{"id":646,"date":"2025-09-03T15:55:51","date_gmt":"2025-09-03T15:55:51","guid":{"rendered":"https:\/\/qiq.mjf.mybluehost.me\/?post_type=people&#038;p=646"},"modified":"2025-09-12T08:16:48","modified_gmt":"2025-09-12T08:16:48","slug":"roland-meyer","status":"publish","type":"people","link":"https:\/\/digitalculturesandarts.ch\/de\/people\/roland-meyer\/","title":{"rendered":"Prof. Dr. Roland Meyer"},"content":{"rendered":"<ul class=\"is-style-default wp-block-social-links has-icon-color has-icon-background-color is-layout-flex wp-block-social-links-is-layout-flex\"><li style=\"color:#111111;background-color:#eeeeee;\" class=\"wp-social-link wp-social-link-bluesky has-contrast-color wp-block-social-link\"><a href=\"https:\/\/bsky.app\/profile\/bildoperationen.bsky.social\" class=\"wp-block-social-link-anchor\"><svg width=\"24\" height=\"24\" viewbox=\"0 0 24 24\" version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M6.3,4.2c2.3,1.7,4.8,5.3,5.7,7.2.9-1.9,3.4-5.4,5.7-7.2,1.7-1.3,4.3-2.2,4.3.9s-.4,5.2-.6,5.9c-.7,2.6-3.3,3.2-5.6,2.8,4,.7,5.1,3,2.9,5.3-5,5.2-6.7-2.8-6.7-2.8,0,0-1.7,8-6.7,2.8-2.2-2.3-1.2-4.6,2.9-5.3-2.3.4-4.9-.3-5.6-2.8-.2-.7-.6-5.3-.6-5.9,0-3.1,2.7-2.1,4.3-.9h0Z\"><\/path><\/svg><span class=\"wp-block-social-link-label screen-reader-text\">Bluesky<\/span><\/a><\/li>\n\n<li style=\"color:#111111;background-color:#eeeeee;\" class=\"wp-social-link wp-social-link-mail has-contrast-color wp-block-social-link\"><a href=\"mailto:roland.meyer@uzh.ch\" class=\"wp-block-social-link-anchor\"><svg width=\"24\" height=\"24\" viewbox=\"0 0 24 24\" version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M19,5H5c-1.1,0-2,.9-2,2v10c0,1.1.9,2,2,2h14c1.1,0,2-.9,2-2V7c0-1.1-.9-2-2-2zm.5,12c0,.3-.2.5-.5.5H5c-.3,0-.5-.2-.5-.5V9.8l7.5,5.6,7.5-5.6V17zm0-9.1L12,13.6,4.5,7.9V7c0-.3.2-.5.5-.5h14c.3,0,.5.2.5.5v.9z\"><\/path><\/svg><span class=\"wp-block-social-link-label screen-reader-text\">Mail<\/span><\/a><\/li><\/ul>\n\n\n\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\">\n<p class=\"\">Roland Meyer ist seit Juli 2024 DIZH Br\u00fcckenprofessor f\u00fcr Digitale Kulturen und K\u00fcnste an der Universit\u00e4t Z\u00fcrich und der Z\u00fcrcher Hochschule der K\u00fcnste (ZHdK). Zuvor forschte er als Bild- und Medienwissenschaftler im Sonderforschungsbereich \u00abVirtuelle Lebenswelten\u00bb an der Ruhr-Universit\u00e4t Bochum zu virtuellen Bildarchiven.<br>&nbsp;<br>Im Zentrum von Roland Meyers Arbeit stehen die vernetzten Bildkulturen der Gegenwart. Dabei fragt er insbesondere nach den neuen \u00e4sthetischen und operativen Funktionen digitaler Bilder angesichts der Entstehung globaler digitaler Plattformen der Bildzirkulation, der zunehmenden Durchdringung des Alltags mit mobilen vernetzten Ger\u00e4ten sowie der algorithmischen Massenauswertung von Bilddaten. Er hat unter anderem zur Geschichte und Gegenwart der algorithmischen Gesichtserkennung, zu Praktiken der Bildforensik, zur Navigation in digital erweiterten R\u00e4umen sowie zu generativer KI und synthetischen Bildwelten publiziert.