engleski

Between the Creation and Disintegration of Images

In the introductory text to the thousand-page long The Palgrave Handbook of Image Studies, the author provides a historical- theoretical contextualization of the concept of image and the various disciplinary paradigms that dealt with it. It is explained why it is crucial for the contemporary science of images, as well as for contemporary art, to be analyzed from a multidisciplinary perspective that scientifically surpasses the limitations of both humanities and art. Particular attention is paid to the need for a terminological and epistemological distinction between the concepts of image and picture, and to the ontological differences between the concept of image and, as Purgar calls it, referring to Konrad Fiedler, "pure visuality". Purgar puts forward the thesis that, regardless of what is seen or identified in the picture, the observer knows that he is looking at a certain pictorial phenomenon - as a difference, because if he thought he was looking at a real thing and not a representation of it, then in the technical sense it would not be image but a pure physical object in the domain of visual reality. In the continuation of the text, its author gives a specific view of the multidisciplinary scientific paradigm - image studies - which, somewhat paradoxically, is established precisely at the moment when the principle of visuality-as-immersion definitively replaces the principle of image- as-difference. The author argues the thesis that the science of the image is only in the indicated circumstances able to fully perceive the complexity of its own theoretical object.

Image studies, image theory, visual studies, art history, Bildwissenschaft

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