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German philosophy

German philosophy, meaning philosophy in the German language or philosophy by German people, in its diversity, is fundamental for both the analytic and continental traditions. It covers figures such as Gottfried Wilhelm Leibniz, Immanuel Kant, Georg Wilhelm Friedrich Hegel, Karl Marx, Friedrich Nietzsche, Martin Heidegger, Ludwig Wittgenstein, the Vienna Circle, and the Frankfurt School, who now count among the most famous and studied philosophers of all time. They are central to major philosophical movements such as rationalism, German idealism, Romanticism, dialectical materialism, existentialism, phenomenology, hermeneutics, logical positivism, and critical theory. The Danish philosopher Søren Kierkegaard is often also included in surveys of German philosophy due to his extensive engagement with German thinkers.

17th century
Jakob Böhme (1575–1624), the Lutheran philosopher who founded Christian theosophy, influenced later key figures including F.W.J. Schelling and G.W.F. Hegel, who called him "the first German philosopher".

Leibniz
Gottfried Wilhelm Leibniz (1646–1716) was both a philosopher and a mathematician who wrote primarily in Latin and French. Leibniz, along with René Descartes and Baruch Spinoza, was one of the three great 17th century advocates of rationalism. The work of Leibniz also anticipated modern logic and analytic philosophy, but his philosophy also looks back to the scholastic tradition, in which conclusions are produced by applying reason to first principles or a priori definitions rather than to empirical evidence.

Leibniz is noted for his optimism – his Théodicée tries to justify the apparent imperfections of the world by claiming that it is optimal among all possible worlds. It must be the best possible and most balanced world, because it was created by an all powerful and all knowing God, who would not choose to create an imperfect world if a better world could be known to him or possible to exist. In effect, apparent flaws that can be identified in this world must exist in every possible world, because otherwise God would have chosen to create the world that excluded those flaws.

Leibniz is also known for his theory of monads, as exposited in Monadologie. They can also be compared to the corpuscles of the mechanical philosophy of René Descartes and others. Monads are the ultimate elements of the universe. The monads are "substantial forms of being" with the following properties: they are eternal, indecomposable, individual, subject to their own laws, un-interacting, and each reflecting the entire universe in a pre-established harmony (a historically important example of panpsychism). Monads are centers of force; substance is force, while space, matter, and motion are merely phenomenal.

Wolff
Christian Wolff (1679–1754) was the most eminent German philosopher between Leibniz and Kant. His main achievement was a complete oeuvre on almost every scholarly subject of his time, displayed and unfolded according to his demonstrative-deductive, mathematical method, which perhaps represents the peak of Enlightenment rationality in Germany.

Wolff was one of the first to use German as a language of scholarly instruction and research, although he also wrote in Latin, so that an international audience could, and did, read him. A founding father of, among other fields, economics and public administration as academic disciplines, he concentrated especially in these fields, giving advice on practical matters to people in government, and stressing the professional nature of university education.

Kant
In 1781, Immanuel Kant (1724–1804) published his Critique of Pure Reason, in which he attempted to determine what we can and cannot know through the use of reason independent of all experience. Briefly, he came to the conclusion that we could come to know an external world through experience, but that what we could know about it was limited by the limited terms in which the mind can think: if we can only comprehend things in terms of cause and effect, then we can only know causes and effects. It follows from this that we can know the form of all possible experience independent of all experience, but nothing else, but we can never know the world from the "standpoint of nowhere" and therefore we can never know the world in its entirety, neither via reason nor experience.

Since the publication of his Critique, Immanuel Kant has been considered one of the greatest influences in all of western philosophy. In the late 18th and early 19th century, one direct line of influence from Kant is German Idealism.

German idealism
German idealism was a philosophical movement that emerged in Germany in the late 18th and early 19th centuries. It developed out of the work of Immanuel Kant in the 1780s and 1790s, and was closely linked both with Romanticism and the revolutionary politics of the Enlightenment. The most prominent German idealists in the movement, besides Kant, were Johann Gottlieb Fichte (1762–1814), Friedrich Wilhelm Joseph Schelling, (1775–1854) and Georg Wilhelm Friedrich Hegel (1770–1831), who was the predominant figure in nineteenth century German philosophy. Also important were the Jena Romantics Friedrich Hölderlin (1770–1843), Novalis (1772–1801), and Karl Wilhelm Friedrich Schlegel (1772–1829). August Ludwig Hülsen, Friedrich Heinrich Jacobi, Gottlob Ernst Schulze, Karl Leonhard Reinhold, Salomon Maimon, Friedrich Schleiermacher, and Arthur Schopenhauer also made major contributions.

Fichte
As a representative of subjective idealism, Fichte rejected the Kantian "thing-in-itself." Fichte declares as the starting point of his philosophy the absolute "I," which itself creates the world with all its laws. Fichte understands the activity of this "I" as the activity of thought, as a process of self-awareness. Fichte recognizes absolute free will, God and the immortality of the soul. He sees in law one of the manifestations of the “I".

Speaking with progressive slogans of defending the national sovereignty of the Germans from Napoleon, Fichte at the same time put forward chauvinist slogans, especially in his Addresses to the German Nation (1808), for which Fichte is regarded as one of the founders of modern German nationalism.

Schelling
Friedrich Wilhelm Joseph Schelling, who initially adhered to the ideas of Fichte, subsequently created his own philosophical system. Nature and consciousness, object and subject, Schelling argued, coincide in the Absolute; Schelling called his philosophy "the philosophy of identity."

In natural philosophy, Schelling set himself the task of knowing the absolute, infinite spirit that lies at the basis of empirical visible nature. According to Schelling, the science of nature, based exclusively on reason, is designed to reveal the unconditioned cause that produces all natural phenomena. Schelling considered the absolute as a beginning capable of self-development through contradictions; in this sense, Schelling’s philosophy is characterized by some features of idealist dialectics. In his early philosophy, around 1800, Schelling assigned a special role to art, in which, according to him, the reality of "higher being" is fully comprehended. Schelling interpreted art as "revelation." The artist, according to Schelling at this time, is a kind of mystical creature who creates in unconsciousness.

For Schelling, the main instrument of creativity is intuition, "inner contemplation." In later life, Schelling evolves towards a mystical philosophy (Mysterienlehre). He was invited by the Prussian king Friedrich Wilhelm IV to the post of professor at the University of Berlin with the aim of combating the then-popular ideas of the left-liberal Young Hegelians. It was during this period of his life that Schelling created the mystical "philosophy of revelation".

Hegel
Georg Wilhelm Friedrich Hegel is widely considered to be the greatest German idealist philosopher. According to Hegel’s system of objective or absolute idealism, reality is self-movement, and its activity can be expressed only in thinking, in self-knowledge. It is internally contradictory, it moves and changes, passing into its opposite.

Hegel presents the dialectical process of self-development in three main stages, which are ordered conceptually, not temporally. The first stage is logical, was describes the "pre-natural" structure being in the "element of pure thinking." At this stage, the "absolute idea" appears as a system of logical concepts and categories, as a system of logic. This part of Hegel's philosophical system is set forth in his Science of Logic. At the second stage, the "idea" is considered "in its externality" as nature. Hegel expounded his doctrine of nature in The Philosophy of Nature. The highest, third step in the self-development of the idea is spirit, which Hegel, for the most part, presents as it increasingly comes to know itself in history. Hegel reveals this stage of development of the "absolute idea" in his work Philosophy of Spirit from the Encyclopedia of the Philosophical Sciences and in his lectures at the University of Berlin, many of which cover material not found in his published writings. The highest stage of spirit is presented as in the forms of art, religion, and philosophy.

The main works of Hegel are The Phenomenology of Spirit (1807), Science of Logic (1812–1816), Encyclopedia of the Philosophical Sciences (Logic, Philosophy of Nature, Philosophy of Spirit) (1817), Elements of the Philosophy of Right (1821).

German Romanticism
Immanuel Kant's criticism of rationalism was a source of influence for early Romantic thought. Hamann's and Herder's philosophical thoughts were also influential on both the proto-Romantic Sturm und Drang movement and on Romanticism itself.

The philosophy of Fichte was of pivotal importance for the Romantics. The founder of German Romanticism, Friedrich Schlegel, identified the "three sources of Romanticism": the French Revolution, Fichte's philosophy, and Goethe's novel Wilhelm Meister. Schelling, who was associated with the Schlegel brothers in Jena, took many of his philosophical and aesthetical ideas from the Romantics, and also influenced them on their own views: "In his philosophy of art, Schelling emerged from the subjective boundaries in which Kant concluded aesthetics, referring it only to features of judgment. Schelling's aesthetics, understanding the world as an artistic creation, has adopted a universal character and served as the basis for the teachings of the Romantic school." It is argued that Friedrich Schlegel's subjectivism and his glorification of the superior intellect as property of a select elite influenced Schelling's doctrine of intellectual intuition, which György Lukács called "the first manifestation of irrationalism". As much as Early Romanticism influenced the young Schelling's Naturphilosophie (his interpretation of nature as an expression of spiritual powers), so did Late Romanticism influence the older Schelling's mythological and mysticist worldview (Mysterienlehre). According to Lukács, Kierkegaard's views on philosophy and aesthetics were also an offshoot of Romanticism.

Schopenhauer also owed certain features of his philosophy to Romantic pessimism: "Since salvation from suffering associated with the will is available through art only to a select few, Schopenhauer proposed another, more accessible way of overcoming the "I" – Buddhist Nirvana. In essence, Schopenhauer, although he was confident in the innovation of his revelations, did not give anything original here in comparison with the idealization of the Eastern world outlook by reactionary Romantics – it was indeed Friedrich Schlegel who introduced this idealization in Germany with his Über die Sprache und Weisheit der Indier (About the language and wisdom of the Indians)." In the opinion of György Lukács, Friedrich Nietzsche's importance as an irrationalist philosopher lay in that, while his early influences are to be found in Romanticism, he founded a modern irrationalism antithetical to that of the Romantics Even in his post-Schopenhauerian period, however, Nietzsche paid some tributes to Romanticism, for example borrowing the title of his book The Gay Science (Die fröhliche Wissenschaft, 1882–87) from Friedrich Schlegel's 1799 novel Lucinde.

