Beschreibung:
Michael F. Zimmermann studierte Kunstgeschichte, Philosophie und Geschichte in Köln, Rom und Paris. 1985-1990 war er wissenschaftlicher Assistent an der FU Berlin und 1990-91 am deutschen Kunsthistorischen Institut in Florenz, von 1991 bis 2002 Zweiter Direktor am Zentralinstitut für Kunstgeschichte in München und 2002-2004 ordentlicher Professor für Kunstgeschichte der Neuzeit und der Gegenwart an der Université de Lausanne. Seither ist er Lehrstuhlinhaber für Kunstgeschichte der Katholischen Universität Eichstätt-Ingolstadt. Seine Forschungsschwerpunkte sind die Bildkünste des 19. und 20. Jahrhunderts, die Fachgeschichte und Kunstphilosophie.
Vision is not mere registration of what enters, via the gateway of our eyes, from the outside world into our inner consciousness. Understanding the act of seeing as mirroring the outside world in mental images overlooks its temporal aspect. From Berkeley to Helmholtz, from Goethe to Cézanne, new discourses based on the physiology of the sense organs lead to new conceptions of vision not only conceived of as a mental process, but as a cognitive activity. Even before Freud interpreted dreams, seeing was conceived of as accompanying our life even when we sleep. However, to understand even the stream of the sensations, we have to configure them in pictures. Since the 19th century, the media reflect about the confrontation of seeing as a diachronic activity and of perception as coded in synchronic images. The contributions to the volume investigate the opposition of the stream of sensations and the configuration of time - from early illustrations of plants to the avant-gardes, from gesture to cinema, from decapitation to dance, from David Hume to Bergson and Deleuze. The main objective is a critical examination of images rendering vision in motion, without reducing them to the temporality of narrative.
11 - 40 Introduction (Michael F. Zimmermann)43 - 68 Moving (Claude Imbert)69 - 108 Seeing (Michael F. Zimmermann)111 - 130 Vision in Locomotion (Ségolène Le Men)131 - 146 Poetic and Media-Oriented Perception in Post-Romantic Modernism (Christian Wehr)147 - 164 Objects at a Distance (Tobias Teutenberg)165 - 182 Synchronies of Violence (Carmen Belmonte)183 - 200 From Verticality to Horizontality (Nolwenn Mégard)201 - 220 Mapping the Eye (Christoph Wagner)221 - 234 Aesthetic Echoes in the Beholder's Eye? (Hanna Brinkmann, Laura Commare)235 - 254 Capturing Motion, Shaping Time (Fabienne Liptay)257 - 270 Edgar Degas's "Ballet class" (Christian Berger)271 - 286 Dancing Like Mondrian Paints (Anja Pawel)287 - 302 1913 (Ilaria Cicali)303 - 316 Pina Bausch's Choreography (Fabienne Brugère)317 - 334 Arabesque Vision (Alexander Schwan)337 - 360 Sculpture and Temporality (Catherine Chevillot)361 - 374 Configuring Poetic Time (Boris Roman Gibhardt)375 - 388 "Here, everything moves; nothing is dead here" (Sophie Goetzmann)389 - 410 Movement-Afterimages (Henning Schmidgen)411 - 426 The Physicality of Here and Now (Annika Schlitte)427 - 438 Run (Meg R. Jackson)439 - 450 "Whatever I Photograph, I Always Lose" (Florian Leitner)453 - 466 Printed Growth (Pia Rudolph)467 - 480 Catching a Glimpse through Time (Olga B. Özbek)481 - 494 The Media of 'In-Depth Perception' (Maria Grazia Messina)495 - 513 The Two Times of the Word (Caterina Toschi)515 - 529 The Temporal Dimension in Surrealist Paintings of the Late 1930s (Shindô Hisano)531 - 545 Carlfriedrich Claus's Speech Sheets 'Procedural Manifestation of New Relationships between Man and Woman' (Constanze Fritzsch)549 - 556 George Kubler and the Question of Time and Temporality (Hans-Jörg Rheinberger)557 - 573 Pathos on the Run (Dominik Brabant)575 - 590 Art as a Form of Time (Audrey Rieber)591 - 611 Henri Focillon's 'The Life of Forms', "Forms in the Realm of Time," and George Kubler's 'The Shape of Time' (Gottfried Kerscher)613 - 630 George Kubler's 'Time-Solid' (Karsten Heck)631 - 636 Kubler and Focillon (Henri Zerner)637 - 642 Authors643 - 644 Acknowledgments645 - 656 Picture Index
