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The paper contains a historical overview of the development of cartography and its relations to other sciences, including astronomy, mathematics, geodesy and photogrammetry. Different approaches to understanding spatial concepts in cartography are presented. An approach to understanding cartographic space from the perspective of image and spatial sciences is further developed. This is mainly the concept of "concrete visual space" and its cartographic relationship., Der Beitrag enthält einen historischen Überblick über die Entwicklung der Kartographie und ihre Beziehungen zu anderen Wissenschaften, darunter Astronomie, Mathematik, Geodäsie. Es werden verschiedene Ansätze zum Verständnis räumlicher Konzepte in der Kartographie vorgestellt. Es wird weiterhin ein Ansatz zum Verständnis des kartografischen Raums aus der Perspektive der Bild- und Raumwissenschaften entwickelt. Es handelt sich dabei vor allem um das Konzept des "konkreten visuellen Raums" und um seine kartographische Beziehung.

In the article, a concept of image was conceived that is based neither on a restrictive concept of sign nor on a restrictive concept of image. This created a theoretical framework that enables a comprehensive typology of image types. On this basis, a differentiated image-theoretical analysis of cartographic image types can also be undertaken., In dem Beitrag wurde ein Bildbegriff konzipiert, die weder auf einen restriktiven Zeichenbegriff noch einen restriktiven Bildbegriff basiert. Dadurch wurde ein theoretischer Rahmen geschaffen, der eine umfassende Typologie der Bildtypen ermöglicht. Auf dieser Grundlage kann auch eine differenzierte bildtheoretische Analyse der kartographischen Bildtypen vorgenommen werden.

The constitution of general image science enriches both theoretical cartography and the history of cartography with new approaches. One such new aspect concerns the view of cartography from the perspective of image structures, which leads to the expansion of the semiotic view. The paper provides a systematic overview regarding the transformation of cartographic image structures in different historical periods., Die Konstituierung der allgemeinen Bildwissenschaft bereichert sowohl die theoretische Kartographie als auch die Kartographiegeschichte mit neuen Ansätzen. Ein solcher neuer Aspekt betrifft die Betrachtung der Kartographie aus der Sicht der Bildstrukturen, die zur Erweiterung der semiotischen Sichtweise führt. Der Beitrag liefert einen systematischen Überblick bezüglich der Wandlung der kartographischen Bildstrukturen in den verschiedenen historischen Epochen.

Art Style | Art & Culture International Magazine Abstract Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer., Art Style, Art & Culture International Magazine is an open-access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, art is considered the significance of socio-cultural, historical, and market influence.

Aesthetics of Transgression and its Strategies in Post-Yugoslav Art offers an insight into contemporary art practice and image production within post-traumatic culture and “post-socialist” condition in former Yugoslavia. A theoretical position is established through a reconsideration of the category of the aesthetic and the notion of transgression as a continuous movement in-between contradictions that characterize this borderline condition, as well as our encounter with images and among images. The research entails contextual consideration, theoretical articulation and practical curatorial engagement in the context of former Yugoslavia. Particular focus is on photographic practices at the crossing between aesthetic and documentary realm. Defined as cultural symptomatology, these practices are analyzed around the concept of the symptom as it travels across the fields of cultural psychoanalysis and critical theory, visual studies and art history, trauma theory and theory of photography. Ästhetik der Transgression und ihre Strategien in postjugoslawischer Kunst bietet den Einblick in die photographische künstlerische Praxis und die Bilderproduktion im ehemaligen Jugoslawien, die durch posttraumatische Kultur und postsozialistische Situation gezeichnet sind. Die theoretische Position wird durch die Verhandlung der Kategorie des Ästhetischen und des Begriffs der Transgression bestimmt, verstanden als eine kontinuierliche Bewegung durch die Widersprüche, die diesen Grenzzustand charakterisieren und auch unser Verhältnis zu den Bildern und zueinander bedingen. Das Forschungsvorhaben schließt kontextuelle und theoretische Untersuchung mit ein, sowie die kuratorische Praxis im Kontext des ehemaligen Jugoslawiens. Der Fokus liegt dabei auf der photographischen Praxis an der Schnittstelle des Ästhetischen und des Dokumentarischen. Diese Praxis ist definiert als kulturelle Symptomatologie, deren Analyse um das Konzept des Symptoms entwickelt wird, das durch Felder der Kulturpsychologie und der Kritischen Theorie, Bildwissenschaft und Kunstgeschichte, Traumatheorien und Theorie der Fotografie wandert.

