Mit:
\nFrancesco Casetti \, Sterling Professor of Hum anities and Film and Media Studies\, Yale University
\nBenevolent Screens: on a Foucauldian perspective on AI
\n\n DTEND;TZID=Europe/Zurich:20251210T194500 END:VEVENT BEGIN:VEVENT UID:news320@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20251107T163152 DTSTART;TZID=Europe/Zurich:20251126T181500 SUMMARY:Is Simulation a Cultural Technique? DESCRIPTION:It is an axiom of computing that a Turing machine ought to be a ble to run any program for any other computer that is likewise a Turing ma chine\; in other words\, computers can impersonate each other. This not on ly lays certain theoretical foundations for computing\, it also holds a pr omise for digital heritage\, as new machines can emulate older ones. Thus\ , simulation has important implications for archives\, museums\, and the p reservation of digital culture. Since the 1950s\, scholars foresaw that on ce digital computing became fast enough to support more complex operations \, it would furnish “simulation for vividness” in models that would st rike observers as more clear and convincing\, “simulation for deduction and exploration” that would make questions tractable or help explore the m in new dimensions\, and by the same token also provide for “simulation as archive\,” whereby models store the collected knowledge of an entire discipline. This assemblage of a growing number of interdisciplinary cont acts supports a model that would then itself be both archive and computer. X-ALT-DESC:It is an axiom of computing that a Turing machine ought to be able to run any program for any other computer that is likewise a Turing machine\; in other words\, computers can impersonate each other. This not only lays certain theoretical foundations for computing\, it also holds a promise for digital heritage\, as new machines can emulate older ones. Thu s\, simulation has important implications for archives\, museums\, and the preservation of digital culture. Since the 1950s\, scholars foresaw that once digital computing became fast enough to support more complex operatio ns\, it would furnish “simulation for vividness” in models that would strike observers as more clear and convincing\, “simulation for deductio n and exploration” that would make questions tractable or help explore t hem in new dimensions\, and by the same token also provide for “simulati on as archive\,” whereby models store the collected knowledge of an enti re discipline. This assemblage of a growing number of interdisciplinary co ntacts supports a model that would then itself be both archive and compute r.
DTEND;TZID=Europe/Zurich:20251126T194500 END:VEVENT BEGIN:VEVENT UID:news328@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20251029T112306 DTSTART;TZID=Europe/Zurich:20251029T181500 SUMMARY:Media Studies and AI Literacies: Colloquium # 1 DESCRIPTION:Mit: Asko Lehmuskallio\, Professor of Visual Studies\, Tampere University\, Finnland\\r\\nBodies\, passport documents and automated imagi ng practices: The co-constitution of skilled vision X-ALT-DESC:Mit: Asko Lehmuskallio\, Professor of Visual Studies\ , Tampere University\, Finnland
\nBodies\, passport docu ments and automated imaging practices: The co-constitution of skilled visi on
END:VEVENT BEGIN:VEVENT UID:news314@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20251016T105250 DTSTART;TZID=Europe/Zurich:20251023T000000 SUMMARY:Chemical Histories of Photography DESCRIPTION:What does the photographic image share with synthetic dyes\, fe rtilizer\, and pharmaceuticals? Inspired by the city of Basel’s position as a global center of the chemical industry\, this symposium investigates photography's chemical relations\, tracing the networks shaped by materia l resources\, industrial infrastructure\, and scientific expertise\, as we ll as the ecological legacies of photographic production. The symposium wi ll conclude with an artist talk and workshop led by photographer and rese archer Alice Cazenave (Goldsmiths\, University of London)\, an advisor to the UK-based collective Sustainable Darkroom and current Ansel Adams Fello w at the Center for Creative Photography at the University of Arizona.\\r\ \n\\r\\nThursday\, October 23\\r\\n Visit to the Fotosammlung Ruth und Peter Herzog at the Jacques Herzog und Pierre de Meuron Kabinett with cu rator Michalis Valaouris (for invited participants\, 4:00–5:00 pm) Opening Remarks (6:00–6:20 pm) Session 1: Industrial Ecologies (6:20 –7:50 pm) “Daughter of Coal\,” Michelle Henning (University of L iverpool) “Chemical Image Factories: The Case of Cibachrome\,” Steph an Graf (Photo-Fribourg) Apéro (7:50 pm) \\r\\nFriday\, October 24\\ r\\n Coffee and Pastries Session 2: Colonial Chemistry (10:00–11:30 pm ) “Chemical Frontiers: Photography\, Fertilizer\, and Settler Coloni alism\,” Siobhan Angus (Carleton University) “‘Ego Ipso.’ Herman n-Kummler-Frey’s Brazilian Photographs between Chemical History and Colo nial Image Production\,” Denise Bertschi (Collegium Helveticum) Lun ch (12:00–1:30 pm) Session 3: Chemical Images (2:00–3:30 pm) “P hotography’s Metabolism: Eastman Kodak’s Petrochemical Turn\,” Kevin Hong (Yale University) “Color Sells: The Art and Techniques of Advert ising Photography\,” Estelle Blaschke (University of Basel) Coffee Break (3:30–4:30 pm) Artist Talk (4:30–6:00 pm): “Here Many Wor lds Collide: Toxic Affinities of Photographic Silver\,” Alice Cazenave ( Goldsmiths\, University of London) Apéro (6:00–6:45 pm) \\r\\nSatu rday\, October 25\\r\\n Chemigram Workshop for Invited Participants (10:0 0–12:30 pm) \\r\\n\\r\\nImage: Hans Hinz\, Ciba Farben\, undated\, chrom ogenic print. Staatsarchiv Basel-Stadt. X-ALT-DESC:What does the photographic image share with synthetic dyes\, fertilizer\, and pharmaceuticals? Inspired by the city of Basel’s positi on as a global center of the chemical industry\, this symposium investigat es photography's chemical relations\, tracing the networks shaped by mater ial resources\, industrial infrastructure\, and scientific expertise\, as well as the ecological legacies of photographic production. The symposium will conclude with an \;artist talk and workshop led by photographer a nd researcher Alice Cazenave (Goldsmiths\, University of London)\, an advi sor to the UK-based collective Sustainable Darkroom and current Ansel Adam s Fellow at the Center for Creative Photography at the University of Arizo na.
\n\nThursday\, October 23
\n< span>Visit to the \;Fotosamm lung Ruth und Peter Herzog \;at the Jacques Herzog und Pierre de Meuron Kabinett with curator Michalis Valaouris (for invited participants\, 4:00–5:00 pm)< /span>
Opening Remarks (6:00–6:20 pm)
Friday\, October 24
\nSaturday\, October 25\n
Image: Ha ns Hinz\, Ciba Farben\, undated\, chromogenic print. Staat sarchiv Basel-Stadt.
DTEND;TZID=Europe/Zurich:20251025T000000 END:VEVENT BEGIN:VEVENT UID:news308@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20250606T123929 DTSTART;TZID=Europe/Zurich:20251016T000000 SUMMARY:Dis/appearance in and of Photography – Basel DESCRIPTION:The history of photography has always also been a history of wo rking against its disappearance — a disappearance that takes countless f orms. We would like to focus our attention on this varied history. For the instability of photographic images and their carriers represents only one of the many ways in which photography as a material object\, as a technic al image medium\, as a carrier of information and as a metaphor has entere d and continues to enter into the semantic field of disappearance: for exa mple\, in the form of processes and states of disruption and noise\, loss and absence\, censorship\, deletion and the dissolution of meaning\; these phenomena affect individual images\, their motifs\, certain techniques\; they occur and we encounter them in everyday life\, in the professional ha ndling of photographs and their artistic use in specific ways in each case . Last but not least\, their occurrence should not be seen as fundamentall y negative or catastrophic. Where something disappears\, something potenti ally comes into being: attention and questions\, unexpected possibilities and the potential for new developments.\\r\\nWe seek to shed light on the diverse forms of disappearance—both in terms of their deficits and their inherent opportunities—by exchanging with colleagues. We aim for a focu sed workshop format that will lead to the creation of a joint publication. This publication will gather a broad spectrum of phenomena of disappearan ce related to photographs and photographic media\, presented in concise an d compact case studies that also reflect the personal methodological appro ach of the author to the object/topic of investigation. These texts will f orm the basis for a series of discussions at DFK Paris and at eikones – Center for the Theory and the History of the Image in Basel.\\r\\nProgram (pdf [t3://file?uid=641])\\r\\nParis\, 03. — 04. 07. 2025\\r\\n03.07.\, 14.00 – 18.00 04.07.\, 10.00 – 16.00\\r\\nJan von Brevern (Bauhaus-Uni versität Weimar) Heather Diack (Toronto Metropolitan University) Dennis J elonnek (Deutsches Forum für Kunstgeschichte Paris) Markus Klammer (Unive rsität Basel) Lila Lee-Morrison (Lund University) Megan Luke (Eberhard Ka rls Universität Tübingen) Kelley Wilder (De Montfort University Leiceste r)\\r\\n\\r\\nBasel 16. – 17. 10. 2025\\r\\n16.10.\, 14.00 – 16.15 17. 10.\, 09.30 – 17.00\\r\\nEstelle Blaschke (Universität Basel) David Buc heli (eikones\, Universität Basel) Eva Ehninger (Humboldt-Universität zu Berlin) Peter Geimer (Deutsches Forum für Kunstgeschichte Paris) Sophie Junge (Ludwig-Maximillians-Universität München) Daniel Mayr (Berlin) Kat ja Müller-Helle (Humboldt-Universität zu Berlin) Aïcha Revellat (eikone s\, Universität Basel)\\r\\n\\r\\nThe events are designed as reading semi nars (in German/English) in preparation of a publication. Personal registr ation with the organizers is required in order to receive the reader conta ining the texts to be discussed (Paris: Dennis Jelonnek [mailto:djelonnek@ dfk-paris.org]\, by June 15\; Basel: Aïcha Revellat [mailto:aicha.revella t@unibas.ch]\, by October 1). The number of participants is limited. X-ALT-DESC:The history of photography has always also been a history of working against its disappearance — a disappearance that takes countless forms. We would like to focus our attention on this varied history. For t he instability of photographic images and their carriers represents only o ne of the many ways in which photography as a material object\, as a techn ical image medium\, as a carrier of information and as a metaphor has ente red and continues to enter into the semantic field of disappearance: for e xample\, in the form of processes and states of disruption and noise\, los s and absence\, censorship\, deletion and the dissolution of meaning\; the se phenomena affect individual images\, their motifs\, certain techniques\ ; they occur and we encounter them in everyday life\, in the professional handling of photographs and their artistic use in specific ways in each ca se. Last but not least\, their occurrence should not be seen as fundamenta lly negative or catastrophic. Where something disappears\, something poten tially comes into being: attention and questions\, unexpected possibilitie s and the potential for new developments.
\nWe seek to shed light on the diverse forms of disappearance—both in terms of their deficits and their inherent opportunities—by exchanging with colleagues. We aim for a focused workshop format that will lead to the creation of a joint publica tion. This publication will gather a broad spectrum of phenomena of disapp earance related to photographs and photographic media\, presented in conci se and compact case studies that also reflect the personal methodological approach of the author to the object/topic of investigation. These texts w ill form the basis for a series of discussions at DFK Paris and at eikones – Center for the Theory and the History of the Image in Basel.
\nProgram (pdf)
\nParis\, 03. — 04. 07. 2025
\n03.07.\, 14.00 – 18.00
04.07.\,
10.00 – 16.00
Jan von Brevern (Bauhaus-Universität Weimar)
Heather Diack (Toronto Metropolitan University)
Dennis Jelonnek (D
eutsches Forum für Kunstgeschichte Paris)
Markus Klammer (Universit
ät Basel)
Lila Lee-Morrison (Lund University)
Megan Luke (Ebe
rhard Karls Universität Tübingen)
Kelley Wilder (De Montfort Unive
rsity Leicester)
Basel 16. – 17. 10. 2025
\n16.10.\, 14.00 – 16.15
17.10.\, 09.30 – 17.00
Estel
le Blaschke (Universität Basel)
David Bucheli (eikones\, Universit
ät Basel)
Eva Ehninger (Humboldt-Universität zu Berlin)
Pete
r Geimer (Deutsches Forum für Kunstgeschichte Paris)
Sophie Junge (
Ludwig-Maximillians-Universität München)
Daniel Mayr (Berlin)
Katja Müller-Helle (Humboldt-Universität zu Berlin)
Aïcha Revel
lat (eikones\, Universität Basel)
The events are designed as re ading seminars (in German/English) in preparation of a publication. Person al registration with the organizers is required in order to receive the re ader containing the texts to be discussed (Paris: Dennis Jelonnek\, by June 15\ ; Basel: Aïcha Revellat\,&n bsp\;by October 1). The number of participants is limited.
DTEND;TZID=Europe/Zurich:20251017T000000 END:VEVENT BEGIN:VEVENT UID:news315@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20250925T215903 DTSTART;TZID=Europe/Zurich:20251003T000000 SUMMARY:Re-Cinefications: Decentring the Archive of Soviet Film DESCRIPTION:Program\\r\\nFriday October 3 Decentring the Archive\\r\\n11:00 -11.30 Opening\\r\\n11:30-12:00 Introduction Olexii Kuchanskyi\, Clea Wanner\, Philip Widmann\\r\\n12:00-13.30 Session One Carolien D amiens: Far from Moscow: relocating and indigenizing Soviet cinema history Nino Dzandzava: Tracing the Archives of Mikheil Chiaureli Moderation: Cle a Wanner\\r\\n13.30-15:00 Lunch\\r\\n15:00-16:30 Session Two Ok sana Sarkisova: Cine/Map Rules: Revisiting Early Soviet Travelogues Matt hew Vollgraff: Antireligious Propaganda and the Ethnographic Museum in Sov iet Cinema\, 1928–1932 Moderation: Olexii Kuchanskyi\\r\\n\\r\\nSaturday October 4 Reapproaching the Archive\\r\\n10:00 -11:30 Session Three P hilip Widmann: Re-cinefication: Interventions into material and epistemic absences using non-film sources\\r\\n11:30 -12:00 Coffee break\\r\\n12 :00 – 13:30 Session Four Doplgenger (Boško Prostran): What are these ol d rags still good for?\\r\\n13:30-14:30 Lunch\\r\\n14.30-15:30 Closing discussion\\r\\nPlease register to receive the workshop reader via Oleksii Kuchanskyi [mailto:oleksii.kuchanskyi@unibas.ch] or Clea Wanner [ mailto:clea.wanner@unibas.ch].\\r\\n\\r\\nDecentring the Archive: Screenin gs and Conversations\\r\\nVenue: neues kino [https://neueskinobasel.ch]\, Klybeckstrasse 247\, 4057 Basel \\r\\nHow can the legacy of socialist c inema be re-actualised in the anti-colonial struggles of today? How can pe rspectives from beyond the center be (re)activated — as fragments\, coun ter-narratives\, or acts of critical reappropriation? The invited artists and researchers approach the cinematic heritage as a space of contemporary inquiry\, political tension\, and poetic imagination. The event combine s screenings and discussions of filmmaking strategies of engaging with arc hives: from addressing the history of Russian colonial conquest of Siberia to following the perplexing routes of a love story whose traces vanish be tween Łódź\, Morocco\, and Israel\, via the feminist reclamation of cin ematically constructed imperial vision of Soviet Central Asia. \\r\\n17:3 0-19:00\\r\\n Where Russia Ends\, Oleksiy Radynski\, UA 2024\, 25’\, OV /e Whose Voice is This?\, Dana Iskakova\, GER/UZB 2024\, 14’\, OV/e Wi th Dana Iskakova\, Lyuba Knorozok and Olexii Kuchanskyi \\r\\n19:30-20:30\ \r\\n Miraculous Accident\, Assaf Gruber\, DE/AT 2025\, 29’\, OV/e Wit h Assaf Gruber and Philip Widmann X-ALT-DESC:Friday October 3
Decentring the Archive
11:00-11.30 \; \; Op ening
\n11:30-12:00 \; \; Introduction
Olexii Kuchanskyi\, Clea Wanner\, Philip Widmann
Carolien Damiens:
Far from Moscow: relocating and indigenizing Soviet cinema history
Nino Dzandzava: Tracing the Archives of Mikheil Chiaureli
Moderation
: Clea Wanner
13.30-15:00 \; \; \; Lu nch
\n15:00-16:30 \; \; Session Two
Oksana Sarkisova: Cine/Map Rules: Revisiting Early Soviet Travelogues
\;
Matthew Vollgraff: Antireligious Propaganda and the Ethnographic
Museum in Soviet Cinema\, 1928–1932
Moderation: Olexii Kuchanskyi<
/p>\n\n
Saturday October 4
Reapproaching the
Archive
10:00 -11:30 \; \; Session Three
Philip Widmann: Re-cinefication: Interventions into material an
d epistemic absences using non-film sources
11:30 -12:00&n bsp\; \; Coffee break
\n12:00 – 13:30 Session
Four
Doplgenger (Boško Prostran): What are these old rags
still good for?
13:30-14:30 \; \; \; Lunch
\n14.30-15:30 \; \; Closing discussion
\nPlease register to receive the workshop reader via Oleksii Kucha nskyi or Cl ea Wanner.
\n\nVenue: n eues kino\, \;Klybeckstrasse 247\, 4057 Basel \;
\nHow c
an the legacy of socialist cinema be re-actualised in the anti-colonial st
ruggles of today? How can perspectives from beyond the center be (re)activ
ated — as fragments\, counter-narratives\, or acts of critical reappropr
iation? The invited artists and researchers approach the cinematic heritag
e as a space of contemporary inquiry\, political tension\, and poetic imag
ination. \;
The event combines screenings and discussions of fil
mmaking strategies of engaging with archives: from addressing the history
of Russian colonial conquest of Siberia to following the perplexing routes
of a love story whose traces vanish between Łódź\, Morocco\, and Israe
l\, via the feminist reclamation of cinematically constructed imperial vis
ion of Soviet Central Asia. \;
17:30-19:00
\n19:30-2 0:30
\nLecture by NOMIS Fellow Katerina Korola
\nDarkroom Exposures: Colour and Contamination at the Filmfabrik Wolfen
\nIn the mid-1960s\, the industrial photograp her Wolfgang G. Schröter turned his camera on the VEB Filmfabrik Wolfen. Located at the center of East Germany’s “Chemical Triangle\,” the Fi lmfabrik was\, at the time\, Europe’s largest producer of colour film\, second only to Kodak in the world. Guiding the viewer from the manufacture of celluloid to the packaging of the finished film\, Schröter’s photog raphs present the (gendered) labour of photographic manufacturing as a chr omatic spectacle in its own right. In doing so\, the series did more than advertise the factory’s product line. It also promoted an ostensibly soc ialist vision of chemical modernity\, to be disseminated within the GDR an d abroad.
\nTaking Schröter’s series as a starting point\, this t alk explores the intertwined histories of photography\, chemistry\, and co ntamination at the socialist film factory. More specifically\, it consider s how the act of picturing the film factory provokes a confrontation with the material ambivalences of photochemical colour. Though created for the purpose of advertising\, Schröter’s series ultimately emerges as an unl ikely archive that not only reveals the material conditions of photographi c production\, but also prompts us to reflect on the medium’s toxic lega cy.
\n\nImage: Wolfgang G. Schröter\, Workers in the \;Production Hall of \;the VEB Filmfabrik Wolfen\, 1955–1973 \, colour diapositive. Deutsche Fotothek\, Dresden.
DTEND;TZID=Europe/Zurich:20250929T194500 END:VEVENT BEGIN:VEVENT UID:news313@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20250916T150105 DTSTART;VALUE=DATE:20250919 SUMMARY:Natural Beauty and the Good Life: An International Workshop DESCRIPTION:Speakers Emily Brady\, Texas A&M University Kerry Clark\, Unive rsity of Tennessee Anna Deplazes Zemp\, University of Zurich Marcello Di P aola\, University of Palermo Elisabetta Di Stefano\, University of Palermo Laura Fumagalli\, University of Augsburg/LMU Munich Guðbjörg Jóhannesd óttir\, University of Iceland Samuel Jonathan\, University of Oklahoma Yu riko Saito\, Rhode Island School of Design Stephanie Schuster\, University of Basel Sandra Shapshay\, Hunter College (CUNY) Fran Speed\, Independent Scholar\\r\\n\\r\\nProgram (pdf [t3://file?uid=666])\\r\\n Da y 1 – Friday\, 19.09.2025 9:00 – 9:10 Welcome Blo ck I Chair: Sandra Shapshay 9:10 – 10:10 "What\, exac tly\, do we mean by ‘natural’ beauty? A relational based approach to a esthetic appraisal and its implications for the connection thought to exis t between natural beauty and human wellbeing" Fran Speed (Dr.\, Indepen dent Scholar\, London) 10:10 – 11:10 "Aesthetic values a s relational values. Understanding eudaimonic human-nature relationships t hrough environmental aesthetics" Anna Deplazes Zemp (Dr.\, University o f Zurich) 11:10 – 11:30 Coffee Break 11:30 – 12:3 0 "Exploring the experience of beauty in nature through microphenomenol ogy" Guðbjörg Jóhannesdóttir (Ass. Prof.\, University of Iceland) 12:30 – 14:00 Lunch Break Block II Chair: Markus Wild 14:00 – 15:00 "Varieties of natural beauty and the ‘g ood life’" Emily Brady (Dr.\, retired Professor\, A&M University) 15:00 – 16:00 "In praise of humble beauty: a cross-cultural ex ploration of weeds" Yuriko Saito (Prof. Em.\, Rhode Island School of De sign) 16:00 – 16:20 Coffe Break 16:20 – 17:20 "Impermanence\, meaning\, and natural beauty: a Japanese aesthetic approac h" Samuel Jonathan (MA cand.\, University of Oklahoma) Day 2 – Saturday\, 20.09.2025 Block III Chair: Anna Deplazes Zemp 9:00 – 10:00 "Nature’s meaninglessness\, aes thetic experience\, and the good life" Marcello di Paola (Ass. Prof.\, University of Palermo) 10:00 – 11:00 "The rhythms of lif e: natural cycles\, beauty\, and the good life" Kerry Clark (PhD cand.\ , University of Tennessee) 11:00 – 11:20 Coffee Break 11:20 – 12:20 "Frugality\, humility\, and the art of living: a eudaimonic aesthetics of nature" Elisabetta Di Stefano (Prof.\, Univer sity of Palermo) 12:20 – 14:00 Lunch Break Block IV Chair: Marcello di Paola 14:00 – 15:00 "Nature aesthetic s and climate change" Laura Fumagalli (PhD cand.\, University of Augsbu rg / LMU Munich) 15:00 – 16:00 "The ‘garbage park’ and t he good life: the case of Freshkills Park on Staten Island" Sandra Shap shay (Prof.\, Hunter College (CUNY)) 16:00 – 16:30 Coffee Br eak 16:30 – 17:30 "On feeling at home in the world or should the encounter with natural beauty be a human right?" Stephanie Schuste r (PhD cand.\, University of Basel) 17:30 – 18:00 Final Disc ussion X-ALT-DESC:\nSpeakers
Emily Brady\, Texas
A&\;M University
Kerry Clark\, University of Tennessee
Anna
Deplazes Zemp\, University of Zurich
Marcello Di Paola\, University
of Palermo
Elisabetta Di Stefano\, University of Palermo
Laur
a Fumagalli\, University of Augsburg/LMU Munich
Guðbjörg Jóhannes
dóttir\, University of Iceland
Samuel Jonathan\, University of Okla
homa
Yuriko Saito\, Rhode Island School of Design
Stephanie Sc
huster\, University of Basel
Sandra Shapshay\, Hunter College (CUNY)
Fran Speed\, Independent Scholar
Program (pdf)
\n| Day 1 – Friday\, 19.09.20 25 | |
| 9:00 – 9:10 | W elcome |
| Block I | Chair: Sandra Shapshay |
| 9:10 – 10:10 | "What\, exactly\, do we mean by ‘n
atural’ beauty? A relational based approach to aesthetic appraisal and i
ts implications for the connection thought to exist between natural beauty
and human wellbeing" |
| 10:10 – 11:10 | "Aesthetic values as relational values. Understanding eudaimoni
c human-nature relationships through environmental aesthetics" |
| 11:10 – 11:30 | Coffee Break | 11:30 – 12:30 | "Exploring the experience of beauty
in nature through microphenomenology" Guðbjörg Jóhanne sdóttir (Ass. Prof.\, University of Iceland) |
| 12:30 – 14:00 | Lunch Break |
| Block II | Chair: Markus Wild |
| 14:00 – 15:00 | "Varieties of natural beauty and the ‘good life’
" Emily Brady (Dr.\, retired Professor\, A&\;M University) |
| 15:00 – 16:00 | "In praise of humble beauty: a cross-cultural explor
ation of weeds" Yuriko Saito (Prof. Em.\, Rhode Island Sc hool of Design) |
| 16:00 – 16:20 | Coffe Break |
| 16:20 – 17:20 | "
Impermanence\, meaning\, and natural beauty: a Japanese aesthetic approach
" Samuel Jonathan (MA cand.\, University of Oklahoma) |
\; | |
| Block III | Chair: \;Anna Deplazes Z emp |
| 9:00 – 10:00 | "Nature’s meaninglessness\, aesthetic experience\, and the good lif
e" Marcello di Paola (Ass. Prof.\, University of Palermo) |
| 10:00 – 11:00 | "T
he rhythms of life: natural cycles\, beauty\, and the good life" |
| 11:00 – 11:20 | Coffee Break |
| 11:20 – 12:20 | "Frugality\, humility\,
and the art of living: a eudaimonic aesthetics of nature" Elisabetta Di Stefano (Prof.\, University of Palermo) |
| 12:20 – 14:00 | Lunch Break | Block IV | Chair: Marcello di Paola< /span> |
| 14:00 – 15:00 | |
| 15:00 – 16:00 | "The ‘garbage park’ and the go
od life: the case of Freshkills Park on Staten Island" Sa ndra Shapshay (Prof.\, Hunter College (CUNY)) |
| 16:00 – 16:30 | Coffee Break |
| "On feeling at home in the world or should t
he encounter with natural beauty be a human right?" Steph anie Schuster (PhD cand.\, University of Basel) | 17:30 – 18:00 | Final Discussion |
In this lecture\, Jeffrey Hamburger (Kuno Francke Professor o f German Art &\; Culture\, Harvard University)\, talks about diagrams a s spaces of knowledge\, using the unexplored history of the diairesis (div ision) diagrams in manuscripts and printed editions of the \;Corpu s Areopagiticum \;from the 6th \;to the 16th< /sup> \;century as a case study. Rooted in Platonic logic\, these diag rams visualized Neoplatonic structures of thought and being. Far from illu strations\, the diagrams fill in an unwritten chapter regarding the origin s and development of diagrams as a mode of visual thinking.
\nImages : Divide\, Ps.-Dionysius Areopagita\, Stift Heiligenkreuz\, Cod. 111\, fol . 83r and 83v\, details.
DTEND;TZID=Europe/Zurich:20250916T193000 END:VEVENT BEGIN:VEVENT UID:news318@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20250829T113408 DTSTART;TZID=Europe/Zurich:20250911T094500 SUMMARY:Bring your Own Theory 2.0 DESCRIPTION:Eine Anmeldung für die Teilnahme bis 04.09.2025 an swiss-tag@o utlook.com [mailto:swiss-tag@outlook.com] wird aus organisatorischen Grün den (Platz und Verpflegung) gewünscht\, aber kurzentschlossene Gäste sin d auch willkommen. Mittagessen bitte selbst mitbringen – Snacks und Getr änke werden bereitgestellt. X-ALT-DESC:Eine Anmeldung für die Teilnahme bis 04.09.2025 an swiss-tag@outlook.com wird aus organisat
orischen Gründen (Platz und Verpflegung) gewünscht\, aber kurzentschloss
ene Gäste sind auch willkommen. Mittagessen bitte selbst mitbringen – S
nacks und Getränke werden bereitgestellt.
\;
The history of photography has always also been a history of working against its disappearance — a disappearance that takes countless forms. We would like to focus our attention on this varied history. For t he instability of photographic images and their carriers represents only o ne of the many ways in which photography as a material object\, as a techn ical image medium\, as a carrier of information and as a metaphor has ente red and continues to enter into the semantic field of disappearance: for e xample\, in the form of processes and states of disruption and noise\, los s and absence\, censorship\, deletion and the dissolution of meaning\; the se phenomena affect individual images\, their motifs\, certain techniques\ ; they occur and we encounter them in everyday life\, in the professional handling of photographs and their artistic use in specific ways in each ca se. Last but not least\, their occurrence should not be seen as fundamenta lly negative or catastrophic. Where something disappears\, something poten tially comes into being: attention and questions\, unexpected possibilitie s and the potential for new developments.
\nWe seek to shed light on the diverse forms of disappearance—both in terms of their deficits and their inherent opportunities—by exchanging with colleagues. We aim for a focused workshop format that will lead to the creation of a joint publica tion. This publication will gather a broad spectrum of phenomena of disapp earance related to photographs and photographic media\, presented in conci se and compact case studies that also reflect the personal methodological approach of the author to the object/topic of investigation. These texts w ill form the basis for a series of discussions at DFK Paris and at eikones – Center for the Theory and the History of the Image in Basel.
\nProgram (pdf)
\nParis\, 03. — 04. 07. 2025
\n03.07.\, 14.00 – 18.00
04.07.\,
10.00 – 16.00
Jan von Brevern (Bauhaus-Universität Weimar)
Heather Diack (Toronto Metropolitan University)
Dennis Jelonnek (D
eutsches Forum für Kunstgeschichte Paris)
Markus Klammer (Universit
ät Basel)
Lila Lee-Morrison (Lund University)
Megan Luke (Ebe
rhard Karls Universität Tübingen)
Kelley Wilder (De Montfort Unive
rsity Leicester)
Basel 16. – 17. 10. 2025
\n16.10.\, 14.00 – 16.15
17.10.\, 09.30 – 17.00
Estel
le Blaschke (Universität Basel)
David Bucheli (eikones\, Universit
ät Basel)
Eva Ehninger (Humboldt-Universität zu Berlin)
Pete
r Geimer (Deutsches Forum für Kunstgeschichte Paris)
Sophie Junge (
Ludwig-Maximillians-Universität München)
Daniel Mayr (Berlin)
Katja Müller-Helle (Humboldt-Universität zu Berlin)
Aïcha Revel
lat (eikones\, Universität Basel)
The events are designed as re ading seminars (in German/English) in preparation of a publication. Person al registration with the organizers is required in order to receive the re ader containing the texts to be discussed (Paris: Dennis Jelonnek\, by June 15\; Basel: Aïcha Revellat\, by October 1). The number of participants is limited.
