IMAGE 8 (Ausgabe September 2008) 



  • Dagmar Venohr: Einleitung

  • Christiane Voss: Fiktionale Immersion zwischen Ästhetik und Anästhesierung

  • Kathrin Busch: Kraft der Dinge. Notizen zu einer Kulturtheorie des Designs

  • Wolfgang Ullrich: Fiktionen und Placeboeffekte. Wie Produktdesigner den Alltag überhöhen

  • Gertrud Lehnert: Paradies der Sinne. Das Warenhaus als sinnliches Ereignis

  • Rüdiger Zill: Im Schaufenster

  • Petra Leutner: Leere der Sehnsucht: die Mode und das Regiment der Dinge

  • Dagmar Venohr: Modehandeln zwischen Bild und Text – Zur Ikonotextualität der Mode in der Zeitschrift


Autor: Dagmar Venohr
[Thema des Artikels]

Fiktionale Immersion zwischen Ästhetik und Anästhesierung
Autor: Christiane Voss
The text poses the question whether philosophical theories of aesthetic experience may be applied to phenomenas of immersive film reception. Since Adorno, the aspects of reflectivity and emotional distance figure as the dominant and favoured features of aesthetic experience, at least in the context of (German) philosophical aesthetics. This tendency in philosophy reveals a problematic sceptical attitude and even neglection of the aisthetic and carnal aspects in and of aesthetics. That point of view should be critically reexamined. Referring to the American pragmatist John Dewey and his theory of aesthetic experience, especially his notion of ›anaesthetics‹ becomes important. Since Dewey uses this latter term as an antonym of ›aesthetic‹, and given the further fact that immersions always include anaesthetic, perceptual effects, filmic immersion may not be qualified as being a token of aesthetic experience. At least this would not be on par with Dewey's argumentation. In alleged opposition to that, postmodern aesthetics, as represented by the german philosopher Wolfgang Welsch, appreciate the notion of anaesthetics. Welsch argues even in favour of an ›aesthetic of anaesthetic‹. But this claim can be shown to be self-contradictory because even Welsch sticks to an implicit scepticism towards carnality and anaesthetic aspects of perception. To be able to reevaluate the normative function of aistheis for aesthetics, neither Dewey nor Welsch is of any help.

Kraft der Dinge. Notizen zu einer Kulturtheorie des Designs
Autor: Kathrin Busch
The widespread antagonism of a self-reflective, critical art on the one hand and a merely decorative and affirmative design on the other hand has to be considered as obsolete since the times of minimal art and institutional critique. Starting with the 1960ies, the framing conditions of art and the art space, its displays, lighting, the publication et cetera are comprehended and fathomed as cardinal conditions of art production. It became impossible to separate a piece of art from its designing setting. In consequence, it appears to be too abridged to constrain design as uncritical aesthetics of everyday life, particularly regarding the range of interlacing among designed products and the world of cultural practices, modes of subjectivization, and techniques of the body. On the evidence of mutual bonds between art and design, it is argued for a revision of their interrelation concerning the cultural and aesthetical siginificance of things.

Fiktionen und Placeboeffekte. Wie Produktdesigner den Alltag überhöhen
Autor: Wolfgang Ullrich
If branded sox get essential for an activity, if we feel nerveless, because we have to abstain from our favorite shower bath, then placebo effects belong no longer only to the world of the pharmaceutical industry. Wolfgang Ullrich deliberates in the following article the nowadays high requirements for marketing and product design, the connections between Wittgenstein and today’s consumer cultur and the meaning of ›multisensory enhancement‹.

Paradies der Sinne. Das Warenhaus als sinnliches Ereignis
Autor: Gertrud Lehnert
There are complex interactions between spaces, affects and mentalities, which are intensifed for every epoche in particular spaces. In the 19th century the department store belongs to these spaces. It will be analysed in the following article in more detail. Besides that the article focusses on new perceptions, experiences, emotions and the resulting forms of communication and expression, which emerge on the stage of the department store

Im Schaufenster
Autor: Rüdiger Zill
Shop windows are an underestimated element of everyday life aesthetics. It is more than a place to present goods, and more than just a case for the critique of commodity aesthetics. In fact, it is an extraordinary example of an aesthetics of abundance, an instance of anarchic creativity. Felicitous display windows are ephemeral installations within everyday life. In this context we have to analyze the conditions of their existence as a certain type of window. It is composed of three different levels: the display, the pane, and the realm of the observer. The whole ensemble interacts with its surroundings in different respects: with the observer, who is always within the scene, with other shop windows, with the city's life and events altogether. Shop windows create atmospheres: within themselves and beyond. They have a genuine aesthetic power.

Leere der Sehnsucht: die Mode und das Regiment der Dinge
Autor: Petra Leutner
Today fashion often symbolizes modern consume. This essay asks the question, which relations between fashion and consume exist in fact. The author points out similarities in the structure of fashion and addiction. ›Fashion victims‹ can easily be converted in addicts of consume. But fashion also implies and confirms aspects of freedom: being an institution, that encourages the discussion about the conception of beauty and aesthetic judgement and as Georg Simmel showed, that needs and supports conditions of a free culture and society. Finally the author shows how excessive consume can even destroy fashion. The article also discusses in which way the empowerment of things by modern habits of consume changes the common conception of beauty in daily life.

Modehandeln zwischen Bild und Text – Zur Ikonotextualität der Mode in der Zeitschrift
Autor: Dagmar Venohr
An exemplary analysis of the relationship between text and image in a magazine’s fashion spread shows how fashion only constitutes itself through the performative interplay between the audience’s aisthetic perceptions of text and image. The creation of sense is thereby shifted from aesthetic production to aisthetic reception, and this shift opens up a space which readers can experience and use as a form of reclaimed territory. The reception of fashion can therefore be seen as an act of aesthetic appropriation.