Lukács also emphasized that the emergence of organicism in philosophy received its impetus from Romanticism: "This view, that only 'organic growth', that is to say change through small and gradual reforms with the consent of the ruling class, was regarded as 'a natural principle', whereas every revolutionary upheaval received the dismissive tag of 'contrary to nature' gained a particularly extensive form in the course of the development of reactionary German romanticism (Savigny, the historical law school, etc.). The antithesis of 'organic growth' and 'mechanical fabrication' was now elaborated: it constituted a defence of 'naturally grown' feudal privileges against the praxis of the French Revolution and the bourgeois ideologies underlying it, which were repudiated as mechanical, highbrow and abstract." Wilhelm Dilthey, founder (along with Nietzsche, Simmel, and Klages) of the intuitionist and irrationalist school of Lebensphilosophie in Germany, is credited with leading the Romantic revival in hermeneutics of the early 20th century. With his Schleiermacher biography and works on Novalis, Hölderlin, and others, he was one of the initiators of the Romantic renaissance in the imperial period. His discovery and annotation of the young Hegel's manuscripts became crucial to the vitalistic interpretation of Hegelian philosophy in the post-war period; his Goethe study likewise ushered in the vitalistic interpretation of Goethe subsequently leading from Simmel and Gundolf to Klages.

Passivity was a key element of the Romantic mood in Germany, and it was brought by the Romantics into their own religious and philosophical views. The theologian Schleiermacher argued that the true essence of religion lies not in the active love of one’s neighbor, but in the passive contemplation of the infinite. In Schelling’s philosophical system, the creative absolute (God) is immersed in the same passive, motionless state.

The only activity that the Romantics allowed is that in which there is almost no volitional element, that is, artistic creativity. They considered the representatives of art to be the happiest people, and in their works, along with knights chained in armor, poets, painters and musicians usually appear. Schelling considered an artist to be incomparably higher than a philosopher, because the secret of the world can be guessed from his minutia not by systematic logical thinking, but only by direct artistic intuition ("intellectual intuition"). Romantics loved to dream of such legendary countries, where all life with its everyday cares gave way to the eternal holiday of poetry.

The quietist and aestheticist mood of Romanticism, the reflection and idealization of the mood of the aristocracy, again emerges in Schopenhauer’s philosophical system The World as Will and Representation, ending with a pessimistic chord. Schopenhauer argued that at the heart of the world and man lies the “will to life,” which leads them to suffering and boredom, and happiness can be experienced only by those who free themselves from its oppressive domination. Even the artist is freed from the power of the will only temporarily. As soon as he turns into an ordinary mortal, his greedy will again raises its voice and throws him into the embrace of disappointment and boredom. Above the artist stands, therefore, the Hindu sage or the holy ascetic.

Karl Marx and the Young Hegelians
Hegel was hugely influential throughout the nineteenth century; by its end, according to Bertrand Russell, "the leading academic philosophers, both in America and Britain, were largely Hegelian". His influence has continued in contemporary philosophy, especially in Continental philosophy.

Right Hegelians
Among those influenced by Hegel immediately after his death in 1831, two distinct groups can be roughly divided into the politically and religiously radical 'left', or 'young', Hegelians and the more conservative 'right', or 'old', Hegelians. The Right Hegelians followed the master in believing that the dialectic of history had come to an end—Hegel's Phenomenology of Spirit reveals itself to be the culmination of history as the reader reaches its end. Here he meant that reason and freedom had reached their maximums as they were embodied by the existing Prussian state. And here the master’s claim was viewed as paradox, at best; the Prussian regime indeed provided extensive civil and social services, good universities, high employment and some industrialization, but it was ranked as rather backward politically compared with the more liberal constitutional monarchies of France and Britain.

Speculative theism was an 1830s movement closely related to, but distinguished from, Right Hegelianism. Its proponents (Immanuel Hermann Fichte (1796–1879), Christian Hermann Weisse (1801–1866), and Hermann Ulrici (1806–1884) were united in their demand to recover the "personal God" after panlogist Hegelianism. The movement featured elements of anti-psychologism in the historiography of philosophy.

Young Hegelians
The Young Hegelians drew on Hegel's idea that the purpose and promise of history was the total negation of everything conducive to restricting freedom and reason; and they proceeded to mount radical critiques, first of religion and then of the Prussian political system. They felt Hegel's apparent belief in the end of history conflicted with other aspects of his thought and that, contrary to his later thought, the dialectic was certainly not complete; this they felt was obvious given the irrationality of religious beliefs and the empirical lack of freedoms—especially political and religious freedoms—in existing Prussian society. They rejected anti-utopian aspects of his thought that "Old Hegelians" have interpreted to mean that the world has already essentially reached perfection. They included Ludwig Feuerbach (1804–72), David Strauss (1808–74), Bruno Bauer (1809–82) and Max Stirner (1806–56) among their ranks.

Karl Marx (1818–83) often attended their meetings. He developed an interest in Hegelianism, French socialism, and British economic theory. He transformed the three into an essential work of economics called Das Kapital, which consisted of a critical economic examination of capitalism. Marxism became one of the major forces on twentieth century world history.

It is important to note that the groups were not as unified or as self-conscious as the labels 'right' and 'left' make them appear. The term 'Right Hegelian', for example, was never actually used by those to whom it was later ascribed, namely, Hegel's direct successors at the Fredrick William University (now the Humboldt University of Berlin). (The term was first used by David Strauss to describe Bruno Bauer—who actually was a typically 'Left', or Young, Hegelian.)

Friedrich Engels
Friedrich Engels, also a Young Hegelian originally, was a friend and associate of Marx, together with whom he developed the theory of scientific socialism (communism) and the doctrines of dialectical and historical materialism. His major works include The Holy Family (together with Marx, 1844) criticizing the Young Hegelians, The Condition of the Working Class in England (1845), a study of the deprived conditions of the working class in Manchester and Salford based on Engels's personal observations, The Peasant War in Germany (1850), an account of the early 16th-century uprising known as the German Peasants' War with a comparison with the recent revolutionary uprisings of 1848–1849 across Europe, Anti-Dühring (1878) criticizing the philosophy of Eugen Dühring, Socialism: Utopian and Scientific (1880) studying the utopian socialists Charles Fourier and Robert Owen and their differences with Engels' version of socialism, Dialectics of Nature (1883) applying Marxist ideas, particularly those of dialectical materialism, to science, and The Origin of the Family, Private Property and the State (1884) arguing that the family is an ever-changing institution that has been shaped by capitalism. It contains an historical view of the family in relation to issues of class, female subjugation and private property.

Dietzgen
Joseph Dietzgen was a German leatherworker and social democrat, who independently developed a number of questions of philosophy and came to conclusions very close to the dialectical materialism of Marx and Engels. After the revolution of 1848 he emigrated to America and in 1864 in search of work, he went to Russia. Working in a tannery in St. Petersburg, Dietzgen devoted all his leisure time to works in the field of philosophy, political economy and socialism. In Russia he wrote a large philosophical treatise, The Essence of the Mental Labor of Man, a review of the first volume of Capital by Karl Marx. In 1869 Dietzgen returned to Germany, and then moved again to America, where he wrote his philosophical works Excursions of a Socialist in the Field of the Theory of Knowledge and Acquisition of Philosophy.

Marx highly appreciated Dietzgen as a thinker. Noting a number of mistakes and confusion in his views, Marx wrote that Dietzgen expressed “many excellent thoughts, and as a product of the independent thinking of a worker, worthy of amazement.” Engels gave Dietzgen the same high assessment. “And it is remarkable,” wrote Engels, “that we were not alone in discovering this materialistic dialectic, which for many years now has been our best tool of labor and our sharpest weapon; the German worker Joseph Dietzgen rediscovered it independently of us and even independently of Hegel.”

The "academic socialists"
The Kathedersozialismus movement (academic socialism) was a theoretical and political trend that arose in the second half of the 19th century in German universities. The “academic socialists” – mostly economists and sociologists belonging to the “Historical School” – tried to prove that a people’s state could be built in Prussian Germany through reform, without the revolutionary overthrow of capitalism and of the state, thus rejecting the Marxist notion of class struggle. In 1872 the Kathedersozialisten formed in Germany the "Union of Social Policy". Their ideas were similar to those of the Fabian socialists in Britain.

“Academic socialism” supported a variation of Otto von Bismarck’s welfare state. The most notable “academic socialists” in Germany were Bruno Hildebrand, who was openly against Marx and Engels, Gustav von Schmoller, Adolph Wagner, Lujo Brentano, Johann Plenge, Hans Delbrück, Ferdinand Toennies and Werner Sombart. In the labor movement in Germany, their line was supported by Ferdinand Lassalle.

Dühring
Eugen Dühring was a German professor of mechanics, philosopher and economist. In philosophy he was an eclectic who combined positivism, mechanistic materialism and idealism. He criticized the views of Friedrich Engels. Dühring’s views on philosophy, political economy and socialism found support among some Social Democrats, in particular by Eduard Bernstein. Engels dedicated his entire book Anti-Dühring to criticizing Dühring's views.

Schopenhauer
An idiosyncratic opponent of German idealism, particularly Hegel's thought, was Arthur Schopenhauer (1788 –1860). He was influenced by Eastern philosophy, particularly Buddhism, and was known for his pessimism. Schopenhauer's most influential work, The World as Will and Representation (1818), claimed that the world is fundamentally what we recognize in ourselves as our will. His analysis of will led him to the conclusion that emotional, physical, and sexual desires can never be fulfilled. Consequently, he eloquently described a lifestyle of negating desires, similar to the ascetic teachings of Vedanta and the Desert Fathers of early Christianity.

Towards the end of Schopenhauer's life and in the years after his death, post-Schopenhauerian pessimism became a rather popular "trend" in 19th century Germany. Nevertheless, it was viewed with disdain by the other popular philosophies at the time, such as Hegelianism, materialism, neo-Kantianism, and the emerging positivism. In an age of upcoming revolutions and exciting new discoveries in science, the resigned and a-progressive nature of the typical pessimist was seen as detriment to social development. To respond to this growing criticism, a group of philosophers greatly influenced by Schopenhauer such as Julius Bahnsen (1830–81), Karl Robert Eduard von Hartmann (1842–1906), Philipp Mainländer (1841–76), and even some of his personal acquaintances developed their own brand of pessimism, each in their own unique way.

