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Die »intellektuelle Anschauung« erhebt um 1800 die Beziehung von Begriff und Bild zum Ausgangspunkt von Erkenntnis. Dabei wird problematisch, wie die Übereinstimmung von Begriff und Bild, die in der klassischen rhetorischen Evidenz noch garantiert war, verfasst sein kann. Aus dieser Konstellation entwickelt sich eine Vielzahl epistemischer Techniken zur Erzeugung von Evidenz. Die Beiträge des Bandes untersuchen diesen Komplex, die Vorgeschichte seit der Renaissance und die Nachspiele in der Gegenwart aus der Perspektive von Literatur-, Medien- und Theaterwissenschaft, Philosophie, Kunst- und Wissenschaftsgeschichte. »Insgesamt stellt der Band ein interessantes neues Nachschlagewerk zur Problemgeschichte der Evidenz dar. Flankiert durch einen Grundlagentext von Rüdiger Campe berührt die Auswahl der Texte in denkbar umfassender Weise Disziplinen und Schulen, die sich ansonsten voneinander abzugrenzen bemüht sind. Daraus resultierende Überschneidungen und Verweisungen machen den Reiz für den Leser aus.« Jörg Probst, sehepunkte, 6 (2006)

Media studies --- Aesthetics. --- Arts. --- Cultural Studies. --- Cultural Theory. --- Culture. --- Media Art. --- Theory of Art. --- Bild; Rhetorik; Anschaulichkeit; Wissen; Evidenz; Kultur; Kunst; Kulturtheorie; Kunsttheorie; Ästhetik; Medienkunst; Kulturwissenschaft; Image; Culture; Arts; Cultural Theory; Theory of Art; Aesthetics; Media Art; Cultural Studies

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Cet essai collectif fait le point sur certains questionnements soulevés par l'irruption des nouveaux médias dans l'art, au croisement des dimensions artistiques et narratives, esthétiques et sémiotiques, perceptives et cognitives, sociales et politiques : -L'utilisation et l'introduction des nouvelles technologies dans l'art conduisent-elles vers une mutation des pratiques artistiques ? Vers l'apparition d'une discipline autonome et nouvelle ? -Quels nouveaux systèmes de représentation et de narration sont-ils à l'œuvre ? -Y a-t-il apparition de nouveaux langages ? De nouveaux espaces de signification et d'échange ? -Comment s'en saisir ? Comment les usages culturels en sont-ils modifiés ? Quel type de relation peut-il exister entre les nouveaux médias et un public, des usagers ? -Quelle politique culturelle pour les nouveaux médias ? -Comment inventer un espace public issu des possibilités offertes par les nouvelles technologies de l'information et la communication ? (Quatrième de couverture)

Mass media and culture --- Mass media policy --- Mass media and technology --- Semiotics and art --- Mass media and art --- Art --- Art numérique --- Langage --- Média --- Nouveau média --- Technologie --- Medias - New technologies in art - Aesthetics --- Mass media and culture - Congresses --- Mass media policy - Congresses --- Mass media and technology - Congresses --- Semiotics and art - Congresses --- Mass media and art - Congresses

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Das Verhältnis von Kunst und Utopie ist nicht nur von zentraler Bedeutung für das Verständnis der Gegenwartskunst, sondern auch für ihre Differenz zur Kunst und Ästhetik der Moderne. Im Durchgang durch gegenwärtige Strömungen der künstlerischen Historiografien, der partizipatorischen und kollaborativen Kunst sowie Formen des künstlerischen Aktivismus zeigt Sebastian Mühl auf, dass die Auseinandersetzungen um das Erbe des utopischen Denkens maßgeblich für eine politische und ästhetische Neuorientierung der Kunst nach 1989 erscheinen. Das häufig diagnostizierte Ende der Utopie ist nicht als Ende einer Orientierung an Freiheit und Emanzipation zu verstehen. Vielmehr hält die Gegenwartskunst den emanzipatorischen Impulsen des modernen utopischen Denkens durch eine Kritik an dessen problematischen Aspekten die Treue. Besprochen in: Springerin, 4 (2020), Christoph Chwatal

Gegenwartskunst; Utopie; Kritische Theorie; Demokratietheorie; Politische Ästhetik; Modernerezeption; Historiografien; Partizipation; Politische Kunst; Kunst; Kunstgeschichte des 21. Jahrhunderts; Kunsttheorie; Ästhetik; Kunstwissenschaft; Contemporary Art; Utopia; Critical Theory; Theories of Democracy; Modern Perception; Historiographies; Participation; Political Art; Art; Art History of the 21st Century; Theory of Art; Aesthetics; Fine Arts --- Aesthetics. --- Art History of the 21st Century. --- Fine Arts. --- Political Art. --- Theory of Art.

