- Visual Studies, Visual Culture, Visual Semiotics, Narrative Theory, Narratology, Visual Narrative, and 61 moreAncient Visual Culture (Archaeology), Iconology, Semiotics, Peircean Semiotics, Ancient Greek Iconography, Bildwissenschaft, Narrative and Identity, Narrative In Early Greek Art, Visual Narratology, Image Studies, Transmedial Narratology, Transmedial Storytelling, Cultural Semiotics, Intermediality, Biosemiotics, Cybersemiotics, Transmedia Storytelling, Greek vase painting, Pictorial Narrative, Narrative Methods, Cultural Theory, Cognitive Narratology, South East Asian Archaeology, Contacts Between the Mediterranean World and Southeast Asia, South and Southeast Asian Archaeology, Ancient Indian Archaeology, Indian Archaeology and History of Art, South Asian Archaeology, Archaeology of Early Buddhism, Minoan iconography, Technosphere and Human Ecology, Gandhara, Kushan history, Khmer art and architecture, Angkor, Ornament (Archaeology), Cambodian Archaeology, Southeast Asian Archaeology, Anthropocene, Anthropocene studies, Critical Zone Science, Nature Culture, Khmer, Environmental Humanities, Ecosemiotics, Ecocriticism, Ecocultural Communication, Physiosemiotics, Econarratology, Material Ecocriticism, Geopolitics, Biopolitics, Colonialism, Sustainability Education, Pacific Island mythology, Pacific Island Studies, South Pacific Literature, Pacific Islands art, Political Iconography, East Asian Film and Visual Studies, and South Asian Visual Cultureedit
Research Interests: Environmental Education, Higher Education, Indigenous Knowledge, Nature Culture, Indigenous ecological knowledges and practices, and 12 moreGlobal education, Climate Justice, Culture and education, Global Citizenship Education, Anthropocene, Ecocultural Theory, Arts And Cultural Education, Higher Education for Sustainable Development, Education for Sustainable Development, Ecocultural Communication, Culture and the Anthropocene, and Sustainable Development Goals (SDGs)
Research Interests:
The contributions to this collection discuss – from a general perspective and on the basis of concrete examples – how the epistemic potentials of the manifold current strands of image and visual culture studies on images and their... more
The contributions to this collection discuss – from a general perspective and on the basis of concrete examples – how the epistemic potentials of the manifold current strands of image and visual culture studies on images and their perception – which proliferated since the pictorial and the iconic turn – can be made available for the archaeological study of image cultures. They address semiotic and perceptual, frame-semantic, affect-theoretical and cognitive approaches as well as questions of image contexts and the agency of images.
Research Interests: Cultural History, Archaeology, Classical Archaeology, Near Eastern Archaeology, Prehistoric Archaeology, and 11 moreArt History, Visual Culture, Visual Narrative, Visual Semiotics, Visual Narratology, Philosophy of Images, Ancient Visual Culture (Archaeology), Bildwissenschaft, Art and image theory, Image Studies, and Image theory
In disciplines like archaeology and art history images are traditionally dealt with as objects which are perceived by sight only. Other senses are usually neglected when it comes to analysis and interpretation. Such approaches are called... more
In disciplines like archaeology and art history images are traditionally dealt with as objects which are perceived by sight only. Other senses are usually neglected when it comes to analysis and interpretation. Such approaches are called into question by phenomena of multisensory integration like the so-called McGurk effect which drastically shows an interaction between vision and hearing in speech perception directly affecting the perceived meaning. Such findings from sciences like neuroscience or neuroaesthetics are now dealt with also in cultural studies under the label of the “sensory turn” and are complemented by insights especially from visual culture studies.
Research Interests:
Research Interests: Semiotics, Cultural Studies, Archaeology, Visual Studies, Art History, and 17 moreVisual Anthropology, Art Theory, Image Science, Visual Culture, Cultural Semiotics, Visual Semiotics, Phenomenology, Visual perception, Philosophy of Time, Time Perception, Visual Arts, Phenomenology of Temporality, Temporality (Time Studies), Temporality, Bildwissenschaft, Art and image theory, and Image theory
Research Interests: Cultural History, Cultural Studies, Archaeology, Classical Archaeology, Visual Studies, and 17 moreArt History, Visual Anthropology, Film Studies, Narrative, Visual Culture, Comics Studies, Visual Narrative, Cultural Theory, Identity (Culture), Narratology, Visual Communication, Narrative and Identity, Narrative Theory, Cultural Anthropology, Visual Narratology, Comics and Graphic Novels, and Historical Fiction
Publication of the conference "The Art of Reception", 28-30 November 2013, Hamburg
Research Interests: Cultural History, Cultural Studies, Classical Archaeology, Classics, Visual Studies, and 11 moreArt History, Reception Studies, Art Theory, Visual Culture, Cultural Theory, Ancient Aesthetics, Classical Reception Studies, Ancient Visual Culture (Archaeology), Reception of Antiquity, Bildwissenschaft, and Classics: Ancient History and Archaeology
Research Interests: Cultural Studies, Earth Sciences, Philosophy, Visual Studies, Art History, and 15 moreArt Theory, Climate Change, Geopolitics, Actor Network Theory, Visual Culture, Bruno Latour, Visual Arts, Bildwissenschaft, Art and image theory, Image Studies, Anthropocene, Image theory, Bildtheorie, Climate Politics, and Critical Zone Science
Transmedia storytelling in its broadest sense can be understood as telling a story with different media. The current discourse largely implies that this form of storytelling was caused by the recent phenomenon of media convergence. From... more
Transmedia storytelling in its broadest sense can be understood as telling a story with different media. The current discourse largely implies that this form of storytelling was caused by the recent phenomenon of media convergence. From the perspectives of narrative theory and cultural history such an assumption is doubtful. It will be shown that the first occurence of this special practice of storytelling cannot be attached to a certain time or culture. Rather, we have to assume that transmedia storytelling dates back to the beginning of storytelling itself. On the example of ancient Greek images it will further be discussed which additional epistemic potential can be derived from the standpoint of cultural history.
Research Interests: Classical Archaeology, Visual Studies, Media and Cultural Studies, Visual Culture, Visual Narrative, and 15 moreTransmedial Storytelling, Narrative and Identity, Narrative Theory, Visual Narratology, Media Convergence, Ancient Greek Iconography, Ancient Visual Culture (Archaeology), Ancient Greek and Roman Art, Greek Vases, Transmedia Storytelling, Bildwissenschaft, Transmedial Narratology, Pictorial Narrative, Greek and Roman Art and Architecture, and Narratives and Image
In disciplines like archaeology and art history images are traditionally dealt with as objects which are perceived by sight only. Other senses are usually neglected when it comes to analysis and interpretation. Even in film studies the... more
In disciplines like archaeology and art history images are traditionally dealt with as objects which are perceived by sight only. Other senses are usually neglected when it comes to analysis and interpretation. Even in film studies the observation of the effects of sound on the constitution of meaning is often disregarded. Such approaches are called into question by phenomena of multisensory integration like the so-called McGurk effect which drastically shows an interaction between vision and hearing in speech perception directly affecting the perceived meaning: the visual information someone gets from seeing a person speak changes the way sound is heard. There are further phenomena like the so-called double-flash illusion or the rubber hand illusion where information from different senses influence each other in the constitution of meaning and which are dealt with under the label of multisensory integration. Such findings from natural sciences like neuroscience and neuroaesthetics are complemented by insights from visual culture studies and opened a the new perspective of the "sensory turn".
Research Interests:
The article analyses whether a certain depiction – eyes gazing at viewers – within different images – still, moving, and interactive ones – can be interpreted as a narrative metalepsis. It is concluded that the meaning of the depiction... more
The article analyses whether a certain depiction – eyes gazing at
viewers – within different images – still, moving, and interactive ones
– can be interpreted as a narrative metalepsis. It is concluded that
the meaning of the depiction depends on the viewers’ previous
knowledge and cultural background. To grasp the metalepsis fully
also its phenomenal effects have to be observed. Whether perceptions
of different senses are complementing or conflicting as regards
meaning depends also on how the images resemble the experiences
we are used to. As we have seen similar depictions can be interpreted
differently depending on the viewers’ prefiguration either as immersive or as shattering the imagined storyworld.
viewers – within different images – still, moving, and interactive ones
– can be interpreted as a narrative metalepsis. It is concluded that
the meaning of the depiction depends on the viewers’ previous
knowledge and cultural background. To grasp the metalepsis fully
also its phenomenal effects have to be observed. Whether perceptions
of different senses are complementing or conflicting as regards
meaning depends also on how the images resemble the experiences
we are used to. As we have seen similar depictions can be interpreted
differently depending on the viewers’ prefiguration either as immersive or as shattering the imagined storyworld.
Research Interests: Classical Archaeology, Visual Studies, Game studies, Art History, Visual Culture, and 14 moreVisual Narrative, Visual Semiotics, Phenomenology, Visual perception, Narratology, Narrative Theory, Visual Arts, Ancient Greek Iconography, Greek Vases, Bildwissenschaft, Sensory Studies, Transmedial Narratology, Metalepsis, and Film Narrative
Research Interests: Semiotics, Visual Studies, Art History, Visual Anthropology, Art Theory, and 17 moreVisual Culture, Cultural Semiotics, Visual Semiotics, Phenomenology, Visual perception, Film Semiotics, Philosophy of Time, Time Perception, Visual Arts, Phenomenology of Temporality, Visual and Cultural Studies, Temporality (Time Studies), Aby Warburg, Temporality, Bildwissenschaft, Cybersemiotics, and Art and image theory
In disciplines like archaeology and art history images are traditionally dealt with as objects which are perceived by sight only. Other senses are usually neglected when it comes to analysis and interpretation. On the other hand, in... more
In disciplines like archaeology and art history images are traditionally
dealt with as objects which are perceived by sight only. Other senses are
usually neglected when it comes to analysis and interpretation. On the
other hand, in recent visual culture studies it has been argued that there
are no visual media but, from the standpoint of sensory modality, only
mixed media and that all so-called visual media like television, film,
photography and painting, etc. involve the other senses. Further it has
been argued that images possess the ability to elicit and channel certain
sensory responses of their viewers. They accentuate specific parts of the
socially and culturally created sensorium in which the reception situation
is embedded. It follows that within reception processes a change in the
sensory qualities – for example when a still image is in one way or other
referenced in a moving image – may change the perceived meaning and
viewers’ responses. Images may also through their sensory properties reflect the valuing of certain sense expressions over others in a certain
culture. This article investigates examples of images migrating from
Greek vase painting into film and shows that changes of meaning attached
to certain images do not only depend on transformations in form,
content, or iconography but also on changes in the different senses addressed by these images embedded in different sensoria.
dealt with as objects which are perceived by sight only. Other senses are
usually neglected when it comes to analysis and interpretation. On the
other hand, in recent visual culture studies it has been argued that there
are no visual media but, from the standpoint of sensory modality, only
mixed media and that all so-called visual media like television, film,
photography and painting, etc. involve the other senses. Further it has
been argued that images possess the ability to elicit and channel certain
sensory responses of their viewers. They accentuate specific parts of the
socially and culturally created sensorium in which the reception situation
is embedded. It follows that within reception processes a change in the
sensory qualities – for example when a still image is in one way or other
referenced in a moving image – may change the perceived meaning and
viewers’ responses. Images may also through their sensory properties reflect the valuing of certain sense expressions over others in a certain
culture. This article investigates examples of images migrating from
Greek vase painting into film and shows that changes of meaning attached
to certain images do not only depend on transformations in form,
content, or iconography but also on changes in the different senses addressed by these images embedded in different sensoria.
