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Priv. Doz. Dr. Dr. Erna Fiorentini

NEWS

Starting Winter Term 2019-2020, Erna Fiorentini is now based at KIT - Karlsruhe Institute of Technology, Institute for the History of Art and Achitecture,

Seit dem Wintersemester 2019-2020 gehört Erna Fiorentini zum Institut für Kunst- und Baugeschichte vom KIT - Karlsruher Institut für Technologie,

Goodbye, Freie Universität Berlin!

II. ACADEMIC CV

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Studied Art History, Classical Archaeology and Geochemistry at Università di Trieste (Italy) and the Friedrich-Wilhelm-Universität Bonn (Germany).

Ph.D. (Promotion) in Geochemistry and Classical Archaeology, Friedrich-Wilhelms-Universität Bonn, "Stable Isotopic Composition of the Lower Continental Crust of Sri Lanka", 1990

Ph.D. (Promotion) in Art History, Friedrich-Wilhelms-Universität Bonn, "Ikonographie eines Wandels. Porträt und Selbstporträt des Bildhauers im Italien des 16. Jahrhunderts",1998

'Habilitation' in Art History, Freie Universität Berlin, 2009

 

Positions held

From October 2019 Academic staff member and Lecturer / Privatdozentin at the Institute for the History of Art and Architecture, KIT - Karlsruhe Institute of Technology.

Summer Term 2019 Professor for Art History - Modern and Contemporary Art at the Institut für Europäische Kunstgeschichte (IEK), Heidelberg University.

Since 2019 Lecturer / Privatdozentin at the Institute History of Art and Architecture, Karlsruhe Institute of Technology - KIT.

Winter Term 2018-2019 Lecturer for Art History at the Institute History of Art and Architecture, Karlsruhe Institute of Technology - KIT.

Summer Term 2018 Professor for Art History at the Institute History of Art and Architecture, Karlsruhe Institute of Technology - KIT.

Summer Term 2017 Guest Professor for Art History - Modern and Contemporary Art at Freie Universität Berlin, Kunsthistorisches Institut - Art History Department.

2010-2016  Heisenberg Fellow at the Institut für Kunst- und Bildgeschichte / Institute of art and Visual History, Humboldt-Universität zu Berlin.

Trinity Term 2016 Invited Academic Visitor at the Centre for Visual Studies, History of Art Department, University of Oxford.

Michaelmas Term 2011 and Trinity Term 2012 Invited Academic Visitor at the Centre for Visual Studies, History of Art Department, University of Oxford.

2009-2019 Lecturer / Privatdozentin for Art History at Freie Universität Berlin, Kunsthistorisches Institut - Art History Department.

2003-2009 Lecturer in Art History at Freie Universität Berlin, Art History Department.

2003-2008 Affiliated Scholar at Department II of the Max Planck Institute for the History of Science - MPIWG Berlin.

2002-2003 Lecturer in Art History at Augsburg University, Art History Department.

2002 Research Fellow of the German Science Foundation – DFG at Freie Universität Berlin, Art History Department and at Max-Planck-Institute for the History of Science - MPIWG Berlin.

1998-2003 Lecturer in Art History at Stuttgart University, Art History Department.

1998-2000 Research Fellow of the State of Bavaria at Zentralinstitut für Kunstgeschichte, Munich.

1993-1995 Research Fellow of Cusanuswerk at Friedrich-Wilhelms-Universität Bonn, Art History Department.

1991-1992 Research Consultant at German Research Foundation / Deutsche Forschungsgemeinschaft – DFG, Bonn.

1987-1990 Research Associate in Stable Isotope Geochemistry at Friedrich-Wilhelms-Universität Bonn, Institute of Petrology.

 

Selected Memberships and Honours

Nominated member of  AcademiaNet – Expert Database of Outstanding Female Scientists and Scholars upon nomination by the German Research Foundation – DFG, since 2013.

Heisenberg Fellowship of the German Research Foundation / Deutsche Forschungsgemeinschaft – DFG, 2010-2016.

