MODEN:Start/EXHIBITIONS/domestikation - Revision history

Felixsattler at 22:33, 11 March 2011

2011-03-11T22:33:48Z

← Older revision		Revision as of 22:33, 11 March 2011
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	[[File:Gunnar Brehm Domestikation Messer.jpg\|thumb\|right\|250px\|Knives, detailed view, photo: Gunnar Brehm]]		[[File:Gunnar Brehm Domestikation Messer.jpg\|thumb\|right\|250px\|Knives, detailed view, photo: Gunnar Brehm]]

	[[File:felixsattler_domestikation_01.jpg~~\|thumb~~\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]		[[File:felixsattler_domestikation_01.jpg\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]
			The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler

Felixsattler at 22:32, 11 March 2011

2011-03-11T22:32:35Z

← Older revision		Revision as of 22:32, 11 March 2011
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	[[File:Gunnar Brehm Domestikation Messer.jpg\|thumb\|right\|250px\|Knives, detailed view, photo: Gunnar Brehm]]		[[File:Gunnar Brehm Domestikation Messer.jpg\|thumb\|right\|250px\|Knives, detailed view, photo: Gunnar Brehm]]

	[[File:felixsattler_domestikation_01.jpg\|thumb~~\|left~~\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]		[[File:felixsattler_domestikation_01.jpg\|thumb\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]

Felixsattler at 22:31, 11 March 2011

2011-03-11T22:31:53Z

← Older revision		Revision as of 22:31, 11 March 2011
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	[[File:Gunnar Brehm Domestikation Messer.jpg\|thumb\|right\|250px\|Knives, detailed view, photo: Gunnar Brehm]]		[[File:Gunnar Brehm Domestikation Messer.jpg\|thumb\|right\|250px\|Knives, detailed view, photo: Gunnar Brehm]]

	[[File:felixsattler_domestikation_01.jpg\|thumb\|~~none~~\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]		[[File:felixsattler_domestikation_01.jpg\|thumb\|left\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]

Felixsattler at 22:31, 11 March 2011

2011-03-11T22:31:25Z

← Older revision		Revision as of 22:31, 11 March 2011
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	[[File:Gunnar Brehm Domestikation Messer.jpg\|thumb\|right\|250px\|Knives, detailed view, photo: Gunnar Brehm]]		[[File:Gunnar Brehm Domestikation Messer.jpg\|thumb\|right\|250px\|Knives, detailed view, photo: Gunnar Brehm]]

	[[File:felixsattler_domestikation_01.jpg\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]		[[File:felixsattler_domestikation_01.jpg\|thumb\|none\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]

Felixsattler: /* Competition (Spiel und Wettkampf) */

2011-03-11T22:27:26Z

Competition (Spiel und Wettkampf)

