Image science

from Wikipedia, the free encyclopedia

Image science (also image media science , image research or visualistics ) is a science that has emerged from different scientific disciplines and is increasingly concerned with the phenomenon of image in every medium and in every form.

In the Anglo-Saxon area, subjects such as visual (culture) studies correspond approximately .

Subject areas, theories and methodology

Image science tries to clarify in interdisciplinary cooperation what image being and image use mean in a more general sense. It stands for different questions and approaches ( hermeneutical , historical-critical, creative, media technology, etc.) and thus more for a problem area than for an institutionally anchored, narrowly defined or fundamentally studyable discipline.

For the purpose of mutual understanding of the scientific disciplines, she tries to determine what the different, image-related and image-using sciences understand by the term "image" ( Klaus Sachs-Hombach ).

A definition of the term turns out to be due to the transitions to other forms of symbolization (writing, numbers), due to the historical transformation and differentiation of the image in technical and media terms and the associated shifts in meaning (image as a three-dimensional cult image, two-dimensional image panel, electronic TV image, virtual image space) as problematic, especially with regard to the difficulty of translating the term into other national languages ​​( Grau 2003, Schulz 2005, Bruhn 2008). At least it shows, however, that looking at pictures beyond the autonomous work of art (in the sense of the 19th century) can be accompanied by a shift in evaluations, which increases attention for less-noticed picture forms (Elkins 1999).

Interdisciplinary image studies do not focus on individual images or works of art; rather, it focuses on the human ability to generate images in a targeted manner and to use them as a communication medium and to be able to perceive (receive) and use them. Image science also includes the effects that the production and use of images of different types has on people, their behavior and their culture. The science of images is based on an expanded concept of the image, which includes all types of images and their different contexts of use (e.g. advertising , artwork , propaganda film ). The research subject “image” goes beyond material pictorial works (e.g. sculpture and painting ) and expressly also includes analog and virtual images (e.g. film , internet ), as well as immaterial images and the like. Ideas (e.g. stereotypes and prejudices ).

Image science as an independent discipline is often used as a supplement, but sometimes also as "competition", to older approaches within the scientific disciplines represented in the development of a general image science (including art history , archeology , philosophy , psychology , folklore / European ethnology , sociology , media studies , communication studies , Film studies etc.) perceived. The role, legitimation and practical and theoretical approaches of the individual scientific disciplines involved in the development of an interdisciplinary image science are currently being discussed intensively and quite controversially.

Within the process of developing an image science, different research approaches and traditions of a theoretical and methodological nature from the humanities and social, communication and media sciences, but also natural sciences, come together. The disciplines of folklore / European ethnology , media studies , communication studies , film studies , philosophy , semiotics , political science , history , but also computer science (especially computer visualistics ), cognitive science , psychology , biology , physics and medicine should be mentioned here. The opening of the scientific horizon aims at a more interdisciplinary exchange and the networking of the various questions and methods to a systematic image science.

The subjects of art history, European ethnology and computer science are presented here as examples of the developments that are often viewed as controversial within the disciplines:

Image studies and art history

The classic image subject of art history, whose research interests traditionally concentrated on the artistic products of so-called high culture and also temporarily excluded images from so-called mass or pop culture , is in a critical relationship to certain currents in image science, especially those that focus on a universal one or work towards a historically absolute image concept. For the same reason, as early as the first half of the 20th century, schools of art history such as iconology or art history demanded the analysis of any image material and used methods from psychology or sociology .

While popular art theorists and critics of subsequent generations as Clement Greenberg in turn negotiated the image term in the sense of a radical autonomy of art, came later than in the 90s with the so-called iconic turn the ideas (Iconic Turn) Aby Warburg and Erwin Panofsky again this week. Since then at the latest, art history has pursued the goal of deriving their specific functions from the political or religious conflicts over images ("image dispute") and thereby going well beyond an officially organized or socially distinguished high art (Warnke 1973/88; Bredekamp 1975).

