consultation with experts in the field from the Museum of Danish America and the Vesterheim National Norwegian-American Museum (personal correspondence). However, knowing that the average American consumer of this era—even the design-savvy among them—consumed Scandinavian design without distinguishing between the various nations, a possible explanation could be contained in the promotion of Finnish textiles at the time. In the decade prior to the manufacture of the tea set a major design tendency began to emerge in the United States, triggered by the geometric design motifs of the Finnish textile and apparel company Marimekko. Marimekko products were introduced to the American market in 1959 via the Cambridge, Massachusetts-based retailer Design Research (DR) and quickly exploded in popularity particularly after would-be First Lady Jacqueline Kennedy appeared in national media wearing Marimekko dresses during the 1960 presidential campaign and on the cover of Sports Illustrated magazine. (Thompson and Lange). The company’s styling soon came to epitomise a new youth aesthetic of the early nineteen sixties in the United States, a softer and more casual predecessor to the London “mod” influence. During this time multiple patterns were released that brought a sense of whimsy and a more human touch to classic mechanical patterns and stripes. The patterns Piccolo (1953), Helmipitsi (1959), and Varvunraita (1959), all designed by Vuokko Eskolin-Nurmesniemi offered varying motifs of parallel straight lines. Maija Isola's Silkkikuikka (1961) pattern—said to be inspired by the plumage of the Great Crested Grebe—combined parallel serpentine lines with straight and angled lines, available in a variety of colours. These and other geometrically inspired patterns quickly inundated apparel and decor markets. DR built a vastly expanded Cambridge flagship store and opened new locations in New York in 1961 and 1964, and in San Francisco in 1965 fuelled in no small part by the fact that they remained the exclusive outlet for Marimekko in the United States. It is clear that Marimekko’s approach to pattern influenced designers and manufacturers across industries. Design historian Lesley Jackson demonstrates that Marimekko designs influenced or were emulated by numerous other companies across Scandinavia and beyond (72-78). The company’s influence grew to such an extent that some described it as a “conquest of the international market” (Hedqvist and Tarschys 150). Subsequent design-forward retailers such as IKEA and Crate and Barrel continue to look to Marimekko even today for modern design inspiration. In 2016 the mass-market retailer Target formed a design partnership with Marimekko to offer an expansive limited-edition line in their stores, numbering over two hundred items. So, despite the “Danish” misnomer, it is quite conceivable that designers working for or commissioned by Sears in 1968 may have taken their aesthetic cues from Marimekko’s booming work, demonstrating a clear understanding of the contemporary high design aesthetic of the time and coding the marketing rhetoric accordingly even if incorrectly. Conclusion The Sears catalogue plays a unique role in capturing cross-sections of American culture not only as a sales tool but also in Holland’s words as “a beautifully illustrated diary of America, it’s [sic] people and the way we thought about things” (1). Applying a rhetorical and material culture analysis to the catalogue and the objects within it provides a unique glimpse into the roles these objects played in mediating relationships, transmitting values and embodying social practices, tastes and beliefs of mid-century American consumers. Adult consumers familiar with the characteristics of the culture of “Good Design” potentially could have made a connection between the simplified geometric forms of the components of the toy tea set and say the work of modernist tableware designers such as Kaj Franck, or between the set’s graphic pattern and the modernist motifs of Marimekko and its imitators. But for a much broader segment of the population with a less direct understanding of modernist aesthetics, those connections may not have been immediately apparent. The rhetorical messaging behind the objects’ packaging and marketing used class and taste signifiers such as modern, contemporary and “Danish” to reinforce this connection to effect an emotional and aspirational appeal. These messages were coded to position the set as an effective transmitter of modernist values and to target parents with the ambition to create “appropriately modern” environments for their children. 