Vaizdinis posūkis : vaizdai - žodžiai - kūnai - žvilgsniai

LTKultūros tyrimų klausimai, kuriuos šioje knygoje kiek apibendrintai pavadinau vaizdinio posūkio klausimais, jaudino mane visą pastarąjį dešimtmetį. Išstudijavusi aibę garsių ir menkiau žinomų teoretikų veikalų, skaitydama pagal juos parengtą ir kasmet atnaujinamą paskaitų kursą Vilniaus dailės akademijos studentams, taip pat kartkartėmis mėgindama naujai pažvelgti į jau matytus ar dar nematytus Lietuvos dailininkų ir fotografų kūrinius, ilgainiui pastebėjau, kad pamatinių idėjų ir esminių įžvalgų yra kur kas mažiau nei tekstų ar paveikslų, ir jos jau galėtų sudaryti tam tikrą bendrą vaizdą, apibūdinantį regimąją kultūros plotmę. Monografija - logiškas šios intelektinės patirties rezultatas, ir stengiausi ją parašyti tokią, kokią kadaise pati būčiau norėjusi perskaityti. Knyga išleista Lietuvos mokslo tarybos „Nacionalinei lituanistikos plėtros 2009-2015 metų programai" skirtomis lėšomis, mano galva, visiškai pelnytai. Lietuvos dailės paveldo tyrimai pripažinti lituanistikos sritimi, bet dailės kūrinius ar kitos paskirties vizualius objektus įmanoma pagrįstai, patikimai susieti su šalies visuomenės ir kultūros raida tik kaip medžiagiškus dirbinius ar rašto laikmenas, o tai, kas juose svarbiausia - vaizdai, kuriuos jie leidžia pamatyti, - neturi tautybės nei pilietybės. Jie sklinda nepaisydami valstybių sienų, užtikrina ryšį su europine kultūra, o pasitelkti tautinio tapatumo reikmėms neretai išduoda, tad verta aiškintis ir jų vartojimą vieno ar kito laikotarpio visuomenėje, ir kitas jų prasmės bei poveikio galimybes. Tikiu, kad visų laikų vaizdų misija - tapti dabarties intelektinės kultūros dalimi. Juos tereikia tinkamai prakalbinti, o dialogas su klajūnais įmanomas tik platesnėje teorinių diskursų terpėje.Tik išmanant šiandien pasaulio moksle aktualias prieigas lituanistiką įmanoma plėtoti ne vien kaip taikomąjį, bet ir kaip fundamentalų mokslą, konstruoti savus, bet kartu kitiems pažinius teorinius tyrimų objektus. Šis darbas, kuriame pamėginau apžvelgti, palyginti ir susisteminti dailėtyrininkų, filosofų, medijų ir vaizdo teoretikų tekstus, vienaip ar kitaip sietinus su vaizdinio posūkio idėja, būtų šioks toks indėlis kuriant prielaidas Lietuvos dailės paveldo, šiuolaikinio meno ir masinės medijų kultūros tyrimams tapti pažangiems, vertingiems ir įdomiems tarptautiniu mastu. Vienas svarbiausių mano tikslų buvo paskatinti šiandien ypač reikalingus Lietuvos dailėtyros, taip pat iš dalies ir kitų humanitarinių mokslų, savižinos procesus. [Iš Pratarmės]Reikšminiai žodžiai: Vizualioji kultūra; Vaizdo antropologija; Semiotika; Fenomenologija; Interpretacija; Visual culture; Image anthropology; Semiotics; Phenomenology; Interpretation.

ENThe pictorial turn, detected in the humanities in the early 1990S, is an increased attention to images, originating from their wide consumption in all spheres of life, caused by media technologies. The everyday meaning of this concept refers to the stream of digital images and the related unfounded belief that the time of written text is being replaced by the epoch of images. Hovvever, in a scholarly sense the pictorial turn (and/or iconic turn) does not indicate the turn from language to image, but the extension of the linguistic turn to the sphere of images. It could be qualified as the routine renewal of humanities (art history, philosophy, cultural studies, media studies, literature studies), manifested by the fact that images become objects and tools of research, that is, as a reform analogous to the previous invasion of politicised critical discourses formed in a poststructuralist context. Nonetheless, it also resulted in an interdisciplinary discourse that has been developing for twenty years. Its most noticeable fields are still the English language-based Visual Culture and Visual Studies, originating from the reception of 20th century French philosophy, and at least a few German language-based image sciences (Bildwissenschaften) that question the German tradition of interpretative art history, aesthetics and history of culture. Interdisciplinary research of images, which interprets and systematizes previous image-related theories, intensified after 2000. In the middle of the last decade its development reached the point of enhanced self-reflection and summing-up of results, and today it applies vvide theoretic resources. This resulted in a certain repertory of specific ąuestions, themes, statements and references that recur in research programmes, selected theoretical texts, readers, and in numerous surveys of the discourse. Now it gives us quite a clear image about the visual dimension of culture and its reflection.The task of this book is to delineate this image, that is, to systematically survey and present the pictorial turn discourse through a progression of interpretations of selected texts, to offer a certain example of its order. One of the main goals of this work was to stimulate the needed processes of self-reflection in art history and humanities in Lithuania. One of the incentives to write it is the statė of Lithuanian culture which is contradictory and paradoxical tovvards images. The technologies of production and diffusion of images, which allowed anyone to become their own producers and everyday consumers, took the Lithuanian society, even less ready and more in need of visual "literacy" than the West, by surprise. The Lithuanian media could rather be classified as iconoclastic and the rare "image wars" testify that the visual symbols are taken seriously. The linguistic turn was only recently discovered in such spheres as public policy, public relations and advertising, which are now enjoying the performative power of language. Political scientists do not treat images as active participants of sočiai interactions and the political scene. Contemporary artists, and not historians, work in the field of video history. Although the interest in image and visual research (especially written in English), has been grovving among the intellectuals, no studies or textbooks on the topic have appeared to this day. The image science is better represented by media studies and semiotics, although traces of the pictorial turn can be found in the philosophy and art history of the last decade.Lithuanian art historians were forced to expand their research object because of the visual heritage of the Grand Duchy of Lithuania, vvhich clearly did not conform to the modern notion of art, and because of other historical periods that were characterised not by prospering art but by a specific visual culture and policy. The sociologic approach that was entrenched in Lithuanian art history for some time mostly examined the sočiai conditions of the production and diffusion of visual artefacts and avoided choosing the image itself as a point of departure. Nevertheless, the last decade saw a grovving interest in their place and functions in the cultural context of a certain period, as well as in the interaction betvveen images and texts. This book could be used as an introduction to visual research. The "verbai aspects" in its subtitle signify theories, interpretative approaches and scientific disciplines that, according to contemporary conception, constitute an integral part of "visual cultures" and also examine various other aspects of relations betvveen images and \vords. "Mediatic aspects" point to the mediality and/or materiality, the necessary condition for the existence of images. "Perceptual aspects" refer to the ąuestions of image perception and impact. [From the publication]