Against the background of this research tradition, Horst Bredekamp called for art history to be understood as a paradigmatic image science and to be pursued accordingly, i.e. to understand art history as a central (and professionally and objectively legitimized) image science.

On the other hand, Hans Belting pleaded for a radical expansion of the subject of scientific research, an integration of the two art histories (namely the one that deals with historical and the one that deals with modern art - Belting sees both as separate) and a clearly interdisciplinary oriented image research; to this end, art history should both methodically and theoretically open up to exchange with other disciplines, as has become customary, for example, in the practical museum work of art historians and curators and in the preservation of monuments ; When researching and evaluating a work of art, in addition to stylistic and art-historical aspects, scientific analysis methods and increasingly also cultural-historical and media-analytical methods are standard.

In this context, the hope was expressed that these methodological and theoretical approaches would find an even greater place in university teaching in the future, as otherwise art history would run the risk of losing its leading role in the field of image studies to other disciplines. For comparative art history as a historical image science, work with image archives is central, which are increasingly used online (Prometheus, Census, Archive of Digital Art, etc.).

Image science and image theory

Already Oliver Grau is in Virtual art firmly (1999) that in the digital not only of image , but increasingly of pictorial spaces is to talk organized panoramically or virtual. He has been advocating a theory of complex images since the 2010s.

Lambert Wiesing emphasizes in The Visibility of the Image (2008) that a distinction must be made between image science and image theory. While all historical and media forms of the image are explored in image science, image theory deals with the fundamental question of what an image is.

Image science is about concrete things, e.g. B. Images, their creation, psychological effects or media requirements as well as content and social meanings are researched. In this sense, art history can be understood as “real” visual science. The theoretical question of what a picture is, on the other hand, cannot be answered by empirical research, but only by philosophy. Anyone who researches an image has already understood it as an image.

Image theory, however, does not deal with what has already been categorized as an image, but with the categorization itself. Image theory is therefore about the concept of the image itself. Image theory requires an answer to the question “what is meant by it, if something is addressed as a picture or what properties this object must have in order to be a picture ”. In contrast to image science, image theory therefore pursues a fundamentally different - but complementary - question, the answer to which "the concrete image does not appear as an object of research, but as an example of fundamental statements about imagery".

Image science and ethnology

The research subject “image”, which is fundamental for image science, is not limited to “external”, ie materially tangible and physically perceivable images (objectivations) such as works of art, sculptures, advertising posters, and virtual images within this “mediator subject” of ethnology .

Based on approaches from the subjects of sociology, media and communication studies, psychology, physics, medicine, biology, theology, philosophy and history, “inner images” or “images in the mind” such as pictorial memories , ideas, prejudices and stereotypes are also created (Subjectivations) included in ethnological image research and related to one another. Other important research focuses are production methods, distribution (dissemination and marketing), reception (perception) and communication (transmission, transmission) of "images".

The research object image is related both historically (e.g. behind glass image research ) as well as contemporary (e.g. violent videos , virtual worlds on the Internet) under various aspects (e.g. craft, industry, mass art, stereotype research, media analysis, advertising, etc.) examined. The methods used for this range from studying historical sources to various interview techniques and online analysis. Last but not least, the handling and use of images as a didactic tool and as an object of research within one's own academic discipline is critically examined and questioned within ethnological image research.

Image science and computer science

Computer scientist Peter Schreiber sees image science as “part of computer science in which visual information is involved in some way”. He sees interfaces to mathematics , logic , computer science , physics , physiology , psychology , printing , film and video technology , philosophy , history , art history , art studies , folklore, law and sociology . In addition to computer graphics , images also play an important role in computer science in the field of digital image processing . In addition, this discipline is also beginning to devote itself increasingly to the task of information visualization (graphic representation of data, especially large amounts of it).

As the IT counterpart of image science, all of these areas have recently been grouped under the name of “computer visualistics”. Insofar as the computer science, the conceptual provisions tries to bring its fields of application in a special (ie algorithmic) formalization, which makes it possible to let the argumentative relationships used in the application automatically play as cases of a computer system that reflects Computational many important aspects of the general image science in its own way and can in this way also contribute to the conceptual clarification within image science.