Mainländer
Working in the metaphysical framework of Schopenhauer, Philipp Mainländer sees the "will" as the innermost core of being, the ontological arche. However, he deviates from Schopenhauer in important respects. With Schopenhauer the will is singular, unified and beyond time and space. Schopenhauer's transcendental idealism leads him to conclude that we only have access to a certain aspect of the thing-in-itself by introspective observation of our own bodies. What we observe as will is all there is to observe, nothing more. There are no hidden aspects. Furthermore, via introspection we can only observe our individual will. This also leads Mainländer to the philosophical position of pluralism.

Additionally, Mainländer accentuates on the idea of salvation for all of creation. This is yet another respect in which he differentiates his philosophy from that of Schopenhauer. With Schopenhauer, the silencing of the will is a rare event. The artistic genius can achieve this state temporarily, while only a few saints have achieved total cessation throughout history. For Mainländer, the entirety of the cosmos is slowly but surely moving towards the silencing of the will-to-live and to (as he calls it) "redemption".

Neo-Kantianism
Neo-Kantianism refers broadly to a revived type of philosophy along the lines of that laid down by Immanuel Kant in the 18th century, or more specifically by Schopenhauer's criticism of the Kantian philosophy in his work The World as Will and Representation, as well as by other post-Kantian philosophers such as Jakob Friedrich Fries (1773–1843) and Johann Friedrich Herbart (1776–1841).

The neo-Kantian schools tended to emphasize scientific readings of Kant, often downplaying the role of intuition in favour of concepts. However, the ethical aspects of neo-Kantian thought often drew them within the orbit of socialism, and they had an important influence on Austromarxism and the revisionism of Eduard Bernstein. The neo-Kantian school was of importance in devising a division of philosophy that has had durable influence well beyond Germany. It made early use of terms such as epistemology and upheld its prominence over ontology. By 1933 (after the rise of Nazism), the various neo-Kantian circles in Germany had dispersed.

Nietzsche
Friedrich Nietzsche (1844–1900) was initially a proponent of Schopenhauer. However, he soon came to disavow Schopenhauer's pessimistic outlook on life and sought to provide a positive philosophy. He believed this task to be urgent, as he believed a form of nihilism caused by modernity was spreading across Europe, which he summed up in the phrase "God is dead". His problem, then, was how to live a positive life considering that if you believe in God, you give in to dishonesty and cruel beliefs (e.g., divine predestination of some individuals to Hell), and if you don't believe in God, you give in to nihilism. He believed he found his solution in the concepts of the Übermensch and Eternal Recurrence. His work continues to have a major influence on both philosophers and artists.

Mach and Avenarius
Ernst Mach was an Austrian physicist and philosopher. Mach’s philosophy is set forth in his works Analysis of Sensations (1885), Cognition and Delusion (1905), and others. Mach viewed things as “complexes of sensations,” denying the existence of an external world independent of human consciousness. The philosophy of Machism found support among Western European Marxists such as Friedrich Adler and Otto Bauer, and in Russia among a part of the Bolshevik intelligentsia (Alexander Bogdanov, Vladimir Bazarov, Anatoly Lunacharsky, Pavel Yushkevich, Nikolai Valentinov etc.). Machian views were also widespread among early 20th century Western physicists, including most notably Albert Einstein.

Richard Avenarius was a German philosopher and one of the founders of empirio-criticism. According to Avenarius, consciousness and being, subject and object ("I" and "environment") are in constant, obligatory connection ("fundamental coordination"); there is no being without consciousness, there is no consciousness without being. But Avenarius considered consciousness to be the basis of this connection. According to Avenarius, a thing cannot exist independently of consciousness, without a thinking subject.

Vladimir Lenin dedicated his entire book Materialism and Empirio-Criticism (1909) to the criticism of the philosophical views of Mach and Avenarius, writing that "this philosophy serves the clergy, serves the same purposes as the philosophy of Berkeley and Hume."

Neo-Hegelianism
Neo-Hegelianism, also known as Post-Hegelianism, was a trend developing in the early 20th century, mostly but not exclusively in Germany. Important German neo-Hegelians include Richard Kroner, Siegfried Marck, Arthur Liebert, and Hermann Glockner, while the Frankfurt School can also be said to have been influenced by neo-Hegelianism.

Spengler
Oswald Spengler was a German historian and philosopher of history whose interests included mathematics, science, and art and their relation to his organic theory of history. The main work of Spengler, setting out his philosophy of history, The Decline of the West, was published shortly after the defeat of Imperial Germany in World War I. In this work, Spengler predicts the inevitable collapse of the capitalist civilization, which he identifies with European culture. Spengler’s philosophy is imbued with elitism and a dislike for democracy. He declared the workers (the “fourth estate”) to be “outside of culture,” “outside of history”; the mass, Spengler wrote, is the end of everything, “radical nothing.” Spengler praised the “Old Prussian spirit,” the monarchy, the nobility and militarism. For him, war is “an eternal form of higher human existence.”

Spengler’s philosophy of history” is based on the denial of scientific knowledge. The historical researcher, in his opinion, is the more significant, the less he belongs to science. Spengler opposes intuition to logical, rational knowledge, denying the principle of causality and regularity in social life. Spengler rejects the possibility of knowing objective truth, defending absolute relativism. Along with historical regularity, Spengler rejects the concept of historical progress, tries to prove the meaninglessness of history and the absence of development in it. Spengler contrasts the scientific understanding of natural historical development with historical fatalism – predestination, “destiny.” Spengler also denies the unity of world history. His history breaks down into a number of completely independent, unique “cultures,” special organisms above and beyond, having an individual destiny and experiencing periods of emergence, flourishing and dying.

Spengler reduces the task of the philosophy of history to comprehending the “morphological structure” of each “culture,” which supposedly is based on the “soul of culture.” According to Spengler, Western European culture entered a stage of decline already starting from the 19th century, that is, with the victory of capitalism; the period of its heyday was the era of feudalism. In his work Preussentum und Sozialismus Spengler advances the idea of “German socialism” against “Marxist socialism”. It has been argued that Spengler's ideas had an influence on Hitler and Nazism. A philosophy of history close to Spenglerian views was promoted after the Second World War by the English historian Arnold Toynbee.

Frege, Wittgenstein and the Vienna Circle
In the late 19th century, the predicate logic of Gottlob Frege (1848–1925) made the first substantial advance over Aristotelian logic since its inception in Ancient Greece. This was the beginning of analytic philosophy. In the early part of the 20th century, a group of German and Austrian philosophers and scientists formed the Vienna Circle to promote scientific thought over Hegelian system-building, which they saw as a bad influence on intellectual thought. The group considered themselves logical positivists because they believed all knowledge is either derived through experience or arrived at through analytic statements, and they adopted the predicate logic of Frege, as well as the early work of Ludwig Wittgenstein (1889–1951) as foundations to their work.

Continental philosophy
While some of the seminal philosophers of twentieth-century analytical philosophy were German-speakers, most German-language philosophy of the twentieth century tends to be defined not as analytical but 'continental' philosophy – as befits Germany's position as part of the European 'continent' as opposed to the British Isles or other culturally European nations outside of Europe.

Phenomenology
Phenomenology began at the start of the 20th century with the descriptive psychology of Franz Brentano (1838–1917), and then the transcendental phenomenology of Edmund Husserl (1859–1938). Max Scheler (1874–1928) further developed the philosophical method of phenomenology. It was then transformed by Martin Heidegger (1889–1976), whose famous book Being and Time (1927) applied phenomenology to ontology, and who, along with Ludwig Wittgenstein, is considered one of the most influential philosophers of the 20th century. Phenomenology has had a large influence on Continental Philosophy, particularly existentialism and poststructuralism. Heidegger himself is often identified as an existentialist, though he rejected this.

Hermeneutics
Hermeneutics is the philosophical theory and practice of interpretation and understanding.

Originally hermeneutics referred to the interpretation of texts, especially religious texts. In the 19th century, Friedrich Schleiermacher (1768–1834), Wilhelm Dilthey (1833–1911) and others expanded the discipline of hermeneutics beyond mere exegesis and turned it into a general humanistic discipline. Schleiermacher wondered whether there could be a hermeneutics that was not a collection of pieces of ad hoc advice for the solution of specific problems with text interpretation but rather a "general hermeneutics," which dealt with the "art of understanding" as such, which pertained to the structure and function of understanding wherever it occurs. Later in the 19th century, Dilthey began to see possibilities for continuing Schleiermacher's general hermeneutics project as a "general methodology of the humanities and social sciences".

In the 20th century, hermeneutics took an 'ontological turn'. Martin Heidegger's Being and Time fundamentally transformed the discipline. No longer was it conceived of as being about understanding linguistic communication, or providing a methodological basis for the human sciences – as far as Heidegger was concerned, hermeneutics is ontology, dealing with the most fundamental conditions of man's being in the world. The Heideggerian conception of hermeneutics was further developed by Heidegger's pupil Hans-Georg Gadamer (1900–2002), in his book Truth and Method.

Frankfurt School
In 1923, Carl Grünberg founded the Institute for Social Research, drawing from Marxism, Freud's psychoanalysis, and Weberian philosophy, which came to be known as the "Frankfurt School". Expelled by the Nazis, the school reformed again in Frankfurt after World War II. Although they drew from Marxism, they were outspoken opponents of Stalinism. Books from the group, like Adorno’s and Horkheimer’s Dialectic of Enlightenment and Adorno’s Negative Dialectics, critiqued what they saw as the failure of the Enlightenment project and the problems of modernity.

Since the 1960s, the Frankfurt School has been guided by Jürgen Habermas' (born 1929) work on communicative reason and linguistic intersubjectivity.

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Molecular evolution

Molecular evolution describes how inherited DNA and/or RNA change over evolutionary time, and the consequences of this for proteins and other components of cells and organisms. Molecular evolution is the basis of phylogenetic approaches to describing the tree of life. Molecular evolution overlaps with population genetics, especially on shorter timescales. Topics in molecular evolution include the origins of new genes, the genetic nature of complex traits, the genetic basis of adaptation and speciation, the evolution of development, and patterns and processes underlying genomic changes during evolution.

