Ingeborg Reichle
Ingeborg Reichle, PhD, (born 1970) is Full Professor in Computational Media and Arts at The Hong Kong University of Science and Technology in Guangzhou, China. She is a contemporary art historian, cultural theorist, and sci-art curator. Her main research interests cover critical media studies, new media art history, computational aesthetics as well as the encounter of new media art with cutting-edge technologies such as biotechnology and synthetic biology, taking also into account artistic responses to systemic risks and global challenges such as climate change. She gained her M.A. in Art History, Sociology, and Classical Archaeology from the University of Hamburg, Germany, in 1998 and her Ph.D. from the Humboldt University Berlin, Germany, in 2004 with the dissertation Kunst aus dem Labor: Zum Verhältnis von Kunst und Wissenschaft im Zeitalter der Technoscience (Art Emerging from the Laboratory: On the Relationship of Art and Science in the Age of Technoscience), published in 2005 with Springer, where she also gained her habilitation Bilderwissen-Wissensbilder. Zur Gegenwart der Epistemologie der Bilder (Image knowledge — knowledge images: On the epistemology of images in the world of today) (2013). Her dissertation won a prestigious publication award from the Andrea von Braun Foundation. Before joining the CMA faculty, she was active as expert and co-curator of the 4th Resonances Initiative NaturArchy: Towards a Natural Contract which fostered the art–science policy nexus at the Centre for Advanced Studies at the Joint Research Centre (JRC) of the European Commission in Ispra, Italy. She also served as an expert for the Swiss Arts Council Pro Helvetia in Zurich, Switzerland, where she co-designed the NanoARTS program in collaboration with the Fribourg-based Adolphe Merkle Institute (AMI). Until 2024, she was a member of the Board of Trustees of the ZKM – Center for Art and Media Karlsruhe, where she was involved in a number of research exhibitions, including BioMedia: The Age of Media with Life-like Behavior (2021).
In recent years Ingeborg Reichle served also as Full Professor in the Department of Media Theory at the University of Applied Arts Vienna, Austria, the successor to the position formerly held by media artist and media theorist Peter Weibel. In Vienna she was also the founding chair of the Department of Cross-disciplinary Strategies (CDS), where she co-designed a new cross-disciplinary learning environment with an integrated BA study program on applied studies in art, science, philosophy, and global challenges. In Berlin, she held the position of a post-doctoral research fellow at the Berlin-Brandenburg Academy of Sciences and Humanities (BBAW) from 2005 until 2012 in the context of the interdisciplinary research groups Die Welt als Bild(The world as an image) and Bildkulturen (Image cultures). While she was a faculty member and PhD student in the Art History Department of the Humboldt University Berlin, Germany, from 1998 until 2003 she was also co-initiator and Principal Investigator on the large-scale research project PROMETHEUS: The Distributed Digital Image Archive for Research and Teaching.
Ingeborg Reichle was a Visiting Professor at the Facultad de Filosofia y Letras Instituto de Investigaciones Esteticas, Universidad Nacional Autonoma de Mexico (UNAM), Mexico, 2013–2014 and at the Centro da Filosofia das Ciências Faculdade de Ciências, University of Lisbon, Portugal, 2007, and a senior fellow at the Joint Research Centre (JRC), European Commission, Seville, Spain, 2023, at the Institute for Advanced Sustainability Studies (IASS), Potsdam, Germany, 2022, and at the Netherlands Institute for Advanced Study, Wassenaar, The Netherlands, 2006. She was a visiting scholar at the Center for Genomics and Systems Biology, New York University Abu Dhabi, UAE, 2023; at the Lorentz Centre, University of Leiden, The Netherlands, 2013; at the Department of Communications and New Media, National University of Singapore, 2012; and at the Chinese Academy of Sciences, Shanghai, China, 2006.
She is the author and co-editor of a number of books including Art in the Age of Technoscience: Genetic Engineering, Robotics, and Artificial Life in Contemporary Art, Springer: Vienna 2009; Plastic Ocean: Art and Science Responses to Marine Pollution, De Gruyter: Berlin, Boston 2021; IMAGE MATCH: Visueller Transfer, “Imagescapes” und Intervisualität in globalen Bildkulturen (Visual transfer, “imagescapes,” and intervisuality in global visual cultures), Fink Verlag, Munich, 2012; Atlas der Weltbilder (Atlas of images of the world), Akademie Verlag: Berlin, 2011. She has published over 100 articles in internationally respected journals and contributed many book chapters with publishers such as MIT Press, Springer, Brill, University of Chicago Press, Herder, Suhrkamp, Fink, and other publisher.
