Deutsches Museum

The Deutsches Röntgen-Museum in Remscheid-Lennep (Germany) has been safeguarding Wilhelm Conrad Röntgen’s personal estate, including his photographic collection, for many years. The ongoing cataloging project, in collaboration with various partners, aims to systematically document and make accessible the photographic holdings via the museum-digital.de platform. The estate comprises various types of photographs spanning different periods, shedding light on Röntgen’s roles as a researcher, photographer, and family man. The project faces challenges in categorizing and describing the images, particularly due to the lack of contemporary captions and unclear motifs. The meticulous documentation of Röntgen’s experiments on glass negatives reveals his scientific rigor, with efforts made to correlate images with his publications for identification. The timing of his experiments and photography sessions also unveils different facets of his personality and working methods. With the help of modern technology, many obstacles to cataloging the collection were overcome, and new insights were gathered. In this preliminary report, the highlights of this study are presented.

In 2017, the Deutsches Museum receives an unknown cipher machine. This causes a veritable cascade of studies on the object history, its encryption mechanism, and its inventor Fritz Menzer. After 8 years of joint research, a museum curator and a filmmaker publish a thoroughly researched documentary about their findings. In seven episodes, they uncover Menzers secret life, and identify his central role for German cryptology.

Abstract Philological work is transformational work, and this is particularly true for textual criticism and critical editing. Nevertheless, philological epistemology has almost always maintained a somewhat hostile relationship to both the logic and practice of transformation or even has claimed a secure position outside the processes that are shaped by such transformations. The contribution sheds light on some aspects of this problematic relationship from a historical and methodological perspective and argues for a more friendly and pragmatic attitude – one that no longer conceptually locates philology in an illusionary ‘beyond’ of transformational processes.

ABSTRACT Serendipity is the unintentional, accidental discovery of something new or surprising that feels positive and meaningful for the individual. Four studies ( N 1 = 1638; N 2 = 279; N 3 = 520; N 4 = 452) examined such experiences in museums and beyond, contributing to three overarching goals: (a) achieving a better understanding of predictors and consequences of serendipitous experiences; (b) differentiating them from other, related constructs; and (c) capturing them in a methodologically sound way. In Study 1, we examined serendipity and its psychological and structural circumstances with data from visitor surveys of a large German science museum. In Studies 2 and 3, we solidified these insights in an autobiographical recall study and a vignette experiment. Further, we introduced a theory‐grounded serendipity scale. Finally, in Study 4, we included the new scale in evaluation surveys for museum exhibitions. Across studies, experiencing serendipity was largely independent of interindividual differences such as Big Five traits or demographics, but consistently associated with people's motivation and interest in a topic. Suggesting practical relevance, serendipity experiences were linked to interactive media use in the museum and predicted exhibition enjoyment and recommendation intentions. While experiencing serendipity shared some similarity with other constructs such as the feeling of insight and situational interest, it emerged as an empirically distinguishable concept of its own. The serendipity scale overall demonstrated a coherent item structure and good internal consistency. Furthering the scarce research on serendipity, the present investigation offers basic and applied insights into the phenomenon and measurement of serendipity.

Two decades before his groundbreaking discovery of X-rays in 1895, Wilhelm Conrad Röntgen worked from 1872-1879 as an assistant, private lecturer, and finally associate professor at the University of Strasbourg, which was then part of the German Empire. This period was briefly interrupted in 1875/76 by Röntgen's first professorship at the Agricultural Academy in Hohenheim.Based on publications about W. C. Röntgen and research in a total of seven archives (Strasbourg, Hohenheim, Remscheid-Lennep, Würzburg), this work describes his professional career and private life during this period.In addition to his workplaces, a total of seven places of residence were identified for this period, four of which are described for the first time. A GPX track leading past the Strasbourg addresses is available for download. Archival material documenting his career during this period has been compiled. All of Röntgen's publications from this period are also listed. A detailed exchange of letters between Bertha Röntgen and a friend provides an insight into the Röntgen couple's private life.This early period in W. C. Röntgen's career forms the basis for his successful career with three subsequent full professorships, including his discovery of X-rays in 1895. · After the Franco-Prussian War of 1870/71, the University of Strasbourg was newly founded.. · The University of Strasbourg was heavily subsidized for reasons of power and cultural policy.. · Röntgen worked from 1872-1879 under the direction of the Chair of Physics, Professor August Kundt.. · Röntgen received his first professorship at the Hohenheim Agricultural Academy in 1875.. · In Strasbourg, Röntgen worked as an assistant, private lecturer, and finally as an associate professor.. · Rabe J, Busch U, Michels M et al. Wilhelm Conrad Röntgen's Strasbourg Years (1872-1879): W.C. Röntgen - Two Decades before the Discovery of X-rays (with GPX Track "Röntgen in Strasbourg"). Rofo 2025; 197: 1162-1175.

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