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href="https://fh-muenster.academia.edu/">University of Applied Sciences Münster</a>, <a class="u-tcGrayDarker" href="https://fh-muenster.academia.edu/Departments/Design/Documents">Design</a>, <span class="u-tcGrayDarker">Faculty Member</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Lars Christian" data-follow-user-id="13079251" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="13079251"><span class="material-symbols-outlined" 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class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></a></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">Professor for theory of perception, communication and media and dean at the MSD - Münster School of Design at the University of Applied Sciences in Münster (Germany). Former lecturer for theory and history of symbolic forms at the Muthesius Academy of Fine Arts and Design in Kiel (Germany). Media scientist and philosopher. Research in the range of reception, media, cognition and consciousness.<br /><b>Address: </b>University of Applied Sciences Münster <br />Leonardo-Campus 6 <br />48149 Münster/ Germany <br />Room 148 <br /> <br />Muthesius Academy of Fine Arts and Design <br />Legienstraße 35 <br />24103 Kiel/ Germany<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://oxford.academia.edu/JohannesZachhuber"><img class="profile-avatar u-positionAbsolute" alt="Johannes Zachhuber" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/2018/962/58309702/s200_johannes.zachhuber.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://oxford.academia.edu/JohannesZachhuber">Johannes Zachhuber</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of Oxford</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://uow.academia.edu/DanielDHutto"><img class="profile-avatar u-positionAbsolute" alt="Daniel D. 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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 Lars Christian Grabbe</h3></div><div class="js-work-strip profile--work_container" data-work-id="127145445"><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/127145445/Tobias_Holischka_CyberPlaces_Philosophische_Ann%C3%A4herungen_an_den_virtuellen_Ort"><img alt="Research paper thumbnail of Tobias Holischka: CyberPlaces: Philosophische Annäherungen an den virtuellen Ort" class="work-thumbnail" src="https://attachments.academia-assets.com/120922083/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/127145445/Tobias_Holischka_CyberPlaces_Philosophische_Ann%C3%A4herungen_an_den_virtuellen_Ort">Tobias Holischka: CyberPlaces: Philosophische Annäherungen an den virtuellen Ort</a></div><div class="wp-workCard_item"><span>MEDIENwissenschaft: Rezensionen | Reviews</span><span>, Mar 7, 2017</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3e08d0eeb65ac99dbc6d2fbb06eef0fa" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120922083,"asset_id":127145445,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120922083/download_file?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 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dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125218077"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125218077/Sebastian_Stoppe_Unterwegs_zu_neuen_Welten_Star_Trek_als_politische_Utopie"><img alt="Research paper thumbnail of Sebastian Stoppe: Unterwegs zu neuen Welten: Star Trek als politische Utopie" class="work-thumbnail" src="https://attachments.academia-assets.com/119300759/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125218077/Sebastian_Stoppe_Unterwegs_zu_neuen_Welten_Star_Trek_als_politische_Utopie">Sebastian Stoppe: Unterwegs zu neuen Welten: Star Trek als politische Utopie</a></div><div class="wp-workCard_item"><span>MEDIENwissenschaft: Rezensionen | Reviews</span><span>, Sep 10, 2015</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7c5dfb7c96372cfe2a552c0805584754" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119300759,"asset_id":125218077,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119300759/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper 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$a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="117346258"><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/117346258/Beitr%C3%A4ger_innen"><img alt="Research paper thumbnail of Beiträger·innen" 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/117346258/Beitr%C3%A4ger_innen">Beiträger·innen</a></div><div class="wp-workCard_item"><span>transcript Verlag eBooks</span><span>, Dec 2, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span 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$a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="117346256"><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/117346256/Schlusswort"><img alt="Research paper thumbnail of Schlusswort" 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/117346256/Schlusswort">Schlusswort</a></div><div class="wp-workCard_item"><span>Springer eBooks</span><span>, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span 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In the first section we consider the implications of CMT for the study of two kinds of languages about film, namely (1) the kind of ordinary language audiences use to talk about their viewing experience and (2) the kind of theoretical language film scholars use to reason about film. In the second section we explore how CMT can be applied to the study of film style. Drawing upon earlier research we show how three abstract concepts (perception, time and emotions) can be metaphorically embodied at the non-verbal formal level of film through cinematic devices such as camera movement, editing and framing. Our paper will reassess and discuss the methodological and theoretical implications of both views. 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This comparative study intends to highlight the academic value of CMT for Film Studies and to inspire avenues for fur...","publication_date":{"day":null,"month":null,"year":2016,"errors":{}}},"translated_abstract":"This article presents the views of two strands of film scholarship, each taking the tools of Conceptual Metaphor Theory (CMT) into suitable areas of Cognitive Film Studies. In the first section we consider the implications of CMT for the study of two kinds of languages about film, namely (1) the kind of ordinary language audiences use to talk about their viewing experience and (2) the kind of theoretical language film scholars use to reason about film. In the second section we explore how CMT can be applied to the study of film style. Drawing upon earlier research we show how three abstract concepts (perception, time and emotions) can be metaphorically embodied at the non-verbal formal level of film through cinematic devices such as camera movement, editing and framing. Our paper will reassess and discuss the methodological and theoretical implications of both views. This comparative study intends to highlight the academic value of CMT for Film Studies and to inspire avenues for fur...","internal_url":"https://www.academia.edu/117346234/Image_Embodiment_New_Perspectives_of_the_Sensory_Turn","translated_internal_url":"","created_at":"2024-04-11T03:47:29.145-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":13079251,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":113226367,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/113226367/thumbnails/1.jpg","file_name":"CK-Image-Embodiment-2016.pdf","download_url":"https://www.academia.edu/attachments/113226367/download_file","bulk_download_file_name":"Image_Embodiment_New_Perspectives_of_the.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/113226367/CK-Image-Embodiment-2016-libre.pdf?1712834317=\u0026response-content-disposition=attachment%3B+filename%3DImage_Embodiment_New_Perspectives_of_the.pdf\u0026Expires=1738780985\u0026Signature=AZWjm-flh8jEIH6e~-LZNRxWQQHy-Gu-v9aMWh7tWFhdTu6FqSK9yLuyx~KPRM9Ydxr0xD2dq5iOBXrocZb2oHx5~BSvKG7V9eXmTIp3V6lE42R~-JrZACAM3QtUsxflKGjOFd8U-nZb-isesw4UwJRvvVl1QjdK1zgPEdTjPjZHb0LoesstLtL3PogkcYdFcQstxGDAQ0Fsdzha5LZL4WIouKkGKqy4Yp5I0uYgfVR2l3LKSnc8zV~~yBKZ~WImb3QXbTECv0WUFTETc3Sarxk4hL4SmsToVo7YMMt6STlG7CuZcFPefqrqYjbaqmVTa8pvB54bOD02A5vQkQ0olQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Image_Embodiment_New_Perspectives_of_the_Sensory_Turn","translated_slug":"","page_count":35,"language":"en","content_type":"Work","summary":"This article presents the views of two strands of film scholarship, each taking the tools of Conceptual Metaphor Theory (CMT) into suitable areas of Cognitive Film Studies. In the first section we consider the implications of CMT for the study of two kinds of languages about film, namely (1) the kind of ordinary language audiences use to talk about their viewing experience and (2) the kind of theoretical language film scholars use to reason about film. In the second section we explore how CMT can be applied to the study of film style. Drawing upon earlier research we show how three abstract concepts (perception, time and emotions) can be metaphorically embodied at the non-verbal formal level of film through cinematic devices such as camera movement, editing and framing. Our paper will reassess and discuss the methodological and theoretical implications of both views. 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All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, m...</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="97858602"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97858602"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97858602; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97858602]").text(description); $(".js-view-count[data-work-id=97858602]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97858602; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97858602']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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" } } $('.js-work-strip[data-work-id=97858602]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97858602,"title":"Art Style, Art \u0026 Culture International Magazine, no. 8.1, part 2","internal_url":"https://www.academia.edu/97858602/Art_Style_Art_and_Culture_International_Magazine_no_8_1_part_2","owner_id":13079251,"coauthors_can_edit":true,"owner":{"id":13079251,"first_name":"Lars Christian","middle_initials":"","last_name":"Grabbe","page_name":"LarsChristianGrabbe","domain_name":"fh-muenster","created_at":"2014-06-18T22:03:40.629-07:00","display_name":"Lars Christian Grabbe","url":"https://fh-muenster.academia.edu/LarsChristianGrabbe"},"attachments":[]}, 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="89414131"><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/89414131/Eric_McLuhan_and_the_Media_Ecology_in_the_XXI_Century"><img alt="Research paper thumbnail of Eric McLuhan and the Media Ecology in the XXI 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" rel="nofollow" href="https://www.academia.edu/89414131/Eric_McLuhan_and_the_Media_Ecology_in_the_XXI_Century">Eric McLuhan and the Media Ecology in the XXI Century</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Im letzten Vortrag vor seinem plötzlichen Tod im Jahr 2018 gelang es Eric McLuhan, Sohn Marshall ...</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 letzten Vortrag vor seinem plötzlichen Tod im Jahr 2018 gelang es Eric McLuhan, Sohn Marshall McLuhans, auf eindrückliche Weise sowohl die Positionen als auch Perspektiven einer bereits mehrere Jahrzehnte umfassenden interdisziplinären und internationalen Media Ecology miteinander zu verknüpfen. Dieses Forschungsfeld thematisiert Medien nicht primär in einer eher traditionellen beziehungsweise konservativen Funktion als Vermittler von Informationen, sondern fokussiert bewusst die materielle und technologische Anwesenheit und Form von Medien innerhalb einer Kultur und betrachtet deren Einfluss auf Psyche und Verhalten von Individuen innerhalb mediatisierter Gesellschaften. Der Band möchte einen Raum schaffen für die Fortschreibung des McLuhan’schen Denkens im Kontext einer (post-)modernen Media Ecology. Inhaltlich flankiert wird Eric McLuhans hier erstmals im deutschsprachigen Diskurs publizierter Vortrag durch Beiträge von Oliver Ruf und Tobias Held sowie durch ein von Lars C. Gr...</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="89414131"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="89414131"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 89414131; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=89414131]").text(description); $(".js-view-count[data-work-id=89414131]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 89414131; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='89414131']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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" } } $('.js-work-strip[data-work-id=89414131]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":89414131,"title":"Eric McLuhan and the Media Ecology in the XXI Century","internal_url":"https://www.academia.edu/89414131/Eric_McLuhan_and_the_Media_Ecology_in_the_XXI_Century","owner_id":13079251,"coauthors_can_edit":true,"owner":{"id":13079251,"first_name":"Lars Christian","middle_initials":"","last_name":"Grabbe","page_name":"LarsChristianGrabbe","domain_name":"fh-muenster","created_at":"2014-06-18T22:03:40.629-07:00","display_name":"Lars Christian Grabbe","url":"https://fh-muenster.academia.edu/LarsChristianGrabbe"},"attachments":[]}, 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="89414130"><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/89414130/Filmische_Perspektiven_holonisch_mnemonischer_Repr%C3%A4sentation_Versuch_einer_allgemeinen_Bildtheorie_des_Films"><img alt="Research paper thumbnail of Filmische Perspektiven holonisch-mnemonischer Repräsentation. Versuch einer allgemeinen Bildtheorie des Films" class="work-thumbnail" src="https://attachments.academia-assets.com/93222879/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/89414130/Filmische_Perspektiven_holonisch_mnemonischer_Repr%C3%A4sentation_Versuch_einer_allgemeinen_Bildtheorie_des_Films">Filmische Perspektiven holonisch-mnemonischer Repräsentation. Versuch einer allgemeinen Bildtheorie des Films</a></div><div class="wp-workCard_item"><span>Image</span><span>, Aug 4, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Film ist der Prototyp des Bewegungsbildes, ein komplexes und multimodales Konstrukt. Er generiert...</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">Film ist der Prototyp des Bewegungsbildes, ein komplexes und multimodales Konstrukt. Er generiert Bedeutung auf Basis der Prinzipien von Bewegung und Zeit. Zusätzlich beinhaltet Film eine systemische Verhältnisbestimmung von Bild, Ton und Schrift und ist daher in der Lage in verschiedenen Repräsentations-Graden der Kommunikation zu operieren. In der Perspektive einer Bildtheorie des filmischen Bewegungsbildes muss Film als ein intermediales, multimodales und multicodales Konstrukt begriffen werden. Aus diesem Grund wird das filmische Bild als ein spezifischer Zeitgegenstand thematisiert, ein mnemonisches Konstrukt, das sich zwischen der Leinwand und dem Rezi-pienten spannt. Wir können Film als ein holonisches Meta-Bildsystem be-schreiben, das sich aus unterschiedlichen Typen von miteinander verknüpften Sub-Bildsystemen zusammensetzt. Im Zentrum der Ausführungen steht die Verarbeitung der einzelnen Bildsysteme (Einstellung, Szene, Sequenz, Film) durch den Rezipienten und dessen Synth...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e6a1ca71d3323bd91d3620e88e0894e0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":93222879,"asset_id":89414130,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/93222879/download_file?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="89414130"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="89414130"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 89414130; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=89414130]").text(description); $(".js-view-count[data-work-id=89414130]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 89414130; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='89414130']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "e6a1ca71d3323bd91d3620e88e0894e0" } } $('.js-work-strip[data-work-id=89414130]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":89414130,"title":"Filmische Perspektiven holonisch-mnemonischer Repräsentation. 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Historical change of perspective exemplified on Josef Albers" class="work-thumbnail" src="https://attachments.academia-assets.com/93222878/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/89414129/From_aesthetics_to_vitality_semiotics_From_l_art_pour_l_art_to_responsibility_Historical_change_of_perspective_exemplified_on_Josef_Albers">From aesthetics to vitality semiotics - From l´art pour l´art to responsibility. Historical change of perspective exemplified on Josef Albers</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The paper follows the thesis, that the perception of real or virtual me dia shares the anthropolo...</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 paper follows the thesis, that the perception of real or virtual me dia shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The pre requisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable "abstract representations" or their formal logical structures. In contrast to aesthetic feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects.1 This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. 1 Many thanks for fruitful discussions on this topic at and after the conference Fure+ in Munster go to Boris Kochan in his function as spokesman for the Department of Design of the German Cultural Council (Deutsche Kulturrat).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="29ceb4c3f1be9a681d593d013a201f62" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":93222878,"asset_id":89414129,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/93222878/download_file?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="89414129"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="89414129"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 89414129; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=89414129]").text(description); $(".js-view-count[data-work-id=89414129]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 89414129; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='89414129']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "29ceb4c3f1be9a681d593d013a201f62" } } $('.js-work-strip[data-work-id=89414129]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":89414129,"title":"From aesthetics to vitality semiotics - From l´art pour l´art to responsibility. 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This omnipresence and ordinariness of technology make it very difficult to take sides: the defender determines a specific value of technology for creative processes and the opponent proclaims a general worthlessness of technology for artistic creation. This essay focusses not on different judgements, but it will analyze some important aspects of the structural dynamic of technology in the context of a creative mediatization. This means, that a work of art, a design concept or a communication medium has to be understand as a specific aesthetic artefact that enables a perceptual relation or interaction of a technological repertoire, a specific mode of representation and a sensory awareness of the recipient. 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In the first section we consider the implications of CMT for the study of two kinds of languages about film, namely (1) the kind of ordinary language audiences use to talk about their viewing experience and (2) the kind of theoretical language film scholars use to reason about film. In the second section we explore how CMT can be applied to the study of film style. Drawing upon earlier research we show how three abstract concepts (perception, time and emotions) can be metaphorically embodied at the non-verbal formal level of film through cinematic devices such as camera movement, editing and framing. Our paper will reassess and discuss the methodological and theoretical implications of both views. 