This book uncovers an underlying dispute over the role images play in contemporary society and, consequently, over their values and purposes. Two decades after the concepts of the pictorial and the iconic turn changed our vernacular involvement with regard to images, it has become clear that it was not only a newly discovered social, political or sexual construction of the visual field that brought turbulence into disciplinary knowledge, but that images have their own “pictorial logic” with powers exceeding those that are purely iconic or visually discernible. Instead of underscoring previously defined concepts of the picture, the contributors to this book view visual studies and Bildwissenschaft “merely” as a place for the theory of images, making a case for the hotly-debated topic of their powers and weaknesses on the one hand, and of their respective theories on the other. Therefore, as the title indicates, this book theorizes images, but it does not present a theory of images, because visual studies cannot lead to a unified theory of images unless a unified ontology of images can be agreed upon first. Although that would be a different task altogether, all the contributions in this book (in different ways and at different paces), by theorizing images in their aesthetic, historical, media and technological guises, pave the way for the future of visual culture and for the image science that will make this future more comprehensible.

“Machine art” is neither a movement nor a genre, but encompasses diverse ways in which artists engage with technical systems. In this book, Andreas Broeckmann examines a variety of twentieth- and early twenty-first-century artworks that articulate people’s relationships with machines. In the course of his investigation, Broeckmann traces historical lineages that connect art of different periods, looking for continuities that link works from the end of the century to developments in the 1950s and 1960s and to works by avant-garde artists in the 1910s and 1920s. An art historical perspective, he argues, might change our views of recent works that seem to be driven by new media technologies but that in fact continue a century-old artistic exploration.Broeckmann investigates critical aspects of machine aesthetics that characterized machine art until the 1960s and then turns to specific domains of artistic engagement with technology: algorithms and machine autonomy, looking in particular at the work of the Canadian artist David Rokeby; vision and image, and the advent of technical imaging; and the human body, using the work of the Australian artist Stelarc as an entry point to art that couples the machine to the body, mechanically or cybernetically. Finally, Broeckmann argues that systems thinking and ecology have brought about a fundamental shift in the meaning of technology, which has brought with it a rethinking of human subjectivity. He examines a range of artworks, including those by the Japanese artist Seiko Mikami, whose work exemplifies the shift.

