Miranda Fricker’s insightful work on epistemic injustice discusses two forms of epistemic injustice—testimonial injustice and hermeneutical injustice. Hermeneutical injustice occurs when the victim lacks the interpretative resources to make sense of her experience, and this lacuna can be traced down to a structural injustice. In this paper, I provide one model of how to fill the conceptual gap in hermeneutical injustice. First, I argue that the victims possess conceptual resources to make sense of their experiences, namely phenomenal concepts. Second, I (...) show how one might work the way up in a two-step process from a subjective, phenomenal concept to a novel, public concept. Finally, I discuss the conditions that have to be met for this process to be successful. The resulting model shows a way how the victims might alleviate hermeneutical injustice by developing novel concepts, given that the dominant group does not care about their predicament. (shrink)

In hindsight, it is primarily Susanne K. Langer’s theory of act, and only secondarily her theory of art, that is central to the conception of Vitality Semiotics. It focuses on affective, semiotically relevant forms that constitute our world experience, human social interaction, and ultimately art experience. Thus, this somewhat unusual distinction between these two aspects of Langer’s work is not only important for art and our understanding of the world, but can also be seen as fundamental to social interaction and, (...) furthermore, to the universal formation of culture(s). It is, as the article suggests, to be regarded as the basis of the conditio humana. (shrink)

In the light of a study of the di erence between political actors and ordinary citizens as language users, and based on three moral arguments (consequence-based, recognition-based, and complicity-based), we propose that democratic representatives have an imperfect duty to use gender-fair-language in their public communication. In the case of members of the executive, such as ministries, prime ministries, and presidents, such an imperfect duty could also be justi ed on democratic grounds. Their choice of using a gender-unfair language, we argue, (...) can cast doubts on the fundamental democratic commitment to respect the agency of all present and future citizens as potential participants in the law-making process. (shrink)

Viele unserer Bewusstseinszustände sind dadurch charakterisiert, dass es irgendwie für uns ist (Nagel 1974), in diesen Zuständen zu sein. In der Philosophie des Geistes werden derartige Zustände als ‚phänomenale Zustände‘ bezeichnet. ‚Phänomenale Begriffe‘ sind nun spezielle Begriffe, mittels derer wir uns auf phänomenale Zustände beziehen. Paradigmatische Beispiele für phänomenale Zustände, von denen wir einen phänomenalen Begriff besitzen können, sind das bewusste Erlebnis, die Farbe Blau zu sehen, den Klang einer Violine zu hören oder Schmerz zu fühlen. Zentral ist, dass sich (...) phänomenale Begriffe auf besondere Art und Weise auf diese Zustände beziehen – sie konzeptualisieren sie anhand ihrer subjektiven, phänomenalen Eigenschaften (d.h. anhand ihrer ‚Qualia‘). (shrink)

This special issue on affordances bases on the thesis, that all natural and artificial things inhere affordances that appeal to our cognitive system, and thus invite us to look at them, perceive them, think about them, interpret them, and use them. The concept roots in the studies of the American psychologist James J. Gibson from the 1960s. According to him, "things" offer a certain range of possible activities depending on their form, time patterns, and material qualities, thus becoming part of (...) human-thing-interactions. However, affordances can also be culturally trained. This aspect has been intensively discussed subsequently within different disciplines (e.g., Social Sciences, Design Studies). But only recently has the concept received attention in the field of Visual Culture Studies particularly through archaeological scholarship. (shrink)

We live in the age of postmodernism. What does that mean? With a call for essays, we asked for proposals for a better understanding. At the same time, we were looking for posts that show how the arts have processed and are still processing the change from the modern to the postmodern selfconception of man, which has been described by philosophy since the 1950s to today. This special issue thus demonstrates how architects, designers and artists have reacted to the new (...) socio-politically relevant concepts of postmodernism. -/- With contributions of Simone Kraft on architecture, Arianna Fantuzzi on self-portraits, Stephan Schmidt-Wulffen on visual arts in the 1980s, Anna Kristensson on design, Iris Laner on postmodern theory and the work of Jeff Wall, Christiane Wagner on postmodern avatars and finally, I contributed with a text on the deconstruction of the familiar in postmodern theory and the work of Karin Kneffel. (shrink)

The cognitive phenomenology debate centers on two questions. (1) What is an apt characterization of the phenomenology of conscious thought? And (2), what role does this phenomenology play? I argue that the answers to the former question bear significantly on the answers to the latter question. In particular, I show that conservatism about cognitive phenomenology is not compatible with the view that phenomenology explains the constitution of conscious thought. I proceed as follows: To begin with, I analyze the phenomenology of (...) our sensory experiences and argue for a _weak phenomenal holism_ (WPH) about sensory phenomenology. Next, I explore how WPH can be integrated into the competing accounts of cognitive phenomenology. I argue that, given WPH, conservatism turns out to reduce phenomenal character to a merely concomitant phenomenon that has no explanatory power when it comes to the constitution of conscious thoughts. In contrast, liberalism is explanatorily more powerful in this respect. Finally, I propose a new version of liberalism that explains how phenomenology constitutes conscious thoughts and fits best with WPH. (shrink)

