Mimesis of the Space-Image: The Diorama as serial and immersive Mimesis

空间图像的模仿：西洋镜作为连续和身临其境的模仿

• 批准号: 240723316
• 负责人: Professor Dr. Lorenz Engell
• 金额: --
• 依托单位: Professur für Medienphilosophie
• 依托单位国家: 德国
• 项目类别: Research Units
• 财政年份: 2013
• 资助国家: 德国
• 起止时间: 2012-12-31 至 2021-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/240723316?language=en
• 关键词: Mimesis; Space; Image; Diorama; serial

In the second project period the investigations of the mimesis of the moving image will be extended to the space image. Specifically, this will focus on the example of the diorama. This object that will be investigated jointly now, will be used to combine the previously parallel projects into one. The continuation of the project will therefore take into account the results of the first period. On the one hand, starting with the cinematic McGuffin, it motivated stronger attention to space-consuming, material things and arrangements in their attention-controlling and fiction-driving mimetic function. On the other hand, starting from the serializing nature of television, it suggested a greater consideration of spatiotemporal interlocking relationships, productive development dynamics, and indefinability of the medial dispositive. Both research desiderata are now included paradigmatically with reference to the visual arrangement of the diorama. Here, the project remains interested in conducting research, both theoretically and empirically, in the processes of immersion and serialization. Immersion and seriality in the case of the diorama are located within the cultural practice of inferior and excessive mimesis as they lie at the core of the research groups interest as a whole, and how they are staged particularly effectively in dioramic arrangements and especially in the habitat dioramas. Since research on the diorama has been somewhat sparse on the descriptive level, a suitable empirical survey and description of dioramic arrangements will determine the goals of the research project. Special focus will be placed on the concrete dispositive, media-technological, and media-aesthetic compositions of dioramas and their immersive effects. In addition, questions about the relationships between vitality and artificiality, and animation and instantaneity are important. It is especially central to address the relationship between knowledge and its (entertaining) mediation. Finally, the diorama must also be situated (media-)historically and concerning the critique of ideology ((post-)colonialism, domination of nature). Likewise, the transmedial continuation of dioramic operations in holography and photography is relevant. A significant theoretical, imitation-aesthetic or even media-philosophical discussion with the diorama is so far entirely unknown. The theoretical work of the project on the logical-emotional foundations of mimesis and on the medial dimension of Ludwig Wittgensteins conception of family resemblance is therefore particularly challenged by the new object; it will be pursued intensively and at the same time expanded to the realms of space-aesthetics and the comparative research of media.

在第二个项目期间，对活动图像模拟的研究将扩大到空间图像。具体来说，这将集中在立体模型的例子。现在将共同研究的这个对象将用于将以前并行的项目联合收割机合并为一个。因此，项目的继续将考虑到第一阶段的成果。一方面，从电影中的麦高芬开始，它激发了对空间消耗的更强的注意力，物质的东西和安排，在他们的注意控制和小说驱动的模仿功能。另一方面，从电视的序列化本质出发，它建议更多地考虑时空的连锁关系，生产发展动力和媒体处置的不确定性。这两个研究的迫切需要，现在包括范式参考的视觉安排的立体模型。在这里，该项目仍然有兴趣进行研究，无论是理论上和经验上，在沉浸和序列化的过程。在透视画的情况下，沉浸和序列性位于劣质和过度模仿的文化实践中，因为它们是研究小组整体兴趣的核心，以及它们如何在透视画安排中特别有效地上演，特别是在栖息地透视画中。由于对立体模型的研究在描述层面上有些稀疏，一个合适的实证调查和立体模型安排的描述将确定研究项目的目标。将特别关注立体模型的具体处置，媒体技术和媒体美学组成及其沉浸式效果。此外，关于生命力和人工性之间的关系，以及动画和即时性之间的关系的问题也很重要。解决知识与其（娱乐性）中介之间的关系尤为重要。最后，立体模型还必须位于（媒体）历史和有关的意识形态（（后）殖民主义，自然的统治）的批判。同样，全息照相术和摄影术中透视操作的跨媒介延续也是相关的。一个重要的理论，模仿美学，甚至媒体哲学的讨论与立体模型是迄今为止完全未知的。因此，关于模仿的逻辑-情感基础和路德维希·维特根斯坦家族相似性概念的中间维度的项目的理论工作特别受到新对象的挑战;它将被集中追求，同时扩展到空间美学和媒体比较研究的领域。