← Older revision		Revision as of 22:27, 11 March 2011
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	[[File:Felixsattler domestikation medals detail.jpg\|thumb\|right\|250px\|Elisabeth Kaufmann & Felix Sattler: Kalkül und Leidenschaft II: Spiel und Wettkampf (''Wall of Fame'')]]		[[File:Felixsattler domestikation medals detail.jpg\|thumb\|right\|250px\|Elisabeth Kaufmann & Felix Sattler: Kalkül und Leidenschaft II: Spiel und Wettkampf (''Wall of Fame'')]]
	Animal races, fights and shows have a long-standing history in many cultures. Some are even constitutive for a people's social fabric. One of the most notable investigations has been Clifford Geertz ethnographic work on the cock fights in the Balinese society. His findings have been important for developing general theories of play such as of Roger Caillois and others. The "Reason and Emotion" series is far from being an adaption of Caillois’ four categories of play for the theory and practice of animal domestication. However we were somewhat inspired by his approach, which especially shows in our "agon" installation (= competition, Caillois used Greek names to label his categories).<br>		Animal races, fights and shows have a long-standing history in many cultures. Some are even constitutive for a people's social fabric. One of the most notable investigations has been Clifford Geertz ethnographic work on the cock fights in the Balinese society. His findings have been important for developing general theories of play such as of Roger Caillois and others. The "Reason and Emotion" series is far from being an adaption of Caillois’ four categories of play for the theory and practice of animal domestication. However we were somewhat inspired by his approach, which especially shows in our "agon" installation (= competition, Caillois used Greek names to label his categories).<br>
	For us it was important that animal competitions had an ambivalent concept about them that appears sometimes "technical", i.e. it is argued necessary for breeding and pedigree assessment, while at the same time being very colourful and highly ritualized events. For example, the often exciting betting that powers (not only) German horse-racing, is deregulated by the government because it is not regarded as ~~play~~ but as a necessary process in breeding assessment.<br>		For us it was important that animal competitions had an ambivalent concept about them that appears sometimes "technical", i.e. it is argued necessary for breeding and pedigree assessment, while at the same time being very colourful and highly ritualized events. For example, the often exciting betting that powers (not only) German horse-racing, is deregulated by the government because it is not regarded as gambling but as a necessary process in breeding assessment.<br>
	It felt amusing that animals were decorated with pretty much the same-looking types of awards that are also granted to human competitors. We believe that especially some of the medals ("Schweinemedaillon" / "Medaillon of Pork") appear actually quite grotesque with their laurel wreaths and national colours. We hope that these might explain more about our relation with domestic animals and their almost seamless inclusion into our meritocracies.		It felt amusing that animals were decorated with pretty much the same-looking types of awards that are also granted to human competitors. We believe that especially some of the medals ("Schweinemedaillon" / "Medaillon of Pork") appear actually quite grotesque with their laurel wreaths and national colours. We hope that these might explain more about our relation with domestic animals and their almost seamless inclusion into our meritocracies.

Felixsattler at 22:23, 11 March 2011

2011-03-11T22:23:51Z

← Older revision		Revision as of 22:23, 11 March 2011
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	It felt amusing that animals were decorated with pretty much the same-looking types of awards that are also granted to human competitors. We believe that especially some of the medals ("Schweinemedaillon" / "Medaillon of Pork") appear actually quite grotesque with their laurel wreaths and national colours. We hope that these might explain more about our relation with domestic animals and their almost seamless inclusion into our meritocracies.		It felt amusing that animals were decorated with pretty much the same-looking types of awards that are also granted to human competitors. We believe that especially some of the medals ("Schweinemedaillon" / "Medaillon of Pork") appear actually quite grotesque with their laurel wreaths and national colours. We hope that these might explain more about our relation with domestic animals and their almost seamless inclusion into our meritocracies.

	===Status symbols====		====Status symbols====
	Many domestic species embellish the coats of arms of nations, regions, cities and dynasties.		Many domestic species embellish the coats of arms of nations, regions, cities and dynasties.
	More recently, these animals and plants appeared on the logos of well-known commercial brands as well as sports clubs and other institutions. They have become important for the communication of corporate identities. The goal is to symbolically transfer the animals’ or plants’ actual or imaginary properties to athletes or consumer goods such as sports cars and energy drinks.		More recently, these animals and plants appeared on the logos of well-known commercial brands as well as sports clubs and other institutions. They have become important for the communication of corporate identities. The goal is to symbolically transfer the animals’ or plants’ actual or imaginary properties to athletes or consumer goods such as sports cars and energy drinks.

