Jameson 2.0. Cognitive mapping in contemporary art

詹姆森2.0。

• 批准号: 421346851
• 负责人: Professorin Dr. Susanne Leeb
• 金额: --
• 依托单位: Institut für Philosophie und Kunstwissenschaft (IPK)
• 依托单位国家: 德国
• 项目类别: Priority Programmes
• 财政年份: 2019
• 资助国家: 德国
• 起止时间: 2018-12-31 至 2023-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/421346851?language=en
• 关键词: Jameson; 2.0.; Cognitive; mapping; contemporary

Digital images are based on a double crisis of representation: On the one hand, the mode of existence of digital data is not primarily a visual one; pictorial representations are not their necessary manifestation. On the other hand, in a data-driven world it seems impossible for the human observer to gain an insight or overview into the way data are generated and processed that determine today's world. Despite or precisely because of a growing number of visual media and the data they generate, the subject is less and less able to grasp the algorithmic totality that surrounds it. Since the 18th century, statistical diagrams have promised to make information visible "at a glance", but this no longer applies to today's digital environments. But instead of countering the crisis of representability with ever greater computing capacities, the project relies on exemplary procedures from art and visual culture that develop alternative forms of representation and experience via data structuring, information generation and interpretation. These include Mark Lombardi as (analogue) historical precursor, Trevor Paglen, Eyal Weizmann and Forensic Architecture, Tactical Tech Collective, Lawrence Abu Hamdan, Walid Raad or Ingrid Burrington. These works and practices are to be conceptualized under the concept of cognitive mapping. This concept - published by Jameson in his influential book Postmodernism or the Cultural Logic of Late Capitalism (1991) - is based on the diagnosis of a loss of orientation in globalized cultures, a rift between individual experience and the global (economic) structures that determine it, which have become invisible and unrepresentable. Jameson proposed to regain a dimension of experience and a perspective for agency that for him consisted in the theory and practice of cognitive mapping. If Jameson could still be seen in a historical line with the diagnosis of a loss of experience in times of increasing abstraction as a critical topos of modernity, the current, digital "technological condition" (Hörl 2011) with its arbitrariness between data and information and a constitutive "undecidability of digital images" (Rubinstein, Sluis 2013) represents a different starting point to which the artistic works react. The project wants to investigate how artists intervene in different manifestations of data as information. It wants to demonstrate a dimension of agency in dealing with digital images, and based on this research, develop an updated art theory of cognitive mapping under the condition of digitality.

数字图像基于双重的再现危机：一方面，数字数据的存在方式主要不是视觉的；另一方面，数字数据的存在方式主要不是视觉的。图像表现并不是它们的必然表现。另一方面，在数据驱动的世界中，人类观察者似乎不可能深入了解或概述决定当今世界的数据生成和处理方式。尽管或正是由于视觉媒体及其生成的数据数量不断增加，主体越来越无法掌握围绕它的算法整体性。自 18 世纪以来，统计图表一直承诺让信息“一目了然”，但这不再适用于当今的数字环境。但该项目并没有通过更大的计算能力来应对再现性危机，而是依赖于艺术和视觉文化的示范程序，通过数据结构化、信息生成和解释来开发替代的再现形式和体验。其中包括作为（模拟）历史先驱的 Mark Lombardi、Trevor Paglen、Eyal Weizmann 和 Forensic Architecture、Tactical Tech Collective、Lawrence Abu Hamdan、Walid Raad 或 Ingrid Burrington。这些工作和实践将在认知映射的概念下进行概念化。这一概念由詹姆森在其颇具影响力的著作《后现代主义或晚期资本主义的文化逻辑》（1991）中发表，其基础是对全球化文化中迷失方向的诊断，个人经验与决定个人经验的全球（经济）结构之间存在裂痕，而这种裂痕已经变得不可见且无法表征。詹姆森提议重新获得经验的维度和代理的视角，对他来说，这包含在认知映射的理论和实践中。如果詹姆森仍然可以从历史的角度看待日益抽象时代的经验丧失作为现代性的关键主题，那么当前的数字“技术条件”（Hörl 2011）及其数据和信息之间的任意性以及本质上的“数字图像的不可判定性”（Rubinstein，Sluis 2013）代表了艺术作品反应的不同起点。该项目想要调查艺术家如何干预作为信息的数据的不同表现形式。它希望展示处理数字图像的代理维度，并基于这项研究，发展数字化条件下认知映射的更新艺术理论。