Research Interests: Cultural Studies, Archaeology, Classical Archaeology, Visual Studies, Perception, and 27 moreIconography, Art History, Media Studies, Reception Studies, Film Studies, Visual Culture, Visual Semiotics, History of the Senses, Visual perception, Visual Communication, Greek Archaeology, Anthropology of the Senses, Classical Reception Studies, Ancient Greek Iconography, Visual and Cultural Studies, Ancient Visual Culture (Archaeology), Iconology, Ancient Greek and Roman Art, Greek Vases, Archaeology of the Senses, Bildwissenschaft, Sensory Studies, Iconography and Iconology, Visual Culture and Media Studies, Image Studies, The Senses, and Multisensoriality
Research Interests: Archaeology, Classical Archaeology, Visual Studies, Art History, Visual Anthropology, and 22 moreImage Science, Visual Culture, Word and Image Studies, Visual Narrative, Visual Culture in Education, Visual Semiotics, Migration, Phenomenology, Political communication, Visual Communication, Migration Studies, Affect Theory, Visual Narratology, Affect Studies, Philosophy of Images, Visual Arts, Arts Education and Pedagogy, Affect (Cultural Theory), Bildwissenschaft, Bildtheorie, Visual Communications, and Visual Arts Education
Research Interests: Semiotics, Archaeology, Visual Studies, Art History, Visual Anthropology, and 12 moreImage Science, Visual Culture, Cultural Semiotics, Visual Semiotics, Phenomenology, Visual perception, Philosophy of Time, Time Perception, Visual Arts, Phenomenology of Temporality, Bildwissenschaft, and Art and image theory
Research Interests: Cultural History, Cultural Studies, Archaeology, Classical Archaeology, Visual Studies, and 15 moreArt History, Media and Cultural Studies, Narrative, Visual Culture, Social and Cultural Anthropology, Visual Narrative, Cultural Theory, Identity (Culture), Narratology, Cultural Identity, Narrative and Identity, Narrative Theory, Cultural Anthropology, Visual Narratology, and Identity
Research Interests: Semiotics, Cultural Studies, Cognitive Psychology, Philosophy, Aesthetics, and 22 moreVisual Studies, Art History, Film Studies, Film Theory, Image Science, Visual Culture, Intermediality, Film Analysis, Cultural Theory, Visual Semiotics, Embodied Cognition, Embodiment, Phenomenology, Visual perception, Embodied Mind and Cognition, Culture, Extended Mind, Film Semiotics, Phenomenology of the body, Film Aesthetics, Bildwissenschaft, and Cybersemiotics
Vom 27. bis zum 29. November 2014 fand an der Universität Hamburg die von den Verfassern mit Clara Doose-Grünefeld und Kirsten Maack organisierte Tagung Visuelle Narrative – Kulturelle Identitäten statt. Tagungsort dieser zweiten... more
Vom 27. bis zum 29. November 2014 fand an der Universität Hamburg die von den Verfassern mit Clara Doose-Grünefeld und Kirsten Maack organisierte Tagung Visuelle Narrative – Kulturelle Identitäten statt. Tagungsort dieser zweiten interdisziplinären bildwissenschaftlichen Veranstaltung war diesmal das Warburghaus. Die Tagung verschränkte in gewinnbringender Weise zwei aktuelle Forschungsfragen: einerseits ging es darum, die verschiedenen Arten und Weisen des Erzählens mit Bildern in den Blick zu nehmen, andererseits darum, wie diese Narrative an der Konstruktion von Identitäten beteiligt sind ...
Research Interests: Cultural History, Cultural Studies, Classical Archaeology, Visual Studies, Art History, and 12 moreNarrative, Visual Culture, Visual Narrative, Identity (Culture), Narratology, Narrative Methods, Cultural Identity, Narrative and Identity, Narrative Theory, Visual and Cultural Studies, Bildwissenschaft, and Kulturwissenschaften
The construction of meaning by the viewer of a moving image is heavily dependent on preliminary embodied images and knowledge. This will be shown by using the example of transmedia storytelling. Transmedia storytelling is a narrative mode... more
The construction of meaning by the viewer of a moving image is heavily dependent on preliminary embodied images and knowledge. This will be shown by using the example of transmedia storytelling. Transmedia storytelling is a narrative mode commonly used in or developing around i.a. 21st century television series. The storytelling is not restricted to the moving images of the episodes and seasons but is taking place also in further conventional media like books or new digital formats. Taking the television series Game of Thrones (2011–) as a starting point, the aim of this article is to discuss some aspects of how meaning is generated in the process of perceiving such transmedia narratives and how that affects the perception of the moving image. For this purpose, theoretical concepts both from film studies and from transmedia narratology will be compared and combined. The moving image in the attentive-impressive reception situation which is involved in transmedia storytelling is dynamised twice: on the one hand by the dynamic material moving image and on the other hand by the images embodied through perception of other media. Thereby it becomes a cyborgian image as it is composed of fragments of the material image and of fragments of images and knowledge already stored in the living body.
Research Interests:
Wie Bildmotive und Darstellungsweisen wandern auch Bilderzählungen und ihre narrativen Strukturen durch verschiedene kulturelle Komplexe und Zeiten. Diese Wanderungen und Rezeptionsvorgänge weisen ein besonderes kulturanalytisches... more
Wie Bildmotive und Darstellungsweisen wandern auch Bilderzählungen und ihre narrativen Strukturen durch verschiedene kulturelle Komplexe und Zeiten. Diese Wanderungen und Rezeptionsvorgänge weisen ein besonderes kulturanalytisches Erkenntnispotential auf. Um die kulturspezifischen Muster und Strukturen von Bilderzählungen, die für die Konstituierung von Identitäten von Bedeutung sind, mit Blick auf eine kultur- und epochenübergreifende Vergleichbarkeit zu ermitteln, wird ein Instrumentarium benötigt, dass es ermöglicht, jene Strukturen zu beschreiben. Zur Schaffung einer Grundlage für eine kulturelle und zeitliche Differenzierung unterschiedlicher Erzählstrukturen, die auch den Nachvollzug wandernder Bilderzählungen ermöglicht, geht dieser Artikel der Frage nach, ob in den Fächern, die sich mit antiken Bildern auseinandersetzen – insbesondere der Klassischen Archäologie –, ein solches Instrumentarium vorhanden ist oder woher gegebenenfalls geeignete Konzepte bezogen werden können.
Research Interests: Classical Archaeology, Visual Narrative, Narratology, Narrative Methods, Static Visual Narrative, and 13 moreNarrative and Identity, Narrative Theory, Visual Narratology, Ancient Greek Iconography, Classical Mythology, Ancient Visual Culture (Archaeology), Ancient Greek and Roman Art, Ancient Narrative, Greek Vases, Pictorial Narrative, Greek vase painting, Klassische Archäologie, and Narrative In Early Greek Art
Research Interests: Cultural History, Cultural Studies, Classical Archaeology, Visual Studies, Art History, and 10 moreReception Studies, Reception Theory, Visual Culture, Cultural Theory, Audience and Reception Studies, Classical Reception Studies, Reception History, Reception of Antiquity, Bildwissenschaft, and Classical reception
Research Interests:
Research Interests:
Narrative constructions of the past constitute a powerful discursive system for the production of cognitive and ideological representations of identity, agency, and social function, and for the negotiation of conceptual relationships... more
Narrative constructions of the past constitute a powerful discursive system for the production of cognitive and ideological representations of identity, agency, and social function, and for the negotiation of conceptual relationships between societies in different times and lived experience. The licences of fiction, especially in mass culture, define a space in which the pursuit of narrative and meaning is permitted to slip the chains of sanctioned historical truths to explore the deep desires and dreams that lie beneath all constructions of the past. Historical fictions measure the gap between the pasts we are permitted to know and those we wish to know, interacting between the meaning-making narrative and the narrative-resistant nature of the past.
Research Interests: History, Cultural History, Cultural Studies, English Literature, Media Studies, and 18 moreFilm Studies, Literature, Narrative, Literature and cinema, Film Analysis, Historiography, Visual Narrative, Film Adaptation, Historical Films, Cultural Identity, Narrative and Identity, Film and History, Cinema, Series TV, Historical Fiction, Cinema Studies, TV studies, and TV Series
Narrative constructions of the past constitute a powerful discursive system for the production of cognitive and ideological representations of identity, agency, and social function, and for the negotiation of conceptual relationships... more
Narrative constructions of the past constitute a powerful discursive system for the production of cognitive and ideological representations of identity, agency, and social function, and for the negotiation of conceptual relationships between societies in different times and lived experience. The licences of fiction, especially in mass culture, define a space in which the pursuit of narrative and meaning is permitted to slip the chains of sanctioned historical truths to explore the deep desires and dreams that lie beneath all constructions of the past. Historical fictions measure the gap between the pasts we are permitted to know and those we wish to know, interacting between the meaning-making narrative and the narrative-resistant nature of the past.
Research Interests: History, Archaeology, Musicology, English Literature, Art History, and 14 moreMedia Studies, Reception Studies, Film Studies, Museum Studies, Reception Theory, Literature, Narrative, Visual Narrative, Narratology, Narrative and Identity, Narrative Theory, Classical Reception Studies, Historical Fiction, and TV studies
The panel will discuss the topic of environmental change from an archaeological and interdisciplinary perspective. Environment, here, is understood in a wide sense including the climatic, political, and cultural environments of societies.... more
The panel will discuss the topic of environmental change from an archaeological and interdisciplinary perspective. Environment, here, is understood in a wide sense including the climatic, political, and cultural environments of societies. In these environments changes occur over time due to innovations, trade, exchange, conflicts, geobiochemical processes, or disasters which interact with and transform societies and their structures. Looking at these changes from an archaeological perspective means observing them by studying the material remains of past societies which reflect environmental changes and transforming social structures for example through changing styles of ornaments, different imagery, materials, or practices or immediate traces of human behavior like destruction, abandonment, repair, or iconoclasm. The reactions societies show and the transformations in structures give insight into how they deal with times of crises. The panel will discuss environmental change and possible transfers of adaptation and resilience strategies in ancient societies in zones of interaction between Southeast Asia and the Mediterranean by highlighting diverse geographic regions in different times: from ancient Greece, via Gandhara and the Roman empire into the region of the Malay Peninsula and the empires of the Cham and Khmer in nowadays Vietnam and Cambodia. This approach from different archaeologies aims at developing an interdisciplinary method to observe and analyse long-time developments of societies and their complex interdependencies with environments.
Research Interests: Archaeology, Classical Archaeology, Southeast Asian Studies, Thai Studies, Climate Change, and 15 moreEnvironmental Archaeology, Cultural Heritage, Material Culture Studies, Southeast Asian Archaeology, Greek Archaeology, Environmental Humanities, Climate Change and Environmental Archaeology, Buddhist art and architecture, Cambodian Archaeology, Vietnam Archaeology, Gandhara, Thailand Cambodia Border Conflict, Champa, Gandhara Archaeology, and Critical Zone Science
From our hominin ancestors in the Palaeolithic world until the end of the ancient era there seem to have been closer contacts between Europe, Eurasia and Southeast/East Asia which might have been forgotten due to sheer time or diverse... more
From our hominin ancestors in the Palaeolithic world until the end of the ancient era there seem to have been closer contacts between Europe, Eurasia and Southeast/East Asia which might have been forgotten due to sheer time or diverse historical events like the formation of states. The archaeological evidence invites us to take a closer look at the similarities and to investigate the different cultural contexts. From sharing same ideas and concepts to influences by trade this panel tries to highlight the cultural markers to provide a more integrated view.