Felixsattler at 22:22, 11 March 2011

2011-03-11T22:22:09Z

← Older revision		Revision as of 22:22, 11 March 2011
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	====Competition (''Spiel und Wettkampf'')====		====Competition (''Spiel und Wettkampf'')====
	The "Wall of Fame" shows a custom selection of animal trophies – medals, show ribbons, sashs, rosettes and a cup.		The "Wall of Fame" shows a custom selection of animal trophies – medals, show ribbons, sashs, rosettes and a cup.
	[[~~File:~~File:Gunnar Brehm Domestikation detail wall of fame.jpg\|thumb\|right\|250px\|Wall of Fame, detailed view, photo: Gunnar Brehm]]		[[File:Gunnar Brehm Domestikation detail wall of fame.jpg\|thumb\|right\|250px\|Wall of Fame, detailed view, photo: Gunnar Brehm]]
	[[File:Felixsattler domestikation medals detail.jpg\|thumb\|right\|250px\|Elisabeth Kaufmann & Felix Sattler: Kalkül und Leidenschaft II: Spiel und Wettkampf (''Wall of Fame'')]]		[[File:Felixsattler domestikation medals detail.jpg\|thumb\|right\|250px\|Elisabeth Kaufmann & Felix Sattler: Kalkül und Leidenschaft II: Spiel und Wettkampf (''Wall of Fame'')]]
	Animal races, fights and shows have a long-standing history in many cultures. Some are even constitutive for a people's social fabric. One of the most notable investigations has been Clifford Geertz ethnographic work on the cock fights in the Balinese society. His findings have been important for developing general theories of play such as of Roger Caillois and others. The "Reason and Emotion" series is far from being an adaption of Caillois’ four categories of play for the theory and practice of animal domestication. However we were somewhat inspired by his approach, which especially shows in our "agon" installation (= competition, Caillois used Greek names to label his categories).<br>		Animal races, fights and shows have a long-standing history in many cultures. Some are even constitutive for a people's social fabric. One of the most notable investigations has been Clifford Geertz ethnographic work on the cock fights in the Balinese society. His findings have been important for developing general theories of play such as of Roger Caillois and others. The "Reason and Emotion" series is far from being an adaption of Caillois’ four categories of play for the theory and practice of animal domestication. However we were somewhat inspired by his approach, which especially shows in our "agon" installation (= competition, Caillois used Greek names to label his categories).<br>

Felixsattler at 22:20, 11 March 2011

2011-03-11T22:20:43Z

Felixsattler at 22:15, 11 March 2011

2011-03-11T22:15:57Z

← Older revision		Revision as of 22:15, 11 March 2011
Line 47:		Line 47:
	More recently, these animals and plants appeared on the logos of well-known commercial brands as well as sports clubs and other institutions. They have become important for the communication of corporate identities. The goal is to symbolically transfer the animals’ or plants’ actual or imaginary properties to athletes or consumer goods such as sports cars and energy drinks.		More recently, these animals and plants appeared on the logos of well-known commercial brands as well as sports clubs and other institutions. They have become important for the communication of corporate identities. The goal is to symbolically transfer the animals’ or plants’ actual or imaginary properties to athletes or consumer goods such as sports cars and energy drinks.
	We decided on a small collection of coats of arms, corporate and sports clubs logos. In order to emphasise the different application of the same species, we printed the coats of arms on wooden panels, the brand logos on aluminum and the sports clubs’ bagdes on textile to resemble athlethes’ and fans’ jerseys.		We decided on a small collection of coats of arms, corporate and sports clubs logos. In order to emphasise the different application of the same species, we printed the coats of arms on wooden panels, the brand logos on aluminum and the sports clubs’ bagdes on textile to resemble athlethes’ and fans’ jerseys.
			[[File:Gunnar Brehm Domestikation detail status symbols.jpg\|thumb\|right\|250px\|Wall of Fame, detailed view]]


