@incollection{Richtmeyer, author = {Richtmeyer, Ulrich}, title = {The blind viewer's seeing screenshot}, series = {PrtScn : The Lazy Art of Screenshot}, booktitle = {PrtScn : The Lazy Art of Screenshot}, address = {Amsterdam}, organization = {Institute of Network Cultures}, isbn = {978-9-49230-283-0}, publisher = {Fachhochschule Potsdam}, pages = {42 -- 44}, subject = {Screenshot}, language = {en} } @incollection{Gerling, author = {Gerling, Winfried}, title = {"Verdammt nah dran" : die GoPro als Companion Technology}, series = {Automatisierte Zuwendung : Affektive Medien - Sensible Medien - F{\"u}rsorgende Medien}, booktitle = {Automatisierte Zuwendung : Affektive Medien - Sensible Medien - F{\"u}rsorgende Medien}, publisher = {Sch{\"u}ren Verlag}, address = {Marburg}, isbn = {978-3-7410-0213-7}, doi = {10.5771/9783741001802-37}, publisher = {Fachhochschule Potsdam}, pages = {37 -- 44}, subject = {Body-Cam}, language = {de} } @article{EggerAckermann, author = {Egger, Benjamin and Ackermann, Judith}, title = {Meta-curating : online exhibitions questioning curatorial practices in the postdigital age}, series = {International Journal for Digital Art History}, volume = {2020}, journal = {International Journal for Digital Art History}, number = {5}, address = {Heidelberg}, organization = {Heidelberg University Library}, issn = {2363-5401}, doi = {10.11588/dah.2020.5.72123}, pages = {18 -- 35}, abstract = {Curatorial activities provide (infra)structure and meaning to artworks through the selection and combination of different pieces and their public display. Therefore the way context is added shapes people's perspective towards art. (Post-)digital art and online exhibitions come with specific constraints concerning curation and have a potential to overcome the hierarchies between curators, artists and visitors. In discussing selected digital exhibition formats from the 1990s until today, the article illustrates how the genre has evolved in response to technological changes and concepts of democratization as well as user involvement. Looking at the online exhibition "UN/NATURAL SURROGATES" (2019) the article opens up a perspective towards meta-curating that allows to conceive (online) exhibitions as a means of reflecting on curatorial processes in the postdigital era.}, subject = {Virtuelle Ausstellung}, language = {en} } @book{OPUS4-3093, title = {Screen Images}, editor = {Gerling, Winfried and M{\"o}ring, Sebastian and De Mutiis, Marco}, publisher = {Kadmos}, address = {Berlin}, isbn = {978-3-86599-535-3}, doi = {10.55309/c3ie61k5}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:525-30937}, publisher = {Fachhochschule Potsdam}, pages = {376}, abstract = {This volume examines historical and contemporary image practices and phenomena, including screenshots, screen photography, screencasts and in-game photography. The individual chapters pose questions relating to the status, ontology and aesthetics of such practices and phenomena and also analyse their cultural and artistic significance. Artistic works explore these questions in the form of various image practices. The authors and artists investigate the potential for a new area of research at the intersection of a range of disciplines, such as media studies, media aesthetics, media history, image studies, photography theory, game studies, media art and game art. As one of the first publications to address these phenomena, this book speaks to a varied audience in the realms of media studies, game studies and cultural studies as well as to members of the general public interested in historical and contemporary practices associated with visual and digital media.}, subject = {Medienwissenschaft}, language = {en} } @article{GerlingMoering, author = {Gerling, Winfried and M{\"o}ring, Sebastian}, title = {Bildschirmbilder}, series = {Zeitschrift f{\"u}r Medienwissenschaft}, volume = {15}, journal = {Zeitschrift f{\"u}r Medienwissenschaft}, number = {29}, publisher = {transcript Verlag}, address = {Bielefeld}, issn = {2296-4126}, doi = {10.14361/zfmw-2023-150218}, pages = {161 -- 165}, subject = {Screenshot}, language = {de} } @book{OPUS4-2858, title = {Versatile camcorders}, editor = {Gerling, Winfried and Krautkr{\"a}mer, Florian}, publisher = {Kadmos}, address = {Berlin}, isbn = {978-3-86599-461-5}, doi = {10.25969/mediarep/19386}, pages = {222}, abstract = {Small robust action-cams like the GoPro have lastingly altered the conditions for making images by conceiving the body and the device as a single unit acting together, and by staging this joint movement in sometimes spectacular ways. The perspective gained by being closely attached to the body, and the aesthetic qualities that result from this, is a particular feature of this camera. This basic constellation has given rise to a culture of making and sharing images, which is linked in turn to the distribution and communication methods of digital media or brands. This book is the first to deal with this phenomenon, pursuing it from a variety of perspectives from media and cultural studies.}, subject = {Camcorder}, language = {en} } @incollection{Gerling, author = {Gerling, Winfried}, title = {Environmental Selfies}, series = {Das Selbst im Blick}, booktitle = {Das Selbst im Blick}, editor = {Steimer, A. Kristina and Paganini, Claudia and Filipović, Alexander}, publisher = {Nomos}, address = {Baden-Baden}, isbn = {978-3-8487-8550-6}, doi = {10.5771/9783748929116-77}, publisher = {Fachhochschule Potsdam}, pages = {77 -- 96}, abstract = {Der Text widmet sich dem Zusammenwirken von Menschen und sensorisch-fotografischen Technologien unter den Bedingungen ubiquit{\"a}rer vernetzer Rechenmaschinen. Als Beispiel dient die GoPro, die als singul{\"a}rer Teil dieser Kultur eine besondere Form des Selfies hervorgebracht hat: das Environmental Selfie. Diese Art des Selfies entsteht aus einer Perspektive der Begleitung, die immer auch ein Bild des gesamten Environments ist, in dem es produziert wird. So werden Bilder eines Environments erzeugt, das sich selbst "fotografiert" bzw. "sieht". Hier ist den sensorielle fotografische Apparat so wichtig wie die Akteur:innen und der Einfluss von Umwelt (Natur), Hardware, Software und Netzwerken, die diese Produktion erm{\"o}glichen.