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I first came across etoy in Linz, Austria in 1995. They turned up at Ars Electronica with their shaved heads, in their matching orange bomber jackets. They were not invited. The next year they would not have to crash the party. In 1996 they were awarded Arts Electronica’s prestigious Golden Nica for web art, and were on their way to fame and bitterness – the just rewards for their art of self-regard. As founding member Agent.ZAI says: “All of us were extremely greedy – for excitement, for drugs, for success.” (Wishart & Boschler: 16) The etoy story starts on the fringes of the squatters’ movement in Zurich. Disenchanted with the hard left rhetorics that permeate the movement in the 1980s, a small group look for another way of existing within a commodified world, without the fantasy of an ‘outside’ from which to critique it. What Antonio Negri and friends call the ‘real subsumption’ of life under the rule of commodification is something etoy grasps intuitively. The group would draw on a number of sources: David Bowie, the Sex Pistols, the Manchester rave scene, European Amiga art, rumors of the historic avant gardes from Dada to Fluxus. They came together in 1994, at a meeting in the Swiss resort town of Weggis on Lake Lucerne. While the staging of the founding meeting looks like a rerun of the origins of the Situationist International, the wording of the invitation might suggest the founding of a pop music boy band: “fun, money and the new world?” One of the – many – stories about the origins of the name Dada has it being chosen at random from a bilingual dictionary. The name etoy, in an update on that procedure, was spat out by a computer program designed to make four letter words at random. Ironically, both Dada and etoy, so casually chosen, would inspire furious struggles over the ownership of these chancey 4-bit words. The group decided to make money by servicing the growing rave scene. Being based in Vienna and Zurich, the group needed a way to communicate, and chose to use the internet. This was a far from obvious thing to do in 1994. Connections were slow and unreliable. Sometimes it was easier to tape a hard drive full of clubland graphics to the underside of a seat on the express train from Zurich to Vienna and simply email instructions to meet the train and retrieve it. The web was a primitive instrument in 1995 when etoy built its first website. They launched it with a party called etoy.FASTLANE, an optimistic title when the web was anything but. Coco, a transsexual model and tabloid sensation, sang a Japanese song while suspended in the air. She brought media interest, and was anointed etoy’s lifestyle angel. As Wishart and Bochsler write, “it was as if the Seven Dwarfs had discovered their Snow White.” (Wishart & Boschler: 33) The launch didn’t lead to much in the way of a music deal or television exposure. The old media were not so keen to validate the etoy dream of lifting themselves into fame and fortune by their bootstraps. And so etoy decided to be stars of the new media. The slogan was suitably revised: “etoy: the pop star is the pilot is the coder is the designer is the architect is the manager is the system is etoy.” (Wishart & Boschler: 34) The etoy boys were more than net.artists, they were artists of the brand. The brand was achieving a new prominence in the mid-90s. (Klein: 35) This was a time when capitalism was hollowing itself out in the overdeveloped world, shedding parts of its manufacturing base. Control of the circuits of commodification would rest less on the ownership of the means of production and more on maintaining a monopoly on the flows of information. The leading edge of the ruling class was becoming self-consciously vectoral. It controlled the flow of information about what to produce – the details of design, the underlying patents. It controlled the flows of information about what is produced – the brands and logos, the slogans and images. The capitalist class is supplanted by a vectoral class, controlling the commodity circuit through the vectors of information. (Wark) The genius of etoy was to grasp the aesthetic dimension of this new stage of commodification. The etoy boys styled themselves not so much as a parody of corporate branding and management groupthink, but as logical extension of it. They adopted matching uniforms and called themselves agents. In the dada-punk-hiphop tradition, they launched themselves on the world as brand new, self-created, self-named subjects: Agents Zai, Brainhard, Gramazio, Kubli, Esposto, Udatny and Goldstein. The etoy.com website was registered in 1995 with Network Solutions for a $100 fee. The homepage for this etoy.TANKSYSTEM was designed like a flow chart. As Gramazio says: “We