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	Of course we do play with our food – and maybe we must needs to do so. During food preparation, animals and plants are aestheticised in order to remove any trace of their dismal existence in our industrial food production environments. Only by doing so, they become edible again at all. The tools we use during the process of transforming a carcass into an appealing typology of meat pieces do not only resemble the practical need to make complete use of the animal. The different shapes of knives, forks and other instrumentation also tell a story of cultural diversification and ancient rituals and religious practices.		Of course we do play with our food – and maybe we must needs to do so. During food preparation, animals and plants are aestheticised in order to remove any trace of their dismal existence in our industrial food production environments. Only by doing so, they become edible again at all. The tools we use during the process of transforming a carcass into an appealing typology of meat pieces do not only resemble the practical need to make complete use of the animal. The different shapes of knives, forks and other instrumentation also tell a story of cultural diversification and ancient rituals and religious practices.
	We like the idea to correspond a typology of knives with the one of a beef meat chart. The chart's visual similarity to the periodic table of the elements added to the "scientific" feel of our work, hence linking it back to the natural history museum’s rule for precision.		We like the idea to correspond a typology of knives with the one of a beef meat chart. The chart's visual similarity to the periodic table of the elements added to the "scientific" feel of our work, hence linking it back to the natural history museum’s rule for precision.
			[[File:Gunnar Brehm Domestikation Messer.jpg\|thumb\|right\|250px\|Wall of Fame, detailed view]]



	[[File:felixsattler_domestikation_01.jpg\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]		[[File:felixsattler_domestikation_01.jpg\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]

Felixsattler at 22:08, 11 March 2011

2011-03-11T22:08:19Z

← Older revision		Revision as of 22:08, 11 March 2011
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	[[File:felixsattler_domestikation_03.jpg\|thumb\|right\|250px\|detailed view of the dog leashes and collars]]We tend to regard those first as a practical tool to carry out human power over animals. To us, it was even more important that they publicly visualize a distinct "channel" between human and animal. The diversity of available leashes on the market displays much of the emotional quality of human-animal relationships as well as the real or intended social status of each "pair" or "couple". Furthermore, dressage is always about creating an anthropomorphic animal, which is probably most convincingly pointed out in the genre of comic films featuring animal protagonists. We felt the need to show that there is also a cultural technique reversing this making of the anthropomorphic animal: As in certain sex practices, humans sometimes also tend to "play animal", which is why we added a leash from the stock of a sex toys manufacturer to the display.		[[File:felixsattler_domestikation_03.jpg\|thumb\|right\|250px\|detailed view of the dog leashes and collars]]We tend to regard those first as a practical tool to carry out human power over animals. To us, it was even more important that they publicly visualize a distinct "channel" between human and animal. The diversity of available leashes on the market displays much of the emotional quality of human-animal relationships as well as the real or intended social status of each "pair" or "couple". Furthermore, dressage is always about creating an anthropomorphic animal, which is probably most convincingly pointed out in the genre of comic films featuring animal protagonists. We felt the need to show that there is also a cultural technique reversing this making of the anthropomorphic animal: As in certain sex practices, humans sometimes also tend to "play animal", which is why we added a leash from the stock of a sex toys manufacturer to the display.

	====Competition (''Wettkampf'')====		====Competition (''Spiel und Wettkampf'')====
	The "Wall of Fame" shows a custom selection of animal trophies – medals, show ribbons, sashs, rosettes and a cup.		The "Wall of Fame" shows a custom selection of animal trophies – medals, show ribbons, sashs, rosettes and a cup.
	[[File:felixsattler_domestikation_06.jpg\|thumb\|right\|250px\|Wall of Fame, detailed view]]		[[File:felixsattler_domestikation_06.jpg\|thumb\|right\|250px\|Wall of Fame, detailed view]]
Line 42:		Line 42:
	For us it was important that animal competitions had an ambivalent concept about them that appears sometimes "technical", i.e. it is argued necessary for breeding and pedigree assessment, while at the same time being very colourful and highly ritualized events. For example, the often exciting betting that powers (not only) German horse-racing, is deregulated by the government because it is not regarded as play but as a necessary process in breeding assessment.<br>		For us it was important that animal competitions had an ambivalent concept about them that appears sometimes "technical", i.e. it is argued necessary for breeding and pedigree assessment, while at the same time being very colourful and highly ritualized events. For example, the often exciting betting that powers (not only) German horse-racing, is deregulated by the government because it is not regarded as play but as a necessary process in breeding assessment.<br>
	It felt amusing that animals were decorated with pretty much the same-looking types of awards that are also granted to human competitors. We believe that especially some of the medals ("Schweinemedaillon" / "Medaillon of Pork") appear actually quite grotesque with their laurel wreaths and national colours. We hope that these might explain more about our relation with domestic animals and their almost seamless inclusion into our meritocracies.		It felt amusing that animals were decorated with pretty much the same-looking types of awards that are also granted to human competitors. We believe that especially some of the medals ("Schweinemedaillon" / "Medaillon of Pork") appear actually quite grotesque with their laurel wreaths and national colours. We hope that these might explain more about our relation with domestic animals and their almost seamless inclusion into our meritocracies.

