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Beyond Words

Pictures, Parables, Paradoxes


Edited By András Benedek and Kristóf Nyíri

Human thinking depends not only on words but also on visual imagery. Visual argumentation directly exploits the logic of the pictorial, while verbal arguments, too, draw on figurative language, and thus ultimately on images. In the centuries of handwritten documents and the printed book, our educational culture has been a predominantly verbal one. Today the challenge of the pictorial is explicit and conspicuous. In the digital world, we are experiencing an unprecedented wealth of images, animations and videos. But how should visual content be combined with traditional texts? This volume strives to present a broad humanities background showing how going beyond the word was always an issue in, and by now has become an inevitable challenge to, pedagogy and philosophy.
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Living Images and Images We Live By What Does It Mean to Become a Living Image?


Philipp Stoellger

Living Images and Images We Live By

What Does It Mean to Become a Living Image?

“The ability to feel one’s own body image as a moving tactile image, is the beginning of image competence.”

John Michael Krois

1.Conceptual Remarks

At the beginning there is a need for some conceptual remarks about what an image may be and do:

1.1.Image as Visually Addressed Artefact

I follow a broad concept with reference to Alberti and Bredekamp1, that an image is not only art, but is always “manipulated nature”, like shells that are used for jewelry or as little sculptures. The artificial processing and a certain use transform the shell into an image. Whenever something is shown, presented or exposed, it becomes an image. Such a broad concept needs further distinctions of course: from visibility to iconicity to pictures and images in a more narrow sense. But nevertheless: a certain use and a certain perception makes something to become an image.

As a conceptual frame one may say: an image is a visual artefact, a visually addressed artefact made for perception, for bodily perception and body-experience (not only for a bodiless eye). I. e. images always are embodied and addressed as well to embodied receptions.

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