Image 18: Bild und Moderne (Ausgabe Juli 2013) 

Erscheinungsdatum:
  15.06.2013

Inhalte:  

  • Jörg R. J. Schirra: Editorial

  • Martin Scholz: Bild und Moderne

  • Ralf Bohn: Zur soziografischen Darstellung von Selbstbildlichkeit. Von den Bildwissenschaften zur Szenologischen Differenz

  • Alexander Glas: Lernen mit Bildern. Eine empirische Studie zum Verhältnis von Blickbildung, Imagination und Sprachbildung

  • Pamela C. Scorzin: Über das Unsichtbare im Sichtbaren. Szenographische Visualisierungsstrategien und moderne Identitätskonstruktionen am Beispiel von Jeff Walls »After ›Invisible Man‹ by Ralph Ellison, the Prologue«

  • Heiner Wilharm: Weltbild und Ursprung. Für eine Wiederbelebung der Künste des öffentlichen Raums. Zu Heideggers Bildauffassung der 30er Jahre

  • Norbert M. Schmitz: Malewitschs »Letzte Futuristische Ausstellung ›0,10‹« in St. Petersburg 1915 oder die Paradoxien des fotografischen Suprematismus. Die medialen Voraussetzungen des autonomen Bildes

  • Rolf Nohr: Die Tischplatte der Authentizität. Von der kunstvollen Wissenschaft zum Anfassen

  • Rolf Sachsse: Medien im Kreisverkehr: Architektur – Fotografie – Buch

  • Sabine Foraita: Bilder der Zukunft in Vergangenheit und Gegenwart. Wie entstehen Bilder der Zukunft? Wer schafft sie und wer nutzt sie? Bilder als designwissenschaftliche Befragungsform

  • Thomas Heun: Die Bilder der Communities. Zur Bedeutung von Bildern in Online-Diskursen

  • Impressum

Artikel:  

Editorial
 
Autor: Jörg R. J. Schirra
 
[Thema des Artikels]
 
 

Bild und Moderne
 
Autor: Martin Scholz
 
The topic of this IMAGE volume ›image and modern age‹ focusses on the pragmatic side of image science. It scouts out the base of our image understanding which is developed by the concrete use of the image primarily in the social interaction. It is about the question whether and how far modern age-understood as ›classic modern age‹ which describes the period from the end of the 19th to the middle of the 20th century – not only stamped its images but also to what extend those images made modern age possible and still support cultural development. In this case images woudn’t be media only but social tools.

Out of this two questions arise for image science: How does image understanding come into being at the individual and which parameters support its development? How do specific collectives develop specific images forms and use them to constitute their unity or their distinction? This volume deals with the question whether images and the knowledge about them are irreplaceable for the understanding of the modern age understood as both an individual and a collective construction of a period.
 
 

Zur soziografischen Darstellung von Selbstbildlichkeit. Von den Bildwissenschaften zur Szenologischen Differenz
 
Autor: Ralf Bohn
 
The essay conceives imagery as a process of de-objectification – and pictures as objectification. The correlate of this economy is represented as a time structure of self-consciousness. Self-awareness is seen as de-objectified im-agery of the self. Its processual character can be discerned in a sociological situativity of staging images. The »Scenologic Difference« (an oscillation be-tween situation and scenification), inaugurated as a concept and a new term in this paper, understands the eventful occurrence of imagery in a socio-graphical sense as a site of performative communitirizations of imaginations. In turn their realizations come to us as images. The economic oscillation sta-bilizes and allows the temporal scope of self-consciousness.
 
 

Lernen mit Bildern. Eine empirische Studie zum Verhältnis von Blickbildung, Imagination und Sprachbildung
 
Autor: Alexander Glas
 
The present study tests the reception patterns of pupils of different ages with the help of Eye-Tracking-Systems. Mobile equipment is now available which allowed a series of experiments using original pieces of art in a museum. Due to this technical advantage, the natural sighting behaviour is less influenced and a higher environmental validity is reached. The goal of this experiment is to find out with elements of the works of art are perceived as favourites, according to the ages of the pupils, and which senses are used in performing this task. The empirical research in the field of art education is thus entering virgin soil.
 
 

Über das Unsichtbare im Sichtbaren. Szenographische Visualisierungsstrategien und moderne Identitätskonstruktionen am Beispiel von Jeff Walls »After ›Invisible Man‹ by Ralph Ellison, the Prologue«
 
Autor: Pamela C. Scorzin M.A.
 
The discussion of Jeff Wall’s photo artwork »After ›Invisible Man‹ by Ralph Ellison, the Prologue« (2001) serves as an example for the main thesis that the definition and the constitution of modern man is not only determined by current discourses, practices and technologies of today’s natural sciences, but also by current cultural techniques such as the holistic scenographic visualization and presentation skills of contemporary individuals. In modernity forms of identity are not only based fundamentally on the identification with
social roles, but rather as well on traditional stereotypical images and culturally free-floating visual codes. In an era of postcolonialism and globalization, as well as in a technologically networked and fully mediated world, these are no longer easily and clearly assigned. Instead they even lose more and more by their general media availability and free citability their former regime of classification. Nevertheless, images are still able to trigger effectively a marked visibility and fatal stereotypes by essentially contributing to processes of the construction of identity and the constitution of the social ego in contemporary societies.
 