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Michael Lent asks what role art has in colonisation and subsequent dissolution. He proposes a practice informed by the fatal strategies and 'raw' phenomenology of Jean Baudrillard as a challenge to a system of disappearance. Focusing on the otherness of space to prevent its ultimate dissolution, Lent promotes a spatial practice of radical alterity. Examining ideas of disappearance put forth by Baudrillard and Paul Virilio, he utilises art as a means for investigating loss of potentiality and experience through the representation of space, shifting their ideas - originally ascribed to objects - into a new emphasis. This book ultimately attempts to break a cyclical system that causes everything to disappear into representation and equivalency.

Visual perception. --- Space (Art) --- Negative space (Art) --- Art --- Optics, Psychological --- Vision --- Perception --- Visual discrimination --- Psychological aspects --- Art; Aesthetics; Space; Accursed Share; Alterity; Difference; Disappearance; Entropy; Exchange; Formlessness; Landscape; Liminality; Mobility; Pataphysics; Polemics; Radicality; Raw Phenomenology; Sacrifice; Singularity; Place; General Economy; Spatiality; Image; Theory of Art; Visual Studies; Fine Arts --- Accursed Share. --- Aesthetics. --- Alterity. --- Difference. --- Disappearance. --- Entropy. --- Exchange. --- Fine Arts. --- Formlessness. --- General Economy. --- Image. --- Landscape. --- Liminality. --- Mobility. --- Pataphysics. --- Place. --- Polemics. --- Radicality. --- Raw Phenomenology. --- Sacrifice. --- Singularity. --- Space. --- Spatiality. --- Theory of Art. --- Visual Studies.

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In the 1940s, American movies changed. Flashbacks began to be used in outrageous, unpredictable ways. Soundtracks flaunted voice-over commentary, and characters might pivot from a scene to address the viewer. Incidents were replayed from different characters’ viewpoints, and sometimes those versions proved to be false. Films now plunged viewers into characters’ memories, dreams, and hallucinations. Some films didn’t have protagonists, while others centered on anti-heroes or psychopaths. Women might be on the verge of madness, and neurotic heroes lurched into violent confrontations. Combining many of these ingredients, a new genre emerged—the psychological thriller, populated by women in peril and innocent bystanders targeted for death. If this sounds like today’s cinema, that’s because it is. In Reinventing Hollywood, David Bordwell examines the full range and depth of trends that crystallized into traditions. He shows how the Christopher Nolans and Quentin Tarantinos of today owe an immense debt to the dynamic, occasionally delirious narrative experiments of the Forties. Through in-depth analyses of films both famous and virtually unknown, from Our Town and All About Eve to Swell Guy and The Guilt of Janet Ames, Bordwell assesses the era’s unique achievements and its legacy for future filmmakers. Reinventing Hollywood is a groundbreaking study of how Hollywood storytelling became a more complex art and essential reading for lovers of popular cinema.

Motion pictures --- Narration (Rhetoric) --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Narrative (Rhetoric) --- Narrative writing --- Rhetoric --- Discourse analysis, Narrative --- Narratees (Rhetoric) --- History --- Plots, themes, etc. --- History and criticism --- Narration (Rhetoric). --- Plots, themes, etc --- film, hollywood, 1940s, studio system, filmmaking, technique, directors, flashbacks, voice overs, noir, classics, breaking the 4th wall, memory, dreams, hallucination, anti hero, psychopath, deviance, madness, violence, neurosis, psychological thriller, innocence, women in peril, damsel distress, ingenue, female characters, our town, all about eve, swell guy, guilt of janet ames, plot, narrative, mankiewicz, modularity, polyphony, experimental, mystery, hitchcock, welles, drama, nonfiction, history, art, aesthetics, light, shadow, literature.