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From 2014 till 2015 she was FONTE professor at the Institute for Cultural Studies at Humboldt-University in Berlin, Germany. From 1991 till 1998 she studied art history, archaeology, sociology, and philosophy in Freiburg i. Br., London, and Hamburg. 1993 founding member of kunstgeschichte.de. 1999 founding member of prometheus – Das verteilte digitale Bildarchiv für Forschung & Lehre. M.A. 1998, Department of Art History, University of Hamburg with the thesis: Die Camera di San Paolo des Correggio in Parma. Eine forschungskritische Untersuchung (Supervisor: Prof. Dr. Martin Warnke), 2005 she received her Ph.D. from Humboldt-University with the dissertation: Kunst aus dem Labor. Zum Verhältnis von Kunst und Wissenschaft im Zeitalter der Technoscience (Springer 2005), Art in the Age of Technoscience. Genetic Engineering, Robotics, and Artificial Life in Contemporary Art (Springer 2009) (Supervisor: Prof. Dr. Horst Bredekamp). Her habilitation in 2013 dealt with the epistemology of images, diagrams and models in art and science: Bilderwissen – Wissensbilder. Zur Gegenwart der Epistemologie der Bilder. 1998–2005 research position at the Art History Department, Humboldt-University Berlin and the Hermann von Helmholtz-Zentrum für Kulturtechnik. 2005–2011 principal investigator at the Berlin-Brandenburg Academy of Sciences and Humanities, within the interdisciplinary working groups Die Welt als Bild and Bildkulturen. 2005 founding member of the „Junges Forum für Bildwissenschaft“. Since 2012 lecturer at the Hermann von Helmholtz-Zentrum für Kulturtechnik, Humboldt-University Berlin. She is co-editor of five books: IMAGE MATCH. Visueller Transfer, »Imagescapes« und Intervisualität in globalen Bildkulturen (Fink Verlag 2012, with M. Baleva and O. L. Schultz), Atlas der Weltbilder (Akademie Verlag 2011, with Chr. Markschies, P. Deuflhard, and J. Brüning, reprint 2013), Maßlose Bilder. Visuelle Ästhetik der Transgression (Fink Verlag 2009, with S. Siegel), Visuelle Modelle (Fink Verlag 2008, with S. Siegel and A. Spelten), Verwandte Bilder. Die Fragen der Bildwissenschaft (Kadmos Verlag 2007, with S. Siegel and A. Spelten). In 2010 she curated the bioart exhibition jenseits des menschen – beyond humans at the Berlin Medical History Museum of the Charite. Since 2000 she has been a guest lecturer at various international institutions including the School of Visual Arts, New York; the Department of Biology, Massachusetts Institute of Technology (MIT), Boston; the Life-Science Lab, German Cancer Research Center, Heidelberg; Timbusu College National University of Singapore; SymbioticA at the School of Anatomy, Physiology and Human Biology, University of Western Australia; School of Creative Media, City University of Hong Kong; Lomonosov Moscow State University and UNAM, Mexiko City.<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="5321873" href="https://www.academia.edu/Documents/in/Cultural_Evolution"><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://dieangewandte.academia.edu/IngeborgReichle","location":"/IngeborgReichle","scheme":"https","host":"dieangewandte.academia.edu","port":null,"pathname":"/IngeborgReichle","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Cultural Evolution"]}" data-trace="false" data-dom-id="Pill-react-component-1fe53883-02c8-4be8-ae5c-0ee28d2c630e"></div> <div id="Pill-react-component-1fe53883-02c8-4be8-ae5c-0ee28d2c630e"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="5321873" href="https://www.academia.edu/Documents/in/Visual_Culture"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Visual Culture"]}" data-trace="false" data-dom-id="Pill-react-component-eb46e7d2-298a-40d5-9c4e-4253a8769b81"></div> <div id="Pill-react-component-eb46e7d2-298a-40d5-9c4e-4253a8769b81"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="5321873" href="https://www.academia.edu/Documents/in/Ecology"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Ecology"]}" data-trace="false" data-dom-id="Pill-react-component-645bf8f8-d42b-4434-8ad8-29bdb5c8c4af"></div> <div id="Pill-react-component-645bf8f8-d42b-4434-8ad8-29bdb5c8c4af"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="5321873" href="https://www.academia.edu/Documents/in/Visual_Studies"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Visual Studies"]}" data-trace="false" data-dom-id="Pill-react-component-64b3b2ff-085f-4d9e-98de-61a9dcc5f7a1"></div> <div id="Pill-react-component-64b3b2ff-085f-4d9e-98de-61a9dcc5f7a1"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="5321873" href="https://www.academia.edu/Documents/in/Environmental_Sustainability"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Environmental Sustainability"]}" data-trace="false" data-dom-id="Pill-react-component-aa5c16f3-356c-4d67-8c6c-e783e7544ce5"></div> <div id="Pill-react-component-aa5c16f3-356c-4d67-8c6c-e783e7544ce5"></div> </a></div></div><div class="external-links-container"><ul class="profile-links new-profile js-UserInfo-social"><li class="left-most js-UserInfo-social-cv" data-broccoli-component="user-info.cv-button" data-click-track="profile-user-info-cv" data-cv-filename="Biography.pdf" data-placement="top" data-toggle="tooltip" href="/IngeborgReichle/CurriculumVitae"><button class="ds2-5-text-link ds2-5-text-link--small" style="font-size: 20px; letter-spacing: 0.8px"><span class="ds2-5-text-link__content">CV</span></button></li><li class="profile-profiles js-social-profiles-container"><i class="fa fa-spin fa-spinner"></i></li></ul></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>112</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Drafts" data-toggle="tab" href="#drafts" role="tab" title="Drafts"><span>19</span> <span class="ds2-5-body-sm-bold">Drafts</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Books" data-toggle="tab" href="#books" role="tab" title="Books"><span>8</span> <span class="ds2-5-body-sm-bold">Books</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Book-Reviews" data-toggle="tab" href="#bookreviews" role="tab" title="Book Reviews"><span>1</span> <span class="ds2-5-body-sm-bold">Book Reviews</span></a></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Ingeborg Reichle</h3></div><div class="js-work-strip profile--work_container" data-work-id="125359136"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125359136/M%C3%A1s_all%C3%A1_de_los_humanos_bioarte_y_cultivo_de_tejidos"><img alt="Research paper thumbnail of Más allá de los humanos: bioarte y cultivo de tejidos" class="work-thumbnail" src="https://attachments.academia-assets.com/119417769/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125359136/M%C3%A1s_all%C3%A1_de_los_humanos_bioarte_y_cultivo_de_tejidos">Más allá de los humanos: bioarte y cultivo de tejidos</a></div><div class="wp-workCard_item"><span>Sine Origin</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este artículo quiero ofrecer algunas intuiciones acerca del concepto y la realización de una e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este artículo quiero ofrecer algunas intuiciones acerca del concepto y<br />la realización de una exhibición que curé en 2010 para el Museo de Cha-<br />rité de Historia de la Medicina en Berlín. En la exposición Jenseits des<br />Menschen / Beyond Humans se presentó la obra artística de Reiner Maria<br />Matysik, bioartista radicado en Berlín, como parte de la serie Interven-<br />ciones, la cual fue iniciada en 2009 por el museo, a fin de ofrecer a los<br />artistas contemporáneos un espacio de experimentación y promoción<br />del diálogo entre las artes y las ciencias. La colección de especímenes pa-<br />tológicos del reconocido médico Rudolf Virchow y las ruinas de su sala<br />de conferencias proporcionaron un ambiente adecuado para las interro-<br />gantes artísticas. En contraste con la visión histórica del museo acerca<br />del cuerpo humano, los objetos de intervención del artista fueron los<br />futuros diseños evolutivos humanos de un futuro biotecnológicamente<br />producido por el hombre.<br /><br />En anteriores obras y proyectos, Matysik había planteado cuestiones<br />de bioética aun antes de pensar en el futuro de la evolución humana en<br />la era de los transgénicos y de los cultivos de tejidos; pero, en particular,<br />ganó gran reconocimiento como artista con sus modelos de organismos<br />postevolutivos y su visión de una evolución “activa”, es decir, de una evo-<br />lución controlada por el ser humano. La motivación de Matysik para mode-<br />lar cuerpos biológicos y crear prototipos de organismos futuros surgió de la convicción de que los grandes avances en las modernas ciencias de la vida tendrán consecuencias drásticas en los procesos de evolución biológica, así como también en el arte.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="90d7f4d639529369d71a0e23c25a9d2a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119417769,"asset_id":125359136,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119417769/download_file?st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125359136"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125359136"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125359136; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125359136]").text(description); $(".js-view-count[data-work-id=125359136]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125359136; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125359136']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125359136, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "90d7f4d639529369d71a0e23c25a9d2a" } } $('.js-work-strip[data-work-id=125359136]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125359136,"title":"Más allá de los humanos: bioarte y cultivo de tejidos","translated_title":"","metadata":{"abstract":"En este artículo quiero ofrecer algunas intuiciones acerca del concepto y\nla realización de una exhibición que curé en 2010 para el Museo de Cha-\nrité de Historia de la Medicina en Berlín. En la exposición Jenseits des\nMenschen / Beyond Humans se presentó la obra artística de Reiner Maria\nMatysik, bioartista radicado en Berlín, como parte de la serie Interven-\nciones, la cual fue iniciada en 2009 por el museo, a fin de ofrecer a los\nartistas contemporáneos un espacio de experimentación y promoción\ndel diálogo entre las artes y las ciencias. La colección de especímenes pa-\ntológicos del reconocido médico Rudolf Virchow y las ruinas de su sala\nde conferencias proporcionaron un ambiente adecuado para las interro-\ngantes artísticas. 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La motivación de Matysik para mode-\nlar cuerpos biológicos y crear prototipos de organismos futuros surgió de la convicción de que los grandes avances en las modernas ciencias de la vida tendrán consecuencias drásticas en los procesos de evolución biológica, así como también en el arte.","internal_url":"https://www.academia.edu/125359136/M%C3%A1s_all%C3%A1_de_los_humanos_bioarte_y_cultivo_de_tejidos","translated_internal_url":"","created_at":"2024-11-07T09:33:30.059-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":119417769,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119417769/thumbnails/1.jpg","file_name":"Pros_Bion_Ingeborg_Reichle.pdf","download_url":"https://www.academia.edu/attachments/119417769/download_file?st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Mas_alla_de_los_humanos_bioarte_y_cultiv.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119417769/Pros_Bion_Ingeborg_Reichle-libre.pdf?1731004394=\u0026response-content-disposition=attachment%3B+filename%3DMas_alla_de_los_humanos_bioarte_y_cultiv.pdf\u0026Expires=1734021439\u0026Signature=ABQOnOjqNj8iGhp01lx95~3QbVzHYDlJy5BUQtiB9JdDh-Bzr-UY2uDGOWQMdakCLIozNa18Mr9jTBsVrtt0r5hfcxCdDzrbs14KMwWOi4PzVmpXTn4gIsj5nW6WFHc5hoaRHjTdjZ1y6TRrfmmtLR6MEHigyZZjN3drNpvUNC~aw-nxWNZDX~7sBAUp3M5jTqH8cs~xsqqGuKXzZ3vW35QGT5JA6eBrf-bfxpBgaOBLeLKgYBHHfyvNWWHxQGJ~Lw7JldAjFC6RTeeT~sWzt-Yc6dJ2pgaCN9mU2vret5oblpNH8XAatpOFOA2QApceWY~QjzlDkatquXI6W7dDMQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Más_allá_de_los_humanos_bioarte_y_cultivo_de_tejidos","translated_slug":"","page_count":21,"language":"es","content_type":"Work","summary":"En este artículo quiero ofrecer algunas intuiciones acerca del concepto y\nla realización de una exhibición que curé en 2010 para el Museo de Cha-\nrité de Historia de la Medicina en Berlín. 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En contraste con la visión histórica del museo acerca\ndel cuerpo humano, los objetos de intervención del artista fueron los\nfuturos diseños evolutivos humanos de un futuro biotecnológicamente\nproducido por el hombre.\n\nEn anteriores obras y proyectos, Matysik había planteado cuestiones\nde bioética aun antes de pensar en el futuro de la evolución humana en\nla era de los transgénicos y de los cultivos de tejidos; pero, en particular,\nganó gran reconocimiento como artista con sus modelos de organismos\npostevolutivos y su visión de una evolución “activa”, es decir, de una evo-\nlución controlada por el ser humano. 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En On the Origin of Species, Darwin describe su concepción del origen de las especies como «theory of descent with modification through variation and natural selection», por lo que nombra a su argumento principal: hipótesis (Annahme) de la existencia de diferencias individuales, o bien de «variantes» en organismos de una especie, mejor dicho, «pobla- ción». Con la expresión «población» se refiere a un grupo de seres vivos que pertenecen a una determinada comunidad biológica y viven en un hábitat, aseguran su propia existencia y tienen descendencia. Dentro de una población, ningún individuo es idéntico. En su viaje por el mundo, Darwin pudo observar de qué manera tan dilapidadora obraba la naturaleza y qué tan prolíficos eran sus seres vivos.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="733e69773a4bb3ca164e1230de873c8a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119417326,"asset_id":125358611,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119417326/download_file?st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125358611"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125358611"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125358611; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125358611]").text(description); $(".js-view-count[data-work-id=125358611]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125358611; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125358611']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125358611, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "733e69773a4bb3ca164e1230de873c8a" } } $('.js-work-strip[data-work-id=125358611]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125358611,"title":"eflexiones de Charles Darwin sobre el origen del hombre y la utilidad de las visiones de mundo para la conservación de la especie","translated_title":"","metadata":{"abstract":"Como muchos de los naturalistas de su tiempo, también Darwin se sintió animado por la búsqueda de las leyes que regían el mundo natural y por la descripción sistemática del orden de la naturaleza. En On the Origin of Species, Darwin describe su concepción del origen de las especies como «theory of descent with modification through variation and natural selection», por lo que nombra a su argumento principal: hipótesis (Annahme) de la existencia de diferencias individuales, o bien de «variantes» en organismos de una especie, mejor dicho, «pobla- ción». Con la expresión «población» se refiere a un grupo de seres vivos que pertenecen a una determinada comunidad biológica y viven en un hábitat, aseguran su propia existencia y tienen descendencia. Dentro de una población, ningún individuo es idéntico. 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Con la expresión «población» se refiere a un grupo de seres vivos que pertenecen a una determinada comunidad biológica y viven en un hábitat, aseguran su propia existencia y tienen descendencia. Dentro de una población, ningún individuo es idéntico. En su viaje por el mundo, Darwin pudo observar de qué manera tan dilapidadora obraba la naturaleza y qué tan prolíficos eran sus seres vivos. \n","internal_url":"https://www.academia.edu/125358611/eflexiones_de_Charles_Darwin_sobre_el_origen_del_hombre_y_la_utilidad_de_las_visiones_de_mundo_para_la_conservaci%C3%B3n_de_la_especie","translated_internal_url":"","created_at":"2024-11-07T09:16:25.050-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":119417326,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119417326/thumbnails/1.jpg","file_name":"Reflexiones_de_Charles_Darwin.pdf","download_url":"https://www.academia.edu/attachments/119417326/download_file?st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"eflexiones_de_Charles_Darwin_sobre_el_or.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119417326/Reflexiones_de_Charles_Darwin-libre.pdf?1731000060=\u0026response-content-disposition=attachment%3B+filename%3Deflexiones_de_Charles_Darwin_sobre_el_or.pdf\u0026Expires=1734021439\u0026Signature=WoxcVwXV2wHKt1BNzrjJZkCHD7jCY2mNkgQznQF78iJ-p0QH7E2bP6IwJaqetzorBCS6hB6pXdFT7fCQmL8~VknuVNOm37-ykcgw2A9NYzjgzy6qjsk-Gu6KL3YpHtKsFlOtYuF~ilIlAv5FRVtLtZL0qOOYaV5~wyBy0iVnPJQHxbLRihlQAsOlpNHCbezx6bJOvaAiZw4Zp4yyZz7JaY8wYQXbqY8Z~NiraTGbBzpeUqaimSPf8epY41GxZ9IShN-xBZFLOnanK4ewVFtOKPNIETW9dsRjMJNXHXCNUU1wm6JIibb9FgsZsOW91bCVn9SL4WCu1VSBEEman0Uazw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"eflexiones_de_Charles_Darwin_sobre_el_origen_del_hombre_y_la_utilidad_de_las_visiones_de_mundo_para_la_conservación_de_la_especie","translated_slug":"","page_count":33,"language":"es","content_type":"Work","summary":"Como muchos de los naturalistas de su tiempo, también Darwin se sintió animado por la búsqueda de las leyes que regían el mundo natural y por la descripción sistemática del orden de la naturaleza. En On the Origin of Species, Darwin describe su concepción del origen de las especies como «theory of descent with modification through variation and natural selection», por lo que nombra a su argumento principal: hipótesis (Annahme) de la existencia de diferencias individuales, o bien de «variantes» en organismos de una especie, mejor dicho, «pobla- ción». Con la expresión «población» se refiere a un grupo de seres vivos que pertenecen a una determinada comunidad biológica y viven en un hábitat, aseguran su propia existencia y tienen descendencia. Dentro de una población, ningún individuo es idéntico. En su viaje por el mundo, Darwin pudo observar de qué manera tan dilapidadora obraba la naturaleza y qué tan prolíficos eran sus seres vivos. \n","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":119417326,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119417326/thumbnails/1.jpg","file_name":"Reflexiones_de_Charles_Darwin.pdf","download_url":"https://www.academia.edu/attachments/119417326/download_file?st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"eflexiones_de_Charles_Darwin_sobre_el_or.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119417326/Reflexiones_de_Charles_Darwin-libre.pdf?1731000060=\u0026response-content-disposition=attachment%3B+filename%3Deflexiones_de_Charles_Darwin_sobre_el_or.pdf\u0026Expires=1734021439\u0026Signature=WoxcVwXV2wHKt1BNzrjJZkCHD7jCY2mNkgQznQF78iJ-p0QH7E2bP6IwJaqetzorBCS6hB6pXdFT7fCQmL8~VknuVNOm37-ykcgw2A9NYzjgzy6qjsk-Gu6KL3YpHtKsFlOtYuF~ilIlAv5FRVtLtZL0qOOYaV5~wyBy0iVnPJQHxbLRihlQAsOlpNHCbezx6bJOvaAiZw4Zp4yyZz7JaY8wYQXbqY8Z~NiraTGbBzpeUqaimSPf8epY41GxZ9IShN-xBZFLOnanK4ewVFtOKPNIETW9dsRjMJNXHXCNUU1wm6JIibb9FgsZsOW91bCVn9SL4WCu1VSBEEman0Uazw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis"},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts"},{"id":30516,"name":"Literary Darwinism Or Evolutionary Literary Theory","url":"https://www.academia.edu/Documents/in/Literary_Darwinism_Or_Evolutionary_Literary_Theory"},{"id":77092,"name":"Social Darwinism","url":"https://www.academia.edu/Documents/in/Social_Darwinism"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125347637"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125347637/Deleting_the_Body_Art_and_Virtual_Bodies_in_the_Digital_Age_The_Use_of_New_Media_in_Education_Opportunities_and_Challenges_of_Cooperative_Teaching_and_Learning"><img alt="Research paper thumbnail of Deleting the Body, Art and Virtual Bodies in the Digital Age: The Use of New Media in Education: Opportunities and Challenges of Cooperative Teaching and Learning" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125347637/Deleting_the_Body_Art_and_Virtual_Bodies_in_the_Digital_Age_The_Use_of_New_Media_in_Education_Opportunities_and_Challenges_of_Cooperative_Teaching_and_Learning">Deleting the Body, Art and Virtual Bodies in the Digital Age: The Use of New Media in Education: Opportunities and Challenges of Cooperative Teaching and Learning</a></div><div class="wp-workCard_item"><span>Deleting the Body, Art and Virtual Bodies in the Digital Age: The Use of New Media in Education: Opportunities and Challenges of Cooperative Teaching and Learning</span><span>, 2000</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Abstract: Colleges and universities are simultaneously affected and challenged by this transform...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Abstract:<br /><br />Colleges and universities are simultaneously affected and challenged by this transformation. Universities of the future will surely continue in Wilhelm von Humboldt's tradition of scholarship as the unity of research, instruction and education, but they will also have to face the challenges which accompany the digitalization of the world in the 21st century. The use of new media in learning and education not only alters the substantive and structural demands made upon educational institutions. Such media also offer new possibilities for the processing of knowledge, for its presentation as well as for its pedagogical mediation in the lecture hall or seminar room.<br /><br />Summary Description:<br /><br />The project interactive Homepage of the Humboldt University's Art History Seminar which I will demonstrate, is promoting and implementing a broad, long-term integration of new media both as a means of teaching, learning and communication and the use of three databases situated at the seminar in class, like the CENSUS (Census of Antique Works of Art and Architecture Known in the Renaissance), IMAGO („digitale Diathek") and the Database for Art and Virtual Reality.<br /><br />Central Arguments:<br /><br />A notion of network-based 'distance learning' will be developed through the new organization of information provided by the Art History Seminar in the World Wide Web. The goal here is to provide productive support for actual classroom learning through 'pools of knowledge,' which will cooperatively managed and which can be tailored to the personal needs and interests of the course participants.Two elements are of central importance here, both of which are equally concerned with teaching and research:<br /><br />The development of database-supported client-server systems, which support the processing and networking of digital information, makes possible the distribution of knowledge at a reasonable price and with the efficient use of an institute's personnel. These systems, which are accessible via the Internet at great distances and independent of space and time, provide the optimal presuppositions for multimedia self-directed study.<br /><br />Bringing together isolated sources of knowledge and organizing them properly according to unified standards and interfaces based on internet technologies provides the discipline of art history with new und yet unrealized opportunities. These include the generation of new cognitive connections as well practical possibilities for professional use on the basis of a "best practice strategy". Such "knowledge management" conceptions require, on the one hand, a centrally directed general authority which can regulate, on the technological-administrative level, the overall organization of information in the emerging pool of knowledge.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125347637"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125347637"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125347637; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125347637]").text(description); $(".js-view-count[data-work-id=125347637]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125347637; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125347637']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125347637, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=125347637]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125347637,"title":"Deleting the Body, Art and Virtual Bodies in the Digital Age: The Use of New Media in Education: Opportunities and Challenges of Cooperative Teaching and Learning","translated_title":"","metadata":{"abstract":"Abstract:\n\nColleges and universities are simultaneously affected and challenged by this transformation. Universities of the future will surely continue in Wilhelm von Humboldt's tradition of scholarship as the unity of research, instruction and education, but they will also have to face the challenges which accompany the digitalization of the world in the 21st century. The use of new media in learning and education not only alters the substantive and structural demands made upon educational institutions. Such media also offer new possibilities for the processing of knowledge, for its presentation as well as for its pedagogical mediation in the lecture hall or seminar room.\n\nSummary Description:\n\nThe project interactive Homepage of the Humboldt University's Art History Seminar which I will demonstrate, is promoting and implementing a broad, long-term integration of new media both as a means of teaching, learning and communication and the use of three databases situated at the seminar in class, like the CENSUS (Census of Antique Works of Art and Architecture Known in the Renaissance), IMAGO („digitale Diathek\") and the Database for Art and Virtual Reality.\n\nCentral Arguments:\n\nA notion of network-based 'distance learning' will be developed through the new organization of information provided by the Art History Seminar in the World Wide Web. The goal here is to provide productive support for actual classroom learning through 'pools of knowledge,' which will cooperatively managed and which can be tailored to the personal needs and interests of the course participants.Two elements are of central importance here, both of which are equally concerned with teaching and research:\n\nThe development of database-supported client-server systems, which support the processing and networking of digital information, makes possible the distribution of knowledge at a reasonable price and with the efficient use of an institute's personnel. These systems, which are accessible via the Internet at great distances and independent of space and time, provide the optimal presuppositions for multimedia self-directed study.\n\nBringing together isolated sources of knowledge and organizing them properly according to unified standards and interfaces based on internet technologies provides the discipline of art history with new und yet unrealized opportunities. These include the generation of new cognitive connections as well practical possibilities for professional use on the basis of a \"best practice strategy\". Such \"knowledge management\" conceptions require, on the one hand, a centrally directed general authority which can regulate, on the technological-administrative level, the overall organization of information in the emerging pool of knowledge.","publication_date":{"day":null,"month":null,"year":2000,"errors":{}},"publication_name":"Deleting the Body, Art and Virtual Bodies in the Digital Age: The Use of New Media in Education: Opportunities and Challenges of Cooperative Teaching and Learning"},"translated_abstract":"Abstract:\n\nColleges and universities are simultaneously affected and challenged by this transformation. Universities of the future will surely continue in Wilhelm von Humboldt's tradition of scholarship as the unity of research, instruction and education, but they will also have to face the challenges which accompany the digitalization of the world in the 21st century. The use of new media in learning and education not only alters the substantive and structural demands made upon educational institutions. Such media also offer new possibilities for the processing of knowledge, for its presentation as well as for its pedagogical mediation in the lecture hall or seminar room.\n\nSummary Description:\n\nThe project interactive Homepage of the Humboldt University's Art History Seminar which I will demonstrate, is promoting and implementing a broad, long-term integration of new media both as a means of teaching, learning and communication and the use of three databases situated at the seminar in class, like the CENSUS (Census of Antique Works of Art and Architecture Known in the Renaissance), IMAGO („digitale Diathek\") and the Database for Art and Virtual Reality.\n\nCentral Arguments:\n\nA notion of network-based 'distance learning' will be developed through the new organization of information provided by the Art History Seminar in the World Wide Web. The goal here is to provide productive support for actual classroom learning through 'pools of knowledge,' which will cooperatively managed and which can be tailored to the personal needs and interests of the course participants.Two elements are of central importance here, both of which are equally concerned with teaching and research:\n\nThe development of database-supported client-server systems, which support the processing and networking of digital information, makes possible the distribution of knowledge at a reasonable price and with the efficient use of an institute's personnel. These systems, which are accessible via the Internet at great distances and independent of space and time, provide the optimal presuppositions for multimedia self-directed study.\n\nBringing together isolated sources of knowledge and organizing them properly according to unified standards and interfaces based on internet technologies provides the discipline of art history with new und yet unrealized opportunities. These include the generation of new cognitive connections as well practical possibilities for professional use on the basis of a \"best practice strategy\". Such \"knowledge management\" conceptions require, on the one hand, a centrally directed general authority which can regulate, on the technological-administrative level, the overall organization of information in the emerging pool of knowledge.","internal_url":"https://www.academia.edu/125347637/Deleting_the_Body_Art_and_Virtual_Bodies_in_the_Digital_Age_The_Use_of_New_Media_in_Education_Opportunities_and_Challenges_of_Cooperative_Teaching_and_Learning","translated_internal_url":"","created_at":"2024-11-07T00:11:18.093-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Deleting_the_Body_Art_and_Virtual_Bodies_in_the_Digital_Age_The_Use_of_New_Media_in_Education_Opportunities_and_Challenges_of_Cooperative_Teaching_and_Learning","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"Abstract:\n\nColleges and universities are simultaneously affected and challenged by this transformation. Universities of the future will surely continue in Wilhelm von Humboldt's tradition of scholarship as the unity of research, instruction and education, but they will also have to face the challenges which accompany the digitalization of the world in the 21st century. The use of new media in learning and education not only alters the substantive and structural demands made upon educational institutions. Such media also offer new possibilities for the processing of knowledge, for its presentation as well as for its pedagogical mediation in the lecture hall or seminar room.\n\nSummary Description:\n\nThe project interactive Homepage of the Humboldt University's Art History Seminar which I will demonstrate, is promoting and implementing a broad, long-term integration of new media both as a means of teaching, learning and communication and the use of three databases situated at the seminar in class, like the CENSUS (Census of Antique Works of Art and Architecture Known in the Renaissance), IMAGO („digitale Diathek\") and the Database for Art and Virtual Reality.\n\nCentral Arguments:\n\nA notion of network-based 'distance learning' will be developed through the new organization of information provided by the Art History Seminar in the World Wide Web. The goal here is to provide productive support for actual classroom learning through 'pools of knowledge,' which will cooperatively managed and which can be tailored to the personal needs and interests of the course participants.Two elements are of central importance here, both of which are equally concerned with teaching and research:\n\nThe development of database-supported client-server systems, which support the processing and networking of digital information, makes possible the distribution of knowledge at a reasonable price and with the efficient use of an institute's personnel. These systems, which are accessible via the Internet at great distances and independent of space and time, provide the optimal presuppositions for multimedia self-directed study.\n\nBringing together isolated sources of knowledge and organizing them properly according to unified standards and interfaces based on internet technologies provides the discipline of art history with new und yet unrealized opportunities. These include the generation of new cognitive connections as well practical possibilities for professional use on the basis of a \"best practice strategy\". Such \"knowledge management\" conceptions require, on the one hand, a centrally directed general authority which can regulate, on the technological-administrative level, the overall organization of information in the emerging pool of knowledge.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":1197,"name":"Digital Humanities","url":"https://www.academia.edu/Documents/in/Digital_Humanities"},{"id":1609,"name":"E-learning","url":"https://www.academia.edu/Documents/in/E-learning"},{"id":2621,"name":"Higher Education","url":"https://www.academia.edu/Documents/in/Higher_Education"},{"id":5673,"name":"Augmented Reality","url":"https://www.academia.edu/Documents/in/Augmented_Reality"}],"urls":[{"id":45501839,"url":"https://rd.uqam.ca/AHWA/Meetings/2000.CIHA/Reichle.html"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125297459"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125297459/Gazing_Hands_and_Blind_Spots_Strategies_of_Visual_Transgression_in_Contemporary_Art"><img alt="Research paper thumbnail of Gazing Hands and Blind Spots: Strategies of Visual Transgression in Contemporary Art" class="work-thumbnail" src="https://attachments.academia-assets.com/119367066/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125297459/Gazing_Hands_and_Blind_Spots_Strategies_of_Visual_Transgression_in_Contemporary_Art">Gazing Hands and Blind Spots: Strategies of Visual Transgression in Contemporary Art</a></div><div class="wp-workCard_item"><span>Ideas in History</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Whereas media-theoretical debates impute the loss of referentiality to the espistemic status of d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Whereas media-theoretical debates impute the loss of referentiality to the espistemic status of digital imaging systems, medical doctors, scientists and entire branches of commerce rely on these new image worlds to an ever-increasing extent. This contradiction is condensed by the Austrian artist Herwig Turk in his art projects into productive relationships of tensions that are always accompanied by a certain discomfiture. Through strategies of transgression Turk tries to trace the complex requirements for the production of evidence in modern medical ans scientific practice, especially with regard to the difficulty of attributing reliability and socio-technological evidence to the imaging systems that are tied to these highly important decisions.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1735f157eb1fc1013b8648fe7b477f04" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119367066,"asset_id":125297459,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119367066/download_file?st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125297459"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125297459"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125297459; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125297459]").text(description); $(".js-view-count[data-work-id=125297459]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125297459; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125297459']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125297459, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1735f157eb1fc1013b8648fe7b477f04" } } $('.js-work-strip[data-work-id=125297459]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125297459,"title":"Gazing Hands and Blind Spots: Strategies of Visual Transgression in Contemporary Art","translated_title":"","metadata":{"abstract":"Whereas media-theoretical debates impute the loss of referentiality to the espistemic status of digital imaging systems, medical doctors, scientists and entire branches of commerce rely on these new image worlds to an ever-increasing extent. 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So erstaunt es nicht, dass schon vor Jahren zahlreiche Künstler das Arbeiten im Atelier gegen das Forschen im Labor eingetauscht haben. Seither begleiten Künstler die Transformation der modernen Naturwissenschaften hin zu den Technosciences seismographisch. Oszillierend zwischen der Technisierung des Lebendigen in den Biowissenschaften und der Verlebendigung der Technik innerhalb der Erforschung des künstlichen Lebens haben sich Protagonisten der Transgenic Art und der Artificial Life Art an die Aneignung von Methoden und Verfahren der Life Sciences herangewagt und immer neue Kunstformen entworfen.<br /><br />Die umfassende Aufarbeitung dieser neuen Kunstrichtungen stellt Künstler und Künstlerinnen wie Suzanne Anker, Louis Bec, Oron Catts und Ionat Zurr, Catherine Chalmers, Jaq Chartier, Kevin Clarke, Critical Art Ensemble, Joe Davis, George Gessert, Peter Gerwin Hoffmann, Eduardo Kac, Pamela Davis Kivelson, David Kremers, Steve Kurtz, William Latham, Reiner Maria Matysik, Jon McCormack, Steve Miller, Simon Penny, Jane Prophet, Marc Quinn, Oliver Ressler, Ken Rinaldo, Christa Sommerer und Laurent Mignonneau, Gary Schneider, Pam Skelton, Nell Tenhaaf, K. D. Thornton, Gail Wight und Adam Zaretsky und viele weitere Kunstprojekte umfassend vor.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bde8e105cad74bc7bf065856c6bee0b8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119318103,"asset_id":125238666,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119318103/download_file?st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125238666"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125238666"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125238666; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125238666]").text(description); $(".js-view-count[data-work-id=125238666]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125238666; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125238666']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125238666, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "bde8e105cad74bc7bf065856c6bee0b8" } } $('.js-work-strip[data-work-id=125238666]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125238666,"title":"","translated_title":"","metadata":{"doi":"10.1007/3-211-27492-8","abstract":"Das Verhältnis von Kunst und Wissenschaft war immer vielschichtig und ist heute im Zeitalter der Technosciences überaus prekär geworden. So erstaunt es nicht, dass schon vor Jahren zahlreiche Künstler das Arbeiten im Atelier gegen das Forschen im Labor eingetauscht haben. Seither begleiten Künstler die Transformation der modernen Naturwissenschaften hin zu den Technosciences seismographisch. Oszillierend zwischen der Technisierung des Lebendigen in den Biowissenschaften und der Verlebendigung der Technik innerhalb der Erforschung des künstlichen Lebens haben sich Protagonisten der Transgenic Art und der Artificial Life Art an die Aneignung von Methoden und Verfahren der Life Sciences herangewagt und immer neue Kunstformen entworfen.\n\nDie umfassende Aufarbeitung dieser neuen Kunstrichtungen stellt Künstler und Künstlerinnen wie Suzanne Anker, Louis Bec, Oron Catts und Ionat Zurr, Catherine Chalmers, Jaq Chartier, Kevin Clarke, Critical Art Ensemble, Joe Davis, George Gessert, Peter Gerwin Hoffmann, Eduardo Kac, Pamela Davis Kivelson, David Kremers, Steve Kurtz, William Latham, Reiner Maria Matysik, Jon McCormack, Steve Miller, Simon Penny, Jane Prophet, Marc Quinn, Oliver Ressler, Ken Rinaldo, Christa Sommerer und Laurent Mignonneau, Gary Schneider, Pam Skelton, Nell Tenhaaf, K. D. Thornton, Gail Wight und Adam Zaretsky und viele weitere Kunstprojekte umfassend vor.\n","publication_date":{"day":null,"month":null,"year":2005,"errors":{}},"publication_name":"Kunst aus dem Labor: Zum Verhältnis von Kunst und Wissenschaft im Zeitalter der Technoscience"},"translated_abstract":"Das Verhältnis von Kunst und Wissenschaft war immer vielschichtig und ist heute im Zeitalter der Technosciences überaus prekär geworden. So erstaunt es nicht, dass schon vor Jahren zahlreiche Künstler das Arbeiten im Atelier gegen das Forschen im Labor eingetauscht haben. Seither begleiten Künstler die Transformation der modernen Naturwissenschaften hin zu den Technosciences seismographisch. Oszillierend zwischen der Technisierung des Lebendigen in den Biowissenschaften und der Verlebendigung der Technik innerhalb der Erforschung des künstlichen Lebens haben sich Protagonisten der Transgenic Art und der Artificial Life Art an die Aneignung von Methoden und Verfahren der Life Sciences herangewagt und immer neue Kunstformen entworfen.\n\nDie umfassende Aufarbeitung dieser neuen Kunstrichtungen stellt Künstler und Künstlerinnen wie Suzanne Anker, Louis Bec, Oron Catts und Ionat Zurr, Catherine Chalmers, Jaq Chartier, Kevin Clarke, Critical Art Ensemble, Joe Davis, George Gessert, Peter Gerwin Hoffmann, Eduardo Kac, Pamela Davis Kivelson, David Kremers, Steve Kurtz, William Latham, Reiner Maria Matysik, Jon McCormack, Steve Miller, Simon Penny, Jane Prophet, Marc Quinn, Oliver Ressler, Ken Rinaldo, Christa Sommerer und Laurent Mignonneau, Gary Schneider, Pam Skelton, Nell Tenhaaf, K. D. 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So erstaunt es nicht, dass schon vor Jahren zahlreiche Künstler das Arbeiten im Atelier gegen das Forschen im Labor eingetauscht haben. Seither begleiten Künstler die Transformation der modernen Naturwissenschaften hin zu den Technosciences seismographisch. Oszillierend zwischen der Technisierung des Lebendigen in den Biowissenschaften und der Verlebendigung der Technik innerhalb der Erforschung des künstlichen Lebens haben sich Protagonisten der Transgenic Art und der Artificial Life Art an die Aneignung von Methoden und Verfahren der Life Sciences herangewagt und immer neue Kunstformen entworfen.\n\nDie umfassende Aufarbeitung dieser neuen Kunstrichtungen stellt Künstler und Künstlerinnen wie Suzanne Anker, Louis Bec, Oron Catts und Ionat Zurr, Catherine Chalmers, Jaq Chartier, Kevin Clarke, Critical Art Ensemble, Joe Davis, George Gessert, Peter Gerwin Hoffmann, Eduardo Kac, Pamela Davis Kivelson, David Kremers, Steve Kurtz, William Latham, Reiner Maria Matysik, Jon McCormack, Steve Miller, Simon Penny, Jane Prophet, Marc Quinn, Oliver Ressler, Ken Rinaldo, Christa Sommerer und Laurent Mignonneau, Gary Schneider, Pam Skelton, Nell Tenhaaf, K. D. Thornton, Gail Wight und Adam Zaretsky und viele weitere Kunstprojekte umfassend vor.\n","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":119318103,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119318103/thumbnails/1.jpg","file_name":"Kunst_aus_dem_Labor_2005.pdf","download_url":"https://www.academia.edu/attachments/119318103/download_file?st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"119318103.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119318103/Kunst_aus_dem_Labor_2005-libre.pdf?1730568343=\u0026response-content-disposition=attachment%3B+filename%3D119318103.pdf\u0026Expires=1734021439\u0026Signature=ATqSnTyxlrwySa25WAIvtpRiz2-nEaxxrQbtGqM4jkldcFUHbbu7zjhSPm56OzDLn7F8Gqdga8AK3BmZH1-nH~cxQDgkBRRFcsDPd7a3cvTk8TUU2HX2zEHbMPgfNqLBIaeTaLqFb8tEetdl28r4FeVCYAvkTkLc2iJMrGXoOQMZ9ZMGQfBg0v3doaXxpvChHd3y4q6I8tvd6X7fXvuS-xgKJXZ~KesoJmlhupqqG2aFfsCX62Chbzl3zPRfnp9Z6JU6Y0WlueLGqKPKXsLxzDYRxUhWORV4WeCgue~FptAPHp8J4KeVflkvHybP4L9h6VAM3pHqkI37dLAgumNyfg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125238629"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125238629/The_Rise_of_World_Art_History_Ernst_Grosse_s_Encounter_with_the_Beginnings_of_Art"><img alt="Research paper thumbnail of The Rise of World Art History: Ernst Grosse’s Encounter with the Beginnings of Art" class="work-thumbnail" src="https://attachments.academia-assets.com/119792407/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125238629/The_Rise_of_World_Art_History_Ernst_Grosse_s_Encounter_with_the_Beginnings_of_Art">The Rise of World Art History: Ernst Grosse’s Encounter with the Beginnings of Art</a></div><div class="wp-workCard_item"><span>Japanese Art – Transcultural Perspectives: Studies in Asian Art and Archaeology</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The late nineteenth century witnessed the rise of a concept of art history that involved the arts...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The late nineteenth century witnessed the rise of a concept of art history that involved the arts of all cultures and epochs. Aimed at establishing a “World Art History” (Weltkunstgeschichte) in imperial Germany this trend coincided with a growing interest in non-Western art among scholars from various disciplines. The first comprehensive study on non-Western art was published by the German philosopher and ethnologist Ernst Grosse (1862–1927), who in later life became a well-known art collector and scholar of Japanese art. In his early writings, published in 1891 and 1894, Grosse was concerned primarily with revealing the “laws” of human creativity by including objects of nonclassical and so-called “primitive art” within the established canon of art history. He called for the application of an “Art Science” (Kunstwissenschaft) that would engage with new methodical approaches borrowed from the field of ethnology. He also sought to expand the emerging academic discipline of Art History to subsume all forms of artistic expression. <br /> <br />Ernst Carl Gustav Grosse was born into a Protestant family in Stendal on July 29, 1862, to Ernst Ludwig Grosse (b. 1831), a court judge and later insurance director in Halle, and Clara, née Gößling (b. 1841). The Grosse family (Ernst also had two elder sisters) moved from Stendal to Magdeburg in the 1870s, where Grosse attended the Klostergymnasium in Magdeburg until his graduation in 1882. In 1882, Grosse began his studies of philosophy, literature, history, and the natural sciences in Berlin, Munich, and Heidelberg, and completed his military service in Berlin from October 1883 to October 1884. From 1889 Grosse held a teaching position in philosophy and ethnology at the University of Freiburg. He lectured on "primitive" art and from 1896 also gave courses on Japanese art such as "Introduction to the Fine Arts of Japan" (Einführung in das Studium der bildenden Kunst der Japaner). Five years on, in 1903, Grosse published his first article on the subject, "Japanese Art in Europe" (Japanische Kunst in Europa), in the Vienna-based newspaper Die Zeit. With his interest in non-Western art, Grosse entered foreign territory with his writing, followed in later years by the experiences of travel and extensive collecting of East Asian art abroad, primarily in Japan. <br /> <br />Grosse's responsibilities in Freiburg included the supervision of some of the university's collections as well as the holdings of the Museum of Natural History and Ethnology (Museum für Natur- und Völkerkunde) founded by the city of Freiburg in 1895.6 Grosse was committed to expanding the collections and in 1902 was honored with the title of "Director of the Municipal Art Collection" (Direktor der Städischen Kunstsammlung). He soon put forward a new plan for the collection that included the acquisition of East Asian art objects and the art of indigenous peoples. <br /> <br />The original concept for establishing an ethnographic collection at Freiburg's Museum of Natural History and Ethnology was inspired by a plan by the German cultural historian Gustav Klemm (1802-1867). Klemm was known for his ideas regarding the description of an ideal Ethnographic Museum set forth in his 1843 essay "Fantasia on a Museum of Cultural History of Humankind" (Fantasie über ein Museum für die Culturgeschichte [sic] der Menschheit). The later 1895 concept for the Freiburg museum by zoologist Adolf Fritze (1864-1927) and the 1901 handwritten concept "Plan for the Establishment of the Municipal Collection of Ethnology in Freiburg" (Plan für die Einrichtung der Städtischen Sammlung für Völkerkunde zu Freiburg) were both based on Klemm's ideas.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7cb0724639fe4f8467796a04d2142c2e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119792407,"asset_id":125238629,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119792407/download_file?st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125238629"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125238629"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125238629; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125238629]").text(description); $(".js-view-count[data-work-id=125238629]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125238629; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125238629']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125238629, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7cb0724639fe4f8467796a04d2142c2e" } } $('.js-work-strip[data-work-id=125238629]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125238629,"title":"The Rise of World Art History: Ernst Grosse’s Encounter with the Beginnings of Art","translated_title":"","metadata":{"doi":"10.1163/9789004704176","abstract":"The late nineteenth century witnessed the rise of a concept of art history that involved the arts of all cultures and epochs. Aimed at establishing a “World Art History” (Weltkunstgeschichte) in imperial Germany this trend coincided with a growing interest in non-Western art among scholars from various disciplines. The first comprehensive study on non-Western art was published by the German philosopher and ethnologist Ernst Grosse (1862–1927), who in later life became a well-known art collector and scholar of Japanese art. In his early writings, published in 1891 and 1894, Grosse was concerned primarily with revealing the “laws” of human creativity by including objects of nonclassical and so-called “primitive art” within the established canon of art history. He called for the application of an “Art Science” (Kunstwissenschaft) that would engage with new methodical approaches borrowed from the field of ethnology. He also sought to expand the emerging academic discipline of Art History to subsume all forms of artistic expression.