			===Status symbols====
			Many domestic species embellish the coats of arms of nations, regions, cities and dynasties.
			More recently, these animals and plants appeared on the logos of well-known commercial brands as well as sports clubs and other institutions. They have become important for the communication of corporate identities. The goal is to symbolically transfer the animals’ or plants’ actual or imaginary properties to athletes or consumer goods such as sports cars and energy drinks.
			We decided on a small collection of coats of arms, corporate and sports clubs logos. In order to emphasise the different application of the same species, we printed the coats of arms on wooden panels, the brand logos on aluminum and the sports clubs’ bagdes on textile to resemble athlethes’ and fans’ jerseys.


			====Nourishing vs savouring====
			Of course we do play with our food – and maybe we must needs to do so. During food preparation, animals and plants are aestheticised in order to remove any trace of their dismal existence in our industrial food production environments. Only by doing so, they become edible again at all. The tools we use during the process of transforming a carcass into an appealing typology of meat pieces do not only resemble the practical need to make complete use of the animal. The different shapes of knives, forks and other instrumentation also tell a story of cultural diversification and ancient rituals and religious practices.
			We like the idea to correspond a typology of knives with the one of a beef meat chart. The chart's visual similarity to the periodic table of the elements added to the "scientific" feel of our work, hence linking it back to the natural history museum’s rule for precision.


	[[File:felixsattler_domestikation_01.jpg\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]		[[File:felixsattler_domestikation_01.jpg\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]

