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<!--StartFragment--><p class="MsoNormal" align="left" style="margin-bottom: 12pt; line-height: normal;"><b class=""><span lang="EN-US" class="">Situation Space. How Spatial Images Define the User’s Disposition <br class="">
</span></b><span lang="EN-US" class=""><br class="">
International conference, January 12th and 13th 2017<br class="">
Cluster of Excellence Image Knowledge Gestaltung<br class="">
Sophienstrasse 22a, 10178 Berlin,<br class="">
Central Laboratory (2nd courtyard, 2nd floor)<br class="">
<a href="http://www.situation-space-conference.org" class="">www.situation-space-conference.org</a><br class="">
<br class="">
Contemporary imaging, sensor and display technologies have turned viewing
predominantly into using. Interacting with visual devices and interfaces such
as virtual reality headsets, augmented reality apps or navigation systems situate
users in space both within and beyond the boundaries of the screen, for
instance when playing <i class="">Pokémon Go</i> on a smartphone, or when superimposing
medical images on a patient’s body. Narrative media such as stereoscopic
movies, volumetric cameras or curved displays also require a visual practice
that spatially aligns image and viewer. In the case of a stereoscopic
projection, for example, the spatial impression of the image is most
intelligible and convincing if the physical position of the viewer corresponds
with the camera-viewpoint. <o:p class=""></o:p></span></p><p class="MsoNormal" align="left" style="margin-bottom: 12pt; line-height: normal;"><span lang="EN-US" class="">Critically thinking about
producing and perceiving images thus requires the analysis of image
dispositions. Understanding the spatiality of images requires a consideration
of situation space, that – just as the situation room – implies and defines the
need for action. With regard to spatial images we thus ask, how do screens
situate the viewer in physical space and within the visualised space? Are these
spaces connected by means of interface and interaction design, content creation
or narrative strategies? Does the ability of the viewer to physically and
visually navigate through the image increase or decrease, if the images can be
characterized as spatial? And following that, how and where is agency ascribed
to the viewing of images? Do forms of spatially related visual practice prompt
the viewer to connect action and perception? And does this require a
re-conceptualisation of the dichotomy of viewer and user? In short: how does
the image (understood as the alliance of screen and visualisation)
conceptualise and define the user’s spatial disposition? <o:p class=""></o:p></span></p><p class="MsoNormal" align="left" style="margin-bottom: 12pt; line-height: normal;"><span lang="EN-US" class="">The analysis of the visual
construction and representation of space, as well as the associated iterative
interplay of structures and processes in front and behind the screen has been a
concern of aesthetics, art history, image- and film-theory, media studies,
visual studies and science and technology studies. But traditional views on the
spatiality of the image are challenged by contemporary imaging technology,
which proposes new forms of visual practice. New approaches concentrating on
specific aspects, such as the mobility (Verhoeff 2012), and archaeology
(Huhtamo 2012), social, narrative, and architectural structures (Elsaesser
1998), or the three-dimensionality (Schröter 2014) of screens and
visualisations, reflect the turn towards the particular role of the image in
situating action and perception. <o:p class=""></o:p></span></p><p class="MsoNormal" align="left" style="line-height: normal;"><span lang="EN-US" class="">The workshop aims to apply theoretical and practical approaches in a
discussion of the operative and narrative implications of visual practices as
spatial dispositions. In order to analyse how images define and situate
viewers’ action and perception, the workshop focuses on visual practices such
as mobile displays, mixed reality games, screen architectures and stereoscopic
media. <o:p class=""></o:p></span></p><p class="MsoNormal" align="left" style="margin-bottom: 12pt; line-height: normal;"><span lang="EN-US" class=""><br class="">
</span>References <o:p class=""></o:p></p>
<ul type="disc" class="">
<li class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
text-align:left;line-height:normal;mso-list:l0 level1 lfo1;tab-stops:list 36.0pt"><span lang="EN-US" class="">Huhtamo, Erkki (2012) “Screen Tests: Why Do We Need an Archaeology of
the Screen?”, Cinema Journal, Vol. 51, No. 2, 144-148. <o:p class=""></o:p></span></li>
<li class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
text-align:left;line-height:normal;mso-list:l0 level1 lfo1;tab-stops:list 36.0pt"><span lang="EN-US" class="">Verhoeff, Nanna (2012) Mobile Screens: The Visual Regime of
Navigation. </span>Amsterdam: Amsterdam University Press. <o:p class=""></o:p></li>
<li class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
text-align:left;line-height:normal;mso-list:l0 level1 lfo1;tab-stops:list 36.0pt"><span lang="EN-US" class="">Schröter, Jens (2014) 3D. History, Theory and Aesthetics of the
Transplane Image. </span>New York, Bloomsbury. <o:p class=""></o:p></li>
<li class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
text-align:left;line-height:normal;mso-list:l0 level1 lfo1;tab-stops:list 36.0pt"><span lang="EN-US" class="">Elsaesser, Thomas (1998) Digital Cinema: Delivery, Event, Time, in:
Elsaesser, Thomas; Hoffmann, Kay: Cinema Futures: Cain, Abel or Cable? The
Screen Arts in the Digital Age, Amsterdam: Amsterdam University Press,
201-222. <o:p class=""></o:p></span></li>
</ul><p class="MsoNormal" align="left" style="line-height: normal;">Conference chairs<br class="">
Luisa Feiersinger, Humboldt-Universität zu Berlin, Das Technische Bild,
BildFilmRaum<br class="">
Kathrin Friedrich, Humboldt-Universität zu Berlin, Cluster of Excellence Image
Knowledge Gestaltung. <span lang="EN-US" class="">Interdisciplinary Laboratory<br class="">
Moritz Queisner, Humboldt-Universität zu Berlin, Cluster of Excellence Image
Knowledge Gestaltung. Interdisciplinary Laboratory<b class=""><br class="">
</b>Organisation: Henrik Utermöhle, Humboldt-Universität zu Berlin, Cluster of
Excellence Image Knowledge Gestaltung. Interdisciplinary Laboratory, Das
Technische Bild<o:p class=""></o:p></span></p>
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