Research Interests: Cultural History, Cultural Studies, Classical Archaeology, Prehistoric Archaeology, Palaeolithic Archaeology, and 14 moreSouth East Asian Archaeology, South Asian Archaeology, Southeast Asian Archaeology, Greek Archaeology, Hellenism, Ancient Greek Iconography, Mediterranean archaeology, Ancient Trade & Commerce (Archaeology), Late Pleistocene to Early Holocene, Greek Sculpture, Archaeology of the Hellenistic East, Greek and Roman Art and Architecture, Cambodian Archaeology, and Khmer art and architecture
Die Bildwissenschaften und die Visual Culture Studies haben seit den Wenden zum Bildlichen vielfältige und zahlreiche Fragestellungen, Theorien und Methoden entwickelt, die nun beginnen, die archäologische Bildforschung neu zu... more
Die Bildwissenschaften und die Visual Culture Studies haben seit den Wenden zum Bildlichen vielfältige und zahlreiche Fragestellungen, Theorien und Methoden entwickelt, die nun beginnen, die archäologische Bildforschung neu zu perspektivieren. Die Vortragsreihe " Bildliches im Blick der Archäologie " nimmt diese Impulse auf und wirft Schlaglichter auf ausgewählte Bereiche, um die Potentiale auszuloten, die von den interdisziplinären Diskursen eröffnet werden.
1 Bildereignisse: Kommunikation mit der Vergangenheit (Di, 08.05.2018)
Bilder ereignen sich im Moment des Betrachtens immer wieder aufs Neue und konstituieren Bedeutungen. Sie können daher als zentrale Bestandteile kommunikativer Prozesse aufgefasst werden. Der Vortrag wird ein Kommunikationsmodell, das sich auf die materiellen Bildträger konzentriert, als methodischen Ausgangspunkt bildbezogener archäologischer Forschung vorstellen. Ein solches Kommunikationsmodell kann einerseits synchrone und diachrone Kommunikationsebenen differenzieren und damit verbundene Verständnisprobleme beleuchten. Andererseits ist es in der Lage, auch in den Archäologien diskutierte zentrale Theoriefragen zur Bedeutungskonstitution durch Bilder, die sich im Spannungsfeld semiotischer und aisthetischer Konzepte bewegen, zu integrieren.
2 Bildreste: Archäologisches Material und bildliche Medialität (Di, 15.05.2018)
Das Sichereignen des Bildlichen steht in Abhängigkeit von materiellem Medium und wahrnehmendem Subjekt. Wenn wir von antiken oder prähistorischen Bildern sprechen, müssen wir genau genommen von Bildresten sprechen, da der archäologischen Forschung regelmäßig nur die materiellen Bildträger zur Verfügung stehen. Der Vortrag wird darlegen, wie materielle Reste vergangener Kulturen als Bildmedien untersucht werden können, und wesentliche Analysekategorien wie materielle, raumzeitliche, sensorische und semiotische Modalitäten sowie den sich aus einer solchen Perspektive eröffnenden Vergleichshorizont transmediativer Prozesse erörtern.
3 Überbilder: Die Metapher vom " Leben der Bilder " und andere Metabilder (Di, 29.05.2018)
Die von W. J. T. Mitchell geprägte Metapher von den lebenden und begehrenden Bildern wird von ihm selbst als Metabild verstanden, das bestimmte eigentümliche Verhaltensweisen des Menschen gegenüber dem Bild erhellt. Aktuelle theoretische Konzepte, die von einer (Handlungs-)macht des Bildes sprechen, zeigen, dass animistische Haltungen gegenüber Dingen – man denke etwa an die Idee vom Eigenleben der Technosphäre im Anthropozän – nach wie vor unseren Umgang mit dem Bild prägen und nicht in Bereiche naiven Bilderglaubens verwiesen werden können. Der Vortrag wird aufzeigen, dass bereits antike Metabilder Hinweise auf differenzierte Bildverständnisse geben und dass bildanimistische Tendenzen in der rezenten Theoriebildung von einer Nichtberücksichtigung wesentlicher Wirkungsdimensionen des Bildlichen wie etwa des Affektpotentials geprägt sind.
4 Bildbildungen: Un/sichtbarmachen (Di, 12.06.2018)
Bilder sind nicht nur in Kommunikations-und Wahrnehmungsprozesse eingebunden, sondern sie sind auch Gegenstand vielfältiger Bildpraktiken. Die meisten dieser Praktiken lassen sich auf die Grundmodi des Zeigens und des Sehens zurückführen. Über die Fragestellung, wer wem was (nicht) zeigt und wer von wem was (nicht) sieht, wird verdeutlicht, dass diese Bildpraktiken Sichtbarkeiten und Unsichtbarkeiten herstellen. Der Vortrag wird sich damit auseinandersetzen, welche Folgen dies für Machtgefüge und-gefälle zwischen den Beteiligten hat, etwa wenn es darum geht, Bilder im Rahmen kultureller Identitäts-und Alteritätskonstruktionen einzusetzen, und inwieweit archäologische Befunde Rückschlüsse auf die zugrundeliegenden Praktiken ermöglichen.
1 Bildereignisse: Kommunikation mit der Vergangenheit (Di, 08.05.2018)
Bilder ereignen sich im Moment des Betrachtens immer wieder aufs Neue und konstituieren Bedeutungen. Sie können daher als zentrale Bestandteile kommunikativer Prozesse aufgefasst werden. Der Vortrag wird ein Kommunikationsmodell, das sich auf die materiellen Bildträger konzentriert, als methodischen Ausgangspunkt bildbezogener archäologischer Forschung vorstellen. Ein solches Kommunikationsmodell kann einerseits synchrone und diachrone Kommunikationsebenen differenzieren und damit verbundene Verständnisprobleme beleuchten. Andererseits ist es in der Lage, auch in den Archäologien diskutierte zentrale Theoriefragen zur Bedeutungskonstitution durch Bilder, die sich im Spannungsfeld semiotischer und aisthetischer Konzepte bewegen, zu integrieren.
2 Bildreste: Archäologisches Material und bildliche Medialität (Di, 15.05.2018)
Das Sichereignen des Bildlichen steht in Abhängigkeit von materiellem Medium und wahrnehmendem Subjekt. Wenn wir von antiken oder prähistorischen Bildern sprechen, müssen wir genau genommen von Bildresten sprechen, da der archäologischen Forschung regelmäßig nur die materiellen Bildträger zur Verfügung stehen. Der Vortrag wird darlegen, wie materielle Reste vergangener Kulturen als Bildmedien untersucht werden können, und wesentliche Analysekategorien wie materielle, raumzeitliche, sensorische und semiotische Modalitäten sowie den sich aus einer solchen Perspektive eröffnenden Vergleichshorizont transmediativer Prozesse erörtern.
3 Überbilder: Die Metapher vom " Leben der Bilder " und andere Metabilder (Di, 29.05.2018)
Die von W. J. T. Mitchell geprägte Metapher von den lebenden und begehrenden Bildern wird von ihm selbst als Metabild verstanden, das bestimmte eigentümliche Verhaltensweisen des Menschen gegenüber dem Bild erhellt. Aktuelle theoretische Konzepte, die von einer (Handlungs-)macht des Bildes sprechen, zeigen, dass animistische Haltungen gegenüber Dingen – man denke etwa an die Idee vom Eigenleben der Technosphäre im Anthropozän – nach wie vor unseren Umgang mit dem Bild prägen und nicht in Bereiche naiven Bilderglaubens verwiesen werden können. Der Vortrag wird aufzeigen, dass bereits antike Metabilder Hinweise auf differenzierte Bildverständnisse geben und dass bildanimistische Tendenzen in der rezenten Theoriebildung von einer Nichtberücksichtigung wesentlicher Wirkungsdimensionen des Bildlichen wie etwa des Affektpotentials geprägt sind.
4 Bildbildungen: Un/sichtbarmachen (Di, 12.06.2018)
Bilder sind nicht nur in Kommunikations-und Wahrnehmungsprozesse eingebunden, sondern sie sind auch Gegenstand vielfältiger Bildpraktiken. Die meisten dieser Praktiken lassen sich auf die Grundmodi des Zeigens und des Sehens zurückführen. Über die Fragestellung, wer wem was (nicht) zeigt und wer von wem was (nicht) sieht, wird verdeutlicht, dass diese Bildpraktiken Sichtbarkeiten und Unsichtbarkeiten herstellen. Der Vortrag wird sich damit auseinandersetzen, welche Folgen dies für Machtgefüge und-gefälle zwischen den Beteiligten hat, etwa wenn es darum geht, Bilder im Rahmen kultureller Identitäts-und Alteritätskonstruktionen einzusetzen, und inwieweit archäologische Befunde Rückschlüsse auf die zugrundeliegenden Praktiken ermöglichen.
Research Interests:
Research Interests: Classical Archaeology, Reception Studies, Visual Culture, Intermediality, Visual Narrative, and 12 moreHistory of the Senses, Transmedial Storytelling, Narrative and Identity, Anthropology of the Senses, Greek Myth, Classical Reception Studies, Visual Narratology, Sensory Cultures & Visuality, Ancient Visual Culture (Archaeology), Greek Vases, Archaeology of the Senses, and Sensory Studies
Research Interests: Visual Studies, Game studies, Film Studies, Film Theory, Narrative, and 15 moreVisual Culture, Visual Narrative, Visual Semiotics, History of the Senses, Narratology, Interactive and Digital Media, Philosophy of Time, Anthropology of the Senses, Narrative Theory, Time Perception, Visual Narratology, Phenomenology of Temporality, Immersion and Experience, Bildwissenschaft, and Metalepsis
Strikingly, figures on ancient Greek vases are almost always represented with heads in profile facing to left or to right. As a dominant and almost exclusive posture it can be seen as a constant norm in the archaic period and onwards and... more
Strikingly, figures on ancient Greek vases are almost always represented with heads in profile facing to left or to right. As a dominant and almost exclusive posture it can be seen as a constant norm in the archaic period and onwards and as a pronounced characteristic of Greek vase painting. Only Gorgons, gorgoneia, and panthers already in Corinthian art, are always iconographically marked by frontal faces. Especially in mythic scenes frontal gazes are almost completely absent.
While there have been attempts to group the rare occasions of frontal faces iconographically (lastly Korshak 1987) important questions have been left untouched. For understanding the visual culture of the Greeks it would be crucial to ask why mythical narrative scenes do not show gazes at the viewer or why contemporary researchers express uncanny feelings when describing frontal gazes. Traditional methods of classical archaeology like iconography, iconology, and formal aesthetics do not provide sufficient answers.
In my lecture I will analyse the phenomenon with methods of visual culture studies and Bildwissenschaften on the one hand and take a look at the current debates in the philosophy of mind on embodiment on the other (i.a. Gallagher/Zahavi 2012; Lakoff/Johnson 1999; Noë 2004). Applying theories of the gaze and of visual narratology lead to the conclusion that frontal gazes disturb identification processes on the side of the viewer and thereby undermine a basic function of mythological narratives. Looking at the viewer as an embodied viewer who is not only viewing but at the same time perceiving space and time through different senses and having a proprioception may explain why such a disturbing effect is occurring.
