It is noticeable that in the (historic) discourses on images the term similarity always plays a significant role. The negative as well as positive attraction the term seems to possess, is most likely owed to its operative quality that derives from its being linked to the structure of the example (within epistemological discourse), which on the one hand allows the notion of similarity to withstand theoretical generalisations through its openness for the empirical realm while at the same time it seems to theoretically control any upheaval of the concrete, empirical singularities; it is also noticeable that the historical boom of the use of the terminology of similarity coincides with the media-technological revolutions und with the resulting cultural re-definitions of the relationship between text and image: first it is the invention of print that disseminates the image on a mass scale, then the technologies of copying from fotography, film....
|Place of Publication||Freiburg Germany|
|Number of pages||255|
|Publication status||Published - 2014|