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<div class=\"animated fadeIn delay-100ms o-anim-offset-20px wp-block-group is-layout-flow wp-block-group-is-layout-flow\">\n<p style=\"font-style:normal;font-weight:600\" class=\"\">Publikationen<\/p>\n\n\n\n<div class=\"wp-block-coblocks-accordion\">\n<div class=\"wp-block-coblocks-accordion-item\"><details><summary class=\"wp-block-coblocks-accordion-item__title\">Monographien<\/summary><div class=\"wp-block-coblocks-accordion-item__content\">\n<p class=\"\"><em>Gesichtserkennung<\/em>&nbsp;(Reihe&nbsp;<em>Digitale Bildkulturen<\/em>, hg. von Annekathrin Kohout und Wolfgang Ullrich), Berlin: Wagenbach 2021&nbsp;<a href=\"https:\/\/www.wagenbach.de\/buecher\/titel\/1280-gesichtserkennung.html\">Link<\/a><\/p>\n\n\n\n<p class=\"\"><em>Operative Portr\u00e4ts. Eine Bildgeschichte der Identifizierbarkeit von Lavater bis Facebook<\/em>, Konstanz: Konstanz University Press 2019&nbsp;<a href=\"https:\/\/www.k-up.de\/9783835391130-operative-portraets.html\">Link<\/a><\/p>\n<\/div><\/details><\/div>\n\n\n\n<div class=\"wp-block-coblocks-accordion-item\"><details><summary class=\"wp-block-coblocks-accordion-item__title has-background\" style=\"background-color:#eeeeee\">Herausgeberschaften<\/summary><div class=\"wp-block-coblocks-accordion-item__content\" style=\"border-color:#eeeeee\">\n<p class=\"\"><em>Bilder unter Verdacht. Praktiken der Bildforensik<\/em>, Bd. 19 der&nbsp;<em>Bildwelten des Wissens<\/em>, Berlin: De Gruyter 2024&nbsp;<a href=\"https:\/\/www.degruyter.com\/document\/doi\/10.1515\/9783111085692\/html\">Link<\/a><br><br><em>Medien\/Architekturen<\/em>&nbsp;(Schwerpunktthema der&nbsp;<em>ZfM \u2013 Zeitschrift f\u00fcr Medienwissenschaft&nbsp;<\/em>12), Gastredaktion mit Christa Kamleithner und Julia Weber, Berlin\/Z\u00fcrich: Diaphanes 2015&nbsp;<a href=\"https:\/\/zfmedienwissenschaft.de\/heft\/archiv\/12-12015-medien-architekturen\">Link<\/a><br><br><em>Architekturwissen. Grundlagentexte aus den Kulturwissenschaften. Bd. 2: Zur Logistik des sozialen Raumes<\/em>, hg. mit Susanne Hauser und Christa Kamleithner, Bielefeld: transcript 2013<br><br><em>Architekturwissen. Grundlagentexte aus den Kulturwissenschaften. Bd. 1: Zur \u00c4sthetik des sozialen Raumes<\/em>, hg. mit Susanne Hauser und Christa Kamleithner, Bielefeld: transcript 2011<br><br><em>Topologien der Bilder<\/em>, hg. mit Inge Hinterwaldner, Carsten Juwig und Tanja Klemm, M\u00fcnchen: Fink 2008<\/p>\n<\/div><\/details><\/div>\n\n\n\n<div class=\"wp-block-coblocks-accordion-item\"><details><summary class=\"wp-block-coblocks-accordion-item__title has-background\" style=\"background-color:#eeeeee\">Aufs\u00e4tze und Essays (Auswahl)<\/summary><div class=\"wp-block-coblocks-accordion-item__content\" style=\"border-color:#eeeeee\">\n<p class=\"\">Virtuelle Resituierung: Das Projekt \u00abDigital Benin\u00bb, in: <em>Zeithistorische Forschungen\/Studies in Contemporary History<\/em> (2024-2025), H. 1, <a href=\"https:\/\/doi.org\/10.14765\/zzf.dok-2868\">Link<\/a><\/p>\n\n\n\n<p class=\"\">Operative Image Spaces. Navigating Virtual Museum Collections, <em>Swiss Journal of Sociology<\/em>, 51 (2), 2025, <a href=\"https:\/\/doi.org\/10.26034\/cm.sjs.2025.6926\">Link<\/a><\/p>\n\n\n\n<p class=\"\">Gespenster im Archiv. Maschinelles Sehen als Arbeit am Bild, in: Internationale Photoszene K\u00f6ln (Hg.): <em>Artists Meets Archives #3. K\u00fcnstlerische Interventionen im Archiv<\/em>, K\u00f6ln: Herbert von Halem 2025, 77\u201387<\/p>\n\n\n\n<p class=\"\">Platform Realism. AI Image Synthesis and the Rise of Generic Visual Content, in: <em>Transbordeur<\/em> 9 (2025), <a href=\"https:\/\/doi.org\/10.4000\/13dwq\">Link<\/a><\/p>\n\n\n\n<p class=\"\">It\u2019s a flat world. The Synthetic Realities of Sora, in: <em>rrrreflect. Journal of Integrated Design Research<\/em>, Special Issue 1 (2024), <a href=\"https:\/\/rrrreflect.org\/special-issue-1\/its-a-flat-world-the-synthetic-realities-of-sora\">Link<\/a><\/p>\n\n\n\n<p class=\"\">Muster als Masken.\u00a0Synthetische Gesichter in algorithmisch vernetzten Bildkulturen, in: Kirsten Dickhaut et. al. (Hg.): <em>Persona \u2013 \u00fcber die Funktion der Maske in den K\u00fcnsten<\/em>, Berlin \/ Heidelberg; Metzler 2025, 17\u201332<\/p>\n\n\n\n<p class=\"\">Bilder, in: Florian Arnold et. al. (Hg.), Digitalit\u00e4t von A bis Z, Bielefeld: transcript 2024, 41\u201349<br><br>\u00dcberwachung, in: ebd., 337\u2013345<br><br>Welt ohne Schwerkraft. \u00dcber OpenAIs Sora und den Flow der Bilder, in:\u00a0<em>cargo. Film Medien Kultur\u00a0<\/em>62 (2024)<br><br>Spekulative Strategien. KI-Bilder, Memesis und wilde Forensis, in:\u00a0<em>Fotogeschichte<\/em>\u00a0172 (2024): \u00abVermessene Bilder\u00bb, hg. von Mira Anneli Na\u00df und Steffen Siegel, 38\u201344\u00a0<br><br>Digitale Medien\/Digital Media, in: Oliver Elser et. al. (Hg.):\u00a0<em>Protestarchitektur. Barrikaden, Camps, raumgreifende Taktiken 1830\u20132023<\/em>, Z\u00fcrich: Park Books 2023, 134\u2013138<br><br>Operative Portraits. Or How Our Faces became Big Data, in: Abe Geil, Tom\u00e1\u0161 Jirsa (Hg.):\u00a0<em>Reconfiguring the Portrait<\/em>, Edinburgh: Edinburgh University Press 2023, 21\u201342\u00a0<br><br>Navigation im erweiterten Raum. Interface-Architekturen um 1970, in: Moritz Gleich, Christa Kamleithner (Hg.):\u00a0<em>Medium unter Medien. Architektur und die Produktion moderner Raumverh\u00e4ltnisse\u00a0<\/em>(Reihe\u00a0<em>Bauwelt Fundamente<\/em>), Basel: Birkh\u00e4user 2023, 279\u2013299<br><br>\u2039Everything that happens