Martina Engelbrecht, Juliane Betz, Christoph Klein, Raphael Rosenberg: Dem Auge auf der Spur: Eine historische und empirische Studie zur Blickbewegung beim Betrachten von Gemälden
Tina Hedwig Kaiser: Dislokationen des Bildes – Bewegter Bildraum, haptisches Sehen und die Herstellung von Wirklichkeit
Christian Trautsch: Die Bildphilosophien Ludwig Wittgensteins und Oliver Scholz' im Vergleich
Goda Plaum: Bildnerisches Denken
Beatrice Nunold: Landschaft als Topologie des S(ch)eins (Teil 1)
Beatrice Nunold: Landschaft als Topologie des S(ch)eins (Teil 2)
Autoren: Juliane Betz, Martina Engelbrecht, Christoph Klein, Raphael Rosenberg
As part of an interdisciplinary DFG funded research project between Art History and Psychology we studied gaze movements from a historical point of view – examining art literature, esp. descriptions of art works; an empirical point of view – using an eye-tracker, questionnaires and interviews. We collected and keyworded more than 500 text passages that address eye-movements in the context of art beholding in order to explain the history of the description of eye movements in art literature. In a second step we analyzed the relation between these literary descriptions and the physiological processes of perception. We found out that the gaze movement patterns of the test persons do in fact resemble the structure of the paintings similarly to the way in which gaze movement paths are described in the historical text passages. We also examined in which way the instruction to speak about paintings while looking at them influences the test persons’ gaze movement patterns. As to the influence of instructions on the process of perception, our preliminary results have strong implications for the constructive role of language in the beholding of visual arts.
Driving sequences in movies open up new modes of viewing beyond the traditional linear dramatical structure. In the niche of these images of the filmic ride one encounters a returning of the medium of cinema to its origins within a non-narrative experience of the image. They question our assumptions of space perception, image and haptic experience. In reflecting on these images, Walter Benjamins concept of ›aura‹ comes into play as well as debates about and concepts of seeing, visuality, aesthetic immersion and the picture as performative subject, as one can for example find in the works of theorists like Georges Didi-Huberman, Jean-Luc Nancy, Rudolf Arnheim and others.
Based on the distinction between wide, abstract and narrow, concrete concepts of image and thus of abstract and concrete images, this article presents a comparison of the image philosophies of Ludwig Wittgenstein and Oliver Scholz. According to Wittgenstein's theory, the image is integrated into a complex world ontology and represents a means to an end – it must not necessarily be a sign. In contrast, Scholz's autotelic describes a concrete emblematic artifact. For Wittgenstein, the picture is only an image if it is a matter of fact, while for Scholz, an image may be unrealistic, and be only constituted by its syntactic and semantic properties. Interestingly, both approaches have three major general objectives in common: to examine the relevance of reality and the relationship between image and sign and the most complete examination of the image.
Semiotic as well as phenomenological image science agrees insofar that in the perception and the production of pictures, specific thinking processes take place, which needs to be explored. Most investigations of both approaches only concern or attach importance to the perception of images. This article starts from the premise, that the characteristics of this thinking become more evident at focussing on the production of pictures. This is caused by the double role of the producer, who is at the same time perceiving and reflecting the later perception of his own picture during its process of creation. The task of this article is to show how analyzing the process of producing pictures can lead to a characterisation of ›bildnerisches Denken‹.
Our reality constitutes itself as being one of pictures. Landscape is a product of aesthetic reflection as well as the perception of reality and virtual reality of first order (VR 1). Pictorial representation of a landscape is virtual reality of the second order (VR 2). A picture is a structure of relations with a specific topology or an interrelationship. A picture is set in relation. Topology relates to relational similarities and differences as well as their transfer into other interrelationships, other topologies. The differences between nature, landscape (VR 1), metaphor of landscape and pictorial representation of landscape, etc. (VR 2) describe a change of the interrelationship. These changes happen in a physical-psychic-mental production of reality. We are involved in the events of particular relationships of the picture. The Topology of Being and Appearance reflects the inconspicuous similarities of relations and proportions in the relationship of the world in association with our physical-psychic-mental existential orientation in the world.
Our reality constitutes itself as being one of pictures. Landscape is a product of aesthetic reflection as well as the perception of reality and virtual reality of first order (VR 1). Pictorial representation of a landscape is virtual reality of the second order (VR 2). A picture is a structure of relations with a specific topology or an interrelationship. A picture is set in relation. Topology relates to relational similarities and differences as well as their transfer into other interrelationships, other topologies. The differences between nature, landscape (VR 1), metaphor of landscape and pictorial representation of landscape, etc. (VR 2) describe a change of the interrelationship. These changes happen in a physical-psychic-mental production of reality. We are involved in the events of particular relationships of the picture. The Topology of Being and Appearance reflects the inconspicuous similarities of relations and proportions in the relationship of the world in association with our physical-psychic-mental existential orientation in the world.