wanted to create an environment with surreal content, to build a parallel world and put the content of this world into tanks.” (Wishart & Boschler: 51) One tank was a cybermotel, with Coco the first guest. Another tank showed you your IP number, with a big-brother eye looking on. A supermarket tank offered sunglasses and laughing gas for sale, but which may or may not be delivered. The underground tank included hardcore photos of a sensationalist kind. A picture of the Federal Building in Oklamoma City after the bombing was captioned in deadpan post-situ style “such work needs a lot of training.” (Wishart & Boschler: 52) The etoy agents were by now thoroughly invested in the etoy brand and the constellation of images they had built around it, on their website. Their slogan became “etoy: leaving reality behind.” (Wishart & Boschler: 53) They were not the first artists fascinated by commodification. It was Warhol who said “good art is good business.”(Warhol ) But etoy reversed the equation: good business is good art. And good business, in this vectoral age, is in its most desirable form an essentially conceptual matter of creating a brand at the center of a constellation of signifiers. Late in 1995, etoy held another group meeting, at the Zurich youth center Dynamo. The problem was that while they had build a hardcore website, nobody was visiting it. Agents Gooldstein and Udatny thought that there might be a way of using the new search engines to steer visitors to the site. Zai and Brainhard helped secure a place at the Vienna Academy of Applied Arts where Udatny could use the computer lab to implement this idea. Udatny’s first step was to create a program that would go out and gather email addresses from the web. These addresses would form the lists for the early examples of art-spam that etoy would perpetrate. Udatny’s second idea was a bit more interesting. He worked out how to get the etoy.TANKSYSTEM page listed in search engines. Most search engines ranked pages by the frequency of the search term in the pages it had indexed, so etoy.TANKSYSTEM would contain pages of selected keywords. Porn sites were also discovering this method of creating free publicity. The difference was that etoy chose a very carefully curated list of 350 search terms, including: art, bondage, cyberspace, Doom, Elvis, Fidel, genx, heroin, internet, jungle and Kant. Users of search engines who searched for these terms would find dummy pages listed prominently in their search results that directed them, unsuspectingly, to etoy.com. They called this project Digital Hijack. To give the project a slightly political aura, the pages the user was directed to contained an appeal for the release of convicted hacker Kevin Mitnick. This was the project that won them a Golden Nica statuette at Ars Electronica in 1996, which Gramazio allegedly lost the same night playing roulette. It would also, briefly, require that they explain themselves to the police. Digital Hijack also led to the first splits in the group, under the intense pressure of organizing it on a notionally collective basis, but with the zealous Agent Zai acting as de facto leader. When Udatny was expelled, Zai and Brainhard even repossessed his Toshiba laptop, bought with etoy funds. As Udatny recalls, “It was the lowest point in my life ever. There was nothing left; I could not rely on etoy any more. I did not even have clothes, apart from the etoy uniform.” (Wishart & Boschler: 104) Here the etoy story repeats a common theme from the history of the avant gardes as forms of collective subjectivity. After Digital Hijack, etoy went into a bit of a slump. It’s something of a problem for a group so dependent on recognition from the other of the media, that without a buzz around them, etoy would tend to collapse in on itself like a fading supernova. Zai spend the early part of 1997 working up a series of management documents, in which he appeared as the group’s managing director. Zai employed the current management theory rhetoric of employee ‘empowerment’ while centralizing control. Like any other corporate-Trotskyite, his line was that “We have to get used to reworking the company structure constantly.” (Wishart & Boschler: 132) The plan was for each member of etoy to register the etoy trademark in a different territory, linking identity to information via ownership. As Zai wrote “If another company uses our name in a grand way, I’ll probably shoot myself. And that would not be cool.” (Wishart & Boschler:: 132) As it turned out, another company was interested – the company that would become eToys.com. Zai received an email offering “a reasonable sum” for the etoy.com domain name. Zai was not amused. “Damned Americans, they think they can take our hunting grounds for a handful of glass pearls….”