The lecture will show how the analysis of certain phenomena of visual culture through the lenses of visual culture studies and embodiment theories delivers answers beyond the scope of traditional methods and thereby prove the necessity of developing the analytical tools of classical archaeology further (as introduced for example by Skeates 2010 and Hamilakis 2013).
While there have been attempts to group the rare occasions of frontal faces iconographically (lastly Korshak 1987) important questions have been left untouched. For understanding the visual culture of the Greeks it would be crucial to ask why mythical narrative scenes do not show gazes at the viewer or why contemporary researchers express uncanny feelings when describing frontal gazes. Traditional methods of classical archaeology like iconography, iconology, and formal aesthetics do not provide sufficient answers.
In my lecture I will analyse the phenomenon with methods of visual culture studies and Bildwissenschaften on the one hand and take a look at the current debates in the philosophy of mind on embodiment on the other (i.a. Gallagher/Zahavi 2012; Lakoff/Johnson 1999; Noë 2004). Applying theories of the gaze and of visual narratology lead to the conclusion that frontal gazes disturb identification processes on the side of the viewer and thereby undermine a basic function of mythological narratives. Looking at the viewer as an embodied viewer who is not only viewing but at the same time perceiving space and time through different senses and having a proprioception may explain why such a disturbing effect is occurring.
The lecture will show how the analysis of certain phenomena of visual culture through the lenses of visual culture studies and embodiment theories delivers answers beyond the scope of traditional methods and thereby prove the necessity of developing the analytical tools of classical archaeology further (as introduced for example by Skeates 2010 and Hamilakis 2013).
Research Interests: Classical Archaeology, Philosophy of Mind, Aesthetics, Visual Studies, Iconography, and 18 moreVisual Culture, Cultural Semiotics, Visual Narrative, Embodiment, History of the Senses, Phenomenology, Archaeological Method & Theory, Visual perception, Ancient Aesthetics, Anthropology of the Senses, Greek Myth, Visual Narratology, Ancient Greek Iconography, Classical Mythology, Ancient Visual Culture (Archaeology), Greek Vases, Archaeology of the Senses, and Ancient Greek Mythology
Begreift man das Filmverstehen aus der Perspektive einer kinematografischen Kybernetik (Rupert-Kruse 2010) oder dem Modell holonisch-mnemonischer Repräsentation (Grabbe – Rupert-Kruse 2013), so zeigt es sich im wesentlichen als Prozess... more
Begreift man das Filmverstehen aus der Perspektive einer kinematografischen Kybernetik (Rupert-Kruse 2010) oder dem Modell holonisch-mnemonischer Repräsentation (Grabbe – Rupert-Kruse 2013), so zeigt es sich im wesentlichen als Prozess der Konstituierung von Bedeutung, der sich in der konkreten Rezeptionssituation im spezifischen Rahmen des filmischen Dispositivs zwischen zwei Repräsentationssystemen, dem mentalen des Rezipienten und dem medialen des Films, vollzieht. Das Entstehen von Bedeutung hängt also von dem Gegenüber und der Interaktion dieser zwei Systeme ab. Intermediale Referenzen des Repräsentationssystems Film stellen dabei ein fundamentales Problem für den Rezipienten und dessen Filmverstehen dar, da die Kenntnis der Verweisobjekte notwendig ist, um die Tiefendimensionen des Films nachvollziehen zu können. Je nach Kenntnisstand kommt es zu unterschiedlichem Verstehen mit unterschiedlichen Lücken, Leerstellen und verbleibenden Kontingenzen, ein Sachverhalt, der meist unter Verweis auf die individuell und kulturell verfügbaren Codes erläutert wird. Als Beispiele können Francis Ford Coppolas auf Joseph Conrads Novelle Heart of Darkness (1899) beruhender Film Apocalypse Now (1979) und der Bilder, Farbwelten und Arbeitsweisen des irischen Malers Francis Bacon (1909–1929) aufgreifende Thriller I Come with the Rain (2009) von Trần Anh Hùng dienen. Das Verstehen der tieferen Bedeutungsebenen beider Filme ist nur im Rückgriff auf die einbezogenen externen Medien möglich, die im mentalen Repräsentationssystem des Rezipienten verkörpert sein müssen. Der Vortrag beleuchtet die Bedeutung der Einbeziehung der weiteren – sowohl für den Film wie den Rezipienten – extern verkörperten Zeichensysteme für das Filmverstehen und für die Erstreckung der Körper des Films und des Mentalen unter Berücksichtigung cybersemiotischer Ansätze. Außerdem wird gezeigt, wie die genannten Filme selbst das Thema der fragmentierten Körper und Bedeutungen und der körperlichen Aneignung von Sinn visuell und auditiv inszenieren.
Research Interests:
Strikingly figures on ancient Greek vessels, reliefs or frescoes are usually depicted side-face or in three-quarter profile. Rarely they are shown en face and scarcely are they looking out of the image at the viewer. One figure or, as the... more
Strikingly figures on ancient Greek vessels, reliefs or frescoes are usually depicted side-face or in three-quarter profile. Rarely they are shown en face and scarcely are they looking out of the image at the viewer. One figure or, as the case may be, one figure’s head which often gazes that way is Medusa. But there are others like Hermes on an attic red-figured bell krater by the Persephone Painter (Fletcher Fund 1928, Inv. 28.57.23, ca. 440 BC) or Clytaemnestra and Agamemnon on a Daedalic pinax from the acropolis of Gortyn. However, this composure remains uncommon in Greek art.
The gaze out of the image at the viewer is a very special phenomenon as it is of metaleptic nature. It transcends the borders of the image and intrudes into the viewer’s space. The realities of the image and the viewer are connected. Usually a disturbing effect is created. Such inversions may suggest that if the characters of a fictional work can be readers or spectators, we, its readers or spectators, can be fictitious (Jorge Luis Borges, Partial Magic in the Quixote).
The analysis of the use and handling of such a special visual effect is an able task to provide an insight into the visual aspects of the respective image-producing culture and how it deals with looks and gazes. As the gaze is a central category of visual culture studies such analyses are also useful to prove their methods.
Firstly, the lecture will analyse samples of Greek art by an iconographic-semiotic approach to determine what the look out of the image may signify and what meanings it may communicate in certain pictorial and narrative contexts. Secondly, the samples will be analysed by methods of psychoanalytical image theory which became a prominent part of visual culture studies through Jacques Lacan and Slavoj Žižek. So, aspects of visual affections, cultural structures of desires and scopic regimes are addressed. Last but not least the lecture will deal with some aspects of discourse and dispositif analysis and how cultural knowledge on the gaze may be produced.
The gaze out of the image at the viewer is a very special phenomenon as it is of metaleptic nature. It transcends the borders of the image and intrudes into the viewer’s space. The realities of the image and the viewer are connected. Usually a disturbing effect is created. Such inversions may suggest that if the characters of a fictional work can be readers or spectators, we, its readers or spectators, can be fictitious (Jorge Luis Borges, Partial Magic in the Quixote).
The analysis of the use and handling of such a special visual effect is an able task to provide an insight into the visual aspects of the respective image-producing culture and how it deals with looks and gazes. As the gaze is a central category of visual culture studies such analyses are also useful to prove their methods.
Firstly, the lecture will analyse samples of Greek art by an iconographic-semiotic approach to determine what the look out of the image may signify and what meanings it may communicate in certain pictorial and narrative contexts. Secondly, the samples will be analysed by methods of psychoanalytical image theory which became a prominent part of visual culture studies through Jacques Lacan and Slavoj Žižek. So, aspects of visual affections, cultural structures of desires and scopic regimes are addressed. Last but not least the lecture will deal with some aspects of discourse and dispositif analysis and how cultural knowledge on the gaze may be produced.
Research Interests:
Numerous ancient images tell myths and other stories. Not everybody would accept that for not clearly decipherable images from geometric (e.g. the krater in London, British Museum 1899,0219.1, LG IIa, ca. 735 BC depicting a woman, a man,... more
Numerous ancient images tell myths and other stories. Not everybody would accept that for not clearly decipherable images from geometric (e.g. the krater in London, British Museum 1899,0219.1, LG IIa, ca. 735 BC depicting a woman, a man, and a rowing vessel) or minoan times like the frescoes from Akrotiri. Nevertheless, the narrative character of certain images from archaic times onwards is widely appreciated. However, most scholarly research confines itself to debates on a small number of terms used to categorise images by means of formal criteria (simultaneous or synoptic, monoscenic, and cyclic modes of narration).
As Ansgar Nünning quoting Wolfgang Müller-Funk emphasised recently something has been overlooked despite an inter- and transdisciplinary narratology booming since decades: the constitutive relevance of narratives for cultures. Cultures may be recognised as narrating communities which differ in their narrative reservoirs.
This perspective bears a large potential for cultural studies also as regards visual narrative media. The ways of telling something, which (parts of) stories are selected on the paradigmatic axis, how they are syntagmatically and visually staged, makes it possible to draw conclusions on the telling cultures. Shifts on those axes may change meanings of stories significantly. Such effects can be recognised clearly in processes of reception in visual arts. The lecture aims at showing some of the possibilities of that new perspective.
As Ansgar Nünning quoting Wolfgang Müller-Funk emphasised recently something has been overlooked despite an inter- and transdisciplinary narratology booming since decades: the constitutive relevance of narratives for cultures. Cultures may be recognised as narrating communities which differ in their narrative reservoirs.
This perspective bears a large potential for cultural studies also as regards visual narrative media. The ways of telling something, which (parts of) stories are selected on the paradigmatic axis, how they are syntagmatically and visually staged, makes it possible to draw conclusions on the telling cultures. Shifts on those axes may change meanings of stories significantly. Such effects can be recognised clearly in processes of reception in visual arts. The lecture aims at showing some of the possibilities of that new perspective.
Research Interests:
Die Arbeitsgemeinschaft ‚Asien‘ richtet sich an alle, die sich aus archäologischer und altertumswissenschaftlicher Sicht für den asiatischen Kontinent interessieren. Der Begriff ist explizit weit gegriffen, im Bewusstsein, dass Asien weit... more
Die Arbeitsgemeinschaft ‚Asien‘ richtet sich an alle, die sich aus archäologischer und altertumswissenschaftlicher Sicht für den asiatischen Kontinent interessieren. Der Begriff ist explizit weit gegriffen, im Bewusstsein, dass Asien weit davon entfernt ist, eine kulturelle Einheit zu sein. Seine lange Geschichte brachte so unterschiedliche Zivilisationen wie die indische und die chinesische hervor-nicht weniger bedeutend als jene von Mesopotamien, Ägypten oder Griechenland. Trotzdem dient der Kontinent bis heute als oft bemühte Gegenwelt für die Reflexion der kulturellen und ethischen Werte des ebenso formelhaften "Westens". Die Dichotomie zwischen Ost und West ist bei näherem Hinsehen aber nicht so absolut, wie sie scheint. Nicht erst seit den Eroberungen Alexanders des Großen haben der Austausch und Transfer von Gütern und Ideen zu Überschneidungen der beiden Kulturkreise geführt, deren Auswirkungen sich oft erst auf den zweiten Blick erschließen. Die eurozentrisch geprägte Perspektive der Forschung verhindert dabei nicht selten eine unvoreingenommene Auseinandersetzung mit dem Thema, das jenseits der Stereotypen ein großes Erkenntnispotential birgt. Ziel der Arbeitsgemeinschaft ist es, die vielfältigen Wechselwirkungen zwischen ‚europäischen' und ‚asiatischen' Kulturen der Antike aus archäologischer Perspektive in den Blick zu nehmen und den diesbezüglichen Austausch zwischen Forscher*innen zu fördern. Diese Wechselwirkungen, die ihren Ausgang häufig in der konflikthaften Konfrontation von Gesellschaften nehmen-wie etwa im Zusammenhang mit dem Alexanderfeldzug das Aufeinandertreffen indischer und griechischer Gesellschaften im 3. bis 1. Jh. v. Chr.-oder Folge von weitreichenden Handelsbeziehungen sind-man denke an die Seidenstraße-, geraten, da sie vermeintlich an der Peripherie stattfinden, häufig aus dem Fokus der Forschung, obwohl die angestoßenen Veränderungsprozesse von zentraler Bedeutung sein können. Stilistische oder motivische Phänomene in den Bilderwelten oder der Architektur der einen oder der anderen Gesellschaft finden ihre Gründe häufig im fernen Westen oder fernen Osten und müssen nicht zwangsläufig dem Zufall der Polygenese entspringen. Die Arbeitsgemeinschaft möchte das Erkenntnispotential nutzen, das der sich aus dem Vergleich zwischen weit entfernten Gesellschaften ergebende Kontrast für Wechselwirkungen zwischen Gesellschaften, Umwelten und materiellen Kulturen birgt. Ein weiteres Ziel ist es, den Zugang zu wissenschaftlichen Daten durch den Austausch mit anderen Interessierten zu erleichtern und Synergien in deren Bearbeitung zu schaffen. Die Arbeitsgemeinschaft wird sich auf der kommenden Tagung des Deutschen Archäologen-Verbandes e. V. konstituieren. Interessierte sind herzlich eingeladen, sich bei Simone Voegtle (simone.voegtle@iaw.unibe.ch) und Jacobus Bracker (jacobus.bracker@uni-hamburg.de) zu melden.