 

Weltbild und Ursprung. Für eine Wiederbelebung der Künste des öffentlichen Raums. Zu Heideggers Bildauffassung der 30er Jahre
 
Autor: Heiner Wilharm
 
›Bild und Moderne‹ is a notorious subject of talks and lectures Martin Heidegger gave in the 1930s. Mainly focussing on the writings ›The Age of the World View‹ and ›The Origin of the Work of Art‹ our contribution, in eleven steps, aims at a deconstruction of Heidegger's concept and critical appraisal of the image. This analysis, however, is deepened by taking into account the Heideggerian critique of aesthetics, developed in his confrontation with Nietzsche. By and large, Heidegger's critique allows for the insight that the contemporary privilege of the image, going hand in hand with a progressive aestheticization of art, is a consequence of modern thinking: a result of the modern ego’s self- empowerment, which, both metaphysically and historically, constitutes a main feature of modernity. Pondered within this Heideggerian horizon, not only the attempts of a disciplinary founding in various arts and the Art Sciences, but also the comparable intentions manifest in the interdisciplinary reshaping of Visual Studies and Visual Culture must be put into perspective.
 
 

Malewitschs »Letzte Futuristische Ausstellung ›0,10‹« in St. Petersburg 1915 oder die Paradoxien des fotografischen Suprematismus. Die medialen Voraussetzungen des autonomen Bildes
 
Autor: Norbert M. Schmitz
 
On the basis of Kazimer Malevich's legendary photo of the »Last Futurist Ex-hibition« in 1915 the text describes the paradoxes of suprematistic aesthetics which on the one hand states the annulment of classical mimesis and, on the other hand, uses it just the same by means of photographic representation for propagandistic services. The essay compares some classical works of Suprematism with their photographic documentation from book reproduc-tions via historical exhibition documentations to Malevich's selfstagings as a photographic icon. Refering to the contradiction lying in a photo-realistic re-cording of a suprematistic picture which claims to surpass photographic illu-sionism the essay confronts the aesthetics of romantically prejudiced propo-nents of a radical »Gegenstandslosigkeit« with concrete considerations of-fered by »Gestalt« psychology and perceptional psychology within the mean-ing of »biological constructivism«. The text analyses the quest for an ontolog-ical truth as a universal claim and legitimization strategy of artists compared with a more modern art epistemology which is rather functional and prag-matical oriented, entertains a more critical approach to describing the status of pictures, and reflects the fragility of visual knowledge.
 
 

Die Tischplatte der Authentizität. Von der kunstvollen Wissenschaft zum Anfassen
 
Autor: Rolf Nohr
 
This paper tries to trace regimes of order which produce visibility at the border to Modernism on the example of illustrations (e.g. Joseph Wright of Derby), which seems to be formations of natural scientific knowledge. A special interest is drawn to the complex configurations of similarity, equality an reference of image, sign, world and knowledge. By reference to the works of Michel Foucault and Barbara Stafford the most problematic process of the production of image-knowledge is reflected - a knowledge which depends on the use of images (or the particular contextual explanation of the image).
 
 

Bilder der Zukunft in Vergangenheit und Gegenwart. Wie entstehen Bilder der Zukunft? Wer schafft sie und wer nutzt sie? Bilder als designwissenschaftliche Befragungsform
 
Autor: Sabine Foraita
 
How can we manage to design positve images, which are able to compete with end time- and catastrophe scenarios? Thinking about our future, pictures will appear automatically. These pictures can and will give hints for our further activities. For this reason the formal aesthetics of so-called pictures of the future are an important experimental field for design science. On one hand the question is posed which kind of pictures we have got and on the other hand who generates these pictures. The design of future is a social challenge and therefore the visualization of a possible change plays a great role to show possibilities of identification and projection. To work on this domain is a great task for the designers.
 
 

Medien im Kreisverkehr. Architektur – Fotografie – Buch
 
Autor: Rolf Sachsse
 
The article looks at the exchange between three media of art: the architecture, the photography, and the book. After architecture’s disposal of durability as its main feature, media such as photography and the book advanced to be the
major carriers of all messages of building. A model for the exchange of these media among themselves the cricle can be adopted, and as the parameter of any comparison the size was chosen: the built in relation to the draughted design and its publication, then the size of the single photograph and the photo book which can reach enormous measures especially in the field of architectural photography. In the end, there is a new order awaiting for the analogue image media by its digital presentation in the internet.
 
 

Die Bilder der Communities. Zur Bedeutung von Bildern in Online-Diskursen
 
Autor: Thomas Heun
 
The increasing usage of digital media leads to new possibilities to spread images. The author conducted, on the basis of a praxeological model of brand culture, where brands are understood as an outcome of creative and communicative actions of companies and consumers a discourse analysis of onlinediscourses of Brand Communities, which lead to the result that the images spread by the communities often represent the shared cultural standpoints of these communities. These images of the communities can be understood as speech acts which have a fundamental meaning in the process of communicating cultural positions and (re-)producing community.
 
 

Impressum
 
Autoren: [keine]
 
[Thema des Artikels]