\r\n\r\nErnst Carl Gustav Grosse was born into a Protestant family in Stendal on July 29, 1862, to Ernst Ludwig Grosse (b. 1831), a court judge and later insurance director in Halle, and Clara, née Gößling (b. 1841). The Grosse family (Ernst also had two elder sisters) moved from Stendal to Magdeburg in the 1870s, where Grosse attended the Klostergymnasium in Magdeburg until his graduation in 1882. In 1882, Grosse began his studies of philosophy, literature, history, and the natural sciences in Berlin, Munich, and Heidelberg, and completed his military service in Berlin from October 1883 to October 1884. From 1889 Grosse held a teaching position in philosophy and ethnology at the University of Freiburg. He lectured on \"primitive\" art and from 1896 also gave courses on Japanese art such as \"Introduction to the Fine Arts of Japan\" (Einführung in das Studium der bildenden Kunst der Japaner). Five years on, in 1903, Grosse published his first article on the subject, \"Japanese Art in Europe\" (Japanische Kunst in Europa), in the Vienna-based newspaper Die Zeit. With his interest in non-Western art, Grosse entered foreign territory with his writing, followed in later years by the experiences of travel and extensive collecting of East Asian art abroad, primarily in Japan.\r\n\r\nGrosse's responsibilities in Freiburg included the supervision of some of the university's collections as well as the holdings of the Museum of Natural History and Ethnology (Museum für Natur- und Völkerkunde) founded by the city of Freiburg in 1895.6 Grosse was committed to expanding the collections and in 1902 was honored with the title of \"Director of the Municipal Art Collection\" (Direktor der Städischen Kunstsammlung). He soon put forward a new plan for the collection that included the acquisition of East Asian art objects and the art of indigenous peoples.\r\n\r\nThe original concept for establishing an ethnographic collection at Freiburg's Museum of Natural History and Ethnology was inspired by a plan by the German cultural historian Gustav Klemm (1802-1867). 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Aimed at establishing a “World Art History” (Weltkunstgeschichte) in imperial Germany this trend coincided with a growing interest in non-Western art among scholars from various disciplines. The first comprehensive study on non-Western art was published by the German philosopher and ethnologist Ernst Grosse (1862–1927), who in later life became a well-known art collector and scholar of Japanese art. In his early writings, published in 1891 and 1894, Grosse was concerned primarily with revealing the “laws” of human creativity by including objects of nonclassical and so-called “primitive art” within the established canon of art history. He called for the application of an “Art Science” (Kunstwissenschaft) that would engage with new methodical approaches borrowed from the field of ethnology. He also sought to expand the emerging academic discipline of Art History to subsume all forms of artistic expression.\r\n\r\nErnst Carl Gustav Grosse was born into a Protestant family in Stendal on July 29, 1862, to Ernst Ludwig Grosse (b. 1831), a court judge and later insurance director in Halle, and Clara, née Gößling (b. 1841). The Grosse family (Ernst also had two elder sisters) moved from Stendal to Magdeburg in the 1870s, where Grosse attended the Klostergymnasium in Magdeburg until his graduation in 1882. In 1882, Grosse began his studies of philosophy, literature, history, and the natural sciences in Berlin, Munich, and Heidelberg, and completed his military service in Berlin from October 1883 to October 1884. From 1889 Grosse held a teaching position in philosophy and ethnology at the University of Freiburg. He lectured on \"primitive\" art and from 1896 also gave courses on Japanese art such as \"Introduction to the Fine Arts of Japan\" (Einführung in das Studium der bildenden Kunst der Japaner). Five years on, in 1903, Grosse published his first article on the subject, \"Japanese Art in Europe\" (Japanische Kunst in Europa), in the Vienna-based newspaper Die Zeit. With his interest in non-Western art, Grosse entered foreign territory with his writing, followed in later years by the experiences of travel and extensive collecting of East Asian art abroad, primarily in Japan.\r\n\r\nGrosse's responsibilities in Freiburg included the supervision of some of the university's collections as well as the holdings of the Museum of Natural History and Ethnology (Museum für Natur- und Völkerkunde) founded by the city of Freiburg in 1895.6 Grosse was committed to expanding the collections and in 1902 was honored with the title of \"Director of the Municipal Art Collection\" (Direktor der Städischen Kunstsammlung). He soon put forward a new plan for the collection that included the acquisition of East Asian art objects and the art of indigenous peoples.\r\n\r\nThe original concept for establishing an ethnographic collection at Freiburg's Museum of Natural History and Ethnology was inspired by a plan by the German cultural historian Gustav Klemm (1802-1867). Klemm was known for his ideas regarding the description of an ideal Ethnographic Museum set forth in his 1843 essay \"Fantasia on a Museum of Cultural History of Humankind\" (Fantasie über ein Museum für die Culturgeschichte [sic] der Menschheit). The later 1895 concept for the Freiburg museum by zoologist Adolf Fritze (1864-1927) and the 1901 handwritten concept \"Plan for the Establishment of the Municipal Collection of Ethnology in Freiburg\" (Plan für die Einrichtung der Städtischen Sammlung für Völkerkunde zu Freiburg) were both based on Klemm's ideas.","internal_url":"https://www.academia.edu/125238629/The_Rise_of_World_Art_History_Ernst_Grosse_s_Encounter_with_the_Beginnings_of_Art","translated_internal_url":"","created_at":"2024-11-02T09:25:16.875-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":119792407,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119792407/thumbnails/1.jpg","file_name":"World_Art_History_Reichle.pdf","download_url":"https://www.academia.edu/attachments/119792407/download_file?st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"The_Rise_of_World_Art_History_Ernst_Gros.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119792407/World_Art_History_Reichle-libre.pdf?1732529407=\u0026response-content-disposition=attachment%3B+filename%3DThe_Rise_of_World_Art_History_Ernst_Gros.pdf\u0026Expires=1733962294\u0026Signature=eLpncEwWU8Kc~veRb1Yl2znss9mujSTAxUgd8raCSqUk0Gw6tgm20R~wb14QQf~oDjkMwUYcFJQftKy5KhRoKjs~1xCxy9C5tbpLpkbuSyfa4i-lZuRBBIepp6urWuC1L8D1rQ103zYlYfYhI7DOS8nzElS7d3~5SIoe398zBI8vVbsl64vvOidc8wBQ6RK28RLFBsWdcQiV3GPKziaH0N4yv-kOIZzx0-FHKgmQOWq9oUprMkGmJ561c2HBaz3RhX2PGFO0TQVVbRambW31Ia6VXpiSyPACmM2PJguwNVFz2evuv3u8P-8FMjISiHdbM5MqMBt7SW7qwO-FcYXYYw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"The_Rise_of_World_Art_History_Ernst_Grosse_s_Encounter_with_the_Beginnings_of_Art","translated_slug":"","page_count":2,"language":"en","content_type":"Work","summary":"The late nineteenth century witnessed the rise of a concept of art history that involved the arts of all cultures and epochs. Aimed at establishing a “World Art History” (Weltkunstgeschichte) in imperial Germany this trend coincided with a growing interest in non-Western art among scholars from various disciplines. The first comprehensive study on non-Western art was published by the German philosopher and ethnologist Ernst Grosse (1862–1927), who in later life became a well-known art collector and scholar of Japanese art. In his early writings, published in 1891 and 1894, Grosse was concerned primarily with revealing the “laws” of human creativity by including objects of nonclassical and so-called “primitive art” within the established canon of art history. He called for the application of an “Art Science” (Kunstwissenschaft) that would engage with new methodical approaches borrowed from the field of ethnology. He also sought to expand the emerging academic discipline of Art History to subsume all forms of artistic expression.\r\n\r\nErnst Carl Gustav Grosse was born into a Protestant family in Stendal on July 29, 1862, to Ernst Ludwig Grosse (b. 1831), a court judge and later insurance director in Halle, and Clara, née Gößling (b. 1841). The Grosse family (Ernst also had two elder sisters) moved from Stendal to Magdeburg in the 1870s, where Grosse attended the Klostergymnasium in Magdeburg until his graduation in 1882. In 1882, Grosse began his studies of philosophy, literature, history, and the natural sciences in Berlin, Munich, and Heidelberg, and completed his military service in Berlin from October 1883 to October 1884. From 1889 Grosse held a teaching position in philosophy and ethnology at the University of Freiburg. He lectured on \"primitive\" art and from 1896 also gave courses on Japanese art such as \"Introduction to the Fine Arts of Japan\" (Einführung in das Studium der bildenden Kunst der Japaner). Five years on, in 1903, Grosse published his first article on the subject, \"Japanese Art in Europe\" (Japanische Kunst in Europa), in the Vienna-based newspaper Die Zeit. With his interest in non-Western art, Grosse entered foreign territory with his writing, followed in later years by the experiences of travel and extensive collecting of East Asian art abroad, primarily in Japan.\r\n\r\nGrosse's responsibilities in Freiburg included the supervision of some of the university's collections as well as the holdings of the Museum of Natural History and Ethnology (Museum für Natur- und Völkerkunde) founded by the city of Freiburg in 1895.6 Grosse was committed to expanding the collections and in 1902 was honored with the title of \"Director of the Municipal Art Collection\" (Direktor der Städischen Kunstsammlung). He soon put forward a new plan for the collection that included the acquisition of East Asian art objects and the art of indigenous peoples.\r\n\r\nThe original concept for establishing an ethnographic collection at Freiburg's Museum of Natural History and Ethnology was inspired by a plan by the German cultural historian Gustav Klemm (1802-1867). Klemm was known for his ideas regarding the description of an ideal Ethnographic Museum set forth in his 1843 essay \"Fantasia on a Museum of Cultural History of Humankind\" (Fantasie über ein Museum für die Culturgeschichte [sic] der Menschheit). 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Art and Science Responses to Plastic Pollution" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/100224889/Who_Lives_in_the_Plastisphere_Art_and_Science_Responses_to_Plastic_Pollution">Who Lives in the Plastisphere? Art and Science Responses to Plastic Pollution</a></div><div class="wp-workCard_item"><span>Plastic Ocean: Art and Science Responses to Marine Pollution</span><span>, 2021</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224889"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224889"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224889; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224889]").text(description); $(".js-view-count[data-work-id=100224889]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224889; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224889']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224889, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224889]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224889,"title":"Who Lives in the Plastisphere? Art and Science Responses to Plastic Pollution","translated_title":"","metadata":{"publisher":"De Gruyter","publication_date":{"day":null,"month":null,"year":2021,"errors":{}},"publication_name":"Plastic Ocean: Art and Science Responses to Marine Pollution"},"translated_abstract":null,"internal_url":"https://www.academia.edu/100224889/Who_Lives_in_the_Plastisphere_Art_and_Science_Responses_to_Plastic_Pollution","translated_internal_url":"","created_at":"2023-04-15T08:31:57.830-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Who_Lives_in_the_Plastisphere_Art_and_Science_Responses_to_Plastic_Pollution","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":null,"owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":402,"name":"Environmental Science","url":"https://www.academia.edu/Documents/in/Environmental_Science"},{"id":864585,"name":"Plastic pollution","url":"https://www.academia.edu/Documents/in/Plastic_pollution"}],"urls":[{"id":30643808,"url":"https://www.degruyter.com/document/doi/10.1515/9783110744774-002/pdf"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100224888"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/100224888/Plastic_Ocean_Art_and_Science_Responses_to_Marine_Pollution"><img alt="Research paper thumbnail of Plastic Ocean: Art and Science Responses to Marine Pollution" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/100224888/Plastic_Ocean_Art_and_Science_Responses_to_Marine_Pollution">Plastic Ocean: Art and Science Responses to Marine Pollution</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Our oceans are in an ecological crisis due to their contamination with millions of tons of toxic ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Our oceans are in an ecological crisis due to their contamination with millions of tons of toxic microplastic particles. In just a few years, the volume of microplastic particles will exceed that of plankton in our oceans and turn them into a huge sea of plastic. This publication brings together numerous international art projects related to environmental activities, DIY biotechnology, and science, and draws attention to the irreversible destruction of our marine ecosystems – the current threat posed by the loss of marine animal biodiversity, for example, or the decline in oxygen production due to massive plankton loss. It also presents current scientific findings on sustainable alternatives to plastic. With contributions by Dianna Cohen, Jennifer Wagner-Lawlor, Regine Rapp, Christian de Lutz, Mary Maggic, Robertina Šebjanič, Brandon Ballengée, Victoria Vesna, Martina R. Fröschl, Alfred Vendl, Reiner Maria Matysik, Ingeborg Reichle, Thomas Schwaha, Stephan Handschuh, María Antonia González Valerio, Rosaura Martínez Ruiz, Pinar Yoldas, and Michael Sauer.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224888"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224888"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224888; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224888]").text(description); $(".js-view-count[data-work-id=100224888]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224888; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224888']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224888, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224888]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224888,"title":"Plastic Ocean: Art and Science Responses to Marine Pollution","translated_title":"","metadata":{"abstract":"Our oceans are in an ecological crisis due to their contamination with millions of tons of toxic microplastic particles. 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While Max Liboiron offers community-based citizen science strategies for monitoring plastic pollution in marine animals and develops innovative research approaches with discard studies and anticolonial scientific practices, Maarten Vanden Eynde travels the world’s oceans to collect marine plastic debris to raise awareness about the impact of mass consumerism and environmental injustice, from which countries of the Global South are suffering disproportionately.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224887"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224887"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224887; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224887]").text(description); $(".js-view-count[data-work-id=100224887]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224887; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224887']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224887, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224887]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224887,"title":"Toxic Plastic Politics: Rethinking Plastic Pollution through Art and Activism","translated_title":"","metadata":{"abstract":"This chapter introduces the interdisciplinary art practices of Canadian artist Max Liboiron and Belgian artist Maarten Vanden Eynde, both concerned with the consequences of plastic pollution on marine ecosystems. 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Die Ge- schichte der „Welt als Bild“ betrachtet nicht nur wechselnde Weltvorstellungen, sondern auch verschiedene Darstellungsmethoden und Visualisierungsmedien. Ingeborg Reichle: Ein Blick in die Geschichte der Bildwelten der Weltbilder. In: Aus Politik und Zeitgeschichte, „Weltbilder“, Bundeszentrale für politische Bildung, Bonn 2015, S. 37-46.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224886"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224886"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224886; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224886]").text(description); $(".js-view-count[data-work-id=100224886]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224886; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224886']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224886, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224886]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224886,"title":"Ein Blick in die Geschichte der Bildwelten der Weltbilder","translated_title":"","metadata":{"abstract":"Praktiken visueller Welterzeugung lassen sich bereits in der Antike beobachten und dienen bis heute der Konstruktion von Ordnungsvorstellungen. Die Ge- schichte der „Welt als Bild“ betrachtet nicht nur wechselnde Weltvorstellungen, sondern auch verschiedene Darstellungsmethoden und Visualisierungsmedien. Ingeborg Reichle: Ein Blick in die Geschichte der Bildwelten der Weltbilder. In: Aus Politik und Zeitgeschichte, „Weltbilder“, Bundeszentrale für politische Bildung, Bonn 2015, S. 37-46.","publication_date":{"day":null,"month":null,"year":2015,"errors":{}}},"translated_abstract":"Praktiken visueller Welterzeugung lassen sich bereits in der Antike beobachten und dienen bis heute der Konstruktion von Ordnungsvorstellungen. Die Ge- schichte der „Welt als Bild“ betrachtet nicht nur wechselnde Weltvorstellungen, sondern auch verschiedene Darstellungsmethoden und Visualisierungsmedien. Ingeborg Reichle: Ein Blick in die Geschichte der Bildwelten der Weltbilder. In: Aus Politik und Zeitgeschichte, „Weltbilder“, Bundeszentrale für politische Bildung, Bonn 2015, S. 37-46.","internal_url":"https://www.academia.edu/100224886/Ein_Blick_in_die_Geschichte_der_Bildwelten_der_Weltbilder","translated_internal_url":"","created_at":"2023-04-15T08:31:57.422-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Ein_Blick_in_die_Geschichte_der_Bildwelten_der_Weltbilder","translated_slug":"","page_count":null,"language":"de","content_type":"Work","summary":"Praktiken visueller Welterzeugung lassen sich bereits in der Antike beobachten und dienen bis heute der Konstruktion von Ordnungsvorstellungen. Die Ge- schichte der „Welt als Bild“ betrachtet nicht nur wechselnde Weltvorstellungen, sondern auch verschiedene Darstellungsmethoden und Visualisierungsmedien. Ingeborg Reichle: Ein Blick in die Geschichte der Bildwelten der Weltbilder. In: Aus Politik und Zeitgeschichte, „Weltbilder“, Bundeszentrale für politische Bildung, Bonn 2015, S. 37-46.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art"},{"id":13234,"name":"Maps and Society","url":"https://www.academia.edu/Documents/in/Maps_and_Society"},{"id":74033,"name":"Mapping","url":"https://www.academia.edu/Documents/in/Mapping"},{"id":99514,"name":"Images","url":"https://www.academia.edu/Documents/in/Images"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100224885"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/100224885/Speculative_biology_in_the_practices_of_bioart"><img alt="Research paper thumbnail of Speculative biology in the practices of bioart" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/100224885/Speculative_biology_in_the_practices_of_bioart">Speculative biology in the practices of bioart</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">When Bio Art received much attention around the turn of the millennium as a result of artworks li...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">When Bio Art received much attention around the turn of the millennium as a result of artworks like Eduardo Kac&#39;s green rabbit, a transgenic animal that glowed in the dark under UV light, it unleashed a lively debate about whether biotechnology would become an artistic medium and whether the fine arts should engage with transgenic or cellular organisms. When Bio Art pioneers like Joe Davis began to work with DNA in the late 1980s in projects such as Poetical Vaginal or Microvenus it was a major challenge to get access to scientific laboratories in an institutional context. Passing through the doors of institutions and getting access to a wet bench in a laboratory to go &#39;hands-on&#39; meant in those days a radical change of location. Moving from the studio into the laboratory provided the fine arts with a variety of new materials like bacteria, cells, tissue cultures, or transgenic organisms as a means of artistic expression, but this shift also made it necessary for artists ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224885"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224885"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224885; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224885]").text(description); $(".js-view-count[data-work-id=100224885]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224885; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224885']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224885, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224885]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224885,"title":"Speculative biology in the practices of bioart","translated_title":"","metadata":{"abstract":"When Bio Art received much attention around the turn of the millennium as a result of artworks like Eduardo Kac\u0026#39;s green rabbit, a transgenic animal that glowed in the dark under UV light, it unleashed a lively debate about whether biotechnology would become an artistic medium and whether the fine arts should engage with transgenic or cellular organisms. 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Einen der umfassendsten Versuche, Bilder und Artefakte von geografisch als auch zeitlich weit entfernten Kulturen zu vergleichen, um damit die grundlegenden »Gesetze« der Kunst aufzufinden, legte der deutsche Ethnologe und Philosoph Ernst Grosse kurz vor der Jahrhundertwende vor. Das Vergleichen unterschiedlichster Relikte und Artefakte alter und fremder Kulturen sollte nicht nur Rückschlüsse auf die Anfänge der Kunst ermöglichen, sondern zugleich deren übergeordnete Prinzipien offenlegen und der jungen Kunstwissenschaft mit einem der Ethnologie entliehenen geschärften Methodenapparat zu einem »wissenschaftlicheren« Status verhelfen. Sowohl die Kunst der Vorzeit als auch die Kunst der »Primitiven« wurde zu einer Zeit als Kunst anerkannt, als die Kunstwissenschaft sich in einer Phase der Formierung zu einer universitären Disziplin in Abgrenzung von anderen Disziplinen befand.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224884"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224884"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224884; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224884]").text(description); $(".js-view-count[data-work-id=100224884]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224884; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224884']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224884, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224884]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224884,"title":"Vom Ursprung der Bilder und den Anfängen der Kunst","translated_title":"","metadata":{"abstract":"Als um 1900 die unwiederbringliche Zerstörung der Kulturen der Kolonien der europäischen Mächte immer deutlicher zutage trat, entstand zeitgleich eine Debatte über die Anfänge der Kunst, deren Protagonisten darangingen, künstlerische Äußerungen außereuropäischer Kulturen zunehmend als Kunst zu bewerten und bis dahin kaum denkbare Zusammenhänge zwischen verschiedensten Bildkulturen zu stiften. Einen der umfassendsten Versuche, Bilder und Artefakte von geografisch als auch zeitlich weit entfernten Kulturen zu vergleichen, um damit die grundlegenden »Gesetze« der Kunst aufzufinden, legte der deutsche Ethnologe und Philosoph Ernst Grosse kurz vor der Jahrhundertwende vor. Das Vergleichen unterschiedlichster Relikte und Artefakte alter und fremder Kulturen sollte nicht nur Rückschlüsse auf die Anfänge der Kunst ermöglichen, sondern zugleich deren übergeordnete Prinzipien offenlegen und der jungen Kunstwissenschaft mit einem der Ethnologie entliehenen geschärften Methodenapparat zu einem »wissenschaftlicheren« Status verhelfen. Sowohl die Kunst der Vorzeit als auch die Kunst der »Primitiven« wurde zu einer Zeit als Kunst anerkannt, als die Kunstwissenschaft sich in einer Phase der Formierung zu einer universitären Disziplin in Abgrenzung von anderen Disziplinen befand.","publisher":"Brill | Fink","publication_date":{"day":null,"month":null,"year":2012,"errors":{}},"publication_name":"Image Match"},"translated_abstract":"Als um 1900 die unwiederbringliche Zerstörung der Kulturen der Kolonien der europäischen Mächte immer deutlicher zutage trat, entstand zeitgleich eine Debatte über die Anfänge der Kunst, deren Protagonisten darangingen, künstlerische Äußerungen außereuropäischer Kulturen zunehmend als Kunst zu bewerten und bis dahin kaum denkbare Zusammenhänge zwischen verschiedensten Bildkulturen zu stiften. Einen der umfassendsten Versuche, Bilder und Artefakte von geografisch als auch zeitlich weit entfernten Kulturen zu vergleichen, um damit die grundlegenden »Gesetze« der Kunst aufzufinden, legte der deutsche Ethnologe und Philosoph Ernst Grosse kurz vor der Jahrhundertwende vor. Das Vergleichen unterschiedlichster Relikte und Artefakte alter und fremder Kulturen sollte nicht nur Rückschlüsse auf die Anfänge der Kunst ermöglichen, sondern zugleich deren übergeordnete Prinzipien offenlegen und der jungen Kunstwissenschaft mit einem der Ethnologie entliehenen geschärften Methodenapparat zu einem »wissenschaftlicheren« Status verhelfen. Sowohl die Kunst der Vorzeit als auch die Kunst der »Primitiven« wurde zu einer Zeit als Kunst anerkannt, als die Kunstwissenschaft sich in einer Phase der Formierung zu einer universitären Disziplin in Abgrenzung von anderen Disziplinen befand.","internal_url":"https://www.academia.edu/100224884/Vom_Ursprung_der_Bilder_und_den_Anf%C3%A4ngen_der_Kunst","translated_internal_url":"","created_at":"2023-04-15T08:31:57.110-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Vom_Ursprung_der_Bilder_und_den_Anfängen_der_Kunst","translated_slug":"","page_count":null,"language":"de","content_type":"Work","summary":"Als um 1900 die unwiederbringliche Zerstörung der Kulturen der Kolonien der europäischen Mächte immer deutlicher zutage trat, entstand zeitgleich eine Debatte über die Anfänge der Kunst, deren Protagonisten darangingen, künstlerische Äußerungen außereuropäischer Kulturen zunehmend als Kunst zu bewerten und bis dahin kaum denkbare Zusammenhänge zwischen verschiedensten Bildkulturen zu stiften. Einen der umfassendsten Versuche, Bilder und Artefakte von geografisch als auch zeitlich weit entfernten Kulturen zu vergleichen, um damit die grundlegenden »Gesetze« der Kunst aufzufinden, legte der deutsche Ethnologe und Philosoph Ernst Grosse kurz vor der Jahrhundertwende vor. Das Vergleichen unterschiedlichster Relikte und Artefakte alter und fremder Kulturen sollte nicht nur Rückschlüsse auf die Anfänge der Kunst ermöglichen, sondern zugleich deren übergeordnete Prinzipien offenlegen und der jungen Kunstwissenschaft mit einem der Ethnologie entliehenen geschärften Methodenapparat zu einem »wissenschaftlicheren« Status verhelfen. Sowohl die Kunst der Vorzeit als auch die Kunst der »Primitiven« wurde zu einer Zeit als Kunst anerkannt, als die Kunstwissenschaft sich in einer Phase der Formierung zu einer universitären Disziplin in Abgrenzung von anderen Disziplinen befand.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":10336,"name":"Ethnology","url":"https://www.academia.edu/Documents/in/Ethnology"},{"id":15352,"name":"Historiography (in Art History)","url":"https://www.academia.edu/Documents/in/Historiography_in_Art_History_"},{"id":35941,"name":"Darwinian evolution","url":"https://www.academia.edu/Documents/in/Darwinian_evolution"},{"id":77092,"name":"Social Darwinism","url":"https://www.academia.edu/Documents/in/Social_Darwinism"},{"id":250543,"name":"Primitive Arts","url":"https://www.academia.edu/Documents/in/Primitive_Arts"},{"id":391226,"name":"Image Match","url":"https://www.academia.edu/Documents/in/Image_Match"}],"urls":[{"id":30643807,"url":"https://www.fink.de/downloadpdf/title/49966"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100224883"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/100224883/Lebendige_Kunst_oder_Biologische_Plastik"><img alt="Research paper thumbnail of Lebendige Kunst oder Biologische Plastik?" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/100224883/Lebendige_Kunst_oder_Biologische_Plastik">Lebendige Kunst oder Biologische Plastik?</a></div><div class="wp-workCard_item"><span>Visuelle Modelle</span><span>, 2008</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224883"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224883"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224883; 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V Art in the Age of Cybernetics and Synthetic Biology Art and Artificial Life The Logic of Life Learning about Life - Learning about Self-Orgnisation Algorithms of the Living World VI Artificial Life and Robotics Living Sculptures The Robot in the Garden The Coevolution of organic and technological cultures Art and Robotics VII Artificial Life Art Christa Sommerer and Laurent Mignonneau: Art and the Digital Evolution Beyond Digital Naturalism: A-Volve Art as a Living System: GENMA and Life Spacies Silicon Second Nature: The Game of Life VIII Art and Artificial Worlds Jane Prophet: Communication and Digital Evolution Virtual Bodies in the Digital Age: TechnoSphere and SWARM Cyberspace: Deleting the Body Art and Artificial Nature CONCLUSION: Is science the new art? Notes Bibliography Credits Index</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224882"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224882"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224882; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224882]").text(description); $(".js-view-count[data-work-id=100224882]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224882; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224882']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224882, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224882]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224882,"title":"Art in the age of technoscience : genetic engineering, robotics, and artificial life in contemporary art","translated_title":"","metadata":{"abstract":"FOREWORD INTRODUCTION I Art at the Edge of Science Techno-Science-Art - Technological and Aesthetic (Trans)Formations of Art and Science II Art (History) and Genetics Early Intersections of Art and Biology Gene Culture: Molecular Visions in Contemporary Art The Art of DNA III Transgenic Art - Art in the Age of Biotechnology Eduardo Kac and the Emergence of Transgenic Art The Art of Cloning: Genesis Living pictures: GFP-K9 and Bunny 2000 Sources: Holopoetry, Telepresence Art and Telerobotic Art Joe Davis and the Making of Transgenic Art Art Emerging from the Laboratory Living Art: Microvenus and the Milky Way DNA The Delbruck-paradox: Riddle of Life Semi-living Art: SymbioticA IV The Grammar of Genetics More than a Metaphor: The Emergence of Biofacts Genetic Disorder: Bioaesthetics BioArt: Where Art and Science Meet? V Art in the Age of Cybernetics and Synthetic Biology Art and Artificial Life The Logic of Life Learning about Life - Learning about Self-Orgnisation Algorithms of the Living World VI Artificial Life and Robotics Living Sculptures The Robot in the Garden The Coevolution of organic and technological cultures Art and Robotics VII Artificial Life Art Christa Sommerer and Laurent Mignonneau: Art and the Digital Evolution Beyond Digital Naturalism: A-Volve Art as a Living System: GENMA and Life Spacies Silicon Second Nature: The Game of Life VIII Art and Artificial Worlds Jane Prophet: Communication and Digital Evolution Virtual Bodies in the Digital Age: TechnoSphere and SWARM Cyberspace: Deleting the Body Art and Artificial Nature CONCLUSION: Is science the new art? Notes Bibliography Credits Index","publication_date":{"day":null,"month":null,"year":2009,"errors":{}}},"translated_abstract":"FOREWORD INTRODUCTION I Art at the Edge of Science Techno-Science-Art - Technological and Aesthetic (Trans)Formations of Art and Science II Art (History) and Genetics Early Intersections of Art and Biology Gene Culture: Molecular Visions in Contemporary Art The Art of DNA III Transgenic Art - Art in the Age of Biotechnology Eduardo Kac and the Emergence of Transgenic Art The Art of Cloning: Genesis Living pictures: GFP-K9 and Bunny 2000 Sources: Holopoetry, Telepresence Art and Telerobotic Art Joe Davis and the Making of Transgenic Art Art Emerging from the Laboratory Living Art: Microvenus and the Milky Way DNA The Delbruck-paradox: Riddle of Life Semi-living Art: SymbioticA IV The Grammar of Genetics More than a Metaphor: The Emergence of Biofacts Genetic Disorder: Bioaesthetics BioArt: Where Art and Science Meet? V Art in the Age of Cybernetics and Synthetic Biology Art and Artificial Life The Logic of Life Learning about Life - Learning about Self-Orgnisation Algorithms of the Living World VI Artificial Life and Robotics Living Sculptures The Robot in the Garden The Coevolution of organic and technological cultures Art and Robotics VII Artificial Life Art Christa Sommerer and Laurent Mignonneau: Art and the Digital Evolution Beyond Digital Naturalism: A-Volve Art as a Living System: GENMA and Life Spacies Silicon Second Nature: The Game of Life VIII Art and Artificial Worlds Jane Prophet: Communication and Digital Evolution Virtual Bodies in the Digital Age: TechnoSphere and SWARM Cyberspace: Deleting the Body Art and Artificial Nature CONCLUSION: Is science the new art? Notes Bibliography Credits Index","internal_url":"https://www.academia.edu/100224882/Art_in_the_age_of_technoscience_genetic_engineering_robotics_and_artificial_life_in_contemporary_art","translated_internal_url":"","created_at":"2023-04-15T08:31:56.767-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Art_in_the_age_of_technoscience_genetic_engineering_robotics_and_artificial_life_in_contemporary_art","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"FOREWORD INTRODUCTION I Art at the Edge of Science Techno-Science-Art - Technological and Aesthetic (Trans)Formations of Art and Science II Art (History) and Genetics Early Intersections of Art and Biology Gene Culture: Molecular Visions in Contemporary Art The Art of DNA III Transgenic Art - Art in the Age of Biotechnology Eduardo Kac and the Emergence of Transgenic Art The Art of Cloning: Genesis Living pictures: GFP-K9 and Bunny 2000 Sources: Holopoetry, Telepresence Art and Telerobotic Art Joe Davis and the Making of Transgenic Art Art Emerging from the Laboratory Living Art: Microvenus and the Milky Way DNA The Delbruck-paradox: Riddle of Life Semi-living Art: SymbioticA IV The Grammar of Genetics More than a Metaphor: The Emergence of Biofacts Genetic Disorder: Bioaesthetics BioArt: Where Art and Science Meet? V Art in the Age of Cybernetics and Synthetic Biology Art and Artificial Life The Logic of Life Learning about Life - Learning about Self-Orgnisation Algorithms of the Living World VI Artificial Life and Robotics Living Sculptures The Robot in the Garden The Coevolution of organic and technological cultures Art and Robotics VII Artificial Life Art Christa Sommerer and Laurent Mignonneau: Art and the Digital Evolution Beyond Digital Naturalism: A-Volve Art as a Living System: GENMA and Life Spacies Silicon Second Nature: The Game of Life VIII Art and Artificial Worlds Jane Prophet: Communication and Digital Evolution Virtual Bodies in the Digital Age: TechnoSphere and SWARM Cyberspace: Deleting the Body Art and Artificial Nature CONCLUSION: Is science the new art? Notes Bibliography Credits Index","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":465,"name":"Artificial Intelligence","url":"https://www.academia.edu/Documents/in/Artificial_Intelligence"},{"id":1131,"name":"Biomedical Engineering","url":"https://www.academia.edu/Documents/in/Biomedical_Engineering"},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"},{"id":5398,"name":"Biotechnology","url":"https://www.academia.edu/Documents/in/Biotechnology"},{"id":5457,"name":"Artificial Life","url":"https://www.academia.edu/Documents/in/Artificial_Life"},{"id":8911,"name":"Bioart","url":"https://www.academia.edu/Documents/in/Bioart"},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture"},{"id":2949247,"name":"bioarte transdisciplinariedad ciencia tecnologia","url":"https://www.academia.edu/Documents/in/bioarte_transdisciplinariedad_ciencia_tecnologia"}],"urls":[{"id":30643805,"url":"http://ci.nii.ac.jp/ncid/BB00232991"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100224881"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/100224881/V_Artificial_Life_Art"><img alt="Research paper thumbnail of V. 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Kunst aus dem Labor","translated_title":"","metadata":{"publication_name":"Kunst aus dem Labor"},"translated_abstract":null,"internal_url":"https://www.academia.edu/100224877/VI_Kunst_aus_dem_Labor","translated_internal_url":"","created_at":"2023-04-15T08:31:55.790-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"VI_Kunst_aus_dem_Labor","translated_slug":"","page_count":null,"language":"de","content_type":"Work","summary":null,"owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="704156" id="papers"><div class="js-work-strip profile--work_container" data-work-id="125359136"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125359136/M%C3%A1s_all%C3%A1_de_los_humanos_bioarte_y_cultivo_de_tejidos"><img alt="Research paper thumbnail of Más allá de los humanos: bioarte y cultivo de tejidos" class="work-thumbnail" src="https://attachments.academia-assets.com/119417769/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125359136/M%C3%A1s_all%C3%A1_de_los_humanos_bioarte_y_cultivo_de_tejidos">Más allá de los humanos: bioarte y cultivo de tejidos</a></div><div class="wp-workCard_item"><span>Sine Origin</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este artículo quiero ofrecer algunas intuiciones acerca del concepto y la realización de una e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este artículo quiero ofrecer algunas intuiciones acerca del concepto y<br />la realización de una exhibición que curé en 2010 para el Museo de Cha-<br />rité de Historia de la Medicina en Berlín. En la exposición Jenseits des<br />Menschen / Beyond Humans se presentó la obra artística de Reiner Maria<br />Matysik, bioartista radicado en Berlín, como parte de la serie Interven-<br />ciones, la cual fue iniciada en 2009 por el museo, a fin de ofrecer a los<br />artistas contemporáneos un espacio de experimentación y promoción<br />del diálogo entre las artes y las ciencias. La colección de especímenes pa-<br />tológicos del reconocido médico Rudolf Virchow y las ruinas de su sala<br />de conferencias proporcionaron un ambiente adecuado para las interro-<br />gantes artísticas. En contraste con la visión histórica del museo acerca<br />del cuerpo humano, los objetos de intervención del artista fueron los<br />futuros diseños evolutivos humanos de un futuro biotecnológicamente<br />producido por el hombre.<br /><br />En anteriores obras y proyectos, Matysik había planteado cuestiones<br />de bioética aun antes de pensar en el futuro de la evolución humana en<br />la era de los transgénicos y de los cultivos de tejidos; pero, en particular,<br />ganó gran reconocimiento como artista con sus modelos de organismos<br />postevolutivos y su visión de una evolución “activa”, es decir, de una evo-<br />lución controlada por el ser humano. La motivación de Matysik para mode-<br />lar cuerpos biológicos y crear prototipos de organismos futuros surgió de la convicción de que los grandes avances en las modernas ciencias de la vida tendrán consecuencias drásticas en los procesos de evolución biológica, así como también en el arte.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="90d7f4d639529369d71a0e23c25a9d2a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119417769,"asset_id":125359136,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119417769/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125359136"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125359136"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125359136; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125359136]").text(description); $(".js-view-count[data-work-id=125359136]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125359136; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125359136']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125359136, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "90d7f4d639529369d71a0e23c25a9d2a" } } $('.js-work-strip[data-work-id=125359136]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125359136,"title":"Más allá de los humanos: bioarte y cultivo de tejidos","translated_title":"","metadata":{"abstract":"En este artículo quiero ofrecer algunas intuiciones acerca del concepto y\nla realización de una exhibición que curé en 2010 para el Museo de Cha-\nrité de Historia de la Medicina en Berlín. En la exposición Jenseits des\nMenschen / Beyond Humans se presentó la obra artística de Reiner Maria\nMatysik, bioartista radicado en Berlín, como parte de la serie Interven-\nciones, la cual fue iniciada en 2009 por el museo, a fin de ofrecer a los\nartistas contemporáneos un espacio de experimentación y promoción\ndel diálogo entre las artes y las ciencias. La colección de especímenes pa-\ntológicos del reconocido médico Rudolf Virchow y las ruinas de su sala\nde conferencias proporcionaron un ambiente adecuado para las interro-\ngantes artísticas. En contraste con la visión histórica del museo acerca\ndel cuerpo humano, los objetos de intervención del artista fueron los\nfuturos diseños evolutivos humanos de un futuro biotecnológicamente\nproducido por el hombre.\n\nEn anteriores obras y proyectos, Matysik había planteado cuestiones\nde bioética aun antes de pensar en el futuro de la evolución humana en\nla era de los transgénicos y de los cultivos de tejidos; pero, en particular,\nganó gran reconocimiento como artista con sus modelos de organismos\npostevolutivos y su visión de una evolución “activa”, es decir, de una evo-\nlución controlada por el ser humano. La motivación de Matysik para mode-\nlar cuerpos biológicos y crear prototipos de organismos futuros surgió de la convicción de que los grandes avances en las modernas ciencias de la vida tendrán consecuencias drásticas en los procesos de evolución biológica, así como también en el arte.","publication_date":{"day":null,"month":null,"year":2014,"errors":{}},"publication_name":"Sine Origin"},"translated_abstract":"En este artículo quiero ofrecer algunas intuiciones acerca del concepto y\nla realización de una exhibición que curé en 2010 para el Museo de Cha-\nrité de Historia de la Medicina en Berlín. En la exposición Jenseits des\nMenschen / Beyond Humans se presentó la obra artística de Reiner Maria\nMatysik, bioartista radicado en Berlín, como parte de la serie Interven-\nciones, la cual fue iniciada en 2009 por el museo, a fin de ofrecer a los\nartistas contemporáneos un espacio de experimentación y promoción\ndel diálogo entre las artes y las ciencias. La colección de especímenes pa-\ntológicos del reconocido médico Rudolf Virchow y las ruinas de su sala\nde conferencias proporcionaron un ambiente adecuado para las interro-\ngantes artísticas. En contraste con la visión histórica del museo acerca\ndel cuerpo humano, los objetos de intervención del artista fueron los\nfuturos diseños evolutivos humanos de un futuro biotecnológicamente\nproducido por el hombre.\n\nEn anteriores obras y proyectos, Matysik había planteado cuestiones\nde bioética aun antes de pensar en el futuro de la evolución humana en\nla era de los transgénicos y de los cultivos de tejidos; pero, en particular,\nganó gran reconocimiento como artista con sus modelos de organismos\npostevolutivos y su visión de una evolución “activa”, es decir, de una evo-\nlución controlada por el ser humano. La motivación de Matysik para mode-\nlar cuerpos biológicos y crear prototipos de organismos futuros surgió de la convicción de que los grandes avances en las modernas ciencias de la vida tendrán consecuencias drásticas en los procesos de evolución biológica, así como también en el arte.","internal_url":"https://www.academia.edu/125359136/M%C3%A1s_all%C3%A1_de_los_humanos_bioarte_y_cultivo_de_tejidos","translated_internal_url":"","created_at":"2024-11-07T09:33:30.059-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":119417769,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119417769/thumbnails/1.jpg","file_name":"Pros_Bion_Ingeborg_Reichle.pdf","download_url":"https://www.academia.edu/attachments/119417769/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Mas_alla_de_los_humanos_bioarte_y_cultiv.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119417769/Pros_Bion_Ingeborg_Reichle-libre.pdf?1731004394=\u0026response-content-disposition=attachment%3B+filename%3DMas_alla_de_los_humanos_bioarte_y_cultiv.pdf\u0026Expires=1734021439\u0026Signature=ABQOnOjqNj8iGhp01lx95~3QbVzHYDlJy5BUQtiB9JdDh-Bzr-UY2uDGOWQMdakCLIozNa18Mr9jTBsVrtt0r5hfcxCdDzrbs14KMwWOi4PzVmpXTn4gIsj5nW6WFHc5hoaRHjTdjZ1y6TRrfmmtLR6MEHigyZZjN3drNpvUNC~aw-nxWNZDX~7sBAUp3M5jTqH8cs~xsqqGuKXzZ3vW35QGT5JA6eBrf-bfxpBgaOBLeLKgYBHHfyvNWWHxQGJ~Lw7JldAjFC6RTeeT~sWzt-Yc6dJ2pgaCN9mU2vret5oblpNH8XAatpOFOA2QApceWY~QjzlDkatquXI6W7dDMQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Más_allá_de_los_humanos_bioarte_y_cultivo_de_tejidos","translated_slug":"","page_count":21,"language":"es","content_type":"Work","summary":"En este artículo quiero ofrecer algunas intuiciones acerca del concepto y\nla realización de una exhibición que curé en 2010 para el Museo de Cha-\nrité de Historia de la Medicina en Berlín. 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En contraste con la visión histórica del museo acerca\ndel cuerpo humano, los objetos de intervención del artista fueron los\nfuturos diseños evolutivos humanos de un futuro biotecnológicamente\nproducido por el hombre.\n\nEn anteriores obras y proyectos, Matysik había planteado cuestiones\nde bioética aun antes de pensar en el futuro de la evolución humana en\nla era de los transgénicos y de los cultivos de tejidos; pero, en particular,\nganó gran reconocimiento como artista con sus modelos de organismos\npostevolutivos y su visión de una evolución “activa”, es decir, de una evo-\nlución controlada por el ser humano. La motivación de Matysik para mode-\nlar cuerpos biológicos y crear prototipos de organismos futuros surgió de la convicción de que los grandes avances en las modernas ciencias de la vida tendrán consecuencias drásticas en los procesos de evolución biológica, así como también en el arte.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":119417769,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119417769/thumbnails/1.jpg","file_name":"Pros_Bion_Ingeborg_Reichle.pdf","download_url":"https://www.academia.edu/attachments/119417769/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Mas_alla_de_los_humanos_bioarte_y_cultiv.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119417769/Pros_Bion_Ingeborg_Reichle-libre.pdf?1731004394=\u0026response-content-disposition=attachment%3B+filename%3DMas_alla_de_los_humanos_bioarte_y_cultiv.pdf\u0026Expires=1734021439\u0026Signature=ABQOnOjqNj8iGhp01lx95~3QbVzHYDlJy5BUQtiB9JdDh-Bzr-UY2uDGOWQMdakCLIozNa18Mr9jTBsVrtt0r5hfcxCdDzrbs14KMwWOi4PzVmpXTn4gIsj5nW6WFHc5hoaRHjTdjZ1y6TRrfmmtLR6MEHigyZZjN3drNpvUNC~aw-nxWNZDX~7sBAUp3M5jTqH8cs~xsqqGuKXzZ3vW35QGT5JA6eBrf-bfxpBgaOBLeLKgYBHHfyvNWWHxQGJ~Lw7JldAjFC6RTeeT~sWzt-Yc6dJ2pgaCN9mU2vret5oblpNH8XAatpOFOA2QApceWY~QjzlDkatquXI6W7dDMQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":3723,"name":"History of Science","url":"https://www.academia.edu/Documents/in/History_of_Science"},{"id":8911,"name":"Bioart","url":"https://www.academia.edu/Documents/in/Bioart"},{"id":41114,"name":"Biomaterials and Tissue Engineering","url":"https://www.academia.edu/Documents/in/Biomaterials_and_Tissue_Engineering"},{"id":66089,"name":"Tissue culture","url":"https://www.academia.edu/Documents/in/Tissue_culture"},{"id":291514,"name":"Art Exhibitions","url":"https://www.academia.edu/Documents/in/Art_Exhibitions"},{"id":972044,"name":"Bioarte","url":"https://www.academia.edu/Documents/in/Bioarte"},{"id":2818646,"name":"Biofact","url":"https://www.academia.edu/Documents/in/Biofact"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125358611"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125358611/eflexiones_de_Charles_Darwin_sobre_el_origen_del_hombre_y_la_utilidad_de_las_visiones_de_mundo_para_la_conservaci%C3%B3n_de_la_especie"><img alt="Research paper thumbnail of eflexiones de Charles Darwin sobre el origen del hombre y la utilidad de las visiones de mundo para la conservación de la especie" class="work-thumbnail" src="https://attachments.academia-assets.com/119417326/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125358611/eflexiones_de_Charles_Darwin_sobre_el_origen_del_hombre_y_la_utilidad_de_las_visiones_de_mundo_para_la_conservaci%C3%B3n_de_la_especie">eflexiones de Charles Darwin sobre el origen del hombre y la utilidad de las visiones de mundo para la conservación de la especie</a></div><div class="wp-workCard_item"><span>Encuentros de animale</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Como muchos de los naturalistas de su tiempo, también Darwin se sintió animado por la búsqueda de...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Como muchos de los naturalistas de su tiempo, también Darwin se sintió animado por la búsqueda de las leyes que regían el mundo natural y por la descripción sistemática del orden de la naturaleza. En On the Origin of Species, Darwin describe su concepción del origen de las especies como «theory of descent with modification through variation and natural selection», por lo que nombra a su argumento principal: hipótesis (Annahme) de la existencia de diferencias individuales, o bien de «variantes» en organismos de una especie, mejor dicho, «pobla- ción». Con la expresión «población» se refiere a un grupo de seres vivos que pertenecen a una determinada comunidad biológica y viven en un hábitat, aseguran su propia existencia y tienen descendencia. Dentro de una población, ningún individuo es idéntico. En su viaje por el mundo, Darwin pudo observar de qué manera tan dilapidadora obraba la naturaleza y qué tan prolíficos eran sus seres vivos.