Disciplinarity

Extension and application areas of a possible university discipline under the title "Image Science" - the first professorship for "Comparative Image Theory" was established in 2001 by Joachim Verspohl at the University of Jena and occupied by Lambert Wiesing , the first professorship for the nomination "Image Science" in 2005 at the Danube University staffed by Oliver Grau - are wide-ranging and could theoretically range from the analysis of imaging processes in medicine to the design of advertising materials; In terms of concept, it could include and theoretically bring together all subjects that deal with images or generate knowledge on the basis of visual media.

In addition, it could include all everyday, artistic or media aspects of image design, use and perception and thus deal with questions that have long been the subject of art history and archeology, anthropology, psychology, aesthetics, cultural studies, visual communication and design.

Therefore, an “image science” must undertake a more detailed or more general definition of its tasks (see also “program”). This could for example consist of the

  • Further development of working tools for (historical) comparative image analysis,
  • Development of design theory for new media,
  • Development of database and archiving strategies for visual media products,
  • Analysis of imaging processes,
  • Deepening interdisciplinary research in the field of visual (especially pictorial) thought, learning and understanding processes,
  • Research into historical and current relationships between the production, reception, adaptation, manipulation and distribution of images,
  • Theoretical specification of the relationship between art and image.

Program

A contemporary interdisciplinary image science must define the research subject “image” as broadly as possible. A comprehensive interdisciplinary exchange of theories and methods is necessary here.

The still to be found qualitative separation of art images and images of everyday life, as it is common compared to images in mass media or the Internet , should generally be abolished. The “dividing lines between images of art and images of consumption” are to be rejected when researching the phenomenon of “image”.

The aim of contemporary visual science is to define the visual as a specific form of communication. According to Schirra 2005, the focus is not on the analysis of certain images or pictorial phenomena, but on the broader research interest that is based on these analyzes.

However, no object is an image in and of itself, but is used as such within a specific context of handling and function. For image science this means, on the one hand, that it has to address fundamental questions of the ability to use images; the concrete application of this ability in a certain situation, which defines and defines the specific meanings of images in the respective functional context, plays an important role here. On the other hand, it follows that the historical changes in the image and its concept must be taken into account, as these are derived from concrete artistic practices, economic-legal discourses or theological and political conflicts about images and image sovereignty, which also define which individual or social status it is Image has what functions it fulfills and what significance it ultimately has in its research (Bruhn 2003).

Systematics

The folklorist and ethnologist Nils Arvid Bringéus proposed the following structure of the subject areas of (ethnological) image research in his book "Volkstümliche Bilderkunde" in 1982 :

  • "Image message" (religious messages, moral messages, social messages)
  • "Image structure" (image sequences, individual images, image pairs, contrast images)
  • "Image change" (transfer of images, modernization of images, local and social adaptation of images, function exchange of images)
  • "Image manipulation" (archaization, embellishment, plagiarism, compilations, fabulates, quotations)
  • "Image stability and image variation" (image variants, image messages, image structure)
  • "Image and knowledge search" (historical context, formal language, factual analysis, motive analysis, functional analysis)
  • “Image viewer and image messages” (different interpretations and uses of the same image by different image viewers, e.g. the student - an album image; the teacher - an identification image; the art critic - a propaganda image; the ethnologist - a reflection of human culture).

Bringéus' approaches to a system of ethnological image research differ only insignificantly from the description of the subject area of ​​general image science by the philosopher Klaus Sachs-Hombachs. Klaus Sachs-Hombach describes this subject area as "a discipline in which images and image uses are described in all relevant areas and aspects and, as far as possible, explained by suitable fundamental principles". It proposes for this purpose - along the lines of linguistics and semiotics - a Grobaufgliederung of visual studies in the areas of image syntax , image semantics and image pragmatism before.