Referee for Leonardo Journal, Studies in History and Philosophy of Science, Nuncius.

Reviewer / Gutachterin for German Research Foundation / Deutsche Forschungsgemeinschaft – DFG, 2009 and 2013

Member of DELOS – Network of Excellence on Digital Libraries, funded by the European Commission’s Information Society Technologies 5th Framework Programme (IST-FP5), since 2007.

Research Fellow of the German Science Foundation – DFG , 2002.

Research Fellow of the State of Bavaria, Germany, 1998-2000.

Research Fellow of Cusanuswerk, 1993-1995.

1) TEACHING

2) LECTURES and PRESENTATIONS UPON INVITATION



1) TEACHING

Summer Term 2019 at IEK Institut für Europäische Kunstgeschichte, Universität Heidelberg: Lecture Landscape Photography; BA Seminar On Painting and Photography. Gerhard Richter⁄; MA Seminar Nature / Landscape: their Concepts and Images; MA Seminar Theory of Photography.

Previous teaching:

Winter Term 2018 – 2019 Teaching at Institut Kunst- und Baugeschichte,  KIT Karlsruhe: MA Reading seminar  Theorien der Fotografie

Summer Term 2018 Teaching at Institut Kunst- und BAugeschichte, KIT Karlsruhe: Lecture Natur und Landschaft. Ein Versuch von der frühen Neuzeit bis zum digitalen Bild;  MA seminar Visualität. Diskurs und methodologische Herausforderung;  BA Seminar Von Fotografie und Malerei. Gerhard Richter;  BA Seminar Videoskulptur. Geschichte – Medien – Probleme.

Seminars in SoSe 2017 (Visuality; Videoskulptur; Landschaftsmalerei Gerhard Richter; Landschaftsfotografie)

Dokument, Kritik, Ästhetik: Landschaftsfotografie, SoSe 2016, S/HS, Blockseminar

Natur und Landschaft. Konzepte von Poussin bis Trevor Paglen, WiSe 2015/16, S/HS, Blockseminar

Das Auge und der Blick. Theorien des Sehens, WiSe 2012/13 and WiSe 2013/14, S/HS, Blockseminar, wurde gemeinsam mit dem IKB der HU Berlin durchgeführt.

Orient - Okzident und zurück: Wege des Bildwissens von Alhazen bis Al Jazeera, WiSe 2011/12, S/HS, Blockseminar, wurde gemeinsam mit dem IKB der HU Berlin durchgeführt. 

 

2) LECTURES and PRESENTATIONS UPON INVITATION (choice)

 

IV. LECTURES and PRESENTATIONS UPON INVITATION (choice)

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KARLSRUHE, KIT – Karlsruhe Institut für Technologie, Zentrum für Angewandte Kulturwissenschaft, ZAK, 16.6.2018 (Panel Keynote, International Conference Genealogie der Populärwissenschaft. Von der Ekphrasis zur Virtuellen Realität Genealogy of Popular Science. From Ancient Ecphrasis to Virtual Reality, 15-17 June 2018): Handbuchskepsis vs. Markterfolg. Wie wurden optische Zeichenhilfen 1800 – 1850 populär?

REGENSBURG, Universität Regensburg, Institut für Philosophie, Professur für Wissenschaftsgeschichte, 22.11.2017 (Gastvortrag): Fragen an den Visualisierungsbegriff / Questioning the Notion of Visualization

BERLIN, Universität der Künste – UdK, Institut für Geschichte und Theorie der Gestaltung, 24.11.2016 (eingeladener Vortrag im Workshop „Iconoscape I – Medien Moderner Landschaftserfahrung“):  Erinnerungslandschaften: Orte zwischen Skizze und Fotografie. 

KÖLN, Universität zu Köln, Kunsthistorisches Institut. 7.-8.4.2016 (eingeladener Vortrag im Workshop "Handbuchwissen. die Fotografie als angewandte Wissenschaft"): Zwischen Skepsis und Praxis – Optische Zeichenhilfen in Lehrbüchern 1800 – 1850.