. (Wishart & Boschler: 133) On an invitation from Suzy Meszoly of C3, the etoy boys traveled to Budapest to work on “protected by etoy”, a work exploring internet security. They spent most of their time – and C3’s grant money – producing a glossy corporate brochure. The folder sported a blurb from Bjork: “etoy: immature priests from another world” – which was of course completely fabricated. When Artothek, the official art collection of the Austrian Chancellor, approached etoy wanting to buy work, the group had to confront the problem of how to actually turn their brand into a product. The idea was always that the brand was the product, but this doesn’t quite resolve the question of how to produce the kind of unique artifacts that the art world requires. Certainly the old Conceptual Art strategy of selling ‘documentation’ would not do. The solution was as brilliant as it was simple – to sell etoy shares. The ‘works’ would be ‘share certificates’ – unique objects, whose only value, on the face of it, would be that they referred back to the value of the brand. The inspiration, according to Wishart & Boschsler, was David Bowie, ‘the man who sold the world’, who had announced the first rock and roll bond on the London financial markets, backed by future earnings of his back catalogue and publishing rights. Gramazio would end up presenting Chancellor Viktor Klima with the first ‘shares’ at a press conference. “It was a great start for the project”, he said, “A real hack.” (Wishart & Boschler: 142) For this vectoral age, etoy would create the perfect vectoral art. Zai and Brainhard took off next for Pasadena, where they got the idea of reverse-engineering the online etoy.TANKSYSTEM by building an actual tank in an orange shipping container, which would become etoy.TANK 17. This premiered at the San Francisco gallery Blasthaus in June 1998. Instant stars in the small world of San Francisco art, the group began once again to disintegrate. Brainhard and Esposito resigned. Back in Europe in late 1998, Zai was preparing to graduate from the Vienna Academy of Applied Arts. His final project would recapitulate the life and death of etoy. It would exist from here on only as an online archive, a digital mausoleum. As Kubli says “there was no possibility to earn our living with etoy.” (Wishart & Boschler: 192) Zai emailed eToys.com and asked them if them if they would like to place a banner ad on etoy.com, to redirect any errant web traffic. Lawyers for eToys.com offered etoy $30,000 for the etoy.com domain name, which the remaining members of etoy – Zai, Gramazio, Kubli – refused. The offer went up to $100,000, which they also refused. Through their lawyer Peter Wild they demanded $750,000. In September 1999, while etoy were making a business presentation as their contribution to Ars Electronica, eToys.com lodged a complaint against etoy in the Los Angeles Superior Court. The company hired Bruce Wessel, of the heavyweight LA law firm Irell & Manella, who specialized in trademark, copyright and other intellectual property litigation. The complaint Wessel drafted alleged that etoy had infringed and diluted the eToys trademark, were practicing unfair competition and had committed “intentional interference with prospective economic damage.” (Wishart & Boschler: 199) Wessel demanded an injunction that would oblige etoy to cease using its trademark and take down its etoy.com website. The complaint also sought to prevent etoy from selling shares, and demanded punitive damages. Displaying the aggressive lawyering for which he was so handsomely paid, Wessel invoked the California Unfair Competition Act, which was meant to protect citizens from fraudulent business scams. Meant as a piece of consumer protection legislation, its sweeping scope made it available for inventive suits such as Wessel’s against etoy. Wessel was able to use pretty much everything from the archive etoy built against it. As Wishart and Bochsler write, “The court papers were like a delicately curated catalogue of its practices.” (Wishart & Boschler: 199) And indeed, legal documents in copyright and trademark cases may be the most perfect literature of the vectoral age. The Unfair Competition claim was probably aimed at getting the suit heard in a Californian rather than a Federal court in which intellectual property issues were less frequently litigated. The central aim of the eToys suit was the trademark infringement, but on that head their claims were not all that strong. According to the 1946 Lanham Act, similar trademarks do not infringe upon each other if there they are for different kinds of business or