At the present time, basic questions of image science could be programmatically: “What is an image?” “How and for what are images used?”, “How do images determine people's everyday lives?” And “What characterizes the ability to use images at all? ".

Visual studies

The so-called visual studies , often synonymous with visual culture , are a relatively young humanities discipline that is dedicated to the phenomena of the visual in modern cultures . The visual studies emerged from the cultural studies based on the analysis of popular culture , which arose in the Anglo-Saxon area at the end of the 20th century . They first established themselves in the US in the 1990s , but are now attracting increasing attention in Germany too.

In view of the ambivalent translation of the term “picture” into English (picture / image) and because of the specific discussion situation, the English-language literature is currently changing over to grouping the German contributions under the German term “Bildwissenschaft”.

Media and art , but also more generally the cultural aspects of vision, form the diverse field of work in this research direction. The visual studies cover a large time frame and go beyond modern or post-modern . Some representatives (including James Elkins) emphasize the importance of scientific aspects.

Courses on the subject of visual studies are offered in the areas of art history , English , cultural studies , ethnology or anthropology , sociology , history , philosophy , semiotics , visual communication , film and media studies .

Course offers

  • Danube University, Department for Image Science, Krems, Lower Austria, Austria: Image Science (MA), specialization in visual skills / photography / exhibition design / digital collection management (part-time); MedienKunstGeschichte MA (part-time, in English)
  • Otto von Guericke University Magdeburg, Magdeburg, Saxony-Anhalt, Germany: Media Education: Visual Culture and Communication (BA, MA)
  • Georg August University, Göttingen, Lower Saxony, Germany: Image competence as a key qualification (BA)
  • University of Basel, Basel, Switzerland: Art History and Image Theory (MA)

See also

Literature (selection)

