Bombenkrater. Das Bild der terroristischen Moderne

从第一次世界大战开始，摄影和艺术领域产生了一个新的主题：弹坑的主题。尽管在历史学、媒体研究和艺术史中对战争图像进行了广泛的研究，但还没有研究对火山口图像的转换、使用和语义表示敬意。研究的起点是最新的新闻照片，这些照片主要是伊斯兰恐怖分子爆炸的地方。这些自20世纪90年代末以来一直存在的照片，经常显示炸弹弹坑作为中心主题。现代恐怖分子创造了一个陈词滥调的主题，这一事实激发了历史领域的进一步研究。这项研究发现，20世纪产生了大量的弹坑图像，这些图像的背景、功能和美学极其多样化：士兵、摄影记者和纪录片制片人的私人照片，以及军事侦察和宣传照片。旁边是用不同媒体表演的艺术作品：摄影，素描，绘画，图形和雕塑。在五个章节中，重要的时代冲突被形象地探讨：第一次世界大战，第二次世界大战，核武器试验，越南战争，伊斯兰恐怖分子。各种图像表达及其各自的时间范围-战争地点、战争、图像的制作和接收-可以被理解为提供特定文化情感情境信息的信息：关于创伤和存在体验，关于哀悼、否认和自大狂。这本书的副标题可能听起来很大胆，但它的可行性将在调查过程中得到证明：一个巨大的复杂的图像，迄今尚未被研究，留下了它的影响，在几代人的意识和情感，解释和分析，以揭示其意义。任何一个曾经把自己暴露在大量的肖像艺术品面前的人，都会面临一个划时代的震惊，凝视着深渊。目前造成全球动荡的现代恐怖主义可以被视为一种历史力量，其目的不是主宰空间，而是设计一个新的空间，在那里由于恐怖的气氛而无法生存。

Beginning with First World War a new motif was created in the fields of photography and the arts: the motif of the bomb crater. Despite extensive research on war imagery in historiography, media studies and art history there has been no study that pays tribute to the crater image in its transformations, usage and semantics.The starting point for the study were the latest press photographs of attacks on places where mainly Islamist terrorist bombs had detonated. These pictures that exist since the late 1990s en masse, often show bomb craters as a central motif. The fact that modern terrorists created a clichéd motif incited further research in the historical field. This research led to the discovery that the 20th century had produced an immense amount of bomb crater images.The contexts, functions and aesthetics of the images are extremely diverse: private photographs of soldiers, photo journalists, and documentary filmmakers as well as military reconnaissance and propaganda photographs stand next to artistic works that are performed in different media: photography, drawing, painting, graphics and sculpture.In five chapters significant era conflicts are iconographically explored: World War I, World War II, nuclear weapons testing, the Vietnam war, Islamist terrorist. The various iconographic expressions and their respective time-bound contexts - places of war, warfare, production and reception of images - can be understood as messages that provide information on specific cultural affective situations: about trauma and existential experiences, about mourning, denial and megalomania. about landscape and energy experience, but also of hope and utopia fantasies.May the subtitle of the book may sound daring, its plausibility will be proved in the course of the investigation: A huge complex of images that has not been studied until now has left its effects in the consciousness and emotions of generations, is interpreted and analysed to reveal its meaning. Who ever exposes himself to the mass of iconographic artifacts, is confronted with an epochal stunned gazing into an abyss. Modern terror, that currently provides global unrest, can be experienced as a historical force that does not aim to dominate space but that designs a new space where living is made impossible because of an horrific atmosphere.