Search

The opening sequence of Stanley Kubrick’s science fiction masterpiece 2001: A Space Odyssey is set in a desolate arid region millions of years ago, where a group of hominids is first seen munching on bushes and meager green plants amid a herd of tapirs. After being driven away from their water hole by a rival tribe, the defeated apes huddle together in a dark cave. As night falls, their eyes wide open make us, the spectators, aware of the countless unknown dangers they are afraid of: it is a matter of life and death, a Darwinian struggle for survival in which the fittest rule and the weak die. Overpowered by the fearsome antagonists and deprived of the most essential element to the lives on the desert, Kubrick’s hero apes seem to be doomed to perish.

Resumo Neste ensaio seminal, Jeffrey Alexander apresenta algumas das bases de sua virada icônica. O giro analítico proposto se fundamenta em uma compreensão da materialidade como portadora de conteúdo estético e moral, o que é sintetizado na noção de consciência icônica: o processo em que um observador vincula a superfície estética de uma materialidade a uma determinada estrutura moral de valores sociais. Abstract In this seminal essay, Jeffrey Alexander presents some of the foundations of his iconic turn. The proposed analytical shift is based on an understanding of the aesthetic and moral content of materiality, which is synthesized in the notion of iconic consciousness: the process in which an observer articulates the aesthetic surface of a materiality to a certain moral structure of social values.

28-32 Статья посвящена понятиям иконического поворота и науки об образах (Bildwissenschaft), разработанным в немецких исследованиях визуальной культуры. Выдвижение в центр исследовательского интереса проблемы визуального во второй половине ХХ века поставило перед исследователями множество теоретических и методологических вопросов, нуждающихся в осмыслении. В этой связи, подход, предложенный немецкими учеными, представляет несомненный интерес. The article considers concepts of iconic turn and science of images (Bildwissenschaft) elaborated in German studies of visual culture. Focusing in the problem of visual during the second half of the 20th century has raised the range of theoretical and methodological questions. In this context the approach proposed by the German scholar is of great interest.

136-140 В статье рассматриваются вопросы взаимодействия архитектуры, инфраструктуры и медиальности. Ставится проблема соотношения видимого и невидимого и анализируются механизмы сокрытия городского пространства. Осуществляется концептуализация понятия медиальность инфраструктуры. В исследование медиальности инфраструктуры и архитектуры используются подходы медиафилософии, материальной культуры, акторно-сетевой теории. The article deals with the question of interaction of the architecture, infrastructure and media. The problem field is formed on the basis of analysing the relation of visible and invisible and mechanisms of concealment of urban space. The concept of mediality of infrastructure is carried out. The research of mediality of infrastructure and architecture uses the approaches of mediafilosofy, material culture, actor-network theory.

28-32 Статья посвящена понятиям иконического поворота и науки об образах (Bildwissenschaft), разработанным в немецких исследованиях визуальной культуры. Выдвижение в центр исследовательского интереса проблемы визуального во второй половине ХХ века поставило перед исследователями множество теоретических и методологических вопросов, нуждающихся в осмыслении. В этой связи, подход, предложенный немецкими учеными, представляет несомненный интерес. The article considers concepts of iconic turn and science of images (Bildwissenschaft) elaborated in German studies of visual culture. Focusing in the problem of visual during the second half of the 20th century has raised the range of theoretical and methodological questions. In this context the approach proposed by the German scholar is of great interest.

136-140 В статье рассматриваются вопросы взаимодействия архитектуры, инфраструктуры и медиальности. Ставится проблема соотношения видимого и невидимого и анализируются механизмы сокрытия городского пространства. Осуществляется концептуализация понятия медиальность инфраструктуры. В исследование медиальности инфраструктуры и архитектуры используются подходы медиафилософии, материальной культуры, акторно-сетевой теории. The article deals with the question of interaction of the architecture, infrastructure and media. The problem field is formed on the basis of analysing the relation of visible and invisible and mechanisms of concealment of urban space. The concept of mediality of infrastructure is carried out. The research of mediality of infrastructure and architecture uses the approaches of mediafilosofy, material culture, actor-network theory.