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="733e69773a4bb3ca164e1230de873c8a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119417326,"asset_id":125358611,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119417326/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125358611"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125358611"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125358611; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125358611]").text(description); $(".js-view-count[data-work-id=125358611]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125358611; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125358611']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125358611, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "733e69773a4bb3ca164e1230de873c8a" } } $('.js-work-strip[data-work-id=125358611]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125358611,"title":"eflexiones de Charles Darwin sobre el origen del hombre y la utilidad de las visiones de mundo para la conservación de la especie","translated_title":"","metadata":{"abstract":"Como muchos de los naturalistas de su tiempo, también Darwin se sintió animado por la búsqueda de las leyes que regían el mundo natural y por la descripción sistemática del orden de la naturaleza. 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Universities of the future will surely continue in Wilhelm von Humboldt's tradition of scholarship as the unity of research, instruction and education, but they will also have to face the challenges which accompany the digitalization of the world in the 21st century. The use of new media in learning and education not only alters the substantive and structural demands made upon educational institutions. Such media also offer new possibilities for the processing of knowledge, for its presentation as well as for its pedagogical mediation in the lecture hall or seminar room.<br /><br />Summary Description:<br /><br />The project interactive Homepage of the Humboldt University's Art History Seminar which I will demonstrate, is promoting and implementing a broad, long-term integration of new media both as a means of teaching, learning and communication and the use of three databases situated at the seminar in class, like the CENSUS (Census of Antique Works of Art and Architecture Known in the Renaissance), IMAGO („digitale Diathek") and the Database for Art and Virtual Reality.<br /><br />Central Arguments:<br /><br />A notion of network-based 'distance learning' will be developed through the new organization of information provided by the Art History Seminar in the World Wide Web. The goal here is to provide productive support for actual classroom learning through 'pools of knowledge,' which will cooperatively managed and which can be tailored to the personal needs and interests of the course participants.Two elements are of central importance here, both of which are equally concerned with teaching and research:<br /><br />The development of database-supported client-server systems, which support the processing and networking of digital information, makes possible the distribution of knowledge at a reasonable price and with the efficient use of an institute's personnel. These systems, which are accessible via the Internet at great distances and independent of space and time, provide the optimal presuppositions for multimedia self-directed study.<br /><br />Bringing together isolated sources of knowledge and organizing them properly according to unified standards and interfaces based on internet technologies provides the discipline of art history with new und yet unrealized opportunities. These include the generation of new cognitive connections as well practical possibilities for professional use on the basis of a "best practice strategy". Such "knowledge management" conceptions require, on the one hand, a centrally directed general authority which can regulate, on the technological-administrative level, the overall organization of information in the emerging pool of knowledge.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125347637"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125347637"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125347637; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125347637]").text(description); $(".js-view-count[data-work-id=125347637]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125347637; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125347637']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125347637, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=125347637]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125347637,"title":"Deleting the Body, Art and Virtual Bodies in the Digital Age: The Use of New Media in Education: Opportunities and Challenges of Cooperative Teaching and Learning","translated_title":"","metadata":{"abstract":"Abstract:\n\nColleges and universities are simultaneously affected and challenged by this transformation. Universities of the future will surely continue in Wilhelm von Humboldt's tradition of scholarship as the unity of research, instruction and education, but they will also have to face the challenges which accompany the digitalization of the world in the 21st century. The use of new media in learning and education not only alters the substantive and structural demands made upon educational institutions. Such media also offer new possibilities for the processing of knowledge, for its presentation as well as for its pedagogical mediation in the lecture hall or seminar room.\n\nSummary Description:\n\nThe project interactive Homepage of the Humboldt University's Art History Seminar which I will demonstrate, is promoting and implementing a broad, long-term integration of new media both as a means of teaching, learning and communication and the use of three databases situated at the seminar in class, like the CENSUS (Census of Antique Works of Art and Architecture Known in the Renaissance), IMAGO („digitale Diathek\") and the Database for Art and Virtual Reality.\n\nCentral Arguments:\n\nA notion of network-based 'distance learning' will be developed through the new organization of information provided by the Art History Seminar in the World Wide Web. The goal here is to provide productive support for actual classroom learning through 'pools of knowledge,' which will cooperatively managed and which can be tailored to the personal needs and interests of the course participants.Two elements are of central importance here, both of which are equally concerned with teaching and research:\n\nThe development of database-supported client-server systems, which support the processing and networking of digital information, makes possible the distribution of knowledge at a reasonable price and with the efficient use of an institute's personnel. These systems, which are accessible via the Internet at great distances and independent of space and time, provide the optimal presuppositions for multimedia self-directed study.\n\nBringing together isolated sources of knowledge and organizing them properly according to unified standards and interfaces based on internet technologies provides the discipline of art history with new und yet unrealized opportunities. These include the generation of new cognitive connections as well practical possibilities for professional use on the basis of a \"best practice strategy\". Such \"knowledge management\" conceptions require, on the one hand, a centrally directed general authority which can regulate, on the technological-administrative level, the overall organization of information in the emerging pool of knowledge.","publication_date":{"day":null,"month":null,"year":2000,"errors":{}},"publication_name":"Deleting the Body, Art and Virtual Bodies in the Digital Age: The Use of New Media in Education: Opportunities and Challenges of Cooperative Teaching and Learning"},"translated_abstract":"Abstract:\n\nColleges and universities are simultaneously affected and challenged by this transformation. Universities of the future will surely continue in Wilhelm von Humboldt's tradition of scholarship as the unity of research, instruction and education, but they will also have to face the challenges which accompany the digitalization of the world in the 21st century. The use of new media in learning and education not only alters the substantive and structural demands made upon educational institutions. Such media also offer new possibilities for the processing of knowledge, for its presentation as well as for its pedagogical mediation in the lecture hall or seminar room.\n\nSummary Description:\n\nThe project interactive Homepage of the Humboldt University's Art History Seminar which I will demonstrate, is promoting and implementing a broad, long-term integration of new media both as a means of teaching, learning and communication and the use of three databases situated at the seminar in class, like the CENSUS (Census of Antique Works of Art and Architecture Known in the Renaissance), IMAGO („digitale Diathek\") and the Database for Art and Virtual Reality.\n\nCentral Arguments:\n\nA notion of network-based 'distance learning' will be developed through the new organization of information provided by the Art History Seminar in the World Wide Web. The goal here is to provide productive support for actual classroom learning through 'pools of knowledge,' which will cooperatively managed and which can be tailored to the personal needs and interests of the course participants.Two elements are of central importance here, both of which are equally concerned with teaching and research:\n\nThe development of database-supported client-server systems, which support the processing and networking of digital information, makes possible the distribution of knowledge at a reasonable price and with the efficient use of an institute's personnel. These systems, which are accessible via the Internet at great distances and independent of space and time, provide the optimal presuppositions for multimedia self-directed study.\n\nBringing together isolated sources of knowledge and organizing them properly according to unified standards and interfaces based on internet technologies provides the discipline of art history with new und yet unrealized opportunities. These include the generation of new cognitive connections as well practical possibilities for professional use on the basis of a \"best practice strategy\". Such \"knowledge management\" conceptions require, on the one hand, a centrally directed general authority which can regulate, on the technological-administrative level, the overall organization of information in the emerging pool of knowledge.","internal_url":"https://www.academia.edu/125347637/Deleting_the_Body_Art_and_Virtual_Bodies_in_the_Digital_Age_The_Use_of_New_Media_in_Education_Opportunities_and_Challenges_of_Cooperative_Teaching_and_Learning","translated_internal_url":"","created_at":"2024-11-07T00:11:18.093-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Deleting_the_Body_Art_and_Virtual_Bodies_in_the_Digital_Age_The_Use_of_New_Media_in_Education_Opportunities_and_Challenges_of_Cooperative_Teaching_and_Learning","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"Abstract:\n\nColleges and universities are simultaneously affected and challenged by this transformation. Universities of the future will surely continue in Wilhelm von Humboldt's tradition of scholarship as the unity of research, instruction and education, but they will also have to face the challenges which accompany the digitalization of the world in the 21st century. The use of new media in learning and education not only alters the substantive and structural demands made upon educational institutions. Such media also offer new possibilities for the processing of knowledge, for its presentation as well as for its pedagogical mediation in the lecture hall or seminar room.\n\nSummary Description:\n\nThe project interactive Homepage of the Humboldt University's Art History Seminar which I will demonstrate, is promoting and implementing a broad, long-term integration of new media both as a means of teaching, learning and communication and the use of three databases situated at the seminar in class, like the CENSUS (Census of Antique Works of Art and Architecture Known in the Renaissance), IMAGO („digitale Diathek\") and the Database for Art and Virtual Reality.\n\nCentral Arguments:\n\nA notion of network-based 'distance learning' will be developed through the new organization of information provided by the Art History Seminar in the World Wide Web. The goal here is to provide productive support for actual classroom learning through 'pools of knowledge,' which will cooperatively managed and which can be tailored to the personal needs and interests of the course participants.Two elements are of central importance here, both of which are equally concerned with teaching and research:\n\nThe development of database-supported client-server systems, which support the processing and networking of digital information, makes possible the distribution of knowledge at a reasonable price and with the efficient use of an institute's personnel. These systems, which are accessible via the Internet at great distances and independent of space and time, provide the optimal presuppositions for multimedia self-directed study.\n\nBringing together isolated sources of knowledge and organizing them properly according to unified standards and interfaces based on internet technologies provides the discipline of art history with new und yet unrealized opportunities. These include the generation of new cognitive connections as well practical possibilities for professional use on the basis of a \"best practice strategy\". Such \"knowledge management\" conceptions require, on the one hand, a centrally directed general authority which can regulate, on the technological-administrative level, the overall organization of information in the emerging pool of knowledge.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":1197,"name":"Digital Humanities","url":"https://www.academia.edu/Documents/in/Digital_Humanities"},{"id":1609,"name":"E-learning","url":"https://www.academia.edu/Documents/in/E-learning"},{"id":2621,"name":"Higher Education","url":"https://www.academia.edu/Documents/in/Higher_Education"},{"id":5673,"name":"Augmented Reality","url":"https://www.academia.edu/Documents/in/Augmented_Reality"}],"urls":[{"id":45501839,"url":"https://rd.uqam.ca/AHWA/Meetings/2000.CIHA/Reichle.html"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125297459"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125297459/Gazing_Hands_and_Blind_Spots_Strategies_of_Visual_Transgression_in_Contemporary_Art"><img alt="Research paper thumbnail of Gazing Hands and Blind Spots: Strategies of Visual Transgression in Contemporary Art" class="work-thumbnail" src="https://attachments.academia-assets.com/119367066/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125297459/Gazing_Hands_and_Blind_Spots_Strategies_of_Visual_Transgression_in_Contemporary_Art">Gazing Hands and Blind Spots: Strategies of Visual Transgression in Contemporary Art</a></div><div class="wp-workCard_item"><span>Ideas in History</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Whereas media-theoretical debates impute the loss of referentiality to the espistemic status of d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Whereas media-theoretical debates impute the loss of referentiality to the espistemic status of digital imaging systems, medical doctors, scientists and entire branches of commerce rely on these new image worlds to an ever-increasing extent. This contradiction is condensed by the Austrian artist Herwig Turk in his art projects into productive relationships of tensions that are always accompanied by a certain discomfiture. Through strategies of transgression Turk tries to trace the complex requirements for the production of evidence in modern medical ans scientific practice, especially with regard to the difficulty of attributing reliability and socio-technological evidence to the imaging systems that are tied to these highly important decisions.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1735f157eb1fc1013b8648fe7b477f04" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119367066,"asset_id":125297459,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119367066/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125297459"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125297459"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125297459; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125297459]").text(description); $(".js-view-count[data-work-id=125297459]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125297459; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125297459']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125297459, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1735f157eb1fc1013b8648fe7b477f04" } } $('.js-work-strip[data-work-id=125297459]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125297459,"title":"Gazing Hands and Blind Spots: Strategies of Visual Transgression in Contemporary Art","translated_title":"","metadata":{"abstract":"Whereas media-theoretical debates impute the loss of referentiality to the espistemic status of digital imaging systems, medical doctors, scientists and entire branches of commerce rely on these new image worlds to an ever-increasing extent. 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So erstaunt es nicht, dass schon vor Jahren zahlreiche Künstler das Arbeiten im Atelier gegen das Forschen im Labor eingetauscht haben. Seither begleiten Künstler die Transformation der modernen Naturwissenschaften hin zu den Technosciences seismographisch. Oszillierend zwischen der Technisierung des Lebendigen in den Biowissenschaften und der Verlebendigung der Technik innerhalb der Erforschung des künstlichen Lebens haben sich Protagonisten der Transgenic Art und der Artificial Life Art an die Aneignung von Methoden und Verfahren der Life Sciences herangewagt und immer neue Kunstformen entworfen.<br /><br />Die umfassende Aufarbeitung dieser neuen Kunstrichtungen stellt Künstler und Künstlerinnen wie Suzanne Anker, Louis Bec, Oron Catts und Ionat Zurr, Catherine Chalmers, Jaq Chartier, Kevin Clarke, Critical Art Ensemble, Joe Davis, George Gessert, Peter Gerwin Hoffmann, Eduardo Kac, Pamela Davis Kivelson, David Kremers, Steve Kurtz, William Latham, Reiner Maria Matysik, Jon McCormack, Steve Miller, Simon Penny, Jane Prophet, Marc Quinn, Oliver Ressler, Ken Rinaldo, Christa Sommerer und Laurent Mignonneau, Gary Schneider, Pam Skelton, Nell Tenhaaf, K. D. Thornton, Gail Wight und Adam Zaretsky und viele weitere Kunstprojekte umfassend vor.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bde8e105cad74bc7bf065856c6bee0b8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119318103,"asset_id":125238666,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119318103/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125238666"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125238666"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125238666; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125238666]").text(description); $(".js-view-count[data-work-id=125238666]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125238666; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125238666']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125238666, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "bde8e105cad74bc7bf065856c6bee0b8" } } $('.js-work-strip[data-work-id=125238666]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125238666,"title":"","translated_title":"","metadata":{"doi":"10.1007/3-211-27492-8","abstract":"Das Verhältnis von Kunst und Wissenschaft war immer vielschichtig und ist heute im Zeitalter der Technosciences überaus prekär geworden. So erstaunt es nicht, dass schon vor Jahren zahlreiche Künstler das Arbeiten im Atelier gegen das Forschen im Labor eingetauscht haben. Seither begleiten Künstler die Transformation der modernen Naturwissenschaften hin zu den Technosciences seismographisch. Oszillierend zwischen der Technisierung des Lebendigen in den Biowissenschaften und der Verlebendigung der Technik innerhalb der Erforschung des künstlichen Lebens haben sich Protagonisten der Transgenic Art und der Artificial Life Art an die Aneignung von Methoden und Verfahren der Life Sciences herangewagt und immer neue Kunstformen entworfen.\n\nDie umfassende Aufarbeitung dieser neuen Kunstrichtungen stellt Künstler und Künstlerinnen wie Suzanne Anker, Louis Bec, Oron Catts und Ionat Zurr, Catherine Chalmers, Jaq Chartier, Kevin Clarke, Critical Art Ensemble, Joe Davis, George Gessert, Peter Gerwin Hoffmann, Eduardo Kac, Pamela Davis Kivelson, David Kremers, Steve Kurtz, William Latham, Reiner Maria Matysik, Jon McCormack, Steve Miller, Simon Penny, Jane Prophet, Marc Quinn, Oliver Ressler, Ken Rinaldo, Christa Sommerer und Laurent Mignonneau, Gary Schneider, Pam Skelton, Nell Tenhaaf, K. D. Thornton, Gail Wight und Adam Zaretsky und viele weitere Kunstprojekte umfassend vor.\n","publication_date":{"day":null,"month":null,"year":2005,"errors":{}},"publication_name":"Kunst aus dem Labor: Zum Verhältnis von Kunst und Wissenschaft im Zeitalter der Technoscience"},"translated_abstract":"Das Verhältnis von Kunst und Wissenschaft war immer vielschichtig und ist heute im Zeitalter der Technosciences überaus prekär geworden. So erstaunt es nicht, dass schon vor Jahren zahlreiche Künstler das Arbeiten im Atelier gegen das Forschen im Labor eingetauscht haben. Seither begleiten Künstler die Transformation der modernen Naturwissenschaften hin zu den Technosciences seismographisch. Oszillierend zwischen der Technisierung des Lebendigen in den Biowissenschaften und der Verlebendigung der Technik innerhalb der Erforschung des künstlichen Lebens haben sich Protagonisten der Transgenic Art und der Artificial Life Art an die Aneignung von Methoden und Verfahren der Life Sciences herangewagt und immer neue Kunstformen entworfen.\n\nDie umfassende Aufarbeitung dieser neuen Kunstrichtungen stellt Künstler und Künstlerinnen wie Suzanne Anker, Louis Bec, Oron Catts und Ionat Zurr, Catherine Chalmers, Jaq Chartier, Kevin Clarke, Critical Art Ensemble, Joe Davis, George Gessert, Peter Gerwin Hoffmann, Eduardo Kac, Pamela Davis Kivelson, David Kremers, Steve Kurtz, William Latham, Reiner Maria Matysik, Jon McCormack, Steve Miller, Simon Penny, Jane Prophet, Marc Quinn, Oliver Ressler, Ken Rinaldo, Christa Sommerer und Laurent Mignonneau, Gary Schneider, Pam Skelton, Nell Tenhaaf, K. D. Thornton, Gail Wight und Adam Zaretsky und viele weitere Kunstprojekte umfassend vor.\n","internal_url":"https://www.academia.edu/125238666/_","translated_internal_url":"","created_at":"2024-11-02T09:29:56.356-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":119318103,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119318103/thumbnails/1.jpg","file_name":"Kunst_aus_dem_Labor_2005.pdf","download_url":"https://www.academia.edu/attachments/119318103/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"119318103.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119318103/Kunst_aus_dem_Labor_2005-libre.pdf?1730568343=\u0026response-content-disposition=attachment%3B+filename%3D119318103.pdf\u0026Expires=1734021439\u0026Signature=ATqSnTyxlrwySa25WAIvtpRiz2-nEaxxrQbtGqM4jkldcFUHbbu7zjhSPm56OzDLn7F8Gqdga8AK3BmZH1-nH~cxQDgkBRRFcsDPd7a3cvTk8TUU2HX2zEHbMPgfNqLBIaeTaLqFb8tEetdl28r4FeVCYAvkTkLc2iJMrGXoOQMZ9ZMGQfBg0v3doaXxpvChHd3y4q6I8tvd6X7fXvuS-xgKJXZ~KesoJmlhupqqG2aFfsCX62Chbzl3zPRfnp9Z6JU6Y0WlueLGqKPKXsLxzDYRxUhWORV4WeCgue~FptAPHp8J4KeVflkvHybP4L9h6VAM3pHqkI37dLAgumNyfg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"_","translated_slug":"","page_count":397,"language":"de","content_type":"Work","summary":"Das Verhältnis von Kunst und Wissenschaft war immer vielschichtig und ist heute im Zeitalter der Technosciences überaus prekär geworden. So erstaunt es nicht, dass schon vor Jahren zahlreiche Künstler das Arbeiten im Atelier gegen das Forschen im Labor eingetauscht haben. Seither begleiten Künstler die Transformation der modernen Naturwissenschaften hin zu den Technosciences seismographisch. Oszillierend zwischen der Technisierung des Lebendigen in den Biowissenschaften und der Verlebendigung der Technik innerhalb der Erforschung des künstlichen Lebens haben sich Protagonisten der Transgenic Art und der Artificial Life Art an die Aneignung von Methoden und Verfahren der Life Sciences herangewagt und immer neue Kunstformen entworfen.\n\nDie umfassende Aufarbeitung dieser neuen Kunstrichtungen stellt Künstler und Künstlerinnen wie Suzanne Anker, Louis Bec, Oron Catts und Ionat Zurr, Catherine Chalmers, Jaq Chartier, Kevin Clarke, Critical Art Ensemble, Joe Davis, George Gessert, Peter Gerwin Hoffmann, Eduardo Kac, Pamela Davis Kivelson, David Kremers, Steve Kurtz, William Latham, Reiner Maria Matysik, Jon McCormack, Steve Miller, Simon Penny, Jane Prophet, Marc Quinn, Oliver Ressler, Ken Rinaldo, Christa Sommerer und Laurent Mignonneau, Gary Schneider, Pam Skelton, Nell Tenhaaf, K. D. Thornton, Gail Wight und Adam Zaretsky und viele weitere Kunstprojekte umfassend vor.\n","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":119318103,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119318103/thumbnails/1.jpg","file_name":"Kunst_aus_dem_Labor_2005.pdf","download_url":"https://www.academia.edu/attachments/119318103/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&st=MTczNDAxNzgzOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"119318103.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119318103/Kunst_aus_dem_Labor_2005-libre.pdf?1730568343=\u0026response-content-disposition=attachment%3B+filename%3D119318103.pdf\u0026Expires=1734021439\u0026Signature=ATqSnTyxlrwySa25WAIvtpRiz2-nEaxxrQbtGqM4jkldcFUHbbu7zjhSPm56OzDLn7F8Gqdga8AK3BmZH1-nH~cxQDgkBRRFcsDPd7a3cvTk8TUU2HX2zEHbMPgfNqLBIaeTaLqFb8tEetdl28r4FeVCYAvkTkLc2iJMrGXoOQMZ9ZMGQfBg0v3doaXxpvChHd3y4q6I8tvd6X7fXvuS-xgKJXZ~KesoJmlhupqqG2aFfsCX62Chbzl3zPRfnp9Z6JU6Y0WlueLGqKPKXsLxzDYRxUhWORV4WeCgue~FptAPHp8J4KeVflkvHybP4L9h6VAM3pHqkI37dLAgumNyfg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125238629"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125238629/The_Rise_of_World_Art_History_Ernst_Grosse_s_Encounter_with_the_Beginnings_of_Art"><img alt="Research paper thumbnail of The Rise of World Art History: Ernst Grosse’s Encounter with the Beginnings of Art" class="work-thumbnail" src="https://attachments.academia-assets.com/119792407/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125238629/The_Rise_of_World_Art_History_Ernst_Grosse_s_Encounter_with_the_Beginnings_of_Art">The Rise of World Art History: Ernst Grosse’s Encounter with the Beginnings of Art</a></div><div class="wp-workCard_item"><span>Japanese Art – Transcultural Perspectives: Studies in Asian Art and Archaeology</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The late nineteenth century witnessed the rise of a concept of art history that involved the arts...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The late nineteenth century witnessed the rise of a concept of art history that involved the arts of all cultures and epochs. Aimed at establishing a “World Art History” (Weltkunstgeschichte) in imperial Germany this trend coincided with a growing interest in non-Western art among scholars from various disciplines. The first comprehensive study on non-Western art was published by the German philosopher and ethnologist Ernst Grosse (1862–1927), who in later life became a well-known art collector and scholar of Japanese art. In his early writings, published in 1891 and 1894, Grosse was concerned primarily with revealing the “laws” of human creativity by including objects of nonclassical and so-called “primitive art” within the established canon of art history. He called for the application of an “Art Science” (Kunstwissenschaft) that would engage with new methodical approaches borrowed from the field of ethnology. He also sought to expand the emerging academic discipline of Art History to subsume all forms of artistic expression. <br /> <br />Ernst Carl Gustav Grosse was born into a Protestant family in Stendal on July 29, 1862, to Ernst Ludwig Grosse (b. 1831), a court judge and later insurance director in Halle, and Clara, née Gößling (b. 1841). The Grosse family (Ernst also had two elder sisters) moved from Stendal to Magdeburg in the 1870s, where Grosse attended the Klostergymnasium in Magdeburg until his graduation in 1882. In 1882, Grosse began his studies of philosophy, literature, history, and the natural sciences in Berlin, Munich, and Heidelberg, and completed his military service in Berlin from October 1883 to October 1884. From 1889 Grosse held a teaching position in philosophy and ethnology at the University of Freiburg. He lectured on "primitive" art and from 1896 also gave courses on Japanese art such as "Introduction to the Fine Arts of Japan" (Einführung in das Studium der bildenden Kunst der Japaner). Five years on, in 1903, Grosse published his first article on the subject, "Japanese Art in Europe" (Japanische Kunst in Europa), in the Vienna-based newspaper Die Zeit. With his interest in non-Western art, Grosse entered foreign territory with his writing, followed in later years by the experiences of travel and extensive collecting of East Asian art abroad, primarily in Japan. <br /> <br />Grosse's responsibilities in Freiburg included the supervision of some of the university's collections as well as the holdings of the Museum of Natural History and Ethnology (Museum für Natur- und Völkerkunde) founded by the city of Freiburg in 1895.6 Grosse was committed to expanding the collections and in 1902 was honored with the title of "Director of the Municipal Art Collection" (Direktor der Städischen Kunstsammlung). He soon put forward a new plan for the collection that included the acquisition of East Asian art objects and the art of indigenous peoples. <br /> <br />The original concept for establishing an ethnographic collection at Freiburg's Museum of Natural History and Ethnology was inspired by a plan by the German cultural historian Gustav Klemm (1802-1867). Klemm was known for his ideas regarding the description of an ideal Ethnographic Museum set forth in his 1843 essay "Fantasia on a Museum of Cultural History of Humankind" (Fantasie über ein Museum für die Culturgeschichte [sic] der Menschheit). The later 1895 concept for the Freiburg museum by zoologist Adolf Fritze (1864-1927) and the 1901 handwritten concept "Plan for the Establishment of the Municipal Collection of Ethnology in Freiburg" (Plan für die Einrichtung der Städtischen Sammlung für Völkerkunde zu Freiburg) were both based on Klemm's ideas.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7cb0724639fe4f8467796a04d2142c2e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119792407,"asset_id":125238629,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119792407/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125238629"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125238629"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125238629; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125238629]").text(description); $(".js-view-count[data-work-id=125238629]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125238629; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125238629']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125238629, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7cb0724639fe4f8467796a04d2142c2e" } } $('.js-work-strip[data-work-id=125238629]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125238629,"title":"The Rise of World Art History: Ernst Grosse’s Encounter with the Beginnings of Art","translated_title":"","metadata":{"doi":"10.1163/9789004704176","abstract":"The late nineteenth century witnessed the rise of a concept of art history that involved the arts of all cultures and epochs. 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He also sought to expand the emerging academic discipline of Art History to subsume all forms of artistic expression.\r\n\r\nErnst Carl Gustav Grosse was born into a Protestant family in Stendal on July 29, 1862, to Ernst Ludwig Grosse (b. 1831), a court judge and later insurance director in Halle, and Clara, née Gößling (b. 1841). The Grosse family (Ernst also had two elder sisters) moved from Stendal to Magdeburg in the 1870s, where Grosse attended the Klostergymnasium in Magdeburg until his graduation in 1882. In 1882, Grosse began his studies of philosophy, literature, history, and the natural sciences in Berlin, Munich, and Heidelberg, and completed his military service in Berlin from October 1883 to October 1884. From 1889 Grosse held a teaching position in philosophy and ethnology at the University of Freiburg. He lectured on \"primitive\" art and from 1896 also gave courses on Japanese art such as \"Introduction to the Fine Arts of Japan\" (Einführung in das Studium der bildenden Kunst der Japaner). Five years on, in 1903, Grosse published his first article on the subject, \"Japanese Art in Europe\" (Japanische Kunst in Europa), in the Vienna-based newspaper Die Zeit. With his interest in non-Western art, Grosse entered foreign territory with his writing, followed in later years by the experiences of travel and extensive collecting of East Asian art abroad, primarily in Japan.\r\n\r\nGrosse's responsibilities in Freiburg included the supervision of some of the university's collections as well as the holdings of the Museum of Natural History and Ethnology (Museum für Natur- und Völkerkunde) founded by the city of Freiburg in 1895.6 Grosse was committed to expanding the collections and in 1902 was honored with the title of \"Director of the Municipal Art Collection\" (Direktor der Städischen Kunstsammlung). He soon put forward a new plan for the collection that included the acquisition of East Asian art objects and the art of indigenous peoples.\r\n\r\nThe original concept for establishing an ethnographic collection at Freiburg's Museum of Natural History and Ethnology was inspired by a plan by the German cultural historian Gustav Klemm (1802-1867). Klemm was known for his ideas regarding the description of an ideal Ethnographic Museum set forth in his 1843 essay \"Fantasia on a Museum of Cultural History of Humankind\" (Fantasie über ein Museum für die Culturgeschichte [sic] der Menschheit). The later 1895 concept for the Freiburg museum by zoologist Adolf Fritze (1864-1927) and the 1901 handwritten concept \"Plan for the Establishment of the Municipal Collection of Ethnology in Freiburg\" (Plan für die Einrichtung der Städtischen Sammlung für Völkerkunde zu Freiburg) were both based on Klemm's ideas.","publisher":"Brill","publication_date":{"day":null,"month":null,"year":2024,"errors":{}},"publication_name":"Japanese Art – Transcultural Perspectives: Studies in Asian Art and Archaeology"},"translated_abstract":"The late nineteenth century witnessed the rise of a concept of art history that involved the arts of all cultures and epochs. Aimed at establishing a “World Art History” (Weltkunstgeschichte) in imperial Germany this trend coincided with a growing interest in non-Western art among scholars from various disciplines. The first comprehensive study on non-Western art was published by the German philosopher and ethnologist Ernst Grosse (1862–1927), who in later life became a well-known art collector and scholar of Japanese art. In his early writings, published in 1891 and 1894, Grosse was concerned primarily with revealing the “laws” of human creativity by including objects of nonclassical and so-called “primitive art” within the established canon of art history. He called for the application of an “Art Science” (Kunstwissenschaft) that would engage with new methodical approaches borrowed from the field of ethnology. He also sought to expand the emerging academic discipline of Art History to subsume all forms of artistic expression.\r\n\r\nErnst Carl Gustav Grosse was born into a Protestant family in Stendal on July 29, 1862, to Ernst Ludwig Grosse (b. 1831), a court judge and later insurance director in Halle, and Clara, née Gößling (b. 1841). The Grosse family (Ernst also had two elder sisters) moved from Stendal to Magdeburg in the 1870s, where Grosse attended the Klostergymnasium in Magdeburg until his graduation in 1882. In 1882, Grosse began his studies of philosophy, literature, history, and the natural sciences in Berlin, Munich, and Heidelberg, and completed his military service in Berlin from October 1883 to October 1884. From 1889 Grosse held a teaching position in philosophy and ethnology at the University of Freiburg. He lectured on \"primitive\" art and from 1896 also gave courses on Japanese art such as \"Introduction to the Fine Arts of Japan\" (Einführung in das Studium der bildenden Kunst der Japaner). Five years on, in 1903, Grosse published his first article on the subject, \"Japanese Art in Europe\" (Japanische Kunst in Europa), in the Vienna-based newspaper Die Zeit. With his interest in non-Western art, Grosse entered foreign territory with his writing, followed in later years by the experiences of travel and extensive collecting of East Asian art abroad, primarily in Japan.\r\n\r\nGrosse's responsibilities in Freiburg included the supervision of some of the university's collections as well as the holdings of the Museum of Natural History and Ethnology (Museum für Natur- und Völkerkunde) founded by the city of Freiburg in 1895.6 Grosse was committed to expanding the collections and in 1902 was honored with the title of \"Director of the Municipal Art Collection\" (Direktor der Städischen Kunstsammlung). He soon put forward a new plan for the collection that included the acquisition of East Asian art objects and the art of indigenous peoples.\r\n\r\nThe original concept for establishing an ethnographic collection at Freiburg's Museum of Natural History and Ethnology was inspired by a plan by the German cultural historian Gustav Klemm (1802-1867). Klemm was known for his ideas regarding the description of an ideal Ethnographic Museum set forth in his 1843 essay \"Fantasia on a Museum of Cultural History of Humankind\" (Fantasie über ein Museum für die Culturgeschichte [sic] der Menschheit). The later 1895 concept for the Freiburg museum by zoologist Adolf Fritze (1864-1927) and the 1901 handwritten concept \"Plan for the Establishment of the Municipal Collection of Ethnology in Freiburg\" (Plan für die Einrichtung der Städtischen Sammlung für Völkerkunde zu Freiburg) were both based on Klemm's ideas.","internal_url":"https://www.academia.edu/125238629/The_Rise_of_World_Art_History_Ernst_Grosse_s_Encounter_with_the_Beginnings_of_Art","translated_internal_url":"","created_at":"2024-11-02T09:25:16.875-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":119792407,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119792407/thumbnails/1.jpg","file_name":"World_Art_History_Reichle.pdf","download_url":"https://www.academia.edu/attachments/119792407/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"The_Rise_of_World_Art_History_Ernst_Gros.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119792407/World_Art_History_Reichle-libre.pdf?1732529407=\u0026response-content-disposition=attachment%3B+filename%3DThe_Rise_of_World_Art_History_Ernst_Gros.pdf\u0026Expires=1733962294\u0026Signature=eLpncEwWU8Kc~veRb1Yl2znss9mujSTAxUgd8raCSqUk0Gw6tgm20R~wb14QQf~oDjkMwUYcFJQftKy5KhRoKjs~1xCxy9C5tbpLpkbuSyfa4i-lZuRBBIepp6urWuC1L8D1rQ103zYlYfYhI7DOS8nzElS7d3~5SIoe398zBI8vVbsl64vvOidc8wBQ6RK28RLFBsWdcQiV3GPKziaH0N4yv-kOIZzx0-FHKgmQOWq9oUprMkGmJ561c2HBaz3RhX2PGFO0TQVVbRambW31Ia6VXpiSyPACmM2PJguwNVFz2evuv3u8P-8FMjISiHdbM5MqMBt7SW7qwO-FcYXYYw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"The_Rise_of_World_Art_History_Ernst_Grosse_s_Encounter_with_the_Beginnings_of_Art","translated_slug":"","page_count":2,"language":"en","content_type":"Work","summary":"The late nineteenth century witnessed the rise of a concept of art history that involved the arts of all cultures and epochs. Aimed at establishing a “World Art History” (Weltkunstgeschichte) in imperial Germany this trend coincided with a growing interest in non-Western art among scholars from various disciplines. The first comprehensive study on non-Western art was published by the German philosopher and ethnologist Ernst Grosse (1862–1927), who in later life became a well-known art collector and scholar of Japanese art. In his early writings, published in 1891 and 1894, Grosse was concerned primarily with revealing the “laws” of human creativity by including objects of nonclassical and so-called “primitive art” within the established canon of art history. He called for the application of an “Art Science” (Kunstwissenschaft) that would engage with new methodical approaches borrowed from the field of ethnology. He also sought to expand the emerging academic discipline of Art History to subsume all forms of artistic expression.\r\n\r\nErnst Carl Gustav Grosse was born into a Protestant family in Stendal on July 29, 1862, to Ernst Ludwig Grosse (b. 1831), a court judge and later insurance director in Halle, and Clara, née Gößling (b. 1841). The Grosse family (Ernst also had two elder sisters) moved from Stendal to Magdeburg in the 1870s, where Grosse attended the Klostergymnasium in Magdeburg until his graduation in 1882. In 1882, Grosse began his studies of philosophy, literature, history, and the natural sciences in Berlin, Munich, and Heidelberg, and completed his military service in Berlin from October 1883 to October 1884. From 1889 Grosse held a teaching position in philosophy and ethnology at the University of Freiburg. He lectured on \"primitive\" art and from 1896 also gave courses on Japanese art such as \"Introduction to the Fine Arts of Japan\" (Einführung in das Studium der bildenden Kunst der Japaner). Five years on, in 1903, Grosse published his first article on the subject, \"Japanese Art in Europe\" (Japanische Kunst in Europa), in the Vienna-based newspaper Die Zeit. With his interest in non-Western art, Grosse entered foreign territory with his writing, followed in later years by the experiences of travel and extensive collecting of East Asian art abroad, primarily in Japan.\r\n\r\nGrosse's responsibilities in Freiburg included the supervision of some of the university's collections as well as the holdings of the Museum of Natural History and Ethnology (Museum für Natur- und Völkerkunde) founded by the city of Freiburg in 1895.6 Grosse was committed to expanding the collections and in 1902 was honored with the title of \"Director of the Municipal Art Collection\" (Direktor der Städischen Kunstsammlung). He soon put forward a new plan for the collection that included the acquisition of East Asian art objects and the art of indigenous peoples.\r\n\r\nThe original concept for establishing an ethnographic collection at Freiburg's Museum of Natural History and Ethnology was inspired by a plan by the German cultural historian Gustav Klemm (1802-1867). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100224889"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/100224889/Who_Lives_in_the_Plastisphere_Art_and_Science_Responses_to_Plastic_Pollution"><img alt="Research paper thumbnail of Who Lives in the Plastisphere? Art and Science Responses to Plastic Pollution" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/100224889/Who_Lives_in_the_Plastisphere_Art_and_Science_Responses_to_Plastic_Pollution">Who Lives in the Plastisphere? Art and Science Responses to Plastic Pollution</a></div><div class="wp-workCard_item"><span>Plastic Ocean: Art and Science Responses to Marine Pollution</span><span>, 2021</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224889"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224889"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224889; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224889]").text(description); $(".js-view-count[data-work-id=100224889]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224889; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224889']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224889, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224889]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224889,"title":"Who Lives in the Plastisphere? Art and Science Responses to Plastic Pollution","translated_title":"","metadata":{"publisher":"De Gruyter","publication_date":{"day":null,"month":null,"year":2021,"errors":{}},"publication_name":"Plastic Ocean: Art and Science Responses to Marine Pollution"},"translated_abstract":null,"internal_url":"https://www.academia.edu/100224889/Who_Lives_in_the_Plastisphere_Art_and_Science_Responses_to_Plastic_Pollution","translated_internal_url":"","created_at":"2023-04-15T08:31:57.830-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Who_Lives_in_the_Plastisphere_Art_and_Science_Responses_to_Plastic_Pollution","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":null,"owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":402,"name":"Environmental Science","url":"https://www.academia.edu/Documents/in/Environmental_Science"},{"id":864585,"name":"Plastic pollution","url":"https://www.academia.edu/Documents/in/Plastic_pollution"}],"urls":[{"id":30643808,"url":"https://www.degruyter.com/document/doi/10.1515/9783110744774-002/pdf"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100224888"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/100224888/Plastic_Ocean_Art_and_Science_Responses_to_Marine_Pollution"><img alt="Research paper thumbnail of Plastic Ocean: Art and Science Responses to Marine Pollution" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/100224888/Plastic_Ocean_Art_and_Science_Responses_to_Marine_Pollution">Plastic Ocean: Art and Science Responses to Marine Pollution</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Our oceans are in an ecological crisis due to their contamination with millions of tons of toxic ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Our oceans are in an ecological crisis due to their contamination with millions of tons of toxic microplastic particles. In just a few years, the volume of microplastic particles will exceed that of plankton in our oceans and turn them into a huge sea of plastic. This publication brings together numerous international art projects related to environmental activities, DIY biotechnology, and science, and draws attention to the irreversible destruction of our marine ecosystems – the current threat posed by the loss of marine animal biodiversity, for example, or the decline in oxygen production due to massive plankton loss. It also presents current scientific findings on sustainable alternatives to plastic. With contributions by Dianna Cohen, Jennifer Wagner-Lawlor, Regine Rapp, Christian de Lutz, Mary Maggic, Robertina Šebjanič, Brandon Ballengée, Victoria Vesna, Martina R. Fröschl, Alfred Vendl, Reiner Maria Matysik, Ingeborg Reichle, Thomas Schwaha, Stephan Handschuh, María Antonia González Valerio, Rosaura Martínez Ruiz, Pinar Yoldas, and Michael Sauer.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224888"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224888"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224888; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224888]").text(description); $(".js-view-count[data-work-id=100224888]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224888; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224888']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224888, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224888]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224888,"title":"Plastic Ocean: Art and Science Responses to Marine Pollution","translated_title":"","metadata":{"abstract":"Our oceans are in an ecological crisis due to their contamination with millions of tons of toxic microplastic particles. 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While Max Liboiron offers community-based citizen science strategies for monitoring plastic pollution in marine animals and develops innovative research approaches with discard studies and anticolonial scientific practices, Maarten Vanden Eynde travels the world’s oceans to collect marine plastic debris to raise awareness about the impact of mass consumerism and environmental injustice, from which countries of the Global South are suffering disproportionately.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224887"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224887"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224887; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224887]").text(description); $(".js-view-count[data-work-id=100224887]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224887; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224887']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224887, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224887]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224887,"title":"Toxic Plastic Politics: Rethinking Plastic Pollution through Art and Activism","translated_title":"","metadata":{"abstract":"This chapter introduces the interdisciplinary art practices of Canadian artist Max Liboiron and Belgian artist Maarten Vanden Eynde, both concerned with the consequences of plastic pollution on marine ecosystems. 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Die Ge- schichte der „Welt als Bild“ betrachtet nicht nur wechselnde Weltvorstellungen, sondern auch verschiedene Darstellungsmethoden und Visualisierungsmedien. Ingeborg Reichle: Ein Blick in die Geschichte der Bildwelten der Weltbilder. In: Aus Politik und Zeitgeschichte, „Weltbilder“, Bundeszentrale für politische Bildung, Bonn 2015, S. 37-46.