![]() ![]() HyperImage provides a common research and publication environment for groups as well as individuals. Interim results as well as final versions can be compiled at any time as an online/offline hypermedia publication. ![]() HyperImage allows any number of details, or subregions, within an image to be highlighted and described, and link annotations within a corpus to each other, making them accessible in indices. The HyperImage platform supports the linking of (audio)-visual objects, texts and mixed-media documents. Wilhelm Fink: München 2013.I’m one of the developers and maintainers of the HyperImage Authoring System. Lacan, Jacques: Seminar XI: The Four Fundamental Concepts of Psychoanalysis.French original (Les mots et les choses) 1966. Foucault, Michel: Die Ordnung der Dinge.Not by reverting to its status as an original, a single image, but rather by its constellation with other images. Still in the age of mechanical reproduction: The work of art has regained its aura. Magical thinking does not spring from the specifics and autonomy of images – but from their order. He releases them into democratic space to have them exposed to dictatorship again. They fit with different contexts and thus free themselves from the determination of their author who accepts this. The photographic works are hence not being depreciated but rather appreciated. Of course, this fallacy has long been identified as such. It also prerequisites the idea that images, however unique or specific, would always mean the same. This (old) belief that images are easier to comprehend than other media, easier to understand than a text, for example, not only presupposes a similarity between image and object. Yet, to set foot on sandy soil can also be considered brave and visionary: The constant rearrangement of tableaus deconstructs the myth of an immediate comprehensibility of images. Therefore, the foundations of images as well as the way we deal with them are built on sand. At the same time, the accumulations of affirmations, disappointments, surprises, and conventions – as they might emerge within the tableaus – are unlimited. It does not exist in itself but only in the confrontation. Because resemblance, as well as difference, is only produced when it refers to another resemblance or difference. ![]() When single images are arranged on tableaus, one thing above all becomes evident: Resemblance, be it visual or not, always remains in(de)finite. The prefix hyper on the other hand quite accurately characterizes such constellations as the creation of meaning which goes beyond the mere summing of parts. And at the same time it reveals its need for an appropriate categorization. After all, a hyperimage is still an image, thus indicating a finality that is not always given. But this concept is too static to take the dynamics of images into account that constantly re-constitute themselves through ever-changing contexts. the regime or conventions of viewing, which Lacan differentiates from the view, the act of looking. A hyperimage gives the impression to be a big picture consisting of numerous single images yet, at the same time follows the logic of gaze, i.e. ![]() The latter was responding to internet practices like (hyper)linking or copy and paste. How is meaning constituted when order follows the logic of artistic practices? When order desires to be understood as a creative process? When order may derive from sheer arbitrariness? When order equals meaning? Will new forms of magical thinking emerge, as Foucault noted for the cabinets of wonder?įor the arranged order of images, Felix Thürlemann coined the notion of the hyperimage which was linked to the hypertext discourse in literary studies. As early as 1966, Foucault asked if we are thinking in new patterns of order, and if so, in which ones. Thus, they also moved beyond the three logics of the order of knowledge, which Foucault identified as main thought patterns: Thinking in resemblances as it can be seen in the cabinets of curiosities and wonder the perspective of distinction which he assigned to the encyclopedic collections of the Age of Enlightenment and which should promote the most comprehensive collection possible of sources, flora, and fauna and finally the age of historical thinking that is reflected in historical museums until now. Collections are no longer simply understood as a cultural practice, but as an art form in itself. Curators see themselves more and more as artists. Occasionally, important art exhibitions of the 20th century are themselves treated as art work. These rather different, often experimental approaches to images are nowadays widely considered a creative practice rather than a scientific method or a medium of a culture of remembrance. ![]()
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