}, subject = {Selfie}, language = {de} } @incollection{GerlingKrautkraemer, author = {Gerling, Winfried and Krautkr{\"a}mer, Florian}, title = {Looking at a Versatile Movement}, series = {Versatile camcorders}, booktitle = {Versatile camcorders}, editor = {Gerling, Winfried and Krautkr{\"a}mer, Florian}, publisher = {Kadmos}, address = {Berlin}, isbn = {978-3-86599-461-5}, doi = {10.25969/mediarep/19386}, publisher = {Fachhochschule Potsdam}, pages = {9 -- 26}, subject = {Action-Fotografie}, language = {en} } @incollection{GerlingMoeringDeMutiis, author = {Gerling, Winfried and M{\"o}ring, Sebastian and De Mutiis, Marco}, title = {Introduction}, series = {Screen Images}, booktitle = {Screen Images}, editor = {Gerling, Winfried and M{\"o}ring, Sebastian and De Mutiis, Marco}, publisher = {Kadmos}, address = {Berlin}, isbn = {978-3-86599-535-3}, doi = {10.55309/c3ie61k5}, publisher = {Fachhochschule Potsdam}, pages = {11 -- 42}, subject = {Medienwissenschaft}, language = {en} } @incollection{DieckmannGerling, author = {Dieckmann, Stefanie and Gerling, Winfried}, title = {Einleitung}, series = {Freeze Frames}, booktitle = {Freeze Frames}, editor = {Diekmann, Stefanie and Gerling, Winfried}, publisher = {transcript Verlag}, address = {Bielefeld}, isbn = {978-3-8394-1363-0}, doi = {10.14361/9783839413630-intro}, publisher = {Fachhochschule Potsdam}, pages = {7 -- 10}, subject = {Freeze-Frame}, language = {de} } @incollection{Gerling, author = {Gerling, Winfried}, title = {GoPro Hero Camera Technology}, series = {Versatile camcorders}, booktitle = {Versatile camcorders}, editor = {Gerling, Winfried and Krautkr{\"a}mer, Florian}, publisher = {Kadmos}, address = {Berlin}, isbn = {978-3-86599-461-5}, doi = {10.25969/mediarep/19386}, publisher = {Fachhochschule Potsdam}, pages = {27 -- 44}, subject = {Camcorder}, language = {en} } @article{Gerling, author = {Gerling, Winfried}, title = {Photography in the Digital}, series = {Photographies}, volume = {11}, journal = {Photographies}, number = {2-3}, publisher = {Routledge, Taylor \& Francis}, address = {London}, issn = {1754-0763}, doi = {10.1080/17540763.2018.1445013}, pages = {149 -- 167}, abstract = {Photography in the digitally created or digitized reality is an everyday activity that is rarely discussed in the context of photographic debates. This refers to practices such as in-game photography or, simpler yet, the screenshot. The paper focuses on their history, the specific status and materiality of these images of screens. Their (hi)story begins with screen image photography of measured data on cathode ray tubes and the photographic capture of x-ray screens. Screenshots and in-game photography can be seen throughout this context but they are cameraless and can therefore be understood and discussed within a long history of experimental photographic practices. Should we speak here at all of photography? If so, what is their photographic specificity? Which image of reality do they provide us?}, subject = {Screenshot}, language = {en} } @incollection{Gerling, author = {Gerling, Winfried}, title = {Be a Hero}, series = {Exploring the Selfie}, booktitle = {Exploring the Selfie}, editor = {Eckel, Julia and Ruchatz, Jens and Wirth, Sabine}, publisher = {Palgrave Macmillan}, address = {Wiesbaden}, isbn = {978-3-319-57949-8}, doi = {10.1007/978-3-319-57949-8_12}, publisher = {Fachhochschule Potsdam}, pages = {261 -- 283}, abstract = {A tendency has developed in recent times toward a close connection of the (photo) apparatus and the body. The GoPro, the "world's most versatile camera," as stated in the developer's self-description, is often worn attached to the body, is held at a moderate distance from the body by means of a selfie stick, or is firmly mounted on helmets and sporting equipment. Regarding these cameras, a whole array of practices and technologies has evolved that strongly promote "self-shooting." Thus, a new genre of the self-image has arisen: images of skaters, surfers, fliers, fallers, and the fallen, all capturing themselves in all circumstances up until death; it seems that the camera itself creates the risk to fall. This chapter focuses on the relationship of aesthetics, body, and apparatus that can be traced back to early examples of "falling photographers" and that is nowadays so impressively exemplified by the GoPro technique and its usage. Additionally, the text deals with the general leveling of the difference between the moving image (video) and the still image (photography) within the digital realm, specifically via the unification of both, technologies and practices, in one apparatus—like the GoPro.}, subject = {Camcorder}, language = {en} } @article{GerlingKrautkraemer, author = {Gerling, Winfried and Krautkr{\"a}mer, Florian}, title = {Zeitlupe}, series = {Zeitschrift f{\"u}r Medienwissenschaft}, volume = {16}, journal = {Zeitschrift f{\"u}r Medienwissenschaft}, number = {30}, publisher = {transcript Verlag}, address = {Bielefeld}, issn = {2296-4126}, doi = {10.25969/mediarep/22006}, pages = {131 -- 133}, subject = {Zeitlupe}, language = {de} }