22.9 to 25 September 2021, Innsbruck
Institute for Media, Society and Communication of the Leopold-Franzens-University
Panel (co-)organised by members of the chair:
Fashion Media Studies
7.3 #ONLINE
Thursday, 23 September 2021; 13:30-15:00
Chair(s): Silke Roesler-Keilholz (University of Regensburg), Sascha Hosters (Rutgers University)
Speaker(s): Silke Roesler-Keilholz (University of Regensburg), Sascha Hosters (Rutgers University)
https:// (external link, opens in a new window) www.uibk.ac.at/congress/gfm/
https:// (external link, opens in a new window) gfmedienwissenschaft.de/jahrestagung-2021-wissensoekologie
Description
In this panel Silke Roesler-Keilholz and Sascha Hosters present the initiation of a new field of research in media studies, which is declared as Fashion Media Studies. The two media scholars want to trace a paradigm shift in the fashion industry by analysing a case study of the total work of art that is Gucci: The Italian fashion house is breaking away from the ritualistic processes of the fashion calendar and is instead using social media channels non-stop with the highest quality visual material. Renowned directors, actors, dancers, artists and thinkers become part of the Gucci cosmos in a kaleidoscopic narrative. The individual clips and campaigns can be read both individually and in relation to each other in a kind of meta-work, partly through the staging of recurring protagonists. Fashion, text and advertising are interwoven in an inter- and transmedia game. The extent to which the outlined actions of the luxury fashion house under the creative leadership of Alessandro Michele can serve as a model and foil for the mechanisms of other labels and the extent to which exemplary processes of an industry between fashion and media can be derived is the core interest of Fashion Media Studies, as the two media scholars understand it in a transatlantic project.
Epistemologies of acoustic ecologies
1.7 #PRESENT
Friday, 24 September 2021; 13:15-14:45
Chair(s): Jan Torge Claussen (Leuphana University of Lüneburg, Germany), Ania Mauruschat (University of Basel), Solveig Ottmann (University of Regensburg)
Speakers: Jan Torge Claussen (Leuphana University of Lüneburg, Germany), Ania Mauruschat (University of Basel), Solveig Ottmann (University of Regensburg)
https:// (external link, opens in a new window) www.uibk.ac.at/congress/gfm/
https:// (external link, opens in a new window) gfmedienwissenschaft.de/jahrestagung-2021-wissensoekologie
Description of the project
Our acoustic environment is characterised by various sounds, noises or sounds that can convey information about locations, objects, materials, technologies or living beings. The three presentations in this panel are dedicated to acoustic ecologies from various perspectives between media technology, knowledge transfer, nature and sound aesthetics. The contributions of the members of the Sound Studies and Auditory Culture working group will use numerous sounds to make the epistemologies of acoustic ecologies tangible or audible during the lectures.
Ecologies of the Visual: Media constructions of the gaze as interfaces between art, science and technology
6.7 #OBSERVE
Friday, 24.9.2021; 13:15-14:45 h
Chair(s): Irene Schütze (Mainz University of Art and Design at Johannes Gutenberg University), Christiane Heibach (University of Regensburg)
Speaker(s): Christiane Heibach (University of Regensburg), Irene Schütze (Mainz University of the Arts at Johannes Gutenberg University)
https:// (external link, opens in a new window) www.uibk.ac.at/congress/gfm/
https:// (external link, opens in a new window) gfmedienwissenschaft.de/jahrestagung-2021-wissensoekologie
Description
With the invention of the central perspective, art, science and technology created a common optical-epistemic space that enables a variety of ways of accessing the world. With the respective media technologies, the paradigms of visual constructions are constantly changing - and thus also the paradigms of understanding the world. The sciences and the arts are thus in a dynamic knowledge-ecological relationship that must be constantly re-analysed:
Contemporary ecological landscape photography, for example, generates impressive knowledge of the destruction of nature through its specifically aesthetic construction of the gaze (Edward Burtynsky, David Maisel). While the constructional character of the images becomes clear here, it often recedes in scientific images - as in the case of the first image of the black hole, which appears as a photograph but was generated by the Event Horizon telescope from data from eight telescopes. But art can also open up worlds of vision that would otherwise be inaccessible: The Austrian architecture group Haus-Rucker-Co caused a furore in the 1960s/70s with their Flyheads, with which they imitated the compound eyes of flies and, in the spirit of Jakob von Uexküll, made their specific perception of the environment tangible. Today's Bio-Art offers similar mechanisms of a technical-scientific perspective - for example, when Sonja Bäumel or Anicka Yi use bacteria to address entities that can only be visualised through scientific processes and change human perception of our own bodies. The boundaries between art and science become blurred in the face of such visual constructions.
Using materials made available to the participants, we will discuss the interactions between art, science and technology with regard to visual constructions of understandings of the world with reference to current theories (e.g. New Materialism).