28-32 Статья посвящена понятиям иконического поворота и науки об образах (Bildwissenschaft), разработанным в немецких исследованиях визуальной культуры. Выдвижение в центр исследовательского интереса проблемы визуального во второй половине ХХ века поставило перед исследователями множество теоретических и методологических вопросов, нуждающихся в осмыслении. В этой связи, подход, предложенный немецкими учеными, представляет несомненный интерес. The article considers concepts of iconic turn and science of images (Bildwissenschaft) elaborated in German studies of visual culture. Focusing in the problem of visual during the second half of the 20th century has raised the range of theoretical and methodological questions. In this context the approach proposed by the German scholar is of great interest.

136-140 В статье рассматриваются вопросы взаимодействия архитектуры, инфраструктуры и медиальности. Ставится проблема соотношения видимого и невидимого и анализируются механизмы сокрытия городского пространства. Осуществляется концептуализация понятия медиальность инфраструктуры. В исследование медиальности инфраструктуры и архитектуры используются подходы медиафилософии, материальной культуры, акторно-сетевой теории. The article deals with the question of interaction of the architecture, infrastructure and media. The problem field is formed on the basis of analysing the relation of visible and invisible and mechanisms of concealment of urban space. The concept of mediality of infrastructure is carried out. The research of mediality of infrastructure and architecture uses the approaches of mediafilosofy, material culture, actor-network theory.

143-149 В статье рассматриваются основные проблемы и понятия визуальной экологии как новой научной области исследований возздействия визуальных медиаобразов на конституирование городской среды и медиаархитектуры. Потенциал визуальной экологии отражен в иссле- довании актуальных способов взаимодействия с пространством, которые возникают или из области искусства, или на стыке технологии, искусства и биоарта и не являются чисто количественными критериями. In the article the author considers the main problems and concepts of visual ecology as a new scientific research area of visual images influence on an institutionalization of modern media reality, change of the human, his sensuality, corporality and valuable orientations. The problem field of visual ecology is formed on the basis of the analysis of changes which happened and occur in connection with active and irreversible introduction of visual images in everyday life of a person, in working conditions, educations and cultures.

143-149 В статье рассматриваются основные проблемы и понятия визуальной экологии как новой научной области исследований возздействия визуальных медиаобразов на конституирование городской среды и медиаархитектуры. Потенциал визуальной экологии отражен в иссле- довании актуальных способов взаимодействия с пространством, которые возникают или из области искусства, или на стыке технологии, искусства и биоарта и не являются чисто количественными критериями. In the article the author considers the main problems and concepts of visual ecology as a new scientific research area of visual images influence on an institutionalization of modern media reality, change of the human, his sensuality, corporality and valuable orientations. The problem field of visual ecology is formed on the basis of the analysis of changes which happened and occur in connection with active and irreversible introduction of visual images in everyday life of a person, in working conditions, educations and cultures.

143-149 В статье рассматриваются основные проблемы и понятия визуальной экологии как новой научной области исследований возздействия визуальных медиаобразов на конституирование городской среды и медиаархитектуры. Потенциал визуальной экологии отражен в иссле- довании актуальных способов взаимодействия с пространством, которые возникают или из области искусства, или на стыке технологии, искусства и биоарта и не являются чисто количественными критериями. In the article the author considers the main problems and concepts of visual ecology as a new scientific research area of visual images influence on an institutionalization of modern media reality, change of the human, his sensuality, corporality and valuable orientations. The problem field of visual ecology is formed on the basis of the analysis of changes which happened and occur in connection with active and irreversible introduction of visual images in everyday life of a person, in working conditions, educations and cultures.