History
The history of molecular evolution starts in the early 20th century with comparative biochemistry, and the use of "fingerprinting" methods such as immune assays, gel electrophoresis, and paper chromatography in the 1950s to explore homologous proteins. The advent of protein sequencing allowed molecular biologists to create phylogenies based on sequence comparison, and to use the differences between homologous sequences as a molecular clock to estimate the time since the most recent common ancestor. The surprisingly large amount of molecular divergence within and between species inspired the neutral theory of molecular evolution in the late 1960s. Neutral theory also provided a theoretical basis for the molecular clock, although this is not needed for the clock's validity. After the 1970s, nucleic acid sequencing allowed molecular evolution to reach beyond proteins to highly conserved ribosomal RNA sequences, the foundation of a reconceptualization of the early history of life. The Society for Molecular Biology and Evolution was founded in 1982.

Molecular phylogenetics

Molecular phylogenetics uses DNA, RNA, or protein sequences to resolve questions in systematics, i.e. about their correct scientific classification from the point of view of evolutionary history. The result of a molecular phylogenetic analysis is expressed in a phylogenetic tree. Phylogenetic inference is conducted using data from DNA sequencing. This is aligned to identify which sites are homologous. A substitution model describes what patterns are expected to be common or rare. Sophisticated computational inference is then used to generate one or more plausible trees.

Some phylogenetic methods account for variation among sites and among tree branches. Different genes, e.g. hemoglobin vs. cytochrome c, generally evolve at different rates. These rates are relatively constant over time (e.g., hemoglobin does not evolve at the same rate as cytochrome c, but hemoglobins from humans, mice, etc. do have comparable rates of evolution), although rapid evolution along one branch can indicate increased directional selection on that branch. Purifying selection causes functionally important regions to evolve more slowly, and amino acid substitutions involving similar amino acids occurs more often than dissimilar substitutions.

Gene family evolution

Gene duplication can produce multiple homologous proteins (paralogs) within the same species. Phylogenetic analysis of proteins has revealed how proteins evolve and change their structure and function over time.

For example, ribonucleotide reductase (RNR) has evolved a multitude of structural and functional variants. Class I RNRs use a ferritin subunit and differ by the metal they use as cofactors. In class II RNRs, the thiyl radical is generated using an adenosylcobalamin cofactor and these enzymes do not require additional subunits (as opposed to class I which do). In class III RNRs, the thiyl radical is generated using S-adenosylmethionine bound to a [ 4Fe-4S] cluster. That is, within a single family of proteins numerous structural and functional mechanisms can evolve.

In a proof-of-concept study, Bhattacharya and colleagues converted myoglobin, a non-enzymatic oxygen storage protein, into a highly efficient Kemp eliminase using only three mutations. This demonstrates that only few mutations are needed to radically change the function of a protein. Directed evolution is the attempt to engineer proteins using methods inspired by molecular evolution.

Molecular evolution at one site
Change at one locus begins with a new mutation, which might become fixed due to some combination of natural selection, genetic drift, and gene conversion.

Mutation

Mutations are permanent, transmissible changes to the genetic material (DNA or RNA) of a cell or virus. Mutations result from errors in DNA replication during cell division and by exposure to radiation, chemicals, other environmental stressors, viruses, or transposable elements. When point mutations to just one base-pair of the DNA fall within a region coding for a protein, they are characterized by whether they are synonymous (do not change the amino acid sequence) or non-synonymous. Other types of mutations modify larger segments of DNA and can cause duplications, insertions, deletions, inversions, and translocations.

The distribution of rates for diverse kinds of mutations is called the "mutation spectrum" (see App. B of ). Mutations of different types occur at widely varying rates. Point mutation rates for most organisms are very low, roughly 10−9 to 10−8 per site per generation, though some viruses have higher mutation rates on the order of 10−6 per site per generation. Transitions (A ↔ G or C ↔ T) are more common than transversions (purine (adenine or guanine)) ↔ pyrimidine (cytosine or thymine, or in RNA, uracil)). Perhaps the most common type of mutation in humans is a change in the length of a short tandem repeat (e.g., the CAG repeats underlying various disease-associated mutations). Such STR mutations may occur at rates on the order of 10−3 per generation.

Different frequencies of different types of mutations can play an important role in evolution via bias in the introduction of variation (arrival bias), contributing to parallelism, trends, and differences in the navigability of adaptive landscapes. Mutation bias makes systematic or predictable contributions to parallel evolution. Since the 1960s, genomic GC content has been thought to reflect mutational tendencies. Mutational biases also contribute to codon usage bias. Although such hypotheses are often associated with neutrality, recent theoretical and empirical results have established that mutational tendencies can influence both neutral and adaptive evolution via bias in the introduction of variation (arrival bias).

Selection
Selection can occur when an allele confers greater fitness, i.e. greater ability to survive or reproduce, on the average individual than carries it. A selectionist approach emphasizes e.g. that biases in codon usage are due at least in part to the ability of even weak selection to shape molecular evolution.

Selection can also operate at the gene level at the expense of organismal fitness, resulting in intragenomic conflict. This is because there can be a selective advantage for selfish genetic elements in spite of a host cost. Examples of such selfish elements include transposable elements, meiotic drivers, and selfish mitochondria.

Selection can be detected using the Ka/Ks ratio, the McDonald–Kreitman test. Rapid adaptive evolution is often found for genes involved in intragenomic conflict, sexual antagonistic coevolution, and the immune system.

Genetic drift
Genetic drift is the change of allele frequencies from one generation to the next due to stochastic effects of random sampling in finite populations. These effects can accumulate until a mutation becomes fixed in a population. For neutral mutations, the rate of fixation per generation is equal to the mutation rate per replication. A relatively constant mutation rate thus produces a constant rate of change per generation (molecular clock).

Slightly deleterious mutations with a selection coefficient less than a threshold value of 1 / the effective population size can also fix. Many genomic features have been ascribed to accumulation of nearly neutral detrimental mutations as a result of small effective population sizes. With a smaller effective population size, a larger variety of mutations will behave as if they are neutral due to inefficiency of selection.

Gene conversion
Gene conversion occurs during recombination, when nucleotide damage is repaired using an homologous genomic region as a template. It can be a biased process, i.e. one allele may have a higher probability of being the donor than the other in a gene conversion event. In particular, GC-biased gene conversion tends to increase the GC-content of genomes, particularly in regions with higher recombination rates. There is also evidence for GC bias in the mismatch repair process. It is thought that this may be an adaptation to the high rate of methyl-cytosine deamination which can lead to C→T transitions.

The dynamics of biased gene conversion resemble those of natural selection, in that a favored allele will tend to increase exponentially in frequency when rare.

Genome size
Genome size is influenced by the amount of repetitive DNA as well as number of genes in an organism. Some organisms, such as most bacteria, Drosophila, and Arabidopsis have particularly compact genomes with little repetitive content or non-coding DNA. Other organisms, like mammals or maize, have large amounts of repetitive DNA, long introns, and substantial spacing between genes. The C-value paradox refers to the lack of correlation between organism 'complexity' and genome size. Explanations for the so-called paradox are two-fold. First, repetitive genetic elements can comprise large portions of the genome for many organisms, thereby inflating DNA content of the haploid genome. Repetitive genetic elements are often descended from transposable elements.

Secondly, the number of genes is not necessarily indicative of the number of developmental stages or tissue types in an organism. An organism with few developmental stages or tissue types may have large numbers of genes that influence non-developmental phenotypes, inflating gene content relative to developmental gene families.

Neutral explanations for genome size suggest that when population sizes are small, many mutations become nearly neutral. Hence, in small populations repetitive content and other 'junk' DNA can accumulate without placing the organism at a competitive disadvantage. There is little evidence to suggest that genome size is under strong widespread selection in multicellular eukaryotes. Genome size, independent of gene content, correlates poorly with most physiological traits and many eukaryotes, including mammals, harbor very large amounts of repetitive DNA.

However, birds likely have experienced strong selection for reduced genome size, in response to changing energetic needs for flight. Birds, unlike humans, produce nucleated red blood cells, and larger nuclei lead to lower levels of oxygen transport. Bird metabolism is far higher than that of mammals, due largely to flight, and oxygen needs are high. Hence, most birds have small, compact genomes with few repetitive elements. Indirect evidence suggests that non-avian theropod dinosaur ancestors of modern birds also had reduced genome sizes, consistent with endothermy and high energetic needs for running speed. Many bacteria have also experienced selection for small genome size, as time of replication and energy consumption are so tightly correlated with fitness.

Chromosome number and organization
The ant Myrmecia pilosula has only a single pair of chromosomes whereas the Adders-tongue fern Ophioglossum reticulatum has up to 1260 chromosomes. The number of chromosomes in an organism's genome does not necessarily correlate with the amount of DNA in its genome. The genome-wide amount of recombination is directly controlled by the number of chromosomes, with one crossover per chromosome or per chromosome arm, depending on the species.

Changes in chromosome number can play a key role in speciation, as differing chromosome numbers can serve as a barrier to reproduction in hybrids. Human chromosome 2 was created from a fusion of two chimpanzee chromosomes and still contains central telomeres as well as a vestigial second centromere. Polyploidy, especially allopolyploidy, which occurs often in plants, can also result in reproductive incompatibilities with parental species. Agrodiatus blue butterflies have diverse chromosome numbers ranging from n=10 to n=134 and additionally have one of the highest rates of speciation identified to date.

Cilliate genomes house each gene in individual chromosomes.

Organelles
In addition to the nuclear genome, endosymbiont organelles contain their own genetic material. Mitochondrial and chloroplast DNA varies across taxa, but membrane-bound proteins, especially electron transport chain constituents are most often encoded in the organelle. Chloroplasts and mitochondria are maternally inherited in most species, as the organelles must pass through the egg. In a rare departure, some species of mussels are known to inherit mitochondria from father to son.

Origins of new genes
New genes arise from several different genetic mechanisms including gene duplication, de novo gene birth, retrotransposition, chimeric gene formation, recruitment of non-coding sequence into an existing gene, and gene truncation.

Gene duplication initially leads to redundancy. However, duplicated gene sequences can mutate to develop new functions or specialize so that the new gene performs a subset of the original ancestral functions. Retrotransposition duplicates genes by copying mRNA to DNA and inserting it into the genome. Retrogenes generally insert into new genomic locations, lack introns. and sometimes develop new expression patterns and functions.

Chimeric genes form when duplication, deletion, or incomplete retrotransposition combine portions of two different coding sequences to produce a novel gene sequence. Chimeras often cause regulatory changes and can shuffle protein domains to produce novel adaptive functions.