DTEND;TZID=Europe/Zurich:20250704T000000 END:VEVENT BEGIN:VEVENT UID:news310@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20250505T212723 DTSTART;TZID=Europe/Zurich:20250528T181500 SUMMARY:Old Ice and Us DESCRIPTION:The artist Judith Neunhäuserer\, who spent several weeks in An tarctica and the Arctic\, will present two videos and read from her new bo ok „Old Ice and Us“ written during her artist residency on the sailboa t "Antigua" beyond the Arctic Circle: https://judithneunhaeuserer.info/#ol d-ice [https://judithneunhaeuserer.info/#old-ice]. Her presentation wil l be followed by a discussion on Melting Ice and Contemporary Art. Open to the public. The event will be followed by an icy apéro. X-ALT-DESC:The artist Judith Neunhäuserer\, who spent several weeks in Antarctica and the Arctic\, will present two videos and read from her new book „Old Ice and Us“ written during her artist residency on the sailb oat "Antigua" beyond the Arctic Circle: https://judithneunhaeuserer.info/#old-ic e. \; \;Her presentation will be followed by a discussion on M elting Ice and Contemporary Art. Open to the public. The event will be fol lowed by an icy apéro. \;
DTEND;TZID=Europe/Zurich:20250528T193000 END:VEVENT BEGIN:VEVENT UID:news299@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20250523T095349 DTSTART;TZID=Europe/Zurich:20250522T000000 SUMMARY:Prismatic Memories: Comparative Visual Politics from Post-Yugoslav Countries DESCRIPTION:This year\, in the context of the thirtieth anniversaries of bo th the Srebrenica Genocide on July 11\, 1995\, and the ratification of the Dayton Peace Agreement on November 21\, 1995\, presents an opportunity to explore the visual memory politics of post-Yugoslav countries – most of them still in a state of neoliberal “transition” – in relation to e ach other. Attending to the iconographic\, narrative\, aesthetic and art h istorical embeddedness of the various displays of memory\, whether they ta ke the form of a public memorial\, a graffito\, an exhibition or another k ind of intervention\, we are looking at instances of politics – both pas t and contemporary – becoming visible. We also ask after the infrastruct ures and administration of such memories\, and their (geo)political entang lements. While we are interested in case studies that memorialize a range of historical events\, we are especially interested in case studies from a fter 1999 and the last decade.\\r\\nThis conference assembles scholars wor king across disciplines to explore visual memory politics in post-Yugoslav countries. Each contributor presents a memory display – museum\, tempor ary exhibition\, play\, graffito\, monument\, or public art intervention – foregrounding a different iconographic\, narrative\, aesthetic or art- historical tradition or tendency. We will also consider the infrastructure and administration of such memory projects. Together\, we will examine in stances when politics become visible.\\r\\n\\r\\nProgram (program\, abstra cts and bios pdf [t3://file?uid=640])\\r\\n Thursday\, May 22 18:15 - 19:00 Uroš Čvoro\, UNSW Sydney Keyn ote\, tba 19:00 - 19:30 Q&A 19:30 - 21:30 Apéro riche Friday\, May 23 Histories & Narrati ves Moderator: David Bucheli 09:30 – 09:45 Sh ort intro 09:45 – 10:35 Gal Kirn\, Univerza v Ljubljani “From Erasure to Reconciliation to Emancipation: Contested Memory of Women’s Antifascist Protests in Ljubljana” 10:35 – 11:05 Coffee Break 11:05 – 11:55 Arban Mehmeti\, Humboldt Universität\, Berlin “The Handke Project: Unheeded Lessons in Memory Culture and Neglect in Western Cultural Discourse” 11:55 – 12:45 Hella Wiedmer-Newman\, eikones Center\, Basel “Punking the Protectorate(s): The Montaged Critique of Bojan Stojčić a nd Mladen Miljanović” 12:45 – 14:15 Lunch Exhibitionary Politics Moderator: Olexii Kuchanskyi 14:15 – 15:05 Nataša Jagdhuhn\, Humboldt Universitä t\, Berlin “Transitional Metamuseology: Memorial Centre Lipa Remember s” 15:05 – 15:35 Coffee Break 15:35 – 16:25 Jovanka Popova\, Museum of Contemporary Art Skopje “ All that Happened Will Happen Today: The Museum of Contemporary Art – Sk opje and its Solidarity Collection” 16:25 – 17:15 Qëndresa Ajeti\, Technische Universität München “Shifting Narrativ es: Contemporary Visual Memory Projects in Post-War Kosovo” Saturday\, May 24 Activating Publics Moderator: Anna Hode l Laszlo 09:30 – 10:20 Ana-Maria Milčić\, Ben Uri Gallery and Museum\, London/Northwestern Polytechnic\, The Prairies “From Commemoration to Confrontation: Monument to Red Rijeka and Yugon ostalgia in 2020” 10:20 – 10:50 Coffee Break 10:50 – 11:20 Melody Robine\, Sorbonne Université\, Par is “Counter-Mapping Memory: Maja Bajević’s and Hristina Ivanoska ’s Feminist Interventions in Urban Space” 11:20 – 12:1 0 Hana Ćurak\, Universität Zürich “Here For Now: The Post-Y ugoslav Diasporic Condition” 12:10 – 12:30 Fin al Discussion & Wrap-up X-ALT-DESC:This year\, in the context of the thirtieth anniversaries of both the Srebrenica Genocide on July 11\, 1995\, and the ratification of t he Dayton Peace Agreement on November 21\, 1995\, presents an opportunity to explore the visual memory politics of post-Yugoslav countries – most of them still in a state of neoliberal “transition” – in relation to each other. Attending to the iconographic\, narrative\, aesthetic and art historical embeddedness of the various displays of memory\, whether they take the form of a public memorial\, a graffito\, an exhibition or another kind of intervention\, we are looking at instances of politics – both p ast and contemporary – becoming visible. We also ask after the infrastru ctures and administration of such memories\, and their (geo)political enta nglements. While we are interested in case studies that memorialize a rang e of historical events\, we are especially interested in case studies from after 1999 and the last decade.
\nThis conference assembles scholar s working across disciplines to explore visual memory politics in post-Yug oslav countries. Each contributor presents a memory display – museum\, t emporary exhibition\, play\, graffito\, monument\, \;or public art int ervention – foregrounding a different iconographic\, narrative\, aesthet ic or art-historical tradition or tendency. We will also consider the infr astructure and administration of such memory projects. Together\, we will examine instances when politics become visible.
\n\nProgr am (program\, abstracts and bios pdf)
\n| 19:30 - 21:30 \; | Apéro riche |
\; Friday\, May 23 Hist
ories &\; Narratives | |
09:30 – 09:45 | Short intro |
| 09:45 – 10:35 | Gal Kirn\, Uni
verza v Ljubljani |
< span>10:35 – 11:05 | Coffee Break |
| 11:05 – 11:55 | Arban Meh
meti\, Humboldt Universität\, Berlin |
Hell
a Wiedmer-Newman\, eikones Center\, Basel | |
1 2:45 – 14:15 | Lunch< /span> |
\; | |
| 14:15 – 15:05 | Nataš
a Jagdhuhn\, Humboldt Universität\, Berlin |
15:05 – 15:35 | Coffee Break |
| 15:35 – 16:25 | Jovanka Popova\, Museum of Contemporary Art Skopje |
| 16:25 – 17:15 | Qëndresa Ajeti\, Technische Universität München |
\; Saturday\, May 24 Activating Publics | |
| 09:30 – 10:20 \; \; | Ana-Maria Milčić
\, Ben Uri Gallery and Museum\, London/Northwestern Polytechnic\, T
he Prairies |
10:20 – 10:50 | Coffee Break | 10:50 – 11:20 |
|
| 11:20 – 12:10 | Hana Ćurak\, Universität Zürich |
12:10 – 12:30 | Final Discussion &\; Wrap-up |
Critical historical recollection is composite—a collective\ , mediated process that resists resolution into singular\, coherent narrat ives (once likened by Walter Benjamin to a “dialectical image”). What happens when these processes become the objects of calculation\, predictio n\, and probability\, as seen in recent technologies of generative AI? Dra wing on the speaker’s ongoing collaborations with photographers Klara K ällström and Thobias Faldt\, this talk examines the worlds and histories that lend themselves to representation in recent techniques of generative AI.
\nImage: \;Klara Källström and Thobias Faldt\, image from series "Last of the Lucky/You Can't Always Get What You Want\," edited wi th ChatGPT/Dall-E\, 2024.
DTEND;TZID=Europe/Zurich:20250414T194500 END:VEVENT BEGIN:VEVENT UID:news301@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20250312T165335 DTSTART;TZID=Europe/Zurich:20250331T181500 SUMMARY:The Melting Sublime DESCRIPTION:Throughout the polar world\, aesthetics play a key role in lega l environmental safeguards\, but as our world and its climate rapidly chan ge\, the force of these provisions is quickly disappearing. Analyzing depi ctions of icebergs\, this talk theorizes a new concept—the “melting su blime”— to help those wielding environmental law fight back against en vironmental threats at the poles.\\r\\nImage: Members of the Internationa l Ice Patrol attempt to explode an iceberg in 1960. Courtesy of the Librar y of Congress. X-ALT-DESC:Throughout the polar world\, aesthetics play a key role in le gal environmental safeguards\, but as our world and its climate rapidly ch ange\, the force of these provisions is quickly disappearing. Analyzing de pictions of icebergs\, this talk theorizes a new concept—the “melting sublime”— to help those wielding environmental law fight back against environmental threats at the poles.
\nImage: \;Members of the In ternational Ice Patrol attempt to explode an iceberg in 1960. Courtesy of the Library of Congress.
DTEND;TZID=Europe/Zurich:20250331T194500 END:VEVENT BEGIN:VEVENT UID:news305@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20250317T162453 DTSTART;TZID=Europe/Zurich:20250327T150000 SUMMARY:How Algorithms Animate DESCRIPTION:15:00-15:30 Introduction Bernard Geoghegan (eik ones NOMIS fellow) and Martin Schwarz (University of Basel) followed by a n intro by Estelle Blaschke (University of Basel) 15:30-16:15 Reverse-engineering Gothic geometry: crafting generative algorithm s in Grasshopper based on 3D scans of microarchitecture Zoltán Bereczk i (University of Debrecen\, Guest Lecturer at the Technical University of Košice) The presentation will focus on the procedural nature of Gothi c design and its analysis and modeling through digital tools. After briefl y outlining the theoretical background—introducing key concepts such as processes\, trees and semilattices\, recursion\, and open-ended systems— case studies will be presented. These will discuss the challenges of 3D sc anning Gothic microarchitecture\, methods for geometrical and procedural a nalysis\, and the creation of generative algorithms based on these analyse s. 16:15-17:00 A hands-on Workshop on t he Data-driven Production of Environments Vera Tollmann (Leuphana Unive rsität Lüneburg\, Center for Digital Cultures) 17:00-17:30 Coffee break 17:30-18:30 Speculative A rchives. Presentation and Discussion of AI Generated Videos Antonio Som aini (Université Sorbonne Nouvelle / Institut Universitaire de France (IU F)) 18:30-19:30 Panel Discussion Generative Algorithms and Animation with Zoltán Bereczki (University of Debrecen\ , Guest Lecturer at the Technical University of Košice)\, Estelle Blaschk e (University of Basel)\, Ranjodh Singh Dhaliwal (University of Basel)\, B ernard Geoghegan (eikones NOMIS fellow)\, Martin Schwarz (University of Ba sel)\, Antonio Somaini (Université Sorbonne Nouvelle / Institut Universit aire de France (IUF))\, Vera Tollmann (Leuphana Universität Lüneburg\, C enter for Digital Cultures) 19:30 – open end Apéro and AI Film Screening X-ALT-DESC:15:00-15:30 | Introduction Bernard Geoghegan \;(eikones NOMIS fellow) and Martin Schwarz (University of Basel)&nb sp\;followed by an intro by Estelle Blaschke (University of Basel) |
| 15:30-16:15 | Reverse-engineerin g Gothic geometry: crafting generative algorithms in Grasshopper based on 3D scans of microarchitecture Zoltán Bereczki \;(Un iversity of Debrecen\, Guest Lecturer at the Technical University of Koši ce)
|
&nb sp\; | A hands-on Workshop on the Data-dr iven Production of Environments Vera Tollmann (Leuphana Universität Lüneburg\, Center for Digital Cultu res) |
| 17:00-17:30 | Coffee break |
17:30-18:30 | Speculative Archives. Presentation and Discussion of AI Generated Videos Antonio Somaini (Université Sorbonne Nouvel le / Institut Universitaire de France (IUF)) < /p> |
18:30-19:30 < /span> | Panel Discussion Gen erative Algorithms and Animation
|
19:30 – open end | Apéro and AI Film Screening |
Presentation of Transbordeur 9: \;Photography and Algorithms
\nInvited
Guests:
Maria Eriksson (European Centre for Algorithmic Transparenc
y ECAT)\, Till Heilmann (SFB Virtuelle Lebenswelten\, Ruhr-Universität Bo
chum)\, Roland Meyer (Professor for \;Digital Cultures and Arts (UZH/Z
HdK))
Editors and Hosts:
Antonio Somaini (Université Sorbon
ne Nouvelle / Institut Universitaire de France (IUF))\, Estelle Blaschke (
Professor for \;Photographic Media in the Digital Age\, University of
Basel).
By the time scholarly inquiry learns to adequately describe t he phenomena of new media\, these are often no longer new. Yet\, closer ex amination reveals that contemporary technologies themselves rapidly become anachronistic\, compelling us to look both backward and forward in time.< /p>\n
This workshop aims to engage with questions posed by new or once-n ew media from a transdisciplinary perspective\, bringing together art hist orians\, media scholars and philosophers to consider both the disciplinary investment in new media\, as well as specific themes\, practices\, and ex amples.
\n\nSpeakers:
Estelle Blaschke (University o
f Basel)
Massimo Leone (University of Turin)
Lior Levy (Univer
sity of Haifa)
Aïcha Revellat (eikones\, Basel)
P rogram (pdf)
\nProgram
\n| 14.30 | Wel come\, coffee |
| 15.15 | Introduction |
| 15.30 | Massimo Leone |
| 16.20 | Coffee |
| 16.30 | Aïcha Revellat |
| 17.20 | Coffee |
| 17.30 | Estelle Blaschke |
| Coffee | |
| 18.30 | Lior Levy |
| 19.20 | Concluding discussion |
| 19.30 | Apéro |
Displaying Knowledge
Ausstellungen sin
d Orte des Wissenstransfers. Aber was heisst das konkret? Wie und unter we
lchen Bedingungen wird Wissen produziert? Wie wird Wissen vermittelt und i
n welchen Formen? Wie nachhaltig ist dieses Wissen? Das Panel widmet sich
verschiedenen Praktiken und Medien des Transfers (Recherche\, Kuratieren\,
Texte\, Ausstellungsdesign\, Publikationen\, Video) und stellt experiment
elle Ansätze der wissenschaftlichen Forschung im Ausstellungsraum- und Mu
seumskontext vor. Expert:innen\, die an der Schnittstelle von Forschen und
Ausstellen arbeiten\, berichten von ihren Projekten und Erfahrungen am Fo
tomuseum Winterthur\, dem Kunstmuseum Basel und dem Centre Pompidou\, und
diskutieren den Spielraum und die Herausforderungen\, die sich aus dem Zus
ammenspiel von Theorie und Praxis und der Auseinandersetzung mit fotografi
schen Medien ergeben. \;
Mit: Doris Gassert (Research Curator\ , Fotomuseum Winterthur)\, Marco de Mutiis (Digital Curator\, Fotomuseum W interthur)\, Olga Osadtschy (Kuratorin und Dozentin) und Estelle Blaschke (Medienwissenschaftlerin\, Universität Basel).
\nVeranstaltung im R ahmen des Swiss Photo Month\, mit anschliessendem Apéro.
\n\ n DTEND;TZID=Europe/Zurich:20240927T193000 END:VEVENT BEGIN:VEVENT UID:news291@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20240820T163512 DTSTART;VALUE=DATE:20240904 SUMMARY:Attention in Animal Ethics and Aesthetics DESCRIPTION:Keynote lecture and curated film program open to public\; summ er school program open for ten external participants (M.A. students and do ctoral candidates) and ten Unibas students. X-ALT-DESC:Keynote lecture and curated film program open to public\;&nbs p\;summer school program open for ten external participants (M.A. students and doctoral candidates) and ten Unibas students.
\n\n DTEND;VALUE=DATE:20240906 END:VEVENT BEGIN:VEVENT UID:news290@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20240529T145306 DTSTART;VALUE=DATE:20240612 SUMMARY:Breaking Visual Traditions in Pre-Modernity: Primary Sources Worksh op DESCRIPTION:Speakers:\\r\\nCarolin Behrmann (Ruhr-Universität Bochum)\\r\\ nGeorgios Binos (Ruhr-Universität Bochum)\\r\\nMasha Goldin (Universität Basel)\\r\\nThomas Rainer (Universität Zürich)\\r\\nMartin Schwarz (Uni versität Basel)\\r\\nProgram [t3://file?uid=584] X-ALT-DESC:Speakers:
\nCarolin Behrmann (Ruhr-Universität Bochum)
\nGeorgios Binos (Ruhr-Universität Bochum)
\nMasha Go ldin (Universität Basel)
\nThomas Rainer (Universität Zürich)
\nMartin Schwarz (Universität Basel)
\n DTEND;VALUE=DATE:20240612 END:VEVENT BEGIN:VEVENT UID:news288@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20240529T174110 DTSTART;VALUE=DATE:20240603 SUMMARY:Black Figuration DESCRIPTION:Only for participants who signed up according to instructions i n Vorlesungsverzeichnis\\r\\nIt is likewise open to members of universitie s and other institutions of higher learning\, art institutions\, and museu ms in Basel\, across Switzerland and neighbouring countries\, as well as i ndependent artists and curators. Please register at: eikones@unibas.ch [ma ilto:eikones@unibas.ch] by 31 March 2024. Provide your personal details\, your institutional affiliation (if any) and briefly explain your interest in participating in the summer school. Number of external participants is limited to 10 people. For inquiries please contact PD Dr Lorena Rizzo at l orena.rizzo@unibas.ch [mailto:lorena.rizzo@unibas.ch]\\r\\nThe eikones/Afr ican Studies Summer School 2024 takes its cue from When We See Us: A Centu ry of Black Figuration in Painting\, an exhibition curated by Koyo Kouoh a nd Tandazani Dhlakama. First shown at the Zeitz Museum of Contemporary Afr ican Art in Cape Town in November 2022 and opening at the Kunstmuseum Base l in May 2024\, the exhibition explores Black self-representation and cele brates global Black subjectivities and Black consciousness from pan-Africa n and pan-diasporic perspectives. How does an exhibition like this arrive in Basel\, and what does its presence herald? How can a critical engagemen t with “Blackness” as signalled by the exhibition be situated in the l andscape of activist projects in Switzerland\, and aesthetic projects inte rnationally? How might a critical reflection on fields\, practices and lit eratures enrich our approach to understanding not only this exhibition\, b ut the ‘PastPresentFuture’ (Kgositsile) spaces in which these and othe r questions are engaged? In many ways\, the exhibition unsettles the frame work of both area studies and art history\, revealing important ruptures\, intersections and ‘visual currencies’ (Makhubu). In doing so\, When W e See Us: A Century of Black Figuration in Painting calls attention to how we traverse our respective fields: institutionally at the two host instit utions in Basel\, namely\, the Centre for African Studies and eikones Cent re for the Theory and History of the Image\; as well as how we navigate an d negotiate related epistemologies\, geographies\, and histories as thinke rs and artists.\\r\\n The summer school will include invited scholars and practitioners working on topics such as: • Global issues from anticoloni al black feminist perspectives • Social engagement in African visual a rt • Critical race studies and black radical traditions • The politics of space (and time) Participants will be expected to visit the exhibitio n beforehand as well as to familiarise themselves with a selection of read ings and visual material in preparation for the programme which takes plac e in Basel between Monday 3 June and Friday 7 June 2024.\\r\\n Participati on according to the instructions here: https://vorlesungsverzeichnis.uniba s.ch/de/home?id=282073 [https://vorlesungsverzeichnis.unibas.ch/de/home?id =282073]\\r\\nSpeakers: Joshua Amissah (Author\, photo editor\, editor a nd curator) Victoria J. Collis-Buthelezi (Associate Professor in English a nd Director of the Centre for the Study of Race\, Gender and Class at the University of Johannesburg) Jovita Dos Santos Pinto (Historian and researc her\, Interdisciplinary Center for gender Studies/IZFG\, University of Ber n) Onome Ekeh (Artist\, writer\, designer and lecturer at University of Ap plied Sciences Northwestern Switzerland (FHNW)) Paul Goodwin (Professor of Contemporary Art & Urbanism and Director of TrAIN Research Centre (Transn ational Art\, Identity & Nation) at University of the Arts London) Daniel Kurjakovic (Programmes Director\, Kunstmuseum Basel) Jamal Nxedlana (Artis t\, cultural organizer) Rory Kahiya Tsapayi (Researcher\, writer\, and cur ator) Ralph Ubl (Professor of Modern Art History and Director of eikones\, University of Basel) \\r\\nProgram: Monday 3 June: Guided tour of the W hen We See Us exhibition\, introduction and framing Tuesday 4 June: Unpack ing Black Figuration Wednesday 5 June: Black intellectual and cultural his tories and networks Thursday 6 June: (Black) migration and transnationalis m in (Black) culture/ Worlding public cultures/ subcultures Friday 7 June: Projects and Practice X-ALT-DESC:Only for participants who signed up according to instructions in Vorlesungsverzeichnis
\nIt is likewise open to members of univer sities and other institutions of higher learning\, art institutions\, and museums in Basel\, across Switzerland and neighbouring countries\, as well as independent artists and curators. Please register at: eikones@unibas.ch by 31 March 2024. Provide your pe rsonal details\, your institutional affiliation (if any) and briefly expla in your interest in participating in the summer school. Number of external participants is limited to 10 people. For inquiries please contact PD Dr Lorena Rizzo at lorena.rizzo@uniba s.ch
\nThe eikones/African Studies Summer School 2024 takes its
cue from When We See Us: A Century of Black Figuration in Painting\, an ex
hibition curated by Koyo Kouoh and Tandazani Dhlakama. First shown at the
Zeitz Museum of Contemporary African Art in Cape Town in November 2022 and
opening at the Kunstmuseum Basel in May 2024\, the exhibition explores Bl
ack self-representation and celebrates global Black subjectivities and Bla
ck consciousness from pan-African and pan-diasporic perspectives.
Ho
w does an exhibition like this arrive in Basel\, and what does its presenc
e herald? How can a critical engagement with “Blackness” as signalled
by the exhibition be situated in the landscape of activist projects in Swi
tzerland\, and aesthetic projects internationally? How might a critical re
flection on fields\, practices and literatures enrich our approach to unde
rstanding not only this exhibition\, but the ‘PastPresentFuture’ (Kgos
itsile) spaces in which these and other questions are engaged?
In ma
ny ways\, the exhibition unsettles the framework of both area studies and
art history\, revealing important ruptures\, intersections and ‘visual c
urrencies’ (Makhubu). In doing so\, When We See Us: A Century of Black F
iguration in Painting calls attention to how we traverse our respective fi
elds: institutionally at the two host institutions in Basel\, namely\, the
Centre for African Studies and eikones Centre for the Theory and History
of the Image\; as well as how we navigate and negotiate related epistemolo
gies\, geographies\, and histories as thinkers and artists.
The summer school will include invited scholars and practitioners working
on topics such as:
• Global issues from anticolonial black femini
st \; perspectives
• Social engagement in African visual art • Critical race studies and black radical traditions
• The
politics of space (and time)
Participants will be expected to
visit the exhibition beforehand as well as to familiarise themselves with
a selection of readings and visual material in preparation for the progra
mme which takes place in Basel between Monday 3 June and Friday 7 June 202
4.
Participation according to the instructions here: https://vorl
esungsverzeichnis.unibas.ch/de/home?id=282073
Speakers
: \;
Joshua Amissah (Author\, photo editor\, editor and
curator)
Victoria J. Collis-Buthelezi (Associate Professor in Engli
sh and Director of the Centre for the Study of Race\, Gender and Class at
the University of Johannesburg)
Jovita Dos Santos Pinto (Historian a
nd researcher\, Interdisciplinary Center for gender Studies/IZFG\, Univers
ity of Bern)
Onome Ekeh (Artist\, writer\, designer and lecturer at
University of Applied Sciences Northwestern Switzerland (FHNW))
Paul
Goodwin (Professor of Contemporary Art &\; Urbanism and Director of Tr
AIN Research Centre (Transnational Art\, Identity &\; Nation) at Univer
sity of the Arts London)
Daniel Kurjakovic (Programmes Director\, Ku
nstmuseum Basel)
Jamal Nxedlana (Artist\, cultural organizer)
Rory Kahiya Tsapayi (Researcher\, writer\, and curator)
Ralph Ubl (P
rofessor of Modern Art History and Director of eikones\, University of Bas
el)
\;
Program:
Monday 3 June: G
uided tour of the When We See Us exhibition\, introduction and framing
Tuesday 4 June: Unpacking Black Figuration
Wednesday 5 June: Blac
k intellectual and cultural histories and networks
Thursday 6 June:
(Black) migration and transnationalism in (Black) culture/ Worlding public
cultures/ subcultures
Friday 7 June: Projects and Practice
This 1.5 day workshop will bring together scholars of photogr aphy whose work was foundational for the book In Visible Presence: Soviet Afterlives in Family Photos (Oksana Sarkisova and Olga Shevchenko\, MIT Pr ess\, 2023). The book discussion with the authors on May 16 will be modera ted by Dr. Lorena Rizzo and followed by a full-day workshop on May 17\, wh ich is dedicated to the concept of photographic afterlives. Scholars of th is visual medium will discuss the traces of experience that live in and th rough photography\, as well as the afterlives of photographs themselves\, exploring the emotional and political currents they set into motion.
\nParticipants:
Natalija Arlauskajte (Vilnius University)
Öz
ge Calafato (University of Amsterdam) \;
Zeynep Gürsel (Rutgers
University) \;
Victoria Musvik (University of Oxford) \;
Suryanandini Narain (Jawaharlal Nehru University) \;
Galina
Orlova (independent researcher)
Christopher Pinney (University Colle
ge London)
Lorena Rizzo (University of Basel)
Oksana Sarkisova
(Vera and Donald Blinken OSA Archivum)
Olga Shevchenko (Williams Co
llege) \;
Denis Skopin (Bard College Berlin)
Der Ruf nach Rechten und Pflichten\, nach Schutz und Solidari tät\, nach Ressourcen oder Repression ist stets mit Verfahren der Sichtba rmachung verbunden. Politische und soziale Handlungsmacht wird damit immer auch zu einer Frage der Ästhetik. Strategien der Sichtbarmachung lassen sich dort besonders gut beobachten\, wo hegemoniale Strukturen herausgefor dert werden. Neben den Wissenschaften gelten auch die Künste und ihre Ins titutionen als privilegierte Schauplätze der Sichtbarmachung. Spätestens seit Gustave Courbet im 19. Jh.\, prononcierter jedoch im 20. Jh. verschr eiben sich Kunstschaffende der Sichtbarmachung mitunter auch aktiver Bekä mpfung sozialer Missstände. Eine Ästhetik und Politik der Sichtbarmachun g muss auch immer nach dem Recht auf Unsichtbarkeit fragen\, nach dem prod uktiven Potential von anästhetischen Feldern und nach ihren eigenen blind en Flecken.
\nDas Forum Künste\, Medien\, Philosophie möchte der W echselwirkung zwischen der Sphäre des Ästhetischen und des Politischen i nterdisziplinär und mittels exemplarischer Schlaglichter in die unterschi edlichsten historischen Konstellationen und deren spezifischen materiellen sowie medialen Voraussetzungen nachgehen. Gibt es etwa wiederkehrende Mus ter oder dominieren gewisse ästhetische Strategien und Mittel? Kann ggf. von einer Kontinuität gesprochen werden? Wie beeinflusst die politische S ituation bestimmte ästhetische Verfahren und umgekehrt? Und nicht zuletzt : Wie steht es um die soziale Transformation?
\n\;Am Freitagabe nd macht die niederländische Kunsttheoretikerin\, Kuratorin und Glitch-K ünstlerin Rosa Menkman den Auftakt mit einem einleitenden Keynote-Vortrag . Am Samstag nehmen Forscher*innen des Departements Künste\, Medien\, Phi losophie in ihren Beiträgen diese Problematik genauer unter die Lupe und laden so zur gemeinsamen Diskussion an.
\n DTEND;VALUE=DATE:20240413 END:VEVENT BEGIN:VEVENT UID:news285@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20240320T105429 DTSTART;TZID=Europe/Zurich:20240412T181500 SUMMARY:Beyond Resolution DESCRIPTION:Imagine you could obtain an 'impossible' image of any object or phenomenon that you think is important\, with no limits on spatial\, temp oral\, energy\, signal/noise or cost resolutions. What image would you cre ate? (the answer can be a hypothetical image of course!)\\r\\nThis was the question I asked every scientist I spoke to during my Arts at CERN/Collid e Barcelona residency (2019-2020). The answers to the question gave me an incredibly rich and stimulating database of perspectives\, not just on how resolutions play a vital role in our understanding and perception of the world\, but also into the different understandings of impossibility. Some of these images would have never found their way to our eyes\; they would have remained impossible\, only to exist in hypothetical realms. In my tal k I will take this deeper into the speculative realms of impossibility\, b ut also tie it back in to my "Resolution Studies". Resolution studies invo lves theory about the setting of standards and the studies of compromised\ , other (speculative) possibilities. Resolution studies occupies a space connected to protocol\, the interface effect\, materiality\, habit and gen ealogical media theory. X-ALT-DESC:Imagine you could obtain an 'impossible' image of any object or phenomenon that you think is important\, with no limits on spatial\, te mporal\, energy\, signal/noise or cost resolutions. What image would you c reate? (the answer can be a hypothetical image of course!)
\nThis wa s the question I asked every scientist I spoke to during my Arts at CERN/C ollide Barcelona residency (2019-2020). The answers to the question gave m e an incredibly rich and stimulating database of perspectives\, not just o n how resolutions play a vital role in our understanding and perception of the world\, but also into the different understandings of impossibility. Some of these images would have never found their way to our eyes\; they w ould have remained impossible\, only to exist in hypothetical realms. In m y talk I will take this deeper into the speculative realms of impossibilit y\, but also tie it back in to my "Resolution Studies". Resolution studies involves theory about the setting of standards and the studies of comprom ised\, other (speculative) possibilities. \;Resolutio n studies occupies a space connected to protocol\, the interface effect\, materiality\, habit and genealogical media theory.
\n\n DTEND;TZID=Europe/Zurich:20240412T194500 END:VEVENT BEGIN:VEVENT UID:news283@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20240327T103908 DTSTART;TZID=Europe/Zurich:20240408T181500 SUMMARY:Myth and Migration in the Shadow of Fascism DESCRIPTION:Details to follow. X-ALT-DESC:Details to follow.