Essays
  • Doris Bachmann-Medick : "Iconic Turn." In: Dies .: Cultural Turns. New orientations in cultural studies . 3., rework. Rowohlt, Reinbek 2009, ISBN 978-3-499-55675-3 , pp. 329-380 (EA Rowohlt 2006).
  • Elize Bisanz : "Peirce's Semeiotic Concept of designing the world through signs." In: Jana Milev (Ed.): Design-Anthropology . Peter Lang Verlag, Frankfurt am Main 2013.
  • Horst Bredekamp : image science. In: Metzler Lexikon Kunstwissenschaft. 2nd Edition. Metzler, Stuttgart 2011, ISBN 978-3-476-02251-6 (EA Stuttgart 2003).
  • Horst Bredekamp, Jörg Trempler : "Image et art." In: Laurent Gervereau (Ed.): Dictionnaire mondial des images . Éditions Nouveau Monde, Paris 2006, ISBN 2-84736-185-5 .
  • Matthias Bruhn (Ed.): “'Visibility of History'. Contributions to a historiography of images. ”In: Historisches Forum. Vol. 2 (2005), Issue 5, ISSN  1612-5940 ( all articles in full text ).
  • Oliver Grau : “Images of art and science: On the way to image science.” In: Gegenworte: Zeitschrift für den Disput über Wissen , Berlin 2002, pp. 25–30.
  • Oliver Grau: "Print graphics to media art: New analytical instruments for historically comparative image research." In: Rundbrief Fotografie , Vol. 21 (2014), no. 1/2 [NF 81/82], pp. 108-116.
  • Thomas Hensel: Art studies as image studies. In: Thomas Hensel / Andreas Köstler (ed.): Introduction to art history. Reimer, Berlin 2005, ISBN 3-496-01271-4 , pp. 73-94.
  • Jörg RJ Schirra: “Conceptual genetic considerations in image science. Five theses . ” In: Klaus Sachs-Hombach (Ed.): Image and Medium. Art history and philosophical foundations of interdisciplinary image science . Herbert von Halem, Cologne 2006, ISBN 3-938258-22-5 , pp. 197-215. ( E-text )
  • Jörg RJ Schirra, Klaus Sachs-Hombach: “Image and word. A comparison from an image-scientific point of view. ”In: Essener Linguistic Scripts - electronic. (ELiSe), Vol. 6 (2006), Issue 1, ISSN  1617-5425 , pp. 51-72. ( E-text )
Monographs
  • Emmanuel Alloa: The translucent image. Contours of a media phenomenology . diaphanes, Zurich 2011, ISBN 978-3-03734-119-3 .
  • Emmanuel Alloa, Francesca Falk (Ed.): Image Economics. Households with visibility . Fink, Munich 2013, ISBN 978-3-7705-5532-1 .v
  • Christoph Asmuth : Pictures on pictures, pictures without pictures. A new theory of imagery . Scientific Book Society, Darmstadt 2011, ISBN 978-3-534-24181-1 .
  • Hans Belting : Image Anthropology. Designs for an image science. 4th edition. Fink, Munich 2011, ISBN 978-3-7705-5221-4 (EA Munich 2001).
  • Hans Belting (Ed.): Image questions. The image sciences on the move. Fink, Munich 2007, ISBN 978-3-7705-4457-8 .
  • Elize Bisanz: Overcoming the iconic. Cultural perspectives in visual studies . transcript Verlag, Bielefeld 2010.
  • Elize Bisanz (Ed.): The picture between cognition and creativity. Interdisciplinary approaches to pictorial thinking . transcript Verlag, Bielefeld 2011.
  • Gottfried Boehm (Ed.): What is a picture? Answers in pictures; Gottfried Boehm on his 70th birthday . Fink, Munich 2012, ISBN 978-3-7705-5460-7 (EA Stuttgart 1994).
  • Nils Arvid Bringéus : Bildlore. Studiet av folkliga Bildbudskap . Gidlunds, Södertälje 1981, ISBN 91-7021-326-7 .
    • German: Volkstümliche Bilderkunde. Formal characteristics of image content . Callwey, Munich 1982, ISBN 3-7667-0635-7 .
  • Horst Bredekamp: Art as a Medium of Social Conflict. Image battles from late antiquity to the Hussite revolution. Suhrkamp, ​​Frankfurt am Main 1975, ISBN 3-518-00763-7 (plus dissertation, University of Marburg 1974).
  • Matthias Bruhn: The picture. Theory - History - Practice . Akademie-Verlag, Berlin 2008, ISBN 978-3-05-004367-8 .
  • Matthias Bruhn: Image management. Management and exploitation of visibility . VDG, Weimar 2003, ISBN 3-89739-169-4 .
  • Kathrin Busch, Iris Därmann (ed.): Image theories from France. A manual . Fink, Munich 2011, ISBN 978-3-7705-5013-5 .
  • Karl Clausberg, Elize Bisanz, Cornelius Weiller (eds.): Expression - Radiance - Aura. Synesthesia of inspiration in the media age . Hippocampus Verlag, Bad Honnef 2006, ISBN 3-936817-22-7 .