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224886"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224886"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224886; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224886]").text(description); $(".js-view-count[data-work-id=100224886]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224886; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224886']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224886, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224886]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224886,"title":"Ein Blick in die Geschichte der Bildwelten der Weltbilder","translated_title":"","metadata":{"abstract":"Praktiken visueller Welterzeugung lassen sich bereits in der Antike beobachten und dienen bis heute der Konstruktion von Ordnungsvorstellungen. Die Ge- schichte der „Welt als Bild“ betrachtet nicht nur wechselnde Weltvorstellungen, sondern auch verschiedene Darstellungsmethoden und Visualisierungsmedien. Ingeborg Reichle: Ein Blick in die Geschichte der Bildwelten der Weltbilder. In: Aus Politik und Zeitgeschichte, „Weltbilder“, Bundeszentrale für politische Bildung, Bonn 2015, S. 37-46.","publication_date":{"day":null,"month":null,"year":2015,"errors":{}}},"translated_abstract":"Praktiken visueller Welterzeugung lassen sich bereits in der Antike beobachten und dienen bis heute der Konstruktion von Ordnungsvorstellungen. Die Ge- schichte der „Welt als Bild“ betrachtet nicht nur wechselnde Weltvorstellungen, sondern auch verschiedene Darstellungsmethoden und Visualisierungsmedien. Ingeborg Reichle: Ein Blick in die Geschichte der Bildwelten der Weltbilder. In: Aus Politik und Zeitgeschichte, „Weltbilder“, Bundeszentrale für politische Bildung, Bonn 2015, S. 37-46.","internal_url":"https://www.academia.edu/100224886/Ein_Blick_in_die_Geschichte_der_Bildwelten_der_Weltbilder","translated_internal_url":"","created_at":"2023-04-15T08:31:57.422-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Ein_Blick_in_die_Geschichte_der_Bildwelten_der_Weltbilder","translated_slug":"","page_count":null,"language":"de","content_type":"Work","summary":"Praktiken visueller Welterzeugung lassen sich bereits in der Antike beobachten und dienen bis heute der Konstruktion von Ordnungsvorstellungen. Die Ge- schichte der „Welt als Bild“ betrachtet nicht nur wechselnde Weltvorstellungen, sondern auch verschiedene Darstellungsmethoden und Visualisierungsmedien. Ingeborg Reichle: Ein Blick in die Geschichte der Bildwelten der Weltbilder. In: Aus Politik und Zeitgeschichte, „Weltbilder“, Bundeszentrale für politische Bildung, Bonn 2015, S. 37-46.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art"},{"id":13234,"name":"Maps and Society","url":"https://www.academia.edu/Documents/in/Maps_and_Society"},{"id":74033,"name":"Mapping","url":"https://www.academia.edu/Documents/in/Mapping"},{"id":99514,"name":"Images","url":"https://www.academia.edu/Documents/in/Images"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100224885"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/100224885/Speculative_biology_in_the_practices_of_bioart"><img alt="Research paper thumbnail of Speculative biology in the practices of bioart" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/100224885/Speculative_biology_in_the_practices_of_bioart">Speculative biology in the practices of bioart</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">When Bio Art received much attention around the turn of the millennium as a result of artworks li...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">When Bio Art received much attention around the turn of the millennium as a result of artworks like Eduardo Kac&#39;s green rabbit, a transgenic animal that glowed in the dark under UV light, it unleashed a lively debate about whether biotechnology would become an artistic medium and whether the fine arts should engage with transgenic or cellular organisms. When Bio Art pioneers like Joe Davis began to work with DNA in the late 1980s in projects such as Poetical Vaginal or Microvenus it was a major challenge to get access to scientific laboratories in an institutional context. Passing through the doors of institutions and getting access to a wet bench in a laboratory to go &#39;hands-on&#39; meant in those days a radical change of location. Moving from the studio into the laboratory provided the fine arts with a variety of new materials like bacteria, cells, tissue cultures, or transgenic organisms as a means of artistic expression, but this shift also made it necessary for artists ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224885"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224885"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224885; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224885]").text(description); $(".js-view-count[data-work-id=100224885]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224885; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224885']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224885, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224885]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224885,"title":"Speculative biology in the practices of bioart","translated_title":"","metadata":{"abstract":"When Bio Art received much attention around the turn of the millennium as a result of artworks like Eduardo Kac\u0026#39;s green rabbit, a transgenic animal that glowed in the dark under UV light, it unleashed a lively debate about whether biotechnology would become an artistic medium and whether the fine arts should engage with transgenic or cellular organisms. 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Einen der umfassendsten Versuche, Bilder und Artefakte von geografisch als auch zeitlich weit entfernten Kulturen zu vergleichen, um damit die grundlegenden »Gesetze« der Kunst aufzufinden, legte der deutsche Ethnologe und Philosoph Ernst Grosse kurz vor der Jahrhundertwende vor. Das Vergleichen unterschiedlichster Relikte und Artefakte alter und fremder Kulturen sollte nicht nur Rückschlüsse auf die Anfänge der Kunst ermöglichen, sondern zugleich deren übergeordnete Prinzipien offenlegen und der jungen Kunstwissenschaft mit einem der Ethnologie entliehenen geschärften Methodenapparat zu einem »wissenschaftlicheren« Status verhelfen. Sowohl die Kunst der Vorzeit als auch die Kunst der »Primitiven« wurde zu einer Zeit als Kunst anerkannt, als die Kunstwissenschaft sich in einer Phase der Formierung zu einer universitären Disziplin in Abgrenzung von anderen Disziplinen befand.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224884"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224884"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224884; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224884]").text(description); $(".js-view-count[data-work-id=100224884]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224884; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224884']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224884, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224884]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224884,"title":"Vom Ursprung der Bilder und den Anfängen der Kunst","translated_title":"","metadata":{"abstract":"Als um 1900 die unwiederbringliche Zerstörung der Kulturen der Kolonien der europäischen Mächte immer deutlicher zutage trat, entstand zeitgleich eine Debatte über die Anfänge der Kunst, deren Protagonisten darangingen, künstlerische Äußerungen außereuropäischer Kulturen zunehmend als Kunst zu bewerten und bis dahin kaum denkbare Zusammenhänge zwischen verschiedensten Bildkulturen zu stiften. Einen der umfassendsten Versuche, Bilder und Artefakte von geografisch als auch zeitlich weit entfernten Kulturen zu vergleichen, um damit die grundlegenden »Gesetze« der Kunst aufzufinden, legte der deutsche Ethnologe und Philosoph Ernst Grosse kurz vor der Jahrhundertwende vor. Das Vergleichen unterschiedlichster Relikte und Artefakte alter und fremder Kulturen sollte nicht nur Rückschlüsse auf die Anfänge der Kunst ermöglichen, sondern zugleich deren übergeordnete Prinzipien offenlegen und der jungen Kunstwissenschaft mit einem der Ethnologie entliehenen geschärften Methodenapparat zu einem »wissenschaftlicheren« Status verhelfen. Sowohl die Kunst der Vorzeit als auch die Kunst der »Primitiven« wurde zu einer Zeit als Kunst anerkannt, als die Kunstwissenschaft sich in einer Phase der Formierung zu einer universitären Disziplin in Abgrenzung von anderen Disziplinen befand.","publisher":"Brill | Fink","publication_date":{"day":null,"month":null,"year":2012,"errors":{}},"publication_name":"Image Match"},"translated_abstract":"Als um 1900 die unwiederbringliche Zerstörung der Kulturen der Kolonien der europäischen Mächte immer deutlicher zutage trat, entstand zeitgleich eine Debatte über die Anfänge der Kunst, deren Protagonisten darangingen, künstlerische Äußerungen außereuropäischer Kulturen zunehmend als Kunst zu bewerten und bis dahin kaum denkbare Zusammenhänge zwischen verschiedensten Bildkulturen zu stiften. Einen der umfassendsten Versuche, Bilder und Artefakte von geografisch als auch zeitlich weit entfernten Kulturen zu vergleichen, um damit die grundlegenden »Gesetze« der Kunst aufzufinden, legte der deutsche Ethnologe und Philosoph Ernst Grosse kurz vor der Jahrhundertwende vor. Das Vergleichen unterschiedlichster Relikte und Artefakte alter und fremder Kulturen sollte nicht nur Rückschlüsse auf die Anfänge der Kunst ermöglichen, sondern zugleich deren übergeordnete Prinzipien offenlegen und der jungen Kunstwissenschaft mit einem der Ethnologie entliehenen geschärften Methodenapparat zu einem »wissenschaftlicheren« Status verhelfen. Sowohl die Kunst der Vorzeit als auch die Kunst der »Primitiven« wurde zu einer Zeit als Kunst anerkannt, als die Kunstwissenschaft sich in einer Phase der Formierung zu einer universitären Disziplin in Abgrenzung von anderen Disziplinen befand.","internal_url":"https://www.academia.edu/100224884/Vom_Ursprung_der_Bilder_und_den_Anf%C3%A4ngen_der_Kunst","translated_internal_url":"","created_at":"2023-04-15T08:31:57.110-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Vom_Ursprung_der_Bilder_und_den_Anfängen_der_Kunst","translated_slug":"","page_count":null,"language":"de","content_type":"Work","summary":"Als um 1900 die unwiederbringliche Zerstörung der Kulturen der Kolonien der europäischen Mächte immer deutlicher zutage trat, entstand zeitgleich eine Debatte über die Anfänge der Kunst, deren Protagonisten darangingen, künstlerische Äußerungen außereuropäischer Kulturen zunehmend als Kunst zu bewerten und bis dahin kaum denkbare Zusammenhänge zwischen verschiedensten Bildkulturen zu stiften. Einen der umfassendsten Versuche, Bilder und Artefakte von geografisch als auch zeitlich weit entfernten Kulturen zu vergleichen, um damit die grundlegenden »Gesetze« der Kunst aufzufinden, legte der deutsche Ethnologe und Philosoph Ernst Grosse kurz vor der Jahrhundertwende vor. Das Vergleichen unterschiedlichster Relikte und Artefakte alter und fremder Kulturen sollte nicht nur Rückschlüsse auf die Anfänge der Kunst ermöglichen, sondern zugleich deren übergeordnete Prinzipien offenlegen und der jungen Kunstwissenschaft mit einem der Ethnologie entliehenen geschärften Methodenapparat zu einem »wissenschaftlicheren« Status verhelfen. Sowohl die Kunst der Vorzeit als auch die Kunst der »Primitiven« wurde zu einer Zeit als Kunst anerkannt, als die Kunstwissenschaft sich in einer Phase der Formierung zu einer universitären Disziplin in Abgrenzung von anderen Disziplinen befand.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":10336,"name":"Ethnology","url":"https://www.academia.edu/Documents/in/Ethnology"},{"id":15352,"name":"Historiography (in Art History)","url":"https://www.academia.edu/Documents/in/Historiography_in_Art_History_"},{"id":35941,"name":"Darwinian evolution","url":"https://www.academia.edu/Documents/in/Darwinian_evolution"},{"id":77092,"name":"Social Darwinism","url":"https://www.academia.edu/Documents/in/Social_Darwinism"},{"id":250543,"name":"Primitive Arts","url":"https://www.academia.edu/Documents/in/Primitive_Arts"},{"id":391226,"name":"Image Match","url":"https://www.academia.edu/Documents/in/Image_Match"}],"urls":[{"id":30643807,"url":"https://www.fink.de/downloadpdf/title/49966"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100224883"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/100224883/Lebendige_Kunst_oder_Biologische_Plastik"><img alt="Research paper thumbnail of Lebendige Kunst oder Biologische Plastik?" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/100224883/Lebendige_Kunst_oder_Biologische_Plastik">Lebendige Kunst oder Biologische Plastik?</a></div><div class="wp-workCard_item"><span>Visuelle Modelle</span><span>, 2008</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224883"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224883"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224883; 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V Art in the Age of Cybernetics and Synthetic Biology Art and Artificial Life The Logic of Life Learning about Life - Learning about Self-Orgnisation Algorithms of the Living World VI Artificial Life and Robotics Living Sculptures The Robot in the Garden The Coevolution of organic and technological cultures Art and Robotics VII Artificial Life Art Christa Sommerer and Laurent Mignonneau: Art and the Digital Evolution Beyond Digital Naturalism: A-Volve Art as a Living System: GENMA and Life Spacies Silicon Second Nature: The Game of Life VIII Art and Artificial Worlds Jane Prophet: Communication and Digital Evolution Virtual Bodies in the Digital Age: TechnoSphere and SWARM Cyberspace: Deleting the Body Art and Artificial Nature CONCLUSION: Is science the new art? Notes Bibliography Credits Index</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100224882"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100224882"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100224882; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100224882]").text(description); $(".js-view-count[data-work-id=100224882]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100224882; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100224882']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 100224882, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100224882]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100224882,"title":"Art in the age of technoscience : genetic engineering, robotics, and artificial life in contemporary art","translated_title":"","metadata":{"abstract":"FOREWORD INTRODUCTION I Art at the Edge of Science Techno-Science-Art - Technological and Aesthetic (Trans)Formations of Art and Science II Art (History) and Genetics Early Intersections of Art and Biology Gene Culture: Molecular Visions in Contemporary Art The Art of DNA III Transgenic Art - Art in the Age of Biotechnology Eduardo Kac and the Emergence of Transgenic Art The Art of Cloning: Genesis Living pictures: GFP-K9 and Bunny 2000 Sources: Holopoetry, Telepresence Art and Telerobotic Art Joe Davis and the Making of Transgenic Art Art Emerging from the Laboratory Living Art: Microvenus and the Milky Way DNA The Delbruck-paradox: Riddle of Life Semi-living Art: SymbioticA IV The Grammar of Genetics More than a Metaphor: The Emergence of Biofacts Genetic Disorder: Bioaesthetics BioArt: Where Art and Science Meet? V Art in the Age of Cybernetics and Synthetic Biology Art and Artificial Life The Logic of Life Learning about Life - Learning about Self-Orgnisation Algorithms of the Living World VI Artificial Life and Robotics Living Sculptures The Robot in the Garden The Coevolution of organic and technological cultures Art and Robotics VII Artificial Life Art Christa Sommerer and Laurent Mignonneau: Art and the Digital Evolution Beyond Digital Naturalism: A-Volve Art as a Living System: GENMA and Life Spacies Silicon Second Nature: The Game of Life VIII Art and Artificial Worlds Jane Prophet: Communication and Digital Evolution Virtual Bodies in the Digital Age: TechnoSphere and SWARM Cyberspace: Deleting the Body Art and Artificial Nature CONCLUSION: Is science the new art? Notes Bibliography Credits Index","publication_date":{"day":null,"month":null,"year":2009,"errors":{}}},"translated_abstract":"FOREWORD INTRODUCTION I Art at the Edge of Science Techno-Science-Art - Technological and Aesthetic (Trans)Formations of Art and Science II Art (History) and Genetics Early Intersections of Art and Biology Gene Culture: Molecular Visions in Contemporary Art The Art of DNA III Transgenic Art - Art in the Age of Biotechnology Eduardo Kac and the Emergence of Transgenic Art The Art of Cloning: Genesis Living pictures: GFP-K9 and Bunny 2000 Sources: Holopoetry, Telepresence Art and Telerobotic Art Joe Davis and the Making of Transgenic Art Art Emerging from the Laboratory Living Art: Microvenus and the Milky Way DNA The Delbruck-paradox: Riddle of Life Semi-living Art: SymbioticA IV The Grammar of Genetics More than a Metaphor: The Emergence of Biofacts Genetic Disorder: Bioaesthetics BioArt: Where Art and Science Meet? V Art in the Age of Cybernetics and Synthetic Biology Art and Artificial Life The Logic of Life Learning about Life - Learning about Self-Orgnisation Algorithms of the Living World VI Artificial Life and Robotics Living Sculptures The Robot in the Garden The Coevolution of organic and technological cultures Art and Robotics VII Artificial Life Art Christa Sommerer and Laurent Mignonneau: Art and the Digital Evolution Beyond Digital Naturalism: A-Volve Art as a Living System: GENMA and Life Spacies Silicon Second Nature: The Game of Life VIII Art and Artificial Worlds Jane Prophet: Communication and Digital Evolution Virtual Bodies in the Digital Age: TechnoSphere and SWARM Cyberspace: Deleting the Body Art and Artificial Nature CONCLUSION: Is science the new art? Notes Bibliography Credits Index","internal_url":"https://www.academia.edu/100224882/Art_in_the_age_of_technoscience_genetic_engineering_robotics_and_artificial_life_in_contemporary_art","translated_internal_url":"","created_at":"2023-04-15T08:31:56.767-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Art_in_the_age_of_technoscience_genetic_engineering_robotics_and_artificial_life_in_contemporary_art","translated_slug":"","page_count":null,"language":"en","content_type":"Work","summary":"FOREWORD INTRODUCTION I Art at the Edge of Science Techno-Science-Art - Technological and Aesthetic (Trans)Formations of Art and Science II Art (History) and Genetics Early Intersections of Art and Biology Gene Culture: Molecular Visions in Contemporary Art The Art of DNA III Transgenic Art - Art in the Age of Biotechnology Eduardo Kac and the Emergence of Transgenic Art The Art of Cloning: Genesis Living pictures: GFP-K9 and Bunny 2000 Sources: Holopoetry, Telepresence Art and Telerobotic Art Joe Davis and the Making of Transgenic Art Art Emerging from the Laboratory Living Art: Microvenus and the Milky Way DNA The Delbruck-paradox: Riddle of Life Semi-living Art: SymbioticA IV The Grammar of Genetics More than a Metaphor: The Emergence of Biofacts Genetic Disorder: Bioaesthetics BioArt: Where Art and Science Meet? V Art in the Age of Cybernetics and Synthetic Biology Art and Artificial Life The Logic of Life Learning about Life - Learning about Self-Orgnisation Algorithms of the Living World VI Artificial Life and Robotics Living Sculptures The Robot in the Garden The Coevolution of organic and technological cultures Art and Robotics VII Artificial Life Art Christa Sommerer and Laurent Mignonneau: Art and the Digital Evolution Beyond Digital Naturalism: A-Volve Art as a Living System: GENMA and Life Spacies Silicon Second Nature: The Game of Life VIII Art and Artificial Worlds Jane Prophet: Communication and Digital Evolution Virtual Bodies in the Digital Age: TechnoSphere and SWARM Cyberspace: Deleting the Body Art and Artificial Nature CONCLUSION: Is science the new art? Notes Bibliography Credits Index","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":465,"name":"Artificial Intelligence","url":"https://www.academia.edu/Documents/in/Artificial_Intelligence"},{"id":1131,"name":"Biomedical Engineering","url":"https://www.academia.edu/Documents/in/Biomedical_Engineering"},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"},{"id":5398,"name":"Biotechnology","url":"https://www.academia.edu/Documents/in/Biotechnology"},{"id":5457,"name":"Artificial Life","url":"https://www.academia.edu/Documents/in/Artificial_Life"},{"id":8911,"name":"Bioart","url":"https://www.academia.edu/Documents/in/Bioart"},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture"},{"id":2949247,"name":"bioarte transdisciplinariedad ciencia tecnologia","url":"https://www.academia.edu/Documents/in/bioarte_transdisciplinariedad_ciencia_tecnologia"}],"urls":[{"id":30643805,"url":"http://ci.nii.ac.jp/ncid/BB00232991"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100224881"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/100224881/V_Artificial_Life_Art"><img alt="Research paper thumbnail of V. 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Kunst aus dem Labor","translated_title":"","metadata":{"publication_name":"Kunst aus dem Labor"},"translated_abstract":null,"internal_url":"https://www.academia.edu/100224877/VI_Kunst_aus_dem_Labor","translated_internal_url":"","created_at":"2023-04-15T08:31:55.790-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"VI_Kunst_aus_dem_Labor","translated_slug":"","page_count":null,"language":"de","content_type":"Work","summary":null,"owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="8926924" id="drafts"><div class="js-work-strip profile--work_container" data-work-id="125272245"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125272245/Exhibition_booklet_NaturArchy_Towards_a_Natural_Contract"><img alt="Research paper thumbnail of Exhibition booklet NaturArchy: Towards a Natural Contract" class="work-thumbnail" src="https://attachments.academia-assets.com/119345919/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125272245/Exhibition_booklet_NaturArchy_Towards_a_Natural_Contract">Exhibition booklet NaturArchy: Towards a Natural Contract</a></div><div class="wp-workCard_item"><span>NaturArchy: Towards a Natural Contract</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">NaturArchy: Towards a Natural Contract explores different ways of being in relation to the natura...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">NaturArchy: Towards a Natural Contract explores different ways of being in relation to the natural world. Embracing the arts for systemic change, informed by cutting-edge scientific research and public policy discussions, this exhibition proposes to reconsider our attitudes towards nature and the non-human by probing issues of deep ecology, rights of nature, sustainability, decentering the human, and the decolonising of nature. It does so by starting from the idea of granting legal personhood and rights to nature and its constituent elements, from forest and rivers to the air we breathe and the complex ecosystems that all our lives depend on. Only by including nature into our social contract will we be able to tackle the multi-layered challenges of environmental degradation that we face.<br /><br />The sixteen newly commissioned artworks on show provocatively call to<br />re-imagine a sense of place and belonging in the world and to respond<br />to the entangled and symbiotic relationship between human and<br />environment. From the Ocean to water flows, from contamination and<br />bacteria to climate tipping points, to pollinators and landscapes of<br />natural hazards; from natural and artificial intelligence to nonhuman<br />values, forests, lands, soils, composting; from grief and mourning to<br />rituals, wonder and collective action – these works envision new possible ways to connect and of co-existence, to go beyond the exploitation and violence that characterize our relationship with the natural world.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="227f1a2bbc38f4f094f5899d7af588f1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119345919,"asset_id":125272245,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119345919/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125272245"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125272245"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125272245; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125272245]").text(description); $(".js-view-count[data-work-id=125272245]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125272245; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125272245']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125272245, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "227f1a2bbc38f4f094f5899d7af588f1" } } $('.js-work-strip[data-work-id=125272245]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125272245,"title":"Exhibition booklet NaturArchy: Towards a Natural Contract","translated_title":"","metadata":{"abstract":"NaturArchy: Towards a Natural Contract explores different ways of being in relation to the natural world. 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Die erkenntnisleitenden Fragen lauten dabei: In welchem Verhältnis stehen visuelle und verbale Farbensprache zueinander? Auf welche Art und Weise wird Farbe in interdisziplinärer Hinsicht veranschaulicht? Führt die visuelle Inszenierung und Materialisierung von Farbe zu einem verbal vermittelten Erkenntnisgewinn? Thematisch schlägt das Junge Fo- rum für Bildwissenschaft einen Bogen von der historischen Verortung der Kategorie Farbe in erkenntnistheoretischen und philosophischen Debatten über archäologische, bildhistorische und naturwissenschaftliche Diskurse bis hin zu politischen und moralökonomischen Implikation von Farbe. Die Beiträge ver- bindet der Grundgedanke, dass die Analyse jeglicher Farbwahrnehmung auf den Modus der zeitgenössischen sinnlichen Wahrnehmung aufmerksam macht und damit der Farbe zur Konstruktion unseres Weltbildes ein bedeutender Wert zukommt.<br /><br />Ziel des Jungen Forums für Bildwissenschaft 2011 ist es, die Interdisziplinarität der Kategorie Farbe als Chance zu verstehen, disziplinenübergreifende Denk- muster und Kognitionsstrategien zu erkennen und über Fächergrenzen hinweg ein tiefgehendes Verständnis von Farbe zu entwickeln. Dieser multidisziplinäre Zugriff auf Farbe als kulturelles Phänomen intendiert, die Bedeutung der Farbe mit all ihren symbolischen Konnotationen, subjektiven Einwirkungen auf unsere Wahrnehmung sowie ideellen Präfigurationen unserer Bildung und Sozialisierung zu erfassen.<br /><br />Phänomenologische, ästhetische, wahrnehmungspsychologische, medienspezifische oder neurobiologische Farbdefinitionen und Farbuntersuchungen zollen der Intermedialität von Farbe Rechnung und zeigen, dass Farbe immer im Konkurrenzverhältnis von visueller und verbaler Kognition wahrgenommen wird. Zugleich belegen Forschungen zu Farbe in wissenschaftlichen Darstellungen als auch in künstlerischen Äußerungen, dass Farbe Bedeutungen vermittelt, die nicht immer in Sprache abgebildet werden können und ihrer eigenen Logik der Sinnstiftung folgen. Während unsere exakte visuelle Wahrnehmung und unsere Fähigkeit der Unterscheidung multipler Farbtöne oftmals positiv herausgestellt werden, verfügen wir über ein vergleichsweise bescheidenes Vokabular zur Benennung der Farben. Die visuelle Kognition erscheint nicht nur exakter und vielfältiger als die Sprachfähigkeit und Sprachgewalt des Menschen, sondern setzt auch vor der Entwicklung des Sprachvermögens ein. Diese unterschiedlichen Funktionsweisen beeinflussen sich gegenseitig und konstituieren somit Farbkulturen in Kunst und Wissenschaft.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7710a890fba9630c89e9a8bfe4cde267" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":74540544,"asset_id":61536748,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/74540544/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="61536748"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="61536748"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 61536748; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=61536748]").text(description); $(".js-view-count[data-work-id=61536748]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 61536748; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='61536748']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 61536748, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7710a890fba9630c89e9a8bfe4cde267" } } $('.js-work-strip[data-work-id=61536748]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":61536748,"title":"Farbkulturen: Farbe in Kunst und Wissenschaft","translated_title":"","metadata":{"abstract":"Das Junge Forum für Bildwissenschaft VI widmet sich 2011 dem Thema »Farbkulturen: Farbe in Kunst und Wissenschaft« und damit den Bedingungen und Möglichkeiten unserer Farberkenntnis. Die erkenntnisleitenden Fragen lauten dabei: In welchem Verhältnis stehen visuelle und verbale Farbensprache zueinander? Auf welche Art und Weise wird Farbe in interdisziplinärer Hinsicht veranschaulicht? Führt die visuelle Inszenierung und Materialisierung von Farbe zu einem verbal vermittelten Erkenntnisgewinn? Thematisch schlägt das Junge Fo- rum für Bildwissenschaft einen Bogen von der historischen Verortung der Kategorie Farbe in erkenntnistheoretischen und philosophischen Debatten über archäologische, bildhistorische und naturwissenschaftliche Diskurse bis hin zu politischen und moralökonomischen Implikation von Farbe. Die Beiträge ver- bindet der Grundgedanke, dass die Analyse jeglicher Farbwahrnehmung auf den Modus der zeitgenössischen sinnlichen Wahrnehmung aufmerksam macht und damit der Farbe zur Konstruktion unseres Weltbildes ein bedeutender Wert zukommt.\n\nZiel des Jungen Forums für Bildwissenschaft 2011 ist es, die Interdisziplinarität der Kategorie Farbe als Chance zu verstehen, disziplinenübergreifende Denk- muster und Kognitionsstrategien zu erkennen und über Fächergrenzen hinweg ein tiefgehendes Verständnis von Farbe zu entwickeln. Dieser multidisziplinäre Zugriff auf Farbe als kulturelles Phänomen intendiert, die Bedeutung der Farbe mit all ihren symbolischen Konnotationen, subjektiven Einwirkungen auf unsere Wahrnehmung sowie ideellen Präfigurationen unserer Bildung und Sozialisierung zu erfassen.\n\nPhänomenologische, ästhetische, wahrnehmungspsychologische, medienspezifische oder neurobiologische Farbdefinitionen und Farbuntersuchungen zollen der Intermedialität von Farbe Rechnung und zeigen, dass Farbe immer im Konkurrenzverhältnis von visueller und verbaler Kognition wahrgenommen wird. Zugleich belegen Forschungen zu Farbe in wissenschaftlichen Darstellungen als auch in künstlerischen Äußerungen, dass Farbe Bedeutungen vermittelt, die nicht immer in Sprache abgebildet werden können und ihrer eigenen Logik der Sinnstiftung folgen. Während unsere exakte visuelle Wahrnehmung und unsere Fähigkeit der Unterscheidung multipler Farbtöne oftmals positiv herausgestellt werden, verfügen wir über ein vergleichsweise bescheidenes Vokabular zur Benennung der Farben. Die visuelle Kognition erscheint nicht nur exakter und vielfältiger als die Sprachfähigkeit und Sprachgewalt des Menschen, sondern setzt auch vor der Entwicklung des Sprachvermögens ein. Diese unterschiedlichen Funktionsweisen beeinflussen sich gegenseitig und konstituieren somit Farbkulturen in Kunst und Wissenschaft.","publication_date":{"day":null,"month":null,"year":2011,"errors":{}},"publication_name":"Junges Forum für Bildwissenschaft"},"translated_abstract":"Das Junge Forum für Bildwissenschaft VI widmet sich 2011 dem Thema »Farbkulturen: Farbe in Kunst und Wissenschaft« und damit den Bedingungen und Möglichkeiten unserer Farberkenntnis. Die erkenntnisleitenden Fragen lauten dabei: In welchem Verhältnis stehen visuelle und verbale Farbensprache zueinander? Auf welche Art und Weise wird Farbe in interdisziplinärer Hinsicht veranschaulicht? Führt die visuelle Inszenierung und Materialisierung von Farbe zu einem verbal vermittelten Erkenntnisgewinn? Thematisch schlägt das Junge Fo- rum für Bildwissenschaft einen Bogen von der historischen Verortung der Kategorie Farbe in erkenntnistheoretischen und philosophischen Debatten über archäologische, bildhistorische und naturwissenschaftliche Diskurse bis hin zu politischen und moralökonomischen Implikation von Farbe. Die Beiträge ver- bindet der Grundgedanke, dass die Analyse jeglicher Farbwahrnehmung auf den Modus der zeitgenössischen sinnlichen Wahrnehmung aufmerksam macht und damit der Farbe zur Konstruktion unseres Weltbildes ein bedeutender Wert zukommt.\n\nZiel des Jungen Forums für Bildwissenschaft 2011 ist es, die Interdisziplinarität der Kategorie Farbe als Chance zu verstehen, disziplinenübergreifende Denk- muster und Kognitionsstrategien zu erkennen und über Fächergrenzen hinweg ein tiefgehendes Verständnis von Farbe zu entwickeln. Dieser multidisziplinäre Zugriff auf Farbe als kulturelles Phänomen intendiert, die Bedeutung der Farbe mit all ihren symbolischen Konnotationen, subjektiven Einwirkungen auf unsere Wahrnehmung sowie ideellen Präfigurationen unserer Bildung und Sozialisierung zu erfassen.\n\nPhänomenologische, ästhetische, wahrnehmungspsychologische, medienspezifische oder neurobiologische Farbdefinitionen und Farbuntersuchungen zollen der Intermedialität von Farbe Rechnung und zeigen, dass Farbe immer im Konkurrenzverhältnis von visueller und verbaler Kognition wahrgenommen wird. Zugleich belegen Forschungen zu Farbe in wissenschaftlichen Darstellungen als auch in künstlerischen Äußerungen, dass Farbe Bedeutungen vermittelt, die nicht immer in Sprache abgebildet werden können und ihrer eigenen Logik der Sinnstiftung folgen. Während unsere exakte visuelle Wahrnehmung und unsere Fähigkeit der Unterscheidung multipler Farbtöne oftmals positiv herausgestellt werden, verfügen wir über ein vergleichsweise bescheidenes Vokabular zur Benennung der Farben. Die visuelle Kognition erscheint nicht nur exakter und vielfältiger als die Sprachfähigkeit und Sprachgewalt des Menschen, sondern setzt auch vor der Entwicklung des Sprachvermögens ein. Diese unterschiedlichen Funktionsweisen beeinflussen sich gegenseitig und konstituieren somit Farbkulturen in Kunst und Wissenschaft.","internal_url":"https://www.academia.edu/61536748/Farbkulturen_Farbe_in_Kunst_und_Wissenschaft","translated_internal_url":"","created_at":"2021-11-11T11:51:04.682-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[],"downloadable_attachments":[{"id":74540544,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/74540544/thumbnails/1.jpg","file_name":"Reader_Junges_Forum_2011.pdf","download_url":"https://www.academia.edu/attachments/74540544/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Farbkulturen_Farbe_in_Kunst_und_Wissensc.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/74540544/Reader_Junges_Forum_2011-libre.pdf?1636660644=\u0026response-content-disposition=attachment%3B+filename%3DFarbkulturen_Farbe_in_Kunst_und_Wissensc.pdf\u0026Expires=1734021440\u0026Signature=Up-Rhu1XNY8Bv~iQg9HOxkuK8zjzks9Jz0cju9U8M0PfZua3v8CYAAap8i88-nBBMFLDApOoJdE8Vb3Mr~tP0VE7QI6i251qUCYMk73lp8iy~yFvnVaLLOig2BCp3PSFeFgrgDZzr05~Np7uWEZ99exnAAI88nO2yDSR1BIhEn1K7fCkSCV~QcsoMCqW4YKS9WCRSPelZzlksQIOXCgf1YgDMxOyqwISZrNB7qztyznVM5V4VDAhRKpKW3mfwKuX7OKFxGrml8o0duy2EHoBm9EW4Yq-8jtqzpswetB8k~Bug-PjUTl6LEZJrXYOOyQqQ~~z2Fei2fUF6yYy7qofPA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Farbkulturen_Farbe_in_Kunst_und_Wissenschaft","translated_slug":"","page_count":25,"language":"de","content_type":"Work","summary":"Das Junge Forum für Bildwissenschaft VI widmet sich 2011 dem Thema »Farbkulturen: Farbe in Kunst und Wissenschaft« und damit den Bedingungen und Möglichkeiten unserer Farberkenntnis. Die erkenntnisleitenden Fragen lauten dabei: In welchem Verhältnis stehen visuelle und verbale Farbensprache zueinander? Auf welche Art und Weise wird Farbe in interdisziplinärer Hinsicht veranschaulicht? Führt die visuelle Inszenierung und Materialisierung von Farbe zu einem verbal vermittelten Erkenntnisgewinn? Thematisch schlägt das Junge Fo- rum für Bildwissenschaft einen Bogen von der historischen Verortung der Kategorie Farbe in erkenntnistheoretischen und philosophischen Debatten über archäologische, bildhistorische und naturwissenschaftliche Diskurse bis hin zu politischen und moralökonomischen Implikation von Farbe. Die Beiträge ver- bindet der Grundgedanke, dass die Analyse jeglicher Farbwahrnehmung auf den Modus der zeitgenössischen sinnlichen Wahrnehmung aufmerksam macht und damit der Farbe zur Konstruktion unseres Weltbildes ein bedeutender Wert zukommt.\n\nZiel des Jungen Forums für Bildwissenschaft 2011 ist es, die Interdisziplinarität der Kategorie Farbe als Chance zu verstehen, disziplinenübergreifende Denk- muster und Kognitionsstrategien zu erkennen und über Fächergrenzen hinweg ein tiefgehendes Verständnis von Farbe zu entwickeln. Dieser multidisziplinäre Zugriff auf Farbe als kulturelles Phänomen intendiert, die Bedeutung der Farbe mit all ihren symbolischen Konnotationen, subjektiven Einwirkungen auf unsere Wahrnehmung sowie ideellen Präfigurationen unserer Bildung und Sozialisierung zu erfassen.\n\nPhänomenologische, ästhetische, wahrnehmungspsychologische, medienspezifische oder neurobiologische Farbdefinitionen und Farbuntersuchungen zollen der Intermedialität von Farbe Rechnung und zeigen, dass Farbe immer im Konkurrenzverhältnis von visueller und verbaler Kognition wahrgenommen wird. Zugleich belegen Forschungen zu Farbe in wissenschaftlichen Darstellungen als auch in künstlerischen Äußerungen, dass Farbe Bedeutungen vermittelt, die nicht immer in Sprache abgebildet werden können und ihrer eigenen Logik der Sinnstiftung folgen. Während unsere exakte visuelle Wahrnehmung und unsere Fähigkeit der Unterscheidung multipler Farbtöne oftmals positiv herausgestellt werden, verfügen wir über ein vergleichsweise bescheidenes Vokabular zur Benennung der Farben. Die visuelle Kognition erscheint nicht nur exakter und vielfältiger als die Sprachfähigkeit und Sprachgewalt des Menschen, sondern setzt auch vor der Entwicklung des Sprachvermögens ein. Diese unterschiedlichen Funktionsweisen beeinflussen sich gegenseitig und konstituieren somit Farbkulturen in Kunst und Wissenschaft.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":74540544,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/74540544/thumbnails/1.jpg","file_name":"Reader_Junges_Forum_2011.pdf","download_url":"https://www.academia.edu/attachments/74540544/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Farbkulturen_Farbe_in_Kunst_und_Wissensc.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/74540544/Reader_Junges_Forum_2011-libre.pdf?1636660644=\u0026response-content-disposition=attachment%3B+filename%3DFarbkulturen_Farbe_in_Kunst_und_Wissensc.pdf\u0026Expires=1734021440\u0026Signature=Up-Rhu1XNY8Bv~iQg9HOxkuK8zjzks9Jz0cju9U8M0PfZua3v8CYAAap8i88-nBBMFLDApOoJdE8Vb3Mr~tP0VE7QI6i251qUCYMk73lp8iy~yFvnVaLLOig2BCp3PSFeFgrgDZzr05~Np7uWEZ99exnAAI88nO2yDSR1BIhEn1K7fCkSCV~QcsoMCqW4YKS9WCRSPelZzlksQIOXCgf1YgDMxOyqwISZrNB7qztyznVM5V4VDAhRKpKW3mfwKuX7OKFxGrml8o0duy2EHoBm9EW4Yq-8jtqzpswetB8k~Bug-PjUTl6LEZJrXYOOyQqQ~~z2Fei2fUF6yYy7qofPA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":3723,"name":"History of Science","url":"https://www.academia.edu/Documents/in/History_of_Science"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="61536491"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/61536491/Dreidimensionale_plastische_und_digitale_Modelle_zur_Veranschaulichung_Der_Welt_Inszenierungstechniken_kulturhistorischer_Ausstellungen"><img alt="Research paper thumbnail of Dreidimensionale plastische und digitale Modelle zur Veranschaulichung Der Welt. Inszenierungstechniken kulturhistorischer Ausstellungen" class="work-thumbnail" src="https://attachments.academia-assets.com/74540356/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/61536491/Dreidimensionale_plastische_und_digitale_Modelle_zur_Veranschaulichung_Der_Welt_Inszenierungstechniken_kulturhistorischer_Ausstellungen">Dreidimensionale plastische und digitale Modelle zur Veranschaulichung Der Welt. Inszenierungstechniken kulturhistorischer Ausstellungen</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Weltweit werden Modelle in unterschiedlicher Weise zur Vermittlung in Museumsausstellungen einge...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Weltweit werden Modelle in unterschiedlicher Weise zur Vermittlung in Museumsausstellungen eingesetzt – etwa als (Detail)Vergrößerungen, Repliken, szenographische Inszenierungen oder Überblickspanoramen. Kontext, Wirkung und Akzeptanz (bzw. Ablehnung) des Einsatzes von Modellen in Ausstellungen sind dabei sehr stark vom jeweiligen kulturellen Kontext abhängig: Während in Europa Ausstellungen zunehmend selbstreflexiv gestaltet werden (Texte mit erkenntlicher Urheberschaft, das Angebot mehrerer Interpretationen, zu rückhaltender Umgang mit Modellen und Rekonstruktionen), spielen in Japan<br />„realistisch“ gestaltete, plastische Modelle bzw. Repliken eine Rolle, die nicht stark genug hervorgehoben werden kann. Modelle können einige Quadrat meter groß sein und es liegen Ferngläser bereit, um sie im Detail betrachten zu können. Gearbeitet wird mit einer Konkretheit des Darzustellenden, die in Europa kaum zu finden ist. Die modellierten Szenen (Häuserzeilen, Straßenszenen, Dörfer en miniature) sind selbst Kunstwerke, die direkt und überzeugend wirken und doch zu gleich hochgradige Interpretationen sind. Aufgrund seiner hervorragenden Modelle gilt das Stadtmuseum von Tokyo, das kaum historische Originalobjekte beherbergt, heute als „mokei no hakubutsukan“ („Museum der Modelle“). In Museumspublikationen werden Grundannahmen, Vorlagen und Umsetzung der Modelle und Inszenierungen genauer erklärt. Der Workshop fragt vor diesem Hintergrund nach den kulturübergreifenden wie kulturspezifischen Aspekten der modellhaften Darstellung historischer und kultureller Räume im musealen Vermittlungskontext. Dabei sollen Inszenierungstechniken in japanischen Museen im Mittelpunkt stehen.<br />In einem Hauptvortrag wird Ichikawa Horiaki Ursachen für die Bedeutung von Modellen in japanischen Museen und ihre didaktische Wirksamkeit darlegen. Für ihn sind Museumsmodelle Hypothesen, Ergebnisse ausgedehnter Studien von Historikern, Architekturhistorikern und Archäologen, die sich durch schrittweise Verbesserungen den Tatsachen annähern.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="deebe24827aeea0bc45d9dda2f8ac778" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":74540356,"asset_id":61536491,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/74540356/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="61536491"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="61536491"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 61536491; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=61536491]").text(description); $(".js-view-count[data-work-id=61536491]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 61536491; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='61536491']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 61536491, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "deebe24827aeea0bc45d9dda2f8ac778" } } $('.js-work-strip[data-work-id=61536491]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":61536491,"title":"Dreidimensionale plastische und digitale Modelle zur Veranschaulichung Der Welt. 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Gearbeitet wird mit einer Konkretheit des Darzustellenden, die in Europa kaum zu finden ist. Die modellierten Szenen (Häuserzeilen, Straßenszenen, Dörfer en miniature) sind selbst Kunstwerke, die direkt und überzeugend wirken und doch zu gleich hochgradige Interpretationen sind. Aufgrund seiner hervorragenden Modelle gilt das Stadtmuseum von Tokyo, das kaum historische Originalobjekte beherbergt, heute als „mokei no hakubutsukan“ („Museum der Modelle“). In Museumspublikationen werden Grundannahmen, Vorlagen und Umsetzung der Modelle und Inszenierungen genauer erklärt. Der Workshop fragt vor diesem Hintergrund nach den kulturübergreifenden wie kulturspezifischen Aspekten der modellhaften Darstellung historischer und kultureller Räume im musealen Vermittlungskontext. Dabei sollen Inszenierungstechniken in japanischen Museen im Mittelpunkt stehen.\nIn einem Hauptvortrag wird Ichikawa Horiaki Ursachen für die Bedeutung von Modellen in japanischen Museen und ihre didaktische Wirksamkeit darlegen. Für ihn sind Museumsmodelle Hypothesen, Ergebnisse ausgedehnter Studien von Historikern, Architekturhistorikern und Archäologen, die sich durch schrittweise Verbesserungen den Tatsachen annähern.\n\n \n ","publication_date":{"day":null,"month":null,"year":2010,"errors":{}}},"translated_abstract":"Weltweit werden Modelle in unterschiedlicher Weise zur Vermittlung in Museumsausstellungen eingesetzt – etwa als (Detail)Vergrößerungen, Repliken, szenographische Inszenierungen oder Überblickspanoramen. Kontext, Wirkung und Akzeptanz (bzw. Ablehnung) des Einsatzes von Modellen in Ausstellungen sind dabei sehr stark vom jeweiligen kulturellen Kontext abhängig: Während in Europa Ausstellungen zunehmend selbstreflexiv gestaltet werden (Texte mit erkenntlicher Urheberschaft, das Angebot mehrerer Interpretationen, zu rückhaltender Umgang mit Modellen und Rekonstruktionen), spielen in Japan\n„realistisch“ gestaltete, plastische Modelle bzw. Repliken eine Rolle, die nicht stark genug hervorgehoben werden kann. Modelle können einige Quadrat meter groß sein und es liegen Ferngläser bereit, um sie im Detail betrachten zu können. Gearbeitet wird mit einer Konkretheit des Darzustellenden, die in Europa kaum zu finden ist. Die modellierten Szenen (Häuserzeilen, Straßenszenen, Dörfer en miniature) sind selbst Kunstwerke, die direkt und überzeugend wirken und doch zu gleich hochgradige Interpretationen sind. Aufgrund seiner hervorragenden Modelle gilt das Stadtmuseum von Tokyo, das kaum historische Originalobjekte beherbergt, heute als „mokei no hakubutsukan“ („Museum der Modelle“). In Museumspublikationen werden Grundannahmen, Vorlagen und Umsetzung der Modelle und Inszenierungen genauer erklärt. Der Workshop fragt vor diesem Hintergrund nach den kulturübergreifenden wie kulturspezifischen Aspekten der modellhaften Darstellung historischer und kultureller Räume im musealen Vermittlungskontext. Dabei sollen Inszenierungstechniken in japanischen Museen im Mittelpunkt stehen.\nIn einem Hauptvortrag wird Ichikawa Horiaki Ursachen für die Bedeutung von Modellen in japanischen Museen und ihre didaktische Wirksamkeit darlegen. Für ihn sind Museumsmodelle Hypothesen, Ergebnisse ausgedehnter Studien von Historikern, Architekturhistorikern und Archäologen, die sich durch schrittweise Verbesserungen den Tatsachen annähern.\n\n \n ","internal_url":"https://www.academia.edu/61536491/Dreidimensionale_plastische_und_digitale_Modelle_zur_Veranschaulichung_Der_Welt_Inszenierungstechniken_kulturhistorischer_Ausstellungen","translated_internal_url":"","created_at":"2021-11-11T11:43:59.051-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[],"downloadable_attachments":[{"id":74540356,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/74540356/thumbnails/1.jpg","file_name":"Workshop_Modelle.pdf","download_url":"https://www.academia.edu/attachments/74540356/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Dreidimensionale_plastische_und_digitale.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/74540356/Workshop_Modelle-libre.pdf?1636660650=\u0026response-content-disposition=attachment%3B+filename%3DDreidimensionale_plastische_und_digitale.pdf\u0026Expires=1734021440\u0026Signature=TQfXD05hW6hRy3-VQthJ8lnWau1qKNlQzZmHItqb3RGhWop5RO-tayhTTFWML98VzmEH59VL896vsMmqtvfgDXUJvvVFJMc7urS49OAkxeEImtkS75x9yJAwcqA7V0ak-XbbOVcKWuW6nJu9zOYWTCwlOYoELZpcyjSzws-7FEvEI-DB1-LCCu--gyAk7LKuy7WCQdUMfPHenf-oMBx3yW0ZuIKDFB80wpNTLb63-x00Rt8SQSpAb0pJEE9NVTih59U-HEStpYrqH5mOJk~wnmyxDlrpM8fd-~1k5-vh7bJdyRDDlwuM8trUYuEsxLtJu-ZDiebT3xeqB3zxYzwKnQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Dreidimensionale_plastische_und_digitale_Modelle_zur_Veranschaulichung_Der_Welt_Inszenierungstechniken_kulturhistorischer_Ausstellungen","translated_slug":"","page_count":4,"language":"de","content_type":"Work","summary":"Weltweit werden Modelle in unterschiedlicher Weise zur Vermittlung in Museumsausstellungen eingesetzt – etwa als (Detail)Vergrößerungen, Repliken, szenographische Inszenierungen oder Überblickspanoramen. 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Aufgrund seiner hervorragenden Modelle gilt das Stadtmuseum von Tokyo, das kaum historische Originalobjekte beherbergt, heute als „mokei no hakubutsukan“ („Museum der Modelle“). In Museumspublikationen werden Grundannahmen, Vorlagen und Umsetzung der Modelle und Inszenierungen genauer erklärt. Der Workshop fragt vor diesem Hintergrund nach den kulturübergreifenden wie kulturspezifischen Aspekten der modellhaften Darstellung historischer und kultureller Räume im musealen Vermittlungskontext. Dabei sollen Inszenierungstechniken in japanischen Museen im Mittelpunkt stehen.\nIn einem Hauptvortrag wird Ichikawa Horiaki Ursachen für die Bedeutung von Modellen in japanischen Museen und ihre didaktische Wirksamkeit darlegen. Für ihn sind Museumsmodelle Hypothesen, Ergebnisse ausgedehnter Studien von Historikern, Architekturhistorikern und Archäologen, die sich durch schrittweise Verbesserungen den Tatsachen annähern.\n\n \n ","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":74540356,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/74540356/thumbnails/1.jpg","file_name":"Workshop_Modelle.pdf","download_url":"https://www.academia.edu/attachments/74540356/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Dreidimensionale_plastische_und_digitale.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/74540356/Workshop_Modelle-libre.pdf?1636660650=\u0026response-content-disposition=attachment%3B+filename%3DDreidimensionale_plastische_und_digitale.pdf\u0026Expires=1734021440\u0026Signature=TQfXD05hW6hRy3-VQthJ8lnWau1qKNlQzZmHItqb3RGhWop5RO-tayhTTFWML98VzmEH59VL896vsMmqtvfgDXUJvvVFJMc7urS49OAkxeEImtkS75x9yJAwcqA7V0ak-XbbOVcKWuW6nJu9zOYWTCwlOYoELZpcyjSzws-7FEvEI-DB1-LCCu--gyAk7LKuy7WCQdUMfPHenf-oMBx3yW0ZuIKDFB80wpNTLb63-x00Rt8SQSpAb0pJEE9NVTih59U-HEStpYrqH5mOJk~wnmyxDlrpM8fd-~1k5-vh7bJdyRDDlwuM8trUYuEsxLtJu-ZDiebT3xeqB3zxYzwKnQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":3723,"name":"History of Science","url":"https://www.academia.edu/Documents/in/History_of_Science"},{"id":575584,"name":"Museums Studies","url":"https://www.academia.edu/Documents/in/Museums_Studies"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="49520950"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/49520950/Cross_Disciplinary_Strategies_Applied_Studies_in_Art_Science_Philosophy_and_Global_Challenges"><img alt="Research paper thumbnail of Cross-Disciplinary Strategies: Applied Studies in Art, Science, Philosophy, and Global Challenges" class="work-thumbnail" src="https://attachments.academia-assets.com/67854982/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/49520950/Cross_Disciplinary_Strategies_Applied_Studies_in_Art_Science_Philosophy_and_Global_Challenges">Cross-Disciplinary Strategies: Applied Studies in Art, Science, Philosophy, and Global Challenges</a></div><div class="wp-workCard_item"><span>Cross-Disciplinary Strategies: Applied Studies in Art, Science, Philosophy, and Global Challenges</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The bachelor degree programme „Cross-Disciplinary Strategies. Applied Studies in Art, Science, Ph...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The bachelor degree programme „Cross-Disciplinary Strategies. Applied Studies in Art, Science, Philosophy, and Global Challenges“ conveys a broad spectrum of artistic and scientific skills, strategies and principles of artistic and scientific praxis, linked with the aspiration to promote a critical approach, cooperation skills and goal-oriented learning not just in individual areas of knowledge, but also beyond the arts.<br /><br />The educational system‘s approach for this programme represents an answer to transformation processes that our globalized societies face today. To be able to deal with complex and global dynamics as well as differing realities, courses designed to give an overview offer <br />interdisciplinary knowledge and provide insights into strategies and methods from a number of areas of knowledge. Basic principles of art, philosophy, natural sciences, engineering and the humanities are an integral part of the curriculum in order to familiarize students with various perspectives and epistemologies. In addition, basic knowledge regarding the challenges of an increasing fusion of man and machine will be imparted, with particular focus on the growing automation that is due to the refinement of artificial intelligence and progress in the area of genome editing.