DTEND;TZID=Europe/Zurich:20240408T200000 END:VEVENT BEGIN:VEVENT UID:news282@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20240228T145613 DTSTART;TZID=Europe/Zurich:20240307T090000 SUMMARY:Rethinking Institutions for Animals DESCRIPTION:Program [t3://file?uid=563]\\r\\nPlease register to participate : vandenbrandeler.emnee@unibas.ch [mailto:vandenbrandeler.emnee@unibas.ch] X-ALT-DESC:\nPlease regist er to participate: vanden brandeler.emnee@unibas.ch
\n\n DTEND;TZID=Europe/Zurich:20240308T180000 END:VEVENT BEGIN:VEVENT UID:news289@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20240229T174630 DTSTART;TZID=Europe/Zurich:20240307T000000 SUMMARY:Gastvorträge im Rahmen des Berufungsverfahrens «Professur Frühe Neuzeit der Kunstgeschichte» DESCRIPTION:Die Probeseminare am Dienstag und Mittwoch richten sich ausschl iesslich an die Studierenden der Kunstgeschichte. Die Voträge am Donners tag und Freitag sind öffentlich. X-ALT-DESC:Die Probeseminare am Dienstag und Mittwoch richten sich aussc hliesslich an die Studierenden der Kunstgeschichte. \;Die Voträge am Donnerstag und Freitag sind öffentlich. \; \;
DTEND;TZID=Europe/Zurich:20240308T000000 END:VEVENT BEGIN:VEVENT UID:news280@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20240214T120907 DTSTART;TZID=Europe/Zurich:20240302T090000 SUMMARY:The Concept and the Arts. Genealogies of Conceptual Art DESCRIPTION:Contemporary art is post-conceptual art. This currently widespr ead view represents the conceptualart of the 1960s and 1970s as a caesura whose far-reaching effects on art production extend to the present day. Bu t what exactly does this view mean? And which works are paradigmaticof (hi storical) conceptual art? Marcel Duchamp\, John Cage\, Art & Language or H anne Darboven? What terms of the "conceptual" do these practices propose? And how dothey relate to each other and to social reality? After all\, con ceptual art emerged at a time of social upheaval (the 1968 movement\, the civil rights movement\, the second feminist wave)\,which it in turn absorb ed. We will explore these questions in a one-day\, interdisciplinary works hop. Our assumption is that the individual art forms - literature\, visual art\, music - have established different conceptions of conceptual art\, each with their own specific genealogies\, which have affected post-concep tual art production in their own way. In the joint discussion\, we also wa nt to discuss the extent to which we can speak of overlaps and common obje ctives.\\r\\nProgramm [t3://file?uid=559] X-ALT-DESC:Contemporary art is post-conceptual art. This currently wides
pread view represents the conceptualart of the 1960s and 1970s as a caesur
a whose far-reaching effects on art production
extend to the present
day. But what exactly does this view mean? And which works are paradigmat
icof (historical) conceptual art? Marcel Duchamp\, John Cage\, Art &\;
Language or
Hanne Darboven? What terms of the "conceptual" do these
practices propose? And how dothey relate to each other and to social reali
ty? After all\, conceptual art emerged at a time of
social upheaval
(the 1968 movement\, the civil rights movement\, the second feminist wave)
\,which it in turn absorbed.
We will explore these questions in a on
e-day\, interdisciplinary workshop. Our assumption is that the individual
art forms - literature\, visual art\, music - have established different c
onceptions
of conceptual art\, each with their own specific genealog
ies\, which have affected post-conceptual art production in their own way.
In the joint discussion\, we also want to discuss the extent to which we
can speak of overlaps and common objectives.
NOMIS Lecture by Adrian Anagnost\, followed by apéro.
\n< p>Mapping Race and \;Ecology \;at the Gulf of MexicoPoster as pdf.
DTEND;TZID=Europe/Zurich:20231211T194500 END:VEVENT BEGIN:VEVENT UID:news274@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20260204T171617 DTSTART;TZID=Europe/Zurich:20231207T181500 SUMMARY:»Aus dem Falschen das Richtige lernen: Kunstfälschungen in der ak ademischen Lehre» DESCRIPTION:Letzter Forumsvortrag im HS 2023 zum Thema «Fälschungen»\, H enry Keazor (Heidelberg) X-ALT-DESC:Letzter Forumsvortrag im HS 2023 zum Thema «Fälschungen»\, He nry Keazor (Heidelberg) END:VEVENT BEGIN:VEVENT UID:news270@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20231201T091028 DTSTART;TZID=Europe/Zurich:20231130T000000 SUMMARY:Photography and Subjectivity in Contemporary Art and Media Practice s DESCRIPTION:Speakers: Tina M. Campt (Princeton University)\, Heather Diack (Toronto Metropolitan University)\, Dennis Jelonnek (FU Berlin)\, Markus Klammer (Universität Basel\, eikones)\, Megan Luke (Universität Tübinge n)\, Katja Müller-Helle (HU Berlin)\, Aïcha Revellat (eikones)\, Meredit h Stadler (eikones)\, Kristin Weber (ZIKG München)\\r\\nProgram\\r\\nThur sday\, November 30 (at Kunstmuseum Basel | Gegenwart) 18.15 – 19.45 Lect ure by Tina M. Campt [https://artandarchaeology.princeton.edu/people/tina- m-campt] at Kunstmuseum Basel | Gegenwart: «Carrie Mae Weems and the Afte rlives of Images: A Visual Correspondence»\\r\\nFriday\, December 1 (at e ikones) 08.30–09.00 Coffee 09.00–09.15 Welcome and Introduction 09. 15–10.00 Heather Diack [https://www.torontomu.ca/image-arts/about/people /faculty/heatherdiack/]: “No Location without Meaning” 10.00–10.45 A ïcha Revellat [https://eikones.philhist.unibas.ch/de/personen/aicha-revel lat/]: "At Arm's Length. Hannah Villiger’s Work with Polaroid” 10.45 –11.15 Coffee 11.15–12.00 Kristin Weber [https://www.zikg.eu/personen /krweber]: “Becoming a Mother. The Body as a Carrier of Signs” 12.00 –13.30 Lunch at eikones 13.30–14.15 Megan Luke [https://uni-tuebingen. de/fakultaeten/philosophische-fakultaet/fachbereiche/altertums-und-kunstwi ssenschaften/kunsthistorisches-institut/personen/luke-megan-r-prof-dr-phil /]: “Barbara Kasten. Photography and Plasticity” 14.15–15.00 Markus Klammer [https://kunstgeschichte.philhist.unibas.ch/de/personen/markus-kla mmer/]: “Ray Photographic” 15.00–15.30 Coffee\\r\\nSaturday\, Decemb er 2 (at eikones) 11.00–11.30 Coffee 11.30–12.15 Dennis Jelonnek [http s://www.geschkult.fu-berlin.de/e/khi/Personen/wissenschaftliche_Mitarb/jel onnek/index.html]: “How to Cope with Rumors and Radiation. Horst Ademeit ’s Photographic Practice” 12.15–13.30 Lunch 13.30–14.15 Meredith Stadler [https://eikones.philhist.unibas.ch/de/personen/meredith-stadler/] : “Ground Floor Photography. Reading John Miller's Series ‘The Middle of the Day’ (1994-present)” 14.15–14.45 Final Discussion 15.00 Apér o\\r\\nAbstract\\r\\nSusan Sontag famously grounded photography’s ambiva lent role of both expressing and controlling forms of human subjectivity i n modern capitalist societies in its twin powers of generating “instrume ntal views” yielding “objective data” and at the same time producing “aesthetic views”\, with photographs acting as “items of psychologi cal science fiction”. \\r\\nIn the wake of the 1960ies\, photography ha s become an integral part of various post-conceptual artistic practices de aling with problems of subjectivity and subjectivation\, both with regard to content and a peculiar use of certain technological characteristics of the medium (point-of-view\, stillness\, cropping\, depth of field\, color properties like those of Polaroids etc.). In this regard\, the human body has regained importance not only as a motif\, but also in an operational s ense (the body operating the camera or delegating certain tasks to the app aratus) and in its complex metaphorical and metonymical relations to the p rocesses and materials of photography (the “body of the camera”\, the skin-like quality of certain photographic surfaces\, tonalities of color e tc.) \\r\\nOver the past four decades\, artists like Francesca Woodman\, Cindy Sherman\, Lucas Samaras\, Carrie Mae Weems and Hannah Villiger\, jus t to name a few\, have been exploring the mediality of photographic self-p ortraiture\, pushing it to and over its perceived limits. In their works\, the body\, and its most visible outer layer\, the skin\, interact with th e surfaces of photographic pictures\, yielding interesting and problematic figurations of inwardness\, showing traces from the contact with the worl d and the production of the pictures themselves. Often in these works\, th e bodies’ performances in front of the camera are manifestly related to or in close dialogue with other mediums and media\, such as sculpture and film (in respect of photography’s stillness) or\, most recently\, digita l image generation and image recognition algorithms. \\r\\nThe focus of t he conference lies on post-conceptual practices located on the margins bet ween photography and other types of mediums and media. We are specifically interested in questions of (self-)staging\, the body as a signifier of su bjectivity (even in its absence on the level of motif)\, and the processua lity of artistic practices as shaped by the technological and aesthetic ch aracteristics of certain types of analogue and digital photography. \\r\\ nProgram as pdf [t3://file?uid=552]. X-ALT-DESC:Speakers: \;Tina M. Campt (Princeton University)\, Heather Diack (Toronto Metropolitan University)\, Dennis Je lonnek (FU Berlin)\, Markus Klammer (Universität Basel\, eikones)\, Megan Luke (Universität Tübingen)\, Katja Müller-Helle (HU Berlin)\, Aïcha Revellat (eikones)\, Meredith Stadler (eikones)\, Kristin Weber (ZIKG Mün chen)
\nThursday\, N
ovember 30 (at Kunstmuseum Basel | Gegenwart)
18.15 – 19.
45 Lecture by Tina M. Campt at Kunstmuseum Basel | Gegenwart: «C
arrie Mae Weems and the Afterlives of Images: A Visual Correspondence»
Friday\, December 1 (at eikones)
08.30–09.0
0 Coffee
09.00–09.15 Welcome and Introduction \;
09.15–10.00 Heather Diack: “No Locatio
n without Meaning”
10.00–10.45 Aïcha Revellat: "At
Arm's Length. Hannah Villiger’s Work with Polaroid”
10.45–11.1
5 Coffee
11.15–12.00 Kristin Weber: “Becoming a Mother. The Body as
a Carrier of Signs”
12.00–13.30 Lunch at eikones
13.30–14.15 Megan Luke:
“Barbara Kasten. Photography and Plasticity”
14.15–15.00 <
a href="https://kunstgeschichte.philhist.unibas.ch/de/personen/markus-klam
mer/">Markus Klammer: “Ray Photographic”
15.00–15.30
Coffee
Saturday\, December 2 (at eikones
)
11.00–11.30 Coffee
11.30–12.15 Dennis Jelonnek: “How to Cope with Rumors an
d Radiation. Horst Ademeit’s Photographic Practice”
12.15–13.3
0 Lunch
13.30–14.15 Meredith Stadler: “G
round Floor Photography. Reading John Miller's Series ‘The Middle of the
Day’ (1994-present)”
14.15–14.45 Final Discussion
15.00
Apéro
Susan Sontag famously grounded photography’s ambivalent role of both expressing and c ontrolling forms of human subjectivity in modern capitalist societies in i ts twin powers of generating “instrumental views” yielding “objectiv e data” and at the same time producing “aesthetic views”\, with phot ographs acting as “items of psychological science fiction”. \;
\nIn the wake of the 1960ies\, photography has become an integral part of various post-conceptual artistic practices dealing with problems of sub jectivity and subjectivation\, both with regard to content and a peculiar use of certain technological characteristics of the medium (point-of-view\ , stillness\, cropping\, depth of field\, color properties like those of P olaroids etc.). In this regard\, the human body has regained importance no t only as a motif\, but also in an operational sense (the body operating t he camera or delegating certain tasks to the apparatus) and in its complex metaphorical and metonymical relations to the processes and materials of photography (the “body of the camera”\, the skin-like quality of certa in photographic surfaces\, tonalities of color etc.) \;
\nOver t he past four decades\, artists like Francesca Woodman\, Cindy Sherman\, Lu cas Samaras\, Carrie Mae Weems and Hannah Villiger\, just to name a few\, have been exploring the mediality of photographic self-portraiture\, pushi ng it to and over its perceived limits. In their works\, the body\, and it s most visible outer layer\, the skin\, interact with the surfaces of phot ographic pictures\, yielding interesting and problematic figurations of in wardness\, showing traces from the contact with the world and the producti on of the pictures themselves. Often in these works\, the bodies’ perfor mances in front of the camera are manifestly related to or in close dialog ue with other mediums and media\, such as sculpture and film (in respect o f photography’s stillness) or\, most recently\, digital image generation and image recognition algorithms. \;
\nThe focus of the confere nce lies on post-conceptual practices located on the margins between photo graphy and other types of mediums and media. We are specifically intereste d in questions of (self-)staging\, the body as a signifier of subjectivity (even in its absence on the level of motif)\, and the processuality of ar tistic practices as shaped by the technological and aesthetic characterist ics of certain types of analogue and digital photography. \;
\nP rogram as pdf.
DTEND;TZID=Europe/Zurich:20231202T000000 END:VEVENT BEGIN:VEVENT UID:news278@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20231108T102304 DTSTART;VALUE=DATE:20231124 SUMMARY:A Media History in n+1 Sources DESCRIPTION:The workshop is the annual meeting of Media History | CH\, a r esearch network for media historians in Switzerland which brings together scholars from different fields with research interests in media history\, archivists\, and curators from museums to advance the study of media histo ry in Switzerland. You can find the final program here: https://mediahisto ry.ch/final-program-a-media-history-in-n1-sources/ [https://mediahistory.c h/final-program-a-media-history-in-n1-sources/]\\r\\nWe welcome everybody interested to join. X-ALT-DESC:The workshop is the annual meeting of \;Media History | CH\, a research network for media historians in Switzerland which brings together scholars from different fields with research interests in media history\, archivists\, and curators from museums to advance the stud y of media history in Switzerland. You can find the final program here: https://mediahistory.ch/final-program-a-media-history-in-n1-sources/
\nWe welcome everybody interested to join.
\n\n DTEND;VALUE=DATE:20231124 END:VEVENT BEGIN:VEVENT UID:news276@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20231120T155422 DTSTART;TZID=Europe/Zurich:20231123T170000 SUMMARY:Death Ships. The Dark Side of the Oceanic Turn DESCRIPTION:Media historian and philosopher Friedrich Balke [http://ifm.rub .de/institut/personen/balke/] (Ruhr Universität Bochum) will delve into t his topic and ask about the “dark side of the oceanic turn”.\\r\\nThe keynote lecture is the opening of the two-day workshop A Media History in n+1 Sources [https://mediahistory.ch/final-program-a-media-history-in-n1-s ources/]\, the third Workshop of the network Media History/CH\, which brin gs together media scholars\, historians\, archivists\, curators and others . The keynote lecture is open to all students and other interested people. \\r\\nThe keynote is followed by an Apéro riche. To facilitate the org anization of the apéro\, please send a short registration (name\, number of persons) to info@mediahistory.ch [mailto:info@mediahistory.ch]. Thank y ou very much! X-ALT-DESC:Media historian and philosopher Friedrich Balke (Ruhr Universität Bochum) wil l delve into this topic and ask about the “dark side of the oceanic turn ”.
\nThe keynote lecture is the opening of the two-day workshop A Media History in n+1 Sources\, the third Workshop of the network Media History/CH\, which brings together media scholars\, historians\, arc hivists\, curators and others. The keynote lecture is open to all students and other interested people. \;
\nThe keynote is followed by a n Apéro riche.To facilitate the organization of the ap éro\, please send a short registration (name\, number of persons) to info@mediahistory.ch. Thank you very much!
DTEND;TZID=Europe/Zurich:20231123T200000 END:VEVENT BEGIN:VEVENT UID:news275@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20231106T143253 DTSTART;TZID=Europe/Zurich:20231114T181500 SUMMARY:Classical Relief: Terminology\, Medium\, Ontology DESCRIPTION:Programm [https://daw.philhist.unibas.ch/fileadmin/user_upload/ daw/Fachbereiche/altegeschichte/Forschung/Kolloquium/Koll_HS_2023.pdf] mit Vortrag von Verity Platt [https://classics.cornell.edu/verity-platt] (Cor nell University) X-ALT-DESC:Pr ogramm mit Vortrag von Verity Platt (Cornell University)
DTEND;TZID=Europe/Zurich:20231114T200000 END:VEVENT BEGIN:VEVENT UID:news279@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20231113T113615 DTSTART;TZID=Europe/Zurich:20231113T160000 SUMMARY:PODIUMSDISKUSSION: Aby Warburg\, Florenz und das Labor der Bilder DESCRIPTION:Am Montag\, den 13. November 2023\, 16:00 Uhr\, findet eine Pod iumsdiskussion zu den Ausstellungen in den Gallerie degli Uffizi ("Rooms w ith a View. Aby Warburg\, Florenz und das Labor der Bilder") und im KHI (" Aby Warburg\, il Kunsthistorisches Institut in Florenz e il laboratorio de lle immagini") statt. Daran teilnehmen werden Andreas Beyer [https://kunst geschichte.philhist.unibas.ch/de/personen/andreas-beyer/] (Universität Ba sel)\, Monica Centanni (Università Iuav di Venezia)\, Claudia Cieri Via ( Sapienza Università di Roma)\, Maurizio Ghelardi (Scuola Normale Superior e\, Pisa) und Alina Payne (Villa I Tatti - The Harvard University Center f or Italian Renaissance Studies).\\r\\nZur Registrierung für eine online-T eilnahme folgen Sie bitte diesem Link [https://eu02web.zoom-x.de/meeting/r egister/u5YqceyppjoqG9CI6ddOiKTw8A4bIWsNfMMG]: X-ALT-DESC:Am Montag\, den 13. November 2023\, 16:00 Uhr\, finde t eine Podiumsdiskussion zu den Ausstellungen in den Gallerie degli Uffizi ("Rooms with a View. Aby Warburg\, Florenz und das Labor der Bilder") und im KHI ("Aby Warburg\, il Kunsthistorisches Institut in Florenz e il labo ratorio delle immagini") statt. Daran teilnehmen werden Andreas Beye r (Universität Basel)\, Monica Centanni (Università Iuav di Venezia) \, Claudia Cieri Via (Sapienza Università di Roma)\, Maurizio Ghelardi (S cuola Normale Superiore\, Pisa) und Alina Payne (Villa I Tatti - The Harva rd University Center for Italian Renaissance Studies).
\nZur Registrierung für eine online-Teilnahme folgen Sie bitte diesem
Link:
Please note that registration is mandatory (mario.schulze@unibas.ch). Language of the Work shop will be German.
\n2014 schlug Peter Galison eine Erweiterung de r Science and Technology Studies zu den Visual STS\, kurz VSTS\, vor. \;Seit diesem Plädoyer hat sich die Notwendigkeit noch stärker prononcie rt\, sowohl dem Visuellen in den Wissenschaften besondere Aufmerksamkeit z u schenken\, als auch das Visuelle in die Arbeit der Wissenschaftsforschun g systematisch miteinzubeziehen. Die sich schnell verändernden Produktion s- und Publikationsmöglichkeiten von Bildern führen zu einem Umbruch im wissenschaftlichen Publizieren und bringen damit neue Technologien\, Medie n und Akteur*innen ins Spiel: \;Die Screens der Smartphones und Notebo oks begleiten uns überall hin\; Bild-Suchmaschinen finden mittlerweile ni cht mehr nur „poor images“\; und die Verfügbarkeit und Speichermögli chkeit qualitativ hochwertiger (Bewegt-)Bilder hat mittels Cloud-Dienste e ine noch vor wenigen Jahren unvorstellbare Kapazität erreicht. Auch beein flussen Verfahren der maschinellen Datenverarbeitung\, Auswertung und Gene rierung zunehmend unseren Umgang mit Bildern. Das alles verändert die Arb eit am und die Distribution von Wissen. \;
\nMit dem Workshop wo llen wir neue Perspektiven auf ein bis dato wenig umrissenes Feld zusammen bringen sowie aktualisierte Rückblicke und Ausblicke darauf versammeln\, was VSTS war\, ist und sein könnte. Der Workshop dient der Vorbereitung a uf einen Reader zum Thema. \;
\nSpeakers: \ ;Matthias Bruhn\, Priska Gisler\, Nils Güttler\, Inge Hinterwaldner\, Chr istoph Hoffmann\, Ute Holl\, Bettina Papenburg\, Niki Rhyner\, Max Stadler
\n\n| 09:15–09:45 | Einfü hrung |
| 09:45–10:15< /td> | Kommentar Perspektive Wissenscha ftsforschung/STS(Mario Schulze) |
| 10:15–10:45< /span> | |
| 11:00–11:30 | |
| 13:15–13:45 | Komme ntar Perspektive Bildwissenschaft (Estelle Blaschke)< /span> |
| 13: 45–14:15 | |
| Inge Hinterwaldner (Karlsruhe ): Walk-in article as an academic format? How to condense knowledg e and render it experiential | |
| 14:45–15:15 | D iskussion |
| Pause: 15 Minuten | |
| < span>15:30–16:00 | |
| 16:0 0–16:30 | Priska Gisler (Bern): Von Händen – Über den Statu s visueller Dokumente in den performativen Künsten |
| < span>16:30–17:15 | |
| 17:15–17:45 | Hybrid es Publizieren (intercomverlag / Nils Güttler\, Wien und Niki Rhyner\, Z ürich) |
Vortrag der Kunsthistorikerin und Animal Studies-Forscherin J
essica Ullrich mit anschliessender
Buchpräsentation \;Das T
ier im Bild. Verbindungen von Tierethik und Ästhetik von Friederike
Zenker\, erschienen bei transcript 2023. Diskussion und Apéro riche.
Poster als pdf.
DTEND;TZID=Europe/Zurich:20231019T204500 END:VEVENT BEGIN:VEVENT UID:news272@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230914T180824 DTSTART;TZID=Europe/Zurich:20231012T181500 SUMMARY:»Die Crux mit dem Original – Aus den Grauzonen des Kunstbetriebs von Edgar Degas bis Sigmar Polke« DESCRIPTION:Erster Forumsvortrag im HS 2023 zum Thema «Fälschungen»\, Hu bertus Butin (Berlin) X-ALT-DESC:Erster Forumsvortrag im HS 2023 zum Thema «Fälschungen»\, Hub ertus Butin (Berlin) END:VEVENT BEGIN:VEVENT UID:news268@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20231010T161412 DTSTART;TZID=Europe/Zurich:20231012T140000 SUMMARY:Workshop with Robert Hopkins: Picture Systems as Ways of Seeing the World DESCRIPTION:Poster as pdf [t3://file?uid=541]. X-ALT-DESC:Poster as pdf.
DTEND;TZID=Europe/Zurich:20231012T160000 END:VEVENT BEGIN:VEVENT UID:news266@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230726T182634 DTSTART;TZID=Europe/Zurich:20230911T090000 SUMMARY:CANCELLED: Summer School "Decolonial Displacements" DESCRIPTION:The summer school is a collaboration between the Centre for Afr ican Studies and eikones. Decolonial displacements describes a space of in quiry that attends to the ways in which climate change\, technological tra nsformation\, large-scale mobility and displacement\, the complexities of race\, gender\, identity and belonging\, and the fragility of global polit ical orders shift and transform the grounds on which we experience\, encou nter\, theorise and make sense of images across disciplines\, institutiona l spaces\, methodologies\, and practices of knowledge production. We groun d these broad debates in an encounter and exchange with local and internat ional artists\, curators\, and scholars. Our point of departure are severa l art exhibitions and creative events to be launched in various institutio ns in Basel in late 2023 and early 2024. The summer school will include cl ose readings of selected texts\, group discussions\, and joint visits of e xhibitions and art events.\\r\\nThe Summer School is open to MA and PhD st udents in African Studies and Art History/eikones. Readings and discussion s will be in English. The Summer School is a collaboration between the Cen tre for African Studies and eikones. Organized by Lorena Rizzo and Kadiato u Nenein Diallo. X-ALT-DESC:The summer school is a collaboration between the Centre for A frican Studies and eikones. Decolonial displacements describes a space of inquiry that attends to the ways in which climate change\, technological t ransformation\, large-scale mobility and displacement\, the complexities o f race\, gender\, identity and belonging\, and the fragility of global pol itical orders shift and transform the grounds on which we experience\, enc ounter\, theorise and make sense of images across disciplines\, institutio nal spaces\, methodologies\, and practices of knowledge production. We gro und these broad debates in an encounter and exchange with local and intern ational artists\, curators\, and scholars. Our point of departure are seve ral art exhibitions and creative events to be launched in various institut ions in Basel in late 2023 and early 2024. The summer school will include close readings of selected texts\, group discussions\, and joint visits of exhibitions and art events.
\nThe Summer School is open to MA and P hD students in African Studies and Art History/eikones. Readings and discu ssions will be in English. The Summer School is a collaboration between th e Centre for African Studies and eikones. Organized by Lorena Rizzo and Ka diatou Nenein Diallo.
DTEND;TZID=Europe/Zurich:20230915T180000 END:VEVENT BEGIN:VEVENT UID:news265@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230803T103611 DTSTART;TZID=Europe/Zurich:20230904T090000 SUMMARY:Visualizing Drugs & Dyes. Art and Pharmacology in (Early) Medieval Worlds (600–1400) DESCRIPTION:Poster [t3://file?uid=527]\, program [t3://file?uid=525]\, to p articipate online\, sign up here [https://unibas.zoom.us/meeting/register/ u5cocuioqToqG9ya-6zA8_7LeLiEsT_MoaxO#/registration].\\r\\nPlants have long shaped the material practice and imagination of pharmacy. Far more than a nimals or minerals\, plants and their products were central to medicine in premodern epistemologies. Over centuries\, images and imaginings of veget al materia medica played a profound role in human conceptions of and inter actions with the natural world. In many ways\, they continue to do so. Con versely\, the therapeutic efficacy of plants and their products impacted b roader visual and material cultures and practices. Thus\, premodern pharm acological techniques interacted with the practices of image-making\, arti stic processes\, and art.\\r\\nNotwithstanding this close\, underlying rel ationship between art and pharmacology in surviving medieval texts on heal ing and pharmacy produced between the 7th- 14th century\, visualizations o f medical substances have not yet sufficiently been the focus of art histo rical studies. Images of plants and their pigments and dyes\, invite furth er investigations into their epistemic status as well as their therapeutic \, and mimetic capacities. What forms of knowledge do these images\, mater ials\, and substances provide? What audiences do they address? How can the y be situated\, between the practices and interests of scribes/painters\, scholars\, nuns and monks\, physicians\, apothecaries\, gardeners\, rhizot omes\, and also readers – while taking into consideration the changing s tatus of these human actors across society\, gender\, time\, and space? Wh at can such images\, materials\, and substances tell us about the intercon nections between human and vegetal worlds? What role do colors\, pigments and dyes\, scent or the incorporation of prayers and charms play in the cr eation of images of healing? Moreover\, how does medicinal\, pharmacologic al or toxicological\, plant-related knowledge circulate across vast (plant ) geographies? The conference wants to connect the representations of simp licia such as ginger\, plantain\, pennyroyal\, saffron\, artemisia\, liquo rice\, or strawberry from cities\, rural communities\, courts\, and religi ous congregations in the Indo-Pacific\, the so-called Levant\, the Black S ea\, the Mediterranean\, and the Medieval West. X-ALT-DESC:Poster\, program\, to participate online\, sign up here.
\nPlants have long shaped the material practice and imagination of pharmacy. Far more than animals or minerals\, plants and t heir products were central to medicine in premodern epistemologies. Over c enturies\, images and imaginings of vegetal materia medica played a profound role in human conceptions of and interactions with the natural world. In many ways\, they continue to do so. Conversely\, the therapeuti c efficacy of plants and their products impacted broader visual and materi al cultures and practices. \;Thus\, premodern pharmacological techniqu es interacted with the practices of image-making\, artistic processes\, an d art.
\nNotwithstanding this close\, underlying relationship betwee n art and pharmacology in surviving medieval texts on healing and pharmacy produced between the 7th- 14th century\, visualizat ions of medical substances have not yet sufficiently been the focus of art historical studies. Images of plants and their pigments and dyes\, invite further investigations into their epistemic status as well as their thera peutic\, and mimetic capacities. What forms of knowledge do these images\, materials\, and substances provide? What audiences do they address? How c an they be situated\, between the practices and interests of scribes/paint ers\, scholars\, nuns and monks\, physicians\, apothecaries\, gardeners\, rhizotomes\, and also readers – while taking into consideration the chan ging status of these human actors across society\, gender\, time\, and spa ce? What can such images\, materials\, and substances tell us about the in terconnections between human and vegetal worlds? What role do colors\, pig ments and dyes\, scent or the incorporation of prayers and charms play in the creation of images of healing? Moreover\, how does medicinal\, pharmac ological or toxicological\, plant-related knowledge circulate across vast (plant) geographies? The conference wants to connect the representations o f simplicia such as ginger\, plantain\, pennyroyal\, saffron\, ar temisia\, liquorice\, or strawberry from cities\, rural communities\, cour ts\, and religious congregations in the Indo-Pacific\, the so-called Levan t\, the Black Sea\, the Mediterranean\, and the Medieval West.
