| 1. |
- Führer, Heidrun
(author)
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Digital Ekphrasis : Through the Digital
- 2018
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In: R/D/D C(ONFERENCE).
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Book chapter (peer-reviewed)abstract
- In the light of the digital influence of literature and art, my paper focuses on a rather small topic that is traditionally strongly placed in the aesthetics of the interart and intermedia discourse, namely ekphrasis. Whereas the conventional discourse outlines ekphrasis as a “verbal representation of a visual representation” (Hefferan 1993, p. 3) to call attention to poems describing paintings, my research steps beyond this referential definition with its insistence on closed spaces and self-sufficient artworks.Developing Cecilia Lindhé’s seminal essay on digital ekphrasis, I investigate the rhetorical trope ekphrasis in the context of mediating forces that enhance e/affective experiences of the human body. Thereby, a digital environment might extend and enhance the performative communication in a processual engagement with the world. When deconstructing the traditional conflict between word and image, ekphrasis can be reconsidered even beyond the material and cognitive frame of museum art. Recalling the intra-subjective forces enargeia and energeia, ekphrasis as rhetorical trope shall be revived as an empowering practice of performance and performativity in- and outside the digital realm. Favourably, this ancient concept can be linked to Deleuze’s treatment of art. Rather than making the humans to the intentional interpreter in a rhetorical communication, I reconsider ekphrasis within a more systemic model of human-nonhuman relations, modelled upon Karen Barad ‘s concept of ‘intra-action’. By so doing, I track the breaking point and the discontinuities of the conventional interart concept of ekphrasis as a form of remediation, adaption or transmediation.
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| 2. |
- Führer, Heidrun, et al.
(author)
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Leaving the white cube of Ekphrasis : Gordon Matta-Clark’s conical intersection
- 2019
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In: Transmediations : Communication Across Media Borders - Communication Across Media Borders. - : Routledge. - 9780429282775 - 9781000761160 ; , s. 97-117
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Book chapter (peer-reviewed)abstract
- This chapter reconsiders the conventional conceptualization of ekphrasis as a “double representation”. In a case study, intertwining ancient rhetoric with contemporary agential rhetoric, we present Gordon Matta-Clark’s (1943-78) Conical Intersect (Paris, 1975) as ekphrasis in its reality-producing dimension and beyond the subjectivism of intentional actions. In our proposal, we introduce ekphrasis as rooted in agential realism and multimodal performative rhetoric. Our rhetorical understanding of ekphrasis ties in with the ancient sense of mimesis and poiesis as crafting, forming and “pro-ducing” something into the light. Endowed with the energy of affect, ekphrasis shows and “presences”, before eyewitnesses, something absent. This rhetoric of “presencing” is described in terms of the light-shedding performativity of “agential cuts”, which bring something hidden or absent into presence by way of “intra-acting” with human and nonhuman actants. Rather than following the strategies involved in translating a source into target media, we stress the embodied “intra-active” process of pro-ducing differences in an act of becoming as a foundational criterion for ekphrasis. Despite the limited attention given to the “durable media products” of photo collage and film as a part of Conical Intersect, we focus on the rhetoric of repetition and variation across the performances in different media formats. Shifting focus away from the dichotomy between live and recorded performances, we argue that the totality creates the effect of making the absent present in different materialized discourses.
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| 3. |
- Führer, Heidrun, et al.
(author)
-
Leaving the White Cube of Ekprhasis : Gordon Matta-Clark’s Conical Intersection
- 2019
-
In: Transmediations : Communication Across Media Borders - Communication Across Media Borders. - : Routledge. - 9780367244866 - 9780429282775
-
Book chapter (peer-reviewed)abstract
- This chapter reconsiders the conventional conceptualization of ekphrasis as a “double representation”. In a case study, intertwining ancient rhetoric with contemporary agential rhetoric, we present Gordon Matta-Clark’s (1943-78) Conical Intersect (Paris, 1975) as ekphrasis in its reality-producing dimension and beyond the subjectivism of intentional actions. In our proposal, we introduce ekphrasis as rooted in agential realism and multimodal performative rhetoric. Our rhetorical understanding of ekphrasis ties in with the ancient sense of mimesis and poiesis as crafting, forming and “pro-ducing” something into the light. Endowed with the energy of affect, ekphrasis shows and “presences”, before eyewitnesses, something absent. This rhetoric of “presencing” is described in terms of the light-shedding performativity of “agential cuts”, which bring something hidden or absent into presence by way of “intra-acting” with human and nonhuman actants. Rather than following the strategies involved in translating a source into target media, we stress the embodied “intra-active” process of pro-ducing differences in an act of becoming as a foundational criterion for ekphrasis. Despite the limited attention given to the “durable media products” of photo collage and film as a part of Conical Intersect, we focus on the rhetoric of repetition and variation across the performances in different media formats. Shifting focus away from the dichotomy between live and recorded performances, we argue that the totality creates the effect of making the absent present in different materialized discourses.
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| 4. |
- Führer, Heidrun
(author)
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“Reflections on a myth” : Reading text and image in a new perspective
- 2016
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Conference paper (peer-reviewed)abstract
- Paragone is a well-known and often applied category to discuss the interrelationship of the Sister Arts. However, it does not seem to be a sufficient label to respond to the general questions raised about representation, mimesis and identity brought together in the postmodern intermedial writing of The Matisse Stories (1993), by A.S. Byatt, which was influenced by French avant-garde literature and visual arts. Therefore, I propose the integration of the reader as a third part by drawing on the peritextual design as well as on circumtextual and intratextual frames. Such an alternative allows me to anchor an emblematic tradition of perceiving the materialised form of the printed book that in postmodern rhetoric plays both with the interdependency of text-image and their contextual relationship along with the Sister Arts and their marginalised little brothers.
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