In den Essays dieses Bandes zu Bildern der wissenschaftlich-technischen Zivilisation im 19. und 20. Jahrhundert geht es um Annäherungen an die sozialen Konstruktionen einer Faszinationsgeschichte der Technik. Sie sind ein Beitrag zur Etablierung des Felds der Historischen Technikakzeptanzforschung am KIT. Die besondere Aufmerksamkeit gilt dabei der Mobilitätsgeschichte.

El artículo se centra en la localización teórica del proceso receptivo artístico para personas con un trastorno psicótico o del estado de ánimo a través del discurso científico-artístico del iconic turn. Después de exponer las publicaciones existentes referentes al proceso arteterapéutico receptivo, se establece el conjunto básico de axiomas relativos al iconic turn en relación con el cambio perceptivo en estos enfermos. Surgieron importantes correspondencias entre el ser de la imagen (constancia, protección, lo contrario, extracto de realidad) y la necesidad de volver a estructurar, reorganizar y estabilizar los fenómenos de inundación en la percepción de estos enfermos, la tensión del individuo en su relación con la realidad. This paper analyses the theoretical foundations of art receptive procedures for people with psychotic illness on the base of the “iconic turn” discourse in recent aesthetic theory. Fundamental axioms (such as the “surplus value” of the picture, its resemblance of reality; the role of the observer in the process of reception) are discussed in realtion to the perceptive changes that accompany psychotic illness. Important correlations are established between the nature of the picture (constancé, protective function, creation of an “other” or “opposite”, reality-detail) and the necesssity to reorganise and restabilise the overpowering effects of psychotic perception in individuals and their contact to reality. The theoretical aspects are discussed with examples of practical work.

Licht, Farbe, Kamerastil – das sind wesentliche Aspekte bei der ästhetischen Umsetzung eines Filmstoffs. Ob symbolisch distanziert, poetisch verspielt oder dokumentarisch nüchtern – die visuelle Gestaltung beeinflusst entschei-dend die Gefühlslage des Zuschauers und ist damit integraler Bestandteil des Erzählstils: die Kamera als erzählerische Instanz. Alles was im Bild gezeigt wird und wie es gezeigt wird ist für die Bedeutungsbildung elementar. Die filmischen Gestaltungsmittel sind dabei wesentlich für das Gelingen einer Kommunikation zwischen Film und Zuschauer. Sie lenken den Blick des Zuschauers und arbeiten mit spezifischen filmischen Codes, die es zu entschlüs-seln gilt. Die filmischen Gestaltungsmittel sind es, die die Ästhetik des Films bestimmen und damit für die Emotionalisierung des Zuschauers verantwort-lich zeichnen. Der Aufsatz legt den Schwerpunkt auf den visuellen Look eines Films und stellt drei Aspekte besonders heraus: Den offensichtlichen Bereich der Bildgestaltung, den unterschwelligen Bereich des Lichts sowie den subtilen Bereich der Farbe., Light, colour, camera work — these are the main aspects for the aesthetic realisation of filmic material. Whether symbolically reserved, poetically fancy or clean documental — the visual arrangement influences decisively the au-dience’s mood and is therefore an integral part of the narrative style: The camera as narrating authority. Everything shown in the image and how it is presented is fundamental for generating meaning. The filmic design elements are essential for the successful communication between film and audience. They direct the audience’s view and work with specific filmic codes, which are to be decoded. The design elements determine the film’s aesthetics and are responsible for emotionalising the viewer. This essay focuses on the visual composition of a movie and puts an emphasis on the following three aspects: The obvious field of pictorial design, the sub-textual field of lighting as well as the subtle field of colour.