  • Christian Doelker : A picture is more than a picture. Visual competence in the multimedia society . Klett-Cotta, Stuttgart 1999, ISBN 3-608-91654-7 (EA Stuttgart 1997).
  • James Elkins: The Domain of Images. University Press, Ithaca 2001, ISBN 0-8014-8724-2 (EA Ithaca 1999).
  • James Elkins, Gustav Frank, Sunil Manghani: Farewell to Visual Studies. University Park, Pa .: Pennsylvania State University Press 2015. ISBN 978-0-271-07077-3
  • Gustav Frank, Barbara Lange: Introduction to Image Science. Images in visual culture . Scientific book club, Darmstadt 2010, ISBN 978-3-534-20937-8 .
  • Helge Gerndt , Michaela Haibl (ed.): The everyday picture. Perspectives of a folklore image science . Waxmann, Münster 2005, ISBN 3-8309-1553-5 .
  • Anke Graneß, Sergej Seitz, Georg Stenger (eds.): Facets of contemporary image theory. Intercultural and interdisciplinary perspectives (Intercultural Philosophy Series), Wiesbaden 2018, ISBN 978-3-658-22826-2
  • Oliver Grau: Virtual Art in the Past and Present. Visual strategies . Reimer, Berlin 2002, ISBN 3-496-01230-7 (also dissertation, University of Berlin 1999).
    • English: Virtual Art. From Illusion to Immersion . MIT-Press, Cambridge / Mass. 2003.
  • Oliver Grau (Ed.): Imagery in the 21st Century . MIT-Press, Cambridge 2011, ISBN 978-0-262-01572-1 .
  • Bruno Haas: The iconic situations. Wilhelm Fink, Paderborn 2015, ISBN 978-3-7705-5870-4 .
  • Christoph Hamann : Visual History and History Didactics. Image competence in historical-political education . Centaurus, Herbolzheim 2007, ISBN 978-3-8255-0687-2 (additional dissertation, TU Berlin 2007).
  • Anne von der Heiden : per imaginem. Imagery and sovereignty (sequence). Diaphanes Verlag, Zurich 2005, ISBN 3-935300-81-6 .
  • Marlies Heinz , Dominik Bonatz (eds.): Image - power - history. Visual communication in the ancient Orient . Reimer Verlag, Berlin 2002, ISBN 3-496-01258-7 .
  • Thomas Hensel: How art history became an image science. Aby Warburg's graphics. Akademie-Verlag, Berlin 2011, ISBN 978-3-05-004557-3 (also dissertation, University of Hamburg 2006).
  • Donald D. Hoffman: Visual Intelligence. How we create what we see . Norton Books, New York 2000, ISBN 0-393-31967-9 (EA New York 1998).
    • German: Visual Intelligence. How the world is created in the head . dtv, Munich 2003, ISBN 3-423-33088-0 (EA Munich 2000).
  • Torsten Hoffmann, Gabriele Rippl (Ed.): Pictures. A (new) leading medium? Wallstein, Göttingen 2006, ISBN 3-8353-0089-X .
  • Tom Holert (Ed.): Imagineering. Visual culture and politics of visibility . Edition Oktagon, Cologne 2000, ISBN 3-89611-094-2 .
  • Tom Holert: Governing in image space . b-books, Berlin 2008, ISBN 978-3-933557-79-7 .
  • Daniel Hornuff : Image science in conflict. Belting, Boehm, Bredekamp, ​​Burda . Fink, Munich 2012, ISBN 978-3-7705-5236-8 .
  • Jost Philipp Klenner, Jörg Probst (Hrsg.): History of ideas in image science. Seventeen portraits. Suhrkamp, ​​Frankfurt am Main 2009, ISBN 978-3-518-29537-3 .
  • Thomas Knieper, Marion G. Müller (Ed.): Communication visually. The image as an object of research - basics and perspectives . Herbert von Halem, Cologne 2001, ISBN 3-931606-41-4 .
  • Thomas Knieper, Marion G. Müller (ed.): War Visions. Image communication and war . Herbert von Halem, Cologne 2005, ISBN 3-931606-83-X .
  • Klaus Krüger : The picture as a veil of the invisible. Aesthetic Illusion in Early Modern Art , Munich 2001, ISBN 978-3-7705-3461-6
  • Klaus Krüger, Alessandro Nova : Imagination and Reality. On the relationship between mental and real images in early modern art . Verlag von Zabern, Mainz 2000, ISBN 3-8053-2716-1 .
  • Christa Maar , Hubert Burda (Ed.): Iconic Turn. The new power of images . DuMont, Cologne 2006, ISBN 3-8321-7995-X (EA Cologne 2004; based on the lecture series Iconic Turn. The new image of the world ).
  • Nicholas Mirzoeff (Ed.): The Visual Culture Reader. Routledge, New York 2013, ISBN 978-0-415-62055-0 (EA London 1998).