DTEND;TZID=Europe/Zurich:20230906T180000 END:VEVENT BEGIN:VEVENT UID:news264@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230531T150144 DTSTART;TZID=Europe/Zurich:20230605T100000 SUMMARY:Fragmented Evidence: The Social Life and Death of Images DESCRIPTION:Images are core to the construction of evidence. Beyond having the function of straightforward proof and incrimination – recall the moo n landing\, or photographs of atrocities like Nazi concentration camps (Di di-Huberman) and Abu Ghraib (Sontag) – they more mundanely but no less i mpactfully sustain\, advance and legitimize political and social projects\ , whether in medical history and anthropology but also military technologi cal development and colonialism.\\r\\nImages\, especially photographs\, ar e not straightforwardly indexical. We will depart from this commonplace un derstanding and privilege the optic of fragmentation and synthesis to bett er understand images’ role in constructing evidence: How do multiple lay ers of representation allow for different forms of visual processing? How is narrative cohesion produced from fragmented component parts? And more g enerally\, how are historical and contemporary actors making theoretical a nd empirical claims on the basis of a fractured and limited body of eviden ce?\\r\\nThe workshop brings together an interdisciplinary set of scholars from the fields of anthropology\, art history\, media studies\, political science and sociology to investigate questions of fragmentation\, epistem ic boundaries and synthesis across different semiotic systems. Our speaker s present empirical work on issues as diverse as environmentalism\, milita ry technology\, law enforcement\, race\, and artificial intelligence.\\r\\ nWe will begin the workshop studying the material minutiae of fragmentatio n and synthesis and end on larger epistemological questions about the natu re of representation. Conversational “lightning rounds” that bring tog ether all participants and the audience around key questions and provide t he ligature between the different panels.\\r\\nConfirmed speakers: David B ucheli\, Alison Gerber\, Lila Lee Morrison\, Aïcha Revellat\, A.K.M. Skar pelis\, Matthew Vollgraff\, Stefanie Walter\, Anne-Katrin Weber\\r\\nProgr am:\\r\\nDay 1\\r\\n10:00 Coffee\\r\\n10:30 Welcome & Introduction\\r\\n10 :45-11:45 Session 1: Nature\, Nurture\, Gesture: Debating the Heredity of the Expressive Body in 1930s Social Science. Matthew Vollgraff\\r\\n11:45- 12:45 Session 2: What is it like to be a Nazi? Racial Vision and Scientifi c Selves in German Portrait Photographic Practice. Anna Skarpelis\\r\\n12: 45-14:00 Lunch\\r\\n14:00-15:00 Session 3: Pars pro toto: On Hannah Villig er’s Practice. Aïcha Revellat\\r\\n15:00-15:30 Lightning Round 1\\r\\n 15:30-16:00 Coffee\\r\\n16:00-17:00 Session 4: Critical disfigurations. A prehistory of the text-based CAPTCHA. David Bucheli\\r\\n17:00-18:00 Sessi on 5: Modeling the truth: Inquiry and convincement in forensic visualizati ons. Alison Gerber\\r\\n18:15 Apéro\\r\\n\\r\\nDay 2\\r\\n08:30 Coffee\\r \\n09:00-09:30 Lightning Round 2\\r\\n09:30-10:30 Session 6: How do images of climate change and emotional responses vary across the world? A comput ational analysis of images shared by Twitter users. Stefanie Walter\\r\\n1 0:30-11:00 Coffee\\r\\n11:30-12:00 Session 7: “Machinic Landscapes: Aest hetic entanglements of nature and technology” Lila Lee Morrison\\r\\n12: 00-13:15 Lunch\\r\\n13:15-14:15 Session 8: Creating Lunar Views: Simulator s\, Television\, and the NASA in the 1960s. Anne-Katrin Weber\\r\\n14:15-1 5:00 Conclusion and Send-Off. X-ALT-DESC:Images are core to the construction of evidence. Beyond havin g the function of straightforward proof and incrimination – recall the m oon landing\, or photographs of atrocities like Nazi concentration camps ( Didi-Huberman) and Abu Ghraib (Sontag) – they more mundanely but no less impactfully sustain\, advance and legitimize political and social project s\, whether in medical history and anthropology but also military technolo gical development and colonialism.
\nImages\, especially photographs \, are not straightforwardly indexical. We will depart from this commonpla ce understanding and privilege the optic of fragmentation and synthesis to better understand images’ role in constructing evidence: How do multipl e layers of representation allow for different forms of visual processing? How is narrative cohesion produced from fragmented component parts? And m ore generally\, how are historical and contemporary actors making theoreti cal and empirical claims on the basis of a fractured and limited body of e vidence?
\nThe workshop brings together an interdisciplinary set of scholars from the fields of anthropology\, art history\, media studies\, p olitical science and sociology to investigate questions of fragmentation\, epistemic boundaries and synthesis across different semiotic systems. Our speakers present empirical work on issues as diverse as environmentalism\ , military technology\, law enforcement\, race\, and artificial intelligen ce.
\nWe will begin the workshop studying the material minutiae of f ragmentation and synthesis and end on larger epistemological questions abo ut the nature of representation. Conversational “lightning rounds” tha t bring together all participants and the audience around key questions an d provide the ligature between the different panels.
\nConfirmed spe akers: David Bucheli\,Alison Gerber\, Lila Lee Morrison\, Aïcha Revellat\, A.K.M. Skarpelis\, Matthew Vollgraff\, Stefanie Walter\, Anne- Katrin Weber
\nProgram:
\nDay 1
\n10:00 Cof fee
\n10:30 Welcome &\; Introduction
\n10:45- 11:45 Session 1: Nature\, Nurture\, Gesture: Debating the Heredit y of the Expressive Body in 1930s Social Science. Matthew Vollgraff
\n< p>11:45-12:45 Session 2: What is it like to be a Nazi? Racial Vis ion and Scientific Selves in German Portrait Photographic Practice. Anna S karpelis\n12:45-14:00 Lunch
\n14:00-15:00 Sessio n 3: Pars pro toto: On Hannah Villiger’s Practice. \;Aïcha Rev ellat
\n15:00-15:30 Lightning Round 1
\n15:30-16:00 < em>Coffee
\n16:00-17:00 Session 4: Critical disfigurat ions. A prehistory of the text-based CAPTCHA. David Bucheli
\n17:00- 18:00 Session 5: Modeling the truth: Inquiry and convincement in forensic visualizations. Alison Gerber
\n18:15 Apéro
\n \nDay 2
\n08:30 Coffee
\n09:00-09:30 Lightning Round 2
\n09:30-10:30 Session 6: How do imag es of climate change and emotional responses vary across the world? A comp utational analysis of images shared by Twitter users. Stefanie Walter
\ n10:30-11:00 Coffee
\n11:30-12:00 Session 7: “Machinic Landscapes: Aesthetic entanglements of nature and technology ” Lila Lee Morrison
\n12:00-13:15 Lunch
\n13:15-14: 15 Session 8: Creating Lunar Views: Simulators\, Television\, and the NASA in the 1960s. Anne-Katrin Weber
\n14:15-15:00 Conclusi on and Send-Off.
DTEND;TZID=Europe/Zurich:20230606T150000 END:VEVENT BEGIN:VEVENT UID:news259@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230329T143654 DTSTART;TZID=Europe/Zurich:20230601T181500 SUMMARY:Hanne Darboven: Künstlerische Produktion als asketische Praxis DESCRIPTION:Forumsvortrag FS 2023\, Paula Stoica (Kunsthistorisches Seminar der Universität Basel) X-ALT-DESC:Forumsvortrag FS 2023\, Paula Stoica (Kunsthistorisches Seminar der Universität Basel) DTEND;TZID=Europe/Zurich:20230601T194500 END:VEVENT BEGIN:VEVENT UID:news248@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230523T100434 DTSTART;VALUE=DATE:20230526 SUMMARY:Materializing Transparency DESCRIPTION:The history of transparency can be summed up as a progression i n materials from the mined to the man-made: by the early modern period\, r ock crystal and alabaster — celebrated in the ancient and medieval world s for their vitreousness and translucency — could no longer compete with the increasingly reliable clarity of factory-produced flint glass\, which would in turn cede its primacy as see-through matter to that of manufactu red plastics\, made fully synthetic by 1907. Tracing but also challenging such a narrative of technological change and obsolescence\, this workshop investigates the possibilities and limitations of transparency in all its material instantiations\, and from perspectives both transhistorical and theoretical. Case studies include gauze\, celluloid\, varnish\, openwork c askets\, optical lenses\, polaroid film\, mordants\, and witch balls. Taki ng these examples as starting points for wide-ranging discussion\, we will think together about how the physical properties of a clear substrate\, g laze\, or surface might prompt reflection on concepts such as in/visibilit y\, opacity\, transcendency\, distortion\, obstinancy (Eigensinn)\, racia lization\, disclosure\, and access.\\r\\nScheduled to coincide with the r elease of two important new books on transparency\, The Varnish and the G laze: Painting Splendor with Oil\, 1100-1500 (Chicago\, 2023)\, by Marjoli jn Bol\, and Transparency: The Material History of an Idea [https://yaleb ooks.yale.edu/book/9780300237245/transparency/] (Yale\, 2023)\, by Daniel Jütte\, this workshop engages with current scholarship in the history of art\, science\, architecture\, religion\, museology\, and conservation. \\r\\nConfirmed speakers: Manuela Beer\, Marjolijn Bol\, Jennifer Y. Ch uong\, Leena Crasemann\, Patrick R. Crowley\, Kirsty Sinclair Dootson\ , Arne Leopold\, Yanning Ma\, Elizabeth Rice Mattison\, Aïcha Revellat\ , Phillip Roberts\\r\\nSupported by eikones\, the NOMIS Foundation\, and the Paul Mellon Centre for Studies in British Art.\\r\\n\\r\\nProgram:\\ r\\nFrom 08:30 - Welcome - coffee in the foyer\\r\\n09:00 - Ruth Ezra\, In troduction\\r\\n09:20 - Patrick Crowley\, ‘The Wrong Side of Things’: Roman Reverse-Engraved Glass\\r\\n10:00 - Manuela Beer\, Difference in T ransparency: Rock Crystal in Medieval Artefacts\\r\\n10:40 - Coffee break\ \r\\n11:00 - Arne Leopold\, Veiling the Gaze\, Veiling the Material: Openw ork Caskets and the Pretence of Transparency in the 13th Century\\r\\n11:4 0 - Leena Crasemann\, Veiling Space: Textiles’ Anti-matter\\r\\n12:20 - Lunch break\\r\\n13:20 - Elizabeth Rice Mattison\, Acid\, Water\, Rust\ , and Process in Dürer’s Etchings\\r\\n14:00 - Phillip Roberts\, Richa rd Reeve and Alice Grove: A Night Language\\r\\n14:40 - Coffee break\\r\\ n15:00 - Jennifer Y. Chuong\, Tricky Transparency: Witch Balls in Ninetee nth-Century America\\r\\n15:40 - Yanning Ma\, Can a picture be a terrariu m? Transparency\, vitality\, and confinement in Victorian Britain (present ing online)\\r\\n16:20 - Coffee break\\r\\n16:40 - Kirsty Sinclair Doots on\, Celluloid Skin: Transparency\, Sensitivity\, and the Racialization of Film\\r\\n17:20 - Aïcha Revellat\, So Transparent\, So Opaque: Hannah V illiger’s Early Polaroid Pictures\\r\\n18:00 - Comfort break\\r\\n18:15 - Book talk: Marjolijn Bol\, The Varnish and the Glaze (Chicago 2023)\, i n conversation\\r\\n19:00 - Apéro\\r\\nNB. The workshop is open to all a nd no registration is required to join in person\; papers will not be stre amed online. X-ALT-DESC:The history of transparency can be summed up as a progression in materials from the mined to the man-made: by the early modern period\, rock crystal and alabaster — celebrated in the ancient and medieval wor lds for their vitreousness and translucency — could no longer compete wi th the increasingly reliable clarity of factory-produced flint glass\, whi ch would in turn cede its primacy as see-through matter to that of manufac tured plastics\, made fully synthetic by 1907. Tracing but also challengin g such a narrative of technological change and obsolescence\, this worksho p investigates the possibilities and limitations of transparency in all it s material instantiations\, \;and from perspectives both transhistoric al and theoretical. Case studies include gauze\, celluloid\, varnish\, ope nwork caskets\, optical lenses\, polaroid film\, mordants\, and witch ball s. Taking these examples as starting points for wide-ranging discussion\, we will think together about how the physical properties of a clear substr ate\, glaze\, or surface might prompt reflection on concepts such as in/vi sibility\, opacity\, transcendency\, distortion\, obstinancy (Eigensin n)\, \;racialization\, \;disclosure\, and access.
\nSch eduled to coincide with the release of two important new books on transpar ency\, \;The Varnish and the Glaze: Painting Splendor with Oi l\, 1100-1500 (Chicago\, 2023)\, by Marjolijn Bol\, and \;Tra nsparency: The Material History of an Idea \;(Yale\, 2023)\, by Daniel Jütte\, this workshop engages with current scholarship in the h istory of art\, science\, architecture\, religion\, museology\, and conser vation. \;
\nConfirmed speakers: \;Manuela Beer\, \;Marj olijn Bol\, \;Jennifer Y. Chuong\, \;Leena Crasemann\, \;Patri ck R. \;Crowley\, \;Kirsty Sinclair Dootson\, \;Arne Leopold\, Yanning Ma\, Elizabeth Rice Mattison\, \;Aïcha Revellat\, \;Phil lip Roberts
\nSupported by eikones\, the NOMIS Foundation\, and \;the Paul Mellon Centre for Studies in British Art.
\n\nProgram:
\nFrom 08:30 - Welcome - coffee in the foyer
\n09:00 - Ruth Ezra \, Introduction
\n09:20 - \;Patrick Crowley\, ‘The Wrong Side of Things’: Roman Reverse-Engraved Glass
\n10:00 - \;Manuela B eer\, Difference in Transparency: Rock Crystal in Medieval Artefacts
\n10:40 - Coffee break
\n11:00 - Arne Leopold\, Veiling the Gaze\, Veiling the Material: Openwork Caskets and the Pretence of Transparency in the 13th Century
\n11:40 - \;Leena Crasemann\, Veiling Space: T extiles’ Anti-matter
\n12:20 - \;Lunch break
\n13:20 -&n bsp\;Elizabeth Rice Mattison\, Acid\, Water\, Rust\, and Process in Dürer ’s Etchings
\n14:00 - \;Phillip Roberts\, Richard Reeve and Al ice Grove: A Night Language
\n14:40 - \;Coffee break
\n15: 00 - \;Jennifer Y. Chuong\, Tricky Transparency: Witch Balls in Ninete enth-Century America
\n15:40 - \;Yanning Ma\, Can a picture be a terrarium? Transparency\, vitality\, and confinement in Victorian Britain (presenting online)
\n16:20 - \;Coffee break
\n16:40 -&nb sp\;Kirsty Sinclair Dootson\, Celluloid Skin: Transparency\, Sensitivity\, and the Racialization of Film
\n17:20 - \;Aïcha Revellat\, So Transparent\, So Opaque: Hannah Villiger’s Early Polaroid Pictures
\n18:00 - \;Comfort break
\n18:15 - Book talk: Marjolijn Bol\, The Varnish and the Glaze (Chicago 2023)\, in conversation
\n19:00 - \;Apéro
\nNB. The workshop is open to all and no registration is required to join in person\; papers will not be streamed online.
DTEND;VALUE=DATE:20230526 END:VEVENT BEGIN:VEVENT UID:news256@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20240228T151237 DTSTART;TZID=Europe/Zurich:20230515T181500 SUMMARY:NOMIS Lecture by Ruth Ezra. Leaves of Glass: Mica between art and s cience in early modernity DESCRIPTION:Details to follow. X-ALT-DESC:Details to follow.
DTEND;TZID=Europe/Zurich:20230515T194500 END:VEVENT BEGIN:VEVENT UID:news249@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230523T100352 DTSTART;TZID=Europe/Zurich:20230512T094500 SUMMARY:"Real Spaces" at 20 DESCRIPTION:This conference commemorates the 20th anniversary of the public ation of David Summers's magisterial Real Spaces: World Art History and t he Rise of Western Modernism. This conference will assess the legacy of w hat remains one of the most ambitious attempts at developing a global fram ework for art history.\\r\\nSpeakers: Whitney Davis\, Beate Fricke\, Monic a Juneja\, Matthew Rampley\, Jakub Stejskal\, David Summers\, Kamini Vello di\\r\\nTo participate online\, please register here [https://unibas.zoom. us/meeting/register/u5EscuCgrDssH9UMKC_U8KyCwUqtIPJhmfRG].\\r\\n\\r\\nProg ram (as pdf here [t3://file?uid=509])\\r\\n 9.45 Welcome 10–10.45 David Summers Real Spaces and the Theory of Empathy 10.45 –11.30 Beate Fricke Objects Opening Horizons 11.30–11.45 Coffee break 11.45–12.30 Whitney Davis The Acheulean Hand-Axe: On Euclidean Artifacts in Visual Space 12 .30–13.15 Matthew Rampley Refinement and Excess: The Limits of I nterpretation 13.15–14.45 Lunch 14.45–15.30 Ka mini Vellodi On Concepts and Art History 15.30–16.15 Ja kub Stejskal Monsters and Monuments 16.15–16.30 Coffee br eak 16.30–17.30 Monica Juneja Ways of Being-in-the-World: Art History after Real Spaces\; A Roundtable with David Summers Apéro \\r\\n X-ALT-DESC:This conference commemorates the 20th anniversary of the publ ication of David Summers's magisterial \;Real Spaces: World Art Hi story and the Rise of Western Modernism. \;This conferen ce will assess the legacy of what remains one of the most ambitious attemp ts at developing a global framework for art history.
\nSpeakers: Whi tney Davis\, Beate Fricke\, Monica Juneja\, Matthew Rampley\, Jakub Stejsk al\, David Summers\, Kamini Vellodi
\nTo participate online\, please register here.
\n\nProgram (as pdf here)
\n| 9.45 | Welcome |
| 10–10.45 | David Summers Real Spaces and the Theory of Empathy |
| 10.45 –11.30 | Beate Fri
cke Objects Opening Horizons |
| 11.30–1 1.45 | Coffee break |
| 11.45–12.30 | Whitney Davis The Acheulean Hand-Axe: On Euclidean Artif acts in Visual Space |
| 12.30–13.15 |
\;Matthew Rampley Refinement and Excess: The Limits of Inter pretation |
| 13.15–14.45 | Lunch |
| 14.45–15.30 | Kamini Vellodi On Concepts and Art History |
| 15.30–16.15 | \;Jakub Stejskal Monsters and Monuments |
| 16.15–16.30 | Coffee break |
| 16.30–17.30 | Monica Juneja Ways of Being-in-the- World: Art History after Real Spaces\; \; A Roundtable with D avid Summers |
| \; | Apéro |
\; \; \;
DTEND;TZID=Europe/Zurich:20230512T180000 END:VEVENT BEGIN:VEVENT UID:news253@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230309T115141 DTSTART;TZID=Europe/Zurich:20230505T090000 SUMMARY:HSSuisse 2023 DESCRIPTION:HSSuisse was founded in 2019 to connect early career historians of science in Switzerland. The annual workshops provide an opportunity to exchange project ideas\, present preliminary results\, and discuss method s and historiographical trends. We welcome scholars of all backgrounds and strive to create an informal\, respectful\, and constructive environment. HSSuisse 2023 is organized by Felix Lüttge and hosted by the University of Basel’s Department of Media Studies at eikones – Center for the The ory and History of the Image.\\r\\nWorkshop Programme\\r\\n 10:00 Welcome and introduction Markus Krajewski (UNIBAS)\, Felix Lüttge ( UNIBAS) 10:30 Panel 1: History of Science in the Anthropocene Chair: Lisa Cronjäger (UNIBAS) 10:30 Ashoka Vardhan Mancha la (UZH): The Making of Value: Coal Extraction in Hyderabad State\, c. 188 0–1912 10:50 Camille Schneiter (UZH): The Creatures of the Anthropocene: A Bioconstitutional History of Neobiota in Switzerlan d 11:10 Lucas Müller (UNIGE): Avalanches of Snow\, Avalances of Numbers? 11:30 Coffee break 12:00 Panel 2: Poet ics and Aesthetics of Knowledge Chair: Estelle Blaschke (UNIBAS) 12:00 Stamatina Mastorakou (MPIWG/Zürich): Visualizations of the He avens in Eurasia and North Africa 12:20 Yohann Guffroy (EPFL): On the Use of the “Techno-aesthetic” Notion in the Study of Drawings of Invention (England\, ca. 1750–1850) 12:40 Paul Deshusses (IHEID): History of Animal Communication: The Biosemiotics Case 13:00 Lunch 14:30 Panel 3: Media and Techniques of the Psy che Chair: Maria Eriksson (UNIBAS) 14:30 Mireille Berton (U NIL): Film as a Source for the History of Psychiatry: The Case of the Wald au Collections (1920–1970) 14:50 Joshua Klein (IHEID): Mind Sciences\, Modernity and the Making of Subjects after Empire\, ca. 1930– 1980 15:10 Magnus Rust (UNIBAS): Technology Criticism Transfer : From California’s 50s to West Germany’s 80s 15:30 Coffee break 16:00 Panel 4: Human Sciences in Switzerland and beyond Chair: David Bucheli (UNIBAS) 16:00 Martina Sochin-D’Eli a (UZH): Miscarriages and Stillbirths in Switzerland 16:20 W illiam Favre (UNINE): Japonisme et études japonaises en Suisse à la Bell e Epoque 16:40 Niki Rhyner (ETHZ): Cultural Identities and the ir Economy: A History of Ethnographic Field Research in Europe after WWII 17:00 HSSuisse 2024 18:00 Drinks & dinner \\r\\nFor registration\, please email Felix Lüttge (felix. luettge@unibas.ch [https://eikones.philhist.unibas.ch/de/aktuelles/veranst altungen/event-details/hssuisse-2023/]). Programme as pdf here [t3://file? uid=506]. X-ALT-DESC:HSSuisse was founded in 2019 to connect early career historia ns of science in Switzerland. The annual workshops provide an opportunity to exchange project ideas\, present preliminary results\, and discuss meth ods and historiographical trends. We welcome scholars of all backgrounds a nd strive to create an informal\, respectful\, and constructive environmen t. HSSuisse 2023 is organized by Felix Lüttge and hosted by the Universit y of Basel’s Department of Media Studies at eikones – Center for the T heory and History of the Image.
\nWorkshop Programme
\n| 10:00 | Welcome an
d introduction Markus Krajewski (UNIBAS)\, Felix Lüttge (UNIBAS) | |
| 10:30 | Panel 1: Hi
story of Science in the Anthropocene Chair: Lisa Cronjä ger (UNIBAS) | |
| 10:30 | Ashoka Vardhan M anchala (UZH): The Making of Value: Coal Extraction in Hyderabad State \, c. 1880\;–1912 | \; |
| Camille Schneiter (UZH): The Creatures of the Anth ropocene: A Bioconstitutional History of Neobiota in Switzerland | ||
| 11:10 | Lucas Müller (UNIGE): Avalan ches of Snow\, Avalances of Numbers? | |
| Coffee break | ||
| 12:00 | Panel 2: Poetics a
nd Aesthetics of Knowledge Chair: Estelle Blaschke (UNIB AS) | |
| 12:00 | Stamatina Mastorakou (MPI WG/Zürich): Visualizations of the Heavens in Eurasia and North Africa | |
| 12:20 | Yohann Guffroy (EPFL):< em> On the Use of the “Techno-aesthetic” Notion in the Study of Drawin gs of Invention (England\, ca. \;1750–1850) | |
| 12:40 | Paul Deshusses (IHEID): History of Animal Co mmunication: The Biosemiotics Case | |
| 13:00 | Lunch | |
| 14:30 | Panel 3:
Media and Techniques of the Psyche Chair: Maria Eriksson (UNIBAS) | |
| 14:30 | Mireille Berton (UN IL): Film as a Source for the History of Psychiatry: The Case of the W aldau Collections (1920–1970) | |
| 14:50 | Joshua Klein (IHEID): Mind Sciences\, Modernity and the Making of Subjects after Empire\, ca. 1930–1980 | |
| Magnus Rust (UNIBAS): Technology Criticism Transfe r: From California’s 50s to West Germany’s 80s | ||
| 15:30 | Coffee break< /td> | |
| 16:00 | Pane
l 4: Human Sciences in Switzerland and beyond Chair: Dav id Bucheli (UNIBAS) | |
| 16:00 | Martina S ochin-D’Elia (UZH): Miscarriages and Stillbirths in Switzerland \; | |
| 16:20 | William Favre (UNINE) : Japonisme et études japonaises en Suisse à la Belle Epoque | |
| 16:40 | Niki Rhyner (ETHZ): Cultura l Identities and their Economy: A History of Ethnographic Field Research i n Europe after WWII | |
| 17:00 | HSSuisse 2024 | |
| 18:00 | Drinks &\; dinner | |
| \; | \; |
For regis tration\, please email Felix Lüttge (felix.l uettge@unibas.ch). Programme as pdf here.
\n\n DTEND;TZID=Europe/Zurich:20230505T180000 END:VEVENT BEGIN:VEVENT UID:news258@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230329T143404 DTSTART;TZID=Europe/Zurich:20230504T181500 SUMMARY:«Die Sache ist im Grunde sehr einfach». Charlotte Posenenskes ver änderbare Plastiken DESCRIPTION:Forumsvortrag FS 2023\, Sarah Wiesendanger (Kunsthistorisches S eminar der Universität Basel) X-ALT-DESC:Forumsvortrag FS 2023\, Sarah Wiesendanger (Kunsthistorisches Se minar der Universität Basel) DTEND;TZID=Europe/Zurich:20230504T194500 END:VEVENT BEGIN:VEVENT UID:news263@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230422T075859 DTSTART;TZID=Europe/Zurich:20230503T101500 SUMMARY:Cinema Illuminating Reality. Ein Workshop mit Victor Fan DESCRIPTION:Im Zentrum des Workshops steht das 2022 erschienene Buch „Cin ema Illuminating Reality. Media Philosophy through Buddhism“ des Filmwis senschaftlers Victor Fan [https://www.kcl.ac.uk/people/victor-fan]\, der a m King’s College London lehrt. Der Autor stellt sein Buch vor und diskut iert mit den Teilnehmenden des Workshops das 3. Kapitel „The Insight-Ima ge“.\\r\\nDas Kapitel ist unter dem folgenden Link verfügbar: https://d rive.switch.ch/index.php/s/JVtYy0ihQKddJmJ [https://drive.switch.ch/index. php/s/JVtYy0ihQKddJmJ] X-ALT-DESC:Im Zentrum des Workshops steht das 2022 erschienene Buch „C inema Illuminating Reality. Media Philosophy through Buddhism“ des Filmw issenschaftlers Victor F an\, der am King’s College London lehrt. Der Autor stellt sein Buch vor und diskutiert mit den Teilnehmenden des Workshops das 3. Kapitel „T he Insight-Image“.
\nDas Kapitel ist unter dem folgenden Link verf ügbar: http s://drive.switch.ch/index.php/s/JVtYy0ihQKddJmJ
DTEND;TZID=Europe/Zurich:20230503T120000 END:VEVENT BEGIN:VEVENT UID:news262@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230411T181013 DTSTART;TZID=Europe/Zurich:20230427T181500 SUMMARY:Festvortrag mit Evonne Levy DESCRIPTION:Der Vortrag wird auf Englisch gehalten.\\r\\nBurckhardt and Wö lfflin’s Media Entanglements Judging by the books populating our libra ry shelves - with its sections on architecture\, painting\, sculpture\, gr aphic arts\, decorative arts - art history is a priori all about media. An d yet\, even with the material turn\, which brought crucial aspects of the artistic media into view through their materialities\, an antipathy towar ds media that formed in reaction against Clement Greenberg's tyranny of me dium specificity is still palpable in the discipline. But the skittishness around media is of much longer durée\, traceable to Vasari's amedial con cept of disegno and Hegelian idealism. A compelling media- and material-ba sed art history was\, however\, introduced into modern art history just a train-ride away from Basel\, in Zurich by Gottfried Semper\, where he taug ht side by side with Jacob Burckhardt in the 1850s. Even though Semper's D er Stil (1860) was a highly influential work\, its negative reception as m aterial determinism by the towering figures of early modern art history\, most notably Alois Riegl\, meant that his point of view on materials or me dia were not carried into the grand narratives of the discipline.\\r\\nIn this talk I ask how Burckhardt reacted to Semper's system of thought at th e moment that he played a central role in the founding of university study of art history. Did his Cicerone\, Cultur der Renaissance in Italien and especially his 1867 Geschichte der neueren Baukunst (later\, Baukunst der Renaissance in Italien)\, help to build the media silos that remain with u s to today? And where can the transmediality that sustains the major theor etical contributions of his pupil and successor in Basel\, Heinrich Wölff lin\, be situated between the views of Burckhardt and Semper? A postscript on the divergent views of the medium of photography as it served the disc ipline itself helps to situate Burckhardt and Wölfflin's media entangleme nts.\\r\\n Burckhardt and Wölfflin’s Media Entanglements Den Büchern n ach zu urteilen\, die unsere Bibliotheksregale füllen – mit ihren Abtei lungen zu Architektur\, Malerei\, Bildhauerei\, Grafik\, Kunsthandwerk – ist Kunstgeschichte a priori vor allem Mediensache. Und dennoch\, trotz d es material turn\, der entscheidende Aspekte der künstlerischen Medien du rch ihre Materialitäten ins Blickfeld rückte\, ist in der Disziplin eine Antipathie gegenüber Medien spürbar\, die sich als Reaktion auf Clement Greenbergs Tyrannei der Medienspezifität breitgemacht hat. Aber das zwie spältige Verhältnis zu Medien ist historisch weit tiefer verwurzelt\, zu rückgehend auf Vasaris amediales Konzept des disegno und den Hegelianisch en Idealismus. Eine überzeugende medien- und materialbasierte Kunstgeschi chte wurde jedoch nur eine Zugfahrt von Basel entfernt in Zürich von Gott fried Semper in die moderne Kunstgeschichte eingeführt\, wo er in den 185 0er Jahren Seite an Seite mit Jacob Burckhardt lehrte. Obwohl Sempers Der Stil (1860) ein höchst einflussreiches Werk war\, führte seine negative Rezeption als Materialdeterminismus durch die überragenden Persönlichkei ten der jungen Kunstgeschichte zu Beginn der Moderne\, allen voran Alois R iegl\, dazu\, dass seine Position zu Materialien oder Medien keinen Eingan g in die grossen Narrative der Kunstgeschichte fanden.\\r\\nDer Vortrag ge ht der Frage nach\, wie Burckhardt auf Sempers Gedankensystem gerade zu je ner Zeit reagierte\, als er eine zentrale Rolle bei der Gründung des univ ersitären Studiums der Kunstgeschichte spielte. Haben sein Cicerone\, Cul tur der Renaissance in Italien und insbesondere seine Geschichte der neuer en Baukunst (später Baukunst der Renaissance in Italien) von 1867 zur Err ichtung der Mediensilos beigetragen\, die uns bis heute erhalten geblieben sind? Und wo ist die Transmedialität\, die die bedeutenden theoretischen Beiträge seines Basler Schülers und Nachfolgers Heinrich Wölfflin durc hzieht\, zwischen den Ansichten von Burckhardt und Semper anzusiedeln? Ein Postskript zu den divergierenden Ansichten über das Medium Fotografie im Dienste der Disziplin hilft\, Burckhardts und Wölfflins mediale Verstric kungen zu verorten. X-ALT-DESC:Der Vortrag wird auf Englisch gehalten.
\nBurck
hardt and Wölfflin’s Media Entanglements \;
Judging
by the books populating our library shelves - with its sections on archite
cture\, painting\, sculpture\, graphic arts\, decorative arts - art histor
y is a priori all about media. And yet\, even with the material turn\, whi
ch brought crucial aspects of the artistic media into view through their m
aterialities\, an antipathy towards media that formed in reaction against
Clement Greenberg's tyranny of medium specificity is still palpable in the
discipline. But the skittishness around media is of much longer durée\,
traceable to Vasari's amedial concept of disegno and Hegelian idealism. A
compelling media- and material-based art history was\, however\, introduce
d into modern art history just a train-ride away from Basel\, in Zurich by
Gottfried Semper\, where he taught side by side with Jacob Burckhardt in
the 1850s. Even though Semper's Der Stil (1860) was a highly influential w
ork\, its negative reception as material determinism by the towering figur
es of early modern art history\, most notably Alois Riegl\, meant that his
point of view on materials or media were not carried into the grand narra
tives of the discipline.