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In the first section we consider the implications of CMT for the study of two kinds of languages about film, namely (1) the kind of ordinary language audiences use to talk about their viewing experience and (2) the kind of theoretical language film scholars use to reason about film. In the second section we explore how CMT can be applied to the study of film style. Drawing upon earlier research we show how three abstract concepts (perception, time and emotions) can be metaphorically embodied at the non-verbal formal level of film through cinematic devices such as camera movement, editing and framing. Our paper will reassess and discuss the methodological and theoretical implications of both views. This comparative study intends to highlight the academic value of CMT for Film Studies and to inspire avenues for fur...","owner":{"id":13079251,"first_name":"Lars Christian","middle_initials":"","last_name":"Grabbe","page_name":"LarsChristianGrabbe","domain_name":"fh-muenster","created_at":"2014-06-18T22:03:40.629-07:00","display_name":"Lars Christian Grabbe","url":"https://fh-muenster.academia.edu/LarsChristianGrabbe"},"attachments":[{"id":113226367,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/113226367/thumbnails/1.jpg","file_name":"CK-Image-Embodiment-2016.pdf","download_url":"https://www.academia.edu/attachments/113226367/download_file","bulk_download_file_name":"Image_Embodiment_New_Perspectives_of_the.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/113226367/CK-Image-Embodiment-2016-libre.pdf?1712834317=\u0026response-content-disposition=attachment%3B+filename%3DImage_Embodiment_New_Perspectives_of_the.pdf\u0026Expires=1738780985\u0026Signature=AZWjm-flh8jEIH6e~-LZNRxWQQHy-Gu-v9aMWh7tWFhdTu6FqSK9yLuyx~KPRM9Ydxr0xD2dq5iOBXrocZb2oHx5~BSvKG7V9eXmTIp3V6lE42R~-JrZACAM3QtUsxflKGjOFd8U-nZb-isesw4UwJRvvVl1QjdK1zgPEdTjPjZHb0LoesstLtL3PogkcYdFcQstxGDAQ0Fsdzha5LZL4WIouKkGKqy4Yp5I0uYgfVR2l3LKSnc8zV~~yBKZ~WImb3QXbTECv0WUFTETc3Sarxk4hL4SmsToVo7YMMt6STlG7CuZcFPefqrqYjbaqmVTa8pvB54bOD02A5vQkQ0olQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":113226366,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/113226366/thumbnails/1.jpg","file_name":"CK-Image-Embodiment-2016.pdf","download_url":"https://www.academia.edu/attachments/113226366/download_file","bulk_download_file_name":"Image_Embodiment_New_Perspectives_of_the.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/113226366/CK-Image-Embodiment-2016-libre.pdf?1712834311=\u0026response-content-disposition=attachment%3B+filename%3DImage_Embodiment_New_Perspectives_of_the.pdf\u0026Expires=1738780986\u0026Signature=E61hrLncsZL3SqkjPtqlgeP46EypCSj-BJOa0QeL2C-NNLvSz5d-xq6N61pKmiUvO59MoEAfh0KwuiIOdvDma2N7N8HrGgYZrQ5FEe3e6sCSznjTe7OrqN~PffiWopy-fS7s9Zsh71og3Xh8zSHGhb2iiKzHQo7XxCKx89KcRp8xWrXPiNYa7fiOjzzC8josW2NgEXv83xRe1C4zo6iVgdSQZ9WvENEpO-POv6wEVbGl09NUpJpk9PvDhP5NemYwS2AXcPavTpznZ6Sky45IOaC64c0GU-Q0GAX0~PyCpaoHSx8tGcNSrYyobP0U7pIZyuqYV-OM8srhWEjVTSp0vw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":221,"name":"Psychology","url":"https://www.academia.edu/Documents/in/Psychology"}],"urls":[{"id":41010186,"url":"http://www.kravanja.eu/pages/CK-Image-Embodiment-2016.pdf"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="117346232"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/117346232/Bewegtbilder_Grenzen_und_M%C3%B6glichkeiten_einer_Bildtheorie_des_Films"><img alt="Research paper thumbnail of Bewegtbilder. 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All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, m...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97858602"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97858602"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97858602; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97858602]").text(description); $(".js-view-count[data-work-id=97858602]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97858602; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97858602']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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" } } $('.js-work-strip[data-work-id=97858602]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97858602,"title":"Art Style, Art \u0026 Culture International Magazine, no. 8.1, part 2","internal_url":"https://www.academia.edu/97858602/Art_Style_Art_and_Culture_International_Magazine_no_8_1_part_2","owner_id":13079251,"coauthors_can_edit":true,"owner":{"id":13079251,"first_name":"Lars Christian","middle_initials":"","last_name":"Grabbe","page_name":"LarsChristianGrabbe","domain_name":"fh-muenster","created_at":"2014-06-18T22:03:40.629-07:00","display_name":"Lars Christian Grabbe","url":"https://fh-muenster.academia.edu/LarsChristianGrabbe"},"attachments":[]}, 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="89414131"><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/89414131/Eric_McLuhan_and_the_Media_Ecology_in_the_XXI_Century"><img alt="Research paper thumbnail of Eric McLuhan and the Media Ecology in the XXI 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" rel="nofollow" href="https://www.academia.edu/89414131/Eric_McLuhan_and_the_Media_Ecology_in_the_XXI_Century">Eric McLuhan and the Media Ecology in the XXI Century</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Im letzten Vortrag vor seinem plötzlichen Tod im Jahr 2018 gelang es Eric McLuhan, Sohn Marshall ...</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 letzten Vortrag vor seinem plötzlichen Tod im Jahr 2018 gelang es Eric McLuhan, Sohn Marshall McLuhans, auf eindrückliche Weise sowohl die Positionen als auch Perspektiven einer bereits mehrere Jahrzehnte umfassenden interdisziplinären und internationalen Media Ecology miteinander zu verknüpfen. Dieses Forschungsfeld thematisiert Medien nicht primär in einer eher traditionellen beziehungsweise konservativen Funktion als Vermittler von Informationen, sondern fokussiert bewusst die materielle und technologische Anwesenheit und Form von Medien innerhalb einer Kultur und betrachtet deren Einfluss auf Psyche und Verhalten von Individuen innerhalb mediatisierter Gesellschaften. Der Band möchte einen Raum schaffen für die Fortschreibung des McLuhan’schen Denkens im Kontext einer (post-)modernen Media Ecology. Inhaltlich flankiert wird Eric McLuhans hier erstmals im deutschsprachigen Diskurs publizierter Vortrag durch Beiträge von Oliver Ruf und Tobias Held sowie durch ein von Lars C. Gr...</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="89414131"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="89414131"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 89414131; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=89414131]").text(description); $(".js-view-count[data-work-id=89414131]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 89414131; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='89414131']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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" } } $('.js-work-strip[data-work-id=89414131]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":89414131,"title":"Eric McLuhan and the Media Ecology in the XXI Century","internal_url":"https://www.academia.edu/89414131/Eric_McLuhan_and_the_Media_Ecology_in_the_XXI_Century","owner_id":13079251,"coauthors_can_edit":true,"owner":{"id":13079251,"first_name":"Lars Christian","middle_initials":"","last_name":"Grabbe","page_name":"LarsChristianGrabbe","domain_name":"fh-muenster","created_at":"2014-06-18T22:03:40.629-07:00","display_name":"Lars Christian Grabbe","url":"https://fh-muenster.academia.edu/LarsChristianGrabbe"},"attachments":[]}, 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="89414130"><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/89414130/Filmische_Perspektiven_holonisch_mnemonischer_Repr%C3%A4sentation_Versuch_einer_allgemeinen_Bildtheorie_des_Films"><img alt="Research paper thumbnail of Filmische Perspektiven holonisch-mnemonischer Repräsentation. Versuch einer allgemeinen Bildtheorie des Films" class="work-thumbnail" src="https://attachments.academia-assets.com/93222879/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/89414130/Filmische_Perspektiven_holonisch_mnemonischer_Repr%C3%A4sentation_Versuch_einer_allgemeinen_Bildtheorie_des_Films">Filmische Perspektiven holonisch-mnemonischer Repräsentation. Versuch einer allgemeinen Bildtheorie des Films</a></div><div class="wp-workCard_item"><span>Image</span><span>, Aug 4, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Film ist der Prototyp des Bewegungsbildes, ein komplexes und multimodales Konstrukt. Er generiert...</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">Film ist der Prototyp des Bewegungsbildes, ein komplexes und multimodales Konstrukt. Er generiert Bedeutung auf Basis der Prinzipien von Bewegung und Zeit. Zusätzlich beinhaltet Film eine systemische Verhältnisbestimmung von Bild, Ton und Schrift und ist daher in der Lage in verschiedenen Repräsentations-Graden der Kommunikation zu operieren. In der Perspektive einer Bildtheorie des filmischen Bewegungsbildes muss Film als ein intermediales, multimodales und multicodales Konstrukt begriffen werden. Aus diesem Grund wird das filmische Bild als ein spezifischer Zeitgegenstand thematisiert, ein mnemonisches Konstrukt, das sich zwischen der Leinwand und dem Rezi-pienten spannt. Wir können Film als ein holonisches Meta-Bildsystem be-schreiben, das sich aus unterschiedlichen Typen von miteinander verknüpften Sub-Bildsystemen zusammensetzt. Im Zentrum der Ausführungen steht die Verarbeitung der einzelnen Bildsysteme (Einstellung, Szene, Sequenz, Film) durch den Rezipienten und dessen Synth...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e6a1ca71d3323bd91d3620e88e0894e0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":93222879,"asset_id":89414130,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/93222879/download_file?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="89414130"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="89414130"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 89414130; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=89414130]").text(description); $(".js-view-count[data-work-id=89414130]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 89414130; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='89414130']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "e6a1ca71d3323bd91d3620e88e0894e0" } } $('.js-work-strip[data-work-id=89414130]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":89414130,"title":"Filmische Perspektiven holonisch-mnemonischer Repräsentation. 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Historical change of perspective exemplified on Josef Albers" class="work-thumbnail" src="https://attachments.academia-assets.com/93222878/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/89414129/From_aesthetics_to_vitality_semiotics_From_l_art_pour_l_art_to_responsibility_Historical_change_of_perspective_exemplified_on_Josef_Albers">From aesthetics to vitality semiotics - From l´art pour l´art to responsibility. Historical change of perspective exemplified on Josef Albers</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The paper follows the thesis, that the perception of real or virtual me dia shares the anthropolo...</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 paper follows the thesis, that the perception of real or virtual me dia shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The pre requisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable "abstract representations" or their formal logical structures. In contrast to aesthetic feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects.1 This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. 1 Many thanks for fruitful discussions on this topic at and after the conference Fure+ in Munster go to Boris Kochan in his function as spokesman for the Department of Design of the German Cultural Council (Deutsche Kulturrat).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="29ceb4c3f1be9a681d593d013a201f62" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":93222878,"asset_id":89414129,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/93222878/download_file?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="89414129"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="89414129"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 89414129; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=89414129]").text(description); $(".js-view-count[data-work-id=89414129]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 89414129; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='89414129']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "29ceb4c3f1be9a681d593d013a201f62" } } $('.js-work-strip[data-work-id=89414129]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":89414129,"title":"From aesthetics to vitality semiotics - From l´art pour l´art to responsibility. 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This omnipresence and ordinariness of technology make it very difficult to take sides: the defender determines a specific value of technology for creative processes and the opponent proclaims a general worthlessness of technology for artistic creation. This essay focusses not on different judgements, but it will analyze some important aspects of the structural dynamic of technology in the context of a creative mediatization. This means, that a work of art, a design concept or a communication medium has to be understand as a specific aesthetic artefact that enables a perceptual relation or interaction of a technological repertoire, a specific mode of representation and a sensory awareness of the recipient. 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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="1540334" id="congress"><div class="js-work-strip profile--work_container" data-work-id="115826290"><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/115826290/Crossmediale_%C3%84sthetiken_und_postmoderne_Mythenmaschinen_Bildkritik_und_Kommunikation_im_postfaktischen_Zeitalter"><img alt="Research paper thumbnail of Crossmediale Ästhetiken und postmoderne Mythenmaschinen: Bildkritik und Kommunikation im postfaktischen Zeitalter" class="work-thumbnail" src="https://attachments.academia-assets.com/112125954/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/115826290/Crossmediale_%C3%84sthetiken_und_postmoderne_Mythenmaschinen_Bildkritik_und_Kommunikation_im_postfaktischen_Zeitalter">Crossmediale Ästhetiken und postmoderne Mythenmaschinen: Bildkritik und Kommunikation im postfaktischen Zeitalter</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der analytische Zugriff auf das »Storytelling« wird für das Symposium aus zwei eigenständigen Ric...</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">Der analytische Zugriff auf das »Storytelling« wird für das Symposium aus zwei eigenständigen Richtungen gedacht werden: Einerseits ist ein wissenschaftlich-hermeneutischer Zugriff auf den Begriff »Crossmedialer Ästhetik« wünschenswert, der eine mediensystematische Verortung möglich macht. Ziel kann es demnach sein, den Begriff kulturgeschichtlich zu verorten und mit aktuellen Deutungs-Tendenzen und technischen Perspektivierungen in Beziehung zu setzen. Ein Augenmerk kann hier auf den transdisziplinären Bedeutungen für emotive, individuelle und kollektive Kommunikationsstrategien in analogen und digitalen Kontexten liegen, wie auch auf den spezifischen Ausprägungen der Erzählweisen in linearen, nicht-linearen und multimodalen Mediensettings. Andererseits sollte ein analytischer Zugriff auf die Formen der »Bildkritik, Kommunikation und Postfaktizität« erfolgen, um die Funktion des darstellenden Mitteilens durch postmoderne Mythenmaschinen kritisch zu untersuchen und gesellschaftlich einzuordnen.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c8ad982c9096745d654c9f333fa9f376" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":112125954,"asset_id":115826290,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/112125954/download_file?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="115826290"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="115826290"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 115826290; 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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="37063453"><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/37063453/FURE_The_Future_of_Reading_and_Media_A_bilingual_Design_meets_Science_Conference_at_the_MSD_M%C3%BCnster_School_of_Design_in_M%C3%BCnster_Germany_30_11_2018_to_01_12_2018"><img alt="Research paper thumbnail of FURE+: The Future of Reading and Media. A bilingual Design-meets-Science-Conference at the MSD – Münster School of Design in Münster, Germany, 30.11.2018 to 01.12.2018" class="work-thumbnail" src="https://attachments.academia-assets.com/57014258/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/37063453/FURE_The_Future_of_Reading_and_Media_A_bilingual_Design_meets_Science_Conference_at_the_MSD_M%C3%BCnster_School_of_Design_in_M%C3%BCnster_Germany_30_11_2018_to_01_12_2018">FURE+: The Future of Reading and Media. A bilingual Design-meets-Science-Conference at the MSD – Münster School of Design in Münster, Germany, 30.11.2018 to 01.12.2018</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the era of the so-called digitalization a variety of multimodal technologies have great impact...</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 the era of the so-called digitalization a variety of multimodal technologies have great impact on the structural dimension of media and the media use of the recipient. This development has already an enormous influence on the consumer culture, whereby the relation of analog and digital media as well as the creative, technological and sociocultural interdependence is not sufficiently investigated. So, it seems to be very important to connect aspects of design, mediality and technology with aspects of media reception to formulate productive hypotheses for academic and creative work areas. The technologization could be described as a trigger mechanism for a variety of media transformations and user dynamics, which means, that analog media are still widely spread (e.g. newspapers, magazines, books etc.) but that production methods and manners of use have changed under the influence of digitalization (e.g. digital design, digital print, digital reading, interactive apps etc.) and finally, that in some cases analog media seem to be totally replaced by digital concepts (e.g. online news portals, social media, immersive media technology etc.). Therefore, the different media research projects have to correlate analog and digital forms to determinate limits and possibilities of analog and digital mediality. The different topics for the conference " FURE+ The Future of Reading and Media " are very open with an interdisciplinary character and they are addressing analog and digital strategies in modern design, recent conditions of media reception in the print sector, the influence of digital reading devices on reading processes, typography in the context of digital and user-centered design, three-dimensional media in the context of virtual reality, digital image and text overlaps of reality with Augmented Reality or finally, perceptual synchronizations of media inputs and haptic, tactile, audiovisual or proprioceptive user experiences (e.g. enhanced e-books, smartphones, interactive apps, Augmented Reality reading apps for tablets etc.). Recent media developments are referring highly to specialized design processes, technology and the different perceptual dynamics of the user that it seems to be important and necessary to focus on the different cross references for an effective understanding of recent and future media. Therefore, the conference will be a forum for an interdisciplinary discussion in the range of creativity, production aesthetics, media science and other academic and scientific sectors, which are related to design, technology and media understanding.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="32d4d2a5a4e3d47b0ccecb6fbb74ad0b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57014258,"asset_id":37063453,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57014258/download_file?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="37063453"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37063453"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37063453; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37063453]").text(description); $(".js-view-count[data-work-id=37063453]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37063453; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37063453']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "32d4d2a5a4e3d47b0ccecb6fbb74ad0b" } } $('.js-work-strip[data-work-id=37063453]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37063453,"title":"FURE+: The Future of Reading and Media. 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The technologization could be described as a trigger mechanism for a variety of media transformations and user dynamics, which means, that analog media are still widely spread (e.g. newspapers, magazines, books etc.) but that production methods and manners of use have changed under the influence of digitalization (e.g. digital design, digital print, digital reading, interactive apps etc.) and finally, that in some cases analog media seem to be totally replaced by digital concepts (e.g. online news portals, social media, immersive media technology etc.). Therefore, the different media research projects have to correlate analog and digital forms to determinate limits and possibilities of analog and digital mediality. The different topics for the conference \" FURE+ The Future of Reading and Media \" are very open with an interdisciplinary character and they are addressing analog and digital strategies in modern design, recent conditions of media reception in the print sector, the influence of digital reading devices on reading processes, typography in the context of digital and user-centered design, three-dimensional media in the context of virtual reality, digital image and text overlaps of reality with Augmented Reality or finally, perceptual synchronizations of media inputs and haptic, tactile, audiovisual or proprioceptive user experiences (e.g. enhanced e-books, smartphones, interactive apps, Augmented Reality reading apps for tablets etc.). Recent media developments are referring highly to specialized design processes, technology and the different perceptual dynamics of the user that it seems to be important and necessary to focus on the different cross references for an effective understanding of recent and future media. Therefore, the conference will be a forum for an interdisciplinary discussion in the range of creativity, production aesthetics, media science and other academic and scientific sectors, which are related to design, technology and media understanding.","ai_title_tag":"FURE+: Analyzing Media Transformations in Design"},"translated_abstract":"In the era of the so-called digitalization a variety of multimodal technologies have great impact on the structural dimension of media and the media use of the recipient. This development has already an enormous influence on the consumer culture, whereby the relation of analog and digital media as well as the creative, technological and sociocultural interdependence is not sufficiently investigated. So, it seems to be very important to connect aspects of design, mediality and technology with aspects of media reception to formulate productive hypotheses for academic and creative work areas. The technologization could be described as a trigger mechanism for a variety of media transformations and user dynamics, which means, that analog media are still widely spread (e.g. newspapers, magazines, books etc.) but that production methods and manners of use have changed under the influence of digitalization (e.g. digital design, digital print, digital reading, interactive apps etc.) and finally, that in some cases analog media seem to be totally replaced by digital concepts (e.g. online news portals, social media, immersive media technology etc.). Therefore, the different media research projects have to correlate analog and digital forms to determinate limits and possibilities of analog and digital mediality. The different topics for the conference \" FURE+ The Future of Reading and Media \" are very open with an interdisciplinary character and they are addressing analog and digital strategies in modern design, recent conditions of media reception in the print sector, the influence of digital reading devices on reading processes, typography in the context of digital and user-centered design, three-dimensional media in the context of virtual reality, digital image and text overlaps of reality with Augmented Reality or finally, perceptual synchronizations of media inputs and haptic, tactile, audiovisual or proprioceptive user experiences (e.g. enhanced e-books, smartphones, interactive apps, Augmented Reality reading apps for tablets etc.). Recent media developments are referring highly to specialized design processes, technology and the different perceptual dynamics of the user that it seems to be important and necessary to focus on the different cross references for an effective understanding of recent and future media. Therefore, the conference will be a forum for an interdisciplinary discussion in the range of creativity, production aesthetics, media science and other academic and scientific sectors, which are related to design, technology and media understanding.","internal_url":"https://www.academia.edu/37063453/FURE_The_Future_of_Reading_and_Media_A_bilingual_Design_meets_Science_Conference_at_the_MSD_M%C3%BCnster_School_of_Design_in_M%C3%BCnster_Germany_30_11_2018_to_01_12_2018","translated_internal_url":"","created_at":"2018-07-17T04:15:23.701-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":13079251,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":57014258,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/57014258/thumbnails/1.jpg","file_name":"FURE__Programm_1.12.2018_Kopie.pdf","download_url":"https://www.academia.edu/attachments/57014258/download_file","bulk_download_file_name":"FURE_The_Future_of_Reading_and_Media_A_b.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57014258/FURE__Programm_1.12.2018_Kopie-libre.pdf?1531826860=\u0026response-content-disposition=attachment%3B+filename%3DFURE_The_Future_of_Reading_and_Media_A_b.pdf\u0026Expires=1738635890\u0026Signature=Iva7ASV1oqX0rN~z4jX~c~Vkgm66TpOKVEc2aCHk~DNzs2KUH49QGwN25LEP2rS9bhQrxONarX5DqAsN2OzHFxyadtsXeiZ1Y1AtGl-axANq7YSHQ4Fu28lhXmys2Z2jfQUwcALJslNmWfjy0R0~dKUlgofgMU1TvIocTzlvmB~jWonK18uuWNJPXMJ~Xj1soR9aavqOAoRlszCZlCMSn9oyDhCnzOa1EgueA34RlQFp0yAq3G~PCDmXZuw3cQZ8krcCBpbLnqbzYYk4TFNLr1xNDXR7MzqV8aC9cj~P-pTEFywzSr4jxdtExI4cLv2Bfr95j8py7JPm72TFYFSNzQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"FURE_The_Future_of_Reading_and_Media_A_bilingual_Design_meets_Science_Conference_at_the_MSD_Münster_School_of_Design_in_Münster_Germany_30_11_2018_to_01_12_2018","translated_slug":"","page_count":10,"language":"en","content_type":"Work","summary":"In the era of the so-called digitalization a variety of multimodal technologies have great impact on the structural dimension of media and the media use of the recipient. 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Therefore, the different media research projects have to correlate analog and digital forms to determinate limits and possibilities of analog and digital mediality. The different topics for the conference \" FURE+ The Future of Reading and Media \" are very open with an interdisciplinary character and they are addressing analog and digital strategies in modern design, recent conditions of media reception in the print sector, the influence of digital reading devices on reading processes, typography in the context of digital and user-centered design, three-dimensional media in the context of virtual reality, digital image and text overlaps of reality with Augmented Reality or finally, perceptual synchronizations of media inputs and haptic, tactile, audiovisual or proprioceptive user experiences (e.g. enhanced e-books, smartphones, interactive apps, Augmented Reality reading apps for tablets etc.). Recent media developments are referring highly to specialized design processes, technology and the different perceptual dynamics of the user that it seems to be important and necessary to focus on the different cross references for an effective understanding of recent and future media. Therefore, the conference will be a forum for an interdisciplinary discussion in the range of creativity, production aesthetics, media science and other academic and scientific sectors, which are related to design, technology and media understanding.","owner":{"id":13079251,"first_name":"Lars Christian","middle_initials":"","last_name":"Grabbe","page_name":"LarsChristianGrabbe","domain_name":"fh-muenster","created_at":"2014-06-18T22:03:40.629-07:00","display_name":"Lars Christian 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data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/31072302/Moving_Images_2017_Mediality_Multimodality_Materiality_Concepts_for_Media_and_Image_Studies_in_the_Era_of_the_Technosphere_Bilingual_Conference_of_the_Society_of_Interdisciplinary_Image_Science_on_Moving_Images_Kiel_Germany_4th_to_6th_May_2017_"><img alt="Research paper thumbnail of Moving Images 2017: Mediality – Multimodality – Materiality: Concepts for Media and Image Studies in the Era of the »Technosphere«. Bilingual Conference of the Society of Interdisciplinary Image Science on Moving Images (Kiel, Germany, 4th to 6th May 2017)" class="work-thumbnail" src="https://attachments.academia-assets.com/51506488/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/31072302/Moving_Images_2017_Mediality_Multimodality_Materiality_Concepts_for_Media_and_Image_Studies_in_the_Era_of_the_Technosphere_Bilingual_Conference_of_the_Society_of_Interdisciplinary_Image_Science_on_Moving_Images_Kiel_Germany_4th_to_6th_May_2017_">Moving Images 2017: Mediality – Multimodality – Materiality: Concepts for Media and Image Studies in the Era of the »Technosphere«. Bilingual Conference of the Society of Interdisciplinary Image Science on Moving Images (Kiel, Germany, 4th to 6th May 2017)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The evolution of media has yielded masses of interfaces and display technologies, which concede a...</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 evolution of media has yielded masses of interfaces and display technologies, which concede and force novel multimodal types of representation. To consider these technologies in the context of contemporary image studies, an updated appreciation of media images needs to be added to the traditional concept of images, which derived from art history. We have to comprehend more than visual representation and visual perception to fully understand the structures of moving images, because they do not only address our vision, they address – modal or a-modal – all of our senses. This multimodal or multisensory understanding of images seems to be necessary to comprehend contemporary media technologies of interactive and digital moving images as well as future developments. Within this convergent media-and image-ecosystem, concepts like materiality, embodiment and agency become important in describing and analyzing the global formations and interactions of human and non-human elements, individuals and technological ensembles. Peter K. Haff describes this era of hybrid networks as »technosphere«, trying to characterize the dynamics of existing media ecologies. Therefore mediality, multimodality, and materiality can be used as fundamental concepts for a media- and image-theory of the »technosphere« – but there is a necessity to explore the sustainability, scope and interconnections of these interdisciplinary concepts.<br /><br />The conference is organized by the Society of Interdisciplinary Image Science and the Research Group Moving Image Science Kiel. It takes place in the senators room (Sokratesplatz 2, Floor 7), on campus of the University of Applied Sciences Kiel. The conference languages are German and English, the participation is free of charge. <br /><br />The registration to the conference is possible per email via <a href="mailto:kontakt@bewegtbildwissenschaft.de" rel="nofollow">kontakt@bewegtbildwissenschaft.de</a> until 23rd of April 2017. <br /><br />You will find a campus map and further details online on <a href="http://www.movingimagescience.com" rel="nofollow">www.movingimagescience.com</a>. For further questions please feel free to contact Lars C. Grabbe and Patrick Rupert-Kruse.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4096581094ef7cdf9218973495609e11" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":51506488,"asset_id":31072302,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/51506488/download_file?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="31072302"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31072302"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31072302; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31072302]").text(description); $(".js-view-count[data-work-id=31072302]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31072302; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31072302']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "4096581094ef7cdf9218973495609e11" } } $('.js-work-strip[data-work-id=31072302]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31072302,"title":"Moving Images 2017: Mediality – Multimodality – Materiality: Concepts for Media and Image Studies in the Era of the »Technosphere«. 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"profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="23456245"><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/23456245/Immersion_Design_Art_Revisited_Transmedia_Form_Principles_in_Contemporary_Art_and_Technology_Congress_at_the_Muthesius_University_Kiel_and_University_of_Applied_Sciences_Kiel_Germany_19_21_May_2016_"><img alt="Research paper thumbnail of Immersion – Design – Art: Revisited. Transmedia Form Principles in Contemporary Art and Technology – Congress at the Muthesius University Kiel and University of Applied Sciences Kiel, Germany (19–21 May 2016) –" class="work-thumbnail" src="https://attachments.academia-assets.com/43895563/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/23456245/Immersion_Design_Art_Revisited_Transmedia_Form_Principles_in_Contemporary_Art_and_Technology_Congress_at_the_Muthesius_University_Kiel_and_University_of_Applied_Sciences_Kiel_Germany_19_21_May_2016_">Immersion – Design – Art: Revisited. Transmedia Form Principles in Contemporary Art and Technology – Congress at the Muthesius University Kiel and University of Applied Sciences Kiel, Germany (19–21 May 2016) –</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Since Renaissance the aesthetics of immersion has always highlighted the emerging of new media te...</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">Since Renaissance the aesthetics of immersion has always highlighted the emerging of new media technologies. Most recently this happened in the excited millennium debates, that stated a complete break with all traditional notions of reality under the impact of digital simulation: right up to an agony of the real. More than a decade later, this reality has proved to be extremely resistant, and the technologies of immersion have become a natural part of the everyday communication and aesthetic experience. The real artistic challenge hides itself in this ordinariness, because the pure media technology is not sufficient for an aesthetic difference, as yet believed in the birth years of Ars Electronica.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="706c5bd22df91f243779110dd3204f1a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":43895563,"asset_id":23456245,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/43895563/download_file?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="23456245"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="23456245"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 23456245; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=23456245]").text(description); $(".js-view-count[data-work-id=23456245]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 23456245; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='23456245']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "706c5bd22df91f243779110dd3204f1a" } } $('.js-work-strip[data-work-id=23456245]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":23456245,"title":"Immersion – Design – Art: Revisited. 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Varieties and Characteristics of Media Image Processing. Conference of Moving Image Sciences in Kiel, Germany, November 19th and 20th, 2015" class="work-thumbnail" src="https://attachments.academia-assets.com/38532490/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/15070328/Moving_Images_2015_Perception_Reception_Interaction_Varieties_and_Characteristics_of_Media_Image_Processing_Conference_of_Moving_Image_Sciences_in_Kiel_Germany_November_19th_and_20th_2015">Moving Images 2015: Perception – Reception – Interaction. Varieties and Characteristics of Media Image Processing. Conference of Moving Image Sciences in Kiel, Germany, November 19th and 20th, 2015</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">For human perception, processing and cognition of moving images (whether they are interactive or ...</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 human perception, processing and cognition of moving images (whether they are interactive or not) the systems of the mental and the physical are crucial. Only in the interactive context of bodily participation, sensual addressing and cognitive organization emerges the phenomenal and semiotic dimension of understanding and experience; that shapes the actions of processing and cognition of media stimuli. <br /> <br />The conference focusses on the diverse and complex interactions between the images and their specific media, the actions of perception and processing, which can be captured and analysed in connection with somatic and mental processes. <br /> <br />In this context questions are raised about phenomenological and/or semiotic analysis of the processes of perception and reception of multimodal artefacts, about the diagrammatical and temporal structure of moving images (like movies or games), or about the role of senso-motoric processing of interactive images, which seems to be a crucial part of the reception of interactive images. <br /> <br />The conference is organized by the Research Group Moving Image Science Kiel. It takes place in the senators room (Sokratesplatz 2, Floor 7, Build) on campus of the University of Applied Sciences Kiel. The conference languages are German and English, the participation is free of charge. The registration to the conference is possible per email via <a href="mailto:kontakt@bewegtbildwissenschaft.de" rel="nofollow">kontakt@bewegtbildwissenschaft.de</a>. <br /> <br />You will find a campus map and further details online on <a href="http://www.movingimagescience.com" rel="nofollow">www.movingimagescience.com</a>. For further questions please feel free to contact Dr. Lars C. Grabbe and Prof. Dr. Patrick Rupert-Kruse.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7e34758c4f6bcd0bfe7f9b7fc025e8a1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38532490,"asset_id":15070328,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38532490/download_file?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="15070328"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="15070328"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 15070328; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=15070328]").text(description); $(".js-view-count[data-work-id=15070328]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 15070328; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='15070328']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "7e34758c4f6bcd0bfe7f9b7fc025e8a1" } } $('.js-work-strip[data-work-id=15070328]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":15070328,"title":"Moving Images 2015: Perception – Reception – Interaction. 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Bewegtbildwissenschaftliche Tagung in Kiel am 20. und 21. November 2014" 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/7398083/Bewegtbilder_2014_Kognition_Repr%C3%A4sentation_Verk%C3%B6rperung_Erlebnisdimensionen_und_Sinnhorizonte_audiovisueller_Artefakte_Bewegtbildwissenschaftliche_Tagung_in_Kiel_am_20_und_21_November_2014">Bewegtbilder 2014: Kognition – Repräsentation – Verkörperung: Erlebnisdimensionen und Sinnhorizonte audiovisueller Artefakte Bewegtbildwissenschaftliche Tagung in Kiel am 20. und 21. November 2014</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Theorien der Verkörperung des menschlichen Bewusstseins problematisieren und modifizieren das Den...</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">Theorien der Verkörperung des menschlichen Bewusstseins problematisieren und modifizieren das Denken über unser Verhältnis zur Umwelt. 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Time, Space and Visual Media (Yearbook of Moving Image Studies 2017)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Media technology plays a significant role in addressing the different sense modalities of the rec...</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">Media technology plays a significant role in addressing the different sense modalities of the recipient or user. This role seems to deeply influence our concepts of time and space: The more a media technology is becoming a trigger for sensory and perceptual experiences, the bigger is the influence on temporality and spatiality. Image Temporality could be one part of the temporality discourse to connect the concepts of static and dynamic images with the approaches in modern media theory, philosophy of mind, perceptual theory, aesthetics, and film studies as well as the complex range of image science. 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Spielarten und Ausprägungen der Verarbeitung multimodaler Bildmedien" class="work-thumbnail" src="https://attachments.academia-assets.com/53656164/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/33645079/Bildverstehen_Spielarten_und_Auspr%C3%A4gungen_der_Verarbeitung_multimodaler_Bildmedien">Bildverstehen. Spielarten und Ausprägungen der Verarbeitung multimodaler Bildmedien</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In der menschlichen Wahrnehmung, Verarbeitung und Speicherung bewegter (interaktiver) Bildtypen s...</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 der menschlichen Wahrnehmung, Verarbeitung und Speicherung bewegter (interaktiver) Bildtypen spielen die Systeme des Mentalen und Leiblichen eine zentrale Rolle: Wir entschlüsseln Zeichen und Symbole, verstehen und erleben multimodale Artefakte, lassen uns vom Realismus digitaler Bilder überrumpeln oder koppeln uns mental und motorisch mit Filmen oder Computerspielen. Folglich formieren sich erst im Zusammenwirken von sinnlicher Adressierung, kognitiver Organisation und leiblicher Partizipation sowohl phänomenale als auch semiotische Prozesse des Verstehens oder Erlebens. Die davon geprägten spezifischen Verarbeitungs-und Speicherungsvorgänge medialer Impulse stehen im Fokus des Bandes.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="be0a47407af479e006d1c0469f1edb14" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53656164,"asset_id":33645079,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53656164/download_file?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="33645079"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33645079"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33645079; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33645079]").text(description); $(".js-view-count[data-work-id=33645079]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33645079; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='33645079']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "be0a47407af479e006d1c0469f1edb14" } } $('.js-work-strip[data-work-id=33645079]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":33645079,"title":"Bildverstehen. 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New Perspectives of the Sensory Turn (Yearbook of Moving Image Studies 2016)" class="work-thumbnail" src="https://attachments.academia-assets.com/50327839/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/29844042/Image_Embodiment_New_Perspectives_of_the_Sensory_Turn_Yearbook_of_Moving_Image_Studies_2016_">Image Embodiment. New Perspectives of the Sensory Turn (Yearbook of Moving Image Studies 2016)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the new media environment, how are bodies and images related? How can, in other words, the hum...</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 the new media environment, how are bodies and images related? How can, in other words, the human body be integrated with and reformulated in relation to the sensory and perceptual dimension? In response to this question, Image Embodiment looks not just to images and surface appearances but addresses at a deeper level the media that act as the supports for aesthetics. To think about visual culture in the twenty-first century necessarily implies the thinking of the specific role of media technologies. A view to media not only teases out the technical infrastructure of images but brings with it the potential for addressing the different sense modalities and realities of the human body. Recent theories of the sensory turn are effectively highlighting innovative approaches for an autonomous image science and media theory in general. Image Embodiment provides one part of the discourse to synchronize the concepts of image and body, which is then able to connect the perspectives of philosophy of mind, perceptual theory and media as well as image science. This volume monitors and discusses the relation of media and the human body and refers to images, embodiment and the sensory turn within the perspective of an autonomous image science.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="60d196609a7f89b4dcd139daa474af80" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50327839,"asset_id":29844042,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50327839/download_file?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="29844042"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="29844042"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29844042; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29844042]").text(description); $(".js-view-count[data-work-id=29844042]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29844042; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='29844042']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "60d196609a7f89b4dcd139daa474af80" } } $('.js-work-strip[data-work-id=29844042]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":29844042,"title":"Image Embodiment. 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Zum Verhältnis von Bildtechnologien und Embodiment" class="work-thumbnail" src="https://attachments.academia-assets.com/42677238/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/21958937/Bildk%C3%B6rper_Zum_Verh%C3%A4ltnis_von_Bildtechnologien_und_Embodiment">Bildkörper. Zum Verhältnis von Bildtechnologien und Embodiment</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Im internationalen philosophischen und kognitionspsychologischen Diskurs erleben Überlegungen zum...</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 internationalen philosophischen und kognitionspsychologischen Diskurs erleben Überlegungen zum Embodiment momentan einen nie dagewesenen Aufschwung. Daher verwundert es nicht, dass auch im Kontext aktueller Entwicklungen der digitalen und immersiven Medientechnologien die Rolle des Leibes sowohl im theoretischen als auch im anwendungsorientierten Bereich mit neuer Verve betont wird. Auf diese Entwicklung Bezug nehmend, stellt der vorliegende Band die Interaktion zwischen dem Medialen und den somatischen, neuronalen und mentalen – also verkörperten – Prozessen, die bei der Rezeption von Medieninhalten aktiv sind, in den Fokus. 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The Moving Image between Apparatus and Body (Yearbook of Moving Image Studies 2015)</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://fh-kiel.academia.edu/PatrickRupertKruse">Patrick Rupert-Kruse</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://fh-muenster.academia.edu/LarsChristianGrabbe">Lars Christian Grabbe</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This volume monitors and discusses the relation of postmodern humans and media technologies and t...</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">This volume monitors and discusses the relation of postmodern humans and media technologies and therefore refers to Cyborgs, interfaces and apparatuses within the perspective of an autonomous image science.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f74bc0f01ab6a79d8730c1cc90c14c12" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38789623,"asset_id":15764843,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38789623/download_file?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="15764843"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="15764843"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 15764843; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=15764843]").text(description); $(".js-view-count[data-work-id=15764843]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 15764843; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='15764843']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "f74bc0f01ab6a79d8730c1cc90c14c12" } } $('.js-work-strip[data-work-id=15764843]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":15764843,"title":"Cyborgian Images. 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Zur sinnlichen Wahrnehmung digitaler Visualität" class="work-thumbnail" src="https://attachments.academia-assets.com/35967937/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/9793412/Bild_und_Interface_Zur_sinnlichen_Wahrnehmung_digitaler_Visualit%C3%A4t">Bild und Interface. Zur sinnlichen Wahrnehmung digitaler Visualität</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihre...</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">Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihren Usern. Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder Blockbuster muss in 3D gedreht werden. Entwicklungen wie diese verdeutlichen nicht nur den hohen Stellenwert, der sowohl der technologischen Seite als auch den ästhetischen Strategien visueller Medien zukommt. Sie werfen auch eine Reihe von Fragen auf: Wie adressieren multimodale Medienarrangements die Sinne der Rezipienten? Welche Rolle spielen Technologie und Wahrnehmung bei der Modellierung von Bildwirkungen? Um diese Fragen zu beantworten, legt der vorliegende Band den Fokus auf die Analyse medialer Interfaces. Konzentrierte sich die Bewegtbilder-Reihe bislang auf den Film, widmet sich Bild und Interface auch interaktiven Digital- und Computerspielbildern. Dadurch sollen weitere Bausteine einer kritischen Bewegtbildwissenschaft herausgearbeitet werden.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fb24131810c13b8b1da50da1dd2affab" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":35967937,"asset_id":9793412,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/35967937/download_file?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="9793412"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="9793412"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 9793412; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9793412]").text(description); $(".js-view-count[data-work-id=9793412]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 9793412; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='9793412']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "fb24131810c13b8b1da50da1dd2affab" } } $('.js-work-strip[data-work-id=9793412]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":9793412,"title":"Bild und Interface. 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Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder Blockbuster muss in 3D gedreht werden. Entwicklungen wie diese verdeutlichen nicht nur den hohen Stellenwert, der sowohl der technologischen Seite als auch den ästhetischen Strategien visueller Medien zukommt. Sie werfen auch eine Reihe von Fragen auf: Wie adressieren multimodale Medienarrangements die Sinne der Rezipienten? Welche Rolle spielen Technologie und Wahrnehmung bei der Modellierung von Bildwirkungen? Um diese Fragen zu beantworten, legt der vorliegende Band den Fokus auf die Analyse medialer Interfaces. Konzentrierte sich die Bewegtbilder-Reihe bislang auf den Film, widmet sich Bild und Interface auch interaktiven Digital- und Computerspielbildern. 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Zur synkretistischen Struktur des Filmischen" class="work-thumbnail" src="https://attachments.academia-assets.com/34121938/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/7562013/Multimodale_Bilder_Zur_synkretistischen_Struktur_des_Filmischen">Multimodale Bilder. Zur synkretistischen Struktur des Filmischen</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Von einer Entschlüsselung der strukturellen Besonderheiten des Films ist die Forschung noch immer...</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">Von einer Entschlüsselung der strukturellen Besonderheiten des Films ist die Forschung noch immer weit entfernt. Zwar wurde bereits früh erkannt, dass die ›siebente Kunst‹ Elemente verschiedener Medien in sich vereint, mehrere Sinne gleichzeitig anspricht und ihre Bild-und Tonebene einander wechselseitig beeinflussen. Eine konsequent verfolgte Methode, die der Vielschichtigkeit des filmischen Repräsentationssystems gerecht wird, wurde bislang jedoch nicht entwickelt.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a164266191eb4c49488a366bc5bf3aed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":34121938,"asset_id":7562013,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/34121938/download_file?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="7562013"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7562013"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7562013; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7562013]").text(description); $(".js-view-count[data-work-id=7562013]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7562013; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7562013']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "a164266191eb4c49488a366bc5bf3aed" } } $('.js-work-strip[data-work-id=7562013]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7562013,"title":"Multimodale Bilder. 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Narration, Serie und (proto-)filmische Apparate" class="work-thumbnail" src="https://attachments.academia-assets.com/34121909/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/7561985/Auf_dem_Sprung_zum_bewegten_Bild_Narration_Serie_und_proto_filmische_Apparate"> Auf dem Sprung zum bewegten Bild. Narration, Serie und (proto-)filmische Apparate</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Seit dem pictorial turn werden Bilder zwar zunehmend interdisziplinär betrachtet, geblieben ist j...</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">Seit dem pictorial turn werden Bilder zwar zunehmend interdisziplinär betrachtet, geblieben ist jedoch der Fokus auf das statische Bild und dessen Abgrenzung von dynamischen Erscheinungen wie Film oder Computerspiel. Dass die Bilder nicht plötzlich dynamisch wurden, dass es dazu vielmehr einer komplexen medialen Evolution bedurfte, findet dabei zumeist keine Berücksichtigung. Der vorliegende Band spürt dagegen dieser facettenreichen Dynamisierung nach, indem er sich den Wechselwirkungen von Narration, Serie und (proto-)filmischen Apparaten widmet. Zu den Phänomenen auf dem Sprung zum bewegten Bild, die dafür analysiert werden, zählen das Altarbild, die Chronofotografie und die Animation durch die Rezipienten ebenso wie der Comic, die philosophical toys oder jene Bildgrammatik, die aus dem rein technischen movie erst das uns geläufige Bewegungsbild macht.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="df48f8213a6bbd8cdd19e1dd869bb8e9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":34121909,"asset_id":7561985,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/34121909/download_file?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="7561985"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7561985"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7561985; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7561985]").text(description); $(".js-view-count[data-work-id=7561985]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7561985; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7561985']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "df48f8213a6bbd8cdd19e1dd869bb8e9" } } $('.js-work-strip[data-work-id=7561985]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7561985,"title":" Auf dem Sprung zum bewegten Bild. 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Narrative Bildformen und -praktiken ludischer Interaktion<br /><br />Symposium der GIB – Gesellschaft für interdisziplinäre Bildwissenschaft e.V. in Kooperation mit der MSD – Münster School of Design<br /><br />Datum: 26.06.2025 bis 28.06.2025</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d97df4bcf45f7189803faf666f4c0187" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":120921985,"asset_id":127145296,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/120921985/download_file?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="127145296"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127145296"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127145296; 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$(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="124440799"><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/124440799/_Mc_Luhan_Then_and_Now_Call_for_Papers_book_chapter"><img alt="Research paper thumbnail of »Mc Luhan Then and Now« Call for Papers - book chapter" class="work-thumbnail" src="https://attachments.academia-assets.com/118665580/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" rel="nofollow" href="https://www.academia.edu/124440799/_Mc_Luhan_Then_and_Now_Call_for_Papers_book_chapter">»Mc Luhan Then and Now« Call for Papers - book chapter</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Marshall McLuhan was an English professor and pioneering media theorist who studied the 'personal...</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">Marshall McLuhan was an English professor and pioneering media theorist who studied the 'personal and social' effects of technology with a focus on perception, society, and culture. His well-known ideas and phrases like "the medium is the message" and "the global village" have influenced academia for decades, because McLuhan was highlighting the nature of a medium itself as a form, rather than the content that it carries (cf. McLuhan 1964). For him the form is what influences society most deeply all around the globe and what forms the lifeworld in a global sense. McLuhan argued that a medium (e.g. print, television, or the internet) has specific effects on how people perceive, think, interact and communicate, thus shaping experiences and sociality in a profound way. His concept of the global village recognized the world as interconnected through electronic media, leading to a collective consciousness that transcends-in drastic ways-individual cultures and geographical boundaries.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="82f19d3aea4fcdb9fa03a33fa696c9a6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118665580,"asset_id":124440799,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118665580/download_file?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="124440799"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124440799"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124440799; 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Designforschung und Künstliche Intelligenz. Ästhetische Transformation im Zeitalter artfi...</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">Band 3. Designforschung und Künstliche Intelligenz. Ästhetische Transformation im Zeitalter artfizieller Systeme.<br /><br />Das digitale Design ist ein eigenständiges Betätgungsfeld innerhalb ästhetscher Praxis geworden und maßgeblich beeinflusst durch den computatonal digital turn. Die Gestaltung der jüngeren Zeit, und dies schließt auch die avantgardistschen Strömungen post-moderner Kunst ein, ereignet sich als interdependentes Netzwerk verschiedenster technologischer und kommunikatver Praktiken. Somit bilden sich komplexe »Gestaltungsökologien« aus und innerhalb dieser ebenfalls spezifische Nischen oder allgemeine und normative Gestaltungsprinzipien. 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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="109936179"><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/109936179/CfP_Symposium_2024_Crossmediale_%C3%84sthetiken_und_postmoderne_Mythenmaschinen_Bildkritik_und_Kommunikation_im_postfaktischen_Zeitalter"><img alt="Research paper thumbnail of CfP Symposium 2024 - Crossmediale Ästhetiken und postmoderne Mythenmaschinen: Bildkritik und Kommunikation im postfaktischen Zeitalter" class="work-thumbnail" src="https://attachments.academia-assets.com/107909801/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/109936179/CfP_Symposium_2024_Crossmediale_%C3%84sthetiken_und_postmoderne_Mythenmaschinen_Bildkritik_und_Kommunikation_im_postfaktischen_Zeitalter">CfP Symposium 2024 - Crossmediale Ästhetiken und postmoderne Mythenmaschinen: Bildkritik und Kommunikation im postfaktischen Zeitalter</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der analytische Zugriff auf das »Storytelling« wird für das Symposium aus zwei eigenständigen Ric...</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">Der analytische Zugriff auf das »Storytelling« wird für das Symposium aus zwei eigenständigen Richtungen gedacht werden: Einerseits ist ein wissenschaftlich-hermeneutischer Zugriff auf den Begriff »Crossmedialer Ästhetik« wünschenswert, der eine mediensystematische Verortung möglich macht. Ziel kann es demnach sein, den Begriff kulturgeschichtlich zu verorten und mit aktuellen Deutungs-Tendenzen und technischen Perspektivierungen in Beziehung zu setzen. Ein Augenmerk kann hier auf den transdisziplinären Bedeutungen für emotive, individuelle und kollektive Kommunikationsstrategien in analogen und digitalen Kontexten liegen, wie auch auf den spezifischen Ausprägungen der Erzählweisen in linearen, nicht-linearen und multimodalen Mediensettings. 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Digitale Bildpraktiken zwischen Display, Positionierung und Handlungsziel. Frist: 10.04.2023" class="work-thumbnail" src="https://attachments.academia-assets.com/99367196/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/97858634/EXTENDED_Call_for_Abstracts_Bild_und_Augmentation_Digitale_Bildpraktiken_zwischen_Display_Positionierung_und_Handlungsziel_Frist_10_04_2023">EXTENDED Call for Abstracts: Bild und Augmentation. Digitale Bildpraktiken zwischen Display, Positionierung und Handlungsziel. Frist: 10.04.2023</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Augmented Reality ist begrifflich eine Erweiterung des digitalen Bildes, wobei hier entweder das ...</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">Augmented Reality ist begrifflich eine Erweiterung des digitalen Bildes, wobei hier entweder das Digitale als Superadditum des Wirklichen gilt oder aber das Virtuelle selbst durch Hinzufügen von physikalischen Interfaces und Interpositionen als augmentiert erscheint (vgl. Milgram et al. 1994). Bildtheoretisch problematisch erscheint die Frage, im Spannungsfeld von Augmented Reality und Augmented Virtuality, wie sich die Erweiterung als eine Frage des Bildes oder des Bildverstehens zeigt.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a5b8a764b1e04454cf85ef4e237d352d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99367196,"asset_id":97858634,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99367196/download_file?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="97858634"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97858634"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97858634; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97858634]").text(description); $(".js-view-count[data-work-id=97858634]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97858634; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97858634']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "a5b8a764b1e04454cf85ef4e237d352d" } } $('.js-work-strip[data-work-id=97858634]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97858634,"title":"EXTENDED Call for Abstracts: Bild und Augmentation. 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Digitale Bildpraktiken zwischen Display, Positionierung und Handlungsziel" class="work-thumbnail" src="https://attachments.academia-assets.com/94103857/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/90579122/Call_for_Abstracts_Bild_und_Augmentation_Digitale_Bildpraktiken_zwischen_Display_Positionierung_und_Handlungsziel">Call for Abstracts: Bild und Augmentation. Digitale Bildpraktiken zwischen Display, Positionierung und Handlungsziel</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Augmented Reality ist begrifflich eine Erweiterung des digitalen Bildes, wobei hier entweder das ...</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">Augmented Reality ist begrifflich eine Erweiterung des digitalen Bildes, wobei hier entweder das Digitale als Superadditum des Wirklichen gilt oder aber das Virtuelle selbst durch Hinzufügen von physikalischen Interfaces und Interpositionen als augmentiert erscheint (vgl. Milgram et al. 1994). Bildtheoretisch problematisch erscheint die Frage, im Spannungsfeld von Augmented Reality und Augmented Virtuality, wie sich die Erweiterung als eine Frage des Bildes oder des Bildverstehens.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2099c4d2391672d615266568c14dae85" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":94103857,"asset_id":90579122,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/94103857/download_file?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="90579122"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="90579122"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 90579122; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=90579122]").text(description); $(".js-view-count[data-work-id=90579122]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 90579122; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='90579122']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "2099c4d2391672d615266568c14dae85" } } $('.js-work-strip[data-work-id=90579122]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":90579122,"title":"Call for Abstracts: Bild und Augmentation. 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YoMIS will be enriched by disciplines like media theory, film studies and philosophy, art and design, artistic research, image science, semiotics, phenomenology, art history, game studies, visual culture studies, computer graphics and other research areas related to moving, dynamic, virtual, augmented, mixed reality or volumetric images in general.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d625cb2ca17d327093b8a462814df07a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":93222704,"asset_id":89413994,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/93222704/download_file?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="89413994"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="89413994"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 89413994; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=89413994]").text(description); $(".js-view-count[data-work-id=89413994]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 89413994; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='89413994']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "d625cb2ca17d327093b8a462814df07a" } } $('.js-work-strip[data-work-id=89413994]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":89413994,"title":"Call for Abstracts/Articles: Yearbook of Moving Image Studies (2023): »Volumetric Images: The Corporeality of Digital Images«","translated_title":"","metadata":{"abstract":"The double-blind peer-reviewed Yearbook of Moving Image Studies (YoMIS) is now accepting abstracts from researchers, artists, designers, technical developers, graphic artists, computer scientists, game designers and film makers for the eighth issue »Volumetric Images: The Corporeality of Digital Images« that will address the aesthetics, cognition, and technological structure of »Volumetric Images«. 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Trilogy of Synthetic Realities III«. The first issue has focussed on »Virtual Images« (in 2020), the second on »Augmented Images« (in 2021) and with the third issue the editors will address the aesthetics, cognition, and technological structure of »Mixed Reality Images«. 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Trilogy of Synthetic Realities III«. The first issue has focussed on »Virtual Images« (in 2020), the second on »Augmented Images« (in 2021) and with the third issue the editors will address the aesthetics, cognition, and technological structure of »Mixed Reality Images«. YoMIS will be enriched by disciplines like media theory, film studies and philosophy, art and design, artistic research, image science, semiotics, phenomenology, art history, game studies, visual culture studies, computer graphics and other research areas related to moving, dynamic, virtual, augmented, or mixed reality images in general.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4a895bb8063281dc3db1faef71b28f08" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":78674180,"asset_id":68062949,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/78674180/download_file?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="68062949"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="68062949"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 68062949; 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Grabbe, Christiane Wagner und Tobias Held. 2023. Kunst, Design und die »Technisierte Ästh...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Lars C. Grabbe, Christiane Wagner und Tobias Held. 2023. Kunst, Design und die »Technisierte Ästhetik«. Reihe Welt|Gestalten, Bd. 6. Büchner-Verlag: Marburg.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="500a394bc7c20b2ea2eec61927ac593b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66709234,"asset_id":47767435,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66709234/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="47767435"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="47767435"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 47767435; 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The first issue of the trilogy in 2020 has focussed on »Virtual Images« and now we address explicitly the problem, aesthetics and technological structure of »Augmented Images« (in 2022 we will address »Mixed Reality Images«). YoMIS will be enriched by disciplines like media theory, film studies and philosophy, art and design, artistic research, image science, semiotics, phenomenology, art history, game studies, visual culture studies, computer graphics and other research areas related to the moving, dynamic or moved image in general.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="82805fa40199511f8406e52cd5003a1c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":65125901,"asset_id":44654415,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/65125901/download_file?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="44654415"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44654415"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44654415; 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$(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="41232219"><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/41232219/EXTENDED_Call_for_Abstracts_Articles_Yearbook_of_Moving_Image_Studies_Trilogy_of_Synthetic_Realities_I_Virtual_Images_2020_"><img alt="Research paper thumbnail of EXTENDED -Call for Abstracts/Articles - Yearbook of Moving Image Studies »Trilogy of Synthetic Realities I: Virtual Images« (2020)" class="work-thumbnail" src="https://attachments.academia-assets.com/61462464/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" rel="nofollow" href="https://www.academia.edu/41232219/EXTENDED_Call_for_Abstracts_Articles_Yearbook_of_Moving_Image_Studies_Trilogy_of_Synthetic_Realities_I_Virtual_Images_2020_">EXTENDED -Call for Abstracts/Articles - Yearbook of Moving Image Studies »Trilogy of Synthetic Realities I: Virtual Images« (2020)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The double-blind peer-reviewed Yearbook of Moving Image Studies (YoMIS) is now accepting articles...</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 double-blind peer-reviewed Yearbook of Moving Image Studies (YoMIS) is now accepting articles from scientists, artists, designers, developers and film makers for the fifth issue, which is the first part of the »Trilogy of Synthetic Realities« concept, entitled »Trilogy of Synthetic Realities I: Virtual Images«. The issue in 2021 will focus on »Augmented Images« and 2022 will address »Mixed Reality Images«. YoMIS will be enriched by disciplines like media theory, film studies and philosophy, art and design, artistic research, image science, semiotics, phenomenology, art history, game studies, visual culture studies, computer graphics and other research areas related to the moving or moved image in general. Do we live in the age of Baudrillard's hyper-reality? What's about our impression that the boundaries between our physical reality and the rising digital realities are fading? Immersive technologies like virtual reality, augmented reality and mixed reality-summed up under the concept of synthetic realities-allow and demand a completely novel form of interaction and corporeal relation to and with the virtual images and digital objects. Working and living in synthetic realities is challenging our thinking about immersive media technologies and virtual images. Therefore, »Trilogy of Synthetic Realities I: Virtual Images « will address the possibilities of virtual synthetic images that are already challenging and enriching our life's in ways, only science-fiction movies, comics and novels thought of before. Thus, contributions for the issue of the Yearbook of Moving Image Studies should concentrate on virtual images and visuo-virtual-multimodal artefacts, specific virtual media technologies, graphic representations or different material interfaces of virtual reality. Topics should focus on (but are not necessarily limited to) virtual images as perceptual artefacts, virtual reality as a simulation and a technology that is enabling possible spaces and virtual story worlds, like impossible architecture in physic-less continua; the different aspects of aesthetics, perception and communication of and in virtual realities, the new forms of interaction and narration in 360°.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fbda2f1d8e6caeeeed7e2eca603c3df8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61462464,"asset_id":41232219,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61462464/download_file?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="41232219"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41232219"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41232219; 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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="40950052"><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/40950052/Technik_%C3%84sthetik_Zur_materialen_und_rezeptiven_Systematisierung_techno_%C3%A4sthetischer_Realit%C3%A4t_2020_Call_for_Papers"><img alt="Research paper thumbnail of Technik-Ästhetik. Zur materialen und rezeptiven Systematisierung techno-ästhetischer Realität -- 2020 -- Call for Papers" class="work-thumbnail" src="https://attachments.academia-assets.com/61237187/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/40950052/Technik_%C3%84sthetik_Zur_materialen_und_rezeptiven_Systematisierung_techno_%C3%A4sthetischer_Realit%C3%A4t_2020_Call_for_Papers">Technik-Ästhetik. Zur materialen und rezeptiven Systematisierung techno-ästhetischer Realität -- 2020 -- Call for Papers</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Technik-Ästhetik. Zur materialen und rezeptiven Systematisierung techno-ästhetischer Realität. In...</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">Technik-Ästhetik. Zur materialen und rezeptiven Systematisierung techno-ästhetischer Realität. Interdisziplinäre Tagung an der Hochschule Bonn-Rhein-Sieg am 17. und 18. September 2020<br /><br />Veranstalter:<br />Prof. Dr. Oliver Ruf (IMEA, Institut für Medienentwicklung und -analyse, H-BRS);<br />Prof. Dr. Lars C. Grabbe (MSD, Münster School of Design, FH Münster)<br /><br />–– Call for Papers<br />Von Technik und Ästhetik zu sprechen, heißt, sich bereits begrifflich auf ein Feld einzulassen, das mindestens zwei divergente Perspektiven gemeinsam denkt und wenigstens aber verschobene Blickwinkel auf das zentrierte Phänomen auf je eigene Weise sowie mit je eigenen Ansprüchen diskutiert. Dabei haben das Technische wie das Ästhetische, so die Ausgangsthese, die Bedeutung einer Interdependenz aufzuweisen. Das Technische wird Funktionen, Formen, ästhetische Urteile und Gebrauchsaspekte konstituieren können – als ästhetischer und multimodaler Wahrnehmungskatalysator –, der über exterozeptive sensorische Dimensionen, wie Haptik, Taktilität, Visualität, Audition, Olfaktorik und Gustatorik, ebenfalls auch interozeptive Sinne zu adressieren vermag. Ästhetische Zustände als zeichenhafte Realisierungen, als quasi sakrale und phantasmatische Urteile oder wahrnehmungsvermittelte Phänomene des Erscheinens sind dadurch ebenso denkbar wie es möglich wird, dass besitzergreifende und pragmatische Bewegungen und Zeichenkonstellationen aufgerufen werden. Doch es kann, wie es bereits bei Roland Barthes heißt, der Eindruck eines »technischen und sehr menschlichen Vorgang[s] der Bearbeitung« zurückbleiben. Es entsteht gleichwohl eine Bewegung, die vom Anderen zum Einen leitet, eine Art Verkopplung und intrinsische Dynamik qua ästhetischer Evokation. Dadurch gewinnen Technik und Ästhetik eine weitere Rollenzuschreibung, die auf der einen Seite nach einer sich wandelnden Einstellung zum technischen Ding fragt und auf der anderen Seite sich, wie es Gilbert Simondon zeitgleich zu Barthes versucht, für die besondere Seins- und Existenzweise dieser Art von Ding interessiert: »Nicht › Was ist die Technik?‹, sondern › Wie ist die Technik?‹, d. h. in welchen performativen Gestalten und Handlungsakten verwirklicht und erhält sie sich? Wie kommt es zur Herausbildung von Werkzeugen, Instrumenten und Maschinen einerseits und Fabriken, Laboratorien, Netzwerken andererseits? Das beinhaltet auch die Frage nach dem Wo: In welchen Umgebungen und Zusammenhängen siedeln sich die technischen Dinge an, welche Landschaften werden für sie, aber ebenso von ihnen geschaffen? Dann folgt die Frage nach dem Wer, dem Menschen, der mit diesen Dingen umgeht – sei es auf konstruktive oder konsumtive Art, sei es individuell oder kollektiv, sei es unwissend oder informiert. [...] Abschließend [...] das Problems des Wann [...], die Frage nach den Seinsweisen, die der Technik vorausgehen und ihr gegenüberstehen sowie der ihr eigenen Zeitlichkeit.« (Schmidgen 2012, 118f.)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7aaeca3d38f73b71798dbc09a16b8fcb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61237187,"asset_id":40950052,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61237187/download_file?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="40950052"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40950052"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40950052; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40950052]").text(description); $(".js-view-count[data-work-id=40950052]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40950052; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40950052']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "7aaeca3d38f73b71798dbc09a16b8fcb" } } $('.js-work-strip[data-work-id=40950052]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40950052,"title":"Technik-Ästhetik. Zur materialen und rezeptiven Systematisierung techno-ästhetischer Realität -- 2020 -- Call for Papers","translated_title":"","metadata":{"abstract":"Technik-Ästhetik. Zur materialen und rezeptiven Systematisierung techno-ästhetischer Realität. Interdisziplinäre Tagung an der Hochschule Bonn-Rhein-Sieg am 17. und 18. September 2020\n\nVeranstalter:\nProf. Dr. Oliver Ruf (IMEA, Institut für Medienentwicklung und -analyse, H-BRS);\nProf. Dr. Lars C. Grabbe (MSD, Münster School of Design, FH Münster)\n\n–– Call for Papers\nVon Technik und Ästhetik zu sprechen, heißt, sich bereits begrifflich auf ein Feld einzulassen, das mindestens zwei divergente Perspektiven gemeinsam denkt und wenigstens aber verschobene Blickwinkel auf das zentrierte Phänomen auf je eigene Weise sowie mit je eigenen Ansprüchen diskutiert. Dabei haben das Technische wie das Ästhetische, so die Ausgangsthese, die Bedeutung einer Interdependenz aufzuweisen. Das Technische wird Funktionen, Formen, ästhetische Urteile und Gebrauchsaspekte konstituieren können – als ästhetischer und multimodaler Wahrnehmungskatalysator –, der über exterozeptive sensorische Dimensionen, wie Haptik, Taktilität, Visualität, Audition, Olfaktorik und Gustatorik, ebenfalls auch interozeptive Sinne zu adressieren vermag. Ästhetische Zustände als zeichenhafte Realisierungen, als quasi sakrale und phantasmatische Urteile oder wahrnehmungsvermittelte Phänomene des Erscheinens sind dadurch ebenso denkbar wie es möglich wird, dass besitzergreifende und pragmatische Bewegungen und Zeichenkonstellationen aufgerufen werden. Doch es kann, wie es bereits bei Roland Barthes heißt, der Eindruck eines »technischen und sehr menschlichen Vorgang[s] der Bearbeitung« zurückbleiben. Es entsteht gleichwohl eine Bewegung, die vom Anderen zum Einen leitet, eine Art Verkopplung und intrinsische Dynamik qua ästhetischer Evokation. Dadurch gewinnen Technik und Ästhetik eine weitere Rollenzuschreibung, die auf der einen Seite nach einer sich wandelnden Einstellung zum technischen Ding fragt und auf der anderen Seite sich, wie es Gilbert Simondon zeitgleich zu Barthes versucht, für die besondere Seins- und Existenzweise dieser Art von Ding interessiert: »Nicht › Was ist die Technik?‹, sondern › Wie ist die Technik?‹, d. h. in welchen performativen Gestalten und Handlungsakten verwirklicht und erhält sie sich? Wie kommt es zur Herausbildung von Werkzeugen, Instrumenten und Maschinen einerseits und Fabriken, Laboratorien, Netzwerken andererseits? Das beinhaltet auch die Frage nach dem Wo: In welchen Umgebungen und Zusammenhängen siedeln sich die technischen Dinge an, welche Landschaften werden für sie, aber ebenso von ihnen geschaffen? 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Grabbe (MSD, Münster School of Design, FH Münster)\n\n–– Call for Papers\nVon Technik und Ästhetik zu sprechen, heißt, sich bereits begrifflich auf ein Feld einzulassen, das mindestens zwei divergente Perspektiven gemeinsam denkt und wenigstens aber verschobene Blickwinkel auf das zentrierte Phänomen auf je eigene Weise sowie mit je eigenen Ansprüchen diskutiert. Dabei haben das Technische wie das Ästhetische, so die Ausgangsthese, die Bedeutung einer Interdependenz aufzuweisen. Das Technische wird Funktionen, Formen, ästhetische Urteile und Gebrauchsaspekte konstituieren können – als ästhetischer und multimodaler Wahrnehmungskatalysator –, der über exterozeptive sensorische Dimensionen, wie Haptik, Taktilität, Visualität, Audition, Olfaktorik und Gustatorik, ebenfalls auch interozeptive Sinne zu adressieren vermag. 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Dadurch gewinnen Technik und Ästhetik eine weitere Rollenzuschreibung, die auf der einen Seite nach einer sich wandelnden Einstellung zum technischen Ding fragt und auf der anderen Seite sich, wie es Gilbert Simondon zeitgleich zu Barthes versucht, für die besondere Seins- und Existenzweise dieser Art von Ding interessiert: »Nicht › Was ist die Technik?‹, sondern › Wie ist die Technik?‹, d. h. in welchen performativen Gestalten und Handlungsakten verwirklicht und erhält sie sich? Wie kommt es zur Herausbildung von Werkzeugen, Instrumenten und Maschinen einerseits und Fabriken, Laboratorien, Netzwerken andererseits? Das beinhaltet auch die Frage nach dem Wo: In welchen Umgebungen und Zusammenhängen siedeln sich die technischen Dinge an, welche Landschaften werden für sie, aber ebenso von ihnen geschaffen? Dann folgt die Frage nach dem Wer, dem Menschen, der mit diesen Dingen umgeht – sei es auf konstruktive oder konsumtive Art, sei es individuell oder kollektiv, sei es unwissend oder informiert. [...] Abschließend [...] das Problems des Wann [...], die Frage nach den Seinsweisen, die der Technik vorausgehen und ihr gegenüberstehen sowie der ihr eigenen Zeitlichkeit.« (Schmidgen 2012, 118f.)","internal_url":"https://www.academia.edu/40950052/Technik_%C3%84sthetik_Zur_materialen_und_rezeptiven_Systematisierung_techno_%C3%A4sthetischer_Realit%C3%A4t_2020_Call_for_Papers","translated_internal_url":"","created_at":"2019-11-16T10:19:31.846-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":13079251,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":33292997,"work_id":40950052,"tagging_user_id":13079251,"tagged_user_id":21842636,"co_author_invite_id":null,"email":"t***a@aol.com","affiliation":"Bonn-Rhein-Sieg University of Applied Sciences","display_order":1,"name":"Prof. Dr. Oliver Ruf","title":"Technik-Ästhetik. 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Zur materialen und rezeptiven Systematisierung techno-ästhetischer Realität. Interdisziplinäre Tagung an der Hochschule Bonn-Rhein-Sieg am 17. und 18. September 2020\n\nVeranstalter:\nProf. Dr. Oliver Ruf (IMEA, Institut für Medienentwicklung und -analyse, H-BRS);\nProf. Dr. Lars C. Grabbe (MSD, Münster School of Design, FH Münster)\n\n–– Call for Papers\nVon Technik und Ästhetik zu sprechen, heißt, sich bereits begrifflich auf ein Feld einzulassen, das mindestens zwei divergente Perspektiven gemeinsam denkt und wenigstens aber verschobene Blickwinkel auf das zentrierte Phänomen auf je eigene Weise sowie mit je eigenen Ansprüchen diskutiert. Dabei haben das Technische wie das Ästhetische, so die Ausgangsthese, die Bedeutung einer Interdependenz aufzuweisen. Das Technische wird Funktionen, Formen, ästhetische Urteile und Gebrauchsaspekte konstituieren können – als ästhetischer und multimodaler Wahrnehmungskatalysator –, der über exterozeptive sensorische Dimensionen, wie Haptik, Taktilität, Visualität, Audition, Olfaktorik und Gustatorik, ebenfalls auch interozeptive Sinne zu adressieren vermag. Ästhetische Zustände als zeichenhafte Realisierungen, als quasi sakrale und phantasmatische Urteile oder wahrnehmungsvermittelte Phänomene des Erscheinens sind dadurch ebenso denkbar wie es möglich wird, dass besitzergreifende und pragmatische Bewegungen und Zeichenkonstellationen aufgerufen werden. Doch es kann, wie es bereits bei Roland Barthes heißt, der Eindruck eines »technischen und sehr menschlichen Vorgang[s] der Bearbeitung« zurückbleiben. Es entsteht gleichwohl eine Bewegung, die vom Anderen zum Einen leitet, eine Art Verkopplung und intrinsische Dynamik qua ästhetischer Evokation. Dadurch gewinnen Technik und Ästhetik eine weitere Rollenzuschreibung, die auf der einen Seite nach einer sich wandelnden Einstellung zum technischen Ding fragt und auf der anderen Seite sich, wie es Gilbert Simondon zeitgleich zu Barthes versucht, für die besondere Seins- und Existenzweise dieser Art von Ding interessiert: »Nicht › Was ist die Technik?‹, sondern › Wie ist die Technik?‹, d. h. in welchen performativen Gestalten und Handlungsakten verwirklicht und erhält sie sich? Wie kommt es zur Herausbildung von Werkzeugen, Instrumenten und Maschinen einerseits und Fabriken, Laboratorien, Netzwerken andererseits? Das beinhaltet auch die Frage nach dem Wo: In welchen Umgebungen und Zusammenhängen siedeln sich die technischen Dinge an, welche Landschaften werden für sie, aber ebenso von ihnen geschaffen? Dann folgt die Frage nach dem Wer, dem Menschen, der mit diesen Dingen umgeht – sei es auf konstruktive oder konsumtive Art, sei es individuell oder kollektiv, sei es unwissend oder informiert. [...] Abschließend [...] das Problems des Wann [...], die Frage nach den Seinsweisen, die der Technik vorausgehen und ihr gegenüberstehen sowie der ihr eigenen Zeitlichkeit.« (Schmidgen 2012, 118f.)","owner":{"id":13079251,"first_name":"Lars Christian","middle_initials":"","last_name":"Grabbe","page_name":"LarsChristianGrabbe","domain_name":"fh-muenster","created_at":"2014-06-18T22:03:40.629-07:00","display_name":"Lars Christian Grabbe","url":"https://fh-muenster.academia.edu/LarsChristianGrabbe"},"attachments":[{"id":61237187,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/61237187/thumbnails/1.jpg","file_name":"Konferenz_Technikasthetik_2020_Call20191116-106779-1y21ue1.pdf","download_url":"https://www.academia.edu/attachments/61237187/download_file","bulk_download_file_name":"Technik_Asthetik_Zur_materialen_und_reze.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61237187/Konferenz_Technikasthetik_2020_Call20191116-106779-1y21ue1-libre.pdf?1573931299=\u0026response-content-disposition=attachment%3B+filename%3DTechnik_Asthetik_Zur_materialen_und_reze.pdf\u0026Expires=1738780987\u0026Signature=EkFe0fbQtGEw62sOV56Kh4e5LhQ~mDzTSV1Lkot545DQTzIudHFhRpZUlrvT4dbH0yQ~rulrvM9w5c~HyxEe7F6sgVwPR0eJ26DDU2Imy5sXgKG0DifnXvWyYsz9hkQRIbTLEUwVGOV6Z4mA0Qr7td1Lj5QXwFMOWi6qX7sYghd8~BpqS9K3SeEnJsY0d54MJIJCv421VkcFFauf0SjIJOi64kRa6EhFE68m2TE5NPe8er06EvWoizEDzBVoKaGgliSITkUaC0KKIKnkSENGcetpZrFyiufHb61zN16qX1-Abf1LWVm4UTC7llKr-bsLMIqu8NdTDPb7NQxBoyTN5w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics"},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":491,"name":"Information Technology","url":"https://www.academia.edu/Documents/in/Information_Technology"},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy"},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics"},{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication"},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies"},{"id":867,"name":"Perception","url":"https://www.academia.edu/Documents/in/Perception"},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History"},{"id":923,"name":"Technology","url":"https://www.academia.edu/Documents/in/Technology"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies"},{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media"},{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design"},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory"},{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media"},{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology"},{"id":7125,"name":"Culture","url":"https://www.academia.edu/Documents/in/Culture"},{"id":11467,"name":"Visual Communication","url":"https://www.academia.edu/Documents/in/Visual_Communication"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts"},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory"}],"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="40118746"><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/40118746/Call_for_Abstracts_Articles_Yearbook_of_Moving_Image_Studies_Trilogy_of_Synthetic_Realities_I_Virtual_Images_2020_"><img alt="Research paper thumbnail of Call for Abstracts/Articles: Yearbook of Moving Image Studies - »Trilogy of Synthetic Realities I: Virtual Images« (2020)" class="work-thumbnail" src="https://attachments.academia-assets.com/60331752/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/40118746/Call_for_Abstracts_Articles_Yearbook_of_Moving_Image_Studies_Trilogy_of_Synthetic_Realities_I_Virtual_Images_2020_">Call for Abstracts/Articles: Yearbook of Moving Image Studies - »Trilogy of Synthetic Realities I: Virtual Images« (2020)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The double-blind peer-reviewed Yearbook of Moving Image Studies (YoMIS) is now accepting articles...</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 double-blind peer-reviewed Yearbook of Moving Image Studies (YoMIS) is now accepting articles from scientists, artists, designers, developers and film makers for the fifth issue, which is the first part of the »Trilogy of Synthetic Realities« concept, entitled »Trilogy of Synthetic Realities I: Virtual Images«. The issue in 2021 will focus on »Augmented Images« and 2022 will address »Mixed Reality Images«. YoMIS will be enriched by disciplines like media theory, film studies and philosophy, art and design, artistic research, image science, semiotics, phenomenology, art history, game studies, visual culture studies, computer graphics and other research areas related to the moving or moved image in general. <br />Do we live in the age of Baudrillard's hyper-reality? What's about our impression that the boundaries between our physical reality and the rising digital realities are fading? Immersive technologies like virtual reality, augmented reality and mixed reality-summed up under the concept of synthetic realities-allow and demand a completely novel form of interaction and corporeal relation to and with the virtual images and digital objects. Working and living in synthetic realities is challenging our thinking about immersive media technologies and virtual images. Therefore, »Trilogy of Synthetic Realities I: Virtual Images « will address the possibilities of virtual synthetic images that are already challenging and enriching our life's in ways, only science-fiction movies, comics and novels thought of before. Thus, contributions for the issue of the Yearbook of Moving Image Studies should concentrate on virtual images and visuo-virtual-multimodal artefacts, specific virtual media technologies, graphic representations or different material interfaces of virtual reality. Topics should focus on (but are not necessarily limited to) virtual images as perceptual artefacts, virtual reality as a simulation and a technology that is enabling possible spaces and virtual story worlds, like impossible architecture in physic-less continua; the different aspects of aesthetics, perception and communication of and in virtual realities, the new forms of interaction</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c1da9b4ef1c7c55c1313817be766e42b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60331752,"asset_id":40118746,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60331752/download_file?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="40118746"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40118746"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40118746; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40118746]").text(description); $(".js-view-count[data-work-id=40118746]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40118746; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40118746']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "c1da9b4ef1c7c55c1313817be766e42b" } } $('.js-work-strip[data-work-id=40118746]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40118746,"title":"Call for Abstracts/Articles: Yearbook of Moving Image Studies - »Trilogy of Synthetic Realities I: Virtual Images« (2020)","translated_title":"","metadata":{"abstract":"The double-blind peer-reviewed Yearbook of Moving Image Studies (YoMIS) is now accepting articles from scientists, artists, designers, developers and film makers for the fifth issue, which is the first part of the »Trilogy of Synthetic Realities« concept, entitled »Trilogy of Synthetic Realities I: Virtual Images«. The issue in 2021 will focus on »Augmented Images« and 2022 will address »Mixed Reality Images«. YoMIS will be enriched by disciplines like media theory, film studies and philosophy, art and design, artistic research, image science, semiotics, phenomenology, art history, game studies, visual culture studies, computer graphics and other research areas related to the moving or moved image in general. \nDo we live in the age of Baudrillard's hyper-reality? What's about our impression that the boundaries between our physical reality and the rising digital realities are fading? Immersive technologies like virtual reality, augmented reality and mixed reality-summed up under the concept of synthetic realities-allow and demand a completely novel form of interaction and corporeal relation to and with the virtual images and digital objects. Working and living in synthetic realities is challenging our thinking about immersive media technologies and virtual images. Therefore, »Trilogy of Synthetic Realities I: Virtual Images « will address the possibilities of virtual synthetic images that are already challenging and enriching our life's in ways, only science-fiction movies, comics and novels thought of before. Thus, contributions for the issue of the Yearbook of Moving Image Studies should concentrate on virtual images and visuo-virtual-multimodal artefacts, specific virtual media technologies, graphic representations or different material interfaces of virtual reality. 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YoMIS will be enriched by disciplines like media theory, film studies and philosophy, art and design, artistic research, image science, semiotics, phenomenology, art history, game studies, visual culture studies, computer graphics and other research areas related to the moving or moved image in general. \nDo we live in the age of Baudrillard's hyper-reality? What's about our impression that the boundaries between our physical reality and the rising digital realities are fading? Immersive technologies like virtual reality, augmented reality and mixed reality-summed up under the concept of synthetic realities-allow and demand a completely novel form of interaction and corporeal relation to and with the virtual images and digital objects. Working and living in synthetic realities is challenging our thinking about immersive media technologies and virtual images. 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The issue in 2021 will focus on »Augmented Images« and 2022 will address »Mixed Reality Images«. YoMIS will be enriched by disciplines like media theory, film studies and philosophy, art and design, artistic research, image science, semiotics, phenomenology, art history, game studies, visual culture studies, computer graphics and other research areas related to the moving or moved image in general. \nDo we live in the age of Baudrillard's hyper-reality? What's about our impression that the boundaries between our physical reality and the rising digital realities are fading? Immersive technologies like virtual reality, augmented reality and mixed reality-summed up under the concept of synthetic realities-allow and demand a completely novel form of interaction and corporeal relation to and with the virtual images and digital objects. Working and living in synthetic realities is challenging our thinking about immersive media technologies and virtual images. Therefore, »Trilogy of Synthetic Realities I: Virtual Images « will address the possibilities of virtual synthetic images that are already challenging and enriching our life's in ways, only science-fiction movies, comics and novels thought of before. Thus, contributions for the issue of the Yearbook of Moving Image Studies should concentrate on virtual images and visuo-virtual-multimodal artefacts, specific virtual media technologies, graphic representations or different material interfaces of virtual reality. 