The phenomenal concept strategy is considered a powerful response to anti-physicalist arguments. This physicalist strategy aims to provide a satisfactory account of dualist intuitions without being committed to ontological dualist conclusions. In this paper I first argue that physicalist accounts of phenomenal concepts fail to explain their cognitive role. Second, I develop an encapsulation account of phenomenal concepts that best explains their particularities. Finally, I argue that the encapsulation account, which features self-representing experiences, implies non-physical referents. Therefore, the account of (...) phenomenal concepts that has strong explanatory power does not explain away dualist intuitions—rather, it reinforces dualism. (shrink)

The task of the congress of the German Society for Semiotics in Passau / Germany in September 2017 was to explore and describe "boundaries". A total of 12 sections of the society wrote a call for paper for this purpose. With the present anthology it has to be made evident, how concretely also the boundaries of the own, the other and the foreign can be negotiated via pictures. -/- Papers: -/- - Martina Sauer: Ikonische Grenzverläufe. Szenarien des Eigenen, Anderen (...) und Fremden im Bild. Eine Einführung, 4 - Barbara Margarethe Eggert: Das andere Geschlecht im Altarraum – exklusive Textilien als inklusive Medien. Studien zum Gösser Ornat, 7 - Birke Sturm: Politik der Schönheit: Zur Konstruktion einer ›wissenschaftlichen‹ Bildästhetik schöner weiblicher Körper um 1900 am Beispiel des Gynäkologen Carl Heinrich Stratz, 22 - Melis Avkiran: Das rassifizierte Fremde im Bild. Zur Genese differenzbildender Konzepte in der Kunst des 15. Jahrhunderts am Beispiel des Malers Hans Memling, 40 - Leonie Licht: weiß zwischen schwarz zwischen weiß – Geschichten von Identität im Bild, 75 - Julia Austermann: Queere Interventionen im kommunistischen Polen – Krzysztof Jung und sein ›plastisches Theater‹, 91 - Sabine Engel: Tizians Porträt der Laura Dianti. Aneignung und Transformation zwischen Orient und Okzident, 111 - Anna Christina Schütz: Osman Hamdi Beys Türkische Straßenszene. Der Teppich als Verhandlungsort kultureller Identitäten im ausgehenden 19. Jahrhundert, 146 - Benjamin Häger, Claudia Jürgens: Ikonische Stadtstrategien. Das Fassadenplakat und die Musterfassade als Instrumente machtpolitischer Repräsentation, 175 - Irene Schütze: Fehlende Verweise, rudimentäre ›Markierungen‹: aufgeweichte Grenzverläufe zwischen Kunst und Alltag, 204 - Stefan Römer: Interesse an und in einem Bildarchiv für Migrant/innen und Flüchtlinge, 221 - Viola Nordsieck: Von der Fähigkeit, einen Stuhl zu ignorieren. A. N. Whiteheads Konzept der Wahrnehmung als symbolisierender Tätigkeit und die Art, wie wir Bilder als Bilder sehen, 239 - David Jöckel: Mythos und Bild. Roland Barthes’ Semiologie bildlicher Stereotypisierung, 255 -/- - Kurzbiographien der Autorinnen und Autoren, 274 - Impressum, 278. (shrink)

According to Smell Objectivism, the smells we perceive in olfactory experience are objective and independent of perceivers, their experiences, and their perceptual systems. Variations in how things smell to different perceivers or in different contexts raise a challenge to this view. In this paper, I offer an objectivist account of non-illusory contextual variation: cases where the same thing smells different in different contexts of perception and there is no good reason to appeal to misperception. My central example is that of (...) dihydromyrcenol, a substance that can smell both woody and citrusy depending on what other odourants one has recently been exposed to. I first argue that the subjects’ apparently conflicting reports about the way dihydromyrcenol smells are best understood as comparative characterisations of a smell. Given this understanding, different reports can be correctly made in response to perceiving the very same smell. I then argue that the phenomenal difference between the experiences subjects have across contexts can be explained compatibly with Smell Objectivism. On the account proposed, subjects perceive the very same smell but different qualities, notes, or aspects of it are salient to them, depending on the context of perception. I then consider how the proposed defence of Smell Objectivism can be adapted to other cases where the same thing is reported as smelling different in different contexts. (shrink)

