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Kulturgeschichte ist Handlungsgeschichte. Res gestae als Geschichtsbegriff formuliert, wie Handlungen geplant, wahrgenommen und erinnert werden. Objekte und Artefakte sind dabei, neben der festen Kontur der Sprache, Erzählungen in ihren... more

Kulturgeschichte ist Handlungsgeschichte. Res gestae als Geschichtsbegriff formuliert, wie Handlungen geplant, wahrgenommen und erinnert werden. Objekte und Artefakte sind dabei, neben der festen Kontur der Sprache, Erzählungen in ihren jeweils eigenen Formaten – und Medien. Eine phänomenologische Beschreibung der Geste in ihrem Verhältnis zu den Apparaten unternimmt Medienphilosoph Vílem Flusser (1994). Res Gadget nimmt zeitgenössische manners im Umgang mit bildgebenden Displays und Apparaten in den Blick und entfaltet Ansatzpunkte für mediale Manierismen.

Markus Krajewski ist Professor für Mediengeschichte und -theorie an der Universität Basel. Zu den aktuellen Forschungsgebieten zählen Epistemologien des Randständigen, die Wissensgeschichte der Genauigkeit sowie Medien und Architektur.
Buchveröffentlichungen u.a.: Bauformen des Gewissens. Über Fassaden deutscher Nachkriegsarchitektur, Stuttgart, 2016, Lesen Schreiben Denken. Zur wissenschaftlichen Abschlußarbeit in 7 Schritten, UTB, Wien u.a., 2013, Der Diener. Mediengeschichte einer Figur zwischen König und Klient, S. Fischer Verlag, Frankfurt am Main 2010, Paper Machines. About Cards & Catalogs, 1548–1929, The MIT Press, Cambridge, Mass., 2011, Restlosigkeit. Weltprojekte um 1900, Fischer Taschenbuch Verlag, Frankfurt am Main, 2006. Außerdem: Autor der elektronischen Literaturverwaltungssoftware »synapsen. Ein digitaler Zettelkasten«, www.synapsen.ch

Markus Hanakam und Roswitha Schuller studierten beide an der Universität für angewandte Kunst Wien, seit 2004 arbeiten sie als Duo. Die Artefakte des Künstlerduos sind häufig Gestaltwandler, verändern ihre äußere Form und tauchen in unterschiedlichen Kontexten wieder auf. Als Künstler und Forscher gestalten sie die Regelwerke der bildenden Kunst um und bauen in Videos und Objekten an eigenwilligen Ordnungen und neuen Weltentwürfen. Dabei arbeiten sie auch immer wieder mit angewandten und interaktiven Kunstformen und haben eine umfangreiche künstlerische Praxis zur Phänomenologie des device und bildhauerische Erfahrbarkeit des Hand-Gerät-Gestus entwickelt.
Ihre Werke wurden unter anderem im Haus der Kulturen der Welt in Berlin, im Eyebeam Center for Art + Technology in New York, im Palais de Tokyo in Paris, im Garage Museum of Contemporary Culture in Moskau, im Wiener MAK, im MAK Center for Art and Architecture in Los Angeles sowie im National Art Center in Tokio gezeigt. www.hanakam-schuller.com / objectology.de

Moderation Alexander Damianisch

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- by Roswitha Schuller and +2
  Markus Krajewski
  Alexander Damianisch
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- Vilem Flusser

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- by Alexander Damianisch
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- Psychology

This is an open access chapter distributed under the terms of the prevailing cc-by-nc-nd License.

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- by Alexander Damianisch
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- 2
  Art, Artistic Literature

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- by Alexander Damianisch
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- Psychology

His research focuses on word and image studies as well as on contemporary French poetry and literature. Some recent publications are:

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- by Alexander Damianisch
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- 2
  Art, Artistic Literature

INTERACCT is a project where two universities in Vienna (University of Applied Arts Vienna: Institute of Art Sciences and Art Education, Department of Design, Architecture and Environment for Education; University of Vienna: Faculty of... more

Processing of ambiguous visual stimuli has been associated with an increased activation of the left lateral prefrontal cortex (PFC) in neuroimaging studies. Nevertheless, the functional role of prefrontal activity in this process is not... more

