Die ersten Medienbilder von der Erde entstanden als Nebenprodukte der Raumfahrt. Heute nutzen wir täglich GPS-Signale und Satellitenbilder gehören zum Arbeitsmaterial von Geheimdiensten, Wissenschaftler*innen und Künstler*innen. Neben historischen Aspekten diskutiert diese Publikation Bilder, die an der Schnittstelle von Raumfahrt, digitaler Bildkultur, Fernerkundung und Kunst entstehen. Allgemein gilt: Die kunsthistorische Zentralperspektive hat sich in ein maschenartiges Netz verstreuter Brennpunkte, Sensoren und Perspektiven aufgelöst und das Bildmaterial hat sich exponentiell vervielfacht. Aus Rekursen auf den ikonischen Kurzfilm Powers of Ten (1968/77) von Charles und Ray Eames wird eine komplexe Narration bildgebender Verfahren entwickelt – von den ersten Bildern der Sputnik-Satelliten bis zu den heutigen Tagen der Big Data.
Vera Tollmann ist Kulturwissenschaftlerin und Dozentin für digitale Medien. Sie lebt in Berlin.
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The first media images of the Earth came into being as a by-product of space travel. Today, we use GPS signals every day and satellite images are part of the toolkit of intelligence officers, scientists, and artists. In addition to looking at the history of this phenomenon, the book also discusses pictures produced at the point of intersection between space travel, digital image culture, remote sensing, and art. The central perspective embraced by art history can generally be said to have disintegrated into a reticular network of scattered focal points, sensors, and perspectives, and there has been an exponential increase in the amount of visual material that exists. Drawing on the iconic short film Powers of Ten (1968/77) by Charles and Ray Eames, Vera Tollmann develops a complex narrative telling the story of imaging processes—from the first images of the Sputnik satellites to today’s Big Data.
Vera Tollmann is a cultural scientist and lectures on digital media. She lives in Berlin.
Vera Tollmann ist Kulturwissenschaftlerin und Dozentin für digitale Medien. Sie lebt in Berlin.
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The first media images of the Earth came into being as a by-product of space travel. Today, we use GPS signals every day and satellite images are part of the toolkit of intelligence officers, scientists, and artists. In addition to looking at the history of this phenomenon, the book also discusses pictures produced at the point of intersection between space travel, digital image culture, remote sensing, and art. The central perspective embraced by art history can generally be said to have disintegrated into a reticular network of scattered focal points, sensors, and perspectives, and there has been an exponential increase in the amount of visual material that exists. Drawing on the iconic short film Powers of Ten (1968/77) by Charles and Ray Eames, Vera Tollmann develops a complex narrative telling the story of imaging processes—from the first images of the Sputnik satellites to today’s Big Data.
Vera Tollmann is a cultural scientist and lectures on digital media. She lives in Berlin.