<br /><br />The interdisciplinary approach of the programme aims at developing future-oriented work methods and the conveyance of new strategies designed to reach far beyond ordinary educational concepts, thus opposing the growing specialization and fragmentation of knowledge. This approach represents a contribution to shaping the future of our societies: Fragile social fabrics in a quickly changing world that are confronted with global challenges to an unprecedented extent are to be addressed: demographic change, migration, the protection of human rights, social injustices and poverty, climate change, or redefining human work in the era of robotics and digitalization.<br /><br />Systematic and interdisciplinary courses provide students with insights into current strategies of relevant technological developments, into new economies and finances, as well as into political discourses of contemporary societies. The programme is supplemented by reflections accompanying the course of studies. Artistic strategies and practical knowledge are both significant learning objectives and basic work methods. These goals are conveyed in modular study units and enhanced through forms of complementary and collaborative teaching; they include artistic strategies like abstraction, ambiguity, alienation, destruction or performativity. The architecture of the study programme offers a new and innovative learning environment which combines theory and practice. It is supplemented by practical experience in various studios where students become familiar with a broad spectrum of media and materials.<br /><br />In order to educate professionals who are able to navigate in a globalized and interconnected world and who possess the necessary qualifications to handle complex and global dynamics, the study programme offers new teaching and learning methods and action strategies. These promote collaboration and teamwork and enable the planning, creation, implementation, analysis and inspired leading of dynamic projects – an important contribution to providing critical and well thought out foundations for meaningful and sustainable decision processes.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e633a848f30c676daa1952a72cf7b955" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":67854982,"asset_id":49520950,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/67854982/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="49520950"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="49520950"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 49520950; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=49520950]").text(description); $(".js-view-count[data-work-id=49520950]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 49520950; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='49520950']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 49520950, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e633a848f30c676daa1952a72cf7b955" } } $('.js-work-strip[data-work-id=49520950]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":49520950,"title":"Cross-Disciplinary Strategies: Applied Studies in Art, Science, Philosophy, and Global Challenges","translated_title":"","metadata":{"abstract":"The bachelor degree programme „Cross-Disciplinary Strategies. Applied Studies in Art, Science, Philosophy, and Global Challenges“ conveys a broad spectrum of artistic and scientific skills, strategies and principles of artistic and scientific praxis, linked with the aspiration to promote a critical approach, cooperation skills and goal-oriented learning not just in individual areas of knowledge, but also beyond the arts.\n\nThe educational system‘s approach for this programme represents an answer to transformation processes that our globalized societies face today. To be able to deal with complex and global dynamics as well as differing realities, courses designed to give an overview offer \ninterdisciplinary knowledge and provide insights into strategies and methods from a number of areas of knowledge. Basic principles of art, philosophy, natural sciences, engineering and the humanities are an integral part of the curriculum in order to familiarize students with various perspectives and epistemologies. In addition, basic knowledge regarding the challenges of an increasing fusion of man and machine will be imparted, with particular focus on the growing automation that is due to the refinement of artificial intelligence and progress in the area of genome editing.\n\nThe interdisciplinary approach of the programme aims at developing future-oriented work methods and the conveyance of new strategies designed to reach far beyond ordinary educational concepts, thus opposing the growing specialization and fragmentation of knowledge. This approach represents a contribution to shaping the future of our societies: Fragile social fabrics in a quickly changing world that are confronted with global challenges to an unprecedented extent are to be addressed: demographic change, migration, the protection of human rights, social injustices and poverty, climate change, or redefining human work in the era of robotics and digitalization.\n\nSystematic and interdisciplinary courses provide students with insights into current strategies of relevant technological developments, into new economies and finances, as well as into political discourses of contemporary societies. The programme is supplemented by reflections accompanying the course of studies. Artistic strategies and practical knowledge are both significant learning objectives and basic work methods. These goals are conveyed in modular study units and enhanced through forms of complementary and collaborative teaching; they include artistic strategies like abstraction, ambiguity, alienation, destruction or performativity. The architecture of the study programme offers a new and innovative learning environment which combines theory and practice. It is supplemented by practical experience in various studios where students become familiar with a broad spectrum of media and materials.\n\nIn order to educate professionals who are able to navigate in a globalized and interconnected world and who possess the necessary qualifications to handle complex and global dynamics, the study programme offers new teaching and learning methods and action strategies. These promote collaboration and teamwork and enable the planning, creation, implementation, analysis and inspired leading of dynamic projects – an important contribution to providing critical and well thought out foundations for meaningful and sustainable decision processes.\n","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"Cross-Disciplinary Strategies: Applied Studies in Art, Science, Philosophy, and Global Challenges"},"translated_abstract":"The bachelor degree programme „Cross-Disciplinary Strategies. 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In addition, basic knowledge regarding the challenges of an increasing fusion of man and machine will be imparted, with particular focus on the growing automation that is due to the refinement of artificial intelligence and progress in the area of genome editing.\n\nThe interdisciplinary approach of the programme aims at developing future-oriented work methods and the conveyance of new strategies designed to reach far beyond ordinary educational concepts, thus opposing the growing specialization and fragmentation of knowledge. This approach represents a contribution to shaping the future of our societies: Fragile social fabrics in a quickly changing world that are confronted with global challenges to an unprecedented extent are to be addressed: demographic change, migration, the protection of human rights, social injustices and poverty, climate change, or redefining human work in the era of robotics and digitalization.\n\nSystematic and interdisciplinary courses provide students with insights into current strategies of relevant technological developments, into new economies and finances, as well as into political discourses of contemporary societies. The programme is supplemented by reflections accompanying the course of studies. Artistic strategies and practical knowledge are both significant learning objectives and basic work methods. These goals are conveyed in modular study units and enhanced through forms of complementary and collaborative teaching; they include artistic strategies like abstraction, ambiguity, alienation, destruction or performativity. The architecture of the study programme offers a new and innovative learning environment which combines theory and practice. It is supplemented by practical experience in various studios where students become familiar with a broad spectrum of media and materials.\n\nIn order to educate professionals who are able to navigate in a globalized and interconnected world and who possess the necessary qualifications to handle complex and global dynamics, the study programme offers new teaching and learning methods and action strategies. These promote collaboration and teamwork and enable the planning, creation, implementation, analysis and inspired leading of dynamic projects – an important contribution to providing critical and well thought out foundations for meaningful and sustainable decision processes.\n","internal_url":"https://www.academia.edu/49520950/Cross_Disciplinary_Strategies_Applied_Studies_in_Art_Science_Philosophy_and_Global_Challenges","translated_internal_url":"","created_at":"2021-07-03T01:57:27.256-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[],"downloadable_attachments":[{"id":67854982,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/67854982/thumbnails/1.jpg","file_name":"700_2017U_00_e.pdf","download_url":"https://www.academia.edu/attachments/67854982/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Cross_Disciplinary_Strategies_Applied_St.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/67854982/700_2017U_00_e-libre.pdf?1625307160=\u0026response-content-disposition=attachment%3B+filename%3DCross_Disciplinary_Strategies_Applied_St.pdf\u0026Expires=1734021440\u0026Signature=C9IP7FfYD~q2~MAcxabghNX1bITonLkJNNbUs7~b39yOPZaFx0PEx1twx~ZFctvuHnXOMB5bPXulDZAfhwuoTu4zMyAAxGZpQfK5t40~-cgw0t5qUnNWPfxEwSI4Bybf986tGV5u56lCggx~cb0Cauu5gLFpvJ9ljcE3PWYPS06GaXeaJsPflHWqEo-hpGbpNCk1UGluD9xDTu2LeyQ4nkVpwLuQYTNDnyoZXCUk6AFg0hu15gjlN8uJMFt4mLYczRSNhIKpLgJtnCxfefZ2VoigoPekRaNUnmEni6VVUnSG4uXuOhIMqpNgM1D~29wItpOig9aODrl-LTNTW6qNOg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Cross_Disciplinary_Strategies_Applied_Studies_in_Art_Science_Philosophy_and_Global_Challenges","translated_slug":"","page_count":10,"language":"en","content_type":"Work","summary":"The bachelor degree programme „Cross-Disciplinary Strategies. Applied Studies in Art, Science, Philosophy, and Global Challenges“ conveys a broad spectrum of artistic and scientific skills, strategies and principles of artistic and scientific praxis, linked with the aspiration to promote a critical approach, cooperation skills and goal-oriented learning not just in individual areas of knowledge, but also beyond the arts.\n\nThe educational system‘s approach for this programme represents an answer to transformation processes that our globalized societies face today. To be able to deal with complex and global dynamics as well as differing realities, courses designed to give an overview offer \ninterdisciplinary knowledge and provide insights into strategies and methods from a number of areas of knowledge. Basic principles of art, philosophy, natural sciences, engineering and the humanities are an integral part of the curriculum in order to familiarize students with various perspectives and epistemologies. In addition, basic knowledge regarding the challenges of an increasing fusion of man and machine will be imparted, with particular focus on the growing automation that is due to the refinement of artificial intelligence and progress in the area of genome editing.\n\nThe interdisciplinary approach of the programme aims at developing future-oriented work methods and the conveyance of new strategies designed to reach far beyond ordinary educational concepts, thus opposing the growing specialization and fragmentation of knowledge. This approach represents a contribution to shaping the future of our societies: Fragile social fabrics in a quickly changing world that are confronted with global challenges to an unprecedented extent are to be addressed: demographic change, migration, the protection of human rights, social injustices and poverty, climate change, or redefining human work in the era of robotics and digitalization.\n\nSystematic and interdisciplinary courses provide students with insights into current strategies of relevant technological developments, into new economies and finances, as well as into political discourses of contemporary societies. The programme is supplemented by reflections accompanying the course of studies. Artistic strategies and practical knowledge are both significant learning objectives and basic work methods. These goals are conveyed in modular study units and enhanced through forms of complementary and collaborative teaching; they include artistic strategies like abstraction, ambiguity, alienation, destruction or performativity. The architecture of the study programme offers a new and innovative learning environment which combines theory and practice. It is supplemented by practical experience in various studios where students become familiar with a broad spectrum of media and materials.\n\nIn order to educate professionals who are able to navigate in a globalized and interconnected world and who possess the necessary qualifications to handle complex and global dynamics, the study programme offers new teaching and learning methods and action strategies. These promote collaboration and teamwork and enable the planning, creation, implementation, analysis and inspired leading of dynamic projects – an important contribution to providing critical and well thought out foundations for meaningful and sustainable decision processes.\n","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":67854982,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/67854982/thumbnails/1.jpg","file_name":"700_2017U_00_e.pdf","download_url":"https://www.academia.edu/attachments/67854982/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Cross_Disciplinary_Strategies_Applied_St.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/67854982/700_2017U_00_e-libre.pdf?1625307160=\u0026response-content-disposition=attachment%3B+filename%3DCross_Disciplinary_Strategies_Applied_St.pdf\u0026Expires=1734021440\u0026Signature=C9IP7FfYD~q2~MAcxabghNX1bITonLkJNNbUs7~b39yOPZaFx0PEx1twx~ZFctvuHnXOMB5bPXulDZAfhwuoTu4zMyAAxGZpQfK5t40~-cgw0t5qUnNWPfxEwSI4Bybf986tGV5u56lCggx~cb0Cauu5gLFpvJ9ljcE3PWYPS06GaXeaJsPflHWqEo-hpGbpNCk1UGluD9xDTu2LeyQ4nkVpwLuQYTNDnyoZXCUk6AFg0hu15gjlN8uJMFt4mLYczRSNhIKpLgJtnCxfefZ2VoigoPekRaNUnmEni6VVUnSG4uXuOhIMqpNgM1D~29wItpOig9aODrl-LTNTW6qNOg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education"},{"id":3660,"name":"Global Governance","url":"https://www.academia.edu/Documents/in/Global_Governance"},{"id":792485,"name":"Global Challenges","url":"https://www.academia.edu/Documents/in/Global_Challenges"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44890015"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44890015/Post_colonial_Constellations_in_Contemporary_Art"><img alt="Research paper thumbnail of Post-colonial Constellations in Contemporary Art" class="work-thumbnail" src="https://attachments.academia-assets.com/65407189/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44890015/Post_colonial_Constellations_in_Contemporary_Art">Post-colonial Constellations in Contemporary Art</a></div><div class="wp-workCard_item"><span>AIL Talk</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">New cartographies of contemporary art are increasingly including the art productions of indigenou...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">New cartographies of contemporary art are increasingly including the art productions of indigenous artists, which until a few decades ago were considered uniform and aesthetically negligible and utilised primarily to posit cultural differences. In today’s art market the works of indigenous artists fetch top prices and are on display in contemporary art collections all over the world. Particularly the Aboriginal art made by Australia’s indigenous peoples has received a great deal of attention since the late 1970s. Aboriginal art has been produced for over 40,000 years and some of the contemporary works are held to be the most important Australian art of the twentieth century. The Swedish artist Jan Svenungsson first encountered Aboriginal art when he visited Australia for the first time in 1998. Ten years later he returned, and with A Place on Earth (Papunya) created one of his largest works to date for the gallery of the Royal Melbourne Institute of Technology. The talk between Jan Svenungsson and the German ethnologist Karl-Heinz Kohl will focus both on the artist’s interest in Aboriginal art and the interdependence of this art and the history of British colonialism in Australia. A further theme will be the current globalisation processes in contemporary art that have rendered the art of indigenous peoples increasingly visible. Karl-Heinz Kohl will also address the totemistic meanings of certain abstract figures that have been kept secret in the traditional or religious art of the Aborigines and explain why the objections of traditionalists to their presentation in the public sphere has led to many museums no longer exhibiting traditional Aboriginal art. In addition, Karl-Heinz Kohl will discuss in general the forms in which the cultural traditions of non-European peoples were appropriated by avant-garde European art in the early twentieth century that have now entered global contemporary art.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4385ed07b76eaded1b6c1bd1eacd4f75" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65407189,"asset_id":44890015,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65407189/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44890015"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44890015"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44890015; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44890015]").text(description); $(".js-view-count[data-work-id=44890015]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44890015; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44890015']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44890015, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4385ed07b76eaded1b6c1bd1eacd4f75" } } $('.js-work-strip[data-work-id=44890015]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44890015,"title":"Post-colonial Constellations in Contemporary Art","translated_title":"","metadata":{"abstract":"New cartographies of contemporary art are increasingly including the art productions of indigenous artists, which until a few decades ago were considered uniform and aesthetically negligible and utilised primarily to posit cultural differences. In today’s art market the works of indigenous artists fetch top prices and are on display in contemporary art collections all over the world. Particularly the Aboriginal art made by Australia’s indigenous peoples has received a great deal of attention since the late 1970s. Aboriginal art has been produced for over 40,000 years and some of the contemporary works are held to be the most important Australian art of the twentieth century. The Swedish artist Jan Svenungsson first encountered Aboriginal art when he visited Australia for the first time in 1998. Ten years later he returned, and with A Place on Earth (Papunya) created one of his largest works to date for the gallery of the Royal Melbourne Institute of Technology. The talk between Jan Svenungsson and the German ethnologist Karl-Heinz Kohl will focus both on the artist’s interest in Aboriginal art and the interdependence of this art and the history of British colonialism in Australia. 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Karl-Heinz Kohl will also address the totemistic meanings of certain abstract figures that have been kept secret in the traditional or religious art of the Aborigines and explain why the objections of traditionalists to their presentation in the public sphere has led to many museums no longer exhibiting traditional Aboriginal art. In addition, Karl-Heinz Kohl will discuss in general the forms in which the cultural traditions of non-European peoples were appropriated by avant-garde European art in the early twentieth century that have now entered global contemporary art.\n\n","internal_url":"https://www.academia.edu/44890015/Post_colonial_Constellations_in_Contemporary_Art","translated_internal_url":"","created_at":"2021-01-12T08:49:14.736-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[],"downloadable_attachments":[{"id":65407189,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65407189/thumbnails/1.jpg","file_name":"AIL_Talk_2017.pdf","download_url":"https://www.academia.edu/attachments/65407189/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Post_colonial_Constellations_in_Contempo.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65407189/AIL_Talk_2017-libre.pdf?1610474565=\u0026response-content-disposition=attachment%3B+filename%3DPost_colonial_Constellations_in_Contempo.pdf\u0026Expires=1734021440\u0026Signature=HluRACbH1vxzixtmoJWo2rpfErsQPUMb46-GTJMo8QNVtgZoVGStQwxiqUydwGYRbPwaMdaqkv7dTyBroxQa4MUdKP~Y-zL1IgUI5dDvAWBhrCbloVREuCC2RlmRqiysUKF9WUn7Az8B1Iok6z-KmRqZZq2tplNwwzVhFAYPtUvzqMF5YAJWPLRvKZAVDP~1lgC33TS52BUR7GJopJPTkzHlnXgH5sOn8vZpCUAjRCuitpyM0PFPUGmFd3ctzSinwYGLIZnCowoyCgZtjAL-ELiCDkk9YSshLLiilnTKg26JmEoxA9ARFnHQrZ6S34162KHh5hKAjwQClcVrG4gGMg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Post_colonial_Constellations_in_Contemporary_Art","translated_slug":"","page_count":3,"language":"de","content_type":"Work","summary":"New cartographies of contemporary art are increasingly including the art productions of indigenous artists, which until a few decades ago were considered uniform and aesthetically negligible and utilised primarily to posit cultural differences. 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In addition, Karl-Heinz Kohl will discuss in general the forms in which the cultural traditions of non-European peoples were appropriated by avant-garde European art in the early twentieth century that have now entered global contemporary art.\n\n","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":65407189,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65407189/thumbnails/1.jpg","file_name":"AIL_Talk_2017.pdf","download_url":"https://www.academia.edu/attachments/65407189/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Post_colonial_Constellations_in_Contempo.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65407189/AIL_Talk_2017-libre.pdf?1610474565=\u0026response-content-disposition=attachment%3B+filename%3DPost_colonial_Constellations_in_Contempo.pdf\u0026Expires=1734021440\u0026Signature=HluRACbH1vxzixtmoJWo2rpfErsQPUMb46-GTJMo8QNVtgZoVGStQwxiqUydwGYRbPwaMdaqkv7dTyBroxQa4MUdKP~Y-zL1IgUI5dDvAWBhrCbloVREuCC2RlmRqiysUKF9WUn7Az8B1Iok6z-KmRqZZq2tplNwwzVhFAYPtUvzqMF5YAJWPLRvKZAVDP~1lgC33TS52BUR7GJopJPTkzHlnXgH5sOn8vZpCUAjRCuitpyM0PFPUGmFd3ctzSinwYGLIZnCowoyCgZtjAL-ELiCDkk9YSshLLiilnTKg26JmEoxA9ARFnHQrZ6S34162KHh5hKAjwQClcVrG4gGMg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44833872"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44833872/The_Molecular_Self_The_Artists_Self_portrait_in_the_Age_of_Genome_Editing"><img alt="Research paper thumbnail of The Molecular Self: The Artist's Self-portrait in the Age of Genome Editing" class="work-thumbnail" src="https://attachments.academia-assets.com/65338342/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44833872/The_Molecular_Self_The_Artists_Self_portrait_in_the_Age_of_Genome_Editing">The Molecular Self: The Artist's Self-portrait in the Age of Genome Editing</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">For centuries the art of portraiture concentrated above all on the face, a decisive prerequisite ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">For centuries the art of portraiture concentrated above all on the face, a decisive prerequisite that became a constitutive fact of this genre. The portrait without a face, which appeared with modern art and which we will engage with in our workshop, gave rise to a number of dilemmas for both its creators and its interpreters.<br />The classic self-portrait differs from other types of artistic representation above all in that a relationship between the image of a person and that person’s physical existence was definitely intended. The classic portrait always refers to an existing element of reality in the form of a living person. The relationship of similarity between “original” and “likeness” was already a subject of discussion in antiquity, and stood on the one side for what the genre of the portrait achieved, and on the other constituted the precarious status of this genre. The portrait shows but one side of a person and is an art form oriented on the body, which first and foremost depicts the corporeal reality of a person. In art theory, this fact frequently led to depreciation of the portrait compared to other art genres, as the portrait merely copied, mirrored, and duplicated nature.<br />The same arguments were also advanced in the portrait’s favour, for it is precisely this similarity that asserts presence between original and likeness, and endows the portrait with an effect that other art genres cannot achieve. It is similarity that, beyond the dialectic of presence and absence, is able to transform actual absence into the fiction of familiar and authentic presence of reality. For a very long time the portrait was closely tied to concepts of “reality” and “truth”, and this established the special status of the portrait. From this commitment to veracity developed the special authority of the portrait and its creator, the artist. The portrait, which not only represented a likeness of the sitter but also showed a true image of the sitter’s self; a portrait that — particularly in the case of a self-portrait of the artist — is more like than the artist’s own face. In the age of modern art, however, the representability of an individual person increasingly came under scrutiny and was recontextualised. It is against this historical framework that the workshop will engage with contemporary artistic strategies, which, in the age of genome sequencing and genome editing, interrogate new concepts of the self.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e5e3bd4fd37865dc6dd6077094491a08" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65338342,"asset_id":44833872,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65338342/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44833872"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44833872"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44833872; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44833872]").text(description); $(".js-view-count[data-work-id=44833872]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44833872; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44833872']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44833872, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e5e3bd4fd37865dc6dd6077094491a08" } } $('.js-work-strip[data-work-id=44833872]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44833872,"title":"The Molecular Self: The Artist's Self-portrait in the Age of Genome Editing","translated_title":"","metadata":{"abstract":"For centuries the art of portraiture concentrated above all on the face, a decisive prerequisite that became a constitutive fact of this genre. The portrait without a face, which appeared with modern art and which we will engage with in our workshop, gave rise to a number of dilemmas for both its creators and its interpreters.\nThe classic self-portrait differs from other types of artistic representation above all in that a relationship between the image of a person and that person’s physical existence was definitely intended. The classic portrait always refers to an existing element of reality in the form of a living person. The relationship of similarity between “original” and “likeness” was already a subject of discussion in antiquity, and stood on the one side for what the genre of the portrait achieved, and on the other constituted the precarious status of this genre. The portrait shows but one side of a person and is an art form oriented on the body, which first and foremost depicts the corporeal reality of a person. In art theory, this fact frequently led to depreciation of the portrait compared to other art genres, as the portrait merely copied, mirrored, and duplicated nature.\nThe same arguments were also advanced in the portrait’s favour, for it is precisely this similarity that asserts presence between original and likeness, and endows the portrait with an effect that other art genres cannot achieve. It is similarity that, beyond the dialectic of presence and absence, is able to transform actual absence into the fiction of familiar and authentic presence of reality. For a very long time the portrait was closely tied to concepts of “reality” and “truth”, and this established the special status of the portrait. From this commitment to veracity developed the special authority of the portrait and its creator, the artist. The portrait, which not only represented a likeness of the sitter but also showed a true image of the sitter’s self; a portrait that — particularly in the case of a self-portrait of the artist — is more like than the artist’s own face. In the age of modern art, however, the representability of an individual person increasingly came under scrutiny and was recontextualised. It is against this historical framework that the workshop will engage with contemporary artistic strategies, which, in the age of genome sequencing and genome editing, interrogate new concepts of the self.","publication_date":{"day":null,"month":null,"year":2018,"errors":{}}},"translated_abstract":"For centuries the art of portraiture concentrated above all on the face, a decisive prerequisite that became a constitutive fact of this genre. The portrait without a face, which appeared with modern art and which we will engage with in our workshop, gave rise to a number of dilemmas for both its creators and its interpreters.\nThe classic self-portrait differs from other types of artistic representation above all in that a relationship between the image of a person and that person’s physical existence was definitely intended. The classic portrait always refers to an existing element of reality in the form of a living person. The relationship of similarity between “original” and “likeness” was already a subject of discussion in antiquity, and stood on the one side for what the genre of the portrait achieved, and on the other constituted the precarious status of this genre. The portrait shows but one side of a person and is an art form oriented on the body, which first and foremost depicts the corporeal reality of a person. In art theory, this fact frequently led to depreciation of the portrait compared to other art genres, as the portrait merely copied, mirrored, and duplicated nature.\nThe same arguments were also advanced in the portrait’s favour, for it is precisely this similarity that asserts presence between original and likeness, and endows the portrait with an effect that other art genres cannot achieve. It is similarity that, beyond the dialectic of presence and absence, is able to transform actual absence into the fiction of familiar and authentic presence of reality. For a very long time the portrait was closely tied to concepts of “reality” and “truth”, and this established the special status of the portrait. From this commitment to veracity developed the special authority of the portrait and its creator, the artist. The portrait, which not only represented a likeness of the sitter but also showed a true image of the sitter’s self; a portrait that — particularly in the case of a self-portrait of the artist — is more like than the artist’s own face. In the age of modern art, however, the representability of an individual person increasingly came under scrutiny and was recontextualised. It is against this historical framework that the workshop will engage with contemporary artistic strategies, which, in the age of genome sequencing and genome editing, interrogate new concepts of the self.","internal_url":"https://www.academia.edu/44833872/The_Molecular_Self_The_Artists_Self_portrait_in_the_Age_of_Genome_Editing","translated_internal_url":"","created_at":"2021-01-04T11:19:43.970-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[],"downloadable_attachments":[{"id":65338342,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65338342/thumbnails/1.jpg","file_name":"Reader_Workshop_.pdf","download_url":"https://www.academia.edu/attachments/65338342/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"The_Molecular_Self_The_Artists_Self_port.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65338342/Reader_Workshop_-libre.pdf?1609793107=\u0026response-content-disposition=attachment%3B+filename%3DThe_Molecular_Self_The_Artists_Self_port.pdf\u0026Expires=1734021440\u0026Signature=UQayo0akt-wtMEPJra0jkwC9A~2~wJ49ZBUZtxuUlAva~fycG6C-vwwExx-YixOZi2miCyblvnWHwDFJYGN3SxRaGZR~cCi1TpzHbXZoHU21JC5DzDel5xwbXPOMiuuMUofbWw9TdQPqj2BWN6Lq6CR0hREu8TLOF5c11k35rWZvO7MzbRM59FeByMyzyxnlv7ORLVnW8Sfsjkqq-xt5pGrlEBbHXRjTS3Z2Bw6qaLpogSiPOTU5Sjvmhwbx-HM8xdCYsxw~bYESPnLa5p1bgvibK62ZnFP7-X8Ho3HEiOQY0jlLzgiUFpmAGjn60KAIzQUTUgPdnLlyf7eeeWdRGg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"The_Molecular_Self_The_Artists_Self_portrait_in_the_Age_of_Genome_Editing","translated_slug":"","page_count":4,"language":"en","content_type":"Work","summary":"For centuries the art of portraiture concentrated above all on the face, a decisive prerequisite that became a constitutive fact of this genre. The portrait without a face, which appeared with modern art and which we will engage with in our workshop, gave rise to a number of dilemmas for both its creators and its interpreters.\nThe classic self-portrait differs from other types of artistic representation above all in that a relationship between the image of a person and that person’s physical existence was definitely intended. The classic portrait always refers to an existing element of reality in the form of a living person. The relationship of similarity between “original” and “likeness” was already a subject of discussion in antiquity, and stood on the one side for what the genre of the portrait achieved, and on the other constituted the precarious status of this genre. The portrait shows but one side of a person and is an art form oriented on the body, which first and foremost depicts the corporeal reality of a person. In art theory, this fact frequently led to depreciation of the portrait compared to other art genres, as the portrait merely copied, mirrored, and duplicated nature.\nThe same arguments were also advanced in the portrait’s favour, for it is precisely this similarity that asserts presence between original and likeness, and endows the portrait with an effect that other art genres cannot achieve. It is similarity that, beyond the dialectic of presence and absence, is able to transform actual absence into the fiction of familiar and authentic presence of reality. For a very long time the portrait was closely tied to concepts of “reality” and “truth”, and this established the special status of the portrait. From this commitment to veracity developed the special authority of the portrait and its creator, the artist. The portrait, which not only represented a likeness of the sitter but also showed a true image of the sitter’s self; a portrait that — particularly in the case of a self-portrait of the artist — is more like than the artist’s own face. In the age of modern art, however, the representability of an individual person increasingly came under scrutiny and was recontextualised. It is against this historical framework that the workshop will engage with contemporary artistic strategies, which, in the age of genome sequencing and genome editing, interrogate new concepts of the self.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":65338342,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65338342/thumbnails/1.jpg","file_name":"Reader_Workshop_.pdf","download_url":"https://www.academia.edu/attachments/65338342/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"The_Molecular_Self_The_Artists_Self_port.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65338342/Reader_Workshop_-libre.pdf?1609793107=\u0026response-content-disposition=attachment%3B+filename%3DThe_Molecular_Self_The_Artists_Self_port.pdf\u0026Expires=1734021440\u0026Signature=UQayo0akt-wtMEPJra0jkwC9A~2~wJ49ZBUZtxuUlAva~fycG6C-vwwExx-YixOZi2miCyblvnWHwDFJYGN3SxRaGZR~cCi1TpzHbXZoHU21JC5DzDel5xwbXPOMiuuMUofbWw9TdQPqj2BWN6Lq6CR0hREu8TLOF5c11k35rWZvO7MzbRM59FeByMyzyxnlv7ORLVnW8Sfsjkqq-xt5pGrlEBbHXRjTS3Z2Bw6qaLpogSiPOTU5Sjvmhwbx-HM8xdCYsxw~bYESPnLa5p1bgvibK62ZnFP7-X8Ho3HEiOQY0jlLzgiUFpmAGjn60KAIzQUTUgPdnLlyf7eeeWdRGg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"},{"id":5398,"name":"Biotechnology","url":"https://www.academia.edu/Documents/in/Biotechnology"},{"id":8911,"name":"Bioart","url":"https://www.academia.edu/Documents/in/Bioart"},{"id":54424,"name":"science and technology studies (STS)","url":"https://www.academia.edu/Documents/in/science_and_technology_studies_STS_"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44833680"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44833680/Art_Science_and_Philosophy"><img alt="Research paper thumbnail of Art, Science, and Philosophy" class="work-thumbnail" src="https://attachments.academia-assets.com/65338085/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44833680/Art_Science_and_Philosophy">Art, Science, and Philosophy</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The workshop „Art, Science, and Philosophy” will bring together philosophers, artists and scienti...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The workshop „Art, Science, and Philosophy” will bring together philosophers, artists and scientists to rethink the concept of art and the concept of nature and „human nature“ in the age of technoscience, where the biological sciences become the new technological frontier. The workshop and the Angewandte Innovation Laboratory Talk of the Mexican philosopher María Antonia González Valerio is part of the re- search collaboration “Question about the Limits: Art, Science, and Philosophy” between the Department of Media Theory, University of Applied Arts Vienna, and the Faculty of Philosophy and Literature, Na- tional Autonomous University of México, Mexico City.<br />The collaboration project aims to initiate and develop a debate about the relationship of ontology and aesthetics in the age of technoscience from the perspectives of art, science, and philosophy: During the twentieth century science and technology acquired a dominant role in redefining the concept of life. Tech- nology-driven science and research rendered the basic physical and functional unit of heredity, the gene, accessible to human manipulation, thus turning biology into technology. The genetic code and computer code became interchangeable, opening up new possible constellations for designing the biological sphere. Simultaneously we saw big shifts in the developments of the sciences in the least two decades, when fun- damental principles and ways of doing science and research in the field of biotechnology began to erode, like the reproducibility of experimental settings. Today research processes are getting more and more out- sourced, away from the laboratories of scientific institution to new start-ups, turning the research process into a black box for the scientist involved. On the other hand we see with the growing DIY movement cutting-edge technologies getting into the hands on non-professionals, and new genome editing techno- logies like CRISPR cheap and easy to use revolutionizing the question about the ontology of life.<br />This ground-breaking development went unnoticed in the art world: it was not until the 1990s that artists began to make increased use advanced technology to explore and create new art forms, such as digital art or bioart. Science-based art emerged, enhancing progressive encounters with science and technology and shifting the terrain of art towards cutting-edge technologies and the technosciences. With the rise of bioart, a variety of new materials, such as DNA, bacteria, cells, tissue cultures, and transgenic organisms, entered the art world as a means of artistic expression. Obviously, this also made it necessary for artists to get acquainted with new epistemologies and a new logic of producing reality within the techno-scientific re-<br />gime. By bringing their artistic endeavour with cutting-edge technology to the public’s attention, science- based art has provoked greater reflection on the limits of manipulating and/or creating life with biotech- nology, highlighting the new genome editing technologies like CRISPR and new approaches in the field of synthetic biology. Therefore, it is high time to shed some light on the relationship of ontology and aes- thetics in the age of technoscience by focusing on the production of art that is related to techno-science; not only because of the technologies it uses — and recently also biotechnologies — but most importantly because from this relationship a model emerges which is fruitful for understanding and interpreting reality. Therefore, the question “What is art?” needs to be posed in the light of an ontology that deals with tech- noscience and the production of reality within biotechnologies. The philosopher Maria Antonia Gonzalez Valerio will frame the workshop with her introduction and investigation about the revival and reappraisal of natural philosophy in the light of biotechnology. Her approach, which she calls “the ontology of immanence” engages above all with predominant traditions that seek to answer the question as to the essence of nature and its relationality either with reference to language or to history. In the twentieth century these lines of thought have resulted in nature being subsumed under culture, and this is why it has repeatedly been deemed necessary to try to close off and dislocate parts of nature. In recent decades the remnants of nature left over from the grasp of culture have tended to be made over to philosophical anthropology, which does not offer any solution to the philosophical issues involved. A revival and renewal of natural philosophy must engage with the recent findings of the technosciences and biotechnology and relate them theoretically to the novel aesthetic ontologies that now seek to interpret the world of sensate organisms (plants and animals including humans).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1a35709ff3d06649454c9519bf070eef" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65338085,"asset_id":44833680,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65338085/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44833680"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44833680"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44833680; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44833680]").text(description); $(".js-view-count[data-work-id=44833680]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44833680; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44833680']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44833680, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1a35709ff3d06649454c9519bf070eef" } } $('.js-work-strip[data-work-id=44833680]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44833680,"title":"Art, Science, and Philosophy","translated_title":"","metadata":{"abstract":"The workshop „Art, Science, and Philosophy” will bring together philosophers, artists and scientists to rethink the concept of art and the concept of nature and „human nature“ in the age of technoscience, where the biological sciences become the new technological frontier. The workshop and the Angewandte Innovation Laboratory Talk of the Mexican philosopher María Antonia González Valerio is part of the re- search collaboration “Question about the Limits: Art, Science, and Philosophy” between the Department of Media Theory, University of Applied Arts Vienna, and the Faculty of Philosophy and Literature, Na- tional Autonomous University of México, Mexico City.\nThe collaboration project aims to initiate and develop a debate about the relationship of ontology and aesthetics in the age of technoscience from the perspectives of art, science, and philosophy: During the twentieth century science and technology acquired a dominant role in redefining the concept of life. Tech- nology-driven science and research rendered the basic physical and functional unit of heredity, the gene, accessible to human manipulation, thus turning biology into technology. The genetic code and computer code became interchangeable, opening up new possible constellations for designing the biological sphere. Simultaneously we saw big shifts in the developments of the sciences in the least two decades, when fun- damental principles and ways of doing science and research in the field of biotechnology began to erode, like the reproducibility of experimental settings. Today research processes are getting more and more out- sourced, away from the laboratories of scientific institution to new start-ups, turning the research process into a black box for the scientist involved. On the other hand we see with the growing DIY movement cutting-edge technologies getting into the hands on non-professionals, and new genome editing techno- logies like CRISPR cheap and easy to use revolutionizing the question about the ontology of life.\nThis ground-breaking development went unnoticed in the art world: it was not until the 1990s that artists began to make increased use advanced technology to explore and create new art forms, such as digital art or bioart. Science-based art emerged, enhancing progressive encounters with science and technology and shifting the terrain of art towards cutting-edge technologies and the technosciences. With the rise of bioart, a variety of new materials, such as DNA, bacteria, cells, tissue cultures, and transgenic organisms, entered the art world as a means of artistic expression. Obviously, this also made it necessary for artists to get acquainted with new epistemologies and a new logic of producing reality within the techno-scientific re-\ngime. By bringing their artistic endeavour with cutting-edge technology to the public’s attention, science- based art has provoked greater reflection on the limits of manipulating and/or creating life with biotech- nology, highlighting the new genome editing technologies like CRISPR and new approaches in the field of synthetic biology. Therefore, it is high time to shed some light on the relationship of ontology and aes- thetics in the age of technoscience by focusing on the production of art that is related to techno-science; not only because of the technologies it uses — and recently also biotechnologies — but most importantly because from this relationship a model emerges which is fruitful for understanding and interpreting reality. Therefore, the question “What is art?” needs to be posed in the light of an ontology that deals with tech- noscience and the production of reality within biotechnologies. The philosopher Maria Antonia Gonzalez Valerio will frame the workshop with her introduction and investigation about the revival and reappraisal of natural philosophy in the light of biotechnology. Her approach, which she calls “the ontology of immanence” engages above all with predominant traditions that seek to answer the question as to the essence of nature and its relationality either with reference to language or to history. In the twentieth century these lines of thought have resulted in nature being subsumed under culture, and this is why it has repeatedly been deemed necessary to try to close off and dislocate parts of nature. In recent decades the remnants of nature left over from the grasp of culture have tended to be made over to philosophical anthropology, which does not offer any solution to the philosophical issues involved. A revival and renewal of natural philosophy must engage with the recent findings of the technosciences and biotechnology and relate them theoretically to the novel aesthetic ontologies that now seek to interpret the world of sensate organisms (plants and animals including humans).\n","ai_title_tag":"Exploring Art and Ontology in the Age of Technoscience","publication_date":{"day":null,"month":null,"year":2016,"errors":{}}},"translated_abstract":"The workshop „Art, Science, and Philosophy” will bring together philosophers, artists and scientists to rethink the concept of art and the concept of nature and „human nature“ in the age of technoscience, where the biological sciences become the new technological frontier. The workshop and the Angewandte Innovation Laboratory Talk of the Mexican philosopher María Antonia González Valerio is part of the re- search collaboration “Question about the Limits: Art, Science, and Philosophy” between the Department of Media Theory, University of Applied Arts Vienna, and the Faculty of Philosophy and Literature, Na- tional Autonomous University of México, Mexico City.\nThe collaboration project aims to initiate and develop a debate about the relationship of ontology and aesthetics in the age of technoscience from the perspectives of art, science, and philosophy: During the twentieth century science and technology acquired a dominant role in redefining the concept of life. Tech- nology-driven science and research rendered the basic physical and functional unit of heredity, the gene, accessible to human manipulation, thus turning biology into technology. The genetic code and computer code became interchangeable, opening up new possible constellations for designing the biological sphere. Simultaneously we saw big shifts in the developments of the sciences in the least two decades, when fun- damental principles and ways of doing science and research in the field of biotechnology began to erode, like the reproducibility of experimental settings. Today research processes are getting more and more out- sourced, away from the laboratories of scientific institution to new start-ups, turning the research process into a black box for the scientist involved. On the other hand we see with the growing DIY movement cutting-edge technologies getting into the hands on non-professionals, and new genome editing techno- logies like CRISPR cheap and easy to use revolutionizing the question about the ontology of life.