NEW YORK, Cold Spring Harbor Laboratory, 22.10.2014 (Invited speaker at the „Banbury Meeting: Interdisciplinary, International Conference on Creativity“): The Mind’s Eye? Questions about Imaging and Creativity.

BERLIN, Humboldt-Universität zu BerlinInstitut für Kunst- und Bildgeschichte, 9.4.2014 (Interdisciplinary, International Conference Visualization: a critical survey of the concept / Visualisierung: eine begriffskritische Bestandsaufnahme, co-organized with James Elkins - School of the Art Institute of Chicago -, http://www.kunstgeschichte.hu-berlin.de/veranstaltungen/tagung-visualization-critical-survey-concept/): Seminar Three “Reconceptualization of Visualizations” (with Fabian Goppelsröder, Universität Potsdam).

MADISON/WI, Department of German, University of Wisconsin, 26.9.2013 (Keynote Lecture, Wisconsin Workshop "Speak that I May See You!" Intuition and Visualization / “’Rede, dass ich Dich sehe!’ Anschauung und Anschaulichkeit)More than Visualizing: Seeing, Drawing, and the Induction of Visibility.

PHILADELPHIA/PA, Institute of Contemporary Art, University of Pennsylvania, 21.9.2012 (working opening of “Enchanted Drawing II – Animation across the Disciplines”, Part Two of Enchanted Drawing – Animation as Imaging Culture, a collaborative Project of the Institut für Kunst- und Bildgeschichte – IKB, Humboldt-Universität zu Berlin and the Institute of the History of Art / Cinema Studies, University of Pennsylvania): Keep on Framing the Mesh. Opening Remarks and the results of Enchanted Drawing I – Framing Animation As An Imaging Culture.

BERLIN, IKB – Institut für Kunst- und Bildgeschichte / Institute of Art and Visual Studies, Humboldt-Universität zu Berlin, 8.3.2012 (working opening of “Enchanted Drawing I – Framing Animation as an Imaging Culture”, Part One of Enchanted Drawing – Animation as Imaging Culture, a collaborative Project of the Institut für Kunst- und Bildgeschichte – IKB, Humboldt-Universität zu Berlin and the Institute of the History of Art / Cinema Studies, University of Pennsylvania): Introduction as a notice of Intent. Animation as Cultural Set.

OXFORD, History of Art Department, University of Oxford, 21.11.2011 (Invited Lecture at the Open Lecture Series Art History: Concepts and Methods“: The Knowledge of Images. On Bildwissenschaft.

OXFORD, History of Art Department, University of Oxford, 15.11.2011 (Invited Lecture at the Course Seminar „Theories of Vision: The Eye and the Gaze”: Cameras and Seeing. Two Modes in comparison.

OXFORD, History of Art Department, University of Oxford, 8.11.2011 (Invited Lecture at the Departmental Research Seminar Series: Induction of Visibility – An Attempt at the Notion of Aesthetic-Epistemic Action.

BERLIN, Medienhaus, Universität der Künste – UDK Berlin, 19.10.2011 (Vorlesung im Berufungsverfahren für die W2-Professur „Theorie und Geschichte der visuellen Kultur“ an der Fakultät Gestaltung, Institut für Geschichte und Theorie der Gestaltung): Auf dem Weg zur visuellen Kultur. Eine Absichtserklärun.

BERLIN, IKB – Institut für Kunst- und Bildgeschichte / Institute of Art and Visual Studies, Humboldt-Universität zu Berlin, 17.5.2011: Weltversionen erzeugen. Fragen zur Wirksamkeit von Bildprozessen.

PARIS, Centre Alexandre Koyré, 7.4.2011 (Invited Lecture at the Lecture Series “Voir / Savoir. Nouvelles Perspectives sur le Visuel dans les Sciences” of the EHSS – École des hautes études en sciences sociales): Imaging / Imagining. Drawing Processes and the Creation of Efficacy.

BERLIN, Martin-Gropius-Bau, 29.10.2010 (Invited response to Michael Hagner’s Zellen vor dem Bild. Vom Nutzen und Nachteil der Neuroästhetik, conference of the Series  “Alles sehen – Bildanalysen der Gegenwart. Zur Aktualität der Kunstgeschichte”: Neuroästhetik und Bildgeschichte.