De novo gene birth can give rise to protein-coding genes and non-coding genes from previously non-functional DNA. For instance, Levine and colleagues reported the origin of five new genes in the D. melanogaster genome. Similar de novo origin of genes has been also shown in other organisms such as yeast, rice and humans. De novo genes may evolve from spurious transcripts that are already expressed at low levels.

Constructive neutral evolution
Constructive neutral evolution (CNE) explains that complex systems can emerge and spread into a population through neutral transitions with the principles of excess capacity, presuppression, and ratcheting,  and it has been applied in areas ranging from the origins of the spliceosome to the complex interdependence of microbial communities.

Journals and societies
The Society for Molecular Biology and Evolution publishes the journals "Molecular Biology and Evolution" and "Genome Biology and Evolution" and holds an annual international meeting. Other journals dedicated to molecular evolution include Journal of Molecular Evolution and Molecular Phylogenetics and Evolution. Research in molecular evolution is also published in journals of genetics, molecular biology, genomics, systematics, and evolutionary biology.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Molecular evolution


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Angle of view (photography)

In photography, angle of view (AOV) describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

It is important to distinguish the angle of view from the angle of coverage, which describes the angle range that a lens can image. Typically the image circle produced by a lens is large enough to cover the film or sensor completely, possibly including some vignetting toward the edge. If the angle of coverage of the lens does not fill the sensor, the image circle will be visible, typically with strong vignetting toward the edge, and the effective angle of view will be limited to the angle of coverage.

A camera's angle of view depends not only on the lens, but also on the sensor. Digital sensors are usually smaller than 35 mm film, and this causes the lens to have a narrower angle of view than with 35 mm film, by a constant factor for each sensor (called the crop factor). In everyday digital cameras, the crop factor can range from around 1 (professional digital SLRs), to 1.6 (consumer SLR), to 2 (Micro Four Thirds ILC) to 6 (most compact cameras). So a standard 50 mm lens for 35 mm photography acts like a 50 mm standard "film" lens on a professional digital SLR, but would act closer to an 80 mm lens (1.6×50mm) on many mid-market DSLRs, and the 40-degree angle of view of a standard 50 mm lens on a film camera is equivalent to an 80 mm lens on many digital SLRs.

Calculating a camera's angle of view
For lenses projecting rectilinear (non-spatially-distorted) images of distant objects, the effective focal length and the image format dimensions completely define the angle of view. Calculations for lenses producing non-rectilinear images are much more complex and in the end not very useful in most practical applications. (In the case of a lens with distortion, e.g., a fisheye lens, a longer lens with distortion can have a wider angle of view than a shorter lens with low distortion) Angle of view may be measured horizontally (from the left to right edge of the frame), vertically (from the top to bottom of the frame), or diagonally (from one corner of the frame to its opposite corner).

For a lens projecting a rectilinear image (focused at infinity, see derivation), the angle of view (α) can be calculated from the chosen dimension (d), and effective focal length (f) as follows: $$\alpha = 2 \arctan \frac {d} {2 f}$$

$$d$$ represents the size of the film (or sensor) in the direction measured (see below: sensor effects). For example, for 35 mm film which is 36 mm wide and 24 mm high, $$d = 36\,\mathrm{mm}$$ would be used to obtain the horizontal angle of view and $$d = 24\,\mathrm{mm}$$ for the vertical angle.

Because this is a trigonometric function, the angle of view does not vary quite linearly with the reciprocal of the focal length. However, except for wide-angle lenses, it is reasonable to approximate $$\alpha \approx \frac{d}{f}$$ radians or $$\frac{180d}{\pi f}$$ degrees.

The effective focal length is nearly equal to the stated focal length of the lens (F), except in macro photography where the lens-to-object distance is comparable to the focal length. In this case, the magnification factor (m) must be taken into account: $$f = F \cdot ( 1 + m )$$

(In photography $$m$$ is usually defined to be positive, despite the inverted image.) For example, with a magnification ratio of 1:2, we find $$f = 1.5 \cdot F$$ and thus the angle of view is reduced by 33% compared to focusing on a distant object with the same lens.

Angle of view can also be determined using FOV tables or paper or software lens calculators.

Example
Consider a 35 mm camera with a lens having a focal length of F = 50 mm. The dimensions of the 35 mm image format are 24 mm (vertically) × 36 mm (horizontal), giving a diagonal of about 43.3 mm.

At infinity focus, f = F, the angles of view are:
 * horizontally, $$\alpha_h = 2\arctan\frac{h}{2f} = 2\arctan\frac{36}{2 \times 50}\approx 39.6^\circ$$
 * vertically, $$\alpha_v = 2\arctan\frac{v}{2f} = 2\arctan\frac{24}{2 \times 50}\approx 27.0^\circ$$
 * diagonally, $$\alpha_d = 2\arctan\frac{d}{2f} = 2\arctan\frac{43.3}{2 \times 50}\approx 46.8^\circ$$

Derivation of the angle-of-view formula
Consider a rectilinear lens in a camera used to photograph an object at a distance $$S_1$$, and forming an image that just barely fits in the dimension, $$d$$, of the frame (the film or image sensor). Treat the lens as if it were a pinhole at distance $$S_2$$ from the image plane (technically, the center of perspective of a rectilinear lens is at the center of its entrance pupil):

Now $$\alpha/2$$ is the angle between the optical axis of the lens and the ray joining its optical center to the edge of the film. Here $$\alpha$$ is defined to be the angle-of-view, since it is the angle enclosing the largest object whose image can fit on the film. We want to find the relationship between: Using basic trigonometry, we find: $$\tan ( \alpha / 2 ) = \frac {d/2} {S_2} .$$ which we can solve for α, giving: $$\alpha = 2 \arctan \frac {d} {2 S_2}$$
 * the angle $$\alpha$$
 * the "opposite" side of the right triangle, $$d/2$$ (half the film-format dimension)
 * the "adjacent" side, $$S_2$$ (distance from the lens to the image plane)

To project a sharp image of distant objects, $$S_2$$ needs to be equal to the focal length, $$F$$, which is attained by setting the lens for infinity focus. Then the angle of view is given by:

$$\alpha = 2 \arctan \frac {d} {2 f}$$ where $$f = F$$.

Note that the angle of view varies slightly when the focus is not at infinity (See breathing (lens)), given by $$S_2 = \frac{S_1 f}{S_1 - f}$$ rearranging the lens equation.

Macro photography
For macro photography, we cannot neglect the difference between $$S_2$$ and $$F$$. From the thin lens formula, $$\frac{1}{F} = \frac{1}{S_1} + \frac{1}{S_2}.$$

From the definition of magnification, $$m = S_2/S_1$$, we can substitute $$S_1$$ and with some algebra find: $$S_2 = F\cdot(1+m)$$

Defining $$f=S_2$$ as the "effective focal length", we get the formula presented above: $$\alpha = 2 \arctan \frac {d} {2 f}$$ where $$f = F\cdot(1+m)$$.

A second effect which comes into play in macro photography is lens asymmetry (an asymmetric lens is a lens where the aperture appears to have different dimensions when viewed from the front and from the back). The lens asymmetry causes an offset between the nodal plane and pupil positions. The effect can be quantified using the ratio (P) between apparent exit pupil diameter and entrance pupil diameter. The full formula for angle of view now becomes: $$\alpha = 2 \arctan \frac {d} {2 F\cdot ( 1 + m/P )}$$

Measuring a camera's field of view

In the optical instrumentation industry the term field of view (FOV) is most often used, though the measurements are still expressed as angles. Optical tests are commonly used for measuring the FOV of UV, visible, and infrared (wavelengths about 0.1–20 μm in the electromagnetic spectrum) sensors and cameras.

The purpose of this test is to measure the horizontal and vertical FOV of a lens and sensor used in an imaging system, when the lens focal length or sensor size is not known (that is, when the calculation above is not immediately applicable). Although this is one typical method that the optics industry uses to measure the FOV, there exist many other possible methods.

UV/visible light from an integrating sphere (and/or other source such as a black body) is focused onto a square test target at the focal plane of a collimator (the mirrors in the diagram), such that a virtual image of the test target will be seen infinitely far away by the camera under test. The camera under test senses a real image of the virtual image of the target, and the sensed image is displayed on a monitor.

The sensed image, which includes the target, is displayed on a monitor, where it can be measured. Dimensions of the full image display and of the portion of the image that is the target are determined by inspection (measurements are typically in pixels, but can just as well be inches or cm).

 * $$D$$ = dimension of full image
 * $$d$$ = dimension of image of target

The collimator's distant virtual image of the target subtends a certain angle, referred to as the angular extent of the target, that depends on the collimator focal length and the target size. Assuming the sensed image includes the whole target, the angle seen by the camera, its FOV, is this angular extent of the target times the ratio of full image size to target image size.

The target's angular extent is: $$\alpha = 2 \arctan \frac {L} {2 f_c}$$ where $$L$$ is the dimension of the target and $$f_c$$ is the focal length of collimator.

The total field of view is then approximately: $$\mathrm{FOV} = \alpha \frac{D}{d}$$ or more precisely, if the imaging system is rectilinear: $$\mathrm{FOV} = 2 \arctan \frac {LD} {2 f_c d}$$

This calculation could be a horizontal or a vertical FOV, depending on how the target and image are measured.

Focal length

Lenses are often referred to by terms that express their angle of view:
 * Fisheye lenses, typical focal lengths are between 8 mm and 10 mm for circular images, and 15–16 mm for full-frame images. Up to 180° and beyond.
 * A circular fisheye lens (as opposed to a full-frame fisheye) is an example of a lens where the angle of coverage is less than the angle of view. The image projected onto the film is circular because the diameter of the image projected is narrower than that needed to cover the widest portion of the film.
 * Ultra wide angle lens is a rectilinear which is less than 24 mm of focal length in 35 mm film format, here 14 mm gives 114° and 24 mm gives 84°.
 * Wide-angle lenses (24–35 mm in 35 mm film format) cover between 84° and 64°
 * Normal, or Standard lenses (36–60 mm in 35 mm film format) cover between 62° and 40°
 * Long focus lenses (any lens with a focal length greater than the diagonal of the film or sensor used) generally have an angle of view of 35° or less. Since photographers usually only encounter the telephoto lens sub-type, they are referred to in common photographic parlance as:
 * "Medium telephoto", a focal length of 85 mm to 250 mm in 35 mm film format covering between 30° and 10°
 * "Super telephoto" (over 300 mm in 35 mm film format) generally cover between 8° through less than 1°

Zoom lenses are a special case wherein the focal length, and hence angle of view, of the lens can be altered mechanically without removing the lens from the camera.

