Das Automobil als Sehmaschine

Fabian Kröger widmet sich in diesem Beitrag der Frage, ob die Machine Vision-Systeme autonomer Autos Blicke werfen können. Methodisch werden dazu Erkenntnisse der Kultur- und Medienwissenschaften - insbesondere der Visual Culture Studies - mit einem technikhistorischen Blick auf die Ingenieurswissenschaften in einen Dialog gebracht. Nach einer Vorstellung der verschiedenen Fahrzeugsensoren wird einer dieser Sensoren - die Kamera - genauer untersucht. Dazu werden die Thesen Paul Virilios mit der Entwicklung eines sehenden Automobils durch Ernst Dieter Dickmanns konfrontiert. Im Ausblick wird erörtert, inwiefern autonome Sehsysteme die Machtverhältnisse zwischen Mensch und Maschine umverteilen.

Textualidad y visualidad en El curioso y sabio Alejandro, fiscal y juez de vidas ajenas de Alonso Jerónimo Salas Barbadillo

RESUMEN: A partir de los avances realizados en los estudios de cultura visual a lo largo de los últimos treinta años, se describen las técnicas ecfrásticas adoptadas por Salas Barbadillo en El curioso y sabio Alejandro, fiscal y juez de vidas ajenas (1634), una colección de seis relatos insertados en un marco narrativo representado por una galería de retratos. Al disponer solamente de los epítomes que describen los personajes retratados, se estudiará cómo las relaciones semánticas que se establecen entre textualidad y visualidad, y los procesos de verbalización visual estimulan la estipulación de un pacto de comunicación y colaboración entre el autor y el público lector. ABSTRACT: Starting from the advances carried out in the visual culture studies over the last thirty years, the article deals with the ecphrastic techniques adopted by Salas Barbadillo in El curioso y sabio Alejandro, fiscal y juez de vidas ajenas (1634), that is a collection of six short stories inserted in a narrative framework represented by a gallery of portraits. Since we only have the epitomes related to the painted characters, this work studies the semantic relationships established between textuality and visuality, and the visual verbalization processes that stimulate the stipulation of a communicative and collaborative pact between the author and the reading public.

Audio Guides for Digital Archives

There has never been a better time to create audio content than the present. Not only do most personal computers come with audio software like GarageBand (OSX) and VoiceRecorder (Win) already installed, free programs such as Audacity and LMMS can be readily downloaded online. This has opened up a variety of new project opportunities for instructors eager to incorporate digital humanities concepts and ideas into their classrooms. In multimodal communication courses foregrounding history, archive, and visual culture studies, the form of the audio guide offers a useful medium for students to create inventive and theoretically rigorous projects.

Seeing the whole man: a visualist analysis of artificial limbs at the end of the nineteenth century

The thesis uses the central concerns of visual culture studies to investigate the shift towards artificial limbs that imitate the body as identified by Steven Mihm (2002). Drawing on a modified, less utopian, form of critical discourse analysis, which recognizes the sociocultural power of the visual, this thesis interrogates the promotional literature that the A.A. Marks Company, an artificial limb manufacturer, produced between 1888 and 1920. This thesis critically analyzes the techniques used by the company to assert their authority to frame their relationship to their clients. In addition, this analysis interrogates the company's use of the technologies of vision to champion visually imitative prosthesis. The goal of this analysis is to determine how the company deployed the turn towards the imitative, and what was at stake for the producers, and consumers, as well as the wider culture in the use of imitative limbs.

Seeing the whole man: a visualist analysis of artificial limbs at the end of the nineteenth century

The thesis uses the central concerns of visual culture studies to investigate the shift towards artificial limbs that imitate the body as identified by Steven Mihm (2002). Drawing on a modified, less utopian, form of critical discourse analysis, which recognizes the sociocultural power of the visual, this thesis interrogates the promotional literature that the A.A. Marks Company, an artificial limb manufacturer, produced between 1888 and 1920. This thesis critically analyzes the techniques used by the company to assert their authority to frame their relationship to their clients. In addition, this analysis interrogates the company's use of the technologies of vision to champion visually imitative prosthesis. The goal of this analysis is to determine how the company deployed the turn towards the imitative, and what was at stake for the producers, and consumers, as well as the wider culture in the use of imitative limbs.

Raumbild, Zeitbild, Sinnbild

For the first time this study provides a deeper insight into the staging oeuvre by Ursel and Karl-Ernst Herrmann. With their Mozart interpretatory, the dramaturge and the stage designer have created a visual cosmos that is unparalleled in its aesthetic design in the field of music theatre. The visual dramaturgy they have developed over the past 35 years is fanned out in multiple perspectives in a transdisciplinary approach that combines art history, philology and philosophy as theatre historiography. In its intellectual breadth, this analysis represents a key work in relation to visual culture studies in theatre.