The Framings Conference brings together various strands of international research on frames that took place over the past 5 years. It aims at extending the conceptual and material framework of interdisciplinary research which outflanks and includes the boundaries of the Humanities, Social- and Natural Sciences.

The conference will be organized by the Institute of Arts and Cultural Studies (Copenhagen University) the Centre for Textile Research (Copenhagen University), in coopearation with the Institute of Art History (Düsseldorf University).

Sections Outline

The Sections of the conference will not least because of its interdisciplinary nature be loosely grouped around the following basic functions of the frames and their discourses, which are primarily related to the visual and conceptual frameworks, performativity and cultural techniques as well as the interdisciplinary:

Frames: discreteness, boundary, exclusiveness
Frameworks: medium, continuity, performativity
Framings: visuality, spatiality, temporality
Disciplinary: methodological margins and metaphors

Few ideas for further reflection

□ By recognizing the dialectical nature of the frame in an art historical and philosophical context, diverse ‘classical’ implications as discreteness, boundary and exclusiveness have constituted a function of an intermediate zone, medium, continuity and context, which performs the function of inclusiveness as well. The implicite mediality of the frame has confirmed that the separation of parergon and ergon leads either ad absurdum or beyond the visuality to a kind of indefinite ‘temporarily’ zone, so setting not least incremental and processual questions in focus.

□ The putative paradigms of the ‘exit out of the picture’ (as known from the 1960/-70s) or the ‘(re-)entry into the image’ (as known from the immersive media practices from the 1990s) have shown  straight out that the conceptual framing of the stored images seeks for deeper clarifications: The sprawling frame- and space-metaphors of the Internet confirm this the same way as the related context of the World Wide Web, where ‘Framing’ (as introduced with the Browser Netscape Navigator 2) has been serving for years as an apparently irreplaceable design element, being accompanied by the discussions about its technical and legal aspects.

□ The analog audiovisual medium of video with its inherent capacity to feed-back (and therefore manufacture self-generating visual frames) has already demonstrated the capability to meet the function of an automatic, programmable ‘frame generator’. The performativity of the frame in turn occurs even beyond the image and mirror-mediated ‘visuality’ as a ‘metaphor generator’, which places itself either behind (meta-pherein) or in front of the image. Diverse framing techniques are used in visual poetry providing visual meaning and (re-)opening the text to the visuality.

□ Frames are also on the material level negotiated as elements of order, as thresholds, authoritative frames, borders or starting points (borderlines, prétexte, ora, orsa, ordures): Textiles are not only used for framing artworks (curtains, veils, draperies) and other real or depicted artifacts, Textile studies deal a lot with frames of textiles (borders, hems, starting borders, seams) and the related questions of framing the body or structuring individuality within society.