Las distintas ideas sobre el cuerpo humano, su naturaleza o su maleabilidad, determinan valoraciones opuestas sobre su relación con lo tecnológico. Dicha relación cristaliza en imágenes. En consecuencia, la noción específica de cuerpo asumida en un estudio de la imagen técnica será fundamental en su apreciación de lo icónico y conformará así de manera determinante la teoría de la imagen correspondiente. De la mano por tanto de la consideración de lo corporal, encontramos dos versiones contrapuestas del giro icónico, dos versiones que no solo definen la relación de imagen y cuerpo, sino que proponen ideas radicalmente diversas sobre la representación. Different notions of body, of its nature and of its malleability establish opposite evaluations of its relationship to technology. This relationship materializes and takes shape in images. Thus, the specific concept of body assumed in a study of technical images will be fundamental for its assessment on these images, outlining the corresponding pictorial theory. Through the consideration of the body, then, we can frame two confronting versions of the iconic turn. And, as we will see, these versions do not only define the relationship of image and body, but, as a consequence, propose radically different ideas about representation.

Einleitung.................................................................................................................................. 4 I. Was ist Intermedialität?........................................................................................................12 1.1 Transformationsprozesse und Differenz........................................................................14 1.2 Das Dazwischen des Intermedialen...............................................................................16 1.3 Digital oder lebendig?....................................................................................................19 1.4 Theater als (k)ein Medium?...........................................................................................22 1.5 Spuren und Schichtungen..............................................................................................26 II. Köper – Räume – Bilder..................................................................................................... 32 2.1 Krise der Repräsentation............................................................................................... 37 2.2 Körperlichkeit des Bildes oder Bildlichkeit des Körpers?.............................................41 2.3 Bild im Theater..............................................................................................................45 2.4 Theatralität und Medialität.............................................................................................48 2.5 Der Blick ohne Körper...................................................................................................53 2.6 Der absorbierte Zuschauer........................................................................................... .60 III. Zwischen Performance und Installation.............................................................................69 3.1 Performativität der Malerei............................................................................................70 3.1.1 Wie der Maler tanzen lernte (Jackson Pollock).......................................................71 3.1.2 Ikonoklastische Geste (Lucio Fontana)...................................................................75 3.2 Der zufällige und leere Raum....................................................................................... 78 3.2.1 Der weiße und stille Raum (John Cage, Nam June Paik,Yves Klein)....................80 3.2.2 Der blaue Körper.....................................................................................................82 3.3 Das Körperwerden des Bilder .......................................................................................84 3.3.1 Die zeitliche Dimension der Malerei (Die japanische Aktionsmalerei) ...............85 3.3.2 Farbe und Fleisch (Die Wiener Aktionisten)..........................................................87 3.4 Expandierte Malerei.......................................................................................................92 3.4.1 Ohne Grenzen zwischen Kunst und Leben (Allan Kaprow) ...............................93 3.4.2 Ortsspezifisches Theater (Wolf Vostell).................................................................96 3.5 Zonen der Reflexion....................................................................................................101 3.5.1 Video-Passagen (Bruce Nauman).........................................................................103 3.5.2 Überwachende Blicke (Peter Weibel)...................................................................107 3.5.3 Sich in der Vergangenheit begenen (Dan Graham)..............................................109 3.5.4 Das gespaltene Subjekt.........................................................................................112 3.6 Feminisierung des Raums...........................................................................................115 3.6.1 Dezentrierte Fluchtpunkte (Carolee Schneemann)................................................116 3.6.2 Schichten der Repräsentation (Ulrike Rosenbach)...............................................121 3.6.3 Haptische Räume...................................................................................................123 IV. De(kon)struktion der Guckkastenbühne 129 4.1 E. G. Craig, A. Appia und die Rehabilitierung des Visuellen.....................................132 4.1.1 Prolegomena für ein konstruktivistisches Theater...............................................133 4.1.2 Das Licht und die Bühne......................................................................................136 4.2 Theater und Film, ein dialektisches Verhältnis 140 4.2.1 Ein kinematografisches Theater...........................................................................142 4.2.2 Ein Argument von Susan Sontag..........................................................................147 4.3 Verschiebung der