In this talk I ask how Burckhardt reacted to Semper's system of thought at the moment that he played a central role in the founding of university study of art history. Did his Cicerone\, Cu ltur der Renaissance in Italien and especially his 1867 Geschichte der neu eren Baukunst (later\, Baukunst der Renaissance in Italien)\, help to buil d the media silos that remain with us to today? And where can the transmed iality that sustains the major theoretical contributions of his pupil and successor in Basel\, Heinrich Wölfflin\, be situated between the views of Burckhardt and Semper? A postscript on the divergent views of the medium of photography as it served the discipline itself helps to situate Burckha rdt and Wölfflin's media entanglements.
\n
Burckhardt
and Wölfflin’s Media Entanglements
Den Büchern nach zu
urteilen\, die unsere Bibliotheksregale füllen – mit ihren Abteilungen
zu Architektur\, Malerei\, Bildhauerei\, Grafik\, Kunsthandwerk – ist K
unstgeschichte a priori vor allem Mediensache. Und dennoch\, trotz des mat
erial turn\, der entscheidende Aspekte der künstlerischen Medien durch ih
re Materialitäten ins Blickfeld rückte\, ist in der Disziplin eine Antip
athie gegenüber Medien spürbar\, die sich als Reaktion auf Clement Green
bergs Tyrannei der Medienspezifität breitgemacht hat. Aber das zwiespält
ige Verhältnis zu Medien ist historisch weit tiefer verwurzelt\, zurückg
ehend auf Vasaris amediales Konzept des disegno und den Hegelianischen Ide
alismus. Eine überzeugende medien- und materialbasierte Kunstgeschichte w
urde jedoch nur eine Zugfahrt von Basel entfernt in Zürich von Gottfried
Semper in die moderne Kunstgeschichte eingeführt\, wo er in den 1850er Ja
hren Seite an Seite mit Jacob Burckhardt lehrte. Obwohl Sempers Der Stil (
1860) ein höchst einflussreiches Werk war\, führte seine negative Rezept
ion als Materialdeterminismus durch die überragenden Persönlichkeiten de
r jungen Kunstgeschichte zu Beginn der Moderne\, allen voran Alois Riegl\,
dazu\, dass seine Position zu Materialien oder Medien keinen Eingang in d
ie grossen Narrative der Kunstgeschichte fanden.
Der Vortrag geht der Frage nach\, wie Burckhardt auf Sempers Gedankensystem gerade zu jener Zeit reagierte\, als er eine zentrale Rolle bei der Gründung des univers itären Studiums der Kunstgeschichte spielte. Haben sein Cicerone\, Cultur der Renaissance in Italien und insbesondere seine Geschichte der neueren Baukunst (später Baukunst der Renaissance in Italien) von 1867 zur Errich tung der Mediensilos beigetragen\, die uns bis heute erhalten geblieben si nd? Und wo ist die Transmedialität\, die die bedeutenden theoretischen Be iträge seines Basler Schülers und Nachfolgers Heinrich Wölfflin durchzi eht\, zwischen den Ansichten von Burckhardt und Semper anzusiedeln? Ein Po stskript zu den divergierenden Ansichten über das Medium Fotografie im Di enste der Disziplin hilft\, Burckhardts und Wölfflins mediale Verstrickun gen zu verorten.
END:VEVENT BEGIN:VEVENT UID:news257@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230329T142616 DTSTART;TZID=Europe/Zurich:20230330T181500 SUMMARY:Im Gegenlicht: Pentimenti (in) der Moderne DESCRIPTION:Forumsvortrag FS 2023\, Larissa Dätwyler (Kunsthistorisches Se minar der Universität Basel) X-ALT-DESC:Forumsvortrag FS 2023\, Larissa Dätwyler (Kunsthistorisches Sem inar der Universität Basel) DTEND;TZID=Europe/Zurich:20230330T194500 END:VEVENT BEGIN:VEVENT UID:news250@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230306T104348 DTSTART;VALUE=DATE:20230323 SUMMARY:Expression: Processes of Form and Mediation in Art DESCRIPTION:“Expression” counts among the key aesthetic concepts of mod ernity. Tensioned between intentional acts and accidental creation\, the i dea that expression mediates between the individual and the world in art h as been widely discussed\, defended\, and disputed since the late eighteen th century. Yet even in early modern art\, numerous visual phenomena can b e observed that can be described as expressive processes of form creation\ , including subiconographic pictorial structures such as gestural\, or inf ormal applications of color as deliberate means of expression. Against thi s background\, the international conference “Expression: Processes of Fo rm and Mediation in Art” aims to investigate artistic processes of form making from the early modern period to the present day that either specify or reflect particular modes of expression in art. Whereas structuralist approaches initiated in the mid-20th century increasingly questioned the i nterpretive guiding concept of subject-centered expression\, the societal acknowledgment of diversified subjectivities in recent decades\, and the r elevance of marginalized identities in today’s methodologies of art hist ory\, call for a reassessment of expression as an aesthetic concept. In co ntrast with the common neuroaesthetic conflation of expression and emotion \, the conference seeks to consider expression as a way to conceptualize a rt as a site of intermediation between notions of “interior” and “ex terior” reality as well as between self-determination and the determinat ion of others. We aim to expand the aesthetic concept of expression to con sider its social and ethical dimensions and to explore its art-historical and art-critical value in times of increasing diversification and heteroge neity. The conference seeks to address this concern by exploring three th ematic strands in particular: 1) Gesture\, Blot\, Trace - on the Subicono graphy of Expression This section is dedicated to the pre-iconographic rep ertoire of pictorial means of expression. Before a figuration becomes reco gnizable as a vehicle of expression\, the elements underlying or preceding it are themselves already subject to artistically individual modes of exp ression. In addition to questions about individual style\, i.e.\, about th e personal repertoire of expression\, this focus concerns in particular pa interly processes that include randomness\, free gesture\, and the intrins ic qualities of painterly means as consciously adopted means of expression . 2) Figurations of Expression This section focuses on depicted figures a s agents of expression. Since artistic expression in modernism is primaril y discussed as an issue of formal means of representation\, the significan ce of the figure as a conveyor of models of subjectivity in art is relegat ed to the background. Contributions reconsider this aspect of expression b y focusing on continuities\, ruptures\, specific artistic claims\, and cri tical reactions to figural expression throughout the history of art. 3) E xpression and Intention Expression and intention are two fundamental and h ighly controversial concepts in art theory. They have been perceived histo rically as synonymous or complementary terms\, as undermining each other\, or as altogether untimely concepts. The section addresses their complex i ntertwining. Contributions will provide concrete case studies\, art histor iographical reflections\, and new methodological approaches that foregroun d this interweaving. \\r\\nSpeakers: Laura Bruni\, Emmelyn Butterfield-R osen\, Lisa Cornali\, Larissa Dätwyler\, Agniezska Dziki\, Yannis Hadjini colaou\, Joseph Henry\, Laura Indorato\, Charles Palermo\, Christian Scher rer\, Paula Stoica\, Barbara Stoltz\\r\\nProgram [t3://file?uid=499] (pdf) X-ALT-DESC:“Expression” counts among the key aesthetic concepts of m
odernity. Tensioned between intentional acts and accidental creation\, the
idea that expression mediates between the individual and the world in art
has been widely discussed\, defended\, and disputed since the late eighte
enth century. Yet even in early modern art\, numerous visual phenomena can
be observed that can be described as expressive processes of form creatio
n\, including subiconographic pictorial structures such as gestural\, or i
nformal applications of color as deliberate means of expression. Against t
his background\, the international conference “Expression: Processes of
Form and Mediation in Art” aims to investigate artistic processes of for
m making from the early modern period to the present day that either speci
fy or reflect particular modes of expression in art.
Whereas
structuralist approaches initiated in the mid-20th century increasingly qu
estioned the interpretive guiding concept of subject-centered expression\,
the societal acknowledgment of diversified subjectivities in recent decad
es\, and the relevance of marginalized identities in today’s methodologi
es of art history\, call for a reassessment of expression as an aesthetic
concept. In contrast with the common neuroaesthetic conflation of expressi
on and emotion\, the conference seeks to consider expression as a way to c
onceptualize art as a site of intermediation between notions of “interio
r” and “exterior” reality as well as between self-determination and
the determination of others. We aim to expand the aesthetic concept of exp
ression to consider its social and ethical dimensions and to explore its a
rt-historical and art-critical value in times of increasing diversificatio
n and heterogeneity.
The conference seeks to address this con
cern by exploring three thematic strands in particular:
1) Ge
sture\, Blot\, Trace - on the Subiconography of Expression
This sect
ion is dedicated to the pre-iconographic repertoire of pictorial means of
expression. Before a figuration becomes recognizable as a vehicle of expre
ssion\, the elements underlying or preceding it are themselves already sub
ject to artistically individual modes of expression. In addition to questi
ons about individual style\, i.e.\, about the personal repertoire of expre
ssion\, this focus concerns in particular painterly processes that include
randomness\, free gesture\, and the intrinsic qualities of painterly mean
s as consciously adopted means of expression.
2) Figurations
of Expression
This section focuses on depicted figures as agents of
expression. Since artistic expression in modernism is primarily discussed
as an issue of formal means of representation\, the significance of the fi
gure as a conveyor of models of subjectivity in art is relegated to the ba
ckground. Contributions reconsider this aspect of expression by focusing o
n continuities\, ruptures\, specific artistic claims\, and critical reacti
ons to figural expression throughout the history of art.
3) E
xpression and Intention
Expression and intention are two fundamental
and highly controversial concepts in art theory. They have been perceived
historically as synonymous or complementary terms\, as undermining each o
ther\, or as altogether untimely concepts. The section addresses their com
plex intertwining. Contributions will provide concrete case studies\, art
historiographical reflections\, and new methodological approaches that for
eground this interweaving.
\;
Speakers: Laura Bruni\, E mmelyn Butterfield-Rosen\, Lisa Cornali\, Larissa Dätwyler\, Agniezska Dz iki\, Yannis Hadjinicolaou\, Joseph Henry\, Laura Indorato\, Charles Paler mo\, Christian Scherrer\, Paula Stoica\, Barbara Stoltz
\nProgram (pdf)
DTEND;VALUE=DATE:20230325 END:VEVENT BEGIN:VEVENT UID:news255@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230314T091523 DTSTART;TZID=Europe/Zurich:20230321T181500 SUMMARY:Zwischen Licht und Welt: Die Schatten der Malerei im Mittelalter DESCRIPTION:Öffentliche Antrittsvorlesung von Prof. Dr. Aden Kumler\, Prof essorin für ältere Kunstgeschichte X-ALT-DESC:Öffentliche Antrittsvorlesung von Prof. Dr. Aden Kumler\, Profe ssorin für ältere Kunstgeschichte END:VEVENT BEGIN:VEVENT UID:news148@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230306T165416 DTSTART;TZID=Europe/Zurich:20230316T090000 SUMMARY:Workshop "Material und Wahrheit" DESCRIPTION:Wird Material als ästhetische Kategorie verstanden\, so bezeic hnet es den Stoff\, woran sich künstlerische Gestaltung betätigt. Die Ka tegorie des Materials bestimmt\, woraus Kunstwerke gemacht sind. Späteste ns seit der Moderne ist aber die Frage\, was sich als künstlerisches Mate rial eignet und wodurch es sich als solches qualifiziert\, selbst zur Aush andlung künstlerischer Tätigkeit geworden. Die Kunst bewegt sich nicht m ehr in vorgegebenen und tradierten Formen und Materialien\, Gattungen und Regeln\, sondern handelt ihren eigenen Rahmen stets aufs Neue in selbstkri tischen Gesten aus. Insofern wurde die Ungewissheit über das Material der Kunst nicht nur als Moment einer Krise aufgefasst\, sondern ebenso als M öglichkeit einer kritischen Wendung\, hin zu einer Ästhetik\, die sich w esentlich nicht mehr auf Schönheit\, sondern auf Wahrheit bezieht. Nahezu alle ästhetischen Schriften Theodor W. Adornos zeugen davon\, dass diese Frage nach der Wahrheit von Kunstwerken von zentraler Bedeutung für sein e materialistische Ästhetik ist. Damit steht Adorno in Kontinuität zu so verschiedenen Denkern wie Georg Wilhelm Friedrich Hegel\, Walter Benjamin und Arnold Schönberg. Besonderen Akzent auf den Wahrheitsgehalt legt Ado rno in seiner Ästhetischen Theorie. Dort betont er\, dass alle ästhetisc hen Fragen in der Frage nach dem Wahrheitsgehalt der Kunstwerke terminiere n. Er geht sogar so weit\, zu behaupten\, dass die alleinige Rechtfertigun g der Ästhetik als Disziplin in der Tatsache bestehe\, dass der Wahrheits gehalt der Werke nur durch philosophische Reflexion zu gewinnen sei. Gleic hzeitig verschärft er das Problem des künstlerischen Materials dadurch\, dass er es – unter anderem – als sedimentierten Geist\, also als verg egenständlichte Subjektivität auffasst.\\r\\nAnlässlich des fünfzigste n Jubiläums der Veröffentlichung von Adornos Ästhetischer Theorie widme t sich die Konferenz der Konstellation der Begriffe des Materials und der Wahrheit im ästhetischen Feld. Dabei stehen folgende Fragen im Fokus: Was und wodurch qualifiziert sich künstlerisches Material überhaupt als sol ches? Wie steht künstlerisches Material zu künstlerischer Tätigkeit? Wi e lässt sich Adornos Begriff des Wahrheitsgehalts eines Kunstwerks genaue r bestimmen? Was bedeutet der nicht-diskursive\, nicht-apophantische Chara kter einer solchen Wahrheit? Auf welchem Wege gewinnt philosophische Refle xion und Kritik den Wahrheitsgehalt der Werke? Und welches Verhältnis bes teht zwischen Material und Wahrheit eines Kunstwerks? X-ALT-DESC:Wird Material als ästhetische Kategorie verstanden\, so beze ichnet es den Stoff\, woran sich künstlerische Gestaltung betätigt. Die Kategorie des Materials bestimmt\, woraus Kunstwerke gemacht sind. Spätes tens seit der Moderne ist aber die Frage\, was sich als künstlerisches Ma terial eignet und wodurch es sich als solches qualifiziert\, selbst zur Au shandlung künstlerischer Tätigkeit geworden. Die Kunst bewegt sich nicht mehr in vorgegebenen und tradierten Formen und Materialien\, Gattungen un d Regeln\, sondern handelt ihren eigenen Rahmen stets aufs Neue in selbstk ritischen Gesten aus. Insofern wurde die Ungewissheit über das Material d er Kunst nicht nur als Moment einer Krise aufgefasst\, sondern ebenso als Möglichkeit einer kritischen Wendung\, hin zu einer Ästhetik\, die sich wesentlich nicht mehr auf Schönheit\, sondern auf Wahrheit bezieht. Nahez u alle ästhetischen Schriften Theodor W. Adornos zeugen davon\, dass dies e Frage nach der Wahrheit von Kunstwerken von zentraler Bedeutung für sei ne materialistische Ästhetik ist. Damit steht Adorno in Kontinuität zu s o verschiedenen Denkern wie Georg Wilhelm Friedrich Hegel\, Walter Benjami n und Arnold Schönberg. Besonderen Akzent auf den Wahrheitsgehalt legt Ad orno in seiner Ästhetischen Theorie. Dort betont er\, dass alle ästhetischen Fragen in der Frage nach dem Wahrheitsgehalt der Kunstwerke terminieren. Er geht sogar so weit\, zu behaupten\, dass die alleinige Rec htfertigung der Ästhetik als Disziplin in der Tatsache bestehe\, dass der Wahrheitsgehalt der Werke nur durch philosophische Reflexion zu gewinnen sei. Gleichzeitig verschärft er das Problem des künstlerischen Materials dadurch\, dass er es – unter anderem – als sedimentierten Geist\, als o als vergegenständlichte Subjektivität auffasst.
\nAnlässlich de s fünfzigsten Jubiläums der Veröffentlichung von Adornos Ästhetisc her Theorie widmet sich die Konferenz der Konstellation der Begriffe des Materials und der Wahrheit im ästhetischen Feld. Dabei stehen folgend e Fragen im Fokus: Was und wodurch qualifiziert sich künstlerisches Mater ial überhaupt als solches? Wie steht künstlerisches Material zu künstle rischer Tätigkeit? Wie lässt sich Adornos Begriff des Wahrheitsgehalts e ines Kunstwerks genauer bestimmen? Was bedeutet der nicht-diskursive\, nic ht-apophantische Charakter einer solchen Wahrheit? Auf welchem Wege gewinn t philosophische Reflexion und Kritik den Wahrheitsgehalt der Werke? Und w elches Verhältnis besteht zwischen Material und Wahrheit eines Kunstwerks ?
DTEND;TZID=Europe/Zurich:20230317T180000 END:VEVENT BEGIN:VEVENT UID:news246@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230206T111109 DTSTART;VALUE=DATE:20230310 SUMMARY:Know your place: (Re)Constructing Spaces in Premodern Visual Cultur es DESCRIPTION:Visual means construct spaces by defining their character and p urpose\, and dictating human behaviours within them. Medieval monuments su ch as choir screens or market crosses divided ecclesiastic interiors and j uridical topographies\, and denoted hierarchies. Wall paintings shaped dom estic environments in ancient Roman houses\, formed inter-medial dialogues by alluding to textile hangings in pre-modern Central Asian residences\, and established idealised ancestor identities in ancient Egyptian tombs. Y et the study of these examples – as well as any of the chimaeric entitie s we here call “premodern spaces” or objects that were experienced wit hin them – poses a challenge familiar and common to all disciplines that focus on material culture\, namely the challenge of recontextualization. \\r\\nDisciplines concerned with the study of premodern cultures face particularly harsh conditions in attempting to engage with these types of visual spaces\, due to loss of evidence\, misleading photo reproductions\, and decontextualized museum displays. Yet the growing awareness of the si gnificance of the spatial context in the visual cultures we study\, and th e introduction of novel approaches\, tools and technologies for the recons truction of premodern spaces\, has opened new horizons for researchers see king to take up the task of reconstructing the experience of past physical environments. In this workshop we will therefore collect a series of earl y career researchers from a variety of disciplinary backgrounds\, to bring together different and new ways of approaching premodern spaces\, discern ing the goals of their creation\, discovering the tactics utilized in thei r construction\, and sharing our own attempts to reconstructing them – i n our minds through writing\, in digital virtual and augmented realities\, and in physical reconstructions. Through such an interdisciplinary discus sion\, we hope to bring forward new ways of combining the unique facets of our research in order to advance our collective approaches towards unders tanding the multifaceted experiences of premodern spaces. X-ALT-DESC:Visual means construct spaces by defining their cha racter and purpose\, and dictating human behaviours within them. Medieval monuments such as choir screens or market crosses divided ecclesiastic int eriors and juridical topographies\, and denoted hierarchies. Wall painting s shaped domestic environments in ancient Roman houses\, formed inter-medi al dialogues by alluding to textile hangings in pre-modern Central Asian r esidences\, and established idealised ancestor identities in ancient Egypt ian tombs. Yet the study of these examples – as well as any of the chima eric entities we here call “premodern spaces” or objects that were exp erienced within them – poses a challenge familiar and common to all disc iplines that focus on material culture\, namely the challenge of recontext ualization. \; \;
\nDisciplines concerned with the study of premodern cultures face particularly harsh conditions in attempt ing to engage with these types of visual spaces\, due to loss of evidence\ , misleading photo reproductions\, and decontextualized museum displays. Y et the growing awareness of the significance of the spatial context in the visual cultures we study\, and the introduction of novel approaches\, too ls and technologies for the reconstruction of premodern spaces\, has opene d new horizons for researchers seeking to take up the task of reconstructi ng the experience of past physical environments. In this workshop we will therefore collect a series of early career researchers from a variety of d isciplinary backgrounds\, to bring together different and new ways of appr oaching premodern spaces\, discerning the goals of their creation\, discov ering the tactics utilized in their construction\, and sharing our own att empts to reconstructing them – in our minds through writing\, in digital virtual and augmented realities\, and in physical reconstructions. Throug h such an interdisciplinary discussion\, we hope to bring forward new ways of combining the unique facets of our research in order to advance our co llective approaches towards understanding the multifaceted experiences of premodern spaces.
DTEND;VALUE=DATE:20230311 END:VEVENT BEGIN:VEVENT UID:news240@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220927T145251 DTSTART;TZID=Europe/Zurich:20221213T181500 SUMMARY:Katrin Meyer (Basel): Über Kriege streiten. Radikale Demokratiethe orie und die Grenzen des Politischen DESCRIPTION:Katrin Meyer [https://philosophie.philhist.unibas.ch/de/persone n/katrin-meyer/] X-ALT-DESC: DTEND;TZID=Europe/Zurich:20221213T194500 END:VEVENT BEGIN:VEVENT UID:news235@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220916T202525 DTSTART;TZID=Europe/Zurich:20221208T181500 SUMMARY:Work hard\, play hard. Gaming-Ästhetik und Bilder von Arbeit DESCRIPTION:Forumsvortrag HS 2022\, Katharina Brandl (Doktorandin eikones s owie ehemalige Assistierende des Kunsthistorisches Seminars der Universit ät Basel) und Preisverleihung des Hanna Levy-Deinhard Preises [https://ku nstgeschichte.philhist.unibas.ch/de/aktuelles/hanna-levy-deinhard-preis/]. X-ALT-DESC:Forumsvortrag HS 2022\, Katharina Brandl (Doktorandin eikones sowie ehemalige Assistierende des Kunsthistorisches Seminars der Universität Basel) und Preisverleihung des Hanna Levy- Deinhard Preises. \;
DTEND;TZID=Europe/Zurich:20221208T194500 END:VEVENT BEGIN:VEVENT UID:news239@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220927T144637 DTSTART;TZID=Europe/Zurich:20221129T181500 SUMMARY:Véronique Zanetti (Bielefeld): Zur (Un)Gerechtigkeit des Krieges. Einige systematische Überlegungen DESCRIPTION:Véronique Zanetti [https://www.uni-bielefeld.de/fakultaeten/ph ilosophie/personen/zanetti/] X-ALT-DESC: DTEND;TZID=Europe/Zurich:20221129T194500 END:VEVENT BEGIN:VEVENT UID:news241@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20221123T175642 DTSTART;VALUE=DATE:20221124 SUMMARY:Politische Theologie im und im Ausgang des Deutschen Idealismus DESCRIPTION:Öffentlich\; um Anmeldung wird gebeten an: gregor.schaefer@uni bas.ch [mailto:gregor.schaefer@unibas.ch]\\r\\nKeynote Speakers: Federico Dal Bo (Universität Heidelberg)\; Félix Duque (Universidad Autónoma de Madrid)\; Benjamin Pollock (The Hebrew University of Jerusalem - Franz Ros enzweig Minerva Research Center)\; Christian Schmidt (Humboldt-Universitä t zu Berlin)\\r\\nDetailed program here [t3://file?uid=487] (pdf) \\r\\ nFragestellungen zur politischen Theologie finden in der akademischen und philosophischen Diskussion der Gegenwart zunehmend wieder Interesse. Der Anfang des 21. Jahrhunderts sieht sich mit einer Wiederkehr – oder Perma nenz – religiöser Phänomene und Symptome konfrontiert\, wie sie im Be reich des politischen und sozialen Lebens überwunden schienen. Über eine oberflächliche Beschreibung hinausgehend provoziert diese Diagnose ein k ritisches Nachdenken über den Status und die Perspektiven des Zustands d er «säkularisierten» Moderne und der Gegenwart und über das Wesen der «Säkularisierung» überhaupt. Welches sind die Bedingungen\, von denen die – scheinbar – säkularisierte Moderne und ihre politisch-moralisch en Ansprüche abhängen? Inwiefern sind Figuren der politischen Theologie\ , zumal in der Linie der jüdisch-christlichen Tradition\, für die Deutun g und das begriffliche Erfassen der Moderne und der Gegenwart hilfreich\, inwiefern bilden sie gar deren notwendige – geschichtsphilosophische ode r normative – Voraussetzung?\\r\\nWährend diese Fragestellungen in der philosophischen Diskussion des 20. Jahrhunderts prominent etwa bei Carl S chmitt oder Erik Peterson\, beim jungen Georg Lukács\, bei Ernst Bloch\, Franz Rosenzweig\, Walter Benjamin oder Jacob Taubes\, bei Karl Löwith\, Eric Voegelin oder Hans Blumenberg oder\, in der Gegenwart\, bei Michael Walzer oder Giorgio Agamben ihre Formulierungen finden\, ist ihr historisc her und systematischer Ursprung im Deutschen Idealismus bisher nur wenig e rforscht. Probleme und Konstellationen aber\, die sich – in einem weit v erstandenen Sinne – als «politisch-theologisch» bezeichnen lassen\, be stimmen die thematischen Gegenstände und die innere Struktur des nachkant ischen Idealismus in vielfältiger Weise: Angefangen beim Ältesten Syste mprogramm des Deutschen Idealismus lassen sie sich – im komplexen Spann ungsfeld von Religions-\, Geschichts-\, Moralphilosophie und politischer P hilosophie\, doch auch von Metaphysik und Ästhetik – nicht nur beim fr ühen Hegel und in dessen reifem System\, sondern auch bei Fichte und Sche lling finden. Die Frage\, welche Verbindungslinien sich von diesem Ursprun g her zu den prominenten späteren Positionen politischer Theologie und de ren gegenwärtigen Verhandlungen und (Re-)Artikulationen nachzeichnen lass en und wie diese sich von hier aus allenfalls ergänzen oder kritisch befr agen ließen\, drängt sich daher auf.\\r\\nDie primär systematisch ausge richtete Konferenz möchte dazu anregen\, über diese Problematik unter ve rschiedenen Aspekten intensiv nachzudenken. Welche sachliche Tragweite hab en Figuren politischer Theologie bei Fichte\, Hegel und Schelling und in d eren (wirklichem oder möglichem) Dialog mit der jüdisch-christlichen Tra dition oder anderen früheren und späteren philosophischen Positionen? We lches kritische\, emanzipatorische oder utopische Potential – im geschic htlichen Bezug etwa auf das für die Konstitution der Moderne zentrale Ere ignis der Französischen Revolution – lässt sich mit diesen Figuren in Zusammenhang bringen? Auf welche Herausforderungen geben die politisch-the ologischen Konzepte und religionsphilosophischen Entwürfe des Deutschen I dealismus im problematischen und krisenhaften Ausgang der Aufklärung eine Antwort? Wie ließe sich im Rückgang auf diese Konzeptionen die Gegenüb erstellung von «säkular» und «nicht-säkular»\, von «theologisch» u nd «politisch» womöglich grundsätzlich in Frage stellen? Ferner: Welch e Differenzierungen im Begriff «politischer Theologie» könnten von hier aus – in Auseinandersetzung mit späteren Interpretationen und Bestimmu ngen – vorgenommen werden? Und was\, schließlich\, könnte damit im Bli ck auf eine kritische Durchdringung unserer Gegenwart und auf ihre Anspru ̈che und Anforderungen zuletzt auf dem Spiel stehen? X-ALT-DESC:Öffentlich\; um Anmeldung wird gebeten an: gregor.schaefer@unibas.ch
\nKe
ynote Speakers:
Federico Dal Bo (Universität Heidelberg)\;
Félix Duque (Universidad Autónoma de Madrid)\; Benjamin Pollock (The He
brew University of Jerusalem - Franz Rosenzweig Minerva Research Center)\;
Christian Schmidt (Humboldt-Universität zu Berlin)
Detailed prog
ram here \;(pdf)
\;
Fragestellungen zur politischen Theologie finden in der akademischen und philosophischen \;Diskussion der Gegenwart zunehmend wieder Interesse. Der Anfang des 21. Jahrhunderts sieht sich mit einer Wiederkehr – oder Permanenz – religiöser Phänomene und Symptome \;konfrontiert\, wie sie im Bereich des politischen und sozialen Lebens überwunden schienen. Über eine oberflächliche Beschreibung hinausgehend provoziert diese Diag nose ein kritisches \;Nachdenken über den Status und die Perspektiven des Zustands der «säkularisierten» Moderne und der Gegenwart und über das Wesen der «Säkularisierung» überhaupt. Welches sind die Bedingung en\, von denen die – scheinbar – säkularisierte Moderne und ihre poli tisch-moralischen Ansprüche abhängen? Inwiefern sind Figuren der politis chen Theologie\, zumal in der Linie der jüdisch-christlichen Tradition\, für die Deutung und das begriffliche Erfassen der Moderne und der Gegenwa rt hilfreich\, inwiefern bilden sie gar deren notwendige – geschichtsphi losophische oder normative – Voraussetzung?
\nWährend diese Frage stellungen in der philosophischen Diskussion des 20. Jahrhunderts \;pr ominent etwa bei Carl Schmitt oder Erik Peterson\, beim jungen Georg Luká cs\, bei Ernst \;Bloch\, Franz Rosenzweig\, Walter Benjamin oder Jacob Taubes\, bei Karl Löwith\, Eric Voegelin oder Hans Blumenberg oder\, in der Gegenwart\, bei Michael Walzer oder Giorgio Agamben ihre Formulierunge n finden\, ist ihr historischer und systematischer Ursprung im Deutschen I dealismus bisher nur wenig erforscht. Probleme und Konstellationen aber\, die sich – in einem weit verstandenen Sinne – als «politisch-theologi sch» bezeichnen lassen\, bestimmen die thematischen Gegenstände und die innere Struktur des nachkantischen Idealismus in vielfältiger Weise: Ange fangen beim \;Ältesten Systemprogramm \;des Deutschen Id ealismus lassen sie sich – im komplexen Spannungsfeld von Religions-\, G eschichts-\, Moralphilosophie und politischer Philosophie\, doch auch von Metaphysik und Ästhetik – nicht nur beim frühen Hegel und in dessen re ifem System\, sondern auch bei Fichte und Schelling finden. Die Frage\, we lche Verbindungslinien sich von diesem Ursprung her zu den prominenten sp äteren Positionen politischer Theologie und deren gegenwärtigen Verhandl ungen und (Re-)Artikulationen nachzeichnen lassen und wie diese sich von h ier aus allenfalls ergänzen oder kritisch befragen ließen\, drängt sich daher auf.
\nDie primär systematisch ausgerichtete Konferenz möch te dazu anregen\, über diese Problematik unter verschiedenen Aspekten int ensiv nachzudenken. Welche sachliche Tragweite haben Figuren politischer T heologie bei Fichte\, Hegel und Schelling und in deren (wirklichem oder m öglichem) Dialog mit der jüdisch-christlichen Tradition oder anderen fr üheren und späteren philosophischen Positionen? Welches kritische\, eman zipatorische oder utopische Potential – im geschichtlichen Bezug etwa au f das für die Konstitution der Moderne zentrale Ereignis der Französisch en Revolution – lässt sich mit diesen Figuren in Zusammenhang bringen? Auf welche Herausforderungen geben die politisch-theologischen Konzepte un d religionsphilosophischen Entwürfe des Deutschen Idealismus im problemat ischen und krisenhaften Ausgang der Aufklärung eine Antwort? Wie ließe s ich im Rückgang auf diese Konzeptionen die Gegenüberstellung von «säku lar» und «nicht-säkular»\, von «theologisch» und «politisch» womö glich grundsätzlich in Frage stellen? Ferner: Welche Differenzierungen im Begriff «politischer Theologie» könnten von hier aus – in Auseinande rsetzung mit späteren Interpretationen und Bestimmungen – vorgenommen w erden? Und was\, schließlich\, könnte damit im Blick auf eine kritische Durchdringung unserer Gegenwart und auf ihre Ansprüche und Anforderungen zuletzt auf dem Spiel stehen?
