classification grid for a citation of images
The images evolve past the book. And despite all the commemorative speeches, it is to the book than the expression of a bundled Western culture absolutely no alternative. The required attachment to the form of representation of the book, the text and image, concept and experience side by side and yet is presented folded, so always the question of digitally stored images. Although they are generally medial of other nature than analog images, but also they are in the medium of the book is still set to "old style" in the layout. Digital and analog images differ only in their history in the book, since they are both the technical reproduction of each are to be considered in another medium. At the same time, the viewer is replaced with reproduction again on an equal footing, though the media transformed, demanding original in his hands with the then-analog of expression and communication forms back their meaning: In the result the processing opportunities that arise from the digital storage and processing, always another form, which is unchanged since Gutenberg in our hands.
the digital opportunity of the seemingly bridgeless transport between the forms, is thus in the book is still suspended and to the slow seriousness of academic knowledge: As swallows the thing to ease the invisible digital information and bring it back down to earth facts. a So the book allowed as a transport medium of writing the one hand, the reliable identification of a text that will for the first redundant and significance attained, on the other hand, the pressure displaced by movable type but also the image located at the center of each leaf to the edge of the book page . Too important variable, were the letters, the elements of the text, as that would have withstood the space occupied by the image of the urges. And so the images slowly slid off the books. Only now warns that a legitimate focus on the conflict-related images have an equal return of the pictures in the books.
In common citation of texts to ensure as an organizing principle for unique identification and classification by identify author, work and home, and the exact position within a text, using the original visual context of a text initially not so critical. Rather, the claim of objectivity one text, the relative independence of its respective releases Appearance. In contrast, a clear reference standard is lacking in images of the issues taken into account by changing transformation of images and its manifestations, and stands a closer relation to the origin process and format. determine the legitimate front end, his own position in relation to the images requires a clear distinction between production and reception aesthetics, as described in the literature and also in the visual arts presented by the original is already given.
The observation of images in a scientific context, gives a lecture in the medium of language, not just on a different, non-mediated language perception the world, it really refers to a reproduction of which appears in its own context as a quote: The picture. in the image already increased description of reality, the distance to the immediate experience is possible, therefore dissociates to another. 2 And only if this distance is even included, by the observers discussed his own observation and is used as the distinction, created the possibility of review for the other. And this creates a resonant cavity can take place in the linguistic reflection of appropriate images. 3
For a more accurate position determination of the viewer in the image Verwendungszusammmenhang it is necessary to reach the isolated elements considered so far back in into a Mutual. This is done through the establishment of a reference standard in the form of a classification grid that corresponds to the used style, his requirements and the ex-forming understood as an experience that involves viewing already. The formatting rules are the special requirements of this design Ausseinandersetzung consider as they make further use in a self-referential in the sense of image science related media theoretical relevance. Knowledge of the use of the image is pre-selected according to set criteria and provided that for all stages of image understanding, particularly as the scientific use in a context, is indispensable. 4 gives way, the figure legend of the classification grid of the formulation of the context, come from the images and posts which they are to and from the consideration of their medial conditions:
Serial Number speaks at the will
1 The traces of the medium, the paper, the ink is emphatically prove. Comp. this: Sloterdijk, Peter. Derrida an Egyptian. About the problem of Jewish pyramid. Edition Suhrkamp, 2502nd Frankfurt am Main: Suhrkamp, 2007, p. 50f and p. 60
2 Comp. this: Lehmann, Harry. Stories from the blind spot. Tell to philosophy by Ingo Schulze. In: meaning and form. 61, No. 3: 390 2009, p. 401
3 "Everything is observing the onset of differentiation in an unmarked permanent space from which the observer takes the distinguishing. The observer must therefore distinguish Use to produce this difference between unlabeled and labeled space between himself and what he describes. The distinction is only used (and this is their intention) to describe something as opposed to other things. But at the same time, an observer makes a distinction by placing its presence apparent to others. He reveals himself - even if it requires a further distinction to distinguish him. In this respect, even with the use of a distinction as the form for reference to the observer, that self-reference and external reference of the form given. The self-referential unity of the form includes the question of the observers as the excluded senene third party. "Niklas Luhmann: The Art of the society. Frankfurt am Main: Suhrkamp, 1995, p. 92f.
4 »For all image understanding levels here that the understanding of images includes the knowledge on how it is used (to know, for example, that an object is a character that requires the knowledge that the subject stands for something)." Steinbrenner, Jakob. Image theories of analytical tradition. In: Sachs-Hombach, Klaus. Image theory: an anthropological and cultural foundations of Visualistic turn. Suhrkamp paperbacks Science, 1888. Frankfurt am Main: Suhrkamp, 2008, p. 297
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