Characteristics
For a given camera–subject distance, longer lenses magnify the subject more. For a given subject magnification (and thus different camera–subject distances), longer lenses appear to compress distance; wider lenses appear to expand the distance between objects.

Another result of using a wide angle lens is a greater apparent perspective distortion when the camera is not aligned perpendicularly to the subject: parallel lines converge at the same rate as with a normal lens, but converge more due to the wider total field. For example, buildings appear to be falling backwards much more severely when the camera is pointed upward from ground level than they would if photographed with a normal lens at the same distance from the subject, because more of the subject building is visible in the wide-angle shot.

Because different lenses generally require a different camera–subject distance to preserve the size of a subject, changing the angle of view can indirectly distort perspective, changing the apparent relative size of the subject and foreground.

If the subject image size remains the same, then at any given aperture all lenses, wide angle and long lenses, will give the same depth of field.

Examples
An example of how lens choice affects angle of view.

Common lens angles of view
This table shows the diagonal, horizontal, and vertical angles of view, in degrees, for lenses producing rectilinear images, when used with 36 mm × 24 mm format (that is, 135 film or full-frame 35 mm digital using width 36 mm, height 24 mm, and diagonal 43.3 mm for d in the formula above). Digital compact cameras sometimes state the focal lengths of their lenses in 35 mm equivalents, which can be used in this table.

For comparison, the human visual system perceives an angle of view of about 140° by 80°.

Sensor size effects ("crop factor")
As noted above, a camera's angle level of view depends not only on the lens, but also on the sensor used. Digital sensors are usually smaller than 35 mm film, causing the lens to usually behave as a longer focal length lens would behave, and have a narrower angle of view than with 35 mm film, by a constant factor for each sensor (called the crop factor). In everyday digital cameras, the crop factor can range from around 1 (professional digital SLRs), to 1.6 (mid-market SLRs), to around 3 to 6 for compact cameras. So a standard 50 mm lens for 35 mm photography acts like a 50 mm standard "film" lens even on a professional digital SLR, but would act closer to a 75 mm (1.5×50 mm Nikon) or 80 mm lens (1.6×50mm Canon) on many mid-market DSLRs, and the 40-degree angle of view of a standard 50 mm lens on a film camera is equivalent to a 28–35 mm lens on many digital SLRs.

The table below shows the horizontal, vertical and diagonal angles of view, in degrees, when used with 22.2 mm × 14.8 mm format (that is Canon's DSLR APS-C frame size) and a diagonal of 26.7 mm.

Cinematography and video gaming
Modifying the angle of view over time (known as zooming), is a frequently used cinematic technique, often combined with camera movement to produce a "dolly zoom" effect, made famous by the film Vertigo. Using a wide angle of view can exaggerate the camera's perceived speed, and is a common technique in tracking shots, phantom rides, and racing video games. See also Field of view in video games.

title: Angle of view (photography)


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List of Austrian intellectual traditions

This is an incomplete list of topics relating to the intellectual traditions of Austria.

 * Austrian culture
 * Austromarxism
 * German philosophy
 * Austrian School of Economics
 * Vienna Circle
 * Vienna School of Art History

People

 * List of German-language philosophers
 * Alexius Meinong
 * Carl Gustav Jung
 * Sigmund Freud
 * Ludwig Wittgenstein
 * Ludwig von Mises

Periods

 * Sturm und Drang
 * German Romanticism


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Minox

Minox (pronounced ) is a manufacturer of cameras, known especially for its subminiature camera.

The first product to carry the Minox name was a subminiature camera, conceived in 1922, and finally invented and produced in 1936, by Baltic German Walter Zapp. The Latvian factory VEF (Valsts elektrotehniskā fabrika) manufactured the camera from 1937 to 1943. After World War II, the camera was redesigned and production resumed in Germany in 1948. Walter Zapp originally envisioned the Minox to be a camera for everyone requiring only little photographic knowledge. Yet in part due to its high manufacturing costs the Minox became more well known as a must-have luxury item. From the start the Minox also gained wide notoriety as a spy camera.

Minox branched out into 35 mm film format and 110 film format cameras in 1974 and 1976, respectively. Minox continues to operate today, producing or branding optical and photographic equipment.

History
From 1936 to 1975, the history of the Minox brand is essentially that of the Minox subminiature camera. From 1975 the Minox name also became associated with other products, most notably the Minox 35 mm compact cameras produced from 1975 until 2004.

Minox was acquired by Leica in 1996, but a management buyout on 25 August 2001 left Minox an independent company again.

Subminiature camera history
The original Minox subminiature camera was invented by Walter Zapp in 1936. Zapp, a Baltic German, was born in 1905 in Riga, then part of the Russian Empire. The family moved to Reval (now called Tallinn, Estonia) where he first took a job as an engraver before finding a position with a photographer. He became friends with Nikolai 'Nixi' Nylander and Richard Jürgens, and it was through discussions with these friends that the idea of a camera that could always be carried came to him. Nixi Nylander also coined the name "Minox" and drew up the Minox mouse logo. Jürgens funded the original project but was not able to get support in Estonia for production. Jürgens contacted an English representative of the VEF (Valsts Elektrotehniskā Fabrika) electrotechnical manufacturing business in Riga (by then independent Latvia) who then arranged a meeting where Zapp demonstrated the Minox prototype (UrMinox), with a set of enlargements made from Ur-Minox negatives. Production began in Riga at VEF, running from 1937 until 1943. In the same time, VEF had received patent protection on Zapp's inventions in at least 18 countries worldwide.

Shortly after its introduction, the Minox was widely advertised in The European and American markets. It did not surmount the popularity of 35 mm cameras (which were then referred to as "Miniature Cameras"), but did achieve a niche market. It also attracted the attention of intelligence agencies in America, Britain and Germany, due to its small size and macro focusing ability.

Ironically during World War II production of the Minox was put in jeopardy several times as Latvia fell victim to invasion by the Soviet Union, then Germany, and then by the Soviets again. Cameras were produced under both Russian and German occupation nevertheless, and the camera became both a luxury gift item for Nazi leaders as well as a tool for their spies. In the meantime, Zapp and his associates protected their interest in the product by searching for alternative production facilities in Germany.

After World War II, production of the Minox II began in 1948 at a new company, Minox GmbH, in Giessen/Heuchelheim near Wetzlar, West Germany. The new camera very much resembled the original, but was made with a plastic chassis covered by an aluminum shell. This greatly reduced its weight and, to an extent, cost. The camera continued to appeal to a luxury "gadget" market which broadened during the 1950s and early 1960s. It also continued to see use as an espionage camera by both sides during the Cold War. During this time, the Minox company continued to develop the camera, working with Gossen to develop a companion miniature exposure meter, as well as improved models such as the Minox B, which incorporated an even smaller Gossen-designed meter into the camera itself. The Minox B became the most popular and widely produced model of the line. Further developments included autoexposure, and the company developed an extensive line of accessories. These included flash guns, viewfinder attachments, tripod mounts, and copying stands, all increasing the camera utility in a variety of applications. One accessory even allowed the camera to use a pair of binoculars as a telephoto lens (see illustration). Limited editions of the camera were also produced in a variety of luxury finishes, such as gold plating. Standard cameras were also available in an optional black anodized finish.

The Riga Minox camera, along with the luxury finish postwar cameras, are now collector's items. All-mechanical models A and B remain in use by hobbyists. In 1969 the model C became the first camera of its kind to incorporate electronic exposure control. With the introduction of the LX came significant redesign of the camera's basic controls. It was followed by the last production model, the TLX. There was also a fully electronic entry-level model, the EC, which had a very different internal design and a fixed-focus lens. The production rate for these cameras was considerably slower than in former years, however, as high production costs and increasing competition from Japan sharply reduced sales and revenues.

Beginning in 1981, MINOX experienced increasing difficulties. A quarter of the original 750 employees had to be made redundant. A settlement request was filed with the District Court in Giessen on November 21, 1988. Under the direction of the receivership administration, the workforce was reduced to just under 300, and the business was extensively reorganized.

The MINOX TLX Camera was available until September 2014. Minox is now part of the Blazer Group GmBH, with its facilities in Isny im Allgäu in the south of Germany, with a service facility remaining in Wetzlar. Production of 8x11 film ended in 2015.

The company now produces high-quality sports optics and night-vision devices, its only camera models being trail cameras.

Spy camera
The Minox subminiature camera attracted the attention of intelligence agencies in America, Britain and Germany, and most of the Eastern Bloc (East Germany, Romania) due to its small size and macro focusing ability. There is at least one document in the public record of 25 Minox cameras purchased by the US Office of Strategic Services intelligence organisation in 1942.

The close-focusing lens and small size of the camera made it perfect for covert uses such as surveillance or document copying. The Minox was used by both Axis and Allied intelligence agents during World War II. Later versions were used well into the 1980s. The Soviet spy John A. Walker Jr., whose actions against the US Navy cryptography programs represent some of the most compromising intelligence actions against the United States during the Cold War era, used a Minox C to photograph documents and ciphers.

An 18 in measuring chain was provided with most Minox subminiature cameras, which enabled easy copying of letter-sized documents. The espionage use of the Minox has been portrayed in Hollywood movies and TV shows, and some 1980s Minox advertising has played up the "spy camera" story.

Other special uses
A Minox B, operated by remote trigger and protected in a special housing, was used to inspect the interior of the United States Army's SL-1 experimental nuclear reactor after it experienced an internal steam explosion in 1961. This camera and housing were shown in the film report released following the accident investigation.

Technical details of Minox 8×11 cameras
The original Riga-made Minox had a brass chassis covered in a stainless steel shell, which telescopes to reveal or cover the lens and viewfinder windows, as well as to advance the film. It was equipped with a parallax correcting viewfinder, which was coupled to a Cooke triplet type Minostigmat 15 mm f/3.5 lens. The lens was capable of focusing as close as 20 cm, and, due to its small image size, provided such depth of field at full aperture that a diaphragm was deemed unnecessary. The maximum focus zone was about one meter to infinity. In front of the lens was a metal foil curtain shutter, which was itself protected by a window. These were advanced features at the time for any camera, regardless of size.