to a photo\u203a. \u00dcber analoge und digitale Protokolle der Bildlogistik, in: Peter Plener, Niels Werber, Burkhardt Wolf (Hg.):\u00a0<em>Das Protokoll\u00a0<\/em>(Reihe\u00a0<em>AdminiStudies. Formen und Medien der Verwaltung<\/em>), Heidelberg: Metzler 2023, 201\u2013211<br><br>The New Value of the Archive: AI Image Generation and the Visual Economy of \u2039Style\u203a, in:\u00a0<em>IMAGE<\/em>\u00a037(1), 2023, 100-111,\u00a0<a href=\"https:\/\/image-journal.de\/the-new-value-of-the-archive\/\">Link<\/a><br><br>Digitale Kunst: Bildermaschinen, in: nd, 2. Juni 2023,\u00a0<a href=\"https:\/\/www.nd-aktuell.de\/artikel\/1173690.digitalisierung-digitale-kunst-bildermaschinen.html\">Link<\/a><br><br>Es schimmert, es gl\u00fcht, es funkelt \u2013 Zur \u00c4sthetik der KI-Bilder, in: <em>54books<\/em>, 20. M\u00e4rz 2023\u00a0<a href=\"https:\/\/54books.de\/es-schimmert-es-glueht-es-funkelt-zur-aesthetik-der-ki-bilder\/\">Link<\/a><br><br>Diesseits des Mausoleums. \u00dcber Digital Benin und die Zukunft virtueller Sammlungen, in:\u00a0<em>cargo. Film Medien Kultur<\/em>\u00a057 (2023), 48\u201352<br><br>Wilde Forensis. Zur Ikonologie digitaler Bildevidenz, in: J\u00f6rg Probst (Hg.):\u00a0<em>Politische Ikonologie. Nach Martin Warnke<\/em>, Berlin: Reimer 2022, 267\u2013282<br><br>Im Bildraum von Big Data. Unwahrscheinliche und unvorhergesehene Suchkommandos: \u00dcber Dall-E 2, in:\u00a0<em>cargo Film Medien Kultur<\/em>\u00a055 (2022), 50\u201353<br><br>Experimental indices: Situational assemblages of facial recognition (mit Asko Lehmuskallio), in:\u00a0<em>MAST \u2013 The Journal of Media Art Study and Theory<\/em>\u00a03.1 (2022), 85\u2013112,\u00a0<a href=\"https:\/\/www.mast-journal.org\/vol-3-no-1-2022\">Link<\/a>\u00a0<br><br>Signal kommt, in:\u00a0<em>Bildf\u00e4den<\/em>, 10.02.2022, Schlaufen-Verlag,\u00a0<a href=\"https:\/\/schlaufen-verlag.de\/blog\/signal-kommt\">Link<\/a><br><br>Logistik der Bildermassen. Operative Bildlichkeit als blinder Fleck der ikonischen Wende, in: Jonas Etten, Julian Jochmaring (Hg.): Nach der ikonischen Wende.\u00a0<em>Aktualit\u00e4t und Geschichte eines Paradigmas<\/em>, Berlin: Kadmos 2021, 106\u2013124<br><br>Unsichtbare Megastrukturen. Die U-Bahn als urbanistisches Imaginationsarsenal, in: Ralf Liptau, Verena Pfeiffer-Kloss, Frank Schmitz (Hg.):\u00a0<em>Underground Architecture Revisited<\/em>, Berlin: Icomos 2021, 103\u2013110\u00a0<a href=\"https:\/\/openarchive.icomos.org\/id\/eprint\/2891\/2\/K046-74.pdf\">Link<\/a><br><br>Unsichtbare Gesichter. Zur Bildgeschichte der Gesichtserkennung (dt.