in different geographical areas. The Act also says that the right to own a trademark depends on its use. So while etoy had not registered their trademark and eToys had, etoy were actually up and running before eToys, and could base their trademark claim on this fact. The eToys case rested on a somewhat selective reading of the facts. Wessel claimed that etoy was not using its trademark in the US when eToys was registered in 1997. Wessel did not dispute the fact that etoy existed in Europe prior to that time. He asserted that owning the etoy.com domain name was not sufficient to establish a right to the trademark. If the intention of the suit was to bully etoy into giving in, it had quite the opposite effect. It pissed them off. “They felt again like the teenage punks they had once been”, as Wishart & Bochsler put it. Their art imploded in on itself for lack of attention, but called upon by another, it flourished. Wessel and eToys.com unintentionally triggered a dialectic that worked in quite the opposite way to what they intended. The more pressure they put on etoy, the more valued – and valuable – they felt etoy to be. Conceptual business, like conceptual art, is about nothing but the management of signs within the constraints of given institutional forms of market. That this conflict was about nothing made it a conflict about everything. It was a perfectly vectoral struggle. Zai and Gramazio flew to the US to fire up enthusiasm for their cause. They asked Wolfgang Staehle of The Thing to register the domain toywar.com, as a space for anti-eToys activities at some remove from etoy.com, and as a safe haven should eToys prevail with their injunction in having etoy.com taken down. The etoy defense was handled by Marcia Ballard in New York and Robert Freimuth in Los Angeles. In their defense, they argued that etoy had existed since 1994, had registered its globally accessible domain in 1995, and won an international art prize in 1996. To counter a claim by eToys that they had a prior trademark claim because they had bought a trademark from another company that went back to 1990, Ballard and Freimuth argued that this particular trademark only applied to the importation of toys from the previous owner’s New York base and thus had no relevance. They capped their argument by charging that eToys had not shown that its customers were really confused by the existence of etoy. With Christmas looming, eToys wanted a quick settlement, so they offered Zurich-based etoy lawyer Peter Wild $160,000 in shares and cash for the etoy domain. Kubli was prepared to negotiate, but Zai and Gramazio wanted to gamble – and raise the stakes. As Zai recalls: “We did not want to be just the victims; that would have been cheap. We wanted to be giants too.” (Wishart & Boschler: 207) They refused the offer. The case was heard in November 1999 before Judge Rafeedie in the Federal Court. Freimuth, for etoy, argued that federal Court was the right place for what was essentially a trademark matter. Robert Kleiger, for eToys, countered that it should stay where it was because of the claims under the California Unfair Competition act. Judge Rafeedie took little time in agreeing with the eToys lawyer. Wessel’s strategy paid off and eToys won the first skirmish. The first round of a quite different kind of conflict opened when etoy sent out their first ‘toywar’ mass mailing, drawing the attention of the net.art, activism and theory crowd to these events. This drew a report from Felix Stalder in Telepolis: “Fences are going up everywhere, molding what once seemed infinite space into an overcrowded and tightly controlled strip mall.” (Stalder ) The positive feedback from the net only emboldened etoy. For the Los Angeles court, lawyers for etoy filed papers arguing that the sale of ‘shares’ in etoy was not really a stock offering. “The etoy.com website is not about commerce per se, it is about artist and social protest”, they argued. (Wishart & Boschler: 209) They were obliged, in other words, to assert a difference that the art itself had intended to blur in order to escape eToy’s claims under the Unfair Competition Act. Moreover, etoy argued that there was no evidence of a victim. Nobody was claiming to have been fooled by etoy into buying something under false pretences. Ironically enough, art would turn out in hindsight to be a more straightforward transaction here, involving less simulation or dissimulation, than investing in a dot.com. Perhaps we have reached the age when art makes more, not less, claim than business to the rhetorical figure of ‘reality’. Having defended what appeared to be the vulnerable point under the Unfair Competition law, etoy went on the attack. It