Research Interests: Archaeology, Classical Archaeology, South East Asian Archaeology, East Asian Archaeology, South Asian Archaeology, and 15 moreSoutheast Asian Archaeology, Greek Archaeology, Bactria (Archaeology), Chinese archaeology, Hellenism, Archaeology of Central Asia, Angkor, Central Asian Archaeology, Indian Archaeology and History of Art, Ancient Indian Archaeology, Archaeology of the Silk Road, Gandhara, Roman Archaeology, Khmer art and architecture, and Indo Greek Culture and History
Call for papers for a conference in image theory and visual culture studies, 23-25 March 2020, University of Hamburg, Deadline: 22 August 2019
Research Interests: Cultural History, Cultural Studies, Archaeology, Classical Archaeology, Near Eastern Archaeology, and 15 moreVisual Studies, Art History, Visual Culture, Visual Semiotics, Visual Communication, Southeast Asian Archaeology, Byzantine Archaeology, Greek Archaeology, Ancient Near East, Visual Arts, Bildwissenschaft, Art and image theory, Indian Archaeology and History of Art, Image theory, and Roman Archaeology
CRITICAL ZONE - A trans- and interdisciplinary conference at the University of Hamburg Whilst, led by obvious geo- and biopolitical interests, a fierce fight over the existence and dimension of human-made climate change is taking place... more
CRITICAL ZONE - A trans- and interdisciplinary conference at the University of Hamburg
Whilst, led by obvious geo- and biopolitical interests, a fierce fight over the existence and dimension of human-made climate change is taking place in the political arena, earth is acting unimpressed. Nevertheless, events like droughts, floodings, famines, melting glaciers and the extinction of species are striking us so directly that it seems impossible to clutch at the distancing dichotomy of nature and culture. Based on the measurable and visible extent of human impact on earth geo sciences already discuss a new geological era: the anthropocene. However, its epistemes – like those of other sciences and humanities – seem disposable. Instead of pursuing dichotomous world views or despairingly taking the escape route of climate change denial into an imagined parallel world, Bruno Latour (2017, 2018) proposes to set out for the ‘critical zone’. The ‘critical zone’ is the thin near-surface layer of earth between the bottom of the groundwater and the tops of the trees. There, rock, soil, water, air, and living organisms constantly interact and constitute through highly complex transformational processes the conditions for all terrestrial life. In this zone earth displays its agency relevant to humans. Now it is essential to explore this new territory to understand the inseparable interweaving of humans and terrestrial processes.
Such an exploration raises questions of visibility and display. Therefore, the conference undertakes an image-theoretical expedition into the critical zone to collect evidence to answer the following questions:
- What are the living conditions for images in the critical zone?
- Can images be understood as mediators between earth and humans or as agents within the critical zone?
- Which image strategies arise to stage the new political actant ‘earth’?
- Do there exist other animalia symbolica (Cassirer) next to humans in the critical zone?
- How are conditions of visibility in the critical zone configured for its figurative symptoms?
- How do images form/educate within the critical zone? Ho do they (de-)construct world views?
- How are images involved in the transformation of knowledge on climate change?
- How does artistic practice articulate these questions, i.a. as critical pointing gestures and transforming creators?
Further information: http://www.bildkontexte.de
PROGRAMME & ABSTRACTS //
http://www.bildkontexte.de/download/critical_zone_2019_program_abstracts.pdf
LOCATION // Warburg-Haus Hamburg, Heilwigstraße 116, 20249 Hamburg, Germany
ORGANISATION // Jacobus Bracker (University of Hamburg, Institute for Archaeology and Cultural History of the Ancient Mediterranean)
Stefanie Johns (University of Hamburg, Faculty of Education, Art & Visual Education)
REGISTRATION // Attendance of the conference is free of any fees. However, due to limited space at the venue please register by email beforehand.
post@bildkontexte.de
Generously supported by the University of Hamburg, the Climate Concept Foundation, and Deutsche Gesellschaft für Ästhetik e.V.
Whilst, led by obvious geo- and biopolitical interests, a fierce fight over the existence and dimension of human-made climate change is taking place in the political arena, earth is acting unimpressed. Nevertheless, events like droughts, floodings, famines, melting glaciers and the extinction of species are striking us so directly that it seems impossible to clutch at the distancing dichotomy of nature and culture. Based on the measurable and visible extent of human impact on earth geo sciences already discuss a new geological era: the anthropocene. However, its epistemes – like those of other sciences and humanities – seem disposable. Instead of pursuing dichotomous world views or despairingly taking the escape route of climate change denial into an imagined parallel world, Bruno Latour (2017, 2018) proposes to set out for the ‘critical zone’. The ‘critical zone’ is the thin near-surface layer of earth between the bottom of the groundwater and the tops of the trees. There, rock, soil, water, air, and living organisms constantly interact and constitute through highly complex transformational processes the conditions for all terrestrial life. In this zone earth displays its agency relevant to humans. Now it is essential to explore this new territory to understand the inseparable interweaving of humans and terrestrial processes.
Such an exploration raises questions of visibility and display. Therefore, the conference undertakes an image-theoretical expedition into the critical zone to collect evidence to answer the following questions:
- What are the living conditions for images in the critical zone?
- Can images be understood as mediators between earth and humans or as agents within the critical zone?
- Which image strategies arise to stage the new political actant ‘earth’?
- Do there exist other animalia symbolica (Cassirer) next to humans in the critical zone?
- How are conditions of visibility in the critical zone configured for its figurative symptoms?
- How do images form/educate within the critical zone? Ho do they (de-)construct world views?
- How are images involved in the transformation of knowledge on climate change?
- How does artistic practice articulate these questions, i.a. as critical pointing gestures and transforming creators?
Further information: http://www.bildkontexte.de
PROGRAMME & ABSTRACTS //
http://www.bildkontexte.de/download/critical_zone_2019_program_abstracts.pdf
LOCATION // Warburg-Haus Hamburg, Heilwigstraße 116, 20249 Hamburg, Germany
ORGANISATION // Jacobus Bracker (University of Hamburg, Institute for Archaeology and Cultural History of the Ancient Mediterranean)
Stefanie Johns (University of Hamburg, Faculty of Education, Art & Visual Education)
REGISTRATION // Attendance of the conference is free of any fees. However, due to limited space at the venue please register by email beforehand.
post@bildkontexte.de
Generously supported by the University of Hamburg, the Climate Concept Foundation, and Deutsche Gesellschaft für Ästhetik e.V.
Research Interests: Earth Sciences, Philosophy, Visual Studies, Art History, Art Theory, and 15 moreClimate Change, Geopolitics, Visual Culture, Culture, Biopolitics, Bruno Latour, Visual Arts, Anthropocene studies, Bildwissenschaft, Image Studies, Acteur Network Theory, Bildtheorie, Climate Politics, Critical Zone Science, and Klimawandel
Whilst, led by obvious geo-and biopolitical interests, a fierce fight over the existence and dimension of human-made climate change is taking place in the political arena, earth is acting unimpressed. Nevertheless, events like droughts,... more
Whilst, led by obvious geo-and biopolitical interests, a fierce fight over the existence and dimension of human-made climate change is taking place in the political arena, earth is acting unimpressed. Nevertheless, events like droughts, floodings, famines, melting glaciers and the extinction of species are striking us so directly that it seems impossible to clutch at the distancing dichotomy of nature and culture. Based on the measurable and visible extent of human impact on earth geo sciences already invented a new geological era: the anthropocene. However, its epistemes – like those of other sciences and humanities – seem disposable.
Instead of pursuing dichotomous world views or despairingly taking the escape route of climate change denial into an imagined parallel world, Bruno Latour (2017, 2018) proposes to set out for the 'critical zone'. The 'critical zone' is the thin near-surface layer of earth between the bottom of the groundwater and the tops of the trees. There, rock, soil, water, air, and living organisms constantly interact and constitute through highly complex transformational processes the conditions for all terrestrial life. In this zone earth displays its agency relevant to humans. Now it is essential to explore this new territory to understand the inseparable interweaving of humans and terrestrial processes.
Instead of pursuing dichotomous world views or despairingly taking the escape route of climate change denial into an imagined parallel world, Bruno Latour (2017, 2018) proposes to set out for the 'critical zone'. The 'critical zone' is the thin near-surface layer of earth between the bottom of the groundwater and the tops of the trees. There, rock, soil, water, air, and living organisms constantly interact and constitute through highly complex transformational processes the conditions for all terrestrial life. In this zone earth displays its agency relevant to humans. Now it is essential to explore this new territory to understand the inseparable interweaving of humans and terrestrial processes.
Research Interests: Critical Theory, Cultural History, Sociology, Cultural Studies, Political Sociology, and 50 moreArchaeology, Earth Sciences, Geology, Anthropology, Visual Studies, Art History, Visual Anthropology, Art Theory, Bioarchaeology, Geoarchaeology, Environmental Archaeology, Material Culture Studies, Geopolitics, Actor Network Theory, Visual Culture, Environmental Studies, Climate change policy, Cultural Semiotics, Cultural Theory, Visual Semiotics, Political Science, Archaeological Method & Theory, Culture, Agency Theory, Biosemiotics, Image Analysis, Visual Communication, Environmental Art, Philosophy of Culture, Biopolitics, Nature Culture, Bruno Latour, Actor Network Theory (ANT), Actor-Network-Theory, Philosophy of Nature, Art Education, Agency (Archaeological Theory), Visual and Cultural Studies, Ancient Visual Culture (Archaeology), Iconology, Anthropocene studies, Bildwissenschaft, Image Studies, Kulturwissenschaft, Kulturwissenschaften, Anthropocene, Climate Politics, Critical Zone Science, Technosphere and Human Ecology, and Earth Science
From our hominin ancestors in the Palaeolithic world until the end of the ancient era there seem to have been closer contacts between Europe, Eurasia and Southeast/East Asia which might have been forgotten due to sheer time or diverse... more
From our hominin ancestors in the Palaeolithic world until the end of the ancient era there seem to have been closer contacts between Europe, Eurasia and Southeast/East Asia which might have been forgotten due to sheer time or diverse historical events like the formation of states. The archaeological evidence invites us to take a closer look at the similarities and to investigate the different cultural contexts. From sharing same ideas and concepts to influences by trade this panel tries to highlight the cultural markers to provide a more integrated view. The session has already been approved with the papers below. However, more papers (20 minutes + 10 minutes discussion time) are welcome. If you feel your idea fits in, please send an abstract and short CV to Jacobus Bracker, Birte Meller and Lilian Schönheit (jacobus.bracker@uni-hamburg.de) until 31 March 2018.
