Coordination Funds

几乎任何文化反思领域都离不开权力的概念化：宗教或魔法(创造的力量、魔力)、人类(相对于动物、动力、意志力)、政治(克瑞托斯、波泰斯、权力、统治、魅力)、物理(重力、吸引力、能量)、生物(生殖力、生命力、教育力)、生理(肌肉力量、知觉力量)或社会经济(劳动力、购买力)的力量的概念指向力量及其衍生概念的主导性和可塑性。自从古代诗学和修辞学通过早期现代时期的艺术和诗歌教学流传下来以来，艺术尤其是艺术经常参照力量(创造力、想象力、运动)的教义来显著地反映其表现轮廓。更令人惊讶的是，武力概念在自然、文化和艺术科学用途之间的转变和采用几乎没有得到系统的研究。KFG《力量的想象》汇集了各种对力概念和与力相关的术语的学科方法，以探索它们在艺术中的形成和转化。与来自不同学科的国际知名研究员一起，第一个资助阶段的申请者在过去四年里一直在调查历史上出现的抓住本身无形力量的代表模式。我们的出发点是这样一种观察：“力”这个词(希腊语中的Dynamis，拉丁语中的Potita)表示施加影响的能力，但是力本身是不可感知的，只能从它们的影响中间接地读出。艺术和对艺术的反思，也就是主要的论题，形成了检验非感官力量的感官存在效应的特权场所，通过这些中介，科学概念也经历了修改。艺术、文学和自然科学之间这一卓有成效的对话的结果将在第二个资助阶段用于集中研究审美力量，以调查(1)它们与不可量化的力量的亲和力，(2)它们与非欧洲力量模式的关系，以及(3)当代创造性、艺术性和文学性与能源生产实践的关系。

Hardly any field of cultural reflection can do without conceptualizations of power: Conceptions of religious or magical (power of creation, magic power), human (vis animae, motive power, will power), political (kratos, potestas, power, dominion, charisma), physical (gravity, force of attraction, energy), biological (procreative force, vital force, educational force), physiological (muscular force, perceptual force), or socioeconomic (labor force, purchasing power) forces point to the dominance as well as the plasticity of the concept of force and its derivatives. Since ancient poetics and rhetoric, handed down through the art and poetry teachings of the early modern period, the arts in particular have reflected their performance profile remarkably often in reference to the doctrines of force (creative power, imagination, movere). It is all the more astonishing that the transitions and adoptions between natural, cultural, and art-scientific uses of the concept of force have hardly been systematically investigated. The KFG "Imaginaria of Force" brings together a variety of disciplinary approaches to concepts of force and force-related terms in order to explore their formation and transformation in the arts. Together with internationally renowned fellows from various disciplines, the applicants of the first funding phase have spent the past four years investigating the modes of representation that have emerged historically to capture forces that are themselves intangible. The starting point was the observation that the word 'force' (Greek dynamis, Latin potentia) denotes the ability to exert effects, but that forces themselves cannot be perceived, but can only be read indirectly from their effects. The arts and the reflections on them, so the leading thesis, form a privileged place for the examination of the sensual presence effects of nonsensual forces, whereby through these medializations also scientific concepts experience modifications. The results of this fruitful dialogue between art, literature, and natural sciences will be used by in the second funding phase for concentrated research on aesthetic forces in order to investigate (1) their affinity to the non-quantifiable forces of the numinous, (2) their relationship to non-European models of force, and (3) contemporary creative, artistic, and literary engagements with practices of energy production.