In recent years Ingeborg Reichle served also as Full Professor in the Department of Media Theory at the University of Applied Arts Vienna, Austria, the successor to the position formerly held by media artist and media theorist Peter Weibel. In Vienna she was also the founding chair of the Department of Cross-disciplinary Strategies (CDS), where she co-designed a new cross-disciplinary learning environment with an integrated BA study program on applied studies in art, science, philosophy, and global challenges. In Berlin, she held the position of a post-doctoral research fellow at the Berlin-Brandenburg Academy of Sciences and Humanities (BBAW) from 2005 until 2012 in the context of the interdisciplinary research groups Die Welt als Bild(The world as an image) and Bildkulturen (Image cultures). While she was a faculty member and PhD student in the Art History Department of the Humboldt University Berlin, Germany, from 1998 until 2003 she was also co-initiator and Principal Investigator on the large-scale research project PROMETHEUS: The Distributed Digital Image Archive for Research and Teaching.
Ingeborg Reichle was a Visiting Professor at the Facultad de Filosofia y Letras Instituto de Investigaciones Esteticas, Universidad Nacional Autonoma de Mexico (UNAM), Mexico, 2013–2014 and at the Centro da Filosofia das Ciências Faculdade de Ciências, University of Lisbon, Portugal, 2007, and a senior fellow at the Joint Research Centre (JRC), European Commission, Seville, Spain, 2023, at the Institute for Advanced Sustainability Studies (IASS), Potsdam, Germany, 2022, and at the Netherlands Institute for Advanced Study, Wassenaar, The Netherlands, 2006. She was a visiting scholar at the Center for Genomics and Systems Biology, New York University Abu Dhabi, UAE, 2023; at the Lorentz Centre, University of Leiden, The Netherlands, 2013; at the Department of Communications and New Media, National University of Singapore, 2012; and at the Chinese Academy of Sciences, Shanghai, China, 2006.
She is the author and co-editor of a number of books including Art in the Age of Technoscience: Genetic Engineering, Robotics, and Artificial Life in Contemporary Art, Springer: Vienna 2009; Plastic Ocean: Art and Science Responses to Marine Pollution, De Gruyter: Berlin, Boston 2021; IMAGE MATCH: Visueller Transfer, “Imagescapes” und Intervisualität in globalen Bildkulturen (Visual transfer, “imagescapes,” and intervisuality in global visual cultures), Fink Verlag, Munich, 2012; Atlas der Weltbilder (Atlas of images of the world), Akademie Verlag: Berlin, 2011. She has published over 100 articles in internationally respected journals and contributed many book chapters with publishers such as MIT Press, Springer, Brill, University of Chicago Press, Herder, Suhrkamp, Fink, and other publisher.
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la realización de una exhibición que curé en 2010 para el Museo de Cha-
rité de Historia de la Medicina en Berlín. En la exposición Jenseits des
Menschen / Beyond Humans se presentó la obra artística de Reiner Maria
Matysik, bioartista radicado en Berlín, como parte de la serie Interven-
ciones, la cual fue iniciada en 2009 por el museo, a fin de ofrecer a los
artistas contemporáneos un espacio de experimentación y promoción
del diálogo entre las artes y las ciencias. La colección de especímenes pa-
tológicos del reconocido médico Rudolf Virchow y las ruinas de su sala
de conferencias proporcionaron un ambiente adecuado para las interro-
gantes artísticas. En contraste con la visión histórica del museo acerca
del cuerpo humano, los objetos de intervención del artista fueron los
futuros diseños evolutivos humanos de un futuro biotecnológicamente
producido por el hombre.
En anteriores obras y proyectos, Matysik había planteado cuestiones
de bioética aun antes de pensar en el futuro de la evolución humana en
la era de los transgénicos y de los cultivos de tejidos; pero, en particular,
ganó gran reconocimiento como artista con sus modelos de organismos
postevolutivos y su visión de una evolución “activa”, es decir, de una evo-
lución controlada por el ser humano. La motivación de Matysik para mode-
lar cuerpos biológicos y crear prototipos de organismos futuros surgió de la convicción de que los grandes avances en las modernas ciencias de la vida tendrán consecuencias drásticas en los procesos de evolución biológica, así como también en el arte.