BASEL, Schaulager, 27.8.2010 (Key Note Lecture at “The Efficacy of Images”, Summer School 2010 of The National Centre of Competence in Research – NCCR “eikones / Iconic Criticism – The Power and Meaning of Images”, Universität Basel (CH): “Ways of Worldmaking”, oder: Die Wirksamkeit der Bildprozesse” – “Ways of Worldmaking”, or: The Efficacy of Imaging Processses.

BERLIN, Centre Marc Bloch, 2.-3.7.2010 (Invited speaker at the conference “La légitimité de l’art et des savoirs // Formen des Wissens: Die Legitimität der Kunst”, Atelier 1 of the PROGRAMME CIERA UFA Formation-recherche “Arts et Savoirs”, organized jointly by Université de Lyon 2, Ludwig-Maximilians-Universität München and Centre Marc Bloch Berlin ): Legitime Wissensbilder? Ein Vorschlag zur ästhetisch-epistemischen Aktion. / Legitimate Images of Knowledge? A Proposition on aesthetic-epistemic Actions.

BERLIN, Humboldt-Universität zu Berlin, 24.6.2009 (Invited speaker at the conference “Photography & the Aesthetics of Objectivity”): Aesthetic Epistemology and Versatile Objectivity: Santiago Ramón Y Cajal’s Ways to Visual Evidence.

PARIS, Institut Pasteur, 19.-21.3.2009 (invited speaker at the international conference “Microscopic Slides II: investigating a neglected historical resource”, organized jointly by the “International Max Planck Research Network History of Scientific Objects” and the Institut Pasteur, Paris): From the specimen to the drawing and back: Santiago Ramón y Cajal’s eye training.

BERLIN, Max Planck Institute for the History of Science – MPIWG, 11.-15.6.2008 (invited speaker at the international conference “Cultures of Seeing 3D and Beyond“, organized by Science Center, Tartu University Library, Tartu/Estonia; INSERM ERM206 – TAGC, Marseille; Max Planck Institute for the History of Science, Berlin; Konrad Lorenz Institute for Evolution and Cognition Research, Altenberg/Austria): “Placing oneself at an adequate point of view”. Santiago Ramón y Cajal on microscopic vision and drawing.

BERN, Institut für Kunstgeschichte – IKG der Universität Bern, 23.4.2008 (invited public lecture in the Lecture Series “Optical Concepts / Conceptual Optics from Antiquity to Modernity. Contributions to a common Enquiry”): Modus Videndi. Eine historische Betrachtung zwischen Sehen, Verbildlichen und Wissen, in drei Akten.

KÖLN, Zentrum für Moderneforschung der Universität Köln, 3.-5.3.2008 (invited speaker at the international conference “Die Lesbarkeit der Romantik. Material, Medium und Diskurs”): John Herschels Beobachtungspoetik.

DESSAU, Anhaltische Gemäldegalerie, 18.9.2007, also Görlitz, Kulturhistorisches Museum, 29.6.2007 (invited speaker for the opening of the exhibition „’Mit der Natur innig vertraut’. Christoph Nathe – Landschaftszeichner der Vorromantik“): Studieren und Bewundern. Christoph Nathe und seine Orte.

BERLIN, Max Planck Institute for the History of Science – MPIWG, 24.-25.5.2007 (invited speaker at the Workshop “Datensicherung. Schreiben und Zeichnen als Verfahren der Aufzeichnung”, organised by the Research Initiative „Knowledge in the Making. Drawing and Writing as Research Techniques“ at the Max Planck Institute for the History of Science – MPIWG and Art History Institute in Florence – Max Planck Institute / MPI): “Zeichnen und Sehen”. Überlegungen zum Primärcharakter der Datenaufnahme am Camera Lucida –Mikroskop.