The meaning of the body's movements is elusive in its nature - often only to be understood in relation to its action on or within an environment. Yet, what does an arbitrary bend of the knee have to do with elated joy? What does the... more

The meaning of the body's movements is elusive in its nature - often only to be understood in relation to its action on or within an environment. Yet, what does an arbitrary bend of the knee have to do with elated joy? What does the torque of the waist mean in relation to anger? More than one could ever imagine ... especially in the context of dance. The body's movements and its emotion-expressing affordances, enable the investigation of nonverbal aspects of the triadic message exchange between the choreographer, the dancer and the audience. To explore the particular intersection of these phenomena: emotion, movement (dance), and communication, this experiment utilized a non-verbal communicative choreographic process to investigate the efficacy of the communication of one's emotion experience though movement. This was a two part study. In study 1, the choreographer relays emotion intentions to two differing choreographic groups of dancers. In study 2: the two groups of dancers relay emotional intentions to an audience. The two groups of dancers differed in choreographic training: one received no verbal choreographic feedback and the other did. During the experimentation period, the choreographic process took place in two parts: the kinematic structure of the movement and the refinement of the movement. Each dancer was surveyed on their emotional experience using a scale-based assessment, as well as interviewed in order to evaluate their ability to feel and understand the emotional intentions of the choreographers. The results reveal the effectiveness of nonverbal communication of emotional experience between the choreographer and the dancer and the dancer and the audience by comparing the survey responses between the two groups of dancers and the audience. Specifically, the results demonstrate dancers' ability to feel and understand the emotional intentions of the choreographers, as well as the audience's ability to feel and understand the emotional intentions of the two groups of dancers. This study unfurls the assumptions and uncertainties about the body and its movements as a constituent of thought - elucidating how effective we can communicate even the complexities of emotions, utilizing the body as an explicit tool of communication, and ultimately share those emotional experiences that arise in the body's movements with others successfully.

This research will confront the challenge of gaining a further comprehensive understanding of the transition from one emotional state( disgust) to another emotional state (pleasure). Previous models indeed set extensive criteria of the... more

This research will confront the challenge of gaining a further comprehensive understanding of the transition from one emotional state( disgust) to another emotional state (pleasure). Previous models indeed set extensive criteria of the sequential stages (prior and post), as well as some contributing factors (preferences, familiarity, cultural background, levels of art expertise etc.) that result in the positive effects; however, the specification that comprise the transition from a negative emotion to eventual positive emotion (if had) remains uninvestigated and unexplained. Thus this project will attempt to begin to explicate this rather elusive, what I like to call ‘Period of Reconciliation’ with not only the compliments of previous models but also with the added computational approach as well as, theories of aesthetic judgement of disgust, and the component of active engagement between the viewer, the art, and the artist. Computational modeling of a transformative aesthetic experience of art offers a unique insight into to an often believed to be unquantifiable process. This approach warrants a potentially more direct explanation of the transformative aesthetic experience and its implications about higher levels of processing (understanding, judgement, etc.)-and with this potential for clarity, an increased probability of eventual simulation and, prediction of the viewers reaction. Computational modeling could aid in the empirical explanation of aesthetic experiences and offer perhaps a more generalizable explanation regarding top-down processing. Can computational modeling be a useful and valuable approach to understanding the process of an transformative aesthetic experience of art, specifically art with negative valence that warrants the initial response of disgust? If so, what specific component of this process can computational modeling explicate? Specifically, can a computational approach explain the transition from rejection (initial feeling of disgust) to transformation (feeling of pleasure)? From this analysis, it is expected that this computational approach will result in further insight into the aesthetic experience of negative valenced artworks and a more concrete understanding of how and why the ‘Period of Reconciliation’ occurs.

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- by Imani Rameses
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- 5
  Personality Psychology, Emotion, Aesthetics, Performing Arts

Processing of ambiguous visual stimuli has been associated with an increased activation of the left lateral prefrontal cortex (PFC) in neuroimaging studies. Nevertheless, the functional role of prefrontal activity in this process is not... more

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