IMAGE 19 (Ausgabe Januar 2014) 



  • Jörg R.J. Schirra: Editorial

  • Sabina Misoch: Mediatisierung, Visualisierung und Virtualisierung. Bildgebende Verfahren und 3D-Navigation in der Medizin. Eine bildwissenschaftliche und mediensoziologische Betrachtung

  • Klaus H. Kiefer: Gangnam Style erklärt. Ein Beitrag zur deuscht-koranischen Verständigung

  • Evripides Zantides/Evangelos Kourdis: Graphism and Intersemiotic Translation. An Old Idea or a New Trend in Advertising?

  • Martin Fricke: Quantitative Analyse zu Strukturmerkmalen und -veränderung im Medium Comic am Beispiel Action Comic

  • Franz Reitinger: Die ›ultimative‹ Theorie des Bildes

  • Impressum


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

Mediatisierung, Visualisierung und Virtualisierung. Bildgebende Verfahren und 3D-Navigation in der Medizin. Eine bildwissenschaftliche und mediensoziologische Betrachtung
Autor: Sabina Misoch
Pictures are a pivotal element of our culture and emerge to be indispensible for most of society’s areas. This increasing importance is closely related to mediatization processes in our society. This paper deals with the mediatization process in the operating room and focuses on the implementation of pictures within this field. Using iconographic methods and empirical data (interviews, image analysis), this paper will show the developments from pure depictive pictures to digital images and further to (knowing) pictures (the latter leading to people's actions). We then will discuss some consequences of this comprehensive process on individual, social, cognitive-mental, and societal level.

Gangnam Style erklärt. Ein Beitrag zur deutsch-koreanischen Verständigung
Autor: Klaus H. Kiefer
Gangnam Style is an ironic arts-fairy story originating from the desire of a needy hero (alias Psy) to conquer the famous ›Gangnam‹ (an extremely afflu-ent district in Seoul). Since the hero of the fairy story cannot afford a horse as opposed to the rich Gangnam people, he creates a horse-, or rather a horse rider-dance and thereby turns into a ›centaur‹. Despite this, his achievements are mediocre. He is even beaten at the execution of the dance he developed by a young, authentic Gangnam citizen who owns more than one horse in the shape of a Mercedes SLK with 184 ›horse‹ power. However, ›Unlucky Hans‹ finds his ›Empire‹ in the guise of an ›Subway Princess‹. His dream lady, whose virtues he propagates from the very beginning, corresponds to an everyday, common girl even by (South-)Korean standards and is in accordance with his own commitments: thorough work during the day and a ›switching‹ at night of the code of behavior to hedonism. The hero is satisfied with this romantic accomplishment without himself having become a genuine ›Gangnam‹ insider, that is for example, by securing as a bride the daughter of a millionaire. »Oppan Gangnam Style« initially functions as an imperative impulse of the hero. At the same time it is the leading principle of success in that society, in other words the mythical ›Big Brother‹, whom the hero tries to take advantage of by himself transforming into the role of ›Oppan‹, the competent ›older [big] brother‹, in order to court the young lady.

Graphism and Intersemiotic Translation. An Old Idea or a New Trend in Advertising?
Autoren: Evangelos Kourdis, Evripides Zantides
When visualizing verbal language, graphic design plays a prominent role as a major component for intersemiotic translation. To examine the relationship between verbal and non-verbal semiotic systems, the present research sets up a pilot study on three advertisements that use verbal language as part of their iconic messages, that is images made out of typographic elements, and examines how viewers respond to this form of visual information. Additionally it investigates, with the use of eye-tracking, where viewers look and compares scientific results of ›areas of interests‹ with the respondents’ answers. It is suggested that even though these advertisements are classified as having a dominant iconic element made out of letterforms, the linguistic semiotic system seems to attract more the consumers’ attention. This provides a platform for future research as altering the existing graphic design parameters of the advertisements examined, would probably provide different results.

Quantitative Analyse zu Strukturmerkmalen und -veränderung im Medium Comic am Beispiel: Action Comics
Autor: Martin Fricke
How 73 years of comic history can influence the formal structure of a single comic series, is a very interesting and intriguing question from an image science point of view. However, these kinds of studies are rarely conducted and there is still a lot to explore in the medium of comic. The following work is the outcome of applying recent theoretical comic research methods in a practical manner. For the analysis the parameters are derived from the standard film analysis protocol, modified for the actual comic analysis protocol. We compare panel size and panel semiotic, camera perspective, shot (field of view),and the proportion of textual sections to show tendencies and development of the comic series and mentioned parameters.

Die ›ultimative‹ Theorie des Bildes
Autor: Franz Reitinger
Is it possible or even desirable to conceive a type of image studies without any object reference to historical object? What is the status of object-oriented knowledge at all in the face of the claim for truth made by the sciences? Are the great explanatory models hatched out by philosophers and physicists sufficient to cover the need for visual knowledge of today’s information societies? Is it necessary to consider the time-space grid extended to such a degree that nature becomes naked being, biosphere naked life and humanity naked existence? How much visual knowledge may tribes, language communities, cultures, nations, institutions, parties, associations, milieus and environments, families, generation-cohorts, taste- and interest groups require for themselves? And is the explicit knowledge of specialized learning less valuable than the speculative output of the new theory-based disciplines? Does the ›truth-knowledge‹ of these disciplines really go without any ›fact-knowledge‹, as they tend to suggest? And if so, of what good could a blind, non-iconic theory be to our visual cultures? The subsequent contribution traces running research lines and points out questions that may help to assess prevailing mindsets in German-speaking centres of excellence.

Autoren: Klaus Sachs-Hombach, Jörg R. J. Schirra, Stephan Schwan, Hans Jürgen Wulff
[Thema des Artikels]