Charlotte Klonk – författare

Art History: A critical introduction to its methods provides a lively and stimulating introduction to methodological debates within art history. Offering a lucid account of approaches from Hegel to post-colonialism, the book provides a sense of art history’s own history as a discipline from its emergence in the late-eighteenth century to contemporary debates. By explaining the underlying philosophical and political assumptions behind each method, along with clear examples of how these are brought to bear on visual and historical analysis, the authors show that an adherence to a certain method is, in effect, a commitment to a set of beliefs and values. The book makes a strong case for the vitality of the discipline and its methodological centrality to new fields such as visual culture.This book will be of enormous value to undergraduate and graduate students, and also makes its own contributions to ongoing scholarly debates about theory and method.

Still and moving images are crucial factors in contemporary political conflicts. They not only have representational, expressive or illustrative functions, but also augment and create significant events. Beyond altering states of mind, they affect bodies and often life or death is at stake. Various forms of image operations are currently performed in the contexts of war, insurgency and activism. Photographs, videos, interactive simulations and other kinds of images steer drones to their targets, train soldiers, terrorise the public, celebrate protest icons, uncover injustices, or call for help. They are often parts of complex agential networks and move across different media and cultural environments. This book is a pioneering interdisciplinary study of the role and function of images in political life. Balancing theoretical reflections with in-depth case studies, it brings together renowned scholars and activists from different fields to offer a multifaceted critical perspective on a crucial aspect of contemporary visual culture.

In June 2016, a French policeman was stabbed to death in a Paris suburb. His assailant gained access to the victim’s flat, where he murdered the policeman’s partner in front of their three-year-old son. While negotiating with members of the special forces, the murderer posted live footage of himself and his victims on Facebook. Acting in the name of the so-called Islamic State, the perpetrator, who would later be shot and killed, single-handedly applied one of the fundamental tenets of modern terrorism: it is not the act of violence itself that counts, but the images of it that are brought into circulation. Once released, nothing and no one can eradicate these images and the visual battle that ensues knows no winners or ceasefire.With the expert eye of an art historian, Charlotte Klonk documents the visual machinery of terrorism from the late nineteenth century to the present day. She shows that the propaganda videos form the IS are nothing new. On the contrary, perpetrators of terror acts have always made use of images to spread their cause through the media – as have their enemy, the state. This is an indispensable book for understanding the background and dynamic of terror today.

In June 2016, a French policeman was stabbed to death in a Paris suburb. His assailant gained access to the victim’s flat, where he murdered the policeman’s partner in front of their three-year-old son. While negotiating with members of the special forces, the murderer posted live footage of himself and his victims on Facebook. Acting in the name of the so-called Islamic State, the perpetrator, who would later be shot and killed, single-handedly applied one of the fundamental tenets of modern terrorism: it is not the act of violence itself that counts, but the images of it that are brought into circulation. Once released, nothing and no one can eradicate these images and the visual battle that ensues knows no winners or ceasefire.With the expert eye of an art historian, Charlotte Klonk documents the visual machinery of terrorism from the late nineteenth century to the present day. She shows that the propaganda videos form the IS are nothing new. On the contrary, perpetrators of terror acts have always made use of images to spread their cause through the media – as have their enemy, the state. This is an indispensable book for understanding the background and dynamic of terror today.

In June 2016, a French policeman was stabbed to death in a Paris suburb. His assailant gained access to the victim’s flat, where he murdered the policeman’s partner in front of their three-year-old son. While negotiating with members of the special forces, the murderer posted live footage of himself and his victims on Facebook. Acting in the name of the so-called Islamic State, the perpetrator, who would later be shot and killed, single-handedly applied one of the fundamental tenets of modern terrorism: it is not the act of violence itself that counts, but the images of it that are brought into circulation. Once released, nothing and no one can eradicate these images and the visual battle that ensues knows no winners or ceasefire.With the expert eye of an art historian, Charlotte Klonk documents the visual machinery of terrorism from the late nineteenth century to the present day. She shows that the propaganda videos form the IS are nothing new. On the contrary, perpetrators of terror acts have always made use of images to spread their cause through the media – as have their enemy, the state. This is an indispensable book for understanding the background and dynamic of terror today.

Die Propagandavideos der IS-Kämpfer sind nichts Neues. Im Gegenteil, Terroristen haben sich schon immer der Bilder bedient, um ihre Anliegen medial zu verbreiten – und ebenso ihr Feind, der Staat. Charlotte Klonk zeigt in ihrer Studie ›Terror. Wenn Bilder zu Waffen werden‹, welche Rolle die Bilder des Terrors seit dem 19. Jahrhundert bis in unsere unmittelbare Gegenwart spielen. In konkreten Falluntersuchungen und mit kunsthistorisch geschultem Blick arbeitet sie die Bildstrategien heraus, ordnet diese in ihre geschichtliche Entwicklung ein und beantwortet am Ende die dringende Frage nach dem ethischen Umgang mit Terrorbildern. Ein unverzichtbares Buch, um die Hintergründe des allgegenwärtigen Terrorismus zu verstehen.

Was sind die Themen, die uns 2018 beschäftigen werden?»Denk mal! 2018« versammelt aktuelle Texte aus den Bereichen Kultur, Philosophie und Wissenschaft – geschrieben von einigen der klügsten Köpfe unserer Gegenwart, u.a. von Carolin Emcke, Remo H. Largo, Christine Ott, Charlotte Klonk, Ilija Trojanow, Harald Welzer und Andre Wilkens. Die Themen sind u.a. die aktuelle Lage Europas, der Ruf des deutschen Essens, Nutztierhaltung, die Geschichte der Bibelübersetzung, Freundschaft und Individualität sowie der Umgang mit Terrorbildern. Sie bieten uns ein breites Spektrum an Ideen, Impulsen und Anregungen zum Nachdenken. Dabei beschäftigen sie sich mit den wichtigsten Themen unserer Zeit und sind Wegbegleiter für das ganze Jahr.

New laboratory buildings are currently being planned all around the world. Are they different from or even better than their predecessors? To answer this question, the authors of this book have journeyed into the past and present of laboratory architecture. They discuss the images of the research scientist and the laboratory that have been purveyed since the natural sciences were institutionalised in the nineteenth century. They also examine contemporary architectural solutions in the light of influential laboratory architectures of the latter half of the twentieth century, thereby discovering a great variety of approaches, historical and contemporary - for both the functional interrelation of spaces and the tension between symbolic façades and internal structures can take very different forms.

New laboratory buildings are currently being planned all around the world. Are they different from or even better than their predecessors? To answer this question, the authors of this book have journeyed into the past and present of laboratory architecture. They discuss the images of the research scientist and the laboratory that have been purveyed since the natural sciences were institutionalised in the nineteenth century. They also examine contemporary architectural solutions in the light of influential laboratory architectures of the latter half of the twentieth century, thereby discovering a great variety of approaches, historical and contemporary - for both the functional interrelation of spaces and the tension between symbolic façades and internal structures can take very different forms.