  • WYD Mitchell : Image Theory. Suhrkamp, ​​Frankfurt am Main 2008, ISBN 978-3-518-58494-1 .
  • Marion G. Müller: Basics of visual communication. Theoretical approaches and analysis methods. 2nd Edition. UVK, Konstanz 2013, ISBN 978-3-8252-2414-1 (EA Konstanz 2003).
  • Kristóf Nyíri : Time and Image. Philosophical studies on the reality of becoming . Transcript, Bielefeld 2012, ISBN 978-3-8376-1904-1 .
  • Gerhard Paul : Visual History. A study book . Vandenhoeck & Ruprecht, Göttingen 2006, ISBN 3-525-36289-7 .
  • Wolfram Pichler, Ralph Ubl: Image theory for an introduction . Hamburg: Junius, 2016. ISBN 3-88506-074-4 .
  • Uwe Pörksen : World market for images. A philosophy of the Visiotype . Klett-Cotta, Stuttgart 1997, ISBN 3-608-93407-3 .
  • Ingeborg Reichle, Steffen Siegel, Achim Spelten (eds.): Related images. The questions of image science. Berlin 2008, ISBN 978-3-86599-034-1 (EA Berlin 2007).
  • Marius Rimmele, Bernd Stiegler: Visual Culture for an introduction . Junius, Hamburg 2012, ISBN 978-3-88506-060-4 .
  • Marius Rimmele, Klaus Sachs-Hombach, Bernd Stiegler (eds.): Bildwissenschaft und Visual Culture. transcript, Bielefeld 2014, ISBN 978-3-8376-2274-4 .
  • Klaus Sachs-Hombach (ed.): Image and medium. Art history and philosophical foundations of interdisciplinary image science . Herbert von Halem, Cologne 2006, ISBN 3-938258-22-5 .
  • Klaus Sachs-Hombach (ed.): Image science: disciplines, topics, methods . Frankfurt aM: Suhrkamp, ​​2005. ISBN 3-518-29351-6 .
  • Klaus Sachs-Hombach (Ed.): Image theories: Anthropological and cultural foundations of the visualistic turn . Frankfurt aM: Suhrkamp, ​​2009. ISBN 3-518-29488-1 .
  • Klaus Sachs-Hombach, Rainer Totzke (Ed.): Pictures - Seeing - Thinking. On the relationship between conceptual-philosophical and empirical-psychological approaches in visual research . Herbert von Halem, Cologne 2011, ISBN 978-3-86962-006-0 .
  • Klaus Sachs-Hombach: The image as a communicative medium. Elements of a general image science . 3rd, revised edition. Herbert von Halem, Cologne 2013, ISBN 978-3-86962-084-8 (EA Cologne 2003).
  • Klaus Sachs-Hombach (ed.): Image and medium. Art history and philosophical foundations of interdisciplinary image science . Herbert von Halem, Cologne 2006, ISBN 3-938258-22-5 .
  • Claus Schlaberg : The structure of picture concepts on sign concepts. With an outlook on central characteristics of the visual arts . Peter Lang Verlag, Frankfurt am Main 2011 (also dissertation, TU Berlin 2011).
  • Martin Schulz: Orders of the pictures. An introduction to image science. Fink, Munich 2009, ISBN 978-3-7705-4206-2 (EA Munich 2005).
  • Martin Schuster: How pictures work. Psychology of art . DuMont, Cologne 2011, ISBN 978-3-8321-9358-4 (EA Cologne 2002).
  • Sergej Seitz, Anke Graneß, Georg Stenger (eds.): Facets of contemporary image theory: intercultural and interdisciplinary perspectives . Springer 2018. ISBN 3658228261 .
  • Marita Sturken , Lisa Cartwright: Practices of Looking: An Introduction to Visual Culture. New edition. Oxford University Press, New York 2005, ISBN 0-19-874271-1 (EA New York 2001).
  • Martin Warnke (ed.): Iconoclasm. The destruction of the work of art . New edition. Fischer Taschenbuch Verlag, Frankfurt am Main 1988, ISBN 3-596-27407-9 (EA Munich 1973).
  • Lambert Wiesing : The visibility of the picture. History and Perspectives of Formal Aesthetics . Reinbek near Hamburg 1997, ISBN 978-3-593-38636-2 .
  • Lambert Wiesing: Let's see. The practice of showing . Frankfurt am Main: Suhrkamp 2013, ISBN 978-3-518-29646-2 .
  • Beat Wyss : From the image to the art system . Walther König, Cologne 2006, ISBN 3-86560-030-1 (2 volumes).
Magazines
  • Horst Bredekamp, Matthias Bruhn , Gabriele Werner : Image worlds of knowledge. Kunsthistorisches Jahrbuch für Bildkritik , Vol. 1 (2003) ff. ISSN  1611-2512
  • Klaus Sachs-Hombach et al. (Ed.): IMAGE. Journal of Interdisciplinary Image Science / Journal for interdisciplinary image science. Vol. 1 (2005) ff. ISSN  1614-0885