was the failure of eToys to do a proper search for other trademarks that created the problem in the first place. Meanwhile, in Federal Court, lawyers for etoy launched a counter-suit that reversed the claims against them made by eToys on the trademark question. While the suits and counter suits flew, eToys.com upped their offer to settle to a package of cash and shares worth $400,000. This rather puzzled the etoy lawyers. Those choosing to sue don’t usually try at the same time to settle. Lawyer Peter Wild advised his clients to take the money, but the parallel tactics of eToys.com only encouraged them to dig in their heels. “We felt that this was a tremendous final project for etoy”, says Gramazio. As Zai says, “eToys was our ideal enemy – we were its worst enemy.” (Wishart & Boschler: 210) Zai reported the offer to the net in another mass mail. Most people advised them to take the money, including Doug Rushkoff and Heath Bunting. Paul Garrin counseled fighting on. The etoy agents offered to settle for $750,000. The case came to court in late November 1999 before Judge Shook. The Judge accepted the plausibility of the eToys version of the facts on the trademark issue, which included the purchase of a registered trademark from another company that went back to 1990. He issued an injunction on their behalf, and added in his statement that he was worried about “the great danger of children being exposed to profane and hardcore pornographic issues on the computer.” (Wishart & Boschler: 222) The injunction was all eToys needed to get Network Solutions to shut down the etoy.com domain. Zai sent out a press release in early December, which percolated through Slashdot, rhizome, nettime (Staehle) and many other networks, and catalyzed the net community into action. A debate of sorts started on investor websites such as fool.com. The eToys stock price started to slide, and etoy ‘warriors’ felt free to take the credit for it. The story made the New York Times on 9th December, Washington Post on the 10th, Wired News on the 11th. Network Solutions finally removed the etoy.com domain on the 10th December. Zai responded with a press release: “this is robbery of digital territory, American imperialism, corporate destruction and bulldozing in the way of the 19th century.” (Wishart & Boschler: 237) RTMark set up a campaign fund for toywar, managed by Survival Research Laboratories’ Mark Pauline. The RTMark press release promised a “new internet ‘game’ designed to destroy eToys.com.” (Wishart & Boschler: 239) The RTMark press release grabbed the attention of the Associated Press newswire. The eToys.com share price actually rose on December 13th. Goldman Sachs’ e-commerce analyst Anthony Noto argued that the previous declines in the Etoys share price made it a good buy. Goldman Sachs was the lead underwriter of the eToys IPO. Noto’s writings may have been nothing more than the usual ‘IPOetry’ of the time, but the crash of the internet bubble was some months away yet. The RTMark campaign was called ‘The Twelve Days of Christmas’. It used the Floodnet technique that Ricardo Dominguez used in support of the Zapatistas. As Dominguez said, “this hysterical power-play perfectly demonstrates the intensions of the new net elite; to turn the World Wide Web into their own private home-shopping network.” (Wishart & Boschler: 242) The Floodnet attack may have slowed the eToys.com server down a bit, but it was robust and didn’t crash. Ironically, it ran on open source software. Dominguez claims that the ‘Twelve Days’ campaign, which relied on individuals manually launching Floodnet from their own computers, was not designed to destroy the eToys site, but to make a protest felt. “We had a single-bullet script that could have taken down eToys – a tactical nuke, if you will. But we felt this script did not represent the presence of a global group of people gathered to bear witness to a wrong.” (Wishart & Boschler: 245) While the eToys engineers did what they could to keep the site going, eToys also approached universities and businesses whose systems were being used to host Floodnet attacks. The Thing, which hosted Dominguez’s eToys Floodnet site was taken offline by The Thing’s ISP, Verio. After taking down the Floodnet scripts, The Thing was back up, restoring service to the 200 odd websites that The Thing hosted besides the offending Floodnet site. About 200 people gathered on December 20th at a demonstration against eToys outside the Museum of Modern Art. Among the crowd were Santas bearing signs that said ‘Coal for eToys’. The rally, inside the Museum, was led by the Reverend Billy of the Church of Stop Shopping: “We are drowning in a sea of identical details”, he