In analyzing implicit bias, one key issue is to clarify its metaphysical nature. In this paper, I develop a novel account of implicit bias by highlighting a particular kind of belief-like state that is partly constituted by phenomenal experiences. I call these states ‘qualiefs’ for three reasons: qualiefs draw upon qualitative experiences of what an object seems like to attribute a property to this very object, they share some of the distinctive features of proper beliefs, and they also share some (...) characteristics of what Gendler calls ‘aliefs’. I proceed as follows: First, I develop a general theory of qualiefs. Second, I argue that implicit bias involves generic qualiefs that involve experiences that have been shaped by stereotypes. Elaborating on the particular content of a generic qualief, I explain why we are unaware of the bias even though it involves an experience. Third, I demonstrate that the qualief-model best explains the key features of implicit bias: it accounts for the biases´ implicitness and automaticity. Moreover, it elucidates how implicit bias can be insensitive to logical form and evidence, but at the same time it can serve as propositional input to further mental states. (shrink)

This paper is a contribution to the philosophical debate on visual blur from a relationalist perspective. At the same time, it offers a methodological reflection on the adequacy of explanations of phenomenal similarities and differences among perceptual experiences. The debate on seeing blurrily has been shaped by two implicit assumptions concerning our explanations of differences and similarities between experiences of seeing blurrily and other experiences. I call those assumptions into question, and argue that we do not need to provide a (...) unified explanation of the character of blurry experiences for our account to be adequate. The diversity of blurry experiences supports a different, pluralist approach to explanations of how things appear to subjects. (shrink)

1. Historically, our sense of smell has been deemed informationally impoverished, not very discerning, subjective, ineffable, and generally of little value (for an overview, see e.g., Barwich, 2020...

Smells are often said to be ineffable, and linguistic research shows that languages like English lack a dedicated olfactory lexicon. Starting from this evidence, I propose an account of how we talk about smells in English. Our reports about the way things smell are comparative: When we say that something smells burnt or like roses, we characterise the thing's smell by noting its similarity to the characteristic smells of certain odorous things (burnt things, roses). The account explains both the strengths (...) and limitations of our smell discourse, and has implications for philosophical discussions of the relation between language and appearances. (shrink)

The cognitive phenomenology thesis has it that conscious cognitive states essentially exhibit a phenomenal character. Defenders of ‘conservatism’ about cognitive phenomenology think that the phenomenology of thought is reducible to sensory phenomenology. In contrast, proponents of ‘liberalism’ hold that there is a proprietary, sui generis cognitive phenomenology. Horgan develops a morph-sequence argument to argue for liberalism. The argument is based on the conceivability of a cognitive phenomenology zombie, i.e. a man who does not understand Chinese but shares the behavior and (...) sensory phenomenology with his twin who does understand Chinese. I argue that the conceivability of a cognitive phenomenology-zombie fails to settle the debate between conservatives and liberals. The roots of the ineffectiveness of the argument lie in the diverse readings of sensory phenomenology which flesh out the relation between sensory phenomenology and concepts differently but explain the conceivability of the scenario equally well. The lesson to learn is that to adjudicate the debate about cognitive phenomenology, we first have to clarify the notion of sensory phenomenology. (shrink)

With a Call for Essays, the special issue Multimodality sought contributions that accept not only the material but also the body-bound dependence of media perception and understanding. To this end, contributions were included that shed light on both the structural and signifying potential of artistic works through multimodal analysis. Particular attention was paid to contributions that clarify how the structural features - the modes - of the arts, their perception, and their signifying potential in terms of content are interrelated and (...) how they are to be understood in communicative and thus socioculturally relevant terms. Thus, in addition to neuroscientific contributions, those from cultural anthropology, art history, image and art studies, and literary studies were included. -/- Articles -/- 8 Martina Sauer and Christiane Wagner - Introduction -/- 11 Giada Lombardi and Giuseppe Di Cesare - From Neuroscience to Art: The Role of ‘Vitality Forms’ in the Investigation of Multimodality -/- 25 Martina Sauer - Abstract - Affective – Multimodal: Interaction between Medium and Perception of Moving Images from the Viewpoint of Cassirer’s, Langer’s and Krois’ Embodiment Theories -/- 49 Göran Sonesson - The Secrets of Plastic Language Revealed: Multimodality, Polysemiosis, and Iconicity -/- 71 Natalia Igl - Making Sense of the Material: Multisensory Reader Involvement in Contemporary Multimodal Novels -/- 87 J. Philippe Thompson - Art is All: Proust’s Life Lessons Through Perception and Art -/- 107 Hans Dieter Huber - Philippe Parreno and the Exhibition as a Multimodal Aesthetic Experience -/- 135 Jörg U. Lensing - The Performing Human Being in a Media Interaction Space: Multi- and intermodal productions by the Düsseldorf Theater der Klänge (Theatre of Sounds) . (shrink)