Präsenz............................................................................................150 4.3.1 Hamlet zwischen Film, Video und Aufführung....................................................152 4.4 Auszug aus der Black Box 162 4.4.1 Der auratische Blick (René Pollesch)....................................................................163 4.4.2 Die Revolution am Rosa-Luxemburg Platz...........................................................170 4.5 Die Stadt mit anderen Augen sehen 177 4.5.1 Mobile Schauplätze (Cargo Sofia)........................................................................178 4.5.2 Plädoyer für ein (peripat)etisches Theater (Call Cutta)........................................182 V. Den Raum choreografieren...............................................................................................189 5.1 Oskar Schlemmer und der raumbehexte Mensch........................................................190 5.2 Bewegung zwischen Alltag und Malerei.....................................................................196 5.2.1 Dezentrierte Bewegungen (Merce Cunningham)………………………………..197 5.2.2 Gegen die Gravitation tanzen (Trisha Brown)......................................................201 5.3 Choreografie der Haut.................................................................................................207 5.4 Topografie einer verschwundenen Welt......................................................................217 5.4.1.Spuren und Abwesenheiten..................................................................................225 5.5 Im Zwischenraum des Schreibens 228 VI. Resümee 239 Literaturverzeichnis................................................................................................................249 Kurzfassung............................................................................................................................270 Summary................................................................................................................................271, Das Projekt widmet sich der Analyse intermedialer Raumkonzepte zwischen bildender Kunst, Theater und Tanz, die es ermöglichen, eine grenzüberschreitende und wechselwirkende Bewegung zwischen ihnen aufzugreifen. Ausgehend von einer topologisch-performativen Wende, die kennzeichnend für postmoderne Aufführungen ist, wird das Thema aus verschiedenen Disziplinen aufgefasst: Theaterwissenschaft, Tanzwissenschaft, Bildwissenschaft, Filmwissenschaft und Medienwissenschaft. In einer Situation, in der die Bühne mit Bildschirmen, Projektionen und Kameras überflutet wird, verschwimmen die Grenzen zwischen Aufführung, Medien und Installation und man kann von einer heterotopisch-hybriden Räumlichkeit sprechen. Zur selben Zeit kann man diese »Produktion« von Raum als einen performativen Akt verstehen, der durch Interferenz zwischen Körper, Bild und Aufführung erzeugt wird und die Wahrnehmung verwandelt. Um diese räumliche Transformationen präzise zu analysieren, nutzt die Dissertation verschiedenen Diskurse: Hermeneutik, Phänomenologie, Theorie des Performativen, Medienästhetik, Dekonstruktion, Semiotik, Lacan´sche Psychoanalyse und Topologie. Anlässlich einer Theorie der Intermedialität und Performativität wird der Schwerpunkt auf das Verständnis der Beziehung zwischen dem realen Raum/Körper und seinem digitalen/simulierten Abbild liegen. Anhand dieser Betrachtungsweise kommt die Notwendigkeit eines Paradigmenwechsels zum Vorschein, den Raum nicht mehr als eigenständige Entität zu verstehen, sondern als performativ hervorgebracht. Um diese Transition zu verorten lohnt es sich, folgende konkrete Fragen zu stellen: Wie kann man in die Aufführung integrierte Medien (Malerei, Fotografie, Film und Video) phänomenologisch und semiotisch bewerten? Könnte man diese Raumpraktiken als liminal verstehen? Wo werden die Grenzen zwischen bildender Kunst, Videoinstallation, Theater-Performance und Tanz gezogen? Ist es plausibel, von einem relationalen Raum zu sprechen? Könnte man aufgrund einer mehrfachen medialen Schichtung solche Räume als ein palimpsestisches Gewebe denken?, This PhD. project will research various aspects of contemporary spatial practices, which lead to the extension of the stage/scene through integration of new media. Anchored in a topological-performative turn that is significant for the postdramatic theatre, the subject will be examined within an interdisciplinary framework. These different perspectives shall be taken from theatre and dance studies, visual studies, film and media studies. In a situation in which the scene has been inhabited with screens, projections and cameras, the borders between theatre, media and installation become blurry, so it is possible to think of a heterotopic - hybrid spatiality. At the same time, this “production” of space can also be understood as a performative act, which is a result of the interference between bodies, sounds and visual media, thus, changing the perception of the performance. To be able to make a thorough analysis of such spatial transformations, the subject shall be questioned within the domain of different discourses: hermeneutics, phenomenology, performative theory, media aesthetics, deconstruction, semiotics, Lacanian psychoanalysis and topology. On the occasion of a theory of intermediality the main emphasis is to discern the relation between the real body/space and its simulated/digital image. Within such a perspective, it seems necessary to question the notion of the existing spatial paradigm and to understand space not as a self-contained, self-standing entity, but as a result of performativity and (in present days) as mediated through new media. In order to grasp this transition, the following questions could be posed: How is it possible to semiotically and hermeneutically asses the integration of media into performance? How is that influencing the scenic space and the perception of the audience? Is it possible to think of these spatial practices as a liminal space and where are the edges between theatre, video- installation, performance art and dance? Does it seem plausible to think of a relational space, where the audience is not passive but participative?