\n\n DTEND;VALUE=DATE:20221125 END:VEVENT BEGIN:VEVENT UID:news238@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220927T144751 DTSTART;TZID=Europe/Zurich:20221115T181500 SUMMARY:Wolfgang Schröder (Würzburg): Neue Kriege - alte Ethik? Zur ethis chen Bewertung autonomer Wafensysteme. DESCRIPTION:Wolfgang Schröder [https://www.theologie.uni-wuerzburg.de/inst itute-lehrstuehle/syst/professur-fuer-philosophie/team/prof-dr-wolfgang-m- schroeder/] X-ALT-DESC: DTEND;TZID=Europe/Zurich:20221115T194500 END:VEVENT BEGIN:VEVENT UID:news234@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220916T201750 DTSTART;TZID=Europe/Zurich:20221110T181500 SUMMARY:Deformation der Malerei. Studien zu Chaïm Soutine DESCRIPTION:Forumsvortrag HS 2022\, Laura Indorato (Kunsthistorisches Semin ar der Universität Basel) X-ALT-DESC:Forumsvortrag HS 2022\, Laura Indorato (Kunsthistorisches Semina r der Universität Basel) DTEND;TZID=Europe/Zurich:20221110T194500 END:VEVENT BEGIN:VEVENT UID:news231@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20221031T122330 DTSTART;VALUE=DATE:20221108 SUMMARY:Masks and Faces DESCRIPTION:In the past three years\, masks and the faces that they cover\ , have become a locus of ethical and political debates. Protecting their wearers and providing a barrier between self and other\, masks symboli ze for some the oppressive force of state control\, while for others the y stood for solidarity and social responsibility. The act of covering up part of the face has given rise to worries about the future of social c ommunication\, and questions about the emotional well-being of children who are unable to see human faces\; yet when faces were covered\, masking \, and custom-made masks were seen as expressive of the individuality of those who wear them. Indeed\, masks and faces have been central to makin g and understanding personhood and identity since antiquity. In Rome\, t he possession and display of facial casts was a marker of political powe r\; only their owners were free men (at their funeral\, the casts\, that reproduced their faces were often worn by actors). With the change in t he meaning of personhood and personality\, masks were understood as mere ly false covers\, that hide the singularity of the face\, the core of th e human. Some philosophers\, such as Jean-Paul Sartre and Emmanuel Levin as\, even located the face at the center of the ethical commitments huma ns have towards one another. The purpose of the workshop is to explore ma sks\, faces\, and the relationship between them. Focusing on the politic al and ethical meanings and possibilities embedded in different practices of masking and revealing\, we will ask how are masks and faces used (or misused) to structure human interactions?\\r\\nSpeakers Liesbeth Schoonh eim\, Tom Stern\, Abigail Nieves Delgado\, Fenneke Sysling\, Massimo Leone \, Anna K.M. Skarpelis\, Jenny Chamarette\, Eva-Maria Troelenberg\\r\\nDet ailed program here [t3://file?uid=491] (pdf). X-ALT-DESC:\nIn the past three years\, masks and the faces that they&nbs p\;cover\, have become a locus of ethical and political debates. Protectin g \;their \;wearers and providing a \;barrier between self and other\, \;masks symbolize for some the oppressive force of state cont rol\, \;while \;for others they stood for solidarity and social re sponsibility. \;The act of \;covering up part of the face has give n rise to worries \;about the future of \;social communication\, a nd questions about the emotional well-being of \;children \;who ar e unable to see \;human faces\; yet when faces were covered\, masking\ , \;and custom-made masks were seen as expressive of the individuality of \;those who wear them. Indeed\, masks and faces have been central to making \;and understanding personhood and identity since \;anti quity. In Rome\, the \;possession and display of facial casts was a ma rker of political \;power\; only their owners were free men \;(at their funeral\, the casts\, that \;reproduced their faces \;were o ften worn by actors). With the change in the \;meaning of \;person hood and personality\, masks were understood as merely false \;covers\ , that hide the \;singularity of the face\, the core of the \;huma n. Some philosophers\, such as Jean-Paul Sartre and \;Emmanuel Levinas \, even located the face at the center of the \;ethical \;commitme nts humans have towards one another. The purpose of the \;workshop is to explore masks\, faces\, and the relationship \;between them. Focusi ng \;on the political and ethical meanings and possibilities embedded in \;different practices of masking and \;revealing\, we will ask how are masks and \;faces used (or \;misused) to structure human i nteractions?
\nSpeakers
Liesbeth Schoonheim\,
Tom Stern\, Abigail Nieves Delgado\, Fenneke Sysling\, Massimo Leone\, An
na K.M. Skarpelis\, Jenny Chamarette\, Eva-Maria Troelenberg
Detai led program here (pdf).
DTEND;VALUE=DATE:20221109 END:VEVENT BEGIN:VEVENT UID:news230@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20221024T165940 DTSTART;TZID=Europe/Zurich:20221103T181500 SUMMARY:NOMIS-Lecture DESCRIPTION:Film was and is a central tool for research in the sciences. Mo ving images are part of the experimental work in the laboratory\, they are part of the scientific modelling practices and they are used to present e vidence as well as to communicate knowledge. This talk maps how moving ima ges can become epistemically effective. The existing studies on scientific films treat moving images mainly as an instrument of making (invisible) m ovement processes visible. However\, a focus on the repeated events of vie wing\, screening\, and publishing scientific films from the laboratory out side of the laboratory can show how scientific moving images served as a m edium of translation between science and society. By presenting case studi es of films that are characterized by a divide between where and how they were recorded and where and how they were shown\, this talk proposes a new way to analyze the entanglements of scientific films with the global flow s of knowledge and capital. X-ALT-DESC:Film was and is a central tool for research in the sciences. Moving images are part of the experimental work in the laboratory\, they a re part of the scientific modelling practices and they are used to present evidence as well as to communicate knowledge. This talk maps how moving i mages can become epistemically effective. The existing studies on scientif ic films treat moving images mainly as an instrument of making (invisible) movement processes visible. However\, a focus on the repeated events of v iewing\, screening\, and publishing scientific films from the laboratory o utside of the laboratory can show how scientific moving images served as a medium of translation between science and society. By presenting case stu dies of films that are characterized by a divide between where and how the y were recorded and where and how they were shown\, this talk proposes a n ew way to analyze the entanglements of scientific films with the global fl ows of knowledge and capital.
DTEND;TZID=Europe/Zurich:20221103T194500 END:VEVENT BEGIN:VEVENT UID:news237@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220927T143804 DTSTART;TZID=Europe/Zurich:20221101T181500 SUMMARY:Anton Hügli (Basel): Karl Jaspers' Buch "Die Atombombe und die Zuk unft des Menschen." Seine Botschaft\, seine Aktualität DESCRIPTION:Anton Hügli [https://de.wikipedia.org/wiki/Anton_H%C3%BCgli] X-ALT-DESC: DTEND;TZID=Europe/Zurich:20221101T194500 END:VEVENT BEGIN:VEVENT UID:news242@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20221014T102615 DTSTART;TZID=Europe/Zurich:20221024T181500 SUMMARY:Thought’s Self-Expression DESCRIPTION:In this talk Prof. Jean-Philippe Narboux (Bordeaux) will take u p themes of the affiliated workshop „Saying and Showing - Wittgenstein ’s Tractatus in the light of new interpretations“ and place it in a mo re general context. Those who do not have the opportunity to attend the en tire workshop are expressly invited to this lecture. X-ALT-DESC:In this talk Prof. Jean-Philippe Narboux (Bordeaux) will take up themes of the affiliated workshop „Saying and Showing - Wittgenstein’ s Tractatus in the light of new interpretations“ and place it in a more general context. Those who do not have the opportunity to attend the entir e workshop are expressly invited to this lecture. DTEND;TZID=Europe/Zurich:20221024T194500 END:VEVENT BEGIN:VEVENT UID:news222@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220923T105631 DTSTART;VALUE=DATE:20221024 SUMMARY:Saying and Showing. Wittgenstein's Tractatus in the Light of New In terpretations DESCRIPTION:The sentences of our language possess meaning in that they say something. But they have significance also in a quite different manner: th ey show something. The distinction between saying and showing is known as one of the most influential doctrines of Ludwig Wittgenstein’s Tractatus logico-philosophicus. It has found an echo beyond the boundaries of philo sophy in a variety of disciplines\, such as art history\, literature\, and image theory. X-ALT-DESC:The sentences of our language possess meaning in that they sa y something. But they have significance also in a quite different manner: they show something. The distinction between saying and showing is known a s one of the most influential doctrines of Ludwig Wittgenstein’s Tra ctatus logico-philosophicus. It has found an echo beyond the boundari es of philosophy in a variety of disciplines\, such as art history\, liter ature\, and image theory.
DTEND;VALUE=DATE:20221026 END:VEVENT BEGIN:VEVENT UID:news233@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220916T202459 DTSTART;TZID=Europe/Zurich:20221020T181500 SUMMARY:Aristoteles in den Strassen von Paris: Schauplatz der Philosophie i m 12. Jahrhundert DESCRIPTION:Forumsvortrag HS 2022\, Martin Schwarz (Kunsthistorisches Semin ar der Universität Basel) X-ALT-DESC:Forumsvortrag HS 2022\, Martin Schwarz (Kunsthistorisches Semina r der Universität Basel) DTEND;TZID=Europe/Zurich:20221020T194500 END:VEVENT BEGIN:VEVENT UID:news229@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20221011T150004 DTSTART;VALUE=DATE:20221014 SUMMARY:Television's Useful Images DESCRIPTION:For participating online\, please sign up here for Zoom link [ https://unibas.zoom.us/meeting/register/u5YtdO2grjsiH9MVbPQtNWsSO5g2_ZkilQ bG]. \\r\\nWhat is television doing in the military\, in schools\, in the medical context? How to think of television images that help decide the o utcome of a sports competition? This two-day workshop investigates those a nd other applications of television that redefine the medium as a useful t ool\, rather than a mass medium. It brings together scholars from various disciplines including media studies\, science and technology studies\, his tory of medicine\, and television studies. The workshop will be organized as a hybrid event (with online and offline participation) and the discussi on will be continued at a follow-up workshop in Amsterdam on 1 and 2 Decem ber 2022.\\r\\nSpeakers Fernanda Bruno\, Federal University of Rio de J aneiro\; Carlos d’Andréa\, Federal University of Minas Gerais\; Kit Hug hes\, Colorado State University\; André Mintz\, Federal University of M inas Gerais\; Laura Niebling\, University of Regensburg\; Markus Stauff\, University of Amsterdam\; Márcio Telles\, Universidade Tuiuti do Paran á\; Anne-Katrin Weber\, University of Basel\; Daniela Zetti\, Technisch e Universität München Friday\, October 14\, 2022 (Forum eikones & onl ine) 14:00–15:00: Markus Stauff\, Television as Referee: Institutional and Vernacular Epistemologies in Media Sport\, in person 15:15–16:15: A nne-Katrin Weber\, Atomic TV: Towards a History of Television’s Indust rial-Military Complex\, in person 16:45–17:45: Laura Niebling & Daniela Zetti\, Medical Imaging Networks. Protocol\, Model\, Document\, online Saturday\, October 15\, 2022 (online) 14:00–15:00: Kit Hughes\, Media ted Intimacies\, Managed Workers: from Downsizing to COVID-19\, online 15: 15–16:15: Carlos d’Andréa\, Márcio Telles and Eduardo Oliveira\, A 1 980's Video Assistant (not for the) Referee: an exploratory study of "T ira-Teima" technology in Brazil\, online 16:45–17:45: Fernanda Bruno\ , Predictive images: gestures under surveillance\, online 18:00–19:00: André Mintz\, Seeing the image for the network: making use of image s in digital methods\, online\\r\\nProgram\, abstracts and biographical no tes here [t3://file?uid=488] (pdf). X-ALT-DESC:For participating online\, please sign up \; here for Zoom link. \;
\nWhat is television doing in the mil itary\, in schools\, in the medical context? How to think of television im ages that help decide the outcome of a sports competition? This two-day wo rkshop investigates those and other applications of television that redefi ne the medium as a useful tool\, rather than a mass medium. It brings toge ther scholars from various disciplines including media studies\, science a nd technology studies\, history of medicine\, and television studies. The workshop will be organized as a hybrid event (with online and offline part icipation) and the discussion will be continued at a follow-up workshop in Amsterdam on 1 and 2 December 2022.
\nSpeakers&nbs
p\;
Fernanda Bruno\, Federal University of Rio de \;Janeiro\; Ca
rlos d’Andréa\, Federal University of Minas Gerais\; Kit Hughes\, \
;Colorado State University\; André Mintz\, \;Federal University of Mi
nas Gerais\; \;Laura Niebling\, University of Regensburg\; Markus Stau
ff\, University of \;Amsterdam\; Márcio Telles\, Universidade Tuiuti
do \;Paraná\; Anne-Katrin \;Weber\, University of Basel\; Daniela
Zetti\, \;Technische Universität \;München
Friday\, October 14\, 2022 \;(Forum eikones &\; online) 14:00–15:00: Markus Stauff\, \;Television as Referee: Instituti
onal and Vernacular Epistemologies in \;Media Sport\, in person
15:15–16:15: Anne-Katrin Weber\, \;Atomic TV: Towards a \;Histor
y of Television’s Industrial-Military Complex\, in person
16:45–
17:45: Laura Niebling &\; Daniela Zetti\, \;Medical Imaging Network
s. Protocol\, Model\, Document\, \;online \;
Saturday\, October 15\, 2022 \;(online)
14:00–15:00:
Kit Hughes\, Mediated Intimacies\, Managed Workers: from Downsizing to COV
ID-19\, online
15:15–16:15: Carlos d’Andréa\, Márcio Telles an
d Eduardo Oliveira\, A 1980's Video Assistant (not for the) Referee:
\;an \;exploratory study of "Tira-Teima" \;technology in Brazil\,&
nbsp\;online
16:45–17:45: \;Fernanda Bruno\, Predictive images
: gestures under surveillance\, online
18:00–19:00: \;André M
intz\, Seeing \;the \;image \;for the \;network: \;mak
ing \;use of images in digital methods\, online
Program\, abst racts and biographical notes here (pdf). DTEND;VALUE=DATE:20221015 END:VEVENT BEGIN:VEVENT UID:news228@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220916T161007 DTSTART;VALUE=DATE:20221007 SUMMARY:Imago Imagines. Das ekphrastische Prinzip in Text- und Bildmedien d er Antike und des Mittelalters DESCRIPTION:To receive the pre-circulated reader with the individual texts under discussion please contact Markus Kersten [mailto:markus.kersten@unib as.ch] or Martin Schwarz [mailto:martin.schwarz@unibas.ch]\\r\\nProgram\\r \\n7. Okt.\\r\\n 18:15 Opening lecture: Prof. Dr. Jaś Elsner (Oxford): M yron’s Cow Revisited: The Late Antique Ekphastic Series \\r\\n8. Okt. \ \r\\n 9:00 Welcome 9:15–10:15 Discussion 10:15–10:45 Coffee break 10:45–11:30 Lecture with Discussion: Dr. Christine Luz Martin (Basel): E kphrasis im Mini-Format – Kunstbeschreibung in hellenistischen Epigramme n 11:30–12:15 Lecture with Discussion: Adrienne Cornut\, M.A. (Basel): Ovid und die Spiegelung in Text und Bild 12:15–13:45 Lunch break 13:45 –14:30 Lecture with Discussion: Dr. Markus Kersten (Basel): Das Bild des Ekphrastikers 14:30–15:15 Lecture with Discussion: Dr. Theresa Holler (Basel\, Bern): Funkelndes Dunkelbild. De imagine Tetrici des Walahfrid Strabo 15:15–15:45 Coffee break 15:45–16:30 Closing lecture: Prof. D r. Ursula Gärtner (Graz): Singula quid referam? Ekphraseis und Deskriptiv es in den Kleinformen der lateinischen Dichtung 16:30–17:15 Final discu ssion \\r\\n To receive the pre-circulated reader with the individual tex ts under discussion please contact Markus Kersten [mailto:markus.kersten@u nibas.ch] or Martin Schwarz [mailto:martin.schwarz@unibas.ch] X-ALT-DESC:
To receive the pre-circulated reader with the individual text s under discussion please contact Markus Kersten or Martin S chwarz
\n7. Okt.
\n8. Okt.& nbsp\;
\n\;To receive the pre-circulated reader with the indivi dual texts under discussion please contact Markus Kersten or Martin Schwarz
DTEND;VALUE=DATE:20221008 END:VEVENT BEGIN:VEVENT UID:news236@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220927T143052 DTSTART;TZID=Europe/Zurich:20221004T181500 SUMMARY:Daniel Messelken (Zürich): Kann Medizin im Krieg neutral sein? DESCRIPTION:Daniel Messelken [https://www.philosophie.uzh.ch/de/seminar/peo ple/research/ethics_schaber/messelken.html] X-ALT-DESC: DTEND;TZID=Europe/Zurich:20221004T194500 END:VEVENT BEGIN:VEVENT UID:news226@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220915T133058 DTSTART;TZID=Europe/Zurich:20220915T181500 SUMMARY:Festvortrag zu Ehren von Prof. Dr. phil. Gottfried Boehm DESCRIPTION:Begrüssung: Josef Helfenstein\, Direktor Kunstmuseum Basel Ein führung: Ralph Ubl\, Professor Kunsthistorisches Seminar Universität Bas el Festvortrag: Claudia Blümle\, Professorin Institut für Kunst- und Bi ldgeschichte Humboldt-Universität zu Berlin Apéro\\r\\nDer Vortrag ist öffentlich und ohne Anmeldung zugänglich. Siehe: Basler Zeitung\, 15. September 2022\, Seite 18 [t3://file?uid=474]\\r\\n Festvortrag Besucht ma n heute Goethes Haus am Frauenplan in Weimar\, begegnet man im Junozimmer einer Kopie eines pompejanischen Wandbildes\, das links und rechts von e inem grünen Vorhang gerahmt ist. Das Zugsystem mit doppelt durchgezogene n Schnüren weist darauf hin\, dass dieser wie automatisch geöffnet und g eschlossen werden kann. Goethe selbst entwarf diese Inszenierung des Bilde s und er gewährte nur wenigen ausgewählten Gästen einen Blick hinter de n Vorhang. So wurde dieser nach dem Abendessen als ein besonderes Ereignis aufgezogen\, und das Bild erschien durch den draußen auf den Dächern li egenden Schnee in einer schönen Beleuchtung. Goethe schließt an einen damals verbreiteten Umgang mit Gemälden an\, sie mit Hilfe eines Vorh angs zu verhüllen und zu enthüllen. Ziel dieser Praxis war es jeweils\, den Akt des Anschauens zu akzentuieren und die Bilder als Objekte einer gesteigerten Sichtbarkeit dem Blick darzubieten. Mit der ästhetischen Au tonomie der Kunst und einem auf Sichtbarkeit gerichteten Zeigen in den Mus een beginnen um 1800 die Bildvorhänge zu verschwinden. Der Vortrag widmet sich Goethes Kunstverständnis und der damit verbundenen Betrachtung von Kunst\, die mit einem Bildvorhang installiert wird und dabei räumlich ein e ikonische Differenz fortsetzt\, die sich an ein sehendes Sehen adressier t. Gottfried Boehm ist Kunsthistoriker\, Philosoph und emeritierter Profe ssor für Neuere Kunstgeschichte sowie Gründungsdirektor des schweizeris chen nationalen Forschungsschwerpunkts Bildkritik / Eikones an der Univers ität Basel. 2016 war er Fellow am Getty Institute\, Los Angeles\; 2017 er hielt er den Judd-Hume-Prize der Universität Edinburgh. X-ALT-DESC:Begrüssung: Josef Helfenstein\, Direktor Ku
nstmuseum Basel
Einführung: Ralph Ubl\, Professor
Kunsthistorisches Seminar Universität Basel
Festvortrag: Claudia Blümle\, \;Professorin Institut für Kunst- und Bildge
schichte Humboldt-Universität zu Berlin
Apéro
Der Vortrag ist öffentlich und ohne Anmeldung zugänglich. \;Si ehe: Basler Zeitung\, 15. September 2022\, Sei te 18
\n
Festvortrag
Besucht man heute Goethes Haus
am Frauenplan in Weimar\, begegnet man im Junozimmer einer Kopie eines pom
pejanischen Wandbildes\, das links und rechts \;von einem grünen Vor
hang gerahmt ist. \;Das Zugsystem mit doppelt durchgezogenen Schnüren
weist darauf hin\, dass dieser wie automatisch geöffnet und geschlossen
werden kann. Goethe selbst entwarf diese Inszenierung des Bildes und er ge
währte nur wenigen ausgewählten Gästen einen Blick hinter den Vorhang.
So wurde dieser nach dem Abendessen als ein besonderes Ereignis aufgezogen
\, und das Bild erschien durch den draußen auf den Dächern liegenden Sch
nee in einer schönen Beleuchtung. \;
Goethe schließt an einen
damals \;verbreiteten Umgang mit Gemälden an\, sie mit \;
Hilfe eines Vorhangs zu verhüllen und zu enthüllen. Ziel dieser Praxis w
ar es jeweils\, \;den Akt des Anschauens zu akzentuieren und die Bild
er als Objekte einer gesteigerten Sichtbarkeit dem Blick darzubieten.
\;Mit der ästhetischen Autonomie der Kunst und einem auf Sichtbarkeit ger
ichteten Zeigen in den Museen beginnen um 1800 die Bildvorhänge zu versch
winden. Der Vortrag widmet sich Goethes Kunstverständnis und der damit ve
rbundenen Betrachtung von Kunst\, die mit einem Bildvorhang installiert wi
rd und dabei räumlich eine ikonische Differenz fortsetzt\, die sich an ei
n sehendes Sehen adressiert.
Gottfried Boehm ist Kunsthistori
ker\, Philosoph und emeritierter Professor für \;Neuere Kunstgeschich
te sowie Gründungsdirektor des schweizerischen nationalen Forschungsschwe
rpunkts Bildkritik / Eikones an der Universität Basel. 2016 war er Fellow
am Getty Institute\, Los Angeles\; 2017 erhielt er den Judd-Hume-Prize de
r Universität Edinburgh.
The terms “figure” and “ground” became fundamental to art critique\, art historical scholarship\, and academic writing over the course of the twentieth century. However\, to what extent this dichotomy is suited to describe \;premodern \;art remains largely u nquestioned. To bridge this gap\, the international conference “Between Figure and Ground: Seeing in Premodernity” brings together art history\, image theory\, Bildwissenschaft\, historiography\, and methodolo gical reflections. It aims to critique and expand vocabularies used to des cribe\, analyze\, and interpret medieval and early modern artifacts. Eight sessions over the course of three days offer the opportunity to productiv ely revise anachronistic attachments to modernist paradigms. What can be s een and described between picture planes and pictorial spaces and thus bet ween figure and ground?
DTEND;VALUE=DATE:20220611 END:VEVENT BEGIN:VEVENT UID:news220@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220522T112110 DTSTART;TZID=Europe/Zurich:20220603T130000 SUMMARY:Ways of Writing: Creative Knowledge Production in African Studies DESCRIPTION:Curators Jade Nair and Dr. Duane Jethro join us to discuss how "Of Smoke and Ash: Jagger Library Memorial Exhibition" commemorates this l oss\, celebrates the efforts of volunteers who joined the salvage project and invites new questions for creative practices and African Studies.\\r\\ nThis event will take place in-person\, at the Forum eikones\, Rheinsprung 11\, Basel on 3 June 2022 between 13 – 14h30.\\r\\nDrinks and snacks wi ll be provided. For zoom participation\, please use the following link:htt ps://unibas.zoom.us/j/69463619625 [https://unibas.zoom.us/j/69463619625] X-ALT-DESC:Curators Jade Nair and Dr. Duane Jethro join us to discuss ho w "Of Smoke and Ash: Jagger Library Memorial Exhibition" commemor ates this loss\, celebrates the efforts of volunteers who joined the salva ge project and invites new questions for creative practices and African St udies.
\nThis event will take place in-person\, at the Forum eikones \, Rheinsprung 11\, Basel on 3 June 2022 between 13 – 14h30.
\nDri nks and snacks will be provided. For zoom participation\, please use the f ollowing link:https://uniba s.zoom.us/j/69463619625
\n\n DTEND;TZID=Europe/Zurich:20220603T143000 END:VEVENT BEGIN:VEVENT UID:news216@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220504T152425 DTSTART;VALUE=DATE:20220527 SUMMARY:Neue Forschungen in den Vesuvstädten DESCRIPTION:Abstract Die vom Vesuv verschütteten Städte wie Pompeji und H erculaneum sind seit einigen Jahren wieder verstärkt in den Fokus der int ernationalen Forschungsgemeinschaft gerückt. An dieser einzigartigen Befu ndsituation können zahlreiche Fragen der (prä)römischen Archäologie di skutiert werden. Dieser aussergewöhnliche Status zeigt sich nicht zuletzt an der grossen Anzahl laufender Forschungsprojekte\, die neues Material unter Anwendung innovativer Methoden bearbeiten und bestehende Desiderate aufarbeiten. Da viele dieser Projekte ähnliche Fragen und Herausforderun gen teilen\, formte sich 2020 ein Netzwerk von Nachwuchswissenschaftler:i nnen. Das Ziel der Round-Table-Tagung ist\, junge Forschende an Beginn ihr er Karriere zusammenzubringen und ihnen eine Möglichkeit zu geben\, ihre Projekte vorzustellen und interdisziplinäre Ansätze und Ideen mit beson derem Fokus auf innovativer Methodik zu diskutieren. Die diesjährige Tag ung hat einen bildwissenschaftlichen Schwerpunkt.\\r\\nProgramm [t3://file ?uid=430]\\r\\nLink für die Anmeldung zur Zoom-Teilnahme [https://unibas. zoom.us/meeting/register/u5Eqf-mtqzwpH9ySIKDC7FrYkzx4meKri8KT] (Sonst kein e Anmeldung benötigt) X-ALT-DESC:Abstract
Die vom Vesuv verschütteten
Städte wie Pompeji und Herculaneum sind seit einigen Jahren wieder verst
ärkt in den Fokus der internationalen Forschungsgemeinschaft gerückt. An
dieser einzigartigen Befundsituation können zahlreiche Fragen der (prä)
römischen Archäologie diskutiert werden. Dieser aussergewöhnliche Statu
s zeigt sich nicht zuletzt an der grossen Anzahl laufender Forschungsproje
kte\, \;die neues Material unter Anwendung innovativer Methoden bearbe
iten und bestehende Desiderate aufarbeiten. \;Da viele dieser Projekte
ähnliche Fragen und Herausforderungen teilen\, \;formte sich 2020 ei
n Netzwerk von Nachwuchswissenschaftler:innen. Das Ziel der Round-Table-Ta
gung ist\, junge Forschende an Beginn ihrer Karriere zusammenzubringen und
ihnen eine Möglichkeit zu geben\, ihre Projekte vorzustellen und interdi
sziplinäre Ansätze und Ideen \;mit besonderem Fokus auf innovativer
Methodik \;zu diskutieren. Die diesjährige Tagung hat einen bildwisse
nschaftlichen Schwerpunkt.
Link für die Anmeldung zur Zoom-Teilnahme (Son
st keine Anmeldung benötigt)
\;
Prof. Dr. Lorraine Daston gehört zu den profiliertesten Wiss enschaftshistoriker:innen weltweit. Ihre Arbeiten beschäftigen sich mit d en philosophischen Bedingungen und den historischen Kontexten wissenschaft licher Erkenntnis und der Geschichte der Rationalität. Dabei stehen insbe sondere Fragen der wissenschaftlicher Praktiken\, wie sie im Beobachten\, der Messung\, dem Experiment und den Visualisierungen von Erkenntnis zur A nwendung kommen im Zentrum. Ihre Forschungen umfassen grosse Weiten der Wi ssenschaftsgeschichte: von der Geschichte der Wahrscheinlichkeit und Stati stik über den Begriff des Wunders in der frühneuzeitlichen Wissenschaft\ , der Entstehung wissenschaftlicher Tatsachen und Modelle als auch die Ges chichte der wissenschaftlichen Objektivität. «In einer Zeit\, in der Wer t und Glaubwürdigkeit wissenschaftlicher Erkenntnis auf ganz unerwartete Weise relativiert oder auch grundsätzlich in Frage gestellt werden\, komm t den wissenschaftshistorischen Forschungen» von Lorraine Daston höchste Bedeutung und Aktualität zu\, so die Jury des Gerda Henkel Preises 2020 – eines der wichtigsten Wissenschaftspreise in den Geisteswissenschaften \, der ihr pandemiebedingt im Herbst dieses Jahres überreicht werden wird .
DTEND;TZID=Europe/Zurich:20220525T203000 END:VEVENT BEGIN:VEVENT UID:news224@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220413T104959 DTSTART;TZID=Europe/Zurich:20220519T181500 SUMMARY:Grounding Mars: Der Rote Planet und die Politik der vertikalen Bild er DESCRIPTION:Esther Stutz\, Fotohistorikerin am Seminar für Medienwissensch aft\, stellt im Rahmen der Vernissage des Bandes von Transbordeur. Photogr aphie histoire société [http://www.transbordeur.ch/] Ihren Beitrag «Die Erde als Referenzpunkt für die Erforschung des Planeten Mars» vor.\\r\\ nTeilnehmerinnen: Estelle Blaschke (Herausgeberin von Transbordeur)\, Esth er Stutz (Autorin)\, Anne-Katrin Weber (Herausgeberin)\\r\\nIm Anschluss a n die Präsentation wird ein kleiner Apéro offeriert. X-ALT-DESC:Esther Stutz\, Fotohistorikerin am Seminar für Medienwissens chaft\, stellt im Rahmen der Vernissage des Bandes von Transbordeur. Photographie histoire société Ihren Beitrag «Die Erde als Referenzpunkt für die Erforschung des Planeten Ma rs» vor.
\nTeilnehmerinnen: Estelle Blaschke (Herausgeberin von Tra nsbordeur)\, Esther Stutz (Autorin)\, Anne-Katrin Weber (Herausgeberin)
\nIm Anschluss an die Präsentation wird ein kleiner Apéro offeriert.