In a historiographical and methodological comparison of Formal Aesthetics and Iconology with the method of Affordance, the latter is to be introduced as a new method in Visual Cultural Studies. In extension ofepistemologically relevant aspects relatedtostyle and history of the artefacts, communicative and furthermoreaction and decisionrelevant aspects of artefacts become important. In this respect, it is the share of artefacts in life that the new method aims to uncover. The basis for this concern is the theory and methodological tools of (...) Visual Semiotics, which I have already presented. A direct comparison of the three methods based on the same example should clarify the points of contact and the respective performance of the methods. For this purpose, theChrist among the Doctorsof Albrecht Dürer from 1506 will be used, which was already examined in 1905 and indirectly in 1915 by the prominent representative of Formal Aesthetics Heinrich Wölfflin,and in 1914 and finally in1943by the founder of Iconology Erwin Panofsky. With the new method thecommunicative-actionand decision relevant aspects and thus their share in life should be shown. (shrink)

To what extend is there a relevance of aesthetics for life? By postulating a non-discursive and emotional relevance of forms Cassirer, Langer and Krois open the door for this idea. -/- Inwieweit spielt die Ästhetik im Leben eine Rolle? Indem sowohl Cassirer, Langer und Krois eine nicht-diskursive und emotionale Relevanz von Formen unterstellen, öffnen sie die Türen für diese Idee.

The thesis that smells are objective and independent of perceivers may seem to be in tension with the phenomenon of perceptual variation. In this paper, I argue that there are principled reasons to think that perceptual variation is not a threat to objectivism about smells and is indeed integral to our perceptual relation to the objective world. I first distinguish various kinds of perceptual variation, and argue that the most challenging cases for the objectivist are those where an odourant smells (...) different in different conditions or to different perceivers but the odourant does not change, and there is neither misperception nor a simple failure to perceive a smell. I then argue that there is an independently plausible conception of olfactory experience on which even these challenging cases do not pose a threat to objectivism about smells. Following Kalderon’s work in the domain of colour perception, I argue that olfactory perception provides us with a partial perspective on the smells around us, where this perspective is constrained by the conditions of perception as well as by features of the perceiver. Within this framework, we can allow that perceivers with different sensitivities, or the same perceiver in different conditions, genuinely perceive the same objective smell even though this smell appears different to them. In turn, smells are best understood as qualitatively complex entities, different aspects of which can become perceptually available in different conditions and to different perceivers. (shrink)

The form of an action has a strong influence on the interaction between humans. According to their mood, people may perform the same gesture in different ways, such as gently or rudely. These aspects of social communication are named vitality forms by Daniel Stern, represent a mean to establish a direct and immediate connection with others. Indeed, the expression of different vitality forms enables us to communicate our affective states and at the same time the perception of these vitality forms (...) enables people around us to understand how we feel in that moment. In the last years of research, different fMRI studies have been carried out to investigate the neural correlates of vitality forms recognition and execution. Moreover, recent psychophysics studies conducted from our research group have demonstrated the presence of an affective contagion effect, during which vitality forms expressed by an agent affect the action perception and the motor response of the receiver. This means that vitality forms expressed by others can influence our mood positively or negatively, modulating as consequence our behavior. Note that vitality forms pervade our lives in a continuous manner and thus they are not expressed and perceived only during social interactions. For example, when we observe an artistic representation at the theatre, the dynamic postures of dancers, together with an alternation of acceleration and deceleration in their movements, communicate to us different affective states. Also when we are in a museum in front of a painting, lines, colors and shapes used by the artist can elicit in us different sensations and modify our attitude. In this view, with the aim to extend the concept of vitality forms from neuroscience and psychology to other disciplines of study, we dedicate part of this review to discuss how art, in all its forms, can be considered a pure expression of vitality forms. (shrink)

Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on (...) a similar point supports this analysis. - I - Unbestritten bis heute gilt, formwissenschaftliche und ikonologische Methoden scheinen sich grundsätzlich auszuschließen, da die ersteren auf ahistorischen und die letzteren auf historischen Grundlagen aufbauen. Dem entgegen soll mit diesem Beitrag gezeigt werden, wie insbesondere die Forschungen Susanne K. Langers und ergänzend diejenigen von John M. Krois eine Annäherung beider Positionen ermöglichen. (shrink)

According to the neo-Kantian and cultural anthropologist Ernst Cassirer, man always interacts with nature. This assumption forms the basis for his philosophical approach to the Philosophy of Symbolic Forms of 1929. It is based on the thesis that we do not conceive nature as objects (‘Ding-Wahrnehmung’), but immediately feel and suffer nature through the so-called ‘perception of expression’ (‘Ausdrucks-Wahrnehmung’). Thus, our understanding of the world is based on interaction with nature, because feeling and suffering depend on something we feel and (...) suffer about. In conclusion, Cassirer developed already a theory of Enaktivismus, embodiment, and respectively to modern film theories of immersion. The thesis of the following paper is based on these findings of Cassirer and states that that there is no dichotomy between nature and man. (shrink)