← Older revision		Revision as of 22:20, 11 March 2011
Line 37:		Line 37:
	====Competition (''Spiel und Wettkampf'')====		====Competition (''Spiel und Wettkampf'')====
	The "Wall of Fame" shows a custom selection of animal trophies – medals, show ribbons, sashs, rosettes and a cup.		The "Wall of Fame" shows a custom selection of animal trophies – medals, show ribbons, sashs, rosettes and a cup.
	[[File:~~felixsattler_domestikation_06~~.jpg\|thumb\|right\|250px\|Wall of Fame, detailed view]]		[[File:File:Gunnar Brehm Domestikation detail wall of fame.jpg\|thumb\|right\|250px\|Wall of Fame, detailed view, photo: Gunnar Brehm]]
	[[File:Felixsattler domestikation medals detail.jpg\|thumb\|right\|250px\|Elisabeth Kaufmann & Felix Sattler: Kalkül und Leidenschaft II: Spiel und Wettkampf (''Wall of Fame'')]]		[[File:Felixsattler domestikation medals detail.jpg\|thumb\|right\|250px\|Elisabeth Kaufmann & Felix Sattler: Kalkül und Leidenschaft II: Spiel und Wettkampf (''Wall of Fame'')]]
	Animal races, fights and shows have a long-standing history in many cultures. Some are even constitutive for a people's social fabric. One of the most notable investigations has been Clifford Geertz ethnographic work on the cock fights in the Balinese society. His findings have been important for developing general theories of play such as of Roger Caillois and others. The "Reason and Emotion" series is far from being an adaption of Caillois’ four categories of play for the theory and practice of animal domestication. However we were somewhat inspired by his approach, which especially shows in our "agon" installation (= competition, Caillois used Greek names to label his categories).<br>		Animal races, fights and shows have a long-standing history in many cultures. Some are even constitutive for a people's social fabric. One of the most notable investigations has been Clifford Geertz ethnographic work on the cock fights in the Balinese society. His findings have been important for developing general theories of play such as of Roger Caillois and others. The "Reason and Emotion" series is far from being an adaption of Caillois’ four categories of play for the theory and practice of animal domestication. However we were somewhat inspired by his approach, which especially shows in our "agon" installation (= competition, Caillois used Greek names to label his categories).<br>
Line 47:		Line 47:
	More recently, these animals and plants appeared on the logos of well-known commercial brands as well as sports clubs and other institutions. They have become important for the communication of corporate identities. The goal is to symbolically transfer the animals’ or plants’ actual or imaginary properties to athletes or consumer goods such as sports cars and energy drinks.		More recently, these animals and plants appeared on the logos of well-known commercial brands as well as sports clubs and other institutions. They have become important for the communication of corporate identities. The goal is to symbolically transfer the animals’ or plants’ actual or imaginary properties to athletes or consumer goods such as sports cars and energy drinks.
	We decided on a small collection of coats of arms, corporate and sports clubs logos. In order to emphasise the different application of the same species, we printed the coats of arms on wooden panels, the brand logos on aluminum and the sports clubs’ bagdes on textile to resemble athlethes’ and fans’ jerseys.		We decided on a small collection of coats of arms, corporate and sports clubs logos. In order to emphasise the different application of the same species, we printed the coats of arms on wooden panels, the brand logos on aluminum and the sports clubs’ bagdes on textile to resemble athlethes’ and fans’ jerseys.
	[[File:Gunnar Brehm Domestikation detail status symbols.jpg\|thumb\|right\|250px\|~~Wall~~ of ~~Fame~~, detailed view]]		[[File:Gunnar Brehm Domestikation detail status symbols.jpg\|thumb\|right\|250px\|Coat of Arms, detailed view, photo: Gunnar Brehm]]


Line 53:		Line 53:
	Of course we do play with our food – and maybe we must needs to do so. During food preparation, animals and plants are aestheticised in order to remove any trace of their dismal existence in our industrial food production environments. Only by doing so, they become edible again at all. The tools we use during the process of transforming a carcass into an appealing typology of meat pieces do not only resemble the practical need to make complete use of the animal. The different shapes of knives, forks and other instrumentation also tell a story of cultural diversification and ancient rituals and religious practices.		Of course we do play with our food – and maybe we must needs to do so. During food preparation, animals and plants are aestheticised in order to remove any trace of their dismal existence in our industrial food production environments. Only by doing so, they become edible again at all. The tools we use during the process of transforming a carcass into an appealing typology of meat pieces do not only resemble the practical need to make complete use of the animal. The different shapes of knives, forks and other instrumentation also tell a story of cultural diversification and ancient rituals and religious practices.
	We like the idea to correspond a typology of knives with the one of a beef meat chart. The chart's visual similarity to the periodic table of the elements added to the "scientific" feel of our work, hence linking it back to the natural history museum’s rule for precision.		We like the idea to correspond a typology of knives with the one of a beef meat chart. The chart's visual similarity to the periodic table of the elements added to the "scientific" feel of our work, hence linking it back to the natural history museum’s rule for precision.
	[[File:Gunnar Brehm Domestikation Messer.jpg\|thumb\|right\|250px\|~~Wall of Fame~~, detailed view]]		[[File:Gunnar Brehm Domestikation Messer.jpg\|thumb\|right\|250px\|Knives, detailed view, photo: Gunnar Brehm]]



	[[File:felixsattler_domestikation_01.jpg\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]		[[File:felixsattler_domestikation_01.jpg\|800px\|The Phyletisches Museum's "Medusensaal" special exhibition area showing the Domestikation exhibition. The exhibition logo and the bench around the central column were designed by Elisabeth Kaufmann & Felix Sattler and Konrad Angermüller (graphic design). Foto: Felix Sattler]]