said. (Wishart & Boschler: 249-250) Meanwhile etoy worked on the Toywar Platform, an online agitpop theater spectacle, in which participants could act as soldiers in the toywar. This would take some time to complete – ironically the dispute threatened to end before this last etoy artwork was ready, giving etoy further incentives to keep the dispute alive. The etoy agents had a new lawyer, Chris Truax, who was attracted to the case by the publicity it was generating. Through Truax, etoy offered to sell the etoy domain and trademark for $3.7 million. This may sound like an insane sum, but to put it in perspective, the business.com site changed hands for $7.5 million around this time. On December 29th, Wessel signaled that eToys was prepared to compromise. The problem was, the Toywar Platform was not quite ready, so etoy did what it could to drag out the negotiations. The site went live just before the scheduled court hearings, January 10th 2000. “TOYWAR.com is a place where all servers and all involved people melt and build a living system. In our eyes it is the best way to express and document what’s going on at the moment: people start to about new ways to fight for their ideas, their lifestyle, contemporary culture and power relations.” (Wishart & Boschler: 263) Meanwhile, in a California courtroom, Truax demanded that Network Solutions restore the etoy domain, that eToys pay the etoy legal expenses, and that the case be dropped without prejudice. No settlement was reached. Negotiations dragged on for another two weeks, with the etoy agents’ attention somewhat divided between two horizons – art and law. The dispute was settled on 25th January. Both parties dismissed their complaints without prejudice. The eToys company would pay the etoy artists $40,000 for legal costs, and contact Network Solutions to reinstate the etoy domain. “It was a pleasure doing business with one of the biggest e-commerce giants in the world” ran the etoy press release. (Wishart & Boschler: 265) That would make a charming end to the story. But what goes around comes around. Brainhard, still pissed off with Zai after leaving the group in San Francisco, filed for the etoy trademark in Austria. After that the internal etoy wranglings just gets boring. But it was fun while it lasted. What etoy grasped intuitively was the nexus between the internet as a cultural space and the transformation of the commodity economy in a yet-more abstract direction – its becoming-vectoral. They zeroed in on the heart of the new era of conceptual business – the brand. As Wittgenstein says of language, what gives words meaning is other words, so too for brands. What gives brands meaning is other brands. There is a syntax for brands as there is for words. What etoy discovered is how to insert a new brand into that syntax. The place of eToys as a brand depended on their business competition with other brands – with Toys ‘R’ Us, for example. For etoy, the syntax they discovered for relating their brand to another one was a legal opposition. What made etoy interesting was their lack of moral posturing. Their abandonment of leftist rhetorics opened them up to exploring the territory where media and business meet, but it also made them vulnerable to being consumed by the very dialectic that created the possibility of staging etoy in the first place. By abandoning obsolete political strategies, they discovered a media tactic, which collapsed for want of a new strategy, for the new vectoral terrain on which we find ourselves. Works Cited Negri, Antonio. Time for Revolution. Continuum, London, 2003. Warhol, Andy. From A to B and Back Again. Picador, New York, 1984. Stalder, Felix. ‘Fences in Cyberspace: Recent events in the battle over domain names’. 19 Jun 2003. <http://felix.openflows.org/html/fences.php>. Wark, McKenzie. ‘A Hacker Manifesto [version 4.0]’ 19 Jun 2003. http://subsol.c3.hu/subsol_2/contributors0/warktext.html. Klein, Naomi. No Logo. Harper Collins, London, 2000. Wishart, Adam & Regula Bochsler. Leaving Reality Behind: etoy vs eToys.com & Other Battles to Control Cyberspace Ecco Books, 2003. Staehle, Wolfgang. ‘<nettime> etoy.com shut down by US court.’ 19 Jun 2003. http://amsterdam.nettime.org/Lists-Archives/nettime-l-9912/msg00005.html Links http://amsterdam.nettime.org/Lists-Archives/nettime-l-9912/msg00005.htm http://felix.openflows.org/html/fences.html http://subsol.c3.hu/subsol_2/contributors0/warktext.html Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Wark, McKenzie. "Toywars" M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0306/02-toywars.php>. APA Style Wark, M. (2003, Jun 19). Toywars. M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0306/02-toywars.php>