Research Interests: Archaeology, Classical Archaeology, Prehistoric Archaeology, Southeast Asian Studies, Silk Road Studies, and 15 moreSouth East Asian Archaeology, East Asian Archaeology, South Asian Archaeology, Southeast Asian Archaeology, Southeast Asian history, Prehistory, Central Asian Archaeology, Cambodian Archaeology, Ancient Indian Archaeology, Chinese and Southeast Asian Art History and Archaeology, Silk Road Archaeology, Archaeology of the Silk Road, Gandhara, Gandhara Archaeology, and Khmer art and architecture
Many material remains of past cultures carry images or pictorial elements that are invaluable in the interpretation of these cultures. Correspondingly, there is a broad spectrum of analytical methods that are employed to answer a variety... more
Many material remains of past cultures carry images or pictorial elements that are invaluable in the interpretation of these cultures. Correspondingly, there is a broad spectrum of analytical methods that are employed to answer a variety of questions. While some of these methods of image analysis have their conceptual foundation in art history, others have been developed autonomously within the field of archaeology and without reference to interdisciplinary discourses. A consistent theoretical framework that would allow for a systematic conceptualisation of a discipline specific or historic study of images in archaeology has not yet been articulated.
Since the pictorial and the iconic turn there has been a vast trans- and interdisciplinary research on images and their perception under the categories of image science (Bildwissenschaften) and visual culture studies. The conference seeks to explore whether and how these contemporary developments can contribute to theories of the image and methods of image analysis within archaeology. Reciprocally, it will also be asked in what ways archaeology – due to its large material corpora and long scholarly tradition – could make a considerably larger contribution to the fields of image and visual culture studies than acknowledged to date – especially as the object of its research reaches back to the origins of humans and images and their relationship.
Since the pictorial and the iconic turn there has been a vast trans- and interdisciplinary research on images and their perception under the categories of image science (Bildwissenschaften) and visual culture studies. The conference seeks to explore whether and how these contemporary developments can contribute to theories of the image and methods of image analysis within archaeology. Reciprocally, it will also be asked in what ways archaeology – due to its large material corpora and long scholarly tradition – could make a considerably larger contribution to the fields of image and visual culture studies than acknowledged to date – especially as the object of its research reaches back to the origins of humans and images and their relationship.
Research Interests: Semiotics, Cultural History, Cultural Studies, Archaeology, Classical Archaeology, and 28 moreNear Eastern Archaeology, Prehistoric Archaeology, Anthropology, Visual Studies, Iconography, Art History, Visual Anthropology, Visual Culture, Social and Cultural Anthropology, Cultural Semiotics, Visual Narrative, Visual Semiotics, Archaeological Method & Theory, Perceptions of the Past, Ancient Aesthetics, Image Analysis, Cognitive Semiotics, Greek Archaeology, Cultural Anthropology, Christian Iconography, Ancient Greek Iconography, Visual and Cultural Studies, Iconology, Hans Jonas, Bildwissenschaft, Image Studies, Gandhara, and Roman Archaeology
In 1961 Hans Jonas identified the ability to make images as a differentia specifia of humans. The term homo pictor refers to the cultural anthropological dimension and the fundamental importance of the relationship between images and... more
In 1961 Hans Jonas identified the ability to make images as a differentia specifia of humans. The term homo pictor refers to the cultural anthropological dimension and the fundamental importance of the relationship between images and humans. It is not by accident, then, that analysis and interpretation of images are of great significance in the archaeological disciplines. Many material remains of past cultures carry images or pictorial elements that are invaluable in the interpretation of these cultures. Correspondingly, there is a broad spectrum of analytical methods that are employed to answer a variety of questions. While some of these methods of image analysis have their conceptual foundation in art history, others have been developed autonomously within the field of archaeology and without reference to interdisciplinary discourses. A consistent theoretical framework that would allow for a systematic conceptualisation of a discipline-specific or historic study of images in archaeology has not yet been articulated. Since the pictorial and the iconic turn there has been a vast trans-and interdisciplinary research on images and their perception under the categories of image science (Bildwissenschaften) and visual culture studies. The conference seeks to explore whether and how these contemporary developments can contribute to theories of the image and methods of image analysis within archaeology. Reciprocally, it will also be asked in what ways archaeology – due to its large material corpora and long scholarly tradition – could make a considerably larger contribution to the fields of image and visual culture studies than acknowledged to date – especially as the object of its research reaches back to the origins of humans and images and their relationship.
Research Interests: Cultural Studies, Archaeology, Classical Archaeology, Near Eastern Archaeology, Prehistoric Archaeology, and 47 moreAesthetics, Visual Studies, Iconography, Art History, Visual Anthropology, Art Theory, Image Science, Visual Culture, Egyptian Archaeology, Rock Art (Archaeology), Word and Image Studies, Visual Semiotics, Palaeolithic Archaeology, Mesoamerican Archaeology, Archaeological Method & Theory, Visual perception, Early Medieval Archaeology, South East Asian Archaeology, Neuroaesthetics, Medieval Archaeology, Ancient Aesthetics, Neolithic Archaeology, Bronze Age Europe (Archaeology), Southeast Asian Archaeology, Aegean Bronze Age (Bronze Age Archaeology), Byzantine Archaeology, Greek Archaeology, Chinese archaeology, Philosophy of Images, Visual Arts, Visual and Cultural Studies, Ancient Visual Culture (Archaeology), Iconology, Mediterranean archaeology, Visual Cognition, Ancient Near Eastern archaeology, Indian Archaeology, Bildwissenschaft, African Archaeology, Indian Ocean Archaeology, Visual Culture Studies, Iconography and Iconology, Image Studies, Ancient Indian Archaeology, Mesoamerican Archaeology, Iconography, Art and Epigraphy, Roman Archaeology, and Khmer art and architecture
Research Interests: History, Cultural Studies, Archaeology, Art History, Museum Studies, and 12 moreThe Historical Novel, Identity (Culture), Narratology, Historical Films, Philosophy of History, Cultural Identity, National Identity, Narrative and Identity, Narrative Theory, Popular Literature, Classical Reception Studies, and Historical Fiction
In disciplines like archaeology and art history images are traditionally dealt with as objects which are perceived by sight only. Other senses are usually neglected when it comes to analysis and interpretation. Even in film studies the... more
In disciplines like archaeology and art history images are traditionally dealt with as objects which are perceived by sight only. Other senses are usually neglected when it comes to analysis and interpretation. Even in film studies the observation of the effects of sound on the constitution of meaning is often disregarded. Such approaches are called into question by phenomena of multisensory integration like the so-called McGurk effect which drastically shows an interaction between vision and hearing in speech perception directly affecting the perceived meaning. Such findings from sciences like neuroscience or neuroaesthetics are now dealt with also in cultural studies under the label of the " sensory turn " and are complemented by insights especially from visual culture studies. It has been argued that there are no visual media but, from the standpoint of sensory modality, only mixed media and that all so-called visual media like television, film, photography and painting, etc. involve the other senses (Mitchell 2005). Material images play an important role in the analysis and construction of past and contemporary cultures and societies. A viewpoint such as Mitchell's – but also, for example, Panofsky's (1932) remarks on pre-iconographic analysis – makes it plausible to take a closer look at how the addressing of the different senses through images gives deeper insights into the constituents of cultures. Material images of all kind are the remnants of complex communication processes, perception practices, and cultural memories. Investigating the sensual properties of the material remains can help to better understand such processes and practices.
Research Interests: Cultural Studies, Archaeology, Classical Archaeology, Communication, Visual Studies, and 28 morePerception, Iconography, Art History, Media Studies, Film Studies, Image Science, Visual Culture, Visual Semiotics, Embodied Cognition, Embodiment, History of the Senses, Phenomenology, Visual perception, Embodied Mind and Cognition, Neuroaesthetics, Visual Communication, Phenomenology of the body, Philosophy of perception, Anthropology of the Senses, Iconology, Ancient Greek and Roman Art, Archaeology of the Senses, Bildwissenschaft, Sensory Studies, Iconography and Iconology, Sensory Integration, The Senses, and Multisensoriality
Research Interests: Cultural Studies, Archaeology, Classical Archaeology, Visual Studies, Art History, and 12 moreRefugee Studies, Visual Culture, Visual Semiotics, Political communication, Visual Communication, Migration Studies, Affect Theory, Affect/Emotion, Affect Studies, Affect (Cultural Theory), Bildwissenschaft, and Visual Arts Education
Research Interests: Cultural Studies, Visual Sociology, Emotion, Archaeology, Classical Archaeology, and 25 moreVisual Studies, Perception, Iconography, Art History, Visual Anthropology, Reception Studies, Visual Culture, Arts Education, Visual Semiotics, Migration, Phenomenology, Identity (Culture), Political communication, Visual Communication, Migration Studies, Affect Theory, Affect/Emotion, Classical Reception Studies, Visual Arts, Affect (Cultural Theory), Iconology, Aby Warburg, Representation, Bildwissenschaft, and Political Iconography
Research Interests: Semiotics, Cultural History, Cultural Studies, Classical Archaeology, Philosophy of Mind, and 14 moreVisual Studies, Art History, Visual Anthropology, Visual Culture, Visual Semiotics, Embodied Cognition, Embodiment, Phenomenology, Ancient Aesthetics, Philosophy of Time, Time Perception, Phenomenology of Temporality, Ancient Visual Culture (Archaeology), and Bildwissenschaft
Research Interests: Semiotics, Cultural History, Cultural Studies, Philosophy of Mind, Visual Studies, and 27 moreArt History, Visual Anthropology, Film Theory, Material Culture Studies, Visual Culture, Visual Narrative, Visual Semiotics, Embodied Cognition, Embodiment, History of the Senses, Phenomenology, Archaeological Method & Theory, Visual perception, Ancient Aesthetics, Biosemiotics, Phenomenology of the body, Philosophy of Time, Anthropology of the Senses, Time Perception, Visual Narratology, Phenomenology of Temporality, Sensory Cultures & Visuality, Ancient Visual Culture (Archaeology), Peircean Semiotics, Bildwissenschaft, Cybersemiotics, and Sensory Studies
Research Interests: Cultural Studies, Classical Archaeology, Visual Studies, Art History, Visual Anthropology, and 27 moreFilm Theory, Visual Culture, Visual Narrative, Cultural Theory, Visual Semiotics, Identity (Culture), Archaeological Method & Theory, Narratology, Visual Communication, Static Visual Narrative, Transmedial Storytelling, Narrative and Identity, Archaeological Theory, Narrative Theory, Classical Reception Studies, Visual Narratology, Ancient Greek Iconography, Comics and Graphic Novels, Ancient Visual Culture (Archaeology), Iconology, Ancient Narrative, Graphic Narrative, Bildwissenschaft, Transmedial Narratology, Image Studies, Roman visual culture, and Visual_Culture
Research Interests: Cultural History, Cultural Studies, Archaeology, Classical Archaeology, Visual Studies, and 21 moreArt History, Visual Anthropology, Reception Studies, Visual Culture, Comics Studies, Visual Narrative, Visual Semiotics, Identity (Culture), Narratology, Visual Communication, Narrative and Identity, Narrative Theory, Classical Reception Studies, Visual Narratology, Classical Mythology, Comics and Graphic Novels, Critical Theory, Deconstruction, Graphic Narrative, Comics, Latin American Literature, Film Studies, Cultural Studies, Ethnic Studies, Bildwissenschaft, Roman Art, Ancient Mediterranean Art and Visual Culture, and Roman visual culture
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Dieser Beitrag geht am Beispiel ausgewählter bildlicher Darstellungen von Szenen aus dem Medeiamythos der Frage nach, wie das Phänomen der Renarrativierung in der griechischen und etruskischen Antike zwischen dem 8. und dem 4. Jahrhundert... more
Dieser Beitrag geht am Beispiel ausgewählter bildlicher Darstellungen von Szenen aus dem Medeiamythos der Frage nach, wie das Phänomen der Renarrativierung in der griechischen und etruskischen Antike zwischen dem 8. und dem 4. Jahrhundert v. Chr. gefasst werden kann. Nach der für die Tagung, die diesen Ausführungen zugrunde liegt,1 ausgegebenen Arbeitsdefinition „soll Renarrativierung als transformierende Wiedergabe eines zuvor verfassten Narrativs verstanden werden. Dabei geht der Textbegriff über den Bereich des Literarischen hinaus, und schließt etwa auch Zeugnisse der bildenden Künste mit ein“2. Der Begriff setzt voraus, dass sich die spätere ‚renarrativierende‘ Erzählung auf eine vorangegangene bezieht. Ein Schwerpunkt der Diskussionen während der Tagung war, in welcher Art und Weise diese Bezugnahme erfolgen muss, damit von einer ‚Renarrativierung‘ gesprochen werden kann, und wie verwandte Phänomene – wie etwa des ‚bloßen‘ Nacherzählens – abgegrenzt werden können. Im Falle der im Folgenden zu besprechenden Erzählungen mit Bildern stellt sich dabei zunächst schon die Frage, ob der diesen Bildern ohne Zweifel vorangegangene ‚Prätext‘3 definiert werden kann. Sodann ist zu klären, ob Kategorien zur Erfassung des Phänomens der Renarrativierung, wie sie für literarische Texte vorgeschlagen werden,4 für Bilderzählungen geeignet sind oder ob nicht I.