Besprechung von: Horst Bredekamp, Birgit Schneider, Vera Dünkel (Hg.), Das Technische Bild. Kompendium zu einer Stilgeschichte wissenschaftlicher Bilder, Berlin (Akademie Verlag) 2008. Matthias Bruhn, Das Bild. Theorie – Geschichte – Praxis, Berlin (Akademie Verlag) 2009. James Elkins, How to Use Your Eyes, New York, London (Routledge) 2000., Reviews: Horst Bredekamp, Birgit Schneider, Vera Dünkel (Hg.), Das Technische Bild. Kompendium zu einer Stilgeschichte wissenschaftlicher Bilder, Berlin (Akademie Verlag) 2008. Matthias Bruhn, Das Bild. Theorie – Geschichte – Praxis, Berlin (Akademie Verlag) 2009. James Elkins, How to Use Your Eyes, New York, London (Routledge) 2000.

It is the contention of this paper that the Merleau-pontynian primacy of perception is compatible with the importance of the imagination and other dimensions of embodied existence. In spite of the fact that these dimensions have important differences, they spring from the same source: the lived body and its operative intentionality. I analyze their implications in the Merleaupontinian conception of the Flesh in order to apply his Phenomenology of the imagination to undertand the current iconic turn. La tesis de este trabajo es que la primacía merleau-pontiana de la percepción es compatible con la importancia de la imaginación y la de otras dimensiones de la existencia encarnada. A pesar de las diferencias entre ellas, proceden de la misma fuente: el cuerpo vivido y de su intencionalidad operante. Analizaremos sus implicaciones en la concepción merleau-pontiana de la carne, para aplicar la fenomenología de la imaginación, presente en Merleau-Ponty, a la comprensión del giro icónico contemporáneo.

Creativity is now an exposed trait. This is due to the high need for innovation, original and useful solutions that serve the development of the organization, their effective market entry and long-term survival. This publication is a collection of papers prepared under The First National Conference “CREATIVE VIBES. Kreatywnością napędzamy gospodarkę”, whose aim was to stir issues concerning the significance of creativity from the point of view of the development of innovative economy, as well as to draw attention to the role of creativity in the education process of students and its impact on the development of professional competence. The article presents various approaches to the methodology of modern and contemporary art history. It provides signposts and a set of possible orientations toward the field of art history, by presenting some of the theoretical perspectives most widely used in the discipline today (e.g. historiography, iconography, ‘iconic turn’or the most recent concept – ‘Relational Aesthetics’). The aim of this article is to present art as a visual representation of a range of concepts and emotions as well as to examine the progress of different ways in which people study, interpret and appreciate art in its richness and multitude of forms.