\nThis ground-breaking development went unnoticed in the art world: it was not until the 1990s that artists began to make increased use advanced technology to explore and create new art forms, such as digital art or bioart. Science-based art emerged, enhancing progressive encounters with science and technology and shifting the terrain of art towards cutting-edge technologies and the technosciences. With the rise of bioart, a variety of new materials, such as DNA, bacteria, cells, tissue cultures, and transgenic organisms, entered the art world as a means of artistic expression. Obviously, this also made it necessary for artists to get acquainted with new epistemologies and a new logic of producing reality within the techno-scientific re-\ngime. By bringing their artistic endeavour with cutting-edge technology to the public’s attention, science- based art has provoked greater reflection on the limits of manipulating and/or creating life with biotech- nology, highlighting the new genome editing technologies like CRISPR and new approaches in the field of synthetic biology. Therefore, it is high time to shed some light on the relationship of ontology and aes- thetics in the age of technoscience by focusing on the production of art that is related to techno-science; not only because of the technologies it uses — and recently also biotechnologies — but most importantly because from this relationship a model emerges which is fruitful for understanding and interpreting reality. Therefore, the question “What is art?” needs to be posed in the light of an ontology that deals with tech- noscience and the production of reality within biotechnologies. The philosopher Maria Antonia Gonzalez Valerio will frame the workshop with her introduction and investigation about the revival and reappraisal of natural philosophy in the light of biotechnology. Her approach, which she calls “the ontology of immanence” engages above all with predominant traditions that seek to answer the question as to the essence of nature and its relationality either with reference to language or to history. In the twentieth century these lines of thought have resulted in nature being subsumed under culture, and this is why it has repeatedly been deemed necessary to try to close off and dislocate parts of nature. In recent decades the remnants of nature left over from the grasp of culture have tended to be made over to philosophical anthropology, which does not offer any solution to the philosophical issues involved. A revival and renewal of natural philosophy must engage with the recent findings of the technosciences and biotechnology and relate them theoretically to the novel aesthetic ontologies that now seek to interpret the world of sensate organisms (plants and animals including humans).\n","internal_url":"https://www.academia.edu/44833680/Art_Science_and_Philosophy","translated_internal_url":"","created_at":"2021-01-04T10:51:01.165-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[],"downloadable_attachments":[{"id":65338085,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65338085/thumbnails/1.jpg","file_name":"Reader_Workshop_2016.pdf","download_url":"https://www.academia.edu/attachments/65338085/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Art_Science_and_Philosophy.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65338085/Reader_Workshop_2016-libre.pdf?1609793138=\u0026response-content-disposition=attachment%3B+filename%3DArt_Science_and_Philosophy.pdf\u0026Expires=1733962295\u0026Signature=H9QzNJYg3dC7MiipWWeeq0B2pU6-F7EVH9VDWv~o5HlJBKRVA~nFVzqLXD4zjoMbvIdLBsuR0Y5uf~6nhcHpMJCxt9cjlaj-8D-tlxaym5DtPDLH~V8a9-8aCbDXgSDiQYsS2s-WvJ19nGElYHB0b5SyHY1F6yc~kDffjoZlr7aboeCUtC1EBY0m9u-GOS-qRcRKTGv5ABhGqwabDyovsF12a4kj7tpptBnB-XpA8GVgE60je8pE0SsbUdNynOPHGW1t0vZlhNPYS2iwZHiIfQn0ysKfUHeifkTXeoFjbIgF3YvBi9KGB4PmkUkcsP7nRVGjMmqYeGEyW8JZbaXvnA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Art_Science_and_Philosophy","translated_slug":"","page_count":5,"language":"en","content_type":"Work","summary":"The workshop „Art, Science, and Philosophy” will bring together philosophers, artists and scientists to rethink the concept of art and the concept of nature and „human nature“ in the age of technoscience, where the biological sciences become the new technological frontier. The workshop and the Angewandte Innovation Laboratory Talk of the Mexican philosopher María Antonia González Valerio is part of the re- search collaboration “Question about the Limits: Art, Science, and Philosophy” between the Department of Media Theory, University of Applied Arts Vienna, and the Faculty of Philosophy and Literature, Na- tional Autonomous University of México, Mexico City.\nThe collaboration project aims to initiate and develop a debate about the relationship of ontology and aesthetics in the age of technoscience from the perspectives of art, science, and philosophy: During the twentieth century science and technology acquired a dominant role in redefining the concept of life. Tech- nology-driven science and research rendered the basic physical and functional unit of heredity, the gene, accessible to human manipulation, thus turning biology into technology. The genetic code and computer code became interchangeable, opening up new possible constellations for designing the biological sphere. Simultaneously we saw big shifts in the developments of the sciences in the least two decades, when fun- damental principles and ways of doing science and research in the field of biotechnology began to erode, like the reproducibility of experimental settings. Today research processes are getting more and more out- sourced, away from the laboratories of scientific institution to new start-ups, turning the research process into a black box for the scientist involved. On the other hand we see with the growing DIY movement cutting-edge technologies getting into the hands on non-professionals, and new genome editing techno- logies like CRISPR cheap and easy to use revolutionizing the question about the ontology of life.\nThis ground-breaking development went unnoticed in the art world: it was not until the 1990s that artists began to make increased use advanced technology to explore and create new art forms, such as digital art or bioart. Science-based art emerged, enhancing progressive encounters with science and technology and shifting the terrain of art towards cutting-edge technologies and the technosciences. With the rise of bioart, a variety of new materials, such as DNA, bacteria, cells, tissue cultures, and transgenic organisms, entered the art world as a means of artistic expression. Obviously, this also made it necessary for artists to get acquainted with new epistemologies and a new logic of producing reality within the techno-scientific re-\ngime. By bringing their artistic endeavour with cutting-edge technology to the public’s attention, science- based art has provoked greater reflection on the limits of manipulating and/or creating life with biotech- nology, highlighting the new genome editing technologies like CRISPR and new approaches in the field of synthetic biology. Therefore, it is high time to shed some light on the relationship of ontology and aes- thetics in the age of technoscience by focusing on the production of art that is related to techno-science; not only because of the technologies it uses — and recently also biotechnologies — but most importantly because from this relationship a model emerges which is fruitful for understanding and interpreting reality. Therefore, the question “What is art?” needs to be posed in the light of an ontology that deals with tech- noscience and the production of reality within biotechnologies. The philosopher Maria Antonia Gonzalez Valerio will frame the workshop with her introduction and investigation about the revival and reappraisal of natural philosophy in the light of biotechnology. Her approach, which she calls “the ontology of immanence” engages above all with predominant traditions that seek to answer the question as to the essence of nature and its relationality either with reference to language or to history. In the twentieth century these lines of thought have resulted in nature being subsumed under culture, and this is why it has repeatedly been deemed necessary to try to close off and dislocate parts of nature. In recent decades the remnants of nature left over from the grasp of culture have tended to be made over to philosophical anthropology, which does not offer any solution to the philosophical issues involved. A revival and renewal of natural philosophy must engage with the recent findings of the technosciences and biotechnology and relate them theoretically to the novel aesthetic ontologies that now seek to interpret the world of sensate organisms (plants and animals including humans).\n","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":65338085,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65338085/thumbnails/1.jpg","file_name":"Reader_Workshop_2016.pdf","download_url":"https://www.academia.edu/attachments/65338085/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Art_Science_and_Philosophy.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65338085/Reader_Workshop_2016-libre.pdf?1609793138=\u0026response-content-disposition=attachment%3B+filename%3DArt_Science_and_Philosophy.pdf\u0026Expires=1733962295\u0026Signature=H9QzNJYg3dC7MiipWWeeq0B2pU6-F7EVH9VDWv~o5HlJBKRVA~nFVzqLXD4zjoMbvIdLBsuR0Y5uf~6nhcHpMJCxt9cjlaj-8D-tlxaym5DtPDLH~V8a9-8aCbDXgSDiQYsS2s-WvJ19nGElYHB0b5SyHY1F6yc~kDffjoZlr7aboeCUtC1EBY0m9u-GOS-qRcRKTGv5ABhGqwabDyovsF12a4kj7tpptBnB-XpA8GVgE60je8pE0SsbUdNynOPHGW1t0vZlhNPYS2iwZHiIfQn0ysKfUHeifkTXeoFjbIgF3YvBi9KGB4PmkUkcsP7nRVGjMmqYeGEyW8JZbaXvnA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory"},{"id":5960,"name":"Continental Philosophy","url":"https://www.academia.edu/Documents/in/Continental_Philosophy"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44833661"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44833661/Fluid_Visualisation_and_Sound_Matters_Bridging_Art_Science_and_Visualisation"><img alt="Research paper thumbnail of Fluid Visualisation and Sound Matters: Bridging Art, Science, and Visualisation" class="work-thumbnail" src="https://attachments.academia-assets.com/65338061/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44833661/Fluid_Visualisation_and_Sound_Matters_Bridging_Art_Science_and_Visualisation">Fluid Visualisation and Sound Matters: Bridging Art, Science, and Visualisation</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The symposium will bring together artists, scientists, and experts working in the field of scient...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The symposium will bring together artists, scientists, and experts working in the field of scientific visua- lisation and visual effects to develop a cross-disciplinary understanding of how art and science contribute to raising awareness of the current massive ecological crisis of marine ecologies and identify a suitable epist- emological framing for this global challenge. Overfishing, pollution, acidification, and rising temperatures due to climate change are the main factors that have been putting tremendous stress on marine ecologies for decades. The oceans cover up to 70% of the Earth’s surface, 97% of the world’s water is saltwater, 2% is fresh water in the form of ice, and the remaining 1% is drinking water.<br /><br />With plastics and plasticisers as well as noise pollution in the oceans, we now have relatively new, emerging phenomena that defy the regulatory definitions of pollution. Accurate definitions are lacking also because modern waste, like plastic pollution, is fundamentally different from its predecessors. The sciences involved in tracking, analysing, and understanding the ecological crisis of marine ecologies face severe epistemolo- gical problems, because the methods used hitherto are failing: The emerging phenomena are both novel and occurring on an unprecedented global scale. The entire extent to which plastics and plasticisers are floating in the oceans and seas is not visible to the naked eye because a great deal floats below the surface in the form of microparticles. Plastics are not biodegradable, but they are gradually broken down into smaller and smaller particles in the ocean through wave action and intense irradiation from sunlight. Ma- rine organisms confuse these microplastics with plankton; this means that plastics (and the toxins they contain) are increasingly entering the food chain, irretrievably and irreversibly. Around 70 % of plastic waste deposited in the oceans sinks to the sea floor, but in 1997 scientists observed for the first time that an enormous amount of tiny plastic particles were collecting on the surface of the water in the vortexes of ocean currents, also known as gyres. The discovery of the so-called Great Pacific Garbage Patch made it clear that millions of tons of plastic garbage are drifting in the oceans. Since the discovery of high concen- trations of microplastics in other gyres as well, it can no longer be denied that a new ecosystem has emerged in which artificial and natural aspects are inseparably connected.<br />The symposium will provide a spectrum of artists’ responses to the current transformation of our oceans at the dawning of the Plasticene age, where our oceans are turned into a plastisphere, a human-made system in which the natural and the artificial are no longer distinguishable and speculative biologies evolve. Col- laborative projects will be presented that identify unnatural noise in the oceans as a further environmental issue, especially the effect of noise on microscopic organisms such as plankton, for example. Noise Aquarium — a project which seeks to raise attention about the current loss of marine biodiversity introduces a col- lection of accurate 3D models as a resource for scientific and artistic research. Another artistic project Aquatocene — Subaquatic Quest for Serenity will present the efforts to make recordings using hydrophones in different locations around the globe. Underwater noise has an impact on a great number of marine life forms, which depend on the sub-aquatic sonic environment to survive. Despite the availability of popular aquatic sounds, there is hardly any awareness that the underwater soundscape is as rich as the one heard by terrestrial creatures above water.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9e33bd68a6971d5dd407bf1dab8feb9f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65338061,"asset_id":44833661,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65338061/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44833661"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44833661"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44833661; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44833661]").text(description); $(".js-view-count[data-work-id=44833661]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44833661; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44833661']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44833661, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9e33bd68a6971d5dd407bf1dab8feb9f" } } $('.js-work-strip[data-work-id=44833661]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44833661,"title":"Fluid Visualisation and Sound Matters: Bridging Art, Science, and Visualisation","translated_title":"","metadata":{"abstract":"The symposium will bring together artists, scientists, and experts working in the field of scientific visua- lisation and visual effects to develop a cross-disciplinary understanding of how art and science contribute to raising awareness of the current massive ecological crisis of marine ecologies and identify a suitable epist- emological framing for this global challenge. Overfishing, pollution, acidification, and rising temperatures due to climate change are the main factors that have been putting tremendous stress on marine ecologies for decades. The oceans cover up to 70% of the Earth’s surface, 97% of the world’s water is saltwater, 2% is fresh water in the form of ice, and the remaining 1% is drinking water.\n\nWith plastics and plasticisers as well as noise pollution in the oceans, we now have relatively new, emerging phenomena that defy the regulatory definitions of pollution. Accurate definitions are lacking also because modern waste, like plastic pollution, is fundamentally different from its predecessors. The sciences involved in tracking, analysing, and understanding the ecological crisis of marine ecologies face severe epistemolo- gical problems, because the methods used hitherto are failing: The emerging phenomena are both novel and occurring on an unprecedented global scale. The entire extent to which plastics and plasticisers are floating in the oceans and seas is not visible to the naked eye because a great deal floats below the surface in the form of microparticles. Plastics are not biodegradable, but they are gradually broken down into smaller and smaller particles in the ocean through wave action and intense irradiation from sunlight. Ma- rine organisms confuse these microplastics with plankton; this means that plastics (and the toxins they contain) are increasingly entering the food chain, irretrievably and irreversibly. Around 70 % of plastic waste deposited in the oceans sinks to the sea floor, but in 1997 scientists observed for the first time that an enormous amount of tiny plastic particles were collecting on the surface of the water in the vortexes of ocean currents, also known as gyres. The discovery of the so-called Great Pacific Garbage Patch made it clear that millions of tons of plastic garbage are drifting in the oceans. Since the discovery of high concen- trations of microplastics in other gyres as well, it can no longer be denied that a new ecosystem has emerged in which artificial and natural aspects are inseparably connected.\nThe symposium will provide a spectrum of artists’ responses to the current transformation of our oceans at the dawning of the Plasticene age, where our oceans are turned into a plastisphere, a human-made system in which the natural and the artificial are no longer distinguishable and speculative biologies evolve. Col- laborative projects will be presented that identify unnatural noise in the oceans as a further environmental issue, especially the effect of noise on microscopic organisms such as plankton, for example. Noise Aquarium — a project which seeks to raise attention about the current loss of marine biodiversity introduces a col- lection of accurate 3D models as a resource for scientific and artistic research. Another artistic project Aquatocene — Subaquatic Quest for Serenity will present the efforts to make recordings using hydrophones in different locations around the globe. Underwater noise has an impact on a great number of marine life forms, which depend on the sub-aquatic sonic environment to survive. Despite the availability of popular aquatic sounds, there is hardly any awareness that the underwater soundscape is as rich as the one heard by terrestrial creatures above water.","publication_date":{"day":null,"month":null,"year":2017,"errors":{}}},"translated_abstract":"The symposium will bring together artists, scientists, and experts working in the field of scientific visua- lisation and visual effects to develop a cross-disciplinary understanding of how art and science contribute to raising awareness of the current massive ecological crisis of marine ecologies and identify a suitable epist- emological framing for this global challenge. Overfishing, pollution, acidification, and rising temperatures due to climate change are the main factors that have been putting tremendous stress on marine ecologies for decades. The oceans cover up to 70% of the Earth’s surface, 97% of the world’s water is saltwater, 2% is fresh water in the form of ice, and the remaining 1% is drinking water.\n\nWith plastics and plasticisers as well as noise pollution in the oceans, we now have relatively new, emerging phenomena that defy the regulatory definitions of pollution. Accurate definitions are lacking also because modern waste, like plastic pollution, is fundamentally different from its predecessors. The sciences involved in tracking, analysing, and understanding the ecological crisis of marine ecologies face severe epistemolo- gical problems, because the methods used hitherto are failing: The emerging phenomena are both novel and occurring on an unprecedented global scale. The entire extent to which plastics and plasticisers are floating in the oceans and seas is not visible to the naked eye because a great deal floats below the surface in the form of microparticles. Plastics are not biodegradable, but they are gradually broken down into smaller and smaller particles in the ocean through wave action and intense irradiation from sunlight. Ma- rine organisms confuse these microplastics with plankton; this means that plastics (and the toxins they contain) are increasingly entering the food chain, irretrievably and irreversibly. Around 70 % of plastic waste deposited in the oceans sinks to the sea floor, but in 1997 scientists observed for the first time that an enormous amount of tiny plastic particles were collecting on the surface of the water in the vortexes of ocean currents, also known as gyres. The discovery of the so-called Great Pacific Garbage Patch made it clear that millions of tons of plastic garbage are drifting in the oceans. Since the discovery of high concen- trations of microplastics in other gyres as well, it can no longer be denied that a new ecosystem has emerged in which artificial and natural aspects are inseparably connected.\nThe symposium will provide a spectrum of artists’ responses to the current transformation of our oceans at the dawning of the Plasticene age, where our oceans are turned into a plastisphere, a human-made system in which the natural and the artificial are no longer distinguishable and speculative biologies evolve. Col- laborative projects will be presented that identify unnatural noise in the oceans as a further environmental issue, especially the effect of noise on microscopic organisms such as plankton, for example. Noise Aquarium — a project which seeks to raise attention about the current loss of marine biodiversity introduces a col- lection of accurate 3D models as a resource for scientific and artistic research. Another artistic project Aquatocene — Subaquatic Quest for Serenity will present the efforts to make recordings using hydrophones in different locations around the globe. Underwater noise has an impact on a great number of marine life forms, which depend on the sub-aquatic sonic environment to survive. 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The entire extent to which plastics and plasticisers are floating in the oceans and seas is not visible to the naked eye because a great deal floats below the surface in the form of microparticles. Plastics are not biodegradable, but they are gradually broken down into smaller and smaller particles in the ocean through wave action and intense irradiation from sunlight. Ma- rine organisms confuse these microplastics with plankton; this means that plastics (and the toxins they contain) are increasingly entering the food chain, irretrievably and irreversibly. Around 70 % of plastic waste deposited in the oceans sinks to the sea floor, but in 1997 scientists observed for the first time that an enormous amount of tiny plastic particles were collecting on the surface of the water in the vortexes of ocean currents, also known as gyres. The discovery of the so-called Great Pacific Garbage Patch made it clear that millions of tons of plastic garbage are drifting in the oceans. Since the discovery of high concen- trations of microplastics in other gyres as well, it can no longer be denied that a new ecosystem has emerged in which artificial and natural aspects are inseparably connected.\nThe symposium will provide a spectrum of artists’ responses to the current transformation of our oceans at the dawning of the Plasticene age, where our oceans are turned into a plastisphere, a human-made system in which the natural and the artificial are no longer distinguishable and speculative biologies evolve. Col- laborative projects will be presented that identify unnatural noise in the oceans as a further environmental issue, especially the effect of noise on microscopic organisms such as plankton, for example. Noise Aquarium — a project which seeks to raise attention about the current loss of marine biodiversity introduces a col- lection of accurate 3D models as a resource for scientific and artistic research. Another artistic project Aquatocene — Subaquatic Quest for Serenity will present the efforts to make recordings using hydrophones in different locations around the globe. Underwater noise has an impact on a great number of marine life forms, which depend on the sub-aquatic sonic environment to survive. Despite the availability of popular aquatic sounds, there is hardly any awareness that the underwater soundscape is as rich as the one heard by terrestrial creatures above water.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":65338061,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65338061/thumbnails/1.jpg","file_name":"Symposium_Reader_2017.pdf","download_url":"https://www.academia.edu/attachments/65338061/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Fluid_Visualisation_and_Sound_Matters_Br.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65338061/Symposium_Reader_2017-libre.pdf?1609793150=\u0026response-content-disposition=attachment%3B+filename%3DFluid_Visualisation_and_Sound_Matters_Br.pdf\u0026Expires=1733962295\u0026Signature=F~EsiHtiDoHPCUXtHI1SgYGBuYTRSEm4lBkFLd~AgyEJD~Jy6HkWu~VrqEPsBkt8UKfE-1s1FP~TbJ1-Gh1Bj3syg~MVxskbfLVC9GqqHgPsjh70F22uMH7waWuMgukeXVOe0EzZPBISsfVDqy0miQsxUFKAXQTnolFC~YRW5FxMHK0X7hWv604V~kkxX5oDIJxtJKbfyszpgzbhqb~lxYXxIbDAwiEWSTyWsGAPoy~CWBsqiMr~wgj7~2m63D9ddIPx7U8jDdzvrflQagr7eOb~HAQcn0ZgG2h7sxybipYEqs8GDplkKAxaHMU7rDQkvTr~LkORWBZgitR57moSEg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"},{"id":8911,"name":"Bioart","url":"https://www.academia.edu/Documents/in/Bioart"},{"id":54424,"name":"science and technology studies (STS)","url":"https://www.academia.edu/Documents/in/science_and_technology_studies_STS_"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44833488"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44833488/Navigation_in_visuellen_R%C3%A4umen"><img alt="Research paper thumbnail of Navigation in visuellen Räumen" class="work-thumbnail" src="https://attachments.academia-assets.com/65337902/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44833488/Navigation_in_visuellen_R%C3%A4umen">Navigation in visuellen Räumen</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://dieangewandte.academia.edu/IngeborgReichle">Ingeborg Reichle</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/AchimSpelten">Achim Spelten</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://fhnw.academia.edu/ViktorBed%C3%B6">Viktor Bedö</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die Tagung fragt nach Modellen von Navigation, mit denen Räume erschlossen werden. Navigation ers...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Die Tagung fragt nach Modellen von Navigation, mit denen Räume erschlossen werden. Navigation erschöpft sich nicht in Akten passiver Wahrnehmung; sie lässt sich vielmehr als eine kontinuierliche, nur performativ denkbare Gestaltung des Raumes definieren. Im Akt der Navigation überkreuzen sich Aspekte räumlicher Orientierung, medialer Beherrschung und körperbezogener Performanz.<br /><br />Navigation ist eine an Räume gebundene Kulturtechnik, die visuell strukturierte Wissenssysteme generiert. Die hierfür wesentlichen Begriffe Visualisierung, Räumlichkeit und Navigation spannen ein Feld auf, in welchem der sehende und lesende Mensch über Strategien der Konstruktion, Entwicklung und Erfahrung räumlicher Ordnungen verfügen muss. Hierbei gilt es zu reflektieren, wie die physischen und technischen Instrumente dieser visuellen Orientierung beschaffen sind.<br /><br />Mit der zunehmenden Erschließung virtueller, global vernetzter Datenräume haben solche Fragen an Brisanz gewonnen. Die oft beschworenen Utopien eines körperlosen Cyberspace und die hiermit einher gehende Rede von einer restlosen Virtualisierung des Raumes erweisen sich indes als rhetorische Gesten. Wir bewegen uns nicht allein in virtuellen Datenräumen, sondern noch immer auch an konkreten Orten. Sich in solchen konkreten wie virtuellen Räumen zu bewegen heißt, ein vielfältiges Ensemble von Texten und Bildern, Karten, Piktogrammen und nicht zuletzt digitalen Medien als Instrumente der Orientierung zu benutzen.<br /><br />Anlässlich der Tagung soll nach dem Zusammenhang verschiedener Modelle von Navigation im Raum, mit einem Akzent auf zeitgenössischen Medien, gestellt werden. Worin bestehen die Gemeinsamkeiten, worin die Unterschiede von Suchstrategien in geographischen Räumen einerseits und Datenräumen andererseits? Wo durchdringen sich die verschiedenen Strategien navigierender Raumerfahrung? Unter welchen Bedingungen verliert eine solche Unterscheidung ihre Geltung? Wo lassen Prozesse der Navigation die Möglichkeiten visueller Erfahrung hinter sich?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7e304fdf8abffa72f387145bdf46baec" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65337902,"asset_id":44833488,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65337902/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44833488"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44833488"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44833488; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44833488]").text(description); $(".js-view-count[data-work-id=44833488]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44833488; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44833488']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44833488, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7e304fdf8abffa72f387145bdf46baec" } } $('.js-work-strip[data-work-id=44833488]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44833488,"title":"Navigation in visuellen Räumen","translated_title":"","metadata":{"abstract":"Die Tagung fragt nach Modellen von Navigation, mit denen Räume erschlossen werden. Navigation erschöpft sich nicht in Akten passiver Wahrnehmung; sie lässt sich vielmehr als eine kontinuierliche, nur performativ denkbare Gestaltung des Raumes definieren. Im Akt der Navigation überkreuzen sich Aspekte räumlicher Orientierung, medialer Beherrschung und körperbezogener Performanz.\n\nNavigation ist eine an Räume gebundene Kulturtechnik, die visuell strukturierte Wissenssysteme generiert. Die hierfür wesentlichen Begriffe Visualisierung, Räumlichkeit und Navigation spannen ein Feld auf, in welchem der sehende und lesende Mensch über Strategien der Konstruktion, Entwicklung und Erfahrung räumlicher Ordnungen verfügen muss. Hierbei gilt es zu reflektieren, wie die physischen und technischen Instrumente dieser visuellen Orientierung beschaffen sind.\n\nMit der zunehmenden Erschließung virtueller, global vernetzter Datenräume haben solche Fragen an Brisanz gewonnen. Die oft beschworenen Utopien eines körperlosen Cyberspace und die hiermit einher gehende Rede von einer restlosen Virtualisierung des Raumes erweisen sich indes als rhetorische Gesten. Wir bewegen uns nicht allein in virtuellen Datenräumen, sondern noch immer auch an konkreten Orten. Sich in solchen konkreten wie virtuellen Räumen zu bewegen heißt, ein vielfältiges Ensemble von Texten und Bildern, Karten, Piktogrammen und nicht zuletzt digitalen Medien als Instrumente der Orientierung zu benutzen.\n\nAnlässlich der Tagung soll nach dem Zusammenhang verschiedener Modelle von Navigation im Raum, mit einem Akzent auf zeitgenössischen Medien, gestellt werden. Worin bestehen die Gemeinsamkeiten, worin die Unterschiede von Suchstrategien in geographischen Räumen einerseits und Datenräumen andererseits? Wo durchdringen sich die verschiedenen Strategien navigierender Raumerfahrung? Unter welchen Bedingungen verliert eine solche Unterscheidung ihre Geltung? Wo lassen Prozesse der Navigation die Möglichkeiten visueller Erfahrung hinter sich?\n","publication_date":{"day":null,"month":null,"year":2007,"errors":{}}},"translated_abstract":"Die Tagung fragt nach Modellen von Navigation, mit denen Räume erschlossen werden. Navigation erschöpft sich nicht in Akten passiver Wahrnehmung; sie lässt sich vielmehr als eine kontinuierliche, nur performativ denkbare Gestaltung des Raumes definieren. Im Akt der Navigation überkreuzen sich Aspekte räumlicher Orientierung, medialer Beherrschung und körperbezogener Performanz.\n\nNavigation ist eine an Räume gebundene Kulturtechnik, die visuell strukturierte Wissenssysteme generiert. Die hierfür wesentlichen Begriffe Visualisierung, Räumlichkeit und Navigation spannen ein Feld auf, in welchem der sehende und lesende Mensch über Strategien der Konstruktion, Entwicklung und Erfahrung räumlicher Ordnungen verfügen muss. Hierbei gilt es zu reflektieren, wie die physischen und technischen Instrumente dieser visuellen Orientierung beschaffen sind.\n\nMit der zunehmenden Erschließung virtueller, global vernetzter Datenräume haben solche Fragen an Brisanz gewonnen. Die oft beschworenen Utopien eines körperlosen Cyberspace und die hiermit einher gehende Rede von einer restlosen Virtualisierung des Raumes erweisen sich indes als rhetorische Gesten. Wir bewegen uns nicht allein in virtuellen Datenräumen, sondern noch immer auch an konkreten Orten. Sich in solchen konkreten wie virtuellen Räumen zu bewegen heißt, ein vielfältiges Ensemble von Texten und Bildern, Karten, Piktogrammen und nicht zuletzt digitalen Medien als Instrumente der Orientierung zu benutzen.\n\nAnlässlich der Tagung soll nach dem Zusammenhang verschiedener Modelle von Navigation im Raum, mit einem Akzent auf zeitgenössischen Medien, gestellt werden. Worin bestehen die Gemeinsamkeiten, worin die Unterschiede von Suchstrategien in geographischen Räumen einerseits und Datenräumen andererseits? Wo durchdringen sich die verschiedenen Strategien navigierender Raumerfahrung? Unter welchen Bedingungen verliert eine solche Unterscheidung ihre Geltung? 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Wo lassen Prozesse der Navigation die Möglichkeiten visueller Erfahrung hinter sich?\n","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":65337902,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65337902/thumbnails/1.jpg","file_name":"Reader_Navigation.pdf","download_url":"https://www.academia.edu/attachments/65337902/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Navigation_in_visuellen_Raumen.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65337902/Reader_Navigation-libre.pdf?1609793178=\u0026response-content-disposition=attachment%3B+filename%3DNavigation_in_visuellen_Raumen.pdf\u0026Expires=1734021440\u0026Signature=IBKzSBNEuJLWP5yakjRysti0FF99HezH5DH-L0y57ybEC4oBT-UeuTG~OP6-L1XxdkM8yzC6UJfQy8DaX8Sj3bRbbbBekwFbNqFKmo1wPCZ1Oknz~QJqlxDOcdnhc8DIqtmUFuM58QRuW5BEd2Hc1aBPBQhDRyjIjlZz6BNQlpEBjRV3cdPoEXutZXiSbjReY2HVvJP4pS8QebJhakrVuhgW4aI786PfDZr1m5PC6LHEQf9nZPnb06YIHf~QBRrqTcWmQ0vBxyoKxPSYQ-1-2IHcy4qxE2xLukN7Owakyx-c2OGT-LByMMD86JAoqRNyC6fybBFLplMpOEHrCsUQCA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":1185,"name":"Image Processing","url":"https://www.academia.edu/Documents/in/Image_Processing"},{"id":2497,"name":"Image Science","url":"https://www.academia.edu/Documents/in/Image_Science"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44833467"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44833467/Fluchtlinien_der_Bildkultur"><img alt="Research paper thumbnail of Fluchtlinien der Bildkultur" class="work-thumbnail" src="https://attachments.academia-assets.com/65337872/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44833467/Fluchtlinien_der_Bildkultur">Fluchtlinien der Bildkultur</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In aktuellen Debatten wird zunehmend über die Virtualisierung der Bilder geredet, auch in der An...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In aktuellen Debatten wird zunehmend über die Virtualisierung der Bilder geredet, auch in der Annahme, Bilder verbürgen heute keinen kulturell abgesicherten Realitätsbezug mehr. Dies verwundert kaum in einer Zeit, in der allerorten künstliche Bildwelten entstehen und Bilder mit Hilfe von neuen digitalen Technologien so einfach zu arrangieren und zu manipulieren sind. Hinzu kommt eine im Rahmen einer gegenwärtigen Globalkultur schillernde Vielfältigkeit – die „Bilderflut“ – und die „wilde“ Zirkulation von Bildern aus verschiedensten kulturellen Verweisungszusammenhängen.<br /><br />Dem Forschungsprogramm der interdisziplinären Arbeitsgruppe „Bildkulturen“ entsprechend diskutiert die Vorlesungsreihe „Fluchtlinien der Bildkultur“ jene Aspekte, die der eher intuitiven Rede von der „Beliebigkeit“ und der „Entsicherung“ von Bildern entgegenlaufen und diese im Lichte kulturhistorischer und bildwissenschaftlicher Paradigmen relativieren. Mitglieder der IAG stellen in unterschiedlichen Feldern die unauflösbare Rolle von Bildern für menschliche Orientierung und Sinnstiftung dar. Aufgezeigt werden aktuelle Einsichten der historischen oder theoretischen Forschung, die die tiefe Einbettung von Bildverweisen in kulturelle Räume und Praktiken anzeigen und dokumentieren. Einen Fokus bilden dabei alle Implikationen von „Perspektive“: von Fragen nach der Darstellung von Raum und seiner perspektivischen Konstruktion im Bild bis hin zu jenem zunehmend transkulturellen Austausch von Bildern als Grundlage für die Selbstverortungen kultureller Akteure.<br /><br />Die scheinbare Verselbständigung und Autonomie der Bilder und Bildwelten wird somit rückgebunden an „Bildkulturen“ und deren gesellschaftliche und kulturelle Referenzräume, die weit in die Geschichte und die Grundverfassung des Menschen als Bilderproduzenten zurückreichen.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="50beb44a1dae2c3e85d05e63560a5cea" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65337872,"asset_id":44833467,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65337872/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44833467"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44833467"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44833467; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44833467]").text(description); $(".js-view-count[data-work-id=44833467]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44833467; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44833467']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44833467, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "50beb44a1dae2c3e85d05e63560a5cea" } } $('.js-work-strip[data-work-id=44833467]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44833467,"title":"Fluchtlinien der Bildkultur","translated_title":"","metadata":{"abstract":"In aktuellen Debatten wird zunehmend über die Virtualisierung der Bilder geredet, auch in der Annahme, Bilder verbürgen heute keinen kulturell abgesicherten Realitätsbezug mehr. Dies verwundert kaum in einer Zeit, in der allerorten künstliche Bildwelten entstehen und Bilder mit Hilfe von neuen digitalen Technologien so einfach zu arrangieren und zu manipulieren sind. Hinzu kommt eine im Rahmen einer gegenwärtigen Globalkultur schillernde Vielfältigkeit – die „Bilderflut“ – und die „wilde“ Zirkulation von Bildern aus verschiedensten kulturellen Verweisungszusammenhängen.\n\nDem Forschungsprogramm der interdisziplinären Arbeitsgruppe „Bildkulturen“ entsprechend diskutiert die Vorlesungsreihe „Fluchtlinien der Bildkultur“ jene Aspekte, die der eher intuitiven Rede von der „Beliebigkeit“ und der „Entsicherung“ von Bildern entgegenlaufen und diese im Lichte kulturhistorischer und bildwissenschaftlicher Paradigmen relativieren. Mitglieder der IAG stellen in unterschiedlichen Feldern die unauflösbare Rolle von Bildern für menschliche Orientierung und Sinnstiftung dar. Aufgezeigt werden aktuelle Einsichten der historischen oder theoretischen Forschung, die die tiefe Einbettung von Bildverweisen in kulturelle Räume und Praktiken anzeigen und dokumentieren. Einen Fokus bilden dabei alle Implikationen von „Perspektive“: von Fragen nach der Darstellung von Raum und seiner perspektivischen Konstruktion im Bild bis hin zu jenem zunehmend transkulturellen Austausch von Bildern als Grundlage für die Selbstverortungen kultureller Akteure.\n\nDie scheinbare Verselbständigung und Autonomie der Bilder und Bildwelten wird somit rückgebunden an „Bildkulturen“ und deren gesellschaftliche und kulturelle Referenzräume, die weit in die Geschichte und die Grundverfassung des Menschen als Bilderproduzenten zurückreichen.\n","publication_date":{"day":null,"month":null,"year":2011,"errors":{}}},"translated_abstract":"In aktuellen Debatten wird zunehmend über die Virtualisierung der Bilder geredet, auch in der Annahme, Bilder verbürgen heute keinen kulturell abgesicherten Realitätsbezug mehr. Dies verwundert kaum in einer Zeit, in der allerorten künstliche Bildwelten entstehen und Bilder mit Hilfe von neuen digitalen Technologien so einfach zu arrangieren und zu manipulieren sind. Hinzu kommt eine im Rahmen einer gegenwärtigen Globalkultur schillernde Vielfältigkeit – die „Bilderflut“ – und die „wilde“ Zirkulation von Bildern aus verschiedensten kulturellen Verweisungszusammenhängen.\n\nDem Forschungsprogramm der interdisziplinären Arbeitsgruppe „Bildkulturen“ entsprechend diskutiert die Vorlesungsreihe „Fluchtlinien der Bildkultur“ jene Aspekte, die der eher intuitiven Rede von der „Beliebigkeit“ und der „Entsicherung“ von Bildern entgegenlaufen und diese im Lichte kulturhistorischer und bildwissenschaftlicher Paradigmen relativieren. Mitglieder der IAG stellen in unterschiedlichen Feldern die unauflösbare Rolle von Bildern für menschliche Orientierung und Sinnstiftung dar. Aufgezeigt werden aktuelle Einsichten der historischen oder theoretischen Forschung, die die tiefe Einbettung von Bildverweisen in kulturelle Räume und Praktiken anzeigen und dokumentieren. Einen Fokus bilden dabei alle Implikationen von „Perspektive“: von Fragen nach der Darstellung von Raum und seiner perspektivischen Konstruktion im Bild bis hin zu jenem zunehmend transkulturellen Austausch von Bildern als Grundlage für die Selbstverortungen kultureller Akteure.\n\nDie scheinbare Verselbständigung und Autonomie der Bilder und Bildwelten wird somit rückgebunden an „Bildkulturen“ und deren gesellschaftliche und kulturelle Referenzräume, die weit in die Geschichte und die Grundverfassung des Menschen als Bilderproduzenten zurückreichen.\n","internal_url":"https://www.academia.edu/44833467/Fluchtlinien_der_Bildkultur","translated_internal_url":"","created_at":"2021-01-04T10:25:25.496-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[],"downloadable_attachments":[{"id":65337872,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65337872/thumbnails/1.jpg","file_name":"Fluchtlinien_der_Bildkultur.pdf","download_url":"https://www.academia.edu/attachments/65337872/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Fluchtlinien_der_Bildkultur.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65337872/Fluchtlinien_der_Bildkultur-libre.pdf?1609784707=\u0026response-content-disposition=attachment%3B+filename%3DFluchtlinien_der_Bildkultur.pdf\u0026Expires=1734021440\u0026Signature=L5AF4IoUR0wKebSRSf3VxpctH9ezmFrw9eHVH~~qfV7JvSgNdx~-aR1c0CYNo3U-zmwOPC86VFqAzw1FXQfoRdOn-OzsTdNkRy~dsTVaJVs-7GstPJwq3EmUTxbqHmPTOmv46ymt9oTMxViYw72uf2Lybz-A0c6GbqiYV4zyzAqxKpZq~orggEyo9qb7S-KBk3pXTkiV3kOhHIRzpSde1SzKLSOF~HUKAQX~IkvNIVj9JrV9JpuyxtdhGYPn0hSoN0Bcfx631CrhjJ5ZW3L1mJ45bbt0-3O63hvazZkScfrA6BOYhGxBGR9edQiLcSclq1yKPmq3zNqVt9wYFsQIMg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Fluchtlinien_der_Bildkultur","translated_slug":"","page_count":10,"language":"de","content_type":"Work","summary":"In aktuellen Debatten wird zunehmend über die Virtualisierung der Bilder geredet, auch in der Annahme, Bilder verbürgen heute keinen kulturell abgesicherten Realitätsbezug mehr. Dies verwundert kaum in einer Zeit, in der allerorten künstliche Bildwelten entstehen und Bilder mit Hilfe von neuen digitalen Technologien so einfach zu arrangieren und zu manipulieren sind. Hinzu kommt eine im Rahmen einer gegenwärtigen Globalkultur schillernde Vielfältigkeit – die „Bilderflut“ – und die „wilde“ Zirkulation von Bildern aus verschiedensten kulturellen Verweisungszusammenhängen.\n\nDem Forschungsprogramm der interdisziplinären Arbeitsgruppe „Bildkulturen“ entsprechend diskutiert die Vorlesungsreihe „Fluchtlinien der Bildkultur“ jene Aspekte, die der eher intuitiven Rede von der „Beliebigkeit“ und der „Entsicherung“ von Bildern entgegenlaufen und diese im Lichte kulturhistorischer und bildwissenschaftlicher Paradigmen relativieren. Mitglieder der IAG stellen in unterschiedlichen Feldern die unauflösbare Rolle von Bildern für menschliche Orientierung und Sinnstiftung dar. Aufgezeigt werden aktuelle Einsichten der historischen oder theoretischen Forschung, die die tiefe Einbettung von Bildverweisen in kulturelle Räume und Praktiken anzeigen und dokumentieren. Einen Fokus bilden dabei alle Implikationen von „Perspektive“: von Fragen nach der Darstellung von Raum und seiner perspektivischen Konstruktion im Bild bis hin zu jenem zunehmend transkulturellen Austausch von Bildern als Grundlage für die Selbstverortungen kultureller Akteure.\n\nDie scheinbare Verselbständigung und Autonomie der Bilder und Bildwelten wird somit rückgebunden an „Bildkulturen“ und deren gesellschaftliche und kulturelle Referenzräume, die weit in die Geschichte und die Grundverfassung des Menschen als Bilderproduzenten zurückreichen.\n","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":65337872,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65337872/thumbnails/1.jpg","file_name":"Fluchtlinien_der_Bildkultur.pdf","download_url":"https://www.academia.edu/attachments/65337872/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Fluchtlinien_der_Bildkultur.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65337872/Fluchtlinien_der_Bildkultur-libre.pdf?1609784707=\u0026response-content-disposition=attachment%3B+filename%3DFluchtlinien_der_Bildkultur.pdf\u0026Expires=1734021440\u0026Signature=L5AF4IoUR0wKebSRSf3VxpctH9ezmFrw9eHVH~~qfV7JvSgNdx~-aR1c0CYNo3U-zmwOPC86VFqAzw1FXQfoRdOn-OzsTdNkRy~dsTVaJVs-7GstPJwq3EmUTxbqHmPTOmv46ymt9oTMxViYw72uf2Lybz-A0c6GbqiYV4zyzAqxKpZq~orggEyo9qb7S-KBk3pXTkiV3kOhHIRzpSde1SzKLSOF~HUKAQX~IkvNIVj9JrV9JpuyxtdhGYPn0hSoN0Bcfx631CrhjJ5ZW3L1mJ45bbt0-3O63hvazZkScfrA6BOYhGxBGR9edQiLcSclq1yKPmq3zNqVt9wYFsQIMg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":2497,"name":"Image Science","url":"https://www.academia.edu/Documents/in/Image_Science"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44832758"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44832758/Visual_Cultures_in_Art_and_Science_Rethinking_Representational_Practices_in_Contemporary_Art_and_Modern_Life_Sciences_Workshop"><img alt="Research paper thumbnail of Visual Cultures in Art and Science: Rethinking Representational Practices in Contemporary Art and Modern Life Sciences Workshop" class="work-thumbnail" src="https://attachments.academia-assets.com/65336957/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44832758/Visual_Cultures_in_Art_and_Science_Rethinking_Representational_Practices_in_Contemporary_Art_and_Modern_Life_Sciences_Workshop">Visual Cultures in Art and Science: Rethinking Representational Practices in Contemporary Art and Modern Life Sciences Workshop</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://dkfz.academia.edu/FrankRoesl">Frank Roesl</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://dieangewandte.academia.edu/IngeborgReichle">Ingeborg Reichle</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">By contrasting selected works of contemporary art with recent scientific develop- ments, it is po...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">By contrasting selected works of contemporary art with recent scientific develop- ments, it is possible to demonstrate that art today not only serves to comment on science, but also represents a form of research and knowledge production in its own right, though one belonging to a radically different epistemological tra- dition. Moving beyond the postulated dichotomy of the objective sciences and the subjective arts, contemporary art shows us that art is no longer limited to the production of beautiful artefacts, but has established its role as a legitimate form of knowledge production in its own right.<br /><br />The engagement of art with science ranges from artists’ iconological handling of scientific imaging to research projects executed as artistic endeavours by artists working in the laboratory. In the last two decades we have seen a number of ar- tists leave the traditional artistic playground to work instead in scientific contexts such as the laboratories of molecular biologists. Such artistic interventions in ge- netics and biological forms have made possible new means of artistic expression and art forms, like ‘Transgenic Art’ and ‘Bio-Art’. The use of technologies from the field of current research in the life science by artists ranges from tissue enginee- ring to stemcell technologies and even transgenic animals, a phenomenon that raises ethical questions with regard to both scientific and artistic endeavours. Visual illustrations have always been used in the natural sciences to make visible scientific relationships, to visualize theories, or to graphically capture the results of scientific experiments. Today the visualizations in modern Life Sciences range from advanced image technologies that offer evermore detailed views of the mi- crostructures of the organic world, to imagebased computer simulations that are no longer based upon a physical-biological reference system and that open up a new biotheoretical space, to representations become life, such as transgenetic animals and clones.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4ac8b2c93610ee34fd25ac43b637e459" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65336957,"asset_id":44832758,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65336957/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44832758"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44832758"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44832758; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44832758]").text(description); $(".js-view-count[data-work-id=44832758]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44832758; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44832758']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44832758, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4ac8b2c93610ee34fd25ac43b637e459" } } $('.js-work-strip[data-work-id=44832758]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44832758,"title":"Visual Cultures in Art and Science: Rethinking Representational Practices in Contemporary Art and Modern Life Sciences Workshop","translated_title":"","metadata":{"abstract":"By contrasting selected works of contemporary art with recent scientific develop- ments, it is possible to demonstrate that art today not only serves to comment on science, but also represents a form of research and knowledge production in its own right, though one belonging to a radically different epistemological tra- dition. Moving beyond the postulated dichotomy of the objective sciences and the subjective arts, contemporary art shows us that art is no longer limited to the production of beautiful artefacts, but has established its role as a legitimate form of knowledge production in its own right.