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Die Mehrdeutigkeit antiker Bilder spielt eine wichtige Rolle in der archäologischen Forschung. Bislang allerdings manifestierte sie sich vor allem als eine unwägbare Herausforderung bei der historischen Kontextualisierung der Artefakte... more
Die Mehrdeutigkeit antiker Bilder spielt eine wichtige Rolle in der archäologischen Forschung. Bislang allerdings manifestierte sie sich vor allem als eine unwägbare Herausforderung bei der historischen Kontextualisierung der Artefakte und Denkmäler. Dies will der interdisziplinäre Band, der aus einer Tagung an der Freien Universität Berlin hervorgegangen ist, ändern: In neun Beiträgen werden die Mehrdeutigkeiten antiker Bilder vom Alten Ägypten über das archaische und klassische Griechenland bis in die römische Kaiserzeit diskutiert. Neue Perspektiven bieten dabei zwei theoretische Modelle: Rahmentheorien und Affordanzkonzepte. Rahmentheorien beschreiben die Strukturierung menschlichen Wissens und die Abhängigkeit der Bilddeutung von den Erfahrungen und Erwartungen der Rezipient*innen. Affordanzen sind Eigenschaften von Objekten, die bestimmte Gebrauchsweisen nahelegen. Auf Bilder übertragen wird darunter deren Potenzial beschrieben, unterschiedliche Deutungen im Rezeptionsprozess anzubieten, und zwar abhängig von den „Rahmen“ der Betrachter*innen und dem jeweiligen Rezeptions- bzw. Gebrauchskontext. Da Bilder gerade auch für die modernen digitalen Kommunikationsformen von größter Bedeutung sind, trägt die Auseinandersetzung mit dem Phänomen der Mehrdeutigkeit dazu bei, den Umgang von Menschen mit Bildern ebenso wie die Beeinflussung von Menschen durch Bilder besser zu verstehen.
Vorlage der gleichnamigen Tagung vom 2.-4.11.2018 an der FU Berlin: https://www.topoi.org/event/46051/
Vorlage der gleichnamigen Tagung vom 2.-4.11.2018 an der FU Berlin: https://www.topoi.org/event/46051/
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Website: https://sites.google.com/site/ippasecretariat/headline2/panel-sessions/panel-s35 From our hominin ancestors in the Palaeolithic world until the end of the ancient era there seem to have been closer contacts between Europe,... more
Website: https://sites.google.com/site/ippasecretariat/headline2/panel-sessions/panel-s35 From our hominin ancestors in the Palaeolithic world until the end of the ancient era there seem to have been closer contacts between Europe, Eurasia and Southeast/East Asia which might have been forgotten due to sheer time or diverse historical events like the formation of states. The archaeological evidence invites us to take a closer look at the similarities and to investigate the different cultural contexts. From sharing same ideas and concepts to influences by trade this panel tries to highlight the cultural markers to provide a more integrated view. Contact and communication between forager communities in the Pleistocene world and the beginning of the Holocene seem to be broader than in later times. This seems to be supported by the archaeological record, for example within the toolkits – which might just be due to the resources or the spread of pottery, which is similar in form and decoration. But some innovations take a different route than the transition to agriculture or ideas of antiquity. This paper will look at the connections in prehistoric times and tries to describe the ways of interaction often overlooked by historiography. 02) Champa archaeology in Binh Dinh province and its relationship with the exchange network of Vijaya (11–15 centuries) Nguyen Huu Manh (Kanazawa University, Japan) Vijaya land (current Bình Định province in central Vietnam) can be described as a polity in Champa history. Champa temples-towers, citadels, ceramic kilns and inscriptions still remain there. Based on previous studies and my reconnaissance works carried out in 2015 and 2016, in total 45 Champa sites have been recognized in Bình Định province. I make a site distribution map of Bình Định, in order to analyze spatial distribution of Champa relics in Bình Định province, and to reconstruct the structure of Vijaya riverine polity. Located between the mountains and the sea, the region lay on rather narrow areas of riverine and coastal plains with difficult access in ancient times except by river or sea due to the rugged terrain. Analyzing the spatial distribution of Champa relics and artifacts in Bình Định, I consider the rivers keep the key role in the history of Vijaya in Champa, as the main traffic artery connecting the regions together, between Vijaya and the highlands, reaching out to the sea creating the trade routes of Vijaya towards other regions in Champa and the world, providing the foundation for the prosperity of Vijaya. 03) The tools of non-human primates: Their relevance in African and Asian contexts The development of tool use among non-human primates has reached a milestone which has increased our understanding of the evolution of human technology. In this presentation, I broadly discuss and compare the various tools and tool technologies among Asian and African apes and monkeys. It has been seen that tools such as the 'spear' are occasionally used by both chimpanzees and orangutans. On the other hand, other Asian and African apes (i.e., gibbon and bonobos respectively) were not observed to display a similar type of " spear " related activities. Apart from this, there are various behaviours such as sponging, " glove " use, hammer use, anvil use and others which
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CfP: Images as Agents of Cultural Transformation Processes Call for papers for a panel of the German Association for Semiotics’ sections Image and Cultural Studies at the 16. international congress „Transformations. Signs and their... more
CfP: Images as Agents of Cultural Transformation Processes
Call for papers for a panel of the German Association for Semiotics’ sections Image and Cultural Studies at the 16. international congress „Transformations. Signs and their Objects in Transition“, 22 to 26 September, University of Technology, Chemnitz, Deadline 1.12.2019: http://www.semiotik.eu/transformationen-2020.
The approach to images as cultural documents and testimonies of collective history, as well as instruments of social shaping, formed a central feature of early cultural theories. Aby Warburg, the founder of the Cultural Studies Library, referred to the fundamental role of images in cultural history and cultural studies very early on; in particular, he analysed images not only as symbolic representations of cultures, but also as carriers and storages of affective expression. Warburg, like most members of the Warburg Circle, established a new form of cultural-history and cultural-study based primarily on pictorial theories. They all understood images as cultural testimonies and studied their potentials to transform societies and cultures along "Migration Routes" through space and time. It should be noted that this perspective, in turn, mobilized a paradigm shift within the humanities, which eventually led to the development of the modern interdisciplinary Cultural Studies.
The joint and interdisciplinary panel of the sections Image and Cultural Studies at the German Association for Semiotics revisits the tradition mentioned above and focuses on studying the dynamic relationships between images and cultures. In particular, the panel would like to address questions such as:
- How do images participate in the transformation of cultures?
- How can we explain the agency of images influencing cultural processes? What constitutes this agency?
- How is it possible that images – like Warburg already assumed – have a sufficient potential, especially when looking at processes of cultural transformation?
- How do images represent cultural transformation?
- What role do images play in cultural and social changes and shifts caused by globalization, migration, climate crises or, so-called post-democratic or post-factual era?
- How do images contribute to the transformation of knowledge within memory cultures?
- How can the cultural capability of images be conceptualized within the framework of multimodal configurations?
Information on organization and procedures:
The congress will take place from 22 to 26 September 2020 at the Chemnitz University of Technology. Please send your abstract in German or English largely unformatted and in an editable format (ideally Word): Martina Sauer <ms150@web.de>. The deadline for submission is 1.12.2019. Your abstract should include: Title of the presentation, name of the speaker, description of the planned presentation (max. 300 words), institution, e-mail address, short CV (as continuous text) and up to five relevant publications of the speaker. Presentations should not exceed 20 minutes in length. A publication of selected lectures is planned.
If you have any questions, please do not hesitate to contact Jacobus Bracker (jacobus.bracker@unihamburg.de), Klaus Sachs-Hombach (klaus.sachs-hombach@uni-tuebingen.de) and Martina Sauer (ms150@web.de) on the part of the Image Section and Elize Bisanz (elize.bisanz@ttu.edu) and Stephanie Schneider (stephanie.schneider@stud.leuphana.de) on the part of the Culture Section at the German Association for Semiotics.
CfP: Bilder als Agenten kultureller Transformationsprozesse
Call for Papers für ein Panel der Sektionen Bild und Kulturwissenschaft auf dem 16. internationalen Kongress „Transformationen. Zeichen und ihre Objekte im Wandel“ der Deutschen Gesellschaft für Semiotik, 22.-26. September 2020, Technische Universität Chemnitz, Deadline 1.12.2019: http://www.semiotik.eu/info-seite-kongress-2020.