The dimensions of the Minox subminiature camera are: 80 mm × 27 mm x 16 mm; weight: 130 g.

The Minox cameras project an image of 8×11 mm onto the negative. The film is in strips 9.2 mm wide, or less than one-quarter the size of 35 mm film, and unlike 35 mm film, it has no sprocket holes. This film strip is rolled up in the supply side chamber of a small twin chamber cartridge, with the film leader taped to a take-up spool in the take up chamber. The film strips can be up to 50 frames in length for Riga Minox and Minox II, III, IIIs and B cameras. From Minox BL and C cameras onward the Minox film cartridge holds 15, 30, or 36 exposures.

The VEF Riga has a three-element flat film plane lens. Performance could be improved, so the short-lived Minox II (1948–1951) had a new 5 element lens (called complan) whose final element would rest against the film itself when the pressure plate pushed the film onto the lens. Customers complained of film scratches with this new design, so most of these lenses were replaced by MINOX with the later curved-field compensating lens. Consequently, original 'film lens' Minox II are exceptional. Early Minox cameras from Minox A/III to Minox B were equipped with a four-element, three-group Complan (lens) designed by ex-Leica lens designer Arthur Seibert. The Complan lens has a curved film plane, hence in these cameras the negative must be held in an arc to improve the edge-to-edge sharpness of the image. The Minox enlarger also holds the negative in this same curve. Later models, beginning with late model Minox B, to the current model TLX, using the 15 mm f/3.5 four-element, three-group flat-field Minox lens, holds the negative flat. The advance was attributed by Rolf Kasemeier (Small MINOX Big Pictures 1971 edition) to new rare-earth element, high-index, low-dispersion, optical glasses becoming available (probably from Schott Glass, of Jena). Note that lens performance between old and new complan/minox lenses was rated by MINOX themselves as identical.

At this time to differentiate between negatives taken with the older complan lens and negatives taken with the later minox lens, MINOX introduced an edge code in the negative. Since the MINOX C (the first camera released with the new minox lens) every 8x11mm camera had a distinct edge code to identify the camera. The reason was that commercial processors used MINOX enlargers. As the minox lens replaced the complan, so the enlargers had to change lenses: MINOX II enlargers were curved negative track and complan lenses, MINOX III enlargers were straight negative track and minox lenses. Ironically, owners of Rigas and model II cameras would get better results from a MINOX III enlarger than a MINOX II enlarger.

The early Minox cameras from Riga to Minox B, BL and AX, were equipped with a mechanical shutter, while later model Minox ( C, LX, EC, TLX ) cameras have an electromagnetic shutter. When closed, the viewfinder and lens windows are protected. Complan lens and Minox lens are unit focusing lens, focusing from 8 inches (20 cm) to infinity through precision gear linked to a focusing dial on top of the camera. All Minox cameras, except the EC and MX, have a parallax correction viewfinder: when the focusing dial moves, the viewfinder moves in tandem to correct for parallax.

From the Riga to Minox B, the film counter counts up to 50, while from Minox BL, C, to TLX, the film counter counts down from 36/30/15. For mechanical Minox 8x11 cameras, a separate shutter speed dial sets the shutter speed from 1/2 to 1/1000 second, plus B and T (the BL model has no documented T). For electromagnetic shutter cameras, the shutter dial starts with 1/15 sec, and ends with 1/1000 (Minox C), or starts with 1/30 and ends with 1/2000 (Minox LX/TLX/CLX); the electromagnetic Minox camera also has an 'A' setting for automatic exposure, controlled by the built-in CdS (Minox C) or Spd (Minox LX/TLX) exposure meter.

Above the viewfinder is a filter bar used to slide a yellow, green or an orange filter in front of the lens; starting with the BL, there is only a Neutral Density filter.

For Riga Minox to Minox B, the film advances each time the camera is closed, regardless of whether a picture is taken or not. Opening the camera causes the pressure plate to press the film into a concave or flat (depending on the model) surface to stiffen thin emulsions for better clarity. When the camera is closed, the pressure plate moves back from the film plane, thus allowing the film strip to move freely to advance to the next frame. From Minox BL onward, the camera is equipped with a "freewheeling" mechanism, such that the film advances one frame only when a picture is taken, otherwise, closing the camera does not advance a frame.

Minox BL uses a PX625 button cell to power the CdS exposure meter; Minox C, LX, EC, used a 5.6v PX27 mercury battery to power the exposure meter and electromagnetic shutter. TLX, CLX, ECX use four 1.5v 386 silver oxide button cell in an adapter; this adapter combo can also be used to replace the discontinued 5.6v PX27 battery for Minox C, LX and EC.

8×11mm TLX Special Order models were available new until September 2014.

Major production runs
Minox Models
 * Riga – 1938/39 to 1942/43 (retrospectively labeled Model I; usually named after the city Riga)
 * I – 3 element Minostigmat lens, stainless steel

 * A – 1948 to 1969 (retrospectively labeled Model II with the launch of Minox III)
 * II – (1948) 5 element Complan lens, ultralight aluminium shell, new shutter
 * III – (1950) 4 element Complan lens,
 * IIIs – (1954) + flash synch

 * B – 1958 to 1972 ultralight aluminium shell, selenium meter
 * B – (1958) Complan lens
 * B – (1970) Minox lens

 * C – 1969 to 1978 introduced in 1969, electronic
 * C – (1969) Complan lens
 * C – (1970) Minox lens

 * BL – 1972 to 1973 with cadmium sulphide meter (requiring a battery), no longer wound film with each open/close cycle
 * LX – 1978 to now
 * LX – (1978) electronic, in anodized aluminium, black aluminium, gold and platinum finish
 * TLX – (1995) titanium titanal eloxat coated (available again as special order)

 * EC – 1981 to 2004
 * EC – (1981) more economical model, smallest Minox
 * ECX – (1998) minor changes to the EC

 * MX, distinct model with Minox MX FLASH. Thumb wheel film advance and shutter cocking, mechanical shutter speed 1/125 sec, lens 1:4.8 15mm three element in 2 group glass lens, focusing dial: 1M,2M,4M and infinity.

Special edition runs

 * AX – similar in size the A (all mechanical) and built from BL parts with an LX shell, versions in chrome, black and gold
 * LX Sterling – 925 sterling silver hallmarked ¬100 produced
 * LX Selection – gold with black dials 999 produced
 * LX Gold II – anniversary edition, cross-hatched gold-plating, with Walter Zapp's signature
 * LX Platin – Limited edition platinum Minox LX
 * CLX – with Walter Zapp's signature
 * LX 2000 – brass black anodized with gold trim
 * Aviator – black anodized with luminous dials, logo and script limited edition of 300
 * MHS EC – Minox Historical Society EC with MHS logo limited edition of 100
 * MinoxClub EC – 1st German Minox club EC in Riga blue with club logo, limited edition of 111.
 * LX 100th Anniversary Edition – polished chrome with Walter Zapp's commemorative coin

The total number of all Minox 8x11 cameras made was about 944,500 units.

Minox 8×11 accessories

 * Minox tripod, ver 1 and 2
 * Minox tripod adapter (3 Variations: Riga, (A/II/III/B,BL,C) and (LX/TLX/CLX)
 * Minox copy stand (2 Variations (LX and non-LX Cameras)
 * Minox waist level finder ((2 Variations (A,B)
 * Minox 90 degree mirror (3 Variations (A,B and 'universal')
 * Minox film slitter (Minox and non-Minox produced)
 * Minox enlargers (Colour and Black and White)
 * Minosix selenium exposure meter (For A Cameras)
 * Minox flashgun (Bulb and Cubeflash)
 * Minox electronic flash (3 types, ME1/ME2 and 8x11)
 * Minox binocular adapter (2 types LX and non-LX Cameras)
 * Minox microfilm reader (At least 2 types)
 * Minox daylight development tank with thermometer (2 types: Riga and Minox)
 * Minox negative viewer and cutter
 * Minox film wallets (for 50 or 36 exposure films)
 * Minox battery adapter, for replacement of discontinued PX27 5.6v mercury battery used in electromagnetic Minox cameras.

Minox 8x11 format slide projector
Matching the size of the slide film for the 8×11 MINOX cameras, MINOX also produced slide projectors ending with the auto-focus HP24 model.

Minox 35 mm compact cameras
In 1974, Minox introduced a very compact (100 mm × 61 mm × 31 mm), glass fibre reinforced Makrolon bodied 35 mm film camera designed by Professor Fischer of Vienna University: the Minox EL, the first one in Minox 35 mm series. These compact cameras featured a drawbridge style lens cover which when lowered brought forward a 35 mm focal length f/2.8 four-element, three-group Tessar-type Minotar/Minoxar lens with between the lens leaf shutter and diaphragm, a center positioned viewfinder, two stroke film winder lever and a film rewind knob. The Minox 35 camera back must be removed for loading or unloading film.

The camera offered aperture priority exposure with the option of manual settings. The Minox 35ML and Minox M.D.C offer program mode (P mode) exposure in addition to aperture priority. The 35 mm/2.8 Minotar/Minoxar lens was very sharp, with low distortion, while the camera's metering-system's capability to produce excellent results especially under low-light conditions was outstanding – using exposure times of up to two minutes.

Some models have a 2x backlit exposure switch and a 10 sec timer switch. When the timer is engaged, a flashing LED indicates the timer counter is counting down, for the last two sec, the flash interval shortened.

Until 1995, the Minox 35 cameras were considered the smallest cameras for the standard 35 mm film format. The design was inspired by the Rollei 35, which had been the smallest 35 mm camera for eight years. The Rollei 35 is only slightly bigger, but much heavier than the Minox 35 cameras. However, the Minolta TC-1, introduced in 1996, is smaller.

Minox 35 mm compact camera versions

 * Minox EL, 1974
 * MINOX GL, 1979–1981
 * MINOX GT, 1981–1991
 * MINOX GT-Golf, 1984
 * Minox GT-Sport

All the above models use a single 5.6 v PX27 battery which can be replaced with two CR 1/3N 3 V Lithium Batteries by using an adapter.

