At present, it is not only in the fields of film/mediarchive/art that the concept of the image is at the centre of numerous debates, but it also increasingly appears to be a focal point of analyses which reflect society as a whole. The re-definition of the concept of the image in connection with technological developments in image production, manipulation and presentation have undoubtedly enhanced this "explosion" of figurativeness.

The international conference "In (Between) the Images" is explicitly focussed on central paradigms of the contemporary, apparently more and more hybrid production of moving images - both analogue and electronic/digital images -: not in the sense of a technology-oriented discourse, however, but also with regard to new types of (also social) dispositives as are produced by such image formations.

The phenomenon of the (internal and external) disclosure of image spaces, which can be traced in many pieces of artistic works, as well as the multiplying of perspectives and the increasingly experimental relation to the spectators will be explored from various main perspectives which will deal with both theoretical bases and, primarily, aspects of spatiality and perception, i.e. an appropriation of bodies and spaces by images:

What kinds of images are these, what kinds of interpretations and spaces of perception do the various forms of screens and image spaces refer to? What new type of "aesthetics of behaviour" is depicted by these new image spaces? How to define those - conceptual, fictitious - image spaces which appropriate media-based moving images, turning the spectator into a "spect-actor"? Do these complex levels of images - layered against and towards each other - still aim at the production of meaning, do they tell stories? What are the consequences of all this for production and mediation?

In theoretic lectures and debates, in the presentation of current projects and in the thematisation of the aspects of production and mediation, these questions will, among others, be the main focus of the conference. Thus, "In (Between) the Images" aims at the eminent modification of interpreting procedures and perception spaces - a modification which turns images and spaces into fluctuating constallations where the border between images and spaces can no longer be defined as a surface and where image and spectator do not seem to be in any hierarchical relation but rather to revolve around each other.

http://www.thing.at/art.image/