DTEND;TZID=Europe/Zurich:20220519T200000 END:VEVENT BEGIN:VEVENT UID:news209@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220412T104206 DTSTART;TZID=Europe/Zurich:20220516T181500 SUMMARY:NOMIS-Lecture: Command and Control by Cathode Ray Tube DESCRIPTION:From the late 1930s on\, in parallel to ongoing research on dom estic broadcasting TV\, major telecom corporations as well as small manufa cturers in Europe and the USA imagined\, and subsequently developed\, “u seful” applications of television. Conceived as a closed-circuit system (CCTV) constituted by a camera and a screen connected via cable\, these te levisions first served early tests with teleguided bombs and drones\, befo re they would find their way into postwar factory floors and nuclear plant s\, in hospitals and schools: as tools for surveillance\, control\, and re mote observation\, televisual closed-circuits would fit in almost every no n-domestic space.\\r\\nThe lecture analyzes the adaptability of closed-ci rcuit technologies to military\, scientific\, and commercial interests by concentrating on CCTV in Switzerland between the 1950s and the 1970s. I d iscuss in particular the case of the Eidophor\, a CCTV-projector sponsored by the chemical company CIBA\, and sold to private and governmental actor s including Swiss universities and the NASA\, military subcontractors and broadcasting stations. Following the Eidophor’s myriad histories\, I map the entanglement of (audio)vision\, war\, and capital at the core of the closed-circuit’s operation as an electronic instrument of control and co mmand. X-ALT-DESC:From the late 1930s on\, in parallel to ongoing research on d omestic broadcasting TV\, major telecom corporations as well as small manu facturers in Europe and the USA imagined\, and subsequently developed\, “useful” applications of television. Conceived as a closed-circuit sys tem (CCTV) constituted by a camera and a screen connected via cable\, thes e televisions first served early tests with teleguided bombs and drones\, before they would find their way into postwar factory floors and nuclear p lants\, in hospitals and schools: as tools for surveillance\, control\, an d remote observation\, televisual closed-circuits would fit in almost ever y non-domestic space.
\nThe lecture analyzes \;the adaptability of closed-circuit technologies to military\, scientific\, and commercial i nterests by concentrating \;on CCTV in Switzerland between the 1950s a nd the 1970s. I discuss in particular the case of the Eidophor\, a CCTV-pr ojector sponsored by the chemical company CIBA\, and sold to private and g overnmental actors including Swiss universities and the NASA\, military su bcontractors and broadcasting stations. Following the Eidophor’s myriad histories\, I map the entanglement of (audio)vision\, war\, and capital at the core of the closed-circuit’s operation as an electronic instrument of control and command.
DTEND;TZID=Europe/Zurich:20220516T194500 END:VEVENT BEGIN:VEVENT UID:news215@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220511T143543 DTSTART;VALUE=DATE:20220513 SUMMARY:Painting and Subjectivity DESCRIPTION:Details to follow. X-ALT-DESC:Details to follow.
DTEND;VALUE=DATE:20220514 END:VEVENT BEGIN:VEVENT UID:news212@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220222T174831 DTSTART;TZID=Europe/Zurich:20220512T181500 SUMMARY:Sezieren durch Visualisieren? DESCRIPTION:Forumsvortrag FS 2022\, Inge Hinterwaldner (Institut Kunst- und Baugeschichte\, Karlsruhe). X-ALT-DESC:Forumsvortrag FS 2022\, Inge Hinterwaldner (Institut Kunst- und Baugeschichte\, Karlsruhe). END:VEVENT BEGIN:VEVENT UID:news213@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220408T121020 DTSTART;VALUE=DATE:20220505 SUMMARY:Photo Archives VIII. The Digital Photo Archive. Theories\, Practice s and Rhetoric DESCRIPTION:The current ‘archival moment’ (Daston 2017) is characterise d by the unprecedented online access to visual material\, but also by deep concerns about loss of information. Scholars are confronted with the limi tless production and circulation of (sometimes self-produced) digital imag es\, as well as with the fragility of aggregated image clusters. Digitisat ion and digital photography are established practices\, and numerous metho ds and approaches to the storage and retrieval\, indexing\, interoperabili ty and sustainability of digital image collections have been tested\, deba ted\, applied\, expanded\, questioned and discarded. These technological d evelopments mean that more and more people all over the world are involved in creating\, manipulating and collecting images. Images and metadata are copied\, scraped\, aggregated and rearranged in feeds\, clusters and data bases\, both for commercial or scientific purposes. Moreover\, big visual data serve as the basis for developing computer vision techniques. While t hese multifaceted collections evade canonical notions of the archive\, arc hival structures and practices have become a nexus of the post-digital con dition.\\r\\nBuilding on the Photo Archives conference series\, this gat hering aims to examine and reflect on the practices and ideologies of digi tal photo archives within the framework of the recent history of photograp hy. It seeks to challenge the idea of documentary values connected to phot ography and archives at a time when visual imagery is completely malleable \; it aims at revisiting past narratives\, speculating on future uses as w ell as enhancing best practices. Issues include the economies and ecologie s of digital photo archives\, the politics of taxonomies and metadata\, th e multiplication of voices\, as well as questions of scale and user experi ence.\\r\\nPlease note that the conference will be held in English and car ried out in a hybrid format for maximum attendance. X-ALT-DESC:The current ‘archival moment’ (Daston 2017) is characteri sed by the unprecedented online access to visual material\, but also by de ep concerns about loss of information. Scholars are confronted with the li mitless production and circulation of (sometimes self-produced) digital im ages\, as well as with the fragility of aggregated image clusters. Digitis ation and digital photography are established practices\, and numerous met hods and approaches to the storage and retrieval\, indexing\, interoperabi lity and sustainability of digital image collections have been tested\, de bated\, applied\, expanded\, questioned and discarded. These technological developments mean that more and more people all over the world are involv ed in creating\, manipulating and collecting images. Images and metadata a re copied\, scraped\, aggregated and rearranged in feeds\, clusters and da tabases\, both for commercial or scientific purposes. Moreover\, big visua l data serve as the basis for developing computer vision techniques. While these multifaceted collections evade canonical notions of the archive\, a rchival structures and practices have become a nexus of the post-digital c ondition.
\nBuilding on the \;Photo Archives \;conf erence series\, this gathering aims to examine and reflect on the practice s and ideologies of digital photo archives within the framework of the rec ent history of photography. It seeks to challenge the idea of documentary values connected to photography and archives at a time when visual imagery is completely malleable\; it aims at revisiting past narratives\, specula ting on future uses as well as enhancing best practices. Issues include th e economies and ecologies of digital photo archives\, the politics of taxo nomies and metadata\, the multiplication of voices\, as well as questions of scale and user experience.
\nPlease note that the conference will be held in English and carried out in \;a hybrid format for maximum a ttendance. \;
DTEND;VALUE=DATE:20220507 END:VEVENT BEGIN:VEVENT UID:news207@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220411T164620 DTSTART;TZID=Europe/Zurich:20220425T181500 SUMMARY:NOMIS-Lecture: Carving as Model: James Bishop’s "Quattrocento" Ab straction DESCRIPTION:Writing in 1966\, the poet-critic John Ashbery introduced the A merican painter James Bishop to Artnews readers as the unique practitioner of a style Ashbery called the “Post-Painterly Quattrocento.” His emph asis on the artist’s fifteenth-century inheritance was taken up subseque ntly by writers both in the United States and in France\, where Bishop’s work emerged as a central reference for the painters and writers gathered around the review Tel Quel. My talk examines the critical and theoretical stakes of this framing\, with particular attention to the contemporary as cendance of American minimalism. How\, I ask\, did a certain image of the quattrocento signify in the age and wake of minimalist objecthood? And how \, at this crucial juncture in late twentieth-century modernism\, did Bish op’s work articulate a new model of painterly subjectivity? X-ALT-DESC:Writing in 1966\, the poet-critic John Ashbery introduced the American painter James Bishop to Artnews readers as the unique p ractitioner of a style Ashbery called the “Post-Painterly Quattrocento. ” His emphasis on the artist’s fifteenth-century inheritance was taken up subsequently by writers both in the United States and in France\, wher e Bishop’s work emerged as a central reference for the painters and writ ers gathered around the review Tel Quel. My talk examines the cri tical and theoretical stakes of this framing\, with particular attention t o the contemporary ascendance of American minimalism. How\, I ask\, did a certain image of the quattrocento signify in the age and wake of minimalis t objecthood? And how\, at this crucial juncture in late twentieth-century modernism\, did Bishop’s work articulate a new model of painterly subje ctivity?
DTEND;TZID=Europe/Zurich:20220425T194500 END:VEVENT BEGIN:VEVENT UID:news211@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220222T115942 DTSTART;TZID=Europe/Zurich:20220421T181500 SUMMARY:Ein Überblick zum Einsatz digitaler Techniken am Beispiel der Grab ungsprojekte der Basler Ägyptologie in Ägypten DESCRIPTION:Forumsvortrag FS 2022\, Susanne Bickel und Kathrin Gabler\, Uni versität Basel X-ALT-DESC:Forumsvortrag FS 2022\, Susanne Bickel und Kathrin Gabler\, Univ ersität Basel END:VEVENT BEGIN:VEVENT UID:news210@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220223T061637 DTSTART;TZID=Europe/Zurich:20220407T181500 SUMMARY:Gedanken zu einer experimentellen digitalen Kunstgeschichte DESCRIPTION:Forumsvortrag FS 2022\, Peter Bell (Philipps-Universität Marbu rg). X-ALT-DESC:Forumsvortrag FS 2022\, Peter Bell (Philipps-Universität Marbur g). END:VEVENT BEGIN:VEVENT UID:news214@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220223T123035 DTSTART;TZID=Europe/Zurich:20220406T181500 SUMMARY:WORDER: Louise Bourgeois and the written word DESCRIPTION:Lecture of Professor Briony Fer (History of Art\, University Co llege London). In cooperation with Universität Basel / eikones – Zentru m für die Theorie und Geschichte des Bildes. Introduction by Dr. Anita Ha ldemann\, Kunstmuseum Basel. Free entry. X-ALT-DESC:Lecture of Professor Briony Fer (History of Art\, University Col lege London). In cooperation with Universität Basel / eikones – Zentrum für die Theorie und Geschichte des Bildes. Introduction by Dr. Anita Hal demann\, Kunstmuseum Basel. Free entry. DTEND;TZID=Europe/Zurich:20220406T194500 END:VEVENT BEGIN:VEVENT UID:news206@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220308T120623 DTSTART;TZID=Europe/Zurich:20220321T181500 SUMMARY:NOMIS-Lecture: Race’s Many Metamorphoses: Racial Vision from Skin Tone Studies to Artificial Intelligence DESCRIPTION:18th century doctors obsessed over the question of what “caus ed” Black skin. 21st century computer vision engineers are trying to ge nerate synthetic Black faces in order to balance racially biased machine l earning datasets. Both projects are outgrowths of substantively different political economies: slavery-based capitalism\, and modern democracy. That both locate race in measurable bodily characteristics could lead us t o describe contemporary developments in artificial intelligence as contin uous with a physiognomic past\, especially on account of shared essentiali zing and biological notions of race. Such a position has many merits. The lecture however proposes a supplementary view that shifts the interpre tive lens from continuities of racial essentialism\, to those of what I c all racial metamorphosis — the changing of race of a single person withi n their lifetime. Drawing on one example from the history of medicine\, a nd another from contemporary computer vision engineering\, the lecture add resses questions of continuity and change within scientific practice and situates them within larger\, complex histories of race and racism. X-ALT-DESC:18th century doctors obsessed over the question of what “ca
used” Black skin. 21st century computer vision engineers are trying to&n
bsp\;generate synthetic Black faces in order to balance racially biased ma
chine learning datasets. Both projects are outgrowths of \;substantive
ly different political economies: slavery-based capitalism\, and modern de
mocracy.
\;
That both locate race in measurable bodily ch
aracteristics could lead us to describe contemporary developments in artif
icial intelligence \;as continuous with a physiognomic past\, especial
ly on account of shared essentializing and biological notions of race. Suc
h a position has \;many merits.
\;
The lecture howeve
r proposes a supplementary view that shifts the interpretive lens from con
tinuities of racial essentialism\, to those of \;what I call racial me
tamorphosis — the changing of race of a single person within their lifet
ime. Drawing on one example from the \;history of medicine\, and anoth
er from contemporary computer vision engineering\, the lecture addresses q
uestions of continuity and \;change within scientific practice and sit
uates them within larger\, complex histories of race and racism.
\;
Austellung: Louise Bourgeois x Jenny Holzer
The Violenc
e of Handwriting Across a Page
KUNSTMUSEUM | NEUBAU / 19.02.–15. 05.2022
\n\n DTEND;TZID=Europe/Zurich:20220222T220000 END:VEVENT BEGIN:VEVENT UID:news192@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20211206T163752 DTSTART;TZID=Europe/Zurich:20211209T181500 SUMMARY:ABGESAGT: Modern Sculpture’s Mother Right: Carola Giedion-Welcker and Prehistory DESCRIPTION:Forumsvortrag HS 2021 mit Megan Luke ist in Präsenz und via ZO OM abgesagt. X-ALT-DESC:Forumsvortrag HS 2021 mit Megan Luke ist in Präsenz und via ZOO M abgesagt. \n END:VEVENT BEGIN:VEVENT UID:news201@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20211110T151314 DTSTART;TZID=Europe/Zurich:20211206T181500 SUMMARY:NOMIS-Lecture - Schema\, Ordnung\, Organismus: On the Visuality of Urban Planning Concepts in Weimar Era Germany. DESCRIPTION:Abstract City planning emerged in the 1870s as a field of knowl edge and practice at the intersections of architecture\, engineering\, the social sciences\, and urban administration. In the first decades of the t wentieth century\, the young discipline negotiated expanding territorial s cales\, from metropolitan extensions to regional settlement\, against the background of fundamental state-political reinvention. This talk explores the concepts and images used by German planners to frame a project of acti ve socio-spatial shaping of their changing world.\\r\\nPlease register for in-person participation until 5.12.2021 via eikones@unibas.ch [mailto:ei kones@unibas.ch]. Limited seats.\\r\\nRegister here [https://unibas.zoom.u s/meeting/register/u5Ysdu-gqzgiHtdLIwMjX1tfhK_8vVYCh8fi%20%20] for Zoom li nk.\\r\\nThe event will be held in accordance with the Corona measures at the University of Basel\, valid Covid-certificate and mask required. X-ALT-DESC:Abstract
City planning emerged in the
1870s as a field of knowledge and practice at the intersections of archite
cture\, engineering\, the social sciences\, and urban administration. In t
he first decades of the twentieth century\, the young discipline negotiate
d expanding territorial scales\, from metropolitan extensions to regional
settlement\, against the background of fundamental state-political reinven
tion. This talk explores the concepts and images used by German planners t
o frame a project of active socio-spatial shaping of their changing world.
Please register for in-person participation until 5.12.2021 via&n bsp\;eikones@unibas.ch. Limited sea ts.
\nRegister here for Zoom link.
\nThe ev ent will be held in accordance with the Corona measures at the University of Basel\, valid Covid-certificate and mask required. \;
\n\n\n\n DTEND;TZID=Europe/Zurich:20211206T194500 END:VEVENT BEGIN:VEVENT UID:news191@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20210909T154558 DTSTART;TZID=Europe/Zurich:20211111T181500 SUMMARY:Portraits of No One: Bishop\, Rembrandt\, Genet DESCRIPTION:Forumsvortrag HS 2021\, Molly Warnock (NOMIS-Fellow). Sofern es die pandemische Lage erlaubt\, sind die Vorträge als Präsenzveranstaltu ng vorgesehen. Wir werden Sie laufend über die Form der Durchführung auf unserer Website informieren. X-ALT-DESC:Forumsvortrag HS 2021\, Molly Warnock (NOMIS-Fellow). Sofern es die pandemische Lage erlaubt\, sind die Vorträge als Präsenzveranstaltun g vorgesehen. Wir werden Sie laufend über die Form der Durchführung auf unserer Website informieren. END:VEVENT BEGIN:VEVENT UID:news193@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20210824T124917 DTSTART;TZID=Europe/Zurich:20211105T150000 SUMMARY:KUNST & PSYCHOANALYSE DESCRIPTION:Kunstwerke wandeln sich im Erleben der Menschen. Sie wirken auf die Betrach-ter*innen\, die ihrerseits die Kunstwerke zur Erscheinung bri ngen. Wo Bilder hängen\, neben welchen anderen sie ausgestellt sind und u nter welchem Titel sie erscheinen\, verändert sie. Nicht nur die äussere n Umstände wandeln die Kunstwerke\, sondern der Umgang mit ihnen\, die ge fühlshafte Antwort ebenso wie die denkende Suche nach Sinn und Verstehen. Wenn wir uns auf sie einlassen\, so gilt aber auch um-gekehrt\, dass sie uns verändern – ein transformatives Wechselspiel. Kein Wunder\, dass Wa ndlungen oder Transformationen selbst oft\, z.B. als Metamorphosen\, küns t-lerisch dargestellt sind\; in diesen Kunstwerken wird Kunst selbstreflex iv. Transformationen spielen im therapeutischen Beziehungsgeschehen eine g rosse Rolle. Psychotherapie soll dabei helfen\, aus Erfahrung zu lernen. O ft sind aber gera-de die emotional besonders schwer erträglichen Erlebnis se nicht fassbar\, sie sind noch nicht zu einer greifbaren und begreifbare n Erfahrung geworden. Sie müssen erst transformiert werden\, damit aus ih nen gelernt werden kann. Dazu ist der oder die Andere nötig\, der oder di e die emotionalen Grenzerfahrungen verdauen und umwandeln hilft\, der oder die zur Sprache bringt\, was der Sprache immer entgleitet\, und der oder die es dadurch möglich macht\, innere Bilder zu verändern. Auch in der T herapie ist Transformation ein Wechselgeschehen\, denn auch der Therapeut oder die Therapeutin wandelt sich im Prozess der Transformation.\\r\\nTerm ine: 5.11. (15–17.30 Uhr) Kunstmuseum Basel\, 16.11. (19.30–21 Uhr) Zoom\, 30.11. (19.30–21 Uhr) Zoom und 17.12.2021 (15–17.30Uhr) Kunstmu seum Basel Ort: Treffpunkt jeweils um 15 Uhr am Eingang des Kunstmuseums Basel\, St. Alban-Graben 8\, 4010 Basel bzw. 19.30 Uhr auf Zoom Kosten: 29 5 CHF\, zzgl. Museumseintritt Anmeldung bis 30. August 2021 per Email an jana@janalucas.ch. Die Anzahl der Teilnehmer*innen ist auf 16 begrenzt. Die Vergabe der Plätze erfolgt in der Reihenfolge der Anmeldungen.\\r\\n Programm: Der erste Tag im Museum dient dem Erleben von transformativen W echselprozessen in der Gruppe. Nach einer theoretischen Einführung der Ku rsleitenden am zweiten Abend stehen bei unserem dritten Treffen gruppenbez ogene Arbeiten zum Thema im Mittelpunkt. Der vierte Termin erlaubt es\, in der Gruppe gleichsam zum Ausgangspunkt zurückzukehren und neue transform ative Erfahrungen in der Kunstbetrachtung vor Originalen zu erproben. X-ALT-DESC:Kunstwerke wandeln sich im Erleben der Menschen. Sie wirken a
uf die Betrach-ter*innen\, die ihrerseits die Kunstwerke zur Erscheinung b
ringen. Wo Bilder hängen\, neben welchen anderen sie ausgestellt sind und
unter welchem Titel sie erscheinen\, verändert sie. Nicht nur die äusse
ren Umstände wandeln die Kunstwerke\, sondern der Umgang mit ihnen\, die
gefühlshafte Antwort ebenso wie die denkende Suche nach Sinn und Verstehe
n. Wenn wir uns auf sie einlassen\, so gilt aber auch um-gekehrt\, dass si
e uns verändern – ein transformatives Wechselspiel. Kein Wunder\, dass
Wandlungen oder Transformationen selbst oft\, z.B. als Metamorphosen\, kü
nst-lerisch dargestellt sind\; in diesen Kunstwerken wird Kunst selbstrefl
exiv.
Transformationen spielen im therapeutischen Beziehungsgeschehe
n eine grosse Rolle. Psychotherapie soll dabei helfen\, aus Erfahrung zu l
ernen. Oft sind aber gera-de die emotional besonders schwer erträglichen
Erlebnisse nicht fassbar\, sie sind noch nicht zu einer greifbaren und beg
reifbaren Erfahrung geworden. Sie müssen erst transformiert werden\, dami
t aus ihnen gelernt werden kann. Dazu ist der oder die Andere nötig\, der
oder die die emotionalen Grenzerfahrungen verdauen und umwandeln hilft\,
der oder die zur Sprache bringt\, was der Sprache immer entgleitet\, und d
er oder die es dadurch möglich macht\, innere Bilder zu verändern. Auch
in der Therapie ist Transformation ein Wechselgeschehen\, denn auch der Th
erapeut oder die Therapeutin wandelt sich im Prozess der Transformation.\n
Termine: \;5.11. (15–17.30 Uhr) Kunstmuseum
Basel\, \;16.11. (19.30–21 Uhr) Zoom\, 30.11. (19.30–21 Uhr) Zoom
und 17.12.2021 (15–17.30Uhr) Kunstmuseum Basel
Ort: \;Treffpunkt jeweils um 15 Uhr am Eingang des Kunstmuseums Basel\,
St. Alban-Graben 8\, 4010 Basel bzw. 19.30 Uhr auf Zoom
Kost
en: 295 CHF\, zzgl. Museumseintritt \;
Anmeldun
g bis 30. August 2021 per Email an jana@janalucas.ch. \;
Die Anzahl der Teilnehmer*innen ist auf 16 begrenzt. Di
e Vergabe der Plätze erfolgt in der Reihenfolge der Anmeldungen.
Programm: \;Der erste Tag im Museum dient dem Erleben von transformativen Wechselprozessen in der Gruppe. Nach einer theoretisc hen Einführung der Kursleitenden am zweiten Abend stehen bei unserem drit ten Treffen gruppenbezogene Arbeiten zum Thema im Mittelpunkt. Der vierte Termin erlaubt es\, in der Gruppe gleichsam zum Ausgangspunkt zurückzukeh ren und neue transformative Erfahrungen in der Kunstbetrachtung vor Origin alen zu erproben.
END:VEVENT BEGIN:VEVENT UID:news199@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20211012T075537 DTSTART;TZID=Europe/Zurich:20211026T100000 SUMMARY:Reality\, Presence and Vision: Inside the Pictorial Space DESCRIPTION:What is the peculiarity of the visual state we are in when we s ee an object in a picture? What is the difference between this visual stat e and the one we are in when we see a concrete material object? By means o f which mechanisms do we ascribe the presence for interaction to ordinary objects\, and why don’t we to depicted objects? Moreover\, what is the n ature of the mental states which allow us to represent a reality populated by mind independent\, concrete objects\, occupying a spatial portion of t he external environment? Finally\, how do we visually distinguish between these material objects\, represented as real\, and depicted contents in a pictorial space? These are some of the questions the conference will tackl e.\\r\\nThe conference will take place on October 26–27\, 2021\, at the eikones Forum and will not be broadcast online. There is a limited numbe r of seats available. Registration mandatory until 18.10.2021 (eikones@u nibas.ch [mailto:eikones@unibas.ch])\, spots will be allocated after recei pt of registration. The event will be held in accordance with the Coron a measures at the University of Basel\, wearing masks is mandatory. X-ALT-DESC:What is the peculiarity of the visual state we are in when we see an object in a picture? What is the difference between this visual st ate and the one we are in when we see a concrete material object? By means of which mechanisms do we ascribe the presence for interaction to ordinar y objects\, and why don’t we to depicted objects? Moreover\, what is the nature of the mental states which allow us to represent a reality populat ed by mind independent\, concrete objects\, occupying a spatial portion of the external environment? Finally\, how do we visually distinguish betwee n these material objects\, represented as real\, and depicted contents in a pictorial space? These are some of the questions the conference will tac kle.
\nThe conference will take place on October 26–27\, 2021\, at
the eikones Forum and will not be broadcast online. \;
T
here is a limited number of seats available. \;Registration mandato
ry until 18.10.2021 \;(eikones@
unibas.ch)\, spots will be allocated after receipt \;of registrati
on. \;
The event will be held in accordance with the Corona meas
ures at the University of Basel\, wearing masks is mandatory. \;
Registration for the participation in person: Please send a m
ail to: confere
nce.plantcognition.basel@gmail.com
Registration for the Zoom link. You will receive the link for the meeting automaticall
y upon registration.
To register for the meeting\, click here.
You will receive the link for the meeting automatically upon registrat
ion.
Abstract
Frantz Fanon declares in the
final chapter of \;Peau noire\, masques blancs \;(1952) t
hat the purpose of his book is “to induce man to be actional.” My talk
will examine Fanon’s use of textual imagery as a stimulus for the reade
r’s political imagination\, arguing that such imagery is \;meant to
facilitate action. Focusing on Fanon’s masks as both a frame for the tex
t and one of its central organizing principles\, I will explore the mask a
s the meeting point between concealment and exposure\, object and gaze\, a
nd \;colony and metropole\, and reflect on the \;possibilities&nbs
p\;embedded in the image that \;brings together such opposing poles. &
nbsp\;
Anmeldung via \ ;info-kunsthist@unibas.ch
\n END:VEVENT BEGIN:VEVENT UID:news196@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20210922T163604 DTSTART;TZID=Europe/Zurich:20210923T181500 SUMMARY:NOMIS Lecture – Do-it-Yourself Universe: Material Lives of Soviet -era Family Photographs in Russia DESCRIPTION:To register for the meeting\, click here [https://unibas.zoom.u s/meeting/register/u50tde6qrDMrHdDrZIAssq44agcSjBIdzMB_]. You will receive the link for the meeting automatically upon registration. X-ALT-DESC:To register for the meeting\, click here.
You will receive the link for the meeting automatically upon registrat
ion.
Registration for the lecture is required at: https://shop.kunstmuseumba sel.ch/de/guided-tours/7608
DTEND;TZID=Europe/Zurich:20210915T194500 END:VEVENT BEGIN:VEVENT UID:news194@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20210825T170907 DTSTART;VALUE=DATE:20210902 SUMMARY:Katachresen der Latenz. Rhetorik - Ästhetik - Geschichte DESCRIPTION:Seinem lateinischen Namen nach ist das Latente das Verborgene ( lat. latere\, verborgen sein)\, aus dem Verborgenen Wirkende. Die Eigentü mlichkeit des Latenten besteht darin\, dass es weder vollständig aufgedec kt noch gänzlich verwirklicht werden kann\; gerade in dieser irreduziblen Verborgenheit aber eine – oft umso stärkere – Wirkung entfaltet. Ver suche\, Latenz zu thematisieren\, greifen dabei geradezu zwangsläufig zu Bildern\, welche ihre Veranschaulichungsleistung auf mehr oder weniger mar kierte Weise überschreiten. Als Gegenstand der (sprachlichen) Darstellung produziert Latenz mithin Katachresen\, in denen ihr eigentümliches Entzo gensein sich gleichsam symptomatisch bekundet. Der geplante Workshop möch te solche Katachresen der Latenz unter verschiedenen disziplinären Perspe ktiven vertiefend erkunden: rhetorik-\, ästhetik-\, bild- und geschichtst heoretisch. X-ALT-DESC:Seinem lateinischen Namen nach ist das Latente das Verborgene (lat. latere\, verborgen sein)\, aus dem Verborgenen Wirkende. Die Eigent ümlichkeit des Latenten besteht darin\, dass es weder vollständig aufged eckt noch gänzlich verwirklicht werden kann\; gerade in dieser irreduzibl en Verborgenheit aber eine – oft umso stärkere – Wirkung entfaltet. V ersuche\, Latenz zu thematisieren\, greifen dabei geradezu zwangsläufig z u Bildern\, welche ihre Veranschaulichungsleistung auf mehr oder weniger m arkierte Weise überschreiten. Als Gegenstand der (sprachlichen) Darstellu ng produziert Latenz mithin Katachresen\, in denen ihr eigentümliches Ent zogensein sich gleichsam symptomatisch bekundet. Der geplante Workshop mö chte solche Katachresen der Latenz unter verschiedenen disziplinären Pers pektiven vertiefend erkunden: rhetorik-\, ästhetik-\, bild- und geschicht stheoretisch.
DTEND;VALUE=DATE:20210903 END:VEVENT BEGIN:VEVENT UID:news183@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20210601T105904 DTSTART;TZID=Europe/Zurich:20210615T180000 SUMMARY:Images in Space (with Caroline van Eck\, Cambridge) DESCRIPTION:Modern Western reflections on the nature of images have predomi nantly focused on pictures\, that is\, images on flat surfaces\, as paradi gmatic examples of depiction. Discussions of images with three-dimensional supports have thus often been derivative or completely sidestepped. The a im of this series of talks is to shift focus to three-dimensional images ‘in the round’ like sculptures\, figurines\, or models\, and to invest igate the specifics\, whatever they may be\, that issue from their 3D natu re. Of interest will be anthropological\, historical\, as well as philosop hical approaches. Some of the relevant questions include: In what aspects has a production/reception/circulation of spatial images differed from pic tures? Is thereanything specific about 3D image vehicles that a depiction theory should reflect? How have various histories and anthropologies of im ages succeeded or failed to recognize the difference?\\r\\nAbstract: 'Ah\, je me sens': sculpture viewing in Rome and Paris around 1800 (by Caroline van Eck) 'Ah\, je me sens': this is what Pygmalion's bride exclaims in Ro usseau's melodrama Pygmalion when the transformation from inanimate statue to living\, conscious being is achieved. It would be echoed many times in the final decades of the eighteenth century\, but not so much by statues coming alive as by viewers who would touch statues\, and in doing so felt themselves to become fully alive. Claiming that statues were so lifelike t hat they seemed to be alive had been a topos in rhetorical ekphrasis and l iterary criticism from Antiquity onwards\, but around 1800 a fundamental c hange took place. As a result of Kant's writings on the disinterested natu re of aesthetic enjoyment such responses had become increasingly suspect - - Hegel would speak of 'hervontatschelnde Kunstfreunde'\, or groping art l overs -- and would be dismissed into the realms of hysteria and primitivis m. Yet despite the impact of German Idealist aesthetics\, museum visitors would continue to enjoy settings in which statues would appear to be alive \, and seek out the uncanny frisson of the inanimate seeming to be alive. The torch-lit visit and the tableau-vivant would remain very popular until the 1830s as the occasions for such experiences. In my talk I will first discuss a series of accounts of such viewing of sculpture to understand th e contemporary dispositif imaginaire that would encourage viewers to let g o of their normal awareness that statues are inanimate blocks of stone and to engage instead in all kinds of imaginative scenarios in which the stat ues appear to be alive\, sentient\, conscious\, and endowed with an inner life and biography. In the second part I will then attempt to historicize the awareness of the three-dimensional\, embodied nature of sculpture by v iewers such as Herder\, Goethe or Bötticher. They move away from notions of three-dimensionality taken from art theory\, and in particular from the paragone tradition\, that concentrate on visual perception and instead mo ve towards theories of empathy and embodiment that take their starting-poi nt from bodily engagement and imaginary involvement. X-ALT-DESC:Modern Western reflections on the nature of images have predo minantly focused on pictures\, that is\, images on flat surfaces\, as para digmatic examples of depiction. Discussions of images with three-dimension al supports have thus often been derivative or completely sidestepped. The aim of this series of talks is to shift focus to three-dimensional images ‘in the round’ like sculptures\, figurines\, or models\, and to inves tigate the specifics\, whatever they may be\, that issue from their 3D nat ure. Of interest will be anthropological\, historical\, as well as philoso phical approaches. Some of the relevant questions include: In what aspects has a production/reception/circulation of spatial images differed from pi ctures? Is thereanything specific about 3D image vehicles that a depiction theory should reflect? How have various histories and anthropologies of i mages succeeded or failed to recognize the difference?