 * MINOX PL, 1982–1983, program-controlled version of EL- or G-series
 * MINOX ML, 1985–1995
 * MINOX MB, 1986–1999
 * MINOX AL, 1987–1988, simplified program-controlled version of EL- or G-series
 * MINOX AF, 1988–1990, autofocus
 * MINOX GT-E, 1988–1993 with built in UV filter.
 * MINOX AF-90, 1990–, autofocus
 * MINOX MB Touring, 1990
 * MINOX Goldknopf 1991–1993, EL- or G-series version with a solid gold button for shutter release.
 * MINOX GSE, 1991–1994
 * MINOX M.D.C, 1992–1995. This is the flagship of Minox 35 mm series. MDC differs from all other models by its anodized aluminium shell over Macrolon body; with two styles: a gold plated model and a titanium coated model. MDC has a multicoated Minoxar 35 mm/2.8 lens, all other functions are identical to Minox 35ML. Due to the extra metal shell, the dimension of Minox M.D.C is slightly larger than other Minox 35 cameras.
 * MINOX MDC gold Collection, 1993–1994
 * MINOX AF mini, 1994–, autofocus
 * MINOX GT-X, 1998–1999
 * MINOX GT-E(II), 1998–2001
 * MINOX GT-S, 1998–2004

All the above, except ML, and MDC use 2 x CR 1/3N 3V Lithium batteries or a single 6V SPX27 silver oxide battery. ML, and MDC use a single 6V PX28 battery.

Accessories for Minox 35 include: UV filter, ND filter, lens hood, eveready leather case, and dedicated electronic flash.

Other Minox 35 mm cameras
The few 35 mm cameras offered were of the "point and shoot" style:

 * MINOX M*142
 * MINOX M*142 DB
 * MINOX CD-25 silver
 * MINOX CD-25 black
 * MINOX CD-29 silver
 * MINOX CD-29 black
 * MINOX CD-70 silver
 * MINOX CD-70 black
 * MINOX CD-112 silver
 * MINOX CD112 black
 * MINOX CD-128
 * MINOX CD-140
 * MINOX Edition 140
 * MINOX CD-150
 * MINOX CD-155

Minox 110 camera
MINOX 110S, a 110 film format camera was also once sold. The Minox 110S has a Carl Zeiss Tessar 25 mm/2.8 unit focusing lens, and magicube flash. It is the only camera with a rangefinder made by Minox. An external electronic flashgun was also available. Users report that the 110S provides particularly good results on modern 110 film.

Miniature retro cameras
Minox briefly expanded its range of 8×11 models by offering Minox-badged cameras styled as miniatures of famous classic film cameras of the past, manufactured by Sharan Megahouse of Japan, including:

All these retro cameras are equipped with 15mm F5.6 triplet lens, and 1/250 sec shutter. Using Minox film in Minox cassette, image size 8x11mm.
 * Leica If
 * Leica IIIf
 * Leica M3
 * Rolleiflex TLR
 * Zeiss Contax I
 * Hasselblad SWC.

Minox digital cameras
Later, a range of digital cameras was offered.

Digital miniature retro cameras
The digital camera offerings also included similar miniature retro cameras to the 8x11-based models:
 * DCC Rolleiflex AF 5.0
 * DCC Minox Leica M3
 * Rolleiflex minidigi (out of production)
 * DCC 5.1 (2011)
 * DCC Minox 5.1 Coloured (2012) DCC 5.1 Colour Collection
 * DCC 14mp (2013) Minox 2013 catalogue 2013 DCC 14mp

Minox DSC subminiature digital camera
At photokina in 2008, Minox announced a new subminiature digital camera called the DSC, (Digital Spy Camera) with a 3 megapixel sensor that outputs 5 megapixel interpolated images. It includes some design cues of the Minox LX but otherwise does not resemble the original cameras.

 * Minox DSC silver, with 9.0mm/F2.0 focusing lens, 0.6M,1M and infinity

Current products
Minox currently produces optics for nature and wildlife observation, for marine and water sports purposes, and for hunting.
 * Binoculars
 * Riflescopes
 * Digital trail cameras (nature and wildlife observation cameras)
 * Spotting scopes
 * Night vision equipment
 * Macroscopes

title: Minox


text:
German Romanticism

German Romanticism (Deutsche Romantik) was the dominant intellectual movement of German-speaking countries in the late 18th and early 19th centuries, influencing philosophy, aesthetics, literature, and criticism. Compared to English Romanticism, the German variety developed relatively early, and, in the opening years, coincided with Weimar Classicism (1772–1805).

The early period, roughly 1797 to 1802, is referred to as Frühromantik or Jena Romanticism. The philosophers and writers central to the movement were Wilhelm Heinrich Wackenroder (1773–1798), Friedrich Wilhelm Joseph Schelling (1775–1854), Friedrich Schleiermacher (1768–1834), Karl Wilhelm Friedrich Schlegel (1772–1829), August Wilhelm Schlegel (1767–1845), Ludwig Tieck (1773–1853), and Friedrich von Hardenberg (Novalis) (1772–1801).

The early German Romantics strove to create a new synthesis of art, philosophy, and science, by viewing the Middle Ages as a simpler period of integrated culture; however, the German Romantics became aware of the tenuousness of the cultural unity they sought. Late-stage German Romanticism emphasized the tension between the daily world and the irrational and supernatural projections of creative genius. In particular, the critic Heinrich Heine criticized the tendency of the early German Romantics to look to the medieval past for a model of unity in art and society.

A major product of the French occupation under Napoleon was a strong development in German nationalism which eventually turned the German Confederation into the German Empire after a series of conflicts and other political developments. German Romanticism was nationalistic and therefore became hostile to the ideals of the French Revolution. Major Romantic thinkers, especially Ernst Moritz Arndt, Johann Gottlieb Fichte, Heinrich von Kleist, and Friedrich Schleiermacher, embraced reactionary politics and were hostile to political liberalism, rationalism, neoclassicism, and cosmopolitanism.

Literary figures

 * Ernst Moritz Arndt
 * Achim von Arnim
 * Bettina von Arnim
 * Clemens Brentano
 * Adelbert von Chamisso
 * Joseph von Eichendorff
 * Friedrich de la Motte Fouqué
 * Johann Wolfgang von Goethe
 * Heinrich Heine
 * E. T. A. Hoffmann
 * Friedrich Hölderlin
 * Jean Paul
 * Heinrich von Kleist
 * Sophie Mereau
 * Eduard Mörike
 * Novalis (Friedrich von Hardenberg)
 * Friedrich Schiller
 * Dorothea Schlegel
 * Friedrich Schlegel
 * August Wilhelm Schlegel
 * Ernst Schulze
 * Gustav Schwab
 * Ludwig Tieck
 * Ludwig Uhland
 * Wilhelm Heinrich Wackenroder

Philosophical figures

 * Joseph von Eichendorff
 * Johann Gottlieb Fichte
 * Johann Wolfgang von Goethe
 * Johann Gottfried Herder
 * Georg Wilhelm Friedrich Hegel
 * August Ludwig Hülsen
 * Friedrich Ludwig Jahn
 * Adam Müller
 * Novalis (Friedrich von Hardenberg)
 * Friedrich Wilhelm Joseph Schelling
 * Karoline Schelling
 * Friedrich Schlegel
 * Friedrich Schleiermacher
 * Karl Wilhelm Ferdinand Solger
 * Ludwig Uhland

Composers

 * Ludwig van Beethoven. In his earlier works, Beethoven was a Classicist in the traditions of Mozart and Haydn (his tutor), but his Middle Period, beginning with his third symphony (the 'Eroica'), bridges the worlds of Classical and Romantic music. Because Beethoven wrote some of his greatest music after he became totally deaf, he embodies the Romantic ideal of the tragic artist who defies all odds to conquer his own fate. His later works portray the triumph of the human spirit, most notably his 'Choral' Symphony No. 9; the stirring 'Ode to Joy' from this symphony has been adopted as the anthem of the European Union.
 * Johannes Brahms. His works are cast in the formal moulds of Classicism; he had a profound reverence for Beethoven. Brahms was also attracted to the exoticism of Hungarian folk music, and used it in such pieces as his famous Hungarian Dances, the final movement of his Violin Concerto, and the 'Rondo alla zingarese' from his Piano Quartet No. 1, op. 25, in G minor.
 * Franz Liszt. Liszt was by nationality a Hungarian, but nevertheless he spent many years in Germany, and his first language was German. Credited as the inventor of the tone poem. In his old age, Liszt adopted a more dissonant, ominous flavour, characteristic works being 'la Lugubre Gondola' and 'Die Zelle in Nonnenwerth'—predating Impressionism and 20th-century atonality.
 * Felix Mendelssohn Bartholdy. A composer of the Early Romantic period, together with such figures as Schumann, Chopin and Liszt. One of the persons responsible for reviving interest in the somewhat neglected music of Johann Sebastian Bach.
 * Franz Schubert. His body of work consists mainly of song cycles and German Lieder set to poems by his contemporaries, many of which are among the most common repertoire in those categories performed today.
 * Robert Schumann. His works recall the nostalgia of lost childhood innocence, first love, and the magnificence of the German countryside. As an influential critic, he played a major role in discovering new talents, among them Chopin and Brahms.
 * Richard Wagner. The most famous composer of German opera; was an exponent of Leitmotif. One of the main figures in the so-called War of the Romantics.
 * Carl Maria von Weber. Perhaps the very first of Romantic musicians, if we exclude Beethoven, in the sense that Weber was the first major composer to emerge wholly as a product of the Romantic school, as contrasted with Beethoven, who had started off as a Classicist. The emotional intensity and supernatural, folklore-based themes in his operas presented a radical break from the Neoclassical traditions of that time.

Visual artists

 * Carl Blechen
 * Carl Gustav Carus
 * Johan Christian Dahl
 * Christian Ezdorf
 * Caspar David Friedrich
 * Jacob Philipp Hackert
 * Julius Hubner
 * Otto Reinhold Jacobi
 * Joseph Anton Koch
 * Gerhard von Kügelgen
 * Adrian Ludwig Richter
 * Carl Rottmann
 * Philipp Otto Runge
 * Friedrich Wilhelm Schadow
 * Carl Spitzweg
 * Eberhard Wächter
 * Anton Georg Zwengauer

Architecture

 * Karl Friedrich Schinkel

title: German Romanticism