Web links

Individual evidence

  1. ↑ Jörg RJ Schirra & Klaus Sachs-Hombach 2006.
  2. ↑ a b c d e f Helge Gerndt, Michaela Haibl (ed.): The everyday picture. Perspectives of a folklore image science . (= Munich contributions to folklore; Volume 33) Waxmann, Münster et al. 2005.
  3. ↑ a b c d e f Nils Arvid Bringéus: Volkstümliche Bilderkunde. Callwey Verlag, Munich 1982.
  4. ↑ Klaus Sachs-Hombach 2005.
  5. ^ A b Hans Belting: Bild-Anthropologie. Designs for an image science. Fink, Munich 2001.
  6. ^ Horst Bredekamp: Bildwissenschaft. In: Metzler Lexikon Kunstwissenschaft. Metzler, Stuttgart 2003.
  7. ↑ Hans Belting: The End of Art History? Deutscher Kunstverl., Munich 1983.
  8. ↑ See Oliver Grau: New Perspectives for the (Digital) Humanities. In: G. Ulrich Großmann, Petra Krutisch (Ed.): The Challenge of the Object, Congress Proceedings of the 33rd Congress of the International Committee of the History of Art. T. 1-3. Nuremberg 2013, pp. 990–994.
  9. ↑ See Lambert Wiesing: Foreword. In: Lambert Wiesing: The visibility of the picture. History and Perspectives of Formal Aesthetics. Campus, Frankfurt am Main / New York 2008, p. III.
  10. ↑ Lambert Wiesing: Foreword. In: Lambert Wiesing: The visibility of the picture. History and Perspectives of Formal Aesthetics. Campus, Frankfurt am Main / New York 2008, p. IV.
  11. ↑ Lambert Wiesing: Foreword. In: Lambert Wiesing: The visibility of the picture. History and Perspectives of Formal Aesthetics. Campus, Frankfurt am Main / New York 2008, p. IV.
  12. ↑ a b Jörg RJ Schirra: A discipline mandala for image science. Small provocation to a new subject. In: IMAGE. Vol. I 2005 (E-Text)
  13. ↑ Willibald Sauerländer 2004.
  14. ↑ Klaus Sachs-Hombach: The image as a communicative medium. Elements of a general image science. Cologne 2003.
  15. ↑ Gottfried Boehm (Ed.): What is a picture ?. Fink, Munich 1994.
  16. ↑ Jörg RJ Schirra & Klaus Sachs-Hombach 2006.
  17. ^ Danube University Krems - Department for Image Sciences.
  18. ^ Media Education Magdeburg - Visual Culture and Communication.
  19. ↑ Otto von Guericke University Magdeburg - Media Education: Visual Culture and Communication. ( Memento from September 29, 2007 in the Internet Archive )
  20. ^ Georg-August-Universität, Göttingen: Key qualification image competence. ( Memento from February 24, 2009 in the Internet Archive )
  21. ↑ University of Basel: Master's degree in Art History and Image Theory ( Memento from June 8, 2015 in the Internet Archive )