\n\nThe engagement of art with science ranges from artists’ iconological handling of scientific imaging to research projects executed as artistic endeavours by artists working in the laboratory. In the last two decades we have seen a number of ar- tists leave the traditional artistic playground to work instead in scientific contexts such as the laboratories of molecular biologists. Such artistic interventions in ge- netics and biological forms have made possible new means of artistic expression and art forms, like ‘Transgenic Art’ and ‘Bio-Art’. The use of technologies from the field of current research in the life science by artists ranges from tissue enginee- ring to stemcell technologies and even transgenic animals, a phenomenon that raises ethical questions with regard to both scientific and artistic endeavours. Visual illustrations have always been used in the natural sciences to make visible scientific relationships, to visualize theories, or to graphically capture the results of scientific experiments. Today the visualizations in modern Life Sciences range from advanced image technologies that offer evermore detailed views of the mi- crostructures of the organic world, to imagebased computer simulations that are no longer based upon a physical-biological reference system and that open up a new biotheoretical space, to representations become life, such as transgenetic animals and clones.","publication_date":{"day":null,"month":null,"year":2006,"errors":{}}},"translated_abstract":"By contrasting selected works of contemporary art with recent scientific develop- ments, it is possible to demonstrate that art today not only serves to comment on science, but also represents a form of research and knowledge production in its own right, though one belonging to a radically different epistemological tra- dition. Moving beyond the postulated dichotomy of the objective sciences and the subjective arts, contemporary art shows us that art is no longer limited to the production of beautiful artefacts, but has established its role as a legitimate form of knowledge production in its own right.\n\nThe engagement of art with science ranges from artists’ iconological handling of scientific imaging to research projects executed as artistic endeavours by artists working in the laboratory. In the last two decades we have seen a number of ar- tists leave the traditional artistic playground to work instead in scientific contexts such as the laboratories of molecular biologists. Such artistic interventions in ge- netics and biological forms have made possible new means of artistic expression and art forms, like ‘Transgenic Art’ and ‘Bio-Art’. The use of technologies from the field of current research in the life science by artists ranges from tissue enginee- ring to stemcell technologies and even transgenic animals, a phenomenon that raises ethical questions with regard to both scientific and artistic endeavours. Visual illustrations have always been used in the natural sciences to make visible scientific relationships, to visualize theories, or to graphically capture the results of scientific experiments. 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Moving beyond the postulated dichotomy of the objective sciences and the subjective arts, contemporary art shows us that art is no longer limited to the production of beautiful artefacts, but has established its role as a legitimate form of knowledge production in its own right.\n\nThe engagement of art with science ranges from artists’ iconological handling of scientific imaging to research projects executed as artistic endeavours by artists working in the laboratory. In the last two decades we have seen a number of ar- tists leave the traditional artistic playground to work instead in scientific contexts such as the laboratories of molecular biologists. Such artistic interventions in ge- netics and biological forms have made possible new means of artistic expression and art forms, like ‘Transgenic Art’ and ‘Bio-Art’. The use of technologies from the field of current research in the life science by artists ranges from tissue enginee- ring to stemcell technologies and even transgenic animals, a phenomenon that raises ethical questions with regard to both scientific and artistic endeavours. Visual illustrations have always been used in the natural sciences to make visible scientific relationships, to visualize theories, or to graphically capture the results of scientific experiments. Today the visualizations in modern Life Sciences range from advanced image technologies that offer evermore detailed views of the mi- crostructures of the organic world, to imagebased computer simulations that are no longer based upon a physical-biological reference system and that open up a new biotheoretical space, to representations become life, such as transgenetic animals and clones.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":65336957,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65336957/thumbnails/1.jpg","file_name":"Reader_Workshop.pdf","download_url":"https://www.academia.edu/attachments/65336957/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Visual_Cultures_in_Art_and_Science_Rethi.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65336957/Reader_Workshop-libre.pdf?1609778708=\u0026response-content-disposition=attachment%3B+filename%3DVisual_Cultures_in_Art_and_Science_Rethi.pdf\u0026Expires=1734021440\u0026Signature=aqsyUfaklWG4TYehQea2fWPVJb5Vy3L5RtS8T~2vOPjTAxhPQBJy~5P-6qwri5FVV4b4gYHe-JU0cL2~ir8AU71PhWwJlQlSvW7exBNe8rz6aUyRjnceH94dszvpxSSAuY89Ydj6DCC86eL3z5EP8l4~OXQCh7v6sQzjL8weR5nZ1p9GcpEdqTUIFt9IQD~JlgZwIOa7rRX2lDdThlT6Pj54zX-oHT29d4Z7Iale9sN~P0ea-viAVdBSKbJLhDU8DTnG2UKX0gs7COgRObRqzMCG4~9m-UhoPC1J1dIkVgXeSqeJdjDX8onR73KKsjbFL-OnPBYacckzhXWSpwuITQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":2497,"name":"Image Science","url":"https://www.academia.edu/Documents/in/Image_Science"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44832421"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44832421/Towards_a_New_Transaesthetics_Aesthetics_and_Ontology_in_Current_Bio_Art_Practices"><img alt="Research paper thumbnail of Towards a New Transaesthetics: Aesthetics and Ontology in Current Bio Art Practices" class="work-thumbnail" src="https://attachments.academia-assets.com/65336706/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44832421/Towards_a_New_Transaesthetics_Aesthetics_and_Ontology_in_Current_Bio_Art_Practices">Towards a New Transaesthetics: Aesthetics and Ontology in Current Bio Art Practices</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">During the last decade, the term 'Bio Art' has been the subject of vital discussions as a descrip...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">During the last decade, the term 'Bio Art' has been the subject of vital discussions as a description of the intersecting domains of the biological sciences and their incorporation into the arts. The use of biological material like tissue culture, plant breeding, and above all genetic engineering as artistic media went hand in hand with debates about the aesthetic value and ethical-ontological consequences of bringing cutting edge science into the arts. The adoption of bioscientific techniques and methods into the arts, however, not only broached a highly controversial subject, it also opened up new ways of artistic expression. With the emerging field of Bio Art, tissue culture, bacteria, cells, and even genetically engineered organisms have become part of the art world, raising questions about the aesthetic and ontological status of live in the age of technoscience. In the last decade we have seen a number of artists questioning our concept of life while moving beyond the boundaries of art and science. Debates about changing the face of our planet through geo-engineering or debates about assembling life artificially in a petri dish through synthetic biology challenge our concept of "live" in an age, where "nature" seems to be increasingly human-made. For almost half a century the modern life sciences have been able to produce "artificial" living organisms that evolution has not brought forth so far by using the methods and techniques of genetic engineering. The concept of life as technology has been one of the starting points of producing "biofacts," which owe their existence solely to the culture of experimentation and the expanding systems of apparatus in the laboratory.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b4763604cfdfaf039697bf840a66d7c2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65336706,"asset_id":44832421,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65336706/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44832421"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44832421"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44832421; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44832421]").text(description); $(".js-view-count[data-work-id=44832421]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44832421; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44832421']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44832421, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b4763604cfdfaf039697bf840a66d7c2" } } $('.js-work-strip[data-work-id=44832421]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44832421,"title":"Towards a New Transaesthetics: Aesthetics and Ontology in Current Bio Art Practices","translated_title":"","metadata":{"abstract":"During the last decade, the term 'Bio Art' has been the subject of vital discussions as a description of the intersecting domains of the biological sciences and their incorporation into the arts. The use of biological material like tissue culture, plant breeding, and above all genetic engineering as artistic media went hand in hand with debates about the aesthetic value and ethical-ontological consequences of bringing cutting edge science into the arts. The adoption of bioscientific techniques and methods into the arts, however, not only broached a highly controversial subject, it also opened up new ways of artistic expression. With the emerging field of Bio Art, tissue culture, bacteria, cells, and even genetically engineered organisms have become part of the art world, raising questions about the aesthetic and ontological status of live in the age of technoscience. In the last decade we have seen a number of artists questioning our concept of life while moving beyond the boundaries of art and science. Debates about changing the face of our planet through geo-engineering or debates about assembling life artificially in a petri dish through synthetic biology challenge our concept of \"live\" in an age, where \"nature\" seems to be increasingly human-made. For almost half a century the modern life sciences have been able to produce \"artificial\" living organisms that evolution has not brought forth so far by using the methods and techniques of genetic engineering. The concept of life as technology has been one of the starting points of producing \"biofacts,\" which owe their existence solely to the culture of experimentation and the expanding systems of apparatus in the laboratory.","publication_date":{"day":null,"month":null,"year":2013,"errors":{}}},"translated_abstract":"During the last decade, the term 'Bio Art' has been the subject of vital discussions as a description of the intersecting domains of the biological sciences and their incorporation into the arts. 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The concept of life as technology has been one of the starting points of producing \"biofacts,\" which owe their existence solely to the culture of experimentation and the expanding systems of apparatus in the laboratory.","internal_url":"https://www.academia.edu/44832421/Towards_a_New_Transaesthetics_Aesthetics_and_Ontology_in_Current_Bio_Art_Practices","translated_internal_url":"","created_at":"2021-01-04T08:04:11.605-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[{"id":36123793,"work_id":44832421,"tagging_user_id":5321873,"tagged_user_id":104797,"co_author_invite_id":null,"email":"p***k@guest.arnes.si","display_order":1,"name":"Polona Tratnik","title":"Towards a New Transaesthetics: Aesthetics and Ontology in Current Bio Art Practices"}],"downloadable_attachments":[{"id":65336706,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65336706/thumbnails/1.jpg","file_name":"BioArt_Panel_I_and_II.pdf","download_url":"https://www.academia.edu/attachments/65336706/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Towards_a_New_Transaesthetics_Aesthetics.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65336706/BioArt_Panel_I_and_II-libre.pdf?1609778728=\u0026response-content-disposition=attachment%3B+filename%3DTowards_a_New_Transaesthetics_Aesthetics.pdf\u0026Expires=1734021440\u0026Signature=CEbihqEh780I~DsMtz1gxqnJBKqCoEt9xOiPCuVsMm5dBEy0EVl3mQjsUUSwoMZC4MFxWiFX8BIhZxV9gPkKJjypQbEvUNzbqRuE92VjHdq3zPrAiBF69vT5-OoWYFSYEY0wuZh0Mj36dD4f-q9fs97pPCZdBh4ZnDEktRsXYJxF-NOqkSfDj1~8JNFR3gwb3bJLAU9af6oBJC9djXjz7I7ovdVo4cbwaSIrFaU1ySIaCkHWfZm9ZA0Xo22bY2CEAudPwdxK4rl0qoBPXZpaWK9I0GsDsRGgFWRw2IsEZwqLnqK36SuABtgJv8sLvZi2bbx1TA0ggJeYruuJdiNFEw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Towards_a_New_Transaesthetics_Aesthetics_and_Ontology_in_Current_Bio_Art_Practices","translated_slug":"","page_count":6,"language":"en","content_type":"Work","summary":"During the last decade, the term 'Bio Art' has been the subject of vital discussions as a description of the intersecting domains of the biological sciences and their incorporation into the arts. 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Debates about changing the face of our planet through geo-engineering or debates about assembling life artificially in a petri dish through synthetic biology challenge our concept of \"live\" in an age, where \"nature\" seems to be increasingly human-made. For almost half a century the modern life sciences have been able to produce \"artificial\" living organisms that evolution has not brought forth so far by using the methods and techniques of genetic engineering. The concept of life as technology has been one of the starting points of producing \"biofacts,\" which owe their existence solely to the culture of experimentation and the expanding systems of apparatus in the laboratory.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":65336706,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65336706/thumbnails/1.jpg","file_name":"BioArt_Panel_I_and_II.pdf","download_url":"https://www.academia.edu/attachments/65336706/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Towards_a_New_Transaesthetics_Aesthetics.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65336706/BioArt_Panel_I_and_II-libre.pdf?1609778728=\u0026response-content-disposition=attachment%3B+filename%3DTowards_a_New_Transaesthetics_Aesthetics.pdf\u0026Expires=1734021440\u0026Signature=CEbihqEh780I~DsMtz1gxqnJBKqCoEt9xOiPCuVsMm5dBEy0EVl3mQjsUUSwoMZC4MFxWiFX8BIhZxV9gPkKJjypQbEvUNzbqRuE92VjHdq3zPrAiBF69vT5-OoWYFSYEY0wuZh0Mj36dD4f-q9fs97pPCZdBh4ZnDEktRsXYJxF-NOqkSfDj1~8JNFR3gwb3bJLAU9af6oBJC9djXjz7I7ovdVo4cbwaSIrFaU1ySIaCkHWfZm9ZA0Xo22bY2CEAudPwdxK4rl0qoBPXZpaWK9I0GsDsRGgFWRw2IsEZwqLnqK36SuABtgJv8sLvZi2bbx1TA0ggJeYruuJdiNFEw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy"},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":8911,"name":"Bioart","url":"https://www.academia.edu/Documents/in/Bioart"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44832392"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44832392/From_Bioethics_to_Bioart_The_Question_About_the_Limits"><img alt="Research paper thumbnail of From Bioethics to Bioart: The Question About the Limits" class="work-thumbnail" src="https://attachments.academia-assets.com/65336675/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44832392/From_Bioethics_to_Bioart_The_Question_About_the_Limits">From Bioethics to Bioart: The Question About the Limits</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://dieangewandte.academia.edu/IngeborgReichle">Ingeborg Reichle</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://unam1.academia.edu/Mar%C3%ADaAntoniaGonz%C3%A1lezValerio">María Antonia González Valerio</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">From a philosophical point of view a limit is that which enables something to exist, for an entit...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">From a philosophical point of view a limit is that which enables something to exist, for an entity can only exist and develop and evolve within certain boundaries. The limits, then, are an ontological matter that allows us to think in terms of shapes and figures, morphologies, transformations, and even names. Life is something that comes into being only in the presence of certain limits or constraints, regardless of their plasticity and ever changing capacity. The fragility and the power of life lie within these limits, boundaries, and frontiers. However, it is not only a question of biological limits: For example, within which framework is life biologically possible? It is also a question about conceptual limits, models of knowing, epistemological boundaries, and so on. Life is also a concept, a concept that has changed dramatically due to the arrival of biotechnology within the frame of technoscience. To reflect on these limits, from biology to philosophy and art (such as bioart), seeks first and foremost to propose arguments about what life is within the flexibility of the limits that we are experiencing nowadays in the realm of technoscience. In these terms, not only science but also art has an important role, because historically the latter has been a human activity that constantly configures and refigures the limits of the sensible world. In these two panels we intend to organize a debate from the viewpoint of various disciplines about life and its limits in the crossovers between bio arts, ethics, sciences, and philosophies.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fc346d6e47a5f4be30b5ddc39ea4edfd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65336675,"asset_id":44832392,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65336675/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44832392"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44832392"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44832392; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44832392]").text(description); $(".js-view-count[data-work-id=44832392]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44832392; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44832392']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44832392, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fc346d6e47a5f4be30b5ddc39ea4edfd" } } $('.js-work-strip[data-work-id=44832392]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44832392,"title":"From Bioethics to Bioart: The Question About the Limits","translated_title":"","metadata":{"abstract":"From a philosophical point of view a limit is that which enables something to exist, for an entity can only exist and develop and evolve within certain boundaries. 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Der rasante Fortschritt in den Lebenswissenschaften, der unter an- derem auf der Entschlüsselung der menschlichen DNA durch das Human Genome Project beruht, weckt sowohl Hoffnungen als auch Befürchtungen. Dass der Mensch in bisher ungeahntem Ausmaß in seine eigene Evolution eingreift, scheint keineswegs mehr bloße Utopie angesichts der Versuche, organisches Leben zu planen, zu gestalten und im Labor zu züchten. In welche Szenarien diese Entwicklung in der Zukunft münden wird, zum Beispiel in eine Biologie 2.0, lässt sich heute nur schwer erahnen. Jedoch zeigen die aktuellen Auseinandersetzungen mit dieser Thematik, vor welchen Herausforderungen wir bereits heute stehen. Dabei drängt sich die Frage nach den Konsequenzen des menschlichen Eingriffs in die Evolution und den damit verbundenen Auswirkungen auf unsere Gesellschaft und unser Menschenbild auf.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="386068a871a9dea3e59fc170e58f031d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65336623,"asset_id":44832351,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65336623/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44832351"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44832351"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44832351; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44832351]").text(description); $(".js-view-count[data-work-id=44832351]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44832351; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44832351']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44832351, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "386068a871a9dea3e59fc170e58f031d" } } $('.js-work-strip[data-work-id=44832351]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44832351,"title":"Leben 3.0 und die Zukunft der Evolution","translated_title":"","metadata":{"abstract":"In den letzten Jahrzehnten haben neue Technologien und moderne Verfahren – insbesondere der Lebenswissenschaften – den Menschen in die Lage versetzt, seine biologische Evolution zu beschleunigen, die physische und kognitive „Ausstattung“ zu verändern und zu „optimieren“ sowie an die Herausforderungen anzupassen, die das Leben in komplexen, hoch technisierten Gesellschaften mit sich bringt. Der rasante Fortschritt in den Lebenswissenschaften, der unter an- derem auf der Entschlüsselung der menschlichen DNA durch das Human Genome Project beruht, weckt sowohl Hoffnungen als auch Befürchtungen. Dass der Mensch in bisher ungeahntem Ausmaß in seine eigene Evolution eingreift, scheint keineswegs mehr bloße Utopie angesichts der Versuche, organisches Leben zu planen, zu gestalten und im Labor zu züchten. In welche Szenarien diese Entwicklung in der Zukunft münden wird, zum Beispiel in eine Biologie 2.0, lässt sich heute nur schwer erahnen. Jedoch zeigen die aktuellen Auseinandersetzungen mit dieser Thematik, vor welchen Herausforderungen wir bereits heute stehen. Dabei drängt sich die Frage nach den Konsequenzen des menschlichen Eingriffs in die Evolution und den damit verbundenen Auswirkungen auf unsere Gesellschaft und unser Menschenbild auf.","publication_date":{"day":null,"month":null,"year":2010,"errors":{}}},"translated_abstract":"In den letzten Jahrzehnten haben neue Technologien und moderne Verfahren – insbesondere der Lebenswissenschaften – den Menschen in die Lage versetzt, seine biologische Evolution zu beschleunigen, die physische und kognitive „Ausstattung“ zu verändern und zu „optimieren“ sowie an die Herausforderungen anzupassen, die das Leben in komplexen, hoch technisierten Gesellschaften mit sich bringt. Der rasante Fortschritt in den Lebenswissenschaften, der unter an- derem auf der Entschlüsselung der menschlichen DNA durch das Human Genome Project beruht, weckt sowohl Hoffnungen als auch Befürchtungen. Dass der Mensch in bisher ungeahntem Ausmaß in seine eigene Evolution eingreift, scheint keineswegs mehr bloße Utopie angesichts der Versuche, organisches Leben zu planen, zu gestalten und im Labor zu züchten. In welche Szenarien diese Entwicklung in der Zukunft münden wird, zum Beispiel in eine Biologie 2.0, lässt sich heute nur schwer erahnen. Jedoch zeigen die aktuellen Auseinandersetzungen mit dieser Thematik, vor welchen Herausforderungen wir bereits heute stehen. Dabei drängt sich die Frage nach den Konsequenzen des menschlichen Eingriffs in die Evolution und den damit verbundenen Auswirkungen auf unsere Gesellschaft und unser Menschenbild auf.","internal_url":"https://www.academia.edu/44832351/Leben_3_0_und_die_Zukunft_der_Evolution","translated_internal_url":"","created_at":"2021-01-04T07:51:09.949-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[],"downloadable_attachments":[{"id":65336623,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65336623/thumbnails/1.jpg","file_name":"Reader_Leben3.0.pdf","download_url":"https://www.academia.edu/attachments/65336623/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Leben_3_0_und_die_Zukunft_der_Evolution.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65336623/Reader_Leben3.0-libre.pdf?1609778741=\u0026response-content-disposition=attachment%3B+filename%3DLeben_3_0_und_die_Zukunft_der_Evolution.pdf\u0026Expires=1734021440\u0026Signature=TzqRzhsp1519KJGGWsd-Crq0DluMf1LT9b-dCycAKc3mFnQp5z3skQD3rHn6r06hTEUVmdKvXyqvIzDCsnDCf7~IpNaXGXD403XCHdtLPBACqeIWakg22sl7FNqKdxuRcvRcMvA12ZiUiYM1VduoKptRHaxpoo1ZjzwQP1o0HAAX0yu8G64cY3IM5bIqJ4lFVVeB0HfPojcfa~Tl5OspYwF1th-xedbionDJavgNj3zN8O2amgdoDy7dvOg-fr7jCEVv0c6Laib6Orf7s-2AQ8S6HeaXBpZpvFz4~sJrCpZa4plxNmgo9ZwA5G75GSkT~XEbQdB5bCFaRL0JPZY-YQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Leben_3_0_und_die_Zukunft_der_Evolution","translated_slug":"","page_count":26,"language":"de","content_type":"Work","summary":"In den letzten Jahrzehnten haben neue Technologien und moderne Verfahren – insbesondere der Lebenswissenschaften – den Menschen in die Lage versetzt, seine biologische Evolution zu beschleunigen, die physische und kognitive „Ausstattung“ zu verändern und zu „optimieren“ sowie an die Herausforderungen anzupassen, die das Leben in komplexen, hoch technisierten Gesellschaften mit sich bringt. Der rasante Fortschritt in den Lebenswissenschaften, der unter an- derem auf der Entschlüsselung der menschlichen DNA durch das Human Genome Project beruht, weckt sowohl Hoffnungen als auch Befürchtungen. Dass der Mensch in bisher ungeahntem Ausmaß in seine eigene Evolution eingreift, scheint keineswegs mehr bloße Utopie angesichts der Versuche, organisches Leben zu planen, zu gestalten und im Labor zu züchten. In welche Szenarien diese Entwicklung in der Zukunft münden wird, zum Beispiel in eine Biologie 2.0, lässt sich heute nur schwer erahnen. Jedoch zeigen die aktuellen Auseinandersetzungen mit dieser Thematik, vor welchen Herausforderungen wir bereits heute stehen. Dabei drängt sich die Frage nach den Konsequenzen des menschlichen Eingriffs in die Evolution und den damit verbundenen Auswirkungen auf unsere Gesellschaft und unser Menschenbild auf.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":65336623,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/65336623/thumbnails/1.jpg","file_name":"Reader_Leben3.0.pdf","download_url":"https://www.academia.edu/attachments/65336623/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Leben_3_0_und_die_Zukunft_der_Evolution.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/65336623/Reader_Leben3.0-libre.pdf?1609778741=\u0026response-content-disposition=attachment%3B+filename%3DLeben_3_0_und_die_Zukunft_der_Evolution.pdf\u0026Expires=1734021440\u0026Signature=TzqRzhsp1519KJGGWsd-Crq0DluMf1LT9b-dCycAKc3mFnQp5z3skQD3rHn6r06hTEUVmdKvXyqvIzDCsnDCf7~IpNaXGXD403XCHdtLPBACqeIWakg22sl7FNqKdxuRcvRcMvA12ZiUiYM1VduoKptRHaxpoo1ZjzwQP1o0HAAX0yu8G64cY3IM5bIqJ4lFVVeB0HfPojcfa~Tl5OspYwF1th-xedbionDJavgNj3zN8O2amgdoDy7dvOg-fr7jCEVv0c6Laib6Orf7s-2AQ8S6HeaXBpZpvFz4~sJrCpZa4plxNmgo9ZwA5G75GSkT~XEbQdB5bCFaRL0JPZY-YQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"},{"id":3629,"name":"Synthetic Biology","url":"https://www.academia.edu/Documents/in/Synthetic_Biology"},{"id":10882,"name":"Evolution","url":"https://www.academia.edu/Documents/in/Evolution"},{"id":70125,"name":"CRISPR","url":"https://www.academia.edu/Documents/in/CRISPR"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44832312"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44832312/Bilder_des_Lebendigen_Sprachen_Imaginationen_Technologien"><img alt="Research paper thumbnail of Bilder des Lebendigen: Sprachen, Imaginationen, Technologien" class="work-thumbnail" src="https://attachments.academia-assets.com/65336561/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44832312/Bilder_des_Lebendigen_Sprachen_Imaginationen_Technologien">Bilder des Lebendigen: Sprachen, Imaginationen, Technologien</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Das Lebendige zu beobachten, gehört zu den ältesten Herausforderungen naturwissenschaftlichen F...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Das Lebendige zu beobachten, gehört zu den ältesten Herausforderungen naturwissenschaftlichen Forschens. Bereits die vormoderne Naturkunde hatte eine Vielzahl von Techniken entwickelt, um Phänomene, denen ›Leben‹ zugeschrieben wird, besser zu verstehen. Erst recht aber die modernen Naturwissenschaften werden von einem Prozess getragen, der ein überaus reiches und komplexes Instrumentarium von Technologien und Verfahren zur Erforschung des Lebens hervorgebracht hat. Die Deutungsmacht, die den Biotechniken des 20. und 21. Jahrhunderts im Hinblick auf die Vorstellungen und Definitionen ›vom Lebendigen‹ zugeschrieben wird, basiert nicht zuletzt auf dem Einfluss jener Bildsprachen und Sprachbilder, mit deren Hilfe sich diese Wissenschaften mitteilen.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9ab6751d5301633082a3b7137cd84e96" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65336561,"asset_id":44832312,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65336561/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44832312"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44832312"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44832312; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44832312]").text(description); $(".js-view-count[data-work-id=44832312]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44832312; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44832312']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44832312, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9ab6751d5301633082a3b7137cd84e96" } } $('.js-work-strip[data-work-id=44832312]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44832312,"title":"Bilder des Lebendigen: Sprachen, Imaginationen, Technologien","translated_title":"","metadata":{"abstract":"Das Lebendige zu beobachten, gehört zu den ältesten Herausforderungen naturwissenschaftlichen Forschens. Bereits die vormoderne Naturkunde hatte eine Vielzahl von Techniken entwickelt, um Phänomene, denen ›Leben‹ zugeschrieben wird, besser zu verstehen. Erst recht aber die modernen Naturwissenschaften werden von einem Prozess getragen, der ein überaus reiches und komplexes Instrumentarium von Technologien und Verfahren zur Erforschung des Lebens hervorgebracht hat. Die Deutungsmacht, die den Biotechniken des 20. und 21. Jahrhunderts im Hinblick auf die Vorstellungen und Definitionen ›vom Lebendigen‹ zugeschrieben wird, basiert nicht zuletzt auf dem Einfluss jener Bildsprachen und Sprachbilder, mit deren Hilfe sich diese Wissenschaften mitteilen.","publication_date":{"day":null,"month":null,"year":2009,"errors":{}}},"translated_abstract":"Das Lebendige zu beobachten, gehört zu den ältesten Herausforderungen naturwissenschaftlichen Forschens. 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Sie stellt einen wese...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Die Farbe ist keine Invariable, sondern ein Resultat kultureller Codierung. Sie stellt einen wesentlichen Schlüssel zu unserem Selbst- und Weltverständnis dar. Die Tagung »Erkenntniswert Farbe« der Berlin-Brandenburgischen Akademie der Wissenschaften widmet sich den Bedingungen und Möglichkeiten unserer Farberkenntnis und reflektiert unser Farbverständnis als gesellschaftlich codierte Komponente. Um den Blind Spot der gesellschaftlich vermittelten Farbe ausfindig zu machen, sollen u. a. transnationale philosophische, bildwissenschaftliche, linguistische, psychologische, historische, kunst- und koloritgeschichtliche sowie literarische Farbdefinitionen und Farbverwendungen diskutiert und die Farbe in ihrer Dimension als Erkenntniswert umfassend in den Blick genommen wer- den. Ausgerichtet wird die Tagung von der interdisziplinären Arbeitsgruppe »Bildkulturen« in Zusammenarbeit mit der Berliner Literaturwissenschaftlerin Margrit Vogt.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6ea180f10ca3045bc840ee8f421d5162" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65336360,"asset_id":44832167,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65336360/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44832167"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44832167"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44832167; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44832167]").text(description); $(".js-view-count[data-work-id=44832167]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44832167; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44832167']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44832167, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6ea180f10ca3045bc840ee8f421d5162" } } $('.js-work-strip[data-work-id=44832167]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44832167,"title":"Erkenntniswert Farbe","translated_title":"","metadata":{"abstract":"Die Farbe ist keine Invariable, sondern ein Resultat kultureller Codierung. 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Almost all departments are represented in the WWW with their own homepage, publishing bi-yearly the up to date version of its Commented Lecture Directory. As a rule this occurs under the circumstances of a medial and personal division of content resources (teaching staff, secretary), web-author (HTML-programmer, academic assistant) and the public (students, scientific community). Exactly how far a WWW-based Open-Source infrastructure can incorporate a concept, which intends to irradiate this division, is currently being tested at the Art Historical Institute at the Humboldt University, Berlin.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cfa7238647e85d664cb019da8d029bd4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65336247,"asset_id":44832052,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65336247/download_file?st=MTczNDAxNzg0MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44832052"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44832052"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44832052; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44832052]").text(description); $(".js-view-count[data-work-id=44832052]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44832052; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44832052']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44832052, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cfa7238647e85d664cb019da8d029bd4" } } $('.js-work-strip[data-work-id=44832052]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44832052,"title":"The Management of Art Historical Content: An Internet supported concept for presenting and distributing information","translated_title":"","metadata":{"abstract":"Since the mid-nineties the World Wide Web has become a technological platform for Art Historical Institutions, to publish their teaching and research related information. Almost all departments are represented in the WWW with their own homepage, publishing bi-yearly the up to date version of its Commented Lecture Directory. As a rule this occurs under the circumstances of a medial and personal division of content resources (teaching staff, secretary), web-author (HTML-programmer, academic assistant) and the public (students, scientific community). Exactly how far a WWW-based Open-Source infrastructure can incorporate a concept, which intends to irradiate this division, is currently being tested at the Art Historical Institute at the Humboldt University, Berlin.","publication_date":{"day":null,"month":null,"year":2002,"errors":{}}},"translated_abstract":"Since the mid-nineties the World Wide Web has become a technological platform for Art Historical Institutions, to publish their teaching and research related information. Almost all departments are represented in the WWW with their own homepage, publishing bi-yearly the up to date version of its Commented Lecture Directory. As a rule this occurs under the circumstances of a medial and personal division of content resources (teaching staff, secretary), web-author (HTML-programmer, academic assistant) and the public (students, scientific community). 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A notion of network-based 'distance learning' will be developed through the new organization of information provided by the Art History Seminar in the WWW. The goal of this project is to provide productive support for actual classroom learning through 'pools of knowledge,' which will cooperatively managed and which can be tailored to the personal needs and interests of the course participants. The best way to develop and implement these structures is through a three-staged progressive workflow model, in which each of the respective stages functions as the presupposition for the subsequent stage. From slide projection to »Distant Learning« The significance of knowledge in our society has not only increased; its profile has also changed through the process of technologization, in particular through the transformation of the computer from a tool or implement to a medium of knowledge-transfer. Dealing with new media and information technologies has become one of the key areas of competency in modern societies caught in the upheaval from an industrial society to a communication and knowledge society, in which forms of intellectual labor will dominate in the future. Colleges and universities are simultaneously affected and challenged by this transformation. Universities of the future will continue in Wilhelm von Humboldt's tradition of scholarship as the unity of research, instruction and education, but they will also have to face the challenges which accompany the digitalization of the world in the 21st century. The use of new media in learning and education not only alters the substantive and structural demands made upon educational institutions. Such media also offer new possibilities for the processing of knowledge , for its presentation as well as for its pedagogical mediation in the lecture hall or seminar room. Interactive homepage The project interaktive [interactive] Homepage of the Humboldt Univer-sity's Art History Seminar will promote and implement a broad, long-term integration of the new media both as a means of teaching, learning and communication, and as one for qualitatively improving course offerings through media support. A notion of network-based 'distance learning' will be developed through the new organization of information provided by the Art History Seminar in the WWW.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="80786d79a7f182217a87c53fc4de60e7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65336206,"asset_id":44832025,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65336206/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44832025"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44832025"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44832025; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44832025]").text(description); $(".js-view-count[data-work-id=44832025]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44832025; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44832025']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44832025, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "80786d79a7f182217a87c53fc4de60e7" } } $('.js-work-strip[data-work-id=44832025]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44832025,"title":"The Use of New Media in Education: Opportunities and Challenges of Cooperative Teaching and Learning in Art History","translated_title":"","metadata":{"abstract":"Universities of the future will continue in Wilhelm von Humboldt's tradition of scholarship as the unity of research, instruction and education, but they will also have to face the challenges which accompany the digitalization of the world in the 21st century. 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Our societies are currently facing tremendous social challenges and ecological threats, such as climate change, environmental collapse, mass migration, violations of human rights, social inequality and poverty, the slow erosion of democratic systems and constitutional structures, and mass unemployment in times of digital transformation and the rise of robotics. Grand challenges touch upon many facets of human existence, be it in a material, economic, environmental, social, cultural, technological, political, medical, aesthetic or moral sense, and cannot be tackled by single disciplines alone. Today an increasing number of universities seek to contribute to solving major societal and ecological challenges — demonstrating the value of university research and education.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="95c8e56dd6eff10432250df901eda5a9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58417996,"asset_id":38364802,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58417996/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38364802"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38364802"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38364802; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38364802]").text(description); $(".js-view-count[data-work-id=38364802]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38364802; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38364802']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38364802, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "95c8e56dd6eff10432250df901eda5a9" } } $('.js-work-strip[data-work-id=38364802]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38364802,"title":"Teaching for the Future: Grand Challenges in 21st Century Higher Education","translated_title":"","metadata":{"abstract":"The panel discussion Teaching for the Future will provide an opportunity to set out a debate on how the rise of Grand challenges will affect the requirements and standards of twenty-first century higher education. 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","publication_date":{"day":null,"month":null,"year":2018,"errors":{}}},"translated_abstract":"The panel discussion Teaching for the Future will provide an opportunity to set out a debate on how the rise of Grand challenges will affect the requirements and standards of twenty-first century higher education. Our societies are currently facing tremendous social challenges and ecological threats, such as climate change, environmental collapse, mass migration, violations of human rights, social inequality and poverty, the slow erosion of democratic systems and constitutional structures, and mass unemployment in times of digital transformation and the rise of robotics. Grand challenges touch upon many facets of human existence, be it in a material, economic, environmental, social, cultural, technological, political, medical, aesthetic or moral sense, and cannot be tackled by single disciplines alone. Today an increasing number of universities seek to contribute to solving major societal and ecological challenges — demonstrating the value of university research and education. ","internal_url":"https://www.academia.edu/38364802/Teaching_for_the_Future_Grand_Challenges_in_21st_Century_Higher_Education","translated_internal_url":"","created_at":"2019-02-16T01:53:28.264-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"draft","co_author_tags":[],"downloadable_attachments":[{"id":58417996,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58417996/thumbnails/1.jpg","file_name":"Teaching_for_the_Future_Einladung_2018.pdf","download_url":"https://www.academia.edu/attachments/58417996/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Teaching_for_the_Future_Grand_Challenges.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58417996/Teaching_for_the_Future_Einladung_2018-libre.pdf?1550315482=\u0026response-content-disposition=attachment%3B+filename%3DTeaching_for_the_Future_Grand_Challenges.pdf\u0026Expires=1734021441\u0026Signature=IErAt5QNnPUh-Bzl9MCvQ1wIxHReK0l1sx5fzjfM-Ow311tHNKVQlHJP2i-4OMazbJv0h6rv3qNcZ4Ykf~GZ7jAeNnK3F3nKcHLlRIpb3BHvGDx3bmRlBQOqq6QzbZ-FhOaxozILoj4V4q0TiFkK-Jy~QayCIpaNR1KB-Sms6NmQTmUYzKx-qRwEppPe53aOq5cd2YckhmEYEZzX-V~VwmFvyIYHkgVEf3Cgg9caN76QazCYPs6uBmNMuy6YhOMDQVzSnYghYTBmKoCyqJor5ORodyyZluosY7vgmGDmO0rAUCvNPo0ZArVqTagRqaRwVlkCsLza2NaaQbTizKNc~Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Teaching_for_the_Future_Grand_Challenges_in_21st_Century_Higher_Education","translated_slug":"","page_count":5,"language":"en","content_type":"Work","summary":"The panel discussion Teaching for the Future will provide an opportunity to set out a debate on how the rise of Grand challenges will affect the requirements and standards of twenty-first century higher education. Our societies are currently facing tremendous social challenges and ecological threats, such as climate change, environmental collapse, mass migration, violations of human rights, social inequality and poverty, the slow erosion of democratic systems and constitutional structures, and mass unemployment in times of digital transformation and the rise of robotics. Grand challenges touch upon many facets of human existence, be it in a material, economic, environmental, social, cultural, technological, political, medical, aesthetic or moral sense, and cannot be tackled by single disciplines alone. Today an increasing number of universities seek to contribute to solving major societal and ecological challenges — demonstrating the value of university research and education. ","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":58417996,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58417996/thumbnails/1.jpg","file_name":"Teaching_for_the_Future_Einladung_2018.pdf","download_url":"https://www.academia.edu/attachments/58417996/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Teaching_for_the_Future_Grand_Challenges.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58417996/Teaching_for_the_Future_Einladung_2018-libre.pdf?1550315482=\u0026response-content-disposition=attachment%3B+filename%3DTeaching_for_the_Future_Grand_Challenges.pdf\u0026Expires=1734021441\u0026Signature=IErAt5QNnPUh-Bzl9MCvQ1wIxHReK0l1sx5fzjfM-Ow311tHNKVQlHJP2i-4OMazbJv0h6rv3qNcZ4Ykf~GZ7jAeNnK3F3nKcHLlRIpb3BHvGDx3bmRlBQOqq6QzbZ-FhOaxozILoj4V4q0TiFkK-Jy~QayCIpaNR1KB-Sms6NmQTmUYzKx-qRwEppPe53aOq5cd2YckhmEYEZzX-V~VwmFvyIYHkgVEf3Cgg9caN76QazCYPs6uBmNMuy6YhOMDQVzSnYghYTBmKoCyqJor5ORodyyZluosY7vgmGDmO0rAUCvNPo0ZArVqTagRqaRwVlkCsLza2NaaQbTizKNc~Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":2621,"name":"Higher Education","url":"https://www.academia.edu/Documents/in/Higher_Education"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"},{"id":1848491,"name":"Global Grand Challenges","url":"https://www.academia.edu/Documents/in/Global_Grand_Challenges"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="11049686" id="books"><div class="js-work-strip profile--work_container" data-work-id="125347733"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125347733/Medien_der_Kunst_Geschlecht_Metapher_Code"><img alt="Research paper thumbnail of Medien der Kunst: Geschlecht, Metapher, Code" class="work-thumbnail" src="https://attachments.academia-assets.com/119408211/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125347733/Medien_der_Kunst_Geschlecht_Metapher_Code">Medien der Kunst: Geschlecht, Metapher, Code</a></div><div class="wp-workCard_item"><span>Medien der Kunst: Geschlecht, Metapher, Code</span><span>, 2004</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Medien der Kunst: Geschlecht, Metapher, Code Beiträge der 7. Kunsthistorikerinnen-Tagung in Berli...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Medien der Kunst: Geschlecht, Metapher, Code<br />Beiträge der 7. Kunsthistorikerinnen-Tagung in Berlin 2002.<br />Hg. von Susanne von Falkenhausen, Silke Förschler, Ingeborg Reichle, Bettina Uppenkamp.<br /><br />Mit der Formierung neuer Techniken und Praktiken digitaler Bildgenerierung in allen kulturellen und wissenschaftlichen Bereichen stellt sich auch die Frage nach dem Verhältnis von Medialität und Geschlecht.<br /><br />Die siebente Kunsthistorikerinnentagung rückte diese Verknüpfung in den Blick der Kunstwissenschaft. Der Einzug neuer Medien in Kultur und Gesellschaft wurde, vergangenen Medienrevolutionen vergleichbar, von euphorisch-utopischen Diskursen begleitet; ihnen standen kulturpessimistische Positionen gegenüber.<br /><br />In einer kunst- bzw. bildwissenschaftlichen Perspektive kann die Debatte nicht auf die neuen Medien beschränkt bleiben. Auch für die historischen künstlerischen Medien stellt sich die Frage nach den jeweils medienspezifischen Machtverhältnissen, Codierungen und geschlechtsspezifischen Konnotationen. Der vorliegende Tagungsband liefert Beiträge zu aktuellen Bilderpolitiken, zum architektonischen Raum unter medialen Aspekten, zu Cyber- und Videokunst aus der Perspektive visueller Geschlechtersemantik, zur Generierung von Körperbildern als mediale Effekte, zu den medialen Umschlägen in der historischen Bildproduktion. Neben dem digitalen Bild werden Video, Film, Fotografie, Malerei, Buchmalerei und Druckgraphik untersucht.<br /><br />Inhalt<br />Vorwort<br />Susanne von Falkenhausen<br /><br />Einleitung<br />Hanne Loreck<br />Bildandropologie? Kritik einer Theorie des Visuellen<br /><br />Ingeborg Reichle<br />Geschlechtermetamorphosen des Cyberspace<br /><br />Karin Harrasser<br />Von der Cyborg zur Hystorie und zurück. Narrationen in Theorie, Kunst und Politik<br /><br />Verena Kuni<br />“Why have there been no great cyberfeminist net.artists?” Nutzen und Nachteil der Legende von der Cyberfeministischen Netzkünstlerin<br /><br />Martina Pachmanova<br />Frontiers of the Self: Femininity, Subjectivity, and New Media<br /><br />Yvonne Volkart<br />Cyborgs, Queere, Transsexuelle und Wasserwesen: Entwürfe fluider Subjekte in Shu Lea Cheangs digitalem Pornofilm I.K.U.<br /><br />Opening the Circuit: Video zwischen Abbild und Performanz<br /><br />Sigrid Adorf<br />Narzißtische Splitter. Video als feministische Botschaft in den 70er Jahren<br /><br />Angela Dimitrakaki<br />Femininity and Utopia in Women’s Film an Video: Towards a Critical Investigation<br /><br />Ute Vorkoeper<br />Die eigene Geschichte öffnen. Zur Aufgabe des Erzählens in Eija-Liisa Ahtilas Filmen und Videoinstallationen<br /><br />Raumbilder<br /><br />Linda Hentschel<br />Die Zimmerreise. Wohnsucht und Bildersucht in der visuellen Kultur der Moderne<br /><br />Irene Nierhaus<br />WAND/SCHIRM/BILD. Zur Bildräumlichkeit in der Moderne<br /><br />Gabriele Genge<br />Shirin Neshat: Ornament, Raum und Geschichte<br /><br />Bilderpolitiken<br /><br />Kerstin Brandes<br />“What you lookn at” – Fotografie und die Spuren des Spiegel(n)s<br /><br />Dagmar Fink und Susanne Lummerding<br />Strange Days for Race and Gender. Transgressionsversprechen und Kohärenzphantasmen im Kontext des ‘Cyberspace’<br /><br />Manuela Barth und Barbara U. Schmidt<br />Karriere im Anzug: Genderkonzepte in den Bildwelten der Computer- und IT-Branche. Eine Untersuchung in der Reihe LaraCroft:ism.<br /><br />Körperbilder als Medieneffekte<br /><br />Susanne Holschbach<br />Fotografisches Rollenporträt und medialer Transfer – Schauspielerinnen im Atelier des 19. Jahrhunderts<br /><br />Silke Förschler<br />Die Kamera im Bade. Inszenierungen von Natürlichkeit in Badedarstellungen: Malerei und Video<br /><br />Elke Frietsch<br />Corpus quasi vas. Ein Motiv im historisch-medialen Wandela<br /><br />Mechthild Fend<br />Medium und Haut. Oberflächen und Körpergrenzen in Malerei und Medizin des 19. Jahrhunderts<br /><br />Silke Tammen<br />Begehrenswerte Körper und Schriften: Gibt es eine geschlechtliche Codierung des Buches in der mittelalterlichen Kunst?<br /><br />Kristina Domanski<br />Bildkommentare. Giovanni Boccaccios Berühmte Frauen im Medienwechsel<br /><br />Laima Kreivyte<br />The Strategy of Losing: Femininity in Lithuanian Cinema</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3afe0ff982b8c364d61e63090ca2be2b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119408211,"asset_id":125347733,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119408211/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125347733"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125347733"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125347733; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125347733]").text(description); $(".js-view-count[data-work-id=125347733]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125347733; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125347733']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125347733, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3afe0ff982b8c364d61e63090ca2be2b" } } $('.js-work-strip[data-work-id=125347733]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125347733,"title":"Medien der Kunst: Geschlecht, Metapher, Code","translated_title":"","metadata":{"abstract":"Medien der Kunst: Geschlecht, Metapher, Code\nBeiträge der 7. Kunsthistorikerinnen-Tagung in Berlin 2002.\nHg. von Susanne von Falkenhausen, Silke Förschler, Ingeborg Reichle, Bettina Uppenkamp.\n\nMit der Formierung neuer Techniken und Praktiken digitaler Bildgenerierung in allen kulturellen und wissenschaftlichen Bereichen stellt sich auch die Frage nach dem Verhältnis von Medialität und Geschlecht.\n\nDie siebente Kunsthistorikerinnentagung rückte diese Verknüpfung in den Blick der Kunstwissenschaft. Der Einzug neuer Medien in Kultur und Gesellschaft wurde, vergangenen Medienrevolutionen vergleichbar, von euphorisch-utopischen Diskursen begleitet; ihnen standen kulturpessimistische Positionen gegenüber.\n\nIn einer kunst- bzw. bildwissenschaftlichen Perspektive kann die Debatte nicht auf die neuen Medien beschränkt bleiben. Auch für die historischen künstlerischen Medien stellt sich die Frage nach den jeweils medienspezifischen Machtverhältnissen, Codierungen und geschlechtsspezifischen Konnotationen. Der vorliegende Tagungsband liefert Beiträge zu aktuellen Bilderpolitiken, zum architektonischen Raum unter medialen Aspekten, zu Cyber- und Videokunst aus der Perspektive visueller Geschlechtersemantik, zur Generierung von Körperbildern als mediale Effekte, zu den medialen Umschlägen in der historischen Bildproduktion. Neben dem digitalen Bild werden Video, Film, Fotografie, Malerei, Buchmalerei und Druckgraphik untersucht.\n\nInhalt\nVorwort\nSusanne von Falkenhausen\n\nEinleitung\nHanne Loreck\nBildandropologie? Kritik einer Theorie des Visuellen\n\nIngeborg Reichle\nGeschlechtermetamorphosen des Cyberspace\n\nKarin Harrasser\nVon der Cyborg zur Hystorie und zurück. Narrationen in Theorie, Kunst und Politik\n\nVerena Kuni\n“Why have there been no great cyberfeminist net.artists?” Nutzen und Nachteil der Legende von der Cyberfeministischen Netzkünstlerin\n\nMartina Pachmanova\nFrontiers of the Self: Femininity, Subjectivity, and New Media\n\nYvonne Volkart\nCyborgs, Queere, Transsexuelle und Wasserwesen: Entwürfe fluider Subjekte in Shu Lea Cheangs digitalem Pornofilm I.K.U.\n\nOpening the Circuit: Video zwischen Abbild und Performanz\n\nSigrid Adorf\nNarzißtische Splitter. Video als feministische Botschaft in den 70er Jahren\n\nAngela Dimitrakaki\nFemininity and Utopia in Women’s Film an Video: Towards a Critical Investigation\n\nUte Vorkoeper\nDie eigene Geschichte öffnen. Zur Aufgabe des Erzählens in Eija-Liisa Ahtilas Filmen und Videoinstallationen\n\nRaumbilder\n\nLinda Hentschel\nDie Zimmerreise. Wohnsucht und Bildersucht in der visuellen Kultur der Moderne\n\nIrene Nierhaus\nWAND/SCHIRM/BILD. Zur Bildräumlichkeit in der Moderne\n\nGabriele Genge\nShirin Neshat: Ornament, Raum und Geschichte\n\nBilderpolitiken\n\nKerstin Brandes\n“What you lookn at” – Fotografie und die Spuren des Spiegel(n)s\n\nDagmar Fink und Susanne Lummerding\nStrange Days for Race and Gender. Transgressionsversprechen und Kohärenzphantasmen im Kontext des ‘Cyberspace’\n\nManuela Barth und Barbara U. Schmidt\nKarriere im Anzug: Genderkonzepte in den Bildwelten der Computer- und IT-Branche. Eine Untersuchung in der Reihe LaraCroft:ism.\n\nKörperbilder als Medieneffekte\n\nSusanne Holschbach\nFotografisches Rollenporträt und medialer Transfer – Schauspielerinnen im Atelier des 19. Jahrhunderts\n\nSilke Förschler\nDie Kamera im Bade. Inszenierungen von Natürlichkeit in Badedarstellungen: Malerei und Video\n\nElke Frietsch\nCorpus quasi vas. Ein Motiv im historisch-medialen Wandela\n\nMechthild Fend\nMedium und Haut. Oberflächen und Körpergrenzen in Malerei und Medizin des 19. Jahrhunderts\n\nSilke Tammen\nBegehrenswerte Körper und Schriften: Gibt es eine geschlechtliche Codierung des Buches in der mittelalterlichen Kunst?\n\nKristina Domanski\nBildkommentare. Giovanni Boccaccios Berühmte Frauen im Medienwechsel\n\nLaima Kreivyte\nThe Strategy of Losing: Femininity in Lithuanian Cinema","publication_date":{"day":null,"month":null,"year":2004,"errors":{}},"publication_name":"Medien der Kunst: Geschlecht, Metapher, Code"},"translated_abstract":"Medien der Kunst: Geschlecht, Metapher, Code\nBeiträge der 7. Kunsthistorikerinnen-Tagung in Berlin 2002.\nHg. von Susanne von Falkenhausen, Silke Förschler, Ingeborg Reichle, Bettina Uppenkamp.\n\nMit der Formierung neuer Techniken und Praktiken digitaler Bildgenerierung in allen kulturellen und wissenschaftlichen Bereichen stellt sich auch die Frage nach dem Verhältnis von Medialität und Geschlecht.\n\nDie siebente Kunsthistorikerinnentagung rückte diese Verknüpfung in den Blick der Kunstwissenschaft. Der Einzug neuer Medien in Kultur und Gesellschaft wurde, vergangenen Medienrevolutionen vergleichbar, von euphorisch-utopischen Diskursen begleitet; ihnen standen kulturpessimistische Positionen gegenüber.\n\nIn einer kunst- bzw. bildwissenschaftlichen Perspektive kann die Debatte nicht auf die neuen Medien beschränkt bleiben. Auch für die historischen künstlerischen Medien stellt sich die Frage nach den jeweils medienspezifischen Machtverhältnissen, Codierungen und geschlechtsspezifischen Konnotationen. Der vorliegende Tagungsband liefert Beiträge zu aktuellen Bilderpolitiken, zum architektonischen Raum unter medialen Aspekten, zu Cyber- und Videokunst aus der Perspektive visueller Geschlechtersemantik, zur Generierung von Körperbildern als mediale Effekte, zu den medialen Umschlägen in der historischen Bildproduktion. Neben dem digitalen Bild werden Video, Film, Fotografie, Malerei, Buchmalerei und Druckgraphik untersucht.\n\nInhalt\nVorwort\nSusanne von Falkenhausen\n\nEinleitung\nHanne Loreck\nBildandropologie? Kritik einer Theorie des Visuellen\n\nIngeborg Reichle\nGeschlechtermetamorphosen des Cyberspace\n\nKarin Harrasser\nVon der Cyborg zur Hystorie und zurück. Narrationen in Theorie, Kunst und Politik\n\nVerena Kuni\n“Why have there been no great cyberfeminist net.artists?” Nutzen und Nachteil der Legende von der Cyberfeministischen Netzkünstlerin\n\nMartina Pachmanova\nFrontiers of the Self: Femininity, Subjectivity, and New Media\n\nYvonne Volkart\nCyborgs, Queere, Transsexuelle und Wasserwesen: Entwürfe fluider Subjekte in Shu Lea Cheangs digitalem Pornofilm I.K.U.\n\nOpening the Circuit: Video zwischen Abbild und Performanz\n\nSigrid Adorf\nNarzißtische Splitter. Video als feministische Botschaft in den 70er Jahren\n\nAngela Dimitrakaki\nFemininity and Utopia in Women’s Film an Video: Towards a Critical Investigation\n\nUte Vorkoeper\nDie eigene Geschichte öffnen. Zur Aufgabe des Erzählens in Eija-Liisa Ahtilas Filmen und Videoinstallationen\n\nRaumbilder\n\nLinda Hentschel\nDie Zimmerreise. Wohnsucht und Bildersucht in der visuellen Kultur der Moderne\n\nIrene Nierhaus\nWAND/SCHIRM/BILD. Zur Bildräumlichkeit in der Moderne\n\nGabriele Genge\nShirin Neshat: Ornament, Raum und Geschichte\n\nBilderpolitiken\n\nKerstin Brandes\n“What you lookn at” – Fotografie und die Spuren des Spiegel(n)s\n\nDagmar Fink und Susanne Lummerding\nStrange Days for Race and Gender. Transgressionsversprechen und Kohärenzphantasmen im Kontext des ‘Cyberspace’\n\nManuela Barth und Barbara U. Schmidt\nKarriere im Anzug: Genderkonzepte in den Bildwelten der Computer- und IT-Branche. Eine Untersuchung in der Reihe LaraCroft:ism.\n\nKörperbilder als Medieneffekte\n\nSusanne Holschbach\nFotografisches Rollenporträt und medialer Transfer – Schauspielerinnen im Atelier des 19. Jahrhunderts\n\nSilke Förschler\nDie Kamera im Bade. Inszenierungen von Natürlichkeit in Badedarstellungen: Malerei und Video\n\nElke Frietsch\nCorpus quasi vas. Ein Motiv im historisch-medialen Wandela\n\nMechthild Fend\nMedium und Haut. Oberflächen und Körpergrenzen in Malerei und Medizin des 19. Jahrhunderts\n\nSilke Tammen\nBegehrenswerte Körper und Schriften: Gibt es eine geschlechtliche Codierung des Buches in der mittelalterlichen Kunst?\n\nKristina Domanski\nBildkommentare. Giovanni Boccaccios Berühmte Frauen im Medienwechsel\n\nLaima Kreivyte\nThe Strategy of Losing: Femininity in Lithuanian Cinema","internal_url":"https://www.academia.edu/125347733/Medien_der_Kunst_Geschlecht_Metapher_Code","translated_internal_url":"","created_at":"2024-11-07T00:16:45.471-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[{"id":42665423,"work_id":125347733,"tagging_user_id":5321873,"tagged_user_id":304701898,"co_author_invite_id":null,"email":"b***p@hfbk-hamburg.de","display_order":1,"name":"Bettina Uppenkamp","title":"Medien der Kunst: Geschlecht, Metapher, Code"},{"id":42665424,"work_id":125347733,"tagging_user_id":5321873,"tagged_user_id":30715971,"co_author_invite_id":null,"email":"s***r@posteo.de","display_order":2,"name":"Silke Förschler","title":"Medien der Kunst: Geschlecht, Metapher, Code"}],"downloadable_attachments":[{"id":119408211,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119408211/thumbnails/1.jpg","file_name":"Medien_der_Kunst_2004.pdf","download_url":"https://www.academia.edu/attachments/119408211/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Medien_der_Kunst_Geschlecht_Metapher_Cod.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119408211/Medien_der_Kunst_2004-libre.pdf?1730968589=\u0026response-content-disposition=attachment%3B+filename%3DMedien_der_Kunst_Geschlecht_Metapher_Cod.pdf\u0026Expires=1733962295\u0026Signature=Z5rQCP2lYpkLsyoplSep2SeqZoHYPTpTBAh1GKn6pLzscQNvqoUbS9wPeSiLcoYKhWuPnqZSruwLQMNRvx8ZCMDudXQJsgTAaAw5cmvX27n6M9io3i8dvFWAhk0ZnEeUwd892aZE3hW2QbAIpHOgbLcgDtQAI01FVNgPKYJvlp4bokSfEwgcV9vJL-GB8E01~HG9CS6epoeV64yQNcl~yRtSPEd5-GcukJsOESzSbHov~pgaub6L16ASg0-rqWsoD2~BHEWLbRZH6McBkIUFVg4lfSdOLdM-hxepHhvBoRrxw74mSlnSk6580lBprhzF8LF8v2s7K0n2c7qKoF96yQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Medien_der_Kunst_Geschlecht_Metapher_Code","translated_slug":"","page_count":1,"language":"de","content_type":"Work","summary":"Medien der Kunst: Geschlecht, Metapher, Code\nBeiträge der 7. Kunsthistorikerinnen-Tagung in Berlin 2002.\nHg. von Susanne von Falkenhausen, Silke Förschler, Ingeborg Reichle, Bettina Uppenkamp.\n\nMit der Formierung neuer Techniken und Praktiken digitaler Bildgenerierung in allen kulturellen und wissenschaftlichen Bereichen stellt sich auch die Frage nach dem Verhältnis von Medialität und Geschlecht.\n\nDie siebente Kunsthistorikerinnentagung rückte diese Verknüpfung in den Blick der Kunstwissenschaft. Der Einzug neuer Medien in Kultur und Gesellschaft wurde, vergangenen Medienrevolutionen vergleichbar, von euphorisch-utopischen Diskursen begleitet; ihnen standen kulturpessimistische Positionen gegenüber.\n\nIn einer kunst- bzw. bildwissenschaftlichen Perspektive kann die Debatte nicht auf die neuen Medien beschränkt bleiben. Auch für die historischen künstlerischen Medien stellt sich die Frage nach den jeweils medienspezifischen Machtverhältnissen, Codierungen und geschlechtsspezifischen Konnotationen. Der vorliegende Tagungsband liefert Beiträge zu aktuellen Bilderpolitiken, zum architektonischen Raum unter medialen Aspekten, zu Cyber- und Videokunst aus der Perspektive visueller Geschlechtersemantik, zur Generierung von Körperbildern als mediale Effekte, zu den medialen Umschlägen in der historischen Bildproduktion. Neben dem digitalen Bild werden Video, Film, Fotografie, Malerei, Buchmalerei und Druckgraphik untersucht.\n\nInhalt\nVorwort\nSusanne von Falkenhausen\n\nEinleitung\nHanne Loreck\nBildandropologie? Kritik einer Theorie des Visuellen\n\nIngeborg Reichle\nGeschlechtermetamorphosen des Cyberspace\n\nKarin Harrasser\nVon der Cyborg zur Hystorie und zurück. Narrationen in Theorie, Kunst und Politik\n\nVerena Kuni\n“Why have there been no great cyberfeminist net.artists?” Nutzen und Nachteil der Legende von der Cyberfeministischen Netzkünstlerin\n\nMartina Pachmanova\nFrontiers of the Self: Femininity, Subjectivity, and New Media\n\nYvonne Volkart\nCyborgs, Queere, Transsexuelle und Wasserwesen: Entwürfe fluider Subjekte in Shu Lea Cheangs digitalem Pornofilm I.K.U.\n\nOpening the Circuit: Video zwischen Abbild und Performanz\n\nSigrid Adorf\nNarzißtische Splitter. Video als feministische Botschaft in den 70er Jahren\n\nAngela Dimitrakaki\nFemininity and Utopia in Women’s Film an Video: Towards a Critical Investigation\n\nUte Vorkoeper\nDie eigene Geschichte öffnen. Zur Aufgabe des Erzählens in Eija-Liisa Ahtilas Filmen und Videoinstallationen\n\nRaumbilder\n\nLinda Hentschel\nDie Zimmerreise. Wohnsucht und Bildersucht in der visuellen Kultur der Moderne\n\nIrene Nierhaus\nWAND/SCHIRM/BILD. Zur Bildräumlichkeit in der Moderne\n\nGabriele Genge\nShirin Neshat: Ornament, Raum und Geschichte\n\nBilderpolitiken\n\nKerstin Brandes\n“What you lookn at” – Fotografie und die Spuren des Spiegel(n)s\n\nDagmar Fink und Susanne Lummerding\nStrange Days for Race and Gender. Transgressionsversprechen und Kohärenzphantasmen im Kontext des ‘Cyberspace’\n\nManuela Barth und Barbara U. Schmidt\nKarriere im Anzug: Genderkonzepte in den Bildwelten der Computer- und IT-Branche. Eine Untersuchung in der Reihe LaraCroft:ism.\n\nKörperbilder als Medieneffekte\n\nSusanne Holschbach\nFotografisches Rollenporträt und medialer Transfer – Schauspielerinnen im Atelier des 19. Jahrhunderts\n\nSilke Förschler\nDie Kamera im Bade. Inszenierungen von Natürlichkeit in Badedarstellungen: Malerei und Video\n\nElke Frietsch\nCorpus quasi vas. Ein Motiv im historisch-medialen Wandela\n\nMechthild Fend\nMedium und Haut. Oberflächen und Körpergrenzen in Malerei und Medizin des 19. Jahrhunderts\n\nSilke Tammen\nBegehrenswerte Körper und Schriften: Gibt es eine geschlechtliche Codierung des Buches in der mittelalterlichen Kunst?\n\nKristina Domanski\nBildkommentare. Giovanni Boccaccios Berühmte Frauen im Medienwechsel\n\nLaima Kreivyte\nThe Strategy of Losing: Femininity in Lithuanian Cinema","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":119408211,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119408211/thumbnails/1.jpg","file_name":"Medien_der_Kunst_2004.pdf","download_url":"https://www.academia.edu/attachments/119408211/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Medien_der_Kunst_Geschlecht_Metapher_Cod.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119408211/Medien_der_Kunst_2004-libre.pdf?1730968589=\u0026response-content-disposition=attachment%3B+filename%3DMedien_der_Kunst_Geschlecht_Metapher_Cod.pdf\u0026Expires=1733962295\u0026Signature=Z5rQCP2lYpkLsyoplSep2SeqZoHYPTpTBAh1GKn6pLzscQNvqoUbS9wPeSiLcoYKhWuPnqZSruwLQMNRvx8ZCMDudXQJsgTAaAw5cmvX27n6M9io3i8dvFWAhk0ZnEeUwd892aZE3hW2QbAIpHOgbLcgDtQAI01FVNgPKYJvlp4bokSfEwgcV9vJL-GB8E01~HG9CS6epoeV64yQNcl~yRtSPEd5-GcukJsOESzSbHov~pgaub6L16ASg0-rqWsoD2~BHEWLbRZH6McBkIUFVg4lfSdOLdM-hxepHhvBoRrxw74mSlnSk6580lBprhzF8LF8v2s7K0n2c7qKoF96yQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory"},{"id":27971,"name":"Feminist Art History","url":"https://www.academia.edu/Documents/in/Feminist_Art_History"},{"id":29108,"name":"Feminist Literary Theory and Gender Studies","url":"https://www.academia.edu/Documents/in/Feminist_Literary_Theory_and_Gender_Studies"},{"id":1010901,"name":"Feminist Performance Art","url":"https://www.academia.edu/Documents/in/Feminist_Performance_Art"},{"id":1338758,"name":"Women's Studies; Feminist Art History","url":"https://www.academia.edu/Documents/in/Womens_Studies_Feminist_Art_History"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125347268"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125347268/IMAGE_MATCH_Visueller_Transfer_Imagescapes_und_Intervisualit%C3%A4t_in_globalen_Bildkulturen"><img alt="Research paper thumbnail of IMAGE MATCH: Visueller Transfer, „Imagescapes“ und Intervisualität in globalen Bildkulturen" class="work-thumbnail" src="https://attachments.academia-assets.com/119407817/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125347268/IMAGE_MATCH_Visueller_Transfer_Imagescapes_und_Intervisualit%C3%A4t_in_globalen_Bildkulturen">IMAGE MATCH: Visueller Transfer, „Imagescapes“ und Intervisualität in globalen Bildkulturen</a></div><div class="wp-workCard_item"><span>IMAGE MATCH: Visueller Transfer, „Imagescapes“ und Intervisualität in globalen Bildkulturen</span><span>, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Im Zuge der Globalisierung geraten Bilder in massenhafter Weise in Bewegung. Sie sind Teil transn...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Im Zuge der Globalisierung geraten Bilder in massenhafter Weise in Bewegung. Sie sind Teil transnationaler Migration, fließen millionenfach durch das Internet und fusionieren zu neuen Bildlandschaften. Mit ihnen formen sich transkulturelle Bildensembles, in denen in vielfältigen ikonischen Begegnungen Referenzen und Bedeutungen neu verhandelt werden. Die Untersuchung von Übertragungen zwischen Bildräumen samt ihrer Interpretanten ermöglicht einen bildwissenschaftlichen Zugriff auf Intervisualität in globalen Bild-Kulturen. Einsichten in diese Übertragungsprozesse gewährt bereits ein Blick auf ›traditionelle‹ Bildkulturen und tradierte Bildmedien. Auch diese sind, wie sich nun unter dem Eindruck einer globalen Bild-Transfer-Kultur zeigt, oft auch nur durch solche visuellen und bildlichen Übertragungs- und Verhandlungsprozesse zu verstehen.<br /><br />IMAGE MATCH beleuchtet die damit einhergehenden und neu entstehenden hybriden kulturellen Bildpraktiken sowie die historische Entwicklung und den Einfluss von Transferbewegungen auf etablierte Bildlandschaften und die ›Logik der Bilder‹.<br /><br />Mit Beiträgen von Martina Baleva, Priyanka Basu, Jacob Birken, Patrizia Faccioli, Ulf Jensen, Il-Tschung Lim, Nicholas Mirzoeff, Gabriel S. Moses, Jörg Probst, Michaela Nicole Raß, Markus Rautzenberg, Ingeborg Reichle, Oliver Lerone Schultz, Nicole E. Stöcklmayr, Anna Valentine Ullrich und Friederike Weis.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="912ec6805650cb42136e66d6b4492750" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119407817,"asset_id":125347268,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119407817/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125347268"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125347268"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125347268; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125347268]").text(description); $(".js-view-count[data-work-id=125347268]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125347268; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125347268']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125347268, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "912ec6805650cb42136e66d6b4492750" } } $('.js-work-strip[data-work-id=125347268]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125347268,"title":"IMAGE MATCH: Visueller Transfer, „Imagescapes“ und Intervisualität in globalen Bildkulturen","translated_title":"","metadata":{"doi":"10.30965/9783846751657","abstract":"Im Zuge der Globalisierung geraten Bilder in massenhafter Weise in Bewegung. Sie sind Teil transnationaler Migration, fließen millionenfach durch das Internet und fusionieren zu neuen Bildlandschaften. Mit ihnen formen sich transkulturelle Bildensembles, in denen in vielfältigen ikonischen Begegnungen Referenzen und Bedeutungen neu verhandelt werden. Die Untersuchung von Übertragungen zwischen Bildräumen samt ihrer Interpretanten ermöglicht einen bildwissenschaftlichen Zugriff auf Intervisualität in globalen Bild-Kulturen. Einsichten in diese Übertragungsprozesse gewährt bereits ein Blick auf ›traditionelle‹ Bildkulturen und tradierte Bildmedien. Auch diese sind, wie sich nun unter dem Eindruck einer globalen Bild-Transfer-Kultur zeigt, oft auch nur durch solche visuellen und bildlichen Übertragungs- und Verhandlungsprozesse zu verstehen.\n\nIMAGE MATCH beleuchtet die damit einhergehenden und neu entstehenden hybriden kulturellen Bildpraktiken sowie die historische Entwicklung und den Einfluss von Transferbewegungen auf etablierte Bildlandschaften und die ›Logik der Bilder‹.\n\nMit Beiträgen von Martina Baleva, Priyanka Basu, Jacob Birken, Patrizia Faccioli, Ulf Jensen, Il-Tschung Lim, Nicholas Mirzoeff, Gabriel S. Moses, Jörg Probst, Michaela Nicole Raß, Markus Rautzenberg, Ingeborg Reichle, Oliver Lerone Schultz, Nicole E. Stöcklmayr, Anna Valentine Ullrich und Friederike Weis.","publication_date":{"day":null,"month":null,"year":2012,"errors":{}},"publication_name":"IMAGE MATCH: Visueller Transfer, „Imagescapes“ und Intervisualität in globalen Bildkulturen"},"translated_abstract":"Im Zuge der Globalisierung geraten Bilder in massenhafter Weise in Bewegung. Sie sind Teil transnationaler Migration, fließen millionenfach durch das Internet und fusionieren zu neuen Bildlandschaften. Mit ihnen formen sich transkulturelle Bildensembles, in denen in vielfältigen ikonischen Begegnungen Referenzen und Bedeutungen neu verhandelt werden. Die Untersuchung von Übertragungen zwischen Bildräumen samt ihrer Interpretanten ermöglicht einen bildwissenschaftlichen Zugriff auf Intervisualität in globalen Bild-Kulturen. Einsichten in diese Übertragungsprozesse gewährt bereits ein Blick auf ›traditionelle‹ Bildkulturen und tradierte Bildmedien. Auch diese sind, wie sich nun unter dem Eindruck einer globalen Bild-Transfer-Kultur zeigt, oft auch nur durch solche visuellen und bildlichen Übertragungs- und Verhandlungsprozesse zu verstehen.\n\nIMAGE MATCH beleuchtet die damit einhergehenden und neu entstehenden hybriden kulturellen Bildpraktiken sowie die historische Entwicklung und den Einfluss von Transferbewegungen auf etablierte Bildlandschaften und die ›Logik der Bilder‹.\n\nMit Beiträgen von Martina Baleva, Priyanka Basu, Jacob Birken, Patrizia Faccioli, Ulf Jensen, Il-Tschung Lim, Nicholas Mirzoeff, Gabriel S. Moses, Jörg Probst, Michaela Nicole Raß, Markus Rautzenberg, Ingeborg Reichle, Oliver Lerone Schultz, Nicole E. Stöcklmayr, Anna Valentine Ullrich und Friederike Weis.","internal_url":"https://www.academia.edu/125347268/IMAGE_MATCH_Visueller_Transfer_Imagescapes_und_Intervisualit%C3%A4t_in_globalen_Bildkulturen","translated_internal_url":"","created_at":"2024-11-06T23:52:33.649-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[{"id":42665344,"work_id":125347268,"tagging_user_id":5321873,"tagged_user_id":299101,"co_author_invite_id":null,"email":"m***a@uibk.ac.at","affiliation":"University of Basel, Switzerland","display_order":1,"name":"Martina Baleva","title":"IMAGE MATCH: Visueller Transfer, „Imagescapes“ und Intervisualität in globalen Bildkulturen"},{"id":42665345,"work_id":125347268,"tagging_user_id":5321873,"tagged_user_id":1665889,"co_author_invite_id":null,"email":"o***s@lerone.net","display_order":2,"name":"oliver lerone schultz","title":"IMAGE MATCH: Visueller Transfer, „Imagescapes“ und Intervisualität in globalen Bildkulturen"}],"downloadable_attachments":[{"id":119407817,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119407817/thumbnails/1.jpg","file_name":"IMAGE_MATCH_2012.pdf","download_url":"https://www.academia.edu/attachments/119407817/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"IMAGE_MATCH_Visueller_Transfer_Imagescap.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119407817/IMAGE_MATCH_2012-libre.pdf?1730969379=\u0026response-content-disposition=attachment%3B+filename%3DIMAGE_MATCH_Visueller_Transfer_Imagescap.pdf\u0026Expires=1734021441\u0026Signature=RC-gPuHEI~8ko7R8gliwDVwBdtZ7hZmULRZKdZqbyIytKQIHXKkUW7GNTnl1QKU2~pj3qzHBxJoqmu6q5DqY5~afmB2Bb4fqF-bThyyxOytuGrdOAYD~K07S56ZBHuJkjSrbhDBiRO~xV4LSMzh338omkBqxFTTUZDHwrjH~50WSHa-vNETeQ7oQ29twIkVa0c-M0LpSDt-axoLb6YnRpDtvd85kUFQOQWvX3ZD4Lq~wOdHkZP~ODepKgWNN0-j8YaGyAJLFr68XKIDjdsXN4~HDv~RadReGP2DqPPlCiu1QohBQUqSife7aVCVkrwVajHHXcYHWIpBZap~5Iiu2hw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"IMAGE_MATCH_Visueller_Transfer_Imagescapes_und_Intervisualität_in_globalen_Bildkulturen","translated_slug":"","page_count":346,"language":"de","content_type":"Work","summary":"Im Zuge der Globalisierung geraten Bilder in massenhafter Weise in Bewegung. Sie sind Teil transnationaler Migration, fließen millionenfach durch das Internet und fusionieren zu neuen Bildlandschaften. Mit ihnen formen sich transkulturelle Bildensembles, in denen in vielfältigen ikonischen Begegnungen Referenzen und Bedeutungen neu verhandelt werden. Die Untersuchung von Übertragungen zwischen Bildräumen samt ihrer Interpretanten ermöglicht einen bildwissenschaftlichen Zugriff auf Intervisualität in globalen Bild-Kulturen. Einsichten in diese Übertragungsprozesse gewährt bereits ein Blick auf ›traditionelle‹ Bildkulturen und tradierte Bildmedien. Auch diese sind, wie sich nun unter dem Eindruck einer globalen Bild-Transfer-Kultur zeigt, oft auch nur durch solche visuellen und bildlichen Übertragungs- und Verhandlungsprozesse zu verstehen.\n\nIMAGE MATCH beleuchtet die damit einhergehenden und neu entstehenden hybriden kulturellen Bildpraktiken sowie die historische Entwicklung und den Einfluss von Transferbewegungen auf etablierte Bildlandschaften und die ›Logik der Bilder‹.\n\nMit Beiträgen von Martina Baleva, Priyanka Basu, Jacob Birken, Patrizia Faccioli, Ulf Jensen, Il-Tschung Lim, Nicholas Mirzoeff, Gabriel S. Moses, Jörg Probst, Michaela Nicole Raß, Markus Rautzenberg, Ingeborg Reichle, Oliver Lerone Schultz, Nicole E. 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Aber trotzdem scheinen si...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Das, was wir "Bilder" nennen, ist keine sehr einheitliche Gemeinschaft. Aber trotzdem scheinen sie alle miteinander in Verbindung zu stehen. Ein Ölgemälde und ein Diagramm, ein Radarbild und eine Madonnenfigur, eine Landkarte und eine Mandelbrot-Menge erschließen sich uns auf sehr verschiedenen Wegen. Bildlichkeit ist kein Merkmal, das überall die gleiche Form annimmt und das überall auf gleiche Weise wahrnehmbar ist. Die Fragen der Bildwissenschaft richten sich daher nicht auf das Bild im Singular, sondern auf das weit gespannte Netz von Bildverwandtschaften, welches sie alle als eine Welt des Sichtbaren zusammenhält. Ingeborg Reichle (Kunstwissenschaft), Steffen Siegel (Kunstwissenschaft) und Achim Spelten (Philosophie) sind wissenschaftliche Mitarbeiter der Interdisziplinären Arbeitsgruppe Die Welt als Bild der Berlin-Brandenburgischen Akademie der Wissenschaften.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f6a44806331f053faa70f6763d198d98" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119360251,"asset_id":125289283,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119360251/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125289283"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125289283"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125289283; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125289283]").text(description); $(".js-view-count[data-work-id=125289283]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125289283; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125289283']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125289283, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f6a44806331f053faa70f6763d198d98" } } $('.js-work-strip[data-work-id=125289283]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125289283,"title":"Verwandte Bilder: Die Fragen der Bildwissenschaft","translated_title":"","metadata":{"abstract":"Das, was wir \"Bilder\" nennen, ist keine sehr einheitliche Gemeinschaft. 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Ingeborg Reichle (Kunstwissenschaft), Steffen Siegel (Kunstwissenschaft) und Achim Spelten (Philosophie) sind wissenschaftliche Mitarbeiter der Interdisziplinären Arbeitsgruppe Die Welt als Bild der Berlin-Brandenburgischen Akademie der Wissenschaften.","publication_date":{"day":null,"month":null,"year":2008,"errors":{}},"publication_name":"Verwandte Bilder: Die Fragen der Bildwissenschaft"},"translated_abstract":"Das, was wir \"Bilder\" nennen, ist keine sehr einheitliche Gemeinschaft. Aber trotzdem scheinen sie alle miteinander in Verbindung zu stehen. Ein Ölgemälde und ein Diagramm, ein Radarbild und eine Madonnenfigur, eine Landkarte und eine Mandelbrot-Menge erschließen sich uns auf sehr verschiedenen Wegen. Bildlichkeit ist kein Merkmal, das überall die gleiche Form annimmt und das überall auf gleiche Weise wahrnehmbar ist. 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Taking this provocative question as her starting point, German-Swedish ne...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Is science the new art? Taking this provocative question as her starting point, German-Swedish new media art historian Ingeborg Reichle examines the fascinating responses of contemporary artists when confronted with recent scientific and technological advances. In the last two decades a growing number of artists has left the traditional art venues to work in scientific environments like the laboratories of molecular biology, robotics, and artificial life. From this new art forms like „Transgenic Art“ and „Bio Art“ have emerged.<br /><br />These art forms differ dramatically from traditional artistic approaches that explore life: they have crossed the boundaries between the artificial and the natural, and thus provoke passionate debates about the growing influence of science and technology.<br /><br />This first comprehensive survey presents an informative selection of significant artworks in 294 color illustrations and provides a broad overview of this new and relevant development in art.<br /><br />Artists like Suzanne Anker, Brandon Ballengée, Louis Bec, Guy Ben-Ary, Oron Catts and Ionat Zurr, Catherine Chalmers, the Chapman Brothers, Jaq Chartier, Peta Clancy, Kevin Clarke, Critical Art Ensemble, Joe Davis, Marcel Duchamp, George Gessert, Peter Gerwin Hoffmann, Eduardo Kac, David Kremers, Steve Kurtz, William Latham, Edgar Lissel, Kazimir Malevich, Reiner Maria Matysik, Jon McCormack, Niki Nickl, Steve Miller, Simon Penny, Patricia Piccinini, Jane Prophet, Marc Quinn, Oliver Ressler, Ken Rinaldo, Christa Sommerer and Laurent Mignonneau, Gary Schneider, Karl Sims, Pam Skelton, Nell Tenhaaf, Herwig Turk, K. D. 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Hinter der vielfach erhobenen Rede von der Macht der Bi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Bildern wird überraschend viel zugetraut. Hinter der vielfach erhobenen Rede von der Macht der Bilder steht eine noch wenig erforschte Faszination für die Kraft von Bildmedien, die sich kaum in den engen Grenzen eines Bilderrahmens, einer Kinoleinwand oder eines Bildschirms bändigen lässt. Die Beiträge dieses Bandes, die von der Kunstgeschichte bis zur Kulturwissenschaft, von der Astrophysik bis zur Philosophie und Medienwissenschaft reichen, erörtern die vielfältigen Phänomene einer Transgression solcher Rahmungen. Das gemeinsame Interesse richtet sich hierbei auf Formen der Überschreitung des Visuellen und deren ästhetische, epistemologische, soziale und medientheoretische Funktionen; kurz: auf maßlose Bilder.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="15315f0f441c5a3f479b8192ae01bcc3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119360053,"asset_id":125288995,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119360053/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125288995"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125288995"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125288995; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125288995]").text(description); $(".js-view-count[data-work-id=125288995]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125288995; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125288995']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125288995, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "15315f0f441c5a3f479b8192ae01bcc3" } } $('.js-work-strip[data-work-id=125288995]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125288995,"title":"Maßlose Bilder: Visuelle Ästhetik der Transgression","translated_title":"","metadata":{"abstract":"Bildern wird überraschend viel zugetraut. Hinter der vielfach erhobenen Rede von der Macht der Bilder steht eine noch wenig erforschte Faszination für die Kraft von Bildmedien, die sich kaum in den engen Grenzen eines Bilderrahmens, einer Kinoleinwand oder eines Bildschirms bändigen lässt. Die Beiträge dieses Bandes, die von der Kunstgeschichte bis zur Kulturwissenschaft, von der Astrophysik bis zur Philosophie und Medienwissenschaft reichen, erörtern die vielfältigen Phänomene einer Transgression solcher Rahmungen. Das gemeinsame Interesse richtet sich hierbei auf Formen der Überschreitung des Visuellen und deren ästhetische, epistemologische, soziale und medientheoretische Funktionen; kurz: auf maßlose Bilder.","publication_date":{"day":null,"month":null,"year":2009,"errors":{}},"publication_name":"Maßlose Bilder: Visuelle Ästhetik der Transgression"},"translated_abstract":"Bildern wird überraschend viel zugetraut. 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Das gemeinsame Interesse richtet sich hierbei auf Formen der Überschreitung des Visuellen und deren ästhetische, epistemologische, soziale und medientheoretische Funktionen; kurz: auf maßlose Bilder.","internal_url":"https://www.academia.edu/125288995/Ma%C3%9Flose_Bilder_Visuelle_%C3%84sthetik_der_Transgression","translated_internal_url":"","created_at":"2024-11-04T11:34:28.565-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5321873,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[{"id":42654611,"work_id":125288995,"tagging_user_id":5321873,"tagged_user_id":2124944,"co_author_invite_id":null,"email":"s***l@folkwang-uni.de","affiliation":"Folkwang Universität der Künste Essen","display_order":1,"name":"Steffen Siegel","title":"Maßlose Bilder: Visuelle Ästhetik der Transgression"}],"downloadable_attachments":[{"id":119360053,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119360053/thumbnails/1.jpg","file_name":"Masslose_Bilder_2009.pdf","download_url":"https://www.academia.edu/attachments/119360053/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Masslose_Bilder_Visuelle_Asthetik_der_Tra.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119360053/Masslose_Bilder_2009-libre.pdf?1730750086=\u0026response-content-disposition=attachment%3B+filename%3DMasslose_Bilder_Visuelle_Asthetik_der_Tra.pdf\u0026Expires=1734021441\u0026Signature=RTIYjlMCj~1la0gwhI7cggLy-~a7W1oaFPXSwCWDCbF6d3eX0GfEa72-u87yw9k9KmT5vKGNX7DREabci1fLbhjthBlmIufzh~eckY4VcMSDtsQVAm3Zrqwi2Q3DpdRlhaMR0HtIkE3TnVp9It6ldJpcWfz9BFQ0bbCfE~AiHble3ltetGdBCCWJH0m8XrD0zVLbRGflpZRF1eGx6dTjNj8psEyl3FqUHA0suM4Mc4Rbm89xSPHiaXK6mzVD27SqvgOz9OHiMQyc0yhvNNdI~cKiY-iM4bKFMh7-B0~eCSdVhclNQJFL9axOTtRWToFPPKBVne~kcW3pEiiCnrKA3A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Maßlose_Bilder_Visuelle_Ästhetik_der_Transgression","translated_slug":"","page_count":409,"language":"de","content_type":"Work","summary":"Bildern wird überraschend viel zugetraut. Hinter der vielfach erhobenen Rede von der Macht der Bilder steht eine noch wenig erforschte Faszination für die Kraft von Bildmedien, die sich kaum in den engen Grenzen eines Bilderrahmens, einer Kinoleinwand oder eines Bildschirms bändigen lässt. Die Beiträge dieses Bandes, die von der Kunstgeschichte bis zur Kulturwissenschaft, von der Astrophysik bis zur Philosophie und Medienwissenschaft reichen, erörtern die vielfältigen Phänomene einer Transgression solcher Rahmungen. Das gemeinsame Interesse richtet sich hierbei auf Formen der Überschreitung des Visuellen und deren ästhetische, epistemologische, soziale und medientheoretische Funktionen; kurz: auf maßlose Bilder.","owner":{"id":5321873,"first_name":"Ingeborg","middle_initials":null,"last_name":"Reichle","page_name":"IngeborgReichle","domain_name":"dieangewandte","created_at":"2013-08-28T23:08:10.030-07:00","display_name":"Ingeborg Reichle","url":"https://dieangewandte.academia.edu/IngeborgReichle"},"attachments":[{"id":119360053,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119360053/thumbnails/1.jpg","file_name":"Masslose_Bilder_2009.pdf","download_url":"https://www.academia.edu/attachments/119360053/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Masslose_Bilder_Visuelle_Asthetik_der_Tra.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119360053/Masslose_Bilder_2009-libre.pdf?1730750086=\u0026response-content-disposition=attachment%3B+filename%3DMasslose_Bilder_Visuelle_Asthetik_der_Tra.pdf\u0026Expires=1734021441\u0026Signature=RTIYjlMCj~1la0gwhI7cggLy-~a7W1oaFPXSwCWDCbF6d3eX0GfEa72-u87yw9k9KmT5vKGNX7DREabci1fLbhjthBlmIufzh~eckY4VcMSDtsQVAm3Zrqwi2Q3DpdRlhaMR0HtIkE3TnVp9It6ldJpcWfz9BFQ0bbCfE~AiHble3ltetGdBCCWJH0m8XrD0zVLbRGflpZRF1eGx6dTjNj8psEyl3FqUHA0suM4Mc4Rbm89xSPHiaXK6mzVD27SqvgOz9OHiMQyc0yhvNNdI~cKiY-iM4bKFMh7-B0~eCSdVhclNQJFL9axOTtRWToFPPKBVne~kcW3pEiiCnrKA3A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies"},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":2497,"name":"Image Science","url":"https://www.academia.edu/Documents/in/Image_Science"},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art"},{"id":28374,"name":"Visual and Cultural Studies","url":"https://www.academia.edu/Documents/in/Visual_and_Cultural_Studies"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies"},{"id":1229793,"name":"History of Photography and New Media Art","url":"https://www.academia.edu/Documents/in/History_of_Photography_and_New_Media_Art"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125275754"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125275754/Visuelle_Modelle"><img alt="Research paper thumbnail of Visuelle Modelle" class="work-thumbnail" src="https://attachments.academia-assets.com/119348706/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125275754/Visuelle_Modelle">Visuelle Modelle</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://dieangewandte.academia.edu/IngeborgReichle">Ingeborg Reichle</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/AchimSpelten">Achim Spelten</a></span></div><div class="wp-workCard_item"><span>Visuelle Modelle</span><span>, 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die Beiträge dieses Bandes untersuchen aus kultur-, sozial- sowie naturwissenschaftlichen Perspek...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Die Beiträge dieses Bandes untersuchen aus kultur-, sozial- sowie naturwissenschaftlichen Perspektiven visuelle Modelle als Bildkörper unseres Wissens.<br /><br />Modelle sind unverzichtbare Werkzeuge unseren Denkens, Erkennens und Handelns. Als Bildkörper des Wissens steuern visuelle Modelle unsere Orientierung in der Welt. Sie geben Dingen, die selbst flüchtig, komplex oder unbestimmt sind, eine manifeste Gestalt. In Modellen erhalten abstrakte Strukturen von Wissen und Normen eine materielle Form. Doch entfalten Modelle aufgrund ihrer konkreten Eigenschaften eine nur schwer zu bändigende visuelle Kraft. Ihre Anschaulichkeit besitzt ein Eigenleben: Modelle legen Deutungen nahe; sie betonen und verdecken Unterschiede. An Modelle muss daher stets die Frage nach Gewinn und Verlust für unsere Wahrnehmung und Erfahrung gestellt werden. Die Interpretation von Modellen ist immer auch eine Interpretation unserer eigenen Wahrnehmung. Daher sind visuelle Modelle stets zugleich Modelle der Visualität.<br /><br />Mit Beiträgen von Carolin Artz, Philipp Ekardt, Sebastian Gießmann, Sebastian Vincent Grevsmühl, Jens Gulden, Inge Hinterwaldner, Bernd Mahr, Catharina Manchanda, Damaris Odenbach, Ingeborg Reichle, Stefan Riekeles, Tobias Schlechtriemen, Steffen Siegel, Achim Spelten, Samuel Strehle, Annemieke R. Verboon, Reinhard Wendler und Katrin Käthe Wenzel.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8db8ff21ed3c2fb3618edf662f7ea9ea" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119348706,"asset_id":125275754,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119348706/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125275754"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125275754"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125275754; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125275754]").text(description); $(".js-view-count[data-work-id=125275754]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125275754; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125275754']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125275754, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8db8ff21ed3c2fb3618edf662f7ea9ea" } } $('.js-work-strip[data-work-id=125275754]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125275754,"title":"Visuelle Modelle","translated_title":"","metadata":{"abstract":"Die Beiträge dieses Bandes untersuchen aus kultur-, sozial- sowie naturwissenschaftlichen Perspektiven visuelle Modelle als Bildkörper unseres Wissens.\n\nModelle sind unverzichtbare Werkzeuge unseren Denkens, Erkennens und Handelns. 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Daher sind visuelle Modelle stets zugleich Modelle der Visualität.\n\nMit Beiträgen von Carolin Artz, Philipp Ekardt, Sebastian Gießmann, Sebastian Vincent Grevsmühl, Jens Gulden, Inge Hinterwaldner, Bernd Mahr, Catharina Manchanda, Damaris Odenbach, Ingeborg Reichle, Stefan Riekeles, Tobias Schlechtriemen, Steffen Siegel, Achim Spelten, Samuel Strehle, Annemieke R. Verboon, Reinhard Wendler und Katrin Käthe Wenzel.","publication_date":{"day":null,"month":null,"year":2008,"errors":{}},"publication_name":"Visuelle Modelle"},"translated_abstract":"Die Beiträge dieses Bandes untersuchen aus kultur-, sozial- sowie naturwissenschaftlichen Perspektiven visuelle Modelle als Bildkörper unseres Wissens.\n\nModelle sind unverzichtbare Werkzeuge unseren Denkens, Erkennens und Handelns. Als Bildkörper des Wissens steuern visuelle Modelle unsere Orientierung in der Welt. Sie geben Dingen, die selbst flüchtig, komplex oder unbestimmt sind, eine manifeste Gestalt. In Modellen erhalten abstrakte Strukturen von Wissen und Normen eine materielle Form. Doch entfalten Modelle aufgrund ihrer konkreten Eigenschaften eine nur schwer zu bändigende visuelle Kraft. Ihre Anschaulichkeit besitzt ein Eigenleben: Modelle legen Deutungen nahe; sie betonen und verdecken Unterschiede. An Modelle muss daher stets die Frage nach Gewinn und Verlust für unsere Wahrnehmung und Erfahrung gestellt werden. Die Interpretation von Modellen ist immer auch eine Interpretation unserer eigenen Wahrnehmung. Daher sind visuelle Modelle stets zugleich Modelle der Visualität.\n\nMit Beiträgen von Carolin Artz, Philipp Ekardt, Sebastian Gießmann, Sebastian Vincent Grevsmühl, Jens Gulden, Inge Hinterwaldner, Bernd Mahr, Catharina Manchanda, Damaris Odenbach, Ingeborg Reichle, Stefan Riekeles, Tobias Schlechtriemen, Steffen Siegel, Achim Spelten, Samuel Strehle, Annemieke R. 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Daher sind visuelle Modelle stets zugleich Modelle der Visualität.\n\nMit Beiträgen von Carolin Artz, Philipp Ekardt, Sebastian Gießmann, Sebastian Vincent Grevsmühl, Jens Gulden, Inge Hinterwaldner, Bernd Mahr, Catharina Manchanda, Damaris Odenbach, Ingeborg Reichle, Stefan Riekeles, Tobias Schlechtriemen, Steffen Siegel, Achim Spelten, Samuel Strehle, Annemieke R. 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So erstaunt es nicht, dass schon vor Jahren zahlreiche Künstler das Arbeiten im Atelier gegen das Forschen im Labor eingetauscht haben. Seither begleiten Künstler die Transformation der modernen Naturwissenschaften hin zu den Technosciences seismographisch. Oszillierend zwischen der Technisierung des Lebendigen in den Biowissenschaften und der Verlebendigung der Technik innerhalb der Erforschung des künstlichen Lebens haben sich Protagonisten der Transgenic Art und der Artificial Life Art an die Aneignung von Methoden und Verfahren der Life Sciences herangewagt und immer neue Kunstformen entworfen.<br /><br />Die umfassende Aufarbeitung dieser neuen Kunstrichtungen stellt Künstler und Künstlerinnen wie Suzanne Anker, Louis Bec, Oron Catts und Ionat Zurr, Catherine Chalmers, Jaq Chartier, Kevin Clarke, Critical Art Ensemble, Joe Davis, George Gessert, Peter Gerwin Hoffmann, Eduardo Kac, Pamela Davis Kivelson, David Kremers, Steve Kurtz, William Latham, Reiner Maria Matysik, Jon McCormack, Steve Miller, Simon Penny, Jane Prophet, Marc Quinn, Oliver Ressler, Ken Rinaldo, Christa Sommerer und Laurent Mignonneau, Gary Schneider, Pam Skelton, Nell Tenhaaf, K. D. 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In just a few years, the volume of microplastic particles will exceed that of plankton in our oceans and turn them into a huge sea of plastic. This publication brings together numerous international art projects related to environmental activities, DIY biotechnology, and science, and draws attention to the irreversible destruction of our marine ecosystems – the current threat posed by the loss of marine animal biodiversity, for example, or the decline in oxygen production due to massive plankton loss. It also presents current scientific findings on sustainable alternatives to plastic. <br /><br />With contributions by Dianna Cohen, Jennifer Wagner-Lawlor, Regine Rapp, Christian de Lutz, Mary Maggic, Robertina Šebjanič, Brandon Ballengée, Victoria Vesna, Martina R. Fröschl, Alfred Vendl, Reiner Maria Matysik, Ingeborg Reichle, Thomas Schwaha, Stephan Handschuh, María Antonia González Valerio, Rosaura Martínez Ruiz, Pinar Yoldas, and Michael Sauer.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="17ed54f739f5e5848ac23651ab60b4fa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66226440,"asset_id":46458032,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66226440/download_file?st=MTczNDAxNzg0MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46458032"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46458032"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46458032; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46458032]").text(description); $(".js-view-count[data-work-id=46458032]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46458032; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46458032']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46458032, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "17ed54f739f5e5848ac23651ab60b4fa" } } $('.js-work-strip[data-work-id=46458032]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46458032,"title":"Plastic Ocean: Art and Science Responses to Marine Pollution","translated_title":"","metadata":{"abstract":"Our oceans are in an ecological crisis due to their contamination with millions of tons of toxic microplastic particles. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="20137132" id="bookreviews"><div class="js-work-strip profile--work_container" data-work-id="125238426"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125238426/Review_Renaissance_3_0_A_Base_Camp_for_New_Alliances_of_Art_and_Science_in_the_21st_Century"><img alt="Research paper thumbnail of Review: Renaissance 3.0: A Base Camp for New Alliances of Art and Science in the 21st Century" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125238426/Review_Renaissance_3_0_A_Base_Camp_for_New_Alliances_of_Art_and_Science_in_the_21st_Century">Review: Renaissance 3.0: A Base Camp for New Alliances of Art and Science in the 21st Century</a></div><div class="wp-workCard_item"><span>LEONARDO</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The exhibition, Renaissance 3.0: A Base Camp for New Alliances of Art and Science in the 21st Cen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The exhibition, Renaissance 3.0: A Base Camp for New Alliances of Art and Science in the 21st Century, at the Center for Art and Media Karlsruhe (ZKM) unfolds around the idea that we are currently entering the era of a third renaissance in which art, science, and technology will merge again to foster innovation and new ways of knowing. Curated by the late Peter Weibel and ZKM curator Anett Holzheid, the exhibition is the last cadence of a long and extraordinarily productive era that was shaped and guided by Weibel in his position as Chairman and CEO of ZKM from 1999 until his unexpected death on March 1, 2023 shortly before retiring from this position. The title of the exhibition Renaissance 3.0 refers to previous ZKM exhibitions that were labeled with the term Renaissance 2.0 such as the GLOBALE exhibitions Infosphere and ExoEvolution in 2015. The current exhibition provides a follow-up in that sense, but it features numerous newly commissioned works as well as artworks that were created in the last two to five years. In addition, the curatorial concept provides for including highlights from previous exhibitions and archival material. Alongside historical artifacts and engravings, the curatorial team presents a large number of approaches used in contemporary collaborations between artists and scientists, contemporary sci-art coalitions, as well as artistic laboratory situations, which are producing shared and multidisciplinary ways of knowing—from biochemistry to genetic engineering, and from information design to neuroscience and unconventional computing.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125238426"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125238426"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125238426; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125238426]").text(description); $(".js-view-count[data-work-id=125238426]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125238426; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125238426']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 125238426, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=125238426]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125238426,"title":"Review: Renaissance 3.0: A Base Camp for New Alliances of Art and Science in the 21st Century","translated_title":"","metadata":{"abstract":"The exhibition, Renaissance 3.0: A Base Camp for New Alliances of Art and Science in the 21st Century, at the Center for Art and Media Karlsruhe (ZKM) unfolds around the idea that we are currently entering the era of a third renaissance in which art, science, and technology will merge again to foster innovation and new ways of knowing. 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