Die Annäherung an Bilder als kulturelle Dokumente und Zeugnisse der kollektiven Geschichte sowie als Instrumente der gesellschaftlichen Gestaltung bildete ein zentrales Motiv kulturwissenschaftlicher Theorien der ersten Stunde. So erkannte Aby Warburg, der Gründer der Kulturwissenschaftlichen Bibliothek in Hamburg, bereits sehr früh das enorme kulturgeschichtliche Wirkungs- und kulturwissenschaftliche Erkenntnispotential der Bilder. Insbesondere mit seiner Auffassung von Bildern nicht nur als zeichenhaften Repräsentationen von Kulturen, sondern auch als Trägern und Speichern affektiver Ausdrücke ist er wie auch die Mitwirkenden um die Warburger Bibliothek Wegbereiter für kulturgeschichtliche und kulturwissenschaftliche Bildtheorien, die Bilder als kulturelle Zeugnisse verstehen und auf ihre Befähigung hin befragen, Gesellschaften und Kulturen entlang von „Wanderstraßen“ durch Räume und Zeiten zu transformieren. Diese Perspektive wiederum hatte unmittelbare Wirkungen auf einen Paradigmenwechsel innerhalb des geisteswissenschaftlichen Diskurses in Richtung einer allumfassend interdisziplinären Kulturwissenschaft.
Das gemeinsame und interdisziplinäre Panel der Sektionen Bild und Kulturwissenschaft in der Deutschen Gesellschaft für Semiotik knüpft an diese Tradition an und setzt sich zum Ziel, die komplexen und dynamischen Zusammenhänge zwischen Bildern und Kulturen weiter auszudifferenzieren. Dabei sollen insbesondere folgende Fragestellungen eine Rolle spielen:
– Wie sind Bilder an der Transformation von Kulturen beteiligt?
– Wie lässt sich die Wirkmacht der Bilder erklären, mit der sie Einfluss auf kulturelle Prozesse nehmen können? Woraus konstituiert sich diese Wirkmacht in solchen Transformationsprozessen?
– Wie ist es möglich, dass – wie es bereits Warburg annimmt – Bilder affizierend wirken, vor allem mit Blick auf kulturelle Transformationsprozesse?
– In welcher Weise repräsentieren Bilder kulturelle Transformationen?
– Welche Rolle spielen Bilder in kulturellen und gesellschaftlichen Umbrüchen und Verschiebungen, bedingt etwa durch Globalisierung, Migration, Klimawandel oder sogenannte postdemokratische oder postfaktische Verhältnisse?
– Welche Bedeutung kommt Bildern in Erinnerungskulturen und bei der Transformation von Wissensbeständen zu?
– Inwiefern muss die kulturelle Leistungsfähigkeit der Bilder im Zusammenhang multimodaler Konfigurationen verstanden werden?
Eine Beschränkung auf bestimmte Disziplinen oder Epochen ist nicht vorgesehen. Insofern sind sowohl Beiträge mit explizit zeichentheoretischen Ansätzen, aber auch aus historischen, philosophischen, psychologischen oder neurobiologischen und anderen Forschungsfeldern willkommen.
Informationen zu Organisation und Ablauf:
Der Kongress wird vom 22. bis 26. September 2020 an der Technischen Universität Chemnitz stattfinden. Bitte senden Sie Ihr Abstract in deutscher oder englischer Sprache weitgehend unformatiert und in einem bearbeitbaren Format (idealerweise Word) an: Martina Sauer <ms150@web.de>. Einsendefrist ist der 1.12.2019. Ihr Abstract soll beinhalten: Titel des Vortrags, Name der Referentin oder des Referenten, Beschreibung des geplanten Vortrags (max. 300 Wörter), Institution, E-Mail-Adresse, Kurzlebenslauf (als Fließtext) und bis zu fünf einschlägige Publikationen der Referentin oder des Referenten. Die Vorträge sollen eine Länge von 20 Minuten nicht überschreiten. Eine Veröffentlichung ausgewählter Vorträge ist geplant.
Für Fragen stehen Ihnen seitens der Sektion Bild Jacobus Bracker (jacobus.bracker@unihamburg.de), Klaus Sachs-Hombach (klaus.sachs-hombach@uni-tuebingen.de) und Martina Sauer (ms150@web.de) und seitens der Sektion Kultur Elize Bisanz (elize.bisanz@ttu.edu) und Stephanie Schneider (stephanie.schneider@stud.leuphana.de) gerne zur Verfügung.
Call for papers for a panel of the German Association for Semiotics’ sections Image and Cultural Studies at the 16. international congress „Transformations. Signs and their Objects in Transition“, 22 to 26 September, University of Technology, Chemnitz, Deadline 1.12.2019: http://www.semiotik.eu/transformationen-2020.
The approach to images as cultural documents and testimonies of collective history, as well as instruments of social shaping, formed a central feature of early cultural theories. Aby Warburg, the founder of the Cultural Studies Library, referred to the fundamental role of images in cultural history and cultural studies very early on; in particular, he analysed images not only as symbolic representations of cultures, but also as carriers and storages of affective expression. Warburg, like most members of the Warburg Circle, established a new form of cultural-history and cultural-study based primarily on pictorial theories. They all understood images as cultural testimonies and studied their potentials to transform societies and cultures along "Migration Routes" through space and time. It should be noted that this perspective, in turn, mobilized a paradigm shift within the humanities, which eventually led to the development of the modern interdisciplinary Cultural Studies.
The joint and interdisciplinary panel of the sections Image and Cultural Studies at the German Association for Semiotics revisits the tradition mentioned above and focuses on studying the dynamic relationships between images and cultures. In particular, the panel would like to address questions such as:
- How do images participate in the transformation of cultures?
- How can we explain the agency of images influencing cultural processes? What constitutes this agency?
- How is it possible that images – like Warburg already assumed – have a sufficient potential, especially when looking at processes of cultural transformation?
- How do images represent cultural transformation?
- What role do images play in cultural and social changes and shifts caused by globalization, migration, climate crises or, so-called post-democratic or post-factual era?
- How do images contribute to the transformation of knowledge within memory cultures?
- How can the cultural capability of images be conceptualized within the framework of multimodal configurations?
Information on organization and procedures:
The congress will take place from 22 to 26 September 2020 at the Chemnitz University of Technology. Please send your abstract in German or English largely unformatted and in an editable format (ideally Word): Martina Sauer <ms150@web.de>. The deadline for submission is 1.12.2019. Your abstract should include: Title of the presentation, name of the speaker, description of the planned presentation (max. 300 words), institution, e-mail address, short CV (as continuous text) and up to five relevant publications of the speaker. Presentations should not exceed 20 minutes in length. A publication of selected lectures is planned.
If you have any questions, please do not hesitate to contact Jacobus Bracker (jacobus.bracker@unihamburg.de), Klaus Sachs-Hombach (klaus.sachs-hombach@uni-tuebingen.de) and Martina Sauer (ms150@web.de) on the part of the Image Section and Elize Bisanz (elize.bisanz@ttu.edu) and Stephanie Schneider (stephanie.schneider@stud.leuphana.de) on the part of the Culture Section at the German Association for Semiotics.
CfP: Bilder als Agenten kultureller Transformationsprozesse
Call for Papers für ein Panel der Sektionen Bild und Kulturwissenschaft auf dem 16. internationalen Kongress „Transformationen. Zeichen und ihre Objekte im Wandel“ der Deutschen Gesellschaft für Semiotik, 22.-26. September 2020, Technische Universität Chemnitz, Deadline 1.12.2019: http://www.semiotik.eu/info-seite-kongress-2020.
Die Annäherung an Bilder als kulturelle Dokumente und Zeugnisse der kollektiven Geschichte sowie als Instrumente der gesellschaftlichen Gestaltung bildete ein zentrales Motiv kulturwissenschaftlicher Theorien der ersten Stunde. So erkannte Aby Warburg, der Gründer der Kulturwissenschaftlichen Bibliothek in Hamburg, bereits sehr früh das enorme kulturgeschichtliche Wirkungs- und kulturwissenschaftliche Erkenntnispotential der Bilder. Insbesondere mit seiner Auffassung von Bildern nicht nur als zeichenhaften Repräsentationen von Kulturen, sondern auch als Trägern und Speichern affektiver Ausdrücke ist er wie auch die Mitwirkenden um die Warburger Bibliothek Wegbereiter für kulturgeschichtliche und kulturwissenschaftliche Bildtheorien, die Bilder als kulturelle Zeugnisse verstehen und auf ihre Befähigung hin befragen, Gesellschaften und Kulturen entlang von „Wanderstraßen“ durch Räume und Zeiten zu transformieren. Diese Perspektive wiederum hatte unmittelbare Wirkungen auf einen Paradigmenwechsel innerhalb des geisteswissenschaftlichen Diskurses in Richtung einer allumfassend interdisziplinären Kulturwissenschaft.
Das gemeinsame und interdisziplinäre Panel der Sektionen Bild und Kulturwissenschaft in der Deutschen Gesellschaft für Semiotik knüpft an diese Tradition an und setzt sich zum Ziel, die komplexen und dynamischen Zusammenhänge zwischen Bildern und Kulturen weiter auszudifferenzieren. Dabei sollen insbesondere folgende Fragestellungen eine Rolle spielen:
– Wie sind Bilder an der Transformation von Kulturen beteiligt?
– Wie lässt sich die Wirkmacht der Bilder erklären, mit der sie Einfluss auf kulturelle Prozesse nehmen können? Woraus konstituiert sich diese Wirkmacht in solchen Transformationsprozessen?
– Wie ist es möglich, dass – wie es bereits Warburg annimmt – Bilder affizierend wirken, vor allem mit Blick auf kulturelle Transformationsprozesse?
– In welcher Weise repräsentieren Bilder kulturelle Transformationen?
– Welche Rolle spielen Bilder in kulturellen und gesellschaftlichen Umbrüchen und Verschiebungen, bedingt etwa durch Globalisierung, Migration, Klimawandel oder sogenannte postdemokratische oder postfaktische Verhältnisse?
– Welche Bedeutung kommt Bildern in Erinnerungskulturen und bei der Transformation von Wissensbeständen zu?
– Inwiefern muss die kulturelle Leistungsfähigkeit der Bilder im Zusammenhang multimodaler Konfigurationen verstanden werden?
Eine Beschränkung auf bestimmte Disziplinen oder Epochen ist nicht vorgesehen. Insofern sind sowohl Beiträge mit explizit zeichentheoretischen Ansätzen, aber auch aus historischen, philosophischen, psychologischen oder neurobiologischen und anderen Forschungsfeldern willkommen.
Informationen zu Organisation und Ablauf:
Der Kongress wird vom 22. bis 26. September 2020 an der Technischen Universität Chemnitz stattfinden. Bitte senden Sie Ihr Abstract in deutscher oder englischer Sprache weitgehend unformatiert und in einem bearbeitbaren Format (idealerweise Word) an: Martina Sauer <ms150@web.de>. Einsendefrist ist der 1.12.2019. Ihr Abstract soll beinhalten: Titel des Vortrags, Name der Referentin oder des Referenten, Beschreibung des geplanten Vortrags (max. 300 Wörter), Institution, E-Mail-Adresse, Kurzlebenslauf (als Fließtext) und bis zu fünf einschlägige Publikationen der Referentin oder des Referenten. Die Vorträge sollen eine Länge von 20 Minuten nicht überschreiten. Eine Veröffentlichung ausgewählter Vorträge ist geplant.
Für Fragen stehen Ihnen seitens der Sektion Bild Jacobus Bracker (jacobus.bracker@unihamburg.de), Klaus Sachs-Hombach (klaus.sachs-hombach@uni-tuebingen.de) und Martina Sauer (ms150@web.de) und seitens der Sektion Kultur Elize Bisanz (elize.bisanz@ttu.edu) und Stephanie Schneider (stephanie.schneider@stud.leuphana.de) gerne zur Verfügung.