In this paper, I outline a disjunctivist proposal for understanding the intentionality of perceptions and hallucinations within a naïve realist framework. For the case of genuine perceptual experience, naïve realists can endorse a version of the view that their intentionality is phenomenally-grounded: perceptual experiences have intentionality in virtue of being relations of conscious acquaintance to aspects of the mind-independent environment. By contrast, hallucinations have intentionality dependently or derivatively, in virtue of their indiscriminability from, or similarity with respect to, perceptual experiences. (...) Within this proposal, naïve realists can allow that perceptions and hallucinations have a property in common – that of being intentionally directed at apparently mind-independent entities – whilst having wholly different metaphysical natures. (shrink)

Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 -- I -- Do have pictures an impact on future? Yes, say theories of embodiment by making perceptual foundations in place of representational arrangements responsible for it. -- I -- Wirken sich Bildern auf die Zukunft aus? Ja sagen Verkörperungstheorien und machen dafür weniger Repräsentationsmodelle als Wahrnehmungsweisen verantwortlich.

Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 - - I - - How do we perceive the world and pictures? The book is based around the hypothesis that we initially perceive the world as well as pictures by feelings and that there is a direct connection between the two. By debating fascination and horror, such as can be triggered by Anselm Kiefer´s Deutschlandbilder, the author discusses their consequences and conclusions for our cultural self-perception. The author develops a (...) comprehensive theory on image and culture which is new in this field of research and also includes the special status of the art. (shrink)

How is it possible that emotions in the community can be influenced by media? According to the paper’s concept, this is only understandable if we accept with Marshall McLuhan that media and the human body are not separable. There is no divide. The medium is the message expressed through the body/human being. This has preconditions, because the connection must be based on an analog principle that serves as the transmitter. This lies in non-discursive affectively relevant forms and an equally affectively (...) evaluative mode of perception, as empirical research now confirms. On this basis, as Daniel N. Stern shows, people operate “with vigorous goal-directedness to assure social interactions.” This points to the second premise, that every body/human being – infallibly – perceives a promise in communion with others, namely that of happiness, security, and community. This concept has far-reaching implications for how communities understand themselves, as the research of poststructuralists and frame theorists demonstrates, and as the trial and death of Socrates in ancient Athens attests. (shrink)

Vorbemerkungen: Die Exponenten der spekulativen Ästhetik in der Mitte des 19. Jahrhunderts vertreten die Ansicht, dass eine Begegnung mit den verschiedenen Gegenstandsbereichen der Welt und unsere Einordnung in diese Weltbezüge nur gelingen kann, wenn nicht alles rein zufällig und verschieden ist, sondern vielmehr in einer alles übergreifenden Einheit zusammengehört und einer höheren Idee folgt. […] [Denn] das Schöne steht für den höheren Sinn von allem, was ist und geschieht. In Übereinstimmung mit diesem Grundsatz, jedoch auf völlig anderen Grundlagen, kommen zu (...) jener Zeit Vorstellungen auf, in denen es um den konkreten Nachweis des Schönen, Wahren und Guten in allem geht und damit darum, den betreffenden Wert der Dinge aus ihnen selbst abzuleiten. Es sind die Vertreter der Formwissenschaft, die im Sinne einer exakten Wissenschaft danach streben, diesen Nachweis des Wertes eines jeden (und von allem) aus dem Gegebenen selbst zu erschließen. […]. (shrink)

Aesthetics versus Art History? Ernst Cassirer as Mediator in an ongoing Controversy on the Relevance of Art for Life. Against the background of Ernst Cassirer’s cultural philosophy, art studies are to be classified as cultural studies. Central to this is Cassirer’s philosophy as the basis for answering a question that has been posed by the methods of formal aesthetics and iconology since the 19th century but is still unanswered today, namely the question of the relevance of the arts for life. (...) In this way, aesthetics/Kunstwissenschaft and art history gain a new meaning as cultural studies beyond their achievements in the humanities and in epistemology. (shrink)

What is reality? It is postmodern or poststructuralist philosophers like Roland Barthes, who realized that it only seems that the media present reality in the form of facts, because they actually spread myths. Accordingly, Jacques Derrida made it clear that communication via media is not based on logic, but is characterized by a significant “différance” between a “marque” (trace) of the past and the expectations of the future. Both agreed, that the initial misunderstanding of the concept of reality must be (...) uncovered or "deconstructed". This is more than necessary for them, because media, be it pictures or language, in truth convey values that are culturally and socially significant. They ‘iterate’ these values subliminally, because what shows up are only placeholders and thus mere forms (“structures of graphematic”) that are superficially realised as facts (“stereotypes”). In this way, according to Barthes, we all accept without question the values hidden behind them, so that they can gain a normative power that unconsciously guides our thinking, our decisions and our actions. Afterwards, it is Judith Butler who critically asked: How can we ever escape from this? Given the power of the subliminal dominant discourses, she saw the only effective solution “im Umdeuten” (in reinterpretation) of their subliminal values. In order to finally escape this “parasitic existence at the ritual”, the media philosopher Walter Benjamin already suggested to trigger "Chockwirkungen” (shock effects) in the viewer. It is the German painter Karin Kneffel, so it shall be shown, who has realized this with her series Fruits and Interiors in the most beautiful photorealistic strategy. (shrink)

