Bombenkrater. Das Bild der terroristischen Moderne

炸弹坑。

• 批准号: 316246880
• 负责人: Professor Dr. Gunnar Schmidt
• 金额: --
• 依托单位: Fachrichtung Intermedia Design
• 依托单位国家: 德国
• 项目类别: Publication Grants
• 财政年份: 2016
• 资助国家: 德国
• 起止时间: 2015-12-31 至 无数据
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/316246880?language=en
• 关键词: Bombenkrater.; Das; Bild; der; terroristischen

Beginning with First World War a new motif was created in the fields of photography and the arts: the motif of the bomb crater. Despite extensive research on war imagery in historiography, media studies and art history there has been no study that pays tribute to the crater image in its transformations, usage and semantics.The starting point for the study were the latest press photographs of attacks on places where mainly Islamist terrorist bombs had detonated. These pictures that exist since the late 1990s en masse, often show bomb craters as a central motif. The fact that modern terrorists created a clichéd motif incited further research in the historical field. This research led to the discovery that the 20th century had produced an immense amount of bomb crater images.The contexts, functions and aesthetics of the images are extremely diverse: private photographs of soldiers, photo journalists, and documentary filmmakers as well as military reconnaissance and propaganda photographs stand next to artistic works that are performed in different media: photography, drawing, painting, graphics and sculpture.In five chapters significant era conflicts are iconographically explored: World War I, World War II, nuclear weapons testing, the Vietnam war, Islamist terrorist. The various iconographic expressions and their respective time-bound contexts - places of war, warfare, production and reception of images - can be understood as messages that provide information on specific cultural affective situations: about trauma and existential experiences, about mourning, denial and megalomania. about landscape and energy experience, but also of hope and utopia fantasies.May the subtitle of the book may sound daring, its plausibility will be proved in the course of the investigation: A huge complex of images that has not been studied until now has left its effects in the consciousness and emotions of generations, is interpreted and analysed to reveal its meaning. Who ever exposes himself to the mass of iconographic artifacts, is confronted with an epochal stunned gazing into an abyss. Modern terror, that currently provides global unrest, can be experienced as a historical force that does not aim to dominate space but that designs a new space where living is made impossible because of an horrific atmosphere.

从第一次世界大战开始，摄影和艺术领域创造了一个新的主题：弹坑的主题，尽管在史学、媒体研究和艺术史中对战争图像进行了广泛的研究，但还没有任何研究向战争致敬。弹坑图像的变形、用法和语义。这项研究的出发点是最新的新闻照片，这些照片主要是伊斯兰恐怖分子炸弹爆炸的地点。这些照片自 20 世纪 90 年代末以来大量存在，通常显示炸弹弹坑。现代恐怖分子创造了一个陈词滥调的主题这一事实激发了历史领域的进一步研究，这项研究发现二十世纪产生了大量的炸弹坑图像。图像极其多样化：士兵、摄影记者和纪录片制片人的私人照片以及军事侦察和宣传照片与以不同媒体（摄影、绘画、绘画、图形和雕塑）表现的艺术作品并存。在五个章节中，意义重大时代冲突以图像方式进行探索：第一次世界大战、第二次世界大战、核武器试验、越南战争、伊斯兰恐怖分子。各种图像表达及其各自的时间背景——战争地点、战争、图像的生产和接收——可以。可以理解为提供有关特定文化情感情境的信息：关于创伤和存在体验，关于哀悼、否认和狂妄，关于风景和能量体验，还有希望和乌托邦幻想。愿这本书的副标题听起来大胆，它是合理性将在调查过程中得到证明：迄今为止尚未被研究的巨大图像复合体已经在几代人的意识和情感中留下了影响，被解释和分析以揭示其意义。大量的图像文物，面对着对深渊的划时代的震惊，目前造成全球动荡，可以被体验为一种历史力量，它的目的不是主宰空间，而是设计一个使生活变得不可能的新空间。因为恐怖的气氛。