NAPOLI, Stazione Zoologica Anton Dohrn, 17.-20.5.2007 (invited speaker at the Workshops ”Graphing Genes, Cells and Embryos” cosponsored by Stazione Zoologica Anton Dohrn, Naples and Max Planck Institute for the History of Science, Berlin):Observation and Judgment – Why Did a Prism Matter in Microscopical Drawing?

LONDON, London School of Economics – LSE, 23.1.2007 (invited lecture for the Public Research Seminar of the LSE Research Group “How well do facts travel?”): Image and Word. Robert Hooke’s Strategy of Knowledge Communication.

LONDON, Courtauld Institute of Art and London School of Economics – LSE, 22.-23.6.2006 (invited speaker for the key-note panel Shaping the Mind – Imagining the World: Perception, Cognition and Representation in the Arts and Sciencesat the Conference “Beyond Mimesis and Nominalism: Representation in Art and Science”, co-sponsored by Courtauld Institute of Art Research Forum, London School of Economics, Institute of Philosophy of the University of London, Imperial College London – e-Research Centre): Visual Membranes. Optical Drawing Devices and the ‘Subjective Objectivity’ of Vision and Representation in Early Nineteenth Century.

UTRECHT, Universiteitsmuseum, 15.4.2006 (invited Lecture at the Symposium of the Uqbar Foundation “A For Alibi”, 15 – 16 April 2006): Varying the Points of View – Negotiations Between Vision and Representation in History.

BERLIN, Max Planck Institute for the History of Science – MPIWG, 14.12.2005 (Workshop “How do Facts Travel?”, organized by MPIWG and London School of Economics – LSE): Commerce and the Spreading of Knowledge– Giovanni Battista Amici’s Sales Promotion Travels.

KARLSRUHE, ZKM-Zentrum für Kunst- und Medientechnologie Karlsruhe, 7.-8.5.2005 (invited speaker at the conference “The Picture’s Image. Wissenschaftliche Visualisierung als Komposit”): Instruments as devices of judgement? Drawing with the Camera lucida as composite procedure – now and then

MÜNCHENHistorisches Kolleg, 3.-5.6.2004 (invited speaker at the interdisciplinary conference “Verfeinertes Sehen. Optik und Farbe im 18. und frühen 19. Jahrhundert”):“Tasteless, insipid correctness” or “delicacy of discrimination”? Camera Obscura vs. Camera Lucida.

ROMA, Danish Academy, 5. – 7.6.2003 (invited speaker at the international conference “Internazionalismo e arti nazionali: Lo sviluppo di nuovi linguaggi artistici all’inizio dell’Ottocento a Roma. Due Giornate di Studio in relazione alla mostra La Maestà di Roma: da Napoleone all’unità d’Italia”): Scambio di vedute. Ruolo e significato degli strumenti ottici per il disegno (Points of view. Role and significance of optical drawing devices).

FIRENZE, Istituto Nazionale di Studi sul Rinascimento, 7.-9.11.2002 (invited speaker at the international conference “Il ritratto nell’Europa del Cinquecento. Arti, letteratura, società”): Artistic Identity Through the Paradox of Media. Painted Portraits of Venetian Sculptors and the Bozzetto’s Role.

FIRENZE, Kunsthistorisches Institut in Florenz– Max Planck Institute / MPI, 7.-12.10.2002 (invited speaker at the international conference “La Pittura Italiana nell’Ottocento”): Conoscenza ed esperienza: Approcci al paesaggio. Giacinto Gigante e la Camera Lucida. (Inquiry and experience. Approaches to landscape. Giacinto Gigante and the Camera Lucida).

FIRENZE, Kunsthistorisches Institut in Florenz– Max Planck Institute / MPI, 9.5.2001 (invited speaker at the „Wissenschaftskolloquium“): Sammler oder Künstler? Eine Neudeutung für Birmingham, oder: Bartolomeo dalla Nave ist Alessandro Vittoria.

Lehrberechtigung

Kunstgeschichte

Research / Forschung



Main interests:

History and Theory of Vision and Visualization, Relationship between Art and Science, Aesthetics and Epistemology of Image Production Processes, Concepts of Space, History and Theory of Landscape Painting, History and Theory of Drawing and Graphics, Early Modern Portraits, Methods of Art History and the History of Science.

Current Main Projects

  • VISUAL WORLDS - Vision, Visual Objects, and Visual Disciplines (Book project, co-authored with James Elkins - see here the Table of contents -, under contract with Oxford University Press). A large textbook on the visual world,  it will compete with existing textbooks on art, but it will also include images from biology, medicine, physics, and engineering; and it will integrate theories of vision from the arts, humanities, and sciences. This will be the first major, synthetic survey that no longer focuses on fine art (as in art history), popular culture (as in visual studies), or particular socio-economic contexts (as in anthropology and postcolonial theory), but addresses the sum total of writing on the subject of vision, visuality, and visual practices, in art, area studies, political theory, neurology, cognitive psychology, and other fields.
  • VISUALISATION. A CRITICAL SURVEY OF THE CONCEPT (Conference and book project, funded by: German Research Foundation / Deutsche Forschungsgemeinschaft – DFG, book under contract with LIT Verlag Berlin). The project explores the adequacy of visualization as a universal notion from an interdisciplinary and multicentered perspective that juxtaposes fields approaching the iconic process with different expectations: from Philosophy, Aesthetics and Epistemology, Literature and the Arts through Economics, Sociology, the Natural Sciences to Medicine, Neuroscience, Mathematics, Computational Physics and Data Processing. The starting point has been has been an international CONFERENCE (Program PDF) in April 2014.
  • INDUCTION OF VISIBILITY. An Attempt at the Notion of Aesthetic-Epistemic Action / INDUKTION VON SICHTBARKEIT. Ein Versuch zum Begriff der ästhetisch-epistemischen Aktion (Funded by: German Research Foundation / Deutsche Forschungsgemeinschaft – DFG). The project is about the nature of processes of visual transformation and imaging as operations that involve the interplay between an object, a seeing and judging subject, and the image s/he produces. I propose to define these operations in terms of the new notion “induction of visibility” as a category of visual and imaging action in its own right. Since it derives from and likewise provokes operations that are at the same time epistemic and aesthetic, I propose the notion of aesthetic-epistemic action for this category. RELATED PUBLICATION ONE ; RELATED PUBLICATION TWO

Past Main Projects

- 2010-2012ENCHANTED DRAWING. Framing Animation as an Imaging Culture (Funded by: German Research Foundation / Deutsche Forschungsgemeinschaft – DFG), a cooperation project with the Department of the History of Art – Cinema Studies, University of Pennsylvania, Philadelphia, and the Graduate Field Committee in Film Studies / Department of English of the University of Maryland. RELATED LINKS: Enchanted Drawing IEnchanted Drawing II

- 2003-2008 Head of the Open Digital Library Project Drawing with optical instruments. Devices and concepts of visuality and representation.
A project in cooperation with the Library and the IT-Group of the Max Planck Institute for the History of Science – MPIWG Berlin.
The open Digital Library is part of the International Open Access Network ECHO (European Cultural Heritage Online), <http://echo.mpiwg-berlin.mpg.de/content/optics>.
Funded by: German Research Foundation – DFG

- 2003-2007 Head of the Project "Vision and Representation between Aesthetic Experience and Scientific Objectivity" in cooperation with Lorraine Daston, Max Planck Institute for the History of Science – MPIWG Berlin. The project is a research Unit of the Cooperative Research Center – SFB 626 “Aesthetic Experience and the Dissolution of Artistic Limits”, Freie Universität Berlin.
Funded by: German Research Foundation - DFG.

- 2002 Research Project "Between Experience and the Real World: Landscape Painters, Natural Philosophers and Optical Drawing Devices 1806-1840". Kunsthistorisches Institut, Freie Universität Berlin.
Funded by: German Research Foundation - DFG.

- 1998-2000 Research Project "The Interaction of Art and Science. Its Character and Limits 1600-1900". Zentralinstitut für Kunstgeschichte, Munich.
Funded by: Ministry of Culture, State of Bavaria.