Neither the art historians Panofsky and Warburg nor the philosopher Cassirer had any interest with their cultural-historical research in fact-based, historical questions. An approach that had become common in the 19th century due to the loss of validity of the speculative aesthetics. On the contrary, instead of this substantial understanding as the documentary concept represents, these researchers focused on a functional understanding of art historical sources. Nevertheless, in contrast to this starting point, Panofsky invented a methodological procedure, the so-called iconological (...) method, which in turn led back to a documentary-focused historical analysis of artistic artefacts that is still recognized today. The goal is to rediscover the original background of Panofsky´s method. This should make it clear that the original idea of the image concept pursued by Warburg and Cassirer, which had been lost or obscured by the aftermath of National Socialism in Germany, can be made fruitful in a new light today. This path may open up iconology to “image science”/Bildwissenschaft and thus transform the former from a purely historical approach to an understanding relevant to cultural processes and thus to human action. (shrink)

Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...) common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

Do we communicate with pictures? If so, the text asks, what about their complex, dynamic appearances? Are they part of the communication process? By analysing a cover image of the journal Jugend from 1896 and by consulting the research on the logic of pictures (“Eigenlogik”) in Bildwissenschaft, Iconology and Cultural Anthropology these questions shall be persued. The analysis suggests, that instead of consenting the results of epistemological aesthetic research a new understanding of pictures shall be implemented: They can be considered (...) as parts of cultural semiotic processes. That means, it is not the view of something (epistemology) but the view of someone (culture) that is shown by the pictures. - I - -/- Kommunizieren wir über Bilder? Falls das zutrifft, stellt sich die Frage, ob daran auch deren komplexe dynamische Erscheinungsweise Anteil hat? Über die Analyse eines Titelblatts der Zeitschrift Jugend von 1896 und die Betrachtung der Forschungen zur Eigenlogik von Bildern in Bildwissenschaft, Ikonologie und Kultureller Anthropologie soll diesen Fragen nachgegangen werden. Die Auswertung veranlasst, sich von der klassischen, erkenntnisorientierten, ästhetischen Theorie zu distanzieren und sie als kulturtheoretische, semiotische Theorie neu zu fassen. Die Neuausrichtung wird im Verständnis des Gehalts der Bilder im medialen Transfer greifbar: Statt in einer Ansicht von etwas (Erkenntniswert), so eröffnet sich, liegt er in einer Ansicht über etwas (Meinung/Kulturwert). (shrink)

So many things have a meaning for us. How is it possible and how can we deal with it? In "gestures of attention" (rituals) we understand it, Hartmut Böhme says, and we produce it ourselves, Aby M. Warburg and Ernst Cassirer are suggesting. That means the producer and the recipient are responsible for their doing. -/- So vieles in unserem Leben hat für uns eine Bedeutung. Wie kommt das und wie können wir damit umgehen? In "Gesten der Zuwendung" (Rituale), so (...) Hartmut Böhme, erfassen wir diese und es sind wir selbst, die diese herstellen, wie es vertiefend Aby M. Warburg und Ernst Cassirer eröffnen. D.h. nicht nur der Produzent, sondern auch der Rezipient sind für ihr jeweiliges "Tun" verantwortlich. (shrink)

How does an audience receive a work of art? Does the experience only affect the viewer or does it have an effect and thus influence his or her actions? It is the cultural philosopher Ernst Cassirer and his successors in philosophy and developmental psychology as well as in neuroscience to this day who postulate that perception in general and perception of art in particular are not neutral in their origins but alive and thus meaningful. They assume that both are based (...) on analogous principles: in the perception of moving forms and spatial forms in the world and rhythms of forms, colors, light and shadow in art. In practice, this means that perception and its felt effects have an effect on the feelings of the viewer and thus help him to inform himself directly and intensively about the world through art. In contrast to this general epistemological aesthetic theory, which philosophers in particular accept, it is to be shown that this assumption must be redefined not with reference to the world, but with reference to art and design. For the latter, the approach will be extended to a semiotic theory. The background is that in contrast to the world, the designed forms and thus the designed intentions of the artist and designer or his client in relation to the chosen theme have an impact on the viewer and thus on culture and its communicative dynamics. (shrink)

The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic (...) feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. (shrink)