\nAbs
tract: 'Ah\, je me sens': sculpture viewing in Rome and P
aris around 1800 (by Caroline van Eck)
'Ah\, je me sens': t
his is what Pygmalion's bride exclaims in Rousseau's melodrama Pygmali
on when the transformation from inanimate statue to living\, consciou
s being is achieved. It would be echoed many times in the final decades of
the eighteenth century\, but not so much by statues coming alive as by vi
ewers who would touch statues\, and in doing so felt themselves to become
fully alive. Claiming that statues were so lifelike that they seemed to be
alive had been a topos in rhetorical ekphrasis and literary criticism fro
m Antiquity onwards\, but around 1800 a fundamental change took place. As
a result of Kant's writings on the disinterested nature of aesthetic enjoy
ment such responses had become increasingly suspect -- Hegel would speak o
f 'hervontatschelnde Kunstfreunde'\, or groping art lovers -- and would be
dismissed into the realms of hysteria and primitivism. Yet despite the im
pact of German Idealist aesthetics\, museum visitors would continue to enj
oy settings in which statues would appear to be alive\, and seek out the u
ncanny frisson of the inanimate seeming to be alive. The torch-li
t visit and the tableau-vivant would remain very popular until the 1830s a
s the occasions for such experiences.
In my talk I will first discus
s a series of accounts of such viewing of sculpture to understand the cont
emporary dispositif imaginaire that would encourage viewers to le
t go of their normal awareness that statues are inanimate blocks of stone
and to engage instead in all kinds of imaginative scenarios in which the s
tatues appear to be alive\, sentient\, conscious\, and endowed with an inn
er life and biography. In the second part I will then attempt to historici
ze the awareness of the three-dimensional\, embodied nature of sculpture b
y viewers such as Herder\, Goethe or Bötticher. They move away from notio
ns of three-dimensionality taken from art theory\, and in particular from
the paragone tradition\, that concentrate on visual perception and instead
move towards theories of empathy and embodiment that take their starting-
point from bodily engagement and imaginary involvement. \;
Modern Western reflections on the nature of images have predo minantly focused on pictures\, that is\, images on flat surfaces\, as para digmatic examples of depiction. Discussions of images with three-dimension al supports have thus often been derivative or completely sidestepped. The aim of this series of talks is to shift focus to three-dimensional images ‘in the round’ like sculptures\, figurines\, or models\, and to inves tigate the specifics\, whatever they may be\, that issue from their 3D nat ure. Of interest will be anthropological\, historical\, as well as philoso phical approaches. Some of the relevant questions include: In what aspects has a production/reception/circulation of spatial images differed from pi ctures? Is thereanything specific about 3D image vehicles that a depiction theory should reflect? How have various histories and anthropologies of i mages succeeded or failed to recognize the difference?
\nAbs
tract: Sculpture and the Material Inflection of Imagination (by J
onathan Gilmore)
A standard charge leveled at sculpture in the histo
rical paragone of the arts was that\, in contrast to music and pa
inting’s capacity to represent abstract ideas and counterfactual states
of affairs\, sculpture is confined to being encountered as brute matter\,
or at best what Walter Pater remarks is “mere form trying vainly to comp
ete with the reality of nature itself.” \; In this talk I address fr
om a philosophical perspective the push and pull between idealism and mate
rialism in sculpture. To that end\, I draw on some recent work in cognitiv
e psychology and neuroscience of the faculty of the imagination to show ho
w the material of sculpture enters into its abstract or conceptual represe
ntational functions. \; Here I also draw on recent work on the concept
of inflection\, which aims to explain how the material or medium with whi
ch a work of art is composed plays an essential role in the “idea” or
mental representation that it elicits from us.
Register for the Zoom-link here
DTEND;TZID=Europe/Zurich:20210512T194500 END:VEVENT BEGIN:VEVENT UID:news181@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20210502T122149 DTSTART;TZID=Europe/Zurich:20210505T180000 SUMMARY:Images in Space (with Megan Luke\, USC) DESCRIPTION:Modern Western reflections on the nature of images have predomi nantly focused on pictures\, that is\, images on flat surfaces\, as paradi gmatic examples of depiction. Discussions of images with three-dimensional supports have thus often been derivative or completely sidestepped. The a im of this series of talks is to shift focus to three-dimensional images ‘in the round’ like sculptures\, figurines\, or models\, and to invest igate the specifics\, whatever they may be\, that issue from their 3D natu re. Of interest will be anthropological\, historical\, as well as philosop hical approaches. Some of the relevant questions include: In what aspects has a production/reception/circulation of spatial images differed from pic tures? Is thereanything specific about 3D image vehicles that a depiction theory should reflect? How have various histories and anthropologies of im ages succeeded or failed to recognize the difference?\\r\\nAbstract: Seria Scculpture Theory (from Megan Luke) At the turn of the twentieth century \, a new industry in three-dimensional facsimiles coincided with photogra phy’s transformation into a mass medium\, fundamentally changing how sc ulpture was both made and interpreted. The same photo-electric technologi es that reinvented sculptural production newly visualized and reconfigured its history for expanding audiences\, with radical consequences for our understanding of how sculpture gives shape to time. This talk will focus on the development of a modern theory of sculpture in Germany in an age o f mass reproduction and as a consequence of the accompanying crisis of hi storicism. In this period\, sculpture could no longer be conceived as a f ully integrated body whose autonomy corresponded to that of the beholding subject. Instead\, it became an art that choreographed the viewer’s exp erience of space\, uniquely registered the mutability of surface\, prompt ed reflection on the status of its own objecthood\, and negotiated the im agined perils of fetishistic attachment. Within the spaces of the museum and the photobook\, sculpture came to signify an atavistic impulse at the heart of a disenchanted modernity. Indeed\, precisely because the integr ity of sculptural form appeared to disintegrate into countless copies — to be everywhere and nowhere at the same time — its capacity to reanim ate the past in perception intensified. At stake in this paradox\, then a s now\, is sculpture’s claim to serve as a repository for collective me mory and as a vehicle for the democratization of aesthetic experience. X-ALT-DESC:Modern Western reflections on the nature of images have predo minantly focused on pictures\, that is\, images on flat surfaces\, as para digmatic examples of depiction. Discussions of images with three-dimension al supports have thus often been derivative or completely sidestepped. The aim of this series of talks is to shift focus to three-dimensional images ‘in the round’ like sculptures\, figurines\, or models\, and to inves tigate the specifics\, whatever they may be\, that issue from their 3D nat ure. Of interest will be anthropological\, historical\, as well as philoso phical approaches. Some of the relevant questions include: In what aspects has a production/reception/circulation of spatial images differed from pi ctures? Is thereanything specific about 3D image vehicles that a depiction theory should reflect? How have various histories and anthropologies of i mages succeeded or failed to recognize the difference?
\nAbs
tract: Seria Scculpture Theory \;(from Megan Luke)
At t
he turn of the twentieth century\, a new industry in three-dimensional fac
similes \;coincided with photography’s transformation into a mass me
dium\, fundamentally \;changing how sculpture was both made and interp
reted. The same photo-electric \;technologies that reinvented sculptur
al production newly visualized and reconfigured \;its history for expa
nding audiences\, with radical consequences for our understanding of \
;how sculpture gives shape to time. This talk will focus on the developmen
t of a modern \;theory of sculpture in Germany in an age of mass repro
duction and as a consequence of \;the accompanying crisis of historici
sm. In this period\, sculpture could no longer be \;conceived as a ful
ly integrated body whose autonomy corresponded to that of the \;behold
ing subject. Instead\, it became an art that choreographed the viewer’s
experience \;of space\, uniquely registered the mutability of surface\
, prompted reflection on the \;status of its own objecthood\, and nego
tiated the imagined perils of fetishistic \;attachment. Within the spa
ces of the museum and the photobook\, sculpture came to \;signify an a
tavistic impulse at the heart of a disenchanted modernity. Indeed\, precis
ely \;because the integrity of sculptural form appeared to disintegrat
e into countless copies — \;to be everywhere and nowhere at the same
time — its capacity to reanimate the past in \;perception intensifi
ed. At stake in this paradox\, then as now\, is sculpture’s claim to&nbs
p\;serve as a repository for collective memory and as a vehicle for the de
mocratization of \;aesthetic experience.
Register for the Zoom-Link here
DTEND;TZID=Europe/Zurich:20210421T194500 END:VEVENT BEGIN:VEVENT UID:news180@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20210416T151355 DTSTART;TZID=Europe/Zurich:20210420T180000 SUMMARY:Images in Space (with Zainab Bahrani\, Columbia) DESCRIPTION:Modern Western reflections on the nature of images have predomi nantly focused on pictures\, that is\, images on flat surfaces\, as paradi gmatic examples of depiction. Discussions of images with three-dimensional supports have thus often been derivative or completely sidestepped. The a im of this series of talks is to shift focus to three-dimensional images ‘in the round’ like sculptures\, figurines\, or models\, and to invest igate the specifics\, whatever they may be\, that issue from their 3D natu re. Of interest will be anthropological\, historical\, as well as philosop hical approaches. Some of the relevant questions include: In what aspects has a production/reception/circulation of spatial images differed from pic tures? Is thereanything specific about 3D image vehicles that a depiction theory should reflect? How have various histories and anthropologies of im ages succeeded or failed to recognize the difference?\\r\\nAbstract: Meth exis as Movement: the image beyond pictoriality and the legacy of colonial art histories of the east (from Zainab Bahrani) This lecture takes meth exis as a way to unhinge the processes of representation relied upon in a rt historical explanatory models. With an aim to disrupt and trouble this field of knowledge\, it takes the position that stepping out of pictorial space is both a way to give due attention to the early forms of sculptural presence in Mesopotamia\, and also to step out of the constraints and lim its of a fraught discourse of ancient art and aesthetics that is weighted by its own colonial history. X-ALT-DESC:Modern Western reflections on the nature of images have predo minantly focused on pictures\, that is\, images on flat surfaces\, as para digmatic examples of depiction. Discussions of images with three-dimension al supports have thus often been derivative or completely sidestepped. The aim of this series of talks is to shift focus to three-dimensional images ‘in the round’ like sculptures\, figurines\, or models\, and to inves tigate the specifics\, whatever they may be\, that issue from their 3D nat ure. Of interest will be anthropological\, historical\, as well as philoso phical approaches. Some of the relevant questions include: In what aspects has a production/reception/circulation of spatial images differed from pi ctures? Is thereanything specific about 3D image vehicles that a depiction theory should reflect? How have various histories and anthropologies of i mages succeeded or failed to recognize the difference?
\nAbs
tract: \;Methexis as Movement: the image beyond picto
riality and the legacy of colonial art histories of the east (fro
m \;Zainab Bahrani)
This lecture takes \;methexis&n
bsp\;as a way to unhinge the processes of representation relied upon in ar
t historical explanatory models. With an aim to disrupt and trouble this f
ield of knowledge\, it takes the position that stepping out of pictorial s
pace is both a way to give due attention to the early forms of sculptural
presence in Mesopotamia\, and also to step out of the constraints and limi
ts of a fraught discourse of ancient art and aesthetics that is weighted b
y its own colonial history.
Modern Western reflections on the nature of images have predo minantly focused on pictures\, that is\, images on flat surfaces\, as para digmatic examples of depiction. Discussions of images with three-dimension al supports have thus often been derivative or completely sidestepped. The aim of this series of talks is to shift focus to three-dimensional images ‘in the round’ like sculptures\, figurines\, or models\, and to inves tigate the specifics\, whatever they may be\, that issue from their 3D nat ure. Of interest will be anthropological\, historical\, as well as philoso phical approaches. Some of the relevant questions include: In what aspects has a production/reception/circulation of spatial images differed from pi ctures? Is thereanything specific about 3D image vehicles that a depiction theory should reflect? How have various histories and anthropologies of i mages succeeded or failed to recognize the difference?
\nAbs
tract: \;"An Eye of Stone or a Painted One...: Conceptual Trouble wit
h Images in Aristotle" (from Wolfram Pichler)
At the very b
eginning of his famous \;Categories\, Aristotle claims that i
f a painted man is called an ‘animal’\, this word doesn’t have the s
ame meaning as when it is used to conceptually grasp a man of flesh and bl
ood. Analogous claims can be found in various places of the \;Corp
us Aristotelicum. They are full of theoretical puzzles. Commencing as
a commentary on some of them\, the talk will eventually have to deal with
questions such as: What\, exactly\, is an eye of stone? Or a painted eye?
And where can such things be found? \;
Register for the Zoom-Link here
DTEND;TZID=Europe/Zurich:20210407T194500 END:VEVENT BEGIN:VEVENT UID:news178@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20210408T183746 DTSTART;TZID=Europe/Zurich:20210323T180000 SUMMARY:Images in Space (with Nikolaus Dietrich\, Heidelberg) DESCRIPTION:The talk was recorded\, please contact us at eikones@unibas.ch [mailto:eikones@unibas.ch] to access the link. \\r\\nModern Western refle ctions on the nature of images have predominantly focused on pictures\, th at is\, images on flat surfaces\, as paradigmatic examples of depiction. D iscussions of images with three-dimensional supports have thus often been derivative or completely sidestepped. The aim of this series of talks is t o shift focus to three-dimensional images ‘in the round’ like sculptur es\, figurines\, or models\, and to investigate the specifics\, whatever t hey may be\, that issue from their 3D nature. Of interest will be anthropo logical\, historical\, as well as philosophical approaches. Some of the re levant questions include: In what aspects has a production/reception/circu lation of spatial images differed from pictures? Is thereanything specific about 3D image vehicles that a depiction theory should reflect? How have various histories and anthropologies of images succeeded or failed to reco gnize the difference?\\r\\nAbstract: Sculpture\, Relief\, and its Surround ing Space: Sculpture vs. Relief\, Sculpture as Relief\, Sculpture as Photo graphy (from Nikolaus Dietrich) While a three-dimensional statue may in pr inciple be photographed from any angle\, some views being more pervasive a nd others less\, a published photograph of an Attic grave relief not in a frontal view can hardly be found at all. It seems as if relief sculpture a sks for a frontal view\, while sculpture in the round presents itself to t he viewer wherever s/he stands. However\, since late nineteenth century\, there are attempts\, especially in German classical archaeology\, to limit the range of ‘possible’ views on free-standing sculpture too\, by def ining for every statue a ‘Hauptansicht’\, thereby in a certain sense t urning sculpture into relief. As I would like to show in my paper\, such a conceptualizing of sculpture as relief draws back both to the most influe ntial theoretical text of the sculptor Adolph von Hildebrandt Das Problem der Form in der bildenden Kunst (1893)\, and to the rise of photography as the chief medium of illustration of sculpture. Moreover\, I would like to explore the crucial role\, within the ancient aesthetic experience of rel ief sculpture/sculpture in the round\, of ‘bad’ views not in frontal p erspective/removed from the ‘Hauptansicht’. X-ALT-DESC:The talk was recorded\, please contact us at eikones@unibas.ch to access the link. \;
\n< p>Modern Western reflections on the nature of images have predominantly fo cused on pictures\, that is\, images on flat surfaces\, as paradigmatic ex amples of depiction. Discussions of images with three-dimensional supports have thus often been derivative or completely sidestepped. The aim of thi s series of talks is to shift focus to three-dimensional images ‘in the round’ like sculptures\, figurines\, or models\, and to investigate the specifics\, whatever they may be\, that issue from their 3D nature. Of int erest will be anthropological\, historical\, as well as philosophical appr oaches. Some of the relevant questions include: In what aspects has a prod uction/reception/circulation of spatial images differed from pictures? Is thereanything specific about 3D image vehicles that a depiction theory sho uld reflect? How have various histories and anthropologies of images succe eded or failed to recognize the difference?\nAbstract: Scul
pture\, Relief\, and its Surrounding Space: Sculpture vs. Relief\
, Sculpture as Relief\, Sculpture as Photography (from N
ikolaus Dietrich)
While a three-dimensional statue may in principle
be photographed from any angle\, some views being more pervasive and other
s less\, a published photograph of an Attic grave relief not in a
frontal view can hardly be found at all. It seems as if relief sculpture
asks for a frontal view\, while sculpture in the round presents itself to
the viewer wherever s/he stands. However\, since late nineteenth century\,
there are attempts\, especially in German classical archaeology\, to limi
t the range of ‘possible’ views on free-standing sculpture too\, by de
fining for every statue a ‘Hauptansicht’\, thereby in a certain sense
turning sculpture into relief. As I would like to show in my paper\, such
a conceptualizing of sculpture as relief draws back both to the m
ost influential theoretical text of the sculptor Adolph von Hildebrandt
The talk was recorded\, please contact us at eikones@unibas.ch to access the link. \;
\n< p>Modern Western reflections on the nature of images have predominantly fo cused on pictures\, that is\, images on flat surfaces\, as paradigmatic ex amples of depiction. Discussions of images with three-dimensional supports have thus often been derivative or completely sidestepped. The aim of thi s series of talks is to shift focus to three-dimensional images ‘in the round’ like sculptures\, figurines\, or models\, and to investigate the specifics\, whatever they may be\, that issue from their 3D nature. Of int erest will be anthropological\, historical\, as well as philosophical appr oaches. Some of the relevant questions include: In what aspects has a prod uction/reception/circulation of spatial images differed from pictures? Is thereanything specific about 3D image vehicles that a depiction theory sho uld reflect? How have various histories and anthropologies of images succe eded or failed to recognize the difference?\nAbstract:
\;Sculptures and Pictoriality (from Whitney Davis)
One of t
he most striking and extreme claims in contemporary analytic philosophy of
art (analytic aesthetics) is that figurative sculptures in the round diff
er categorically from figurative paintings on flat surfaces in lacking an
internal “depiction point\,” a “perspective in” the sculpture-as-r
epresentation\, such as we find in a painted perspectival projection\, as
distinct from a “perspective on” the sculpture-as-artifact (R. Hopkins
). In this well-defined sense figurative sculptures-in-the-round are not p
ictorial. It is true that many accounts of pictures\, such as Wollheim’s
influential account of “two-foldness” and “seeing-in\,” elaborate
d by Dominic Lopes and others\, don’t fully deal with sculptures and/or
don’t seem to accommodate sculptural representation. But it seems false
to the phenomenology of sculpture to deny pictoriality to three-dimensiona
l shapes representing or referring to what the shapes resemble (as well as
“figuring” or otherwise metaphorically denoting them)\; it certainly
leaves the status of specifically sculptural “representation” up in th
e air. The paper explores this matter analytically and anthropologically\,
looking especially at directions of thought and practice that would break
down the abstract dichotomy between pictures and sculptures. Setting asid
e the special issue of three-dimensional “tactile pictures” sensed and
made exclusively by touch by blind people (J. Kennedy)\, many intermediat
e formats must be considered that don’t fit the framework—perspective
projections on convex surfaces\, “reverspectives” (P. Hughes)\, low re
lief sculptures (A. Hildebrand)\, etc. In particular\, the semantically re
levant many-sidedness of traditional sculpture-in-the round\, stressed by
J. Herder\, E. Löwy\, and others\, opens up quotients of sculptural picto
riality in virtue of the unequal configurational weight and coherence of t
he different views in the synthetic image. In general\, “pictures” (wh
ich are never purely two-dimensional) shouldn’t be categorically contras
ted with “three-dimensional” configurations: in imaging (natural visua
l perspective)\, many kinds of configurations (which are always three-dime
nsional) accrue pictoriality at certain standpoints. Relevant examples are
drawn from paleolithic Europe\, ancient Egypt\, Classical Greece\, and mo
dern experimental arts.
Öffentlicher Abendvortrag von Dr. Gabriele Ferretti\, NOMIS- Fellow bei eikones \;
\n\n\nDoes action play any crucial role in our perception of pictures? The standard literature on picture perception has never explicitly tackled this question. In this paper\, \;I expla in the special role that action actually plays in generating ordinary pict orial experience\, by relying on the philosophical analysis of experimenta l results from \;vision \;science.
\n\nTeilnahme nach Anmeld ung (eikones@unibas.ch)
DTEND;TZID=Europe/Zurich:20201029T200000 END:VEVENT BEGIN:VEVENT UID:news147@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20200323T080937 DTSTART;TZID=Europe/Zurich:20200514T090000 SUMMARY:---ABGESAGT--- Altering Images: motives and contexts of iconoclasm in Egypt DESCRIPTION:Weitere Informationen folgen X-ALT-DESC:Weitere Informationen folgen
DTEND;TZID=Europe/Zurich:20200516T180000 END:VEVENT BEGIN:VEVENT UID:news169@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20200316T115114 DTSTART;TZID=Europe/Zurich:20200505T120000 SUMMARY:--- ABGESAGT --- Zentrumskolloquium mit Estelle Blaschke DTEND;TZID=Europe/Zurich:20200505T140000 END:VEVENT BEGIN:VEVENT UID:news171@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20200316T115043 DTSTART;TZID=Europe/Zurich:20200320T131500 SUMMARY:--- ABGESAGT --- Tagung: Agonistische Ästhetiken DTEND;TZID=Europe/Zurich:20200321T150000 END:VEVENT BEGIN:VEVENT UID:news166@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20210825T170927 DTSTART;VALUE=DATE:20200312 SUMMARY:Testing the Limits: Absence\, Presence\, and the Bounds of the Prem odern Image DESCRIPTION:Beginnt um 14:00 Uhr! \\r\\nVortragende: Beate Fricke\, Unive rsity of Bern David Ganz\, University of Zurich Christopher Heuer\, Univer sity of Rochester Amy Knight Powell\, University of Southern California N icole Pulichene\, Harvard University Markus Rath\, University of Basel Nan cy Thebaut\, University of Basel Meseret Oldjira\, Princeton University X-ALT-DESC:Beginnt um 14:00 Uhr! \;
\nVortrag
ende:
Beate Fricke\, University of Bern
David Ganz\, Un
iversity of Zurich
Christopher Heuer\, University of Rochester
Amy Knight Powell\, University \;of Southern California
Nicole
Pulichene\, Harvard University
Markus Rath\, University of Basel
Nancy Thebaut\, University of Basel
Meseret Oldjira\, Princeton U
niversity
Mit: \;
\n Florian Cramer (Willem de Kooning Academ
y\, Rotterdam)\, Philipp Ekardt (Universität Basel/eikones)\, Gertrud Koc
h (Brown University/Freie Universität Berlin)\, Markus Krajewski (Univers
ität Basel)\, Catriona MacLeod (University of Chicago)\, Malika Maskarine
c (Universität Basel/eikones)\, Tessa Paneth-Pollak (Michigan State Unive
rsity)\, Leif Weatherby (New York University)
Im Jahr 1935 vergleicht Henri Matisse die während des Malpro zesses permanent überarbeitete Leinwand mit dem Erscheinungsbild eines Sc hachbretts. Derweil sich dieses mit jedem Spielzug verändere\, bleibe die Intention des Spielers bzw. des Künstlers konstant dieselbe. Das Wechsel verhältnis zwischen einer konstanten Grösse und ihren zahlreichen Ausfor mungen bezieht Matisse aber nicht nur auf die Genese des Einzelwerks\, son dern auch auf sein Gesamtoeuvre. Zeitlebens ist er der Überzeugung\, dass sein Denken\, Empfinden und seine künstlerischen Qualitäten\, die er sp äter über den Begriff der Persönlichkeit wieder aufgreifen wird\, berei ts dem allerersten Werk inhärent seien. Allerdings noch unausgereift\, d. h. in „zellularem Zustand“. Das Streben danach\, der eigenen Persönli chkeit mithilfe seines künstlerischen Schaffens allmählich Existenz in d er Welt zu verleihen\, wird zur treibenden Kraft in Matisse‘ Kunst. Eine Entschlossenheit\, die sich durch strenge Selbstbeobachtung\, Reaktion au f getätigte malerische Entscheidungen und Revision derselben in Form unab lässiger Überarbeitung äussert. [...]
\n DTEND;TZID=Europe/Zurich:20191213T180000 END:VEVENT BEGIN:VEVENT UID:news154@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20190926T112040 DTSTART;TZID=Europe/Zurich:20191211T181500 SUMMARY:Speculation as a Mode of Production (of Art\, of Value\, of Subject s & of Reasons) DESCRIPTION:Forumsvorträge HS 2019\, Marina Vishmidt (London) X-ALT-DESC:Forumsvorträge HS 2019\, Marina Vishmidt (London) DTEND;TZID=Europe/Zurich:20191211T194500 END:VEVENT BEGIN:VEVENT UID:news153@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20190926T111818 DTSTART;TZID=Europe/Zurich:20191204T181500 SUMMARY:Antimodern Receptivities. Refuting Capital’s Modernism DESCRIPTION:Forumsvorträge HS 2019\, Kerstin Stakemeier (Nürnberg) X-ALT-DESC:Forumsvorträge HS 2019\, Kerstin Stakemeier (Nürnberg) DTEND;TZID=Europe/Zurich:20191204T194500 END:VEVENT BEGIN:VEVENT UID:news158@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20190928T105938 DTSTART;TZID=Europe/Zurich:20191203T181500 SUMMARY:Prof. Anna Goppel (Bern): Demokratie und Verantwortung. Wie Bürger *innen zu Kompliz*innen in den Vergehen ihrer Regierung werden DESCRIPTION:DEMOKRATIE. Vorträge der Philosophischen Gesellschaft Basel HS 2019 X-ALT-DESC:DEMOKRATIE. Vorträge der Philosophischen Gesellschaft Basel HS 2019 DTEND;TZID=Europe/Zurich:20191203T200000 END:VEVENT BEGIN:VEVENT UID:news151@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20191115T084735 DTSTART;TZID=Europe/Zurich:20191203T121500 SUMMARY:Forschungskolloquium Zentrum eikones DESCRIPTION:Dienstag\, 3. Dezember\, 12:15-14:00 X-ALT-DESC:\nDienstag\, 3. Dezember\, 12:15-14:00
DTEND;TZID=Europe/Zurich:20191203T140000 END:VEVENT BEGIN:VEVENT UID:news157@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20191017T122407 DTSTART;TZID=Europe/Zurich:20191126T181500 SUMMARY:Prof. Ivo Wallimann-Helmer (Fribourg): Demokratische Gerechtigkeit für die faire Verteilung von Umweltbelastungen DESCRIPTION:DEMOKRATIE. Vorträge der Philosophischen Gesellschaft Basel HS 2019 X-ALT-DESC:DEMOKRATIE. Vorträge der Philosophischen Gesellschaft Basel HS 2019 DTEND;TZID=Europe/Zurich:20191126T200000 END:VEVENT BEGIN:VEVENT UID:news156@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20190928T105756 DTSTART;TZID=Europe/Zurich:20191105T181500 SUMMARY:Prof. Elif Özmen (Gießen): Wahrheit (und Lüge) in der Demokratie DESCRIPTION:DEMOKRATIE. Vorträge der Philosophischen Gesellschaft Basel HS 2019 X-ALT-DESC:DEMOKRATIE. Vorträge der Philosophischen Gesellschaft Basel HS 2019 DTEND;TZID=Europe/Zurich:20191105T200000 END:VEVENT BEGIN:VEVENT UID:news150@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20190821T125851 DTSTART;TZID=Europe/Zurich:20191105T121500 SUMMARY:Forschungskolloquium Zentrum eikones DESCRIPTION:Dienstag\, 5. November\, 12:15-14:00Dienstag\, 3. Dezember\, 12 :15-14:00 X-ALT-DESC:\nDienstag\, 5. November\, 12:15-14:00Für den Workshop zu lesenden Texte sind auf ADAM verfügbar oder über eikones@unibas.ch zu bez iehen:
\nhttps://adam.unibas.ch/goto_adam_fold_870488.html
\n\n DTEND;TZID=Europe/Zurich:20191031T120000 END:VEVENT BEGIN:VEVENT UID:news152@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20190926T111620 DTSTART;TZID=Europe/Zurich:20191030T181500 SUMMARY:Stilling the Flow? Temporality\, Digitality & the Historical Ontolo gy of the Photographic Image DESCRIPTION:Forumsvorträge HS 2019\, Peter Osborne (London) X-ALT-DESC:Forumsvorträge HS 2019\, Peter Osborne (London) DTEND;TZID=Europe/Zurich:20191030T194500 END:VEVENT BEGIN:VEVENT UID:news160@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20191021T150057 DTSTART;TZID=Europe/Zurich:20191023T090000 SUMMARY:Len Lye - Symposium on Motion Composing DESCRIPTION:Ein internationales Symposium beleuchtet das Schaffen von Len L ye\, das Experimental-\, Dokumentar- und Werbefilme ebenso wie kinetisch e Skulpturen und Bauten umfasst. Referent*innen aus Neuseeland\, Kanada\ , Australien\, Deutschland und der Schweiz diskutieren Lyes Einfluss auf die Avantgarden des 20. Jahrhunderts. In Zusammenarbeit mit dem Seminar für Medienwissenschaften der Universität Basel. Veranstaltungsort: Ei kones Forum Basel und Seminar für Medienwissenschaften\, Basel\\r\\nProgr amm Symposium on motion composing 23. und 24. Oktober 2019 [https://www.t inguely.ch/de/ausstellungen/ausstellungen/2019/len-lye/symposium.html?link To=programm-symposium-on-motion-composing-23-und-24-september-2019] X-ALT-DESC:Ein internationales Symposium beleuchtet das Schaffen von Len
Lye\, das Experimental-\, Dokumentar- und Werbefilme ebenso wie kinetis
che Skulpturen und Bauten umfasst. Referent*innen aus Neuseeland\, Kanad
a\, Australien\, Deutschland und der Schweiz diskutieren Lyes Einfluss a
uf die Avantgarden des 20. Jahrhunderts. In Zusammenarbeit mit dem Semin
ar für Medienwissenschaften der Universität Basel.
Veranst
altungsort: Eikones Forum Basel und Seminar für Medienwissenschaften\, Ba
sel
Programm Symposium on motion composing 23. und 24. Oktober 2019
DTEND;TZID=Europe/Zurich:20191024T190000 END:VEVENT BEGIN:VEVENT UID:news144@eikones.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20190928T102139 DTSTART;VALUE=DATE:20191017 SUMMARY:Sound Images: Visualizing Language in Science\, Literature\, and Ar t DESCRIPTION:The event is sponsored by eikones and the NOMIS-Foundation [t3: //page?uid=671].\\r\\nConception and organization: Tobias Wilke [t3://pag e?uid=616]\, NOMIS-Fellow [t3://page?uid=153].\\r\\nConcept [t3://file?uid =196]\\r\\nProgramm [t3://file?uid=217] X-ALT-DESC: