Poster-Vorträge zu "Ursprünge der Bilder" (Themenheft zu IMAGE 15)
Release date:
27.04.2012
Content:
Klaus Sachs-Hombach: Einleitung
Marcel Heinz: Born in the Streets – Meaning by Placing
Tobias Schöttler: The Triangulation of Images. Pictorial Competence and its Pragmatic Condition of Possibility
Martina Sauer: Zwischen Hingabe und Distanz. Ernst Cassirers Beitrag zur Frage nach dem Ursprung der Bilder im Vergleich zu vorausgehenden (Kant), zeitgleichen (Heidegger und Warburg) und aktuellen Positionen
The following essay is about my ongoing research in the field of Street-Art, the global urban picture movement. From a philosophical anthropological view my questions focus the placing in public space as crux between pictures and meaning. But not in a cognitive or hermeneutic way. My thesis is, that meaning is created by placing these artefacts. The consequence is a term of picture which includes beneith the artefakt, the athmospherical scene of the street, the geographical view of pedestrians and other artefacts positioning towards the first street art work and the picture of retention. Creating the image of the city this type is strongly manipulated by digital media. My thesis is, that these pictures prove, that the »homo pictor« is able to choose spontaneously how to transform worlds through pictures in an historically discontinuous way. This requests a new competence of judging pictures outside of institutions and media which prepared our cognition before. Facing the ubiquitarity of pictures to consume, people are thrown into a new role after the user. Being able to transform through an acting way of perception, man becomes producer.
Beginning with the question of the condition of possibility of pictorial competence, this paper develops a ›pragmatized‹ concept of pictorial competence. In order to describe pictorial competence, Davidson’s model of triangulation is applied to images. Such a concept avoids the deficiencies in the concepts of pictorial competence presupposed by the predominant picture theories. By means of triangulation, the public and the dynamic characters of pictorial competence and the anthropological relevance of picture practice are highlighted.
In accordance to Cassirer the origins of pictures depend on a process of forming. On behalf of research this process of forming is characterized by affective-emotional experiences. Pictures suchlike of arts are displaying an expression of it. On the one hand devotion (undergoing) and on the other hand distance (symbolic forms) are signifying the formation. In here there is an ambivalence that is indicating an original form of understanding and communication. Parallels are recognizable in philosphical, art historical and cultural studies as well as in developmental-psychological and neuroesthetical research.
