Audrey Rieber: Art as a Form of Time
Art as a Form of Time
(S. 575 – 590)

Audrey Rieber

Art as a Form of Time
Some Remarks on Artwork and History Based on Reflections from and about Erwin Panofsky

PDF, 16 Seiten

  • Blick
  • Wissenschaftsgeschichte
  • Physiologie

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Deutsch, Englisch, Französisch

Audrey Rieber

did her PhD thesis in philosophy at Paris IV Sorbonne on the philosophical foundations of iconology (Art, histoire et signification. Un essai d’épistémologie d’histoire de l’art autour de l’iconologie d’E. Panofsky [Paris: L’Harmattan, 2012]). Her main interests concern aesthetics, philosophy of art, theories of the image, epistemology, and problems of temporality, especially in the German context. She also works as a translator (Belting, Riegl, Kittler).
Michael F. Zimmermann (Hg.): Vision in Motion

Vision is not mere registration of what enters, via the gateway of our eyes, from the outside world into our inner consciousness. Understanding the act of seeing as mirroring the outside world in mental images overlooks its temporal aspect. From Berkeley to Helmholtz, from Goethe to Cézanne, new discourses based on the physiology of the sense organs lead to new conceptions of vision not only conceived of as a mental process, but as a cognitive activity. Even before Freud interpreted dreams, seeing was conceived of as accompanying our life even when we sleep. However, to understand even the stream of the sensations, we have to configure them in pictures. Since the 19th century, the media reflect about the confrontation of seeing as a diachronic activity and of perception as coded in synchronic images. The contributions to the volume investigate the opposition of the stream of sensations and the configuration of time – from early illustrations of plants to the avant-gardes, from gesture to cinema, from decapitation to dance, from David Hume to Bergson and Deleuze. The main objective is a critical examination of images rendering vision in motion, without reducing them to the temporality of narrative.