To relate theories of affordance and frame with the tradition of formal aesthetics, philosophical iconology and the life sciences (keyword Vitality Semiotics) is the starting point of the paper. According to this approach, the structural preconditions of images, as determined by materials, techniques and the composition of the design means, become essential. Through these structures, the producers are able to set impulses that become decisive for the interpretation of space and time or the "scene" as a dynamic event. Against the (...) social and cultural background of the recipients the "scene" gains a meaning to their life. This means to understand the productʼs conception and composition as an affordance which determines the framework of the reception conditions. The benefit of this approach lies in the identification of changes in the self-understanding and thus of trends in to new standards of societies. This is to be illustrated by Exekiasʼ drinking bowl around 540/30 BC in Munich. (shrink)

With the aim of teaching and practicing art for the good or moreover the better, Josef Albers proves to be an idealist. At the same time, he confirms with this conviction that art can also arouse the opposite. This conviction is already evident in the grammatical form of the term, which proves that art is functional or a technique for socio-cultural applications, whether good or bad. In the presentation of the political and philosophical background of this idea as well as (...) in the analysis of Josef Albers´s ´artistic research´ on the artistic means as cultural techniques, this assumption is to be proved by the essay. (shrink)

What distinguishes humans form animals? Acknowledging that humans are part of nature, that can process psychologically their affective-vital reactions to nature, and thus be held responsible for cultural processes, is the result of art historical, cultural-philosophical and life science research over the past two centuries. This line of argumentation led to the consideration that there must also be a connection between affective-psychological reactions and formal, a-historical mechanisms that are usually used by the arts. However, influenced by classical aesthetic theory, no (...) connection to culturally relevant communication processes has been established. It is the concern of the following scientific-historical study to establish this possible connection between the three in retrospect of research from the mid-19th century to the Hamburg circle around the art historian Aby Warburg, the philosopher Ernst Cassirer and the developmental psychologist Heinz Werner in the 1920s and the emergence of embodiment theories in the second half of the 20th century. (shrink)

Is it true that there is an analogy between modes of creation and such of perception? Respective to the cultural anthropological research of Ernst Cassirer, Susanne K. Langer and John M. Krois and by the analysis of a tape of the Swiss video-artist Pipilotti Rist this initial thesis of Formal Aesthetics shall be supported. - I - -/- Lässt sich die Behauptung stützen, dass zwischen Gestaltungsweisen und Wahrnehmungsweisen eine Analogie besteht? Aufbauend auf den kulturanthropologischen Forschungen von Ernst Cassirer, Susanne K. (...) Langer und John M. Krois sowie der Analyse eines Tapes der Schweizer Videokünstlerin Pipilotti Rist gilt es diese ursprünglich von der formalen Ästhetik aufgeworfene These zu untermauern. (shrink)

By observing processes of art perception two contradicting phenomena come to the fore: a feeling of closeness and distance at the same time. The phenomenologists Martin Heidegger and Bernhard Waldenfels describe this connection as a matter of being ("Seinsweise") of images, that allows new views of the world whereas the two cultural anthropologists Ernst Cassirer and Hartmut Böhme note that the connection between both can be seen as the basis of experience ("Erlebnisweise") of images and therefore serves for communication. Here (...) one can see, knowledge-oriented notions the former promote do not exclude semiotic notions the latter imply. (shrink)

The ability to form „images“ of our experiences with the world (imaging effect) and to adjust our drive and determination in accordance with those images (action effect) is what characterises men, as stipulated by Cassirer and subsequently confirmed by Langer and Krois. Special techniques are required to communicate to others the images of life and how we interpret them. The art as a technique does this masterly by presenting us the views of others on their experiences and wishes through aesthetic (...) experience. Therefore, it is necessary to analyse images not only with respect to their historical aspects based on experiences with the world but to emphasise their power to shape the future by their potential to affect our actions. - / - Die Fähigkeit „Bilder“ unserer Erfahrungen mit der Welt zu formen (Bildkraft) und unser Streben und Wollen (Tatkraft) nach ihnen auszurichten, das ist es, was den Menschen nach Cassirer – und nachfolgend auch nach Langer und Krois – auszeichnet. Voraussetzung dafür die Bilder des Lebens und das, was wir von ihnen halten, zu objektivieren und Anderen zu kommunizieren, bilden Techniken. Die Kunst als Technik ist darin eine Meisterin, indem sie uns über die ästhetische Erfahrung Anschauungen Anderer von ihren Erfahrungen und Wünschen, lebendig vor Augen zu führen vermag. Bei der Analyse von Bildern gilt es insofern nicht nur deren geschichtsträchtigen, auf Erfahrungen mit der Welt beruhenden Aspekte zu untersuchen, sondern vor allem auch deren zukunftsprägendes und damit unsere Tatkraft ansprechendes Potential. (shrink)

Do have pictures an impact on future? Yes, say theories of embodiment by making perceptual foundations in place of representational arrangements responsible for it. -/- Wirken sich Bildern auf die Zukunft aus? Ja sagen Verkörperungstheorien und machen dafür weniger Repräsentationsmodelle als Wahrnehmungsweisen verantwortlich.