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A bilingual Design-meets-Science-Conference at the MSD – Münster School of Design, Germany, 30.11.2018 to 1.12.2018" class="work-thumbnail" src="https://attachments.academia-assets.com/55641894/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/35765629/CfP_FURE_The_Future_of_Reading_and_Media_A_bilingual_Design_meets_Science_Conference_at_the_MSD_M%C3%BCnster_School_of_Design_Germany_30_11_2018_to_1_12_2018">CfP: FURE+ The Future of Reading and Media. A bilingual Design-meets-Science-Conference at the MSD – Münster School of Design, Germany, 30.11.2018 to 1.12.2018</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the era of the so-called digitalization a variety of multimodal technologies have great impact...</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 the era of the so-called digitalization a variety of multimodal technologies have great impact on the structural dimension of media and the media use of the recipient. This development has already an enormous influence on the consumer culture, whereby the relation of analog and digital media as well as the creative, technological and sociocultural interdependence is not sufficiently investigated. So, it seems to be very important to connect aspects of design, mediality and technology with aspects of media reception to formulate productive hypotheses for academic and creative work areas. The technologization could be described as a trigger mechanism for a variety of media transformations and user dynamics, which means, that analog media are still widely spread (e.g. newspapers, magazines, books etc.) but that production methods and manners of use have changed under the influence of digitalization (e.g. digital design, digital print, digital reading, interactive apps etc.) and finally, that in some cases analog media seem to be totally replaced by digital concepts (e.g. online news portals, social media, immersive media technology etc.). Therefore, the different media research projects have to correlate analog and digital forms to determinate limits and possibilities of analog and digital mediality. The different topics for the conference " FURE+ The Future of Reading and Media " are very open with an interdisciplinary character and they are addressing analog and digital strategies in modern design, recent conditions of media reception in the print sector, the influence of digital reading devices on reading processes, typography in the context of digital and user-centered design, three-dimensional media in the context of virtual reality, digital image and text overlaps of reality with Augmented Reality or finally, perceptual synchronizations of media inputs and haptic, tactile, audiovisual or proprioceptive user experiences (e.g. enhanced e-books, smartphones, interactive apps, Augmented Reality reading apps for tablets etc.). Recent media developments are referring highly to specialized design processes, technology and the different perceptual dynamics of the user that it seems to be important and necessary to focus on the different cross references for an effective understanding of recent and future media. Therefore, the conference will be a forum for an interdisciplinary discussion in the range of creativity, production aesthetics, media science and other academic and scientific sectors, which are related to design, technology and media understanding. <br /><br />Topics could include or address: * the current or new role of print in the context of digitalization * the process of reading in the context of analog and digital media * the impact of digitalization on typography and scripture * the relation of text and digital media * the limits and possibilities of display technologies for images and texts * the cognitive and bodily processes of reception or perception of media * the technological impact on media, communication, culture, creativity and design * the development of methods and concepts for the understanding of analog and digital media * the history of media understanding in the range of analog and digital media * the anthropology, phenomenology, or semiotics of analog and digital text and image media</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ca9656f2b42b212116bbe905ca8f62dd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55641894,"asset_id":35765629,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55641894/download_file?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="35765629"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35765629"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35765629; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35765629]").text(description); $(".js-view-count[data-work-id=35765629]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35765629; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35765629']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "ca9656f2b42b212116bbe905ca8f62dd" } } $('.js-work-strip[data-work-id=35765629]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35765629,"title":"CfP: FURE+ The Future of Reading and Media. 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The technologization could be described as a trigger mechanism for a variety of media transformations and user dynamics, which means, that analog media are still widely spread (e.g. newspapers, magazines, books etc.) but that production methods and manners of use have changed under the influence of digitalization (e.g. digital design, digital print, digital reading, interactive apps etc.) and finally, that in some cases analog media seem to be totally replaced by digital concepts (e.g. online news portals, social media, immersive media technology etc.). Therefore, the different media research projects have to correlate analog and digital forms to determinate limits and possibilities of analog and digital mediality. 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tab-pane" data-section-id="2572439" id="glossary"><div class="js-work-strip profile--work_container" data-work-id="10840742"><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/10840742/Fernsehen_Glossar_Bildphilosophie"><img alt="Research paper thumbnail of Fernsehen - Glossar Bildphilosophie" class="work-thumbnail" src="https://attachments.academia-assets.com/36656755/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/10840742/Fernsehen_Glossar_Bildphilosophie">Fernsehen - Glossar Bildphilosophie</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Fernsehen ist als eigenständiges Dispositiv anzusehen, es baut auf den apparativen 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class="js-work-more-abstract-truncated">Der Begriff Virtualität hat eine weite Bedeutungsebene und schließt adjektivische Bezüge, histori...</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">Der Begriff Virtualität hat eine weite Bedeutungsebene und schließt adjektivische Bezüge, historische Entwicklungen sowie subjektkonstitutive Faktoren ein. Im modernen Kontext der Konstitution von Subjektivität und deren Analyse gewinnt der Begriff der Virtualität eine komplexe Bedeutungsebene hinzu. Gemäß der Selbsmodell-Theorie der Subjektivität (Thomas Metzinger) gehört Virtualität zum mentalen Paradigma der Konstitution von Selbstbewusstsein.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2193b684fe961967f99dac046f9cc591" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36670750,"asset_id":10866090,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36670750/download_file?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="10866090"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10866090"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10866090; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10866090]").text(description); $(".js-view-count[data-work-id=10866090]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10866090; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10866090']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "2193b684fe961967f99dac046f9cc591" } } $('.js-work-strip[data-work-id=10866090]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10866090,"title":"Virtualität - Glossar Bildphilosophie","translated_title":"","metadata":{"abstract":"Der Begriff Virtualität hat eine weite Bedeutungsebene und schließt adjektivische Bezüge, historische Entwicklungen sowie subjektkonstitutive Faktoren ein. 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$a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="10808295"><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/10808295/Anime_Glossar_Bildphilosophie"><img alt="Research paper thumbnail of Anime - Glossar Bildphilosophie" class="work-thumbnail" src="https://attachments.academia-assets.com/36659238/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/10808295/Anime_Glossar_Bildphilosophie">Anime - Glossar Bildphilosophie</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der japanische Terminus ‘anime’ (orig.: アニメーション animêshon) hat seinen Ursprung im Französischen u...</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">Der japanische Terminus ‘anime’ (orig.: アニメーション animêshon) hat seinen Ursprung im Französischen und beschreibt, in allgemeiner Verwendung, alle Formen animierter Filme: „the Japanese took the word from the French to describe all animated films“ (Levi 2001a: S. 1). Spricht man hingegen in neuerer Zeit von ‘Anime’, so ist dies ein expliziter Verweis auf die in Japan produzierten Animationsfilme (vgl. 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In dieser Perspektive unterscheidet sich die filmische Bildlichkeit von statisch strukturierten Bildkonzepten, wie z.B. 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Die kinematographische Bildlichkeit ist in erster Linie abhängig von der technischen Apparatur, welche eine triadische Einheit aus Film (35mm, CinemaScope, Cinerama, IMAX etc.), Projektionsvorgang und Projektionsfläche bildet.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e01fe6d9af795a149114dee926bf72d5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36670736,"asset_id":10865606,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36670736/download_file?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="10865606"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10865606"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10865606; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10865606]").text(description); $(".js-view-count[data-work-id=10865606]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10865606; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10865606']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "e01fe6d9af795a149114dee926bf72d5" } } $('.js-work-strip[data-work-id=10865606]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10865606,"title":"Kino - Glossar Bildphilosophie","translated_title":"","metadata":{"abstract":"Spricht man über das Kino, so ist damit stets zweierlei gemeint, einerseits die komplexe technische Apparatur, andererseits der spezifische Ort, an dem sich diese Apparatur befindet. 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Glossar Bildphilosophie</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In der Montage im Bild oder der Collage werden Elemente aus Bildern, wie z.B. 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Auf Seiten der Produktion ist Video als mediales Phänomen nicht allein an die Videokamera gebunden, sondern zudem mit dem Medium Fernsehen verbunden. Video bezieht sich folglich auf eine Form des Filmes, der mit einem Camcorder oder Videorekorder auf Magnetband gespeichert wird. 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Verlebendigung einer Darstellung (o...</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">Der Begriff der Animation kennzeichnet die Dynamisierung bzw. Verlebendigung einer Darstellung (oder eines Objekts, einer Figur) durch die Elemente Bewegung und Zeit. 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Es ist das erste Buch der Autorin, welches ins Englische übersetzt wurde und bildet gleichzeitig den Auftakt zur von Jussi Parikka, Anna Tuschling und Geoffrey Winthrop-Young herausgegebenen Reihe „Recursions: Theories of Media, Materiality und Cultural Techniques“. Mit dieser Buchreihe möchten die Herausgeber_innen moderne und internationale Ansätze der Medientheorie erfassen, die sich mit Materialitätsforschung, Hardware-Verstehen und Medienarchäologie und -philosophie beschäftigen.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c57b85eae9b609d9d74d10acd0fd0ef2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50318224,"asset_id":29844659,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50318224/download_file?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="29844659"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="29844659"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29844659; 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$(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="29844112"><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/29844112/Felix_Reer_Klaus_Sachs_Hombach_Schamma_Schahadat_Hgg_Krieg_und_Konflikt_in_den_Medien"><img alt="Research paper thumbnail of Felix Reer / Klaus Sachs-Hombach / Schamma Schahadat (Hgg.): Krieg und Konflikt in den Medien" class="work-thumbnail" src="https://attachments.academia-assets.com/50327772/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/29844112/Felix_Reer_Klaus_Sachs_Hombach_Schamma_Schahadat_Hgg_Krieg_und_Konflikt_in_den_Medien">Felix Reer / Klaus Sachs-Hombach / Schamma Schahadat (Hgg.): Krieg und Konflikt in den Medien</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die mediale Verbreitung von Kriegs- und Konfliktdarstellungen hat in den letzten Jahren massiv zu...</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 mediale Verbreitung von Kriegs- und Konfliktdarstellungen hat in den letzten Jahren massiv zugenommen. Einerseits ist diese Entwicklung geprägt durch eine Zunahme militärischer und transnationaler Konflikte und andererseits durch einen Anstieg von terroristischen Attacken. 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Einerseits ist diese Entwicklung geprägt durch eine Zunahme militärischer und transnationaler Konflikte und andererseits durch einen Anstieg von terroristischen Attacken. Ob im Bereich von Printmedien, Radioformaten und Fernsehberichterstattungen, im Kontext der Kriegsinszenierung innerhalb von Video- und Computerspielen oder subjektiver Berichterstattung durch Online-Blogs von Soldaten und Soldatinnen direkt aus dem Feldlager, die vielfältigen Affekt-Bilder korrespondieren mit einer ebenso vielfältigen medialen Aufbereitung."},"translated_abstract":"Die mediale Verbreitung von Kriegs- und Konfliktdarstellungen hat in den letzten Jahren massiv zugenommen. Einerseits ist diese Entwicklung geprägt durch eine Zunahme militärischer und transnationaler Konflikte und andererseits durch einen Anstieg von terroristischen Attacken. 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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="10847744"><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/10847744/Don_Heider_Ed_Living_Virtually_Researching_New_Worlds"><img alt="Research paper thumbnail of Don Heider (Ed.): Living Virtually. Researching New Worlds" class="work-thumbnail" src="https://attachments.academia-assets.com/36659977/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/10847744/Don_Heider_Ed_Living_Virtually_Researching_New_Worlds">Don Heider (Ed.): Living Virtually. Researching New Worlds</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In dem von Don Heider herausgegebenen Sammelband Living Virtually. Researching New Worlds liegen ...</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 dem von Don Heider herausgegebenen Sammelband Living Virtually. Researching New Worlds liegen kommunikationstheoretische Analysen virtueller Realität vor, die durch eine weitgehend mediensoziologische Perspektive geprägt sind. Der zentrale Untersuchungsgegenstand der meisten Beiträge ist die seit dem Jahr 2003 existierende 3-D Onlinewelt Second Life des US-amerikanischen Unternehmens Linden Lab.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2ec60007d33487973f6f16852bed2b1e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36659977,"asset_id":10847744,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36659977/download_file?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="10847744"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10847744"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10847744; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10847744]").text(description); $(".js-view-count[data-work-id=10847744]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10847744; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10847744']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "2ec60007d33487973f6f16852bed2b1e" } } $('.js-work-strip[data-work-id=10847744]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10847744,"title":"Don Heider (Ed.): Living Virtually. 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Fotografie zeigt sich demgemäß nicht ausschließlich als Authentifizierungsgeste und Indiz realistischer Fakten, sondern vor allem in künstlerischer Dimension, als inszeniertes Artefakt und Modus des Fiktiven. 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Körper als Symbolsysteme des Guten und Bösen in STAR WARS" class="work-thumbnail" src="https://attachments.academia-assets.com/36759925/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/11058167/Christian_Feichtinger_Gegenk%C3%B6rper_K%C3%B6rper_als_Symbolsysteme_des_Guten_und_B%C3%B6sen_in_STAR_WARS">Christian Feichtinger: Gegenkörper. Körper als Symbolsysteme des Guten und Bösen in STAR WARS</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Christian Feichtingers Dissertation "Gegenkörper. Körper als Symbolsysteme des Guten und Bösen in...</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">Christian Feichtingers Dissertation "Gegenkörper. Körper als Symbolsysteme des Guten und Bösen in STAR WARS" erarbeitet die filmsemiotischen Bezugsgrößen und Strukturkomponenten theologisch geprägter Körperästhetik. Der zentrale Fokus liegt auf den insgesamt sechs Episoden der STAR WARS-Reihe aus den Jahren 1977, 1980, 1983, 1999, 2002 und 2005 mit besonderem Blick auf die symbolischen Entwicklungen der Figuren-Körper bei Jedi und Sith.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="93dc94a0668a1659feffbae593e1b42d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36759925,"asset_id":11058167,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36759925/download_file?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="11058167"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11058167"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11058167; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11058167]").text(description); $(".js-view-count[data-work-id=11058167]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11058167; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11058167']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "93dc94a0668a1659feffbae593e1b42d" } } $('.js-work-strip[data-work-id=11058167]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11058167,"title":"Christian Feichtinger: Gegenkörper. 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of Christian Schmitt: Kinopathos. Große Gefühle im Gegenwartsfilm" class="work-thumbnail" src="https://attachments.academia-assets.com/36791562/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/11134253/Christian_Schmitt_Kinopathos_Gro%C3%9Fe_Gef%C3%BChle_im_Gegenwartsfilm">Christian Schmitt: Kinopathos. Große Gefühle im Gegenwartsfilm</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die aus einer Dissertation hervorgegangene Studie analysiert die Strukturkomponenten des kinemato...</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 aus einer Dissertation hervorgegangene Studie analysiert die Strukturkomponenten des kinematografischen Pathos und verortet diese im Kontext der Möglichkeit einer Affekttheorie des Films. Die durch philosophische, medienwissenschaftliche und filmsemiotische Denkansätze geprägte interdisziplinäre Perspektive fokussiert neben filminhärenten Gestaltprinzipien ebenfalls die durch den Rezipienten evozierten Bedeutungsspektren.