According to art historian James Elkins, the very term of ›visual literacy‹ is to be assessed as an at least »slightly dubious expression« (ELKINS 2008: 8) if not, in its linking of the scriptural to the pictorial or the discoursive to the non-discoursive, as an outright »self-defeating paradox« (ELKINS 2008: 5). In much of the same sense, William Mitchell views this arguably problematic though historically quite successful term as »a strong and seemingly unavoidable metaphor« (MITCHELL 2008a: 11) in which, though not mutually exclusive, the term of ›reading‹ serving as the vehicle and the term of ›vision‹ as the tenor thus are establishing a kind of hierarchy by apparently privileging the former over the latter in a kind of catachresis (in which the metaphor fills the gap of the lack of a literal or ›proper‹ designation)—literacy explains visuality just as texts explain pictures. At the same time, however, this relation might as well be reversed (so that Mitchell in fact wonders if one should speak of ›visual literacy‹ or ›literary visualcy‹): even verbal literacy does in fact rely on vision as, most evidently, for example, »the skill of reading is already a visual skill« (MITCHELL 2008a: 11), just as even face-to-face communication is governed by the recognition of facial expression, gestures, posture etc. (or ›body lan-guage‹, to use another metaphor of that kind). Neither, then, is literacy ever thoroughly independent of vision (or, more generally, communication of per-ception) nor is vision itself ever ›purely optical‹ regarding its physiological predispositions—let alone a ›natural‹ capacity exempt from learning and training (cf. MITCHELL 2008b: 13, 15). The same metaphorical, paradoxical, or oxymoronic combination of this seeming contradictio in adjecto, I would like to argue, can be found in the concept of an écriture filmique, or ›filmic writing‹, which in the following I will discuss with special regard to recent changes in the wider scope of today’s media culture: just as film, according to intermediality scholar Joachim Paech, has ultimately become a mere metaphor for virtually »every kind of moving picture« (PAECH 2011: 8), writing correspondingly may as yet be noth-ing more than a metaphor for its own remediation in a postmedial era (cf. BOLTER/GRUSIN 2000; WEIBEL 2005), along with ›literacy‹ as a metaphor or syn-ecdoche for several kinds of ›new literacies‹ (cf. BUCKINGHAM 1993; LANK-SHEAR/KNOBEL 2006; LEU/KINZER/COIRO/CAMMACK 2004)—›computer‹,› digital‹, ›information‹, ›media literacy‹ etc. as certain particularly mediatized ›cultural techniques‹ considered elementary for current quotidian communicative competence—in short, to quote Colin Lankshear and Michele Knobel, the general and extensive »semiotic competence« necessary to cope with today’s multimodal »post-typographic texts and technologies« (LANKSHEAR/KNOBEL 2006: 3, 5). The comparative linking of both concepts characterized in this way, then, hopefully still will not result in an explanation metaphoram per meta-phoram, that is, rather tautologically, idem per idem, or even obscurum per obscurius and ignotum per ignotius, but rather aims to contrast two particular reflections on visual literacy by their respective depictions of the lack of it; one philosophical-textual as a general diagnosis of today’s media culture and one artistic-filmic as a specific case in point. In a very cursory way, then, I will discuss: firstly Vilém Flusser’s concept of the ›techno-image‹ as the latest and, implicitly, also the last ›symbolic form‹ of cultural history, and: secondly a film by Peter Greenaway centrally addressing the problem of the ›reading‹ of an image—The Draughtsman’s Contract (1982)—in order to: thirdly and conclusively address the concept of an écriture filmique as founded in Alexandre Astruc’s seminal essay The Birth of a New Avantgarde and its possible uses for the situation of today’s media culture.

James Elkins should need no introduction, for he is one of the most prolific and influential art historians of the past twenty years. Yet he is certainly not as familiar to French readers as his international popularity would suggest. A professor at the Art Institute of Chicago since 1989, Elkins has written or edited twenty-five books and more than 120 articles and essays. Several books have been translated into Spanish, Italian, Chinese, Korean and Czech, while anthologies of his writing al...

Der folgende Beitrag möchte den Versuch einer Beantwortung der Frage unternehmen, wie eine interdisziplinär ausgerichtete Bildwissenschaft systematisch gefördert und schließlich etabliert werden kann. Es soll hierbei nicht darum gehen, wie sich weitere interdisziplinäre Tagungen und Sammelbände realisieren lassen, sondern darum, wie die bereits bestehende Zusammenarbeit organisiert werden müsste, damit sie (auch unabhängig von den einzelnen Forscherpersön lichkeiten) einen bleibenden theoretischen Mehrwert erzeugen kann. In der Klärung solcher konzeptioneller Fragen sehe ich einen spezifisch philosophischen Beitrag zur Bildwissenschaft., In this paper I want to make an attempt at responding to the question how the claimed interdisciplinary image science can be systematically promoted and finally established. This is not a question of how further interdisciplinary conferences and publications can be realised. Rather this paper intends to offer suggestions how existing cooperation might and should be organised independently from individual scientists in order to generate a remaining academic appreciation. In clarifying such conceptual questions I see a specific philosophical contribution to image science.

The research is intended to contribute to the global art histories, cultural, visual culture, and critical media studies by examining the artistic approach and artworks of Korean-American artist Nam June Paik (1932 - 2006), who contributed much to our current visual culture environment. Paik’s television installations have been created through alternations of the television’s hardware; the distorted images that occurred through these artworks create an alternative style of image curating, in contrast to the standards of images imposed by the mass media. Apart from the socio- cultural scope of Paik’s artworks, the work focuses on his contributions to this alternative understanding of visuality. Paik’s experimental distorted images are convenient to be starting points to reconsider our visual habits and question what images evoke on us beyond their cultural, socio- political, and social importance., Eda İrem Kartal, Masterarbeit Universität Klagenfurt 2021