FOR 1627: Evidence of Images: History and Aesthetics

FOR 1627：图像的证据：历史与美学

• 批准号: 187396174
• 金额: --
• 依托单位: Deutsches Forum für Kunstgeschichte (DFK Paris)
• 依托单位国家: 德国
• 项目类别: Advanced Studies Centres in SSH
• 财政年份: 2011
• 资助国家: 德国
• 起止时间: 2010-12-31 至 2023-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/187396174?language=en
• 关键词: 1627; Evidence; Images; History; Aesthetics

The Research Unit takes up one of the oldest and most fundamental questions concerning images, namely those pertaining to pictorial evidence and to the structures and procedures through which it is generated. Our point of departure is the premise that the generation of pictorial evidence as a basic aesthetic category involves the representation of an objective external reality, but at the same time engenders forms of genuine visual presence, which exists nowhere outside of the picture. This double definition of the image - as representation and as presence - is fundamental, for the central significance and function of images can only be adequately characterised through the dialectical mediation of these two modalities. It is our aim to investigate the various historic and systematic forms assumed by such processes of mediation. Such an undertaking is both challenging and exigent, in view of the current situation in which cultural, visual and image studies seek to define the significance of images through apparently antagonistic approaches. Prevailing, on the one hand, is a wide-ranging scepticism concerning the status of evidence, which is provided by images in regard to nature and society, politics and history; according to this model, images are regarded as a kind of language, as analogous to legible systems of signs, which lack any inherent dynamism and which are exhausted, so to speak, once their messages have been decoded. On the other hand, it is claimed that images generate autonomous and purely self-referential meanings, which, as a consequence, are wholly detached from any external reality, presumably achieving their aesthetic effectiveness solely by virtue of such isolation and distinctiveness. In contrast to these current trends, in the framework of our project it is precisely the referential valence of images to which particular attention shall be turned, repositioning categorically the aesthetic issue inherent to the generation of pictorial evidence. The assumption that images precisely through aesthetic means embody reflexive potencies and thereby equal a discursive status is essential to the question of how they generate evidence. For this assumption opens up the possibility of deriving the binding criteria governing aesthetic forms from the images themselves - criteria, which are in turn bound up with their own histories. In this way, the project of restoring historic depth to the category of evidence aims at a conflation of historical interpretation and aesthetic approach, of concept and percept, and consequently at a conceptual reintegration of the image¿s reference to reality and its own reality as a physical object. Only such a dynamic conception of image and evidence is able to overcome the virulent tendency toward an antagonistic confrontation between image and text and between visual and textual competence, thereby opening up new fields of research in transdisciplinary perspectives.

研究股处理有关图像的最古老和最基本的问题之一，即有关图像证据及其产生的结构和程序的问题。我们的出发点是这样一个前提，即作为一个基本美学范畴的图像证据的生成涉及客观外部现实的再现，但同时也产生了真正的视觉存在形式，这种形式在图像之外无处可见。对意象的这种双重定义--作为表象和作为在场--是根本性的，因为意象的中心意义和功能只有通过这两种形式的辩证调解才能得到充分的表征。我们的目标是调查这种调解进程所采取的各种历史和系统形式。鉴于目前的情况，文化、视觉和图像研究试图通过明显对立的方法来定义图像的意义，这样的工作既具有挑战性又紧迫。一方面，普遍存在的是对证据地位的广泛怀疑，而证据是由自然和社会、政治和历史方面的图像提供的;根据这一模式，图像被视为一种语言，类似于清晰的符号系统，缺乏任何内在的活力，可以说，一旦其信息被解码，图像就枯竭了。另一方面，它声称，图像产生自主的和纯粹的自我指涉的意义，这，因此，是完全脱离任何外部现实，大概实现其审美效果仅仅凭借这种隔离和独特性。与这些当前的趋势相反，在我们的项目框架中，正是图像的参考价应特别关注，重新定位图像证据生成所固有的美学问题。意象通过美学手段体现了反身性的力量，从而等同于一种话语的地位，这一假设对它们如何产生证据的问题至关重要。因为这一假设提供了一种可能性，即从形象本身中导出支配审美形式的约束性标准--标准，而这些标准又与它们自身的历史相联系。通过这种方式，恢复证据范畴的历史深度的项目旨在将历史解释和美学方法，概念和感知相结合，从而在概念上重新整合图像对现实的引用及其作为物理对象的现实。只有这样一种动态的图像与证据观才能克服图像与文本、视觉能力与文本能力对立的恶性倾向，从而开辟跨学科研究的新领域。