Colleges and universities are simultaneously affected and challenged by this transformation. Universities of the future will surely continue in Wilhelm von Humboldt's tradition of scholarship as the unity of research, instruction and education, but they will also have to face the challenges which accompany the digitalization of the world in the 21st century. The use of new media in learning and education not only alters the substantive and structural demands made upon educational institutions. Such media also offer new possibilities for the processing of knowledge, for its presentation as well as for its pedagogical mediation in the lecture hall or seminar room.
Summary Description:
The project interactive Homepage of the Humboldt University's Art History Seminar which I will demonstrate, is promoting and implementing a broad, long-term integration of new media both as a means of teaching, learning and communication and the use of three databases situated at the seminar in class, like the CENSUS (Census of Antique Works of Art and Architecture Known in the Renaissance), IMAGO („digitale Diathek") and the Database for Art and Virtual Reality.
Central Arguments:
A notion of network-based 'distance learning' will be developed through the new organization of information provided by the Art History Seminar in the World Wide Web. The goal here is to provide productive support for actual classroom learning through 'pools of knowledge,' which will cooperatively managed and which can be tailored to the personal needs and interests of the course participants.Two elements are of central importance here, both of which are equally concerned with teaching and research:
The development of database-supported client-server systems, which support the processing and networking of digital information, makes possible the distribution of knowledge at a reasonable price and with the efficient use of an institute's personnel. These systems, which are accessible via the Internet at great distances and independent of space and time, provide the optimal presuppositions for multimedia self-directed study.
Bringing together isolated sources of knowledge and organizing them properly according to unified standards and interfaces based on internet technologies provides the discipline of art history with new und yet unrealized opportunities. These include the generation of new cognitive connections as well practical possibilities for professional use on the basis of a "best practice strategy". Such "knowledge management" conceptions require, on the one hand, a centrally directed general authority which can regulate, on the technological-administrative level, the overall organization of information in the emerging pool of knowledge.
Ernst Carl Gustav Grosse was born into a Protestant family in Stendal on July 29, 1862, to Ernst Ludwig Grosse (b. 1831), a court judge and later insurance director in Halle, and Clara, née Gößling (b. 1841). The Grosse family (Ernst also had two elder sisters) moved from Stendal to Magdeburg in the 1870s, where Grosse attended the Klostergymnasium in Magdeburg until his graduation in 1882. In 1882, Grosse began his studies of philosophy, literature, history, and the natural sciences in Berlin, Munich, and Heidelberg, and completed his military service in Berlin from October 1883 to October 1884. From 1889 Grosse held a teaching position in philosophy and ethnology at the University of Freiburg. He lectured on "primitive" art and from 1896 also gave courses on Japanese art such as "Introduction to the Fine Arts of Japan" (Einführung in das Studium der bildenden Kunst der Japaner). Five years on, in 1903, Grosse published his first article on the subject, "Japanese Art in Europe" (Japanische Kunst in Europa), in the Vienna-based newspaper Die Zeit. With his interest in non-Western art, Grosse entered foreign territory with his writing, followed in later years by the experiences of travel and extensive collecting of East Asian art abroad, primarily in Japan.
Grosse's responsibilities in Freiburg included the supervision of some of the university's collections as well as the holdings of the Museum of Natural History and Ethnology (Museum für Natur- und Völkerkunde) founded by the city of Freiburg in 1895.6 Grosse was committed to expanding the collections and in 1902 was honored with the title of "Director of the Municipal Art Collection" (Direktor der Städischen Kunstsammlung). He soon put forward a new plan for the collection that included the acquisition of East Asian art objects and the art of indigenous peoples.
The original concept for establishing an ethnographic collection at Freiburg's Museum of Natural History and Ethnology was inspired by a plan by the German cultural historian Gustav Klemm (1802-1867). Klemm was known for his ideas regarding the description of an ideal Ethnographic Museum set forth in his 1843 essay "Fantasia on a Museum of Cultural History of Humankind" (Fantasie über ein Museum für die Culturgeschichte [sic] der Menschheit). The later 1895 concept for the Freiburg museum by zoologist Adolf Fritze (1864-1927) and the 1901 handwritten concept "Plan for the Establishment of the Municipal Collection of Ethnology in Freiburg" (Plan für die Einrichtung der Städtischen Sammlung für Völkerkunde zu Freiburg) were both based on Klemm's ideas.