This book is an anthology about transformation processes. It brings together contributions that were made during the 16th International Congress of the German Society for Semiotics 2021. Due to the Corona pandemic, it was finally not held in attendance at the TU Chemnitz, in Germany, but took place online. 11 sections with different focuses from archaeology, architecture, design, digital humanities, on the body, from the field of literature & youth and subcultures, media, fashion, environment, and carto/atlas semiotics and sign philosophy (...) had each published their own call for papers. -/- The focus of the IMAGE & Cultural study sections' call, published with the volume, was to understand images as agents - according to art and cultural studies scholar Aby M. Warburg - and to recognize and understand not only their potential for cognition, but also their potential for action. As an active part of culture, they not only convey it, but at the same time stimulate action. In this respect, images can be understood not only as documents and testimonies of collective history, but also as active carriers and repositories of affectively effective elements of communication. As agents of cultural transformation processes, images take on a status of their own within the human capacity for expression and action. The essays in this volume bear eloquent witness to this. (shrink)

In past decades, the subject atmosphere and mood has gone beyond the physio-meteorological and psychological scopes and become a new direction of aesthetics which concerns two sides of the same phenomenon. As the primary sensuous reality constructed by both the perceiving subject and the perceived object, atmosphere and mood are neither a purely subjective state nor an objective thing. Atmosphere is essentially a quasi-object pervaded by a specific affective quality and a ubiquitous phenomenon forming the foundation of our outer life (...) experiences, while mood is a quasi-subject pervaded by specific objective quality and thus a ubiquitous phenomenon forming the foundation of our inner life experiences. A practical dimension is thereby, from the outset, embedded in the consideration of both concepts. This is mainly characterized by actions and, correspondingly, ethical aspects, which concern the design and creation of atmosphere and thus the triggering of mood through works of art. Here, on the one hand, the process of artistic formation, long neglected in the European tradition, is given prominence as an aesthetic practice, and on the other hand, an interactive dialogue is effectively established between the artist, the work and the viewer. Due to the fact that atmosphere and mood, both as in-between, emphasize the interaction of the perceiver and the perceived from two sides, here the decisive question is: in what kind of environment do we live or participate and in what way do we experience it? The focus of aesthetics is now not on the conventional issue whether the environment is beautiful or gives us a sense of beauty, but on how the environment influences our feeling of being there (Befinden) through our own sensuality. Such an approach would contribute to a critical transformation in aesthetic methodology, namely from the ontological and/or epistemological what to the phenomenological and anthropological how. -/- The tension between atmosphere and mood, as revealed here, opens up a large space for exploring a new understanding of aesthetics. On this basis the special issue pursued to diversify this discussion on an international level. (shrink)

Do abstract paintings still make sense and if so what do they mean? By reducing the paintings to simple square blots as by Cézanne, to lines as by van Gogh and color traces as by Monet their meaning is fundamentally questioned. But by interpreting these compositions as effective forces or rather affective stimuli a new and different meaning becomes apparent. Landscapes are no longer introduced but made real in the aesthetic experience. Therefore aesthetics or rather aisthetics (perception) can be defined (...) as a notion of experience and knowledge. Thus the notion of an image gets a new understanding: it can be described as an "energetic system". (shrink)

This article starts from the assumption that there is a connection between art and language and responsibility. What is it based on? It follows on from the research of the Hamburg Circle in the 1920s by Ernst Cassirer and Aby M. Warburg, and was strengthened in the 2000s by Hartmut Böhme. Their joint starting point is the emotional life of human beings. Thus, they assume that already the perception is shaped by it and can be increased in rituals. Comparably hardly (...) noticed by us, it continues to have an effect in art and language and thus influences the recipient. From this derives the demand that both the one who speaks and the one who is creatively active bears responsibility for his or her doing. With the knowledge of the effect of art and language, however, the recipient is also required to take responsibility for his actions influenced by it. The article aims to show this connection, which is deeply rooted in the nature of human beings. -/- The article was originally published in German. It has now been translated by the author with the kind permission of the Evangelical Church in Germany. Additions were made only in the notes and in the bibliography. The concept for the text goes back to a conference of the Evangelical Academy of the Martin Luther City of Wittenberg (Saxony). On this basis, the author was invited to contribute to the publication of the Evangelical Church in Germany (EKD) Mitteilungen—Zur Erneuerung evangelischer Predigtkultur (Kirche im Aufbruch 5), edited by Kathrin Oxen and Dietrich Sagert. Leipzig: Evangelische Verlagsanstalt, 2013. The selection of the text for this issue of Art Style Magazine was based on one of the fundamental ideals of Metropolis, which sees itself as democratic and based on the responsibility of each member in dealing with art and language. (shrink)