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="51757ab1b9148c63951a3d7786bc316e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36791562,"asset_id":11134253,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36791562/download_file?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="11134253"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11134253"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11134253; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11134253]").text(description); $(".js-view-count[data-work-id=11134253]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11134253; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11134253']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "51757ab1b9148c63951a3d7786bc316e" } } $('.js-work-strip[data-work-id=11134253]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11134253,"title":"Christian Schmitt: Kinopathos. 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Akustische Modernisierungen des Films seit den 1920er Jahren" class="work-thumbnail" src="https://attachments.academia-assets.com/36751047/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/11039301/Silke_Martin_Die_Sichtbarkeit_des_Tons_im_Film_Akustische_Modernisierungen_des_Films_seit_den_1920er_Jahren">Silke Martin: Die Sichtbarkeit des Tons im Film. Akustische Modernisierungen des Films seit den 1920er Jahren</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Silke Martin widmet sich in "Die Sichtbarkeit des Tons im Film. Akustische Modernisierungen des 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">Silke Martin widmet sich in "Die Sichtbarkeit des Tons im Film. Akustische Modernisierungen des Films seit den 1920er Jahren" einem sehr ergiebigen und bisher in der medien- und filmwissenschaftlichen Forschung weitgehend vernachlässigten Analysegegenstand: der Heterogenität, Differenz und Interaktion von Bild und Ton im Film in evolutionärer Perspektive. In dieser Orientierung entwickelt Martin ein systematisches Ordnungssystem von akustischen und visuellen Parametern, im Kontext filmästhetischer Gestaltungsprinzipien, die sie in die evolutionäre Film- und Technikgeschichte gekonnt einzuordnen versteht.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a7b130fd892936b97c3803e15962a315" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36751047,"asset_id":11039301,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36751047/download_file?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="11039301"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11039301"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11039301; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11039301]").text(description); $(".js-view-count[data-work-id=11039301]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11039301; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11039301']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "a7b130fd892936b97c3803e15962a315" } } $('.js-work-strip[data-work-id=11039301]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11039301,"title":"Silke Martin: Die Sichtbarkeit des Tons im Film. 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Dieses Versprechen soll sich durch drei Leitaspekte einlösen, die den Einfluss von virtuellen Welten auf das menschliche Verhalten fokussieren, zweitens das Suchtpotenzial und die Isolation von der Außenwelt thematisieren und drittens die neuen sozialen Komponenten beleuchten, die durch die ‚Begehung’ virtueller Welten ermöglicht werden.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="839c11b689f71cd34a2be113720c2891" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36709060,"asset_id":10955604,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36709060/download_file?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="10955604"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10955604"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10955604; 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Nutzung und Rezeption am Beispiel von „World of Warcraft“" class="work-thumbnail" src="https://attachments.academia-assets.com/36783590/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/11114640/Axel_Kuhn_Vernetzte_Medien_Nutzung_und_Rezeption_am_Beispiel_von_World_of_Warcraft_">Axel Kuhn: Vernetzte Medien. Nutzung und Rezeption am Beispiel von „World of Warcraft“</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die aus einer Dissertation hervorgegangene Arbeit "Vernetzte Medien. Nutzung und Rezeption am Bei...</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 aus einer Dissertation hervorgegangene Arbeit "Vernetzte Medien. Nutzung und Rezeption am Beispiel von „World of Warcraft“" befasst sich mit einer Neubestimmung multimedialer Kommunikationsstrukturen, die gleichzeitig die Möglichkeit bietet, „die Faszination vernetzter Medienkommunikation für den Rezipienten zu erforschen“ (S.11).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dc1a8faa3fe43ce59fd05720209558d7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36783590,"asset_id":11114640,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36783590/download_file?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="11114640"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11114640"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11114640; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11114640]").text(description); $(".js-view-count[data-work-id=11114640]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11114640; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11114640']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "dc1a8faa3fe43ce59fd05720209558d7" } } $('.js-work-strip[data-work-id=11114640]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11114640,"title":"Axel Kuhn: Vernetzte Medien. 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Jean Baudrillard and The Matrix Trilogy" class="work-thumbnail" src="https://attachments.academia-assets.com/36672355/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/10865714/Catherine_Constable_Adapting_Philosophy_Jean_Baudrillard_and_The_Matrix_Trilogy">Catherine Constable: Adapting Philosophy. Jean Baudrillard and The Matrix Trilogy</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die von Catherine Constable durchgeführte Analyse befasst sich mit der Wechselwirkung von Philoso...</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 von Catherine Constable durchgeführte Analyse befasst sich mit der Wechselwirkung von Philosophie und Film und bezieht sich auf das problematische Verhältnis von Jean Baudrillards „Simulacra and Simulation“ (Baudrillard, Jean: Simulacra and Simulation. Ann Arbor 1994) und dessen philosophischer Rezeption in der Matrix Trilogy (1999, 2003). Catherine Constable entfaltet ihre Argumentation indem sie Philosophie, Film Studies und Adaptation Theory interdisziplinär verbindet, um auf dieser Grundlage eine adaptive Bildtheorie zu entwickeln, in welcher philosophische Strukturen einer Textvorlage im audiovisuellen Geflecht des Films verankert sind.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4f67fd8bf3f801d89522897748021f09" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36672355,"asset_id":10865714,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36672355/download_file?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="10865714"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10865714"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10865714; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10865714]").text(description); $(".js-view-count[data-work-id=10865714]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10865714; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10865714']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "4f67fd8bf3f801d89522897748021f09" } } $('.js-work-strip[data-work-id=10865714]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10865714,"title":"Catherine Constable: Adapting Philosophy. 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Philosophische Einsätze des Bildbegriffs von Platon bis Hegel" class="work-thumbnail" src="https://attachments.academia-assets.com/36739530/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/11014142/Johannes_Grave_Arno_Schubbach_Hg_Denken_mit_dem_Bild_Philosophische_Eins%C3%A4tze_des_Bildbegriffs_von_Platon_bis_Hegel">Johannes Grave, Arno Schubbach (Hg.): Denken mit dem Bild. Philosophische Einsätze des Bildbegriffs von Platon bis Hegel</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die den insgesamt sechs Beiträgen zugrunde gelegte philosophiegeschichtliche Leitdimension fokuss...</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 den insgesamt sechs Beiträgen zugrunde gelegte philosophiegeschichtliche Leitdimension fokussiert die Stadien der unterschiedlichen Bildkonzepte bei Platon, Plotin, Augustinus, Eckhart, Cusanus, Kant, Fichte und Hegel, um eine philosophische Evidenz des Bildbegriffs „vor dem Zeitalter der Ästhetik“ (S.153) näher bestimmen zu können. In dieser Perspektive geht es demnach nicht um den Bildbegriff ästhetischer und kunsthistorischer Diskurse oder um die nähere Bestimmung künstlerischer Bilder als Kunstwerke, sondern explizit um das philosophische Verhältnis von Denken und Bild bzw. Bildlichkeit.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4783a7451f0d59e03b466e7faec2b4e7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36739530,"asset_id":11014142,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36739530/download_file?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="11014142"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11014142"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11014142; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11014142]").text(description); $(".js-view-count[data-work-id=11014142]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11014142; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11014142']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "4783a7451f0d59e03b466e7faec2b4e7" } } $('.js-work-strip[data-work-id=11014142]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11014142,"title":"Johannes Grave, Arno Schubbach (Hg.): Denken mit dem Bild. 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Film Theory After New Media" class="work-thumbnail" src="https://attachments.academia-assets.com/36659249/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/10809271/Seung_Hoon_Jeong_Cinematic_Interfaces_Film_Theory_After_New_Media">Seung-Hoon Jeong: Cinematic Interfaces. Film Theory After New Media</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Der Begriff des Interface kategorisiert die Ausprägungsstufen einer kommunikationsstabilisierende...</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">Der Begriff des Interface kategorisiert die Ausprägungsstufen einer kommunikationsstabilisierenden Schnittstelle als Interaktionsmechanismus, wobei die Interaktion von maschinellen Komponenten (Hardware, Software) sowie die vielfältigen Interaktionen zwischen UserIn und Maschine zur Geltung gebracht werden.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b04c18b1938dacbf55d28337a5cb79ab" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36659249,"asset_id":10809271,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36659249/download_file?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="10809271"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10809271"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10809271; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10809271]").text(description); $(".js-view-count[data-work-id=10809271]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10809271; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10809271']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "b04c18b1938dacbf55d28337a5cb79ab" } } $('.js-work-strip[data-work-id=10809271]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10809271,"title":"Seung-Hoon Jeong: Cinematic Interfaces. 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Raum und Perspektive im Computerspiel</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Mit dieser aus einer Magisterarbeit hervorgegangenen Arbeit fokussiert Stephan Schwingeler eine i...</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">Mit dieser aus einer Magisterarbeit hervorgegangenen Arbeit fokussiert Stephan Schwingeler eine interdisziplinär angelegte bildtheoretische Fragestellung auf die Konzepte Raum und Perspektive im Computerspiel.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="183be48fe0085026a1aa9495e1945b22" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36711509,"asset_id":10961138,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36711509/download_file?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="10961138"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10961138"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10961138; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10961138]").text(description); $(".js-view-count[data-work-id=10961138]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10961138; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10961138']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "183be48fe0085026a1aa9495e1945b22" } } $('.js-work-strip[data-work-id=10961138]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10961138,"title":"Stephan Schwingeler: Die Raummaschine. 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Festschrift für Karl Prümm zum 65. Geburtstag" class="work-thumbnail" src="https://attachments.academia-assets.com/36716264/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/10970015/Andreas_Kirchner_Astrid_Pohl_Peter_Riedel_Hg_Kritik_des_%C3%84sthetischen_%C3%84sthetik_der_Kritik_Festschrift_f%C3%BCr_Karl_Pr%C3%BCmm_zum_65_Geburtstag">Andreas Kirchner, Astrid Pohl, Peter Riedel (Hg.): Kritik des Ästhetischen – Ästhetik der Kritik. Festschrift für Karl Prümm zum 65. Geburtstag</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Mit dieser Festschrift zum 65. Geburtstag von Karl Prümm liegt ein 43 Beiträge umfassendes Werk v...</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">Mit dieser Festschrift zum 65. Geburtstag von Karl Prümm liegt ein 43 Beiträge umfassendes Werk vor, welches sich einerseits dem akademischen Wirken Prümms widmet und andererseits einen evidenten Beitrag zu medienwissenschaftlichen Problembereichen leistet. Die vereinende Grundperspektive der Beiträge ist von<br />dem Interesse getragen, „Literatur- und Medienkritik, die einen direkten Eingriff in aktuelle Debatten ermöglicht, um an der gesellschaftlichen Meinungsbildung in einer Weise mitzuwirken, wie sie wissenschaftlichen Publikationen aufgrund ihrer eingeschränkten Reichweite nur selten gelingt“ (S.9) einzubeziehen und ebenfalls die „scharfe Grenzziehung zwischen akademischem Diskurs und ästhetischer Praxis zu vermeiden“ (S.9).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4cf8194c2d294b40fe37973738dec716" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36716264,"asset_id":10970015,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36716264/download_file?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="10970015"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10970015"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10970015; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10970015]").text(description); $(".js-view-count[data-work-id=10970015]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10970015; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10970015']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "4cf8194c2d294b40fe37973738dec716" } } $('.js-work-strip[data-work-id=10970015]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10970015,"title":"Andreas Kirchner, Astrid Pohl, Peter Riedel (Hg.): Kritik des Ästhetischen – Ästhetik der Kritik. 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Freak Show, frühes Kino, Tod Browning" class="work-thumbnail" src="https://attachments.academia-assets.com/36802693/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/11158526/Lars_Nowak_Deformation_und_Transdifferenz_Freak_Show_fr%C3%BChes_Kino_Tod_Browning">Lars Nowak: Deformation und Transdifferenz. Freak Show, frühes Kino, Tod Browning</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Mit seiner äußerst umfangreichen Studie widmet sich Lars Nowak dem spannungsreichen Verhältnis vo...</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">Mit seiner äußerst umfangreichen Studie widmet sich Lars Nowak dem spannungsreichen Verhältnis von körperlicher Deformation und Transdifferenz im Kontext der amerikanischen Freak Shows, des frühen Kinos und der Filme des Hollywood-Regisseurs Tod Browning (1880-1962). Mag es sich auf den ersten Blick um eine film- und medienwissenschaftliche Analyse handeln, offenbart eine nähere Perspektivierung eine explizit philosophie- und kulturtheoretische Tiefendimension.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d58acce2854f5903913106500016c82b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36802693,"asset_id":11158526,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36802693/download_file?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="11158526"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11158526"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11158526; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11158526]").text(description); $(".js-view-count[data-work-id=11158526]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11158526; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11158526']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "d58acce2854f5903913106500016c82b" } } $('.js-work-strip[data-work-id=11158526]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11158526,"title":"Lars Nowak: Deformation und Transdifferenz. 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Schmitz, Susanne Gupta: Robert Gardners »Forest of Bliss«. Dokumentarfilm als visuelle Poesie" class="work-thumbnail" src="https://attachments.academia-assets.com/36680186/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/10893370/Norbert_M_Schmitz_Susanne_Gupta_Robert_Gardners_Forest_of_Bliss_Dokumentarfilm_als_visuelle_Poesie">Norbert M. Schmitz, Susanne Gupta: Robert Gardners »Forest of Bliss«. Dokumentarfilm als visuelle Poesie</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die akademischen Debatten um das Problem der Authentizität im dokumentarischen Film sind keinesfa...</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 akademischen Debatten um das Problem der Authentizität im dokumentarischen Film sind keinesfalls neu. Die Aktualität dieses Problemfeldes scheint jedoch ungebrochen. Mit "Robert Gardners »Forest of Bliss«. Dokumentarfilm als visuelle Poesie" erarbeiten Norbert M. Schmitz und Susanne Gupta einen facettenreichen Beitrag zu diesem Problembereich, der kunsthistorische sowie medienwissenschaftliche und philosophische Ansätze produktiv verbindet.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="640e00d009b7bd4eae144077667afccb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36680186,"asset_id":10893370,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36680186/download_file?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="10893370"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10893370"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10893370; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10893370]").text(description); $(".js-view-count[data-work-id=10893370]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10893370; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10893370']"); 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></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.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: "640e00d009b7bd4eae144077667afccb" } } $('.js-work-strip[data-work-id=10893370]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10893370,"title":"Norbert M. 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Zielsetzung ist es demnach nicht, einem Wettstreit oder Hierarchisierungsversuchen innerhalb einer Ordnung der Künste zu folgen, sondern das Verhältnis von Film und Kunst als "bewegliches Beziehungsgeflecht" (9) zu erarbeiten. 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