This substantial and ambitious dictionary explores the languages and cultures of visual studies. It provides the basis for understanding the foundations and motivations of current theoretical and ...academic discourse, as well as the different forms of visual culture that have come to organize everyday life. The book is firmly placed in the context of the 'visual turn' in contemporary thought. It has been designed as an interdisciplinary or transdisciplinary introduction to the vocabularies and grammars of visuality that inform thinking in the arts and humanities today. It also offers insight into the philosophical frameworks which underpin the field of visual culture. A central theme that runs throughout the entries is the task of moving away from a narrow understanding of visuality inherited from traditional philosophy toward a richer cultural and multi-sensorial philosophy of concrete experience. The dictionary incorporates intertextual links that encourage readers to explore connections between major themes, theories and key figures in the field. In addition the author's introduction provides a comprehensive and critical introduction which documents the significance of the visual turn in contemporary theory and culture. It is accompanied by an extensive bibliography and further reading list. As both a substantive academic contribution to this growing field and a useful reference tool, this book offers a theoretical introduction to the many languages of visual discourse. It will be essential reading for graduate students and scholars in visual studies, the sociology of visual culture, cultural and media studies, philosophy, art history and theory, design, film and communication studies.
Barry Sandywell is Honorary Research Fellow in Social Theory in the Department of Sociology at York, UK. He is the author of Logological Investigations (1996), a multi-volume work on the history of reflexivity, alterity and ethics in philosophy and the human sciences: Reflexivity and the Crisis of Western Reason (volume 1), The Beginnings of European Theorizing: Reflexivity in the Archaic Age (volume 2), and Presocratic Reflexivity: The Construction of Philosophical Discourse (volume 3). He is also the co-editor of Interpreting Visual Culture: Explorations in the Hermeneutics of the Visual (1999) and of essays on Baudrillard, Bakhtin, and Benjamin and other theorists published in various journals and collections. Recent publications include essays on digitalization, cyberspace, new media and global criminality as part of a continuing programme of research concerned to map the reflexive transformations of postmodern societies and cultures. He is currently editing (with Ian Heywood) an original collection of essays with the title Handbook of Visual Culture which will be published by Berg in 2011.
Bilder zeigen nicht nur, sie fordern zu Handlungen auf und bedingen diese. Der Band diskutiert die untrennbare Einheit von Darstellungs- und Handlungslogik anhand von interdisziplinären Fallstudien. ...Die Beiträge analysieren 'Image Guidance' als Darstellungs-, Wahrnehmungs- und Handlungsprinzip und zeigen die ästhetischen, operationalen und epistemischen Bedingungen auf, unter denen Visualisierungen zu Medien der Handlungsanleitung werden.
Welches Verhältnis besteht zwischen "Bild" und menschlichem Denken? Welche Rolle spielt das Konzept der "Form" im menschlichen Wissen? Forscher aus Philosophie, Kulturwissenschaften, ...Wissenschaftsgeschichte, Ästhetik, Literatur, Anthropologie, Mathematik und Biologie untersuchen aus historischer und theoretischer Perspektive den Zusammenhang zwischen der Aktivität des Denkens und den Konzepten von Bild und Form.
Image in Space Martin Nitsche / Martin Nitsche
2015
eBook
I would be at great pains to say where is the painting I am looking at. For I do not look at it as I do at a thing; I do not fix it in its place. My gaze wanders in it as in the halos of Being. It is ...more accurate to say that I see according to it, or with it, than that I see it. Maurice Merleau-Ponty, Eye and Mind The topology of images draws on the new methodologies of the spatial and pictorial turns, thus connecting the focus on human involvement in relevant environments with a nonlinguistic model of thinking. In the framework of this connection, images can be understood as creating environments that are not modelled as environments of entities or objects, but rather as phenomenal fields. The phenomenal fields can be further described using phenomenological methods as transitive spheres - a novel approach that will be emphasized in particular sections of this book through multiple perspectives. Consequently, this methodological framework is applicable to our aim to weaken the link between images and entities and to conceive of the non-locative relation between image and space.
In this volume, nine contributions deal with the ways in which imperial power was exercised in the fourth century AD, paying particular attention to how it was articulated and manipulated by means of ...literary strategies and iconographic programmes.
Thomas Pfau's study of images and visual experience is a tour de force linking Platonic metaphysics to modern phenomenology and probing literary, philosophical, and theological accounts of visual ...experience from Plato to Rilke.Incomprehensible Certainty presents a sustained reflection on the nature of images and the phenomenology of visual experience. Taking the "image" (eikon) as the essential medium of art and literature and as foundational for the intuitive ways in which we make contact with our "lifeworld," Thomas Pfau draws in equal measure on Platonic metaphysics and modern phenomenology to advance a series of interlocking claims. First, Pfau shows that, beginning with Plato's later dialogues, being and appearance came to be understood as ontologically distinct from (but no longer opposed to) one another. Second, in contrast to the idol that is typically gazed at and visually consumed as an object of desire, this study positions the image as a medium whose intrinsic abundance and excess reveal to us its metaphysical function-namely, as the visible analogue of an invisible, numinous reality. Finally, the interpretations unfolded in this book (from Plato, Plotinus, Pseudo-Dionysius, John Damascene via Bernard of Clairvaux, Bonaventure, Julian of Norwich, and Nicholas of Cusa to modern writers and artists such as Goethe, Ruskin, Turner, Hopkins, Cezanne, and Rilke) affirm the essential complementarity of image and word, visual intuition and hermeneutic practice, in theology, philosophy, and literature. Like Pfau's previous book, Minding the Modern, Incomprehensible Certainty is a major work. With over fifty illustrations, the book will interest students and scholars of philosophy, theology, literature, and art history.
