Evidence of Images: History and Aesthetics

图像的证据：历史与美学

• 批准号: 201172763
• 负责人: Professor Dr. Peter Geimer
• 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/201172763?language=en
• 关键词: Evidence; Images; History; Aesthetics

The Kolleg-Forschergruppe (KFG) continues to work on the premise that the generation of pictorial evidence as a fundamental aesthetic category encompasses processes of representation of reality as well as it generates a genuine visual presence that is not identifiable outside the realms of images. The terminological and systematic foundation within the first phase of funding substantiated the claim that the central meaning and function of images can only be described adequately in a dialectical mediation of these two modalities. Concurrently, this modulative profile of pictorial evidence in the sense of a phenomenon of interference, in which the reference to reality is superimposed and interlaced with its designation and exhibition, was investigated in distinct historic occurrences of this mediation and analysed in the context of exemplary and materially specific case studies. Thereby the terminological category of 'Evidenz' initially proposed heuristically, gained a workable conciseness, a theoretical foundation, as well as an historical differentiation. Within the second funding phase the KFG aims to continue this research that will lead to broadly conceived and theoretically foundational monographs. Liminal aesthetic phenomena that at first site appear to stand in categorical alterity to pictorial evidence are also of central interest for the future research program: specifically forms of abstraction; ornament; the 'non-representational' as well as intermedial configurations of photography and film; of image and sound or painting and image; and in conjunction, the aesthetic complexities of an evidence of the non-pictorial and non-ostensible, and even the per se nonevident. As such, the a priori unrepresentability inherent to music by virtue of its invisibility, immateriality, and temporal transience presents a paradoxical phenomenon of evidence par excellence. How can the relation between the medial foundation of pictorial evidence and the purely material constitution of the image and its textural, morphological qualities be defined and differentiated? To put it another way: the categories of 'mediality' and 'materiality' are often under-deliberated and used synonymously in contemporary research. What contribution does the investigation of Bildevidenz promise for their systematic determination and differentiation?

kollegg - forschergruppe （KFG）继续在这样一个前提下工作，即图像证据的产生作为一个基本的美学类别，包括对现实的表现过程，以及它产生的真实的视觉存在，在图像领域之外是无法识别的。第一阶段资助的术语和系统基础证实了图像的中心意义和功能只能在这两种模式的辩证调解中得到充分描述的主张。与此同时，在干扰现象的意义上，这种对现实的参考与它的名称和展示重叠和交织在一起的图像证据的调制性轮廓，在这种调解的不同历史事件中进行了调查，并在示范和实质性具体案例研究的背景下进行了分析。因此，“证据”的术语范畴最初是启发式地提出的，获得了可操作的简洁性、理论基础和历史区别。在第二个资助阶段，KFG的目标是继续这项研究，这将导致广泛构思和理论基础的专著。阈限美学现象在第一个地点似乎站在图像证据的绝对替代中，这也是未来研究计划的核心兴趣：具体的抽象形式；点缀;摄影和电影的“非代表性”和中间配置；图像和声音或绘画和图像的；结合起来，美学的复杂性是非图像的，非表面的证据，甚至本身是不明显的。因此，由于音乐的不可见性、非物质性和短暂性，先天的不可再现性呈现出一种悖论性的卓越证据现象。如何界定和区分图像证据的媒介基础与图像的纯粹物质构成及其纹理、形态品质之间的关系？换句话说：在当代研究中，“媒介性”和“物质性”这两个范畴经常被忽视，并被同义词使用。Bildevidenz的研究对它们的系统确定和区分有什么贡献？