\/frz.), in:\u00a0<em>Regards Crois\u00e9s<\/em>\u00a010 (2020), 12\u201329; frz. als: Des visages invisibles. Vers une histoire des images de reconnaissance faciale, in: ebd., 30\u201343\u00a0<a href=\"https:\/\/journals.openedition.org\/regardscroises\/538\">Link<\/a><br><br>Gesichtsbildformate 1860\/1960. Disd\u00e9ri, Warhol und der Primat der Zirkulation, in: Magdalena Nieslony, Yvonne Schweizer (Hg.):\u00a0<em>Format. Politiken der Normierung in den K\u00fcnsten ab 1960<\/em>, M\u00fcnchen: Edition Metzel 2020, 170\u2013183<br><br>Formatting Faces. Standards of Production, Networks of Circulation and the Operationalization of the Photographic Portrait, in: Marek Jancovic, Axel Volmar, Alexandra Schneider (Hg.):\u00a0<em>Format Matters: Standards, Practices, and Politics in Media Cultures<\/em>, L\u00fcneburg: Meson Press 2020, 147\u2013166\u00a0<a href=\"https:\/\/meson.press\/books\/format-matters\/\">Link<\/a><br><br>From Artefacts to Interfaces: Gui Bonsiepe and the Re-Definition of Industrial Design, c. 1970, in:\u00a0<em>Interface Critique<\/em>\u00a02 (2019), 235\u2013241,\u00a0<a href=\"https:\/\/interfacecritique.net\/journal\/meye\/\">Link<\/a><br><br>Jenseits der \u00c4hnlichkeit. Erkennungsdienstliche Identifizierung, daktyloskopische Mustererkennung und die Operationalisierung des Bildvergleichs um 1900, in: Matthias Bruhn, Gerhard Scholtz (Hg.):\u00a0<em>Der vergleichende Blick: Formanalyse in Natur- und Kulturwissenschaften<\/em>, Berlin: Reimer 2017, 69\u201388<br><br>Fremde Muster. \u00dcbertragungswege der fr\u00fchen Daktyloskopie, in: Irina Gradinari, Dorit M\u00fcller, Johannes Pause (Hg.):\u00a0<em>Versteckt \u2013 Verirrt \u2013 Verschollen. Reisen und Nichtwissen<\/em>, Wiesbaden: Reichert 2016, 367\u2013387<br><br>Operative Portr\u00e4ts. Formate und Protokolle erkennungsdienstlicher Bildproduktion um 1900, in: Renate W\u00f6hrer (Hg.):\u00a0<em>Wie Bilder Dokumente wurden<\/em>, Berlin: Kadmos 2016, 121\u2013139<br><br>Augmented Crowds. Identit\u00e4tsmanagement, Gesichtserkennung und Crowd Monitoring, in: Inge Baxmann, Timon Beyes, Claus Pias (Hg.):\u00a0<em>Soziale Medien \u2013 Neue Massen<\/em>, Berlin\/Z\u00fcrich: Diaphanes 2014, 103\u2013118, engl. als: Augmented Crowds. Identity Management, Face Recognition, and Crowd Monitoring, in: dies. (Hg.):\u00a0<em>Social Media \u2013 New Masses<\/em>, Chicago: University of Chicago Press 2016, 101\u2013116<br><br>Orte im erweiterten Raum. Zur Mikrologistik des urbanen Alltags (dt.\/engl.), in:\u00a0<em>A Space Called Public\/Hoffentlich \u00d6ffentlich<\/em>, Reader zur gleichnamigen Ausstellung im \u00f6ffentlichen Raum der Stadt M\u00fcnchen, kuratiert von Elmgreen &amp; Dragset, K\u00f6ln: Walther K\u00f6nig 2013, 300\u2013309<br><br>Urban Icons. Architektur und globale Bildzirkulation (mit Christa Kamleithner), in:\u00a0<em>Informationen zur modernen Stadtgeschichte<\/em>\u00a0(IMS) 2\/2011: Urban Icons, 17\u201331<br><br>Im leeren Zentrum der Netze. Ein Versuch \u00fcber Superschurken und kriminelle Genies, in:\u00a0<em>Kritische Berichte. Zeitschrift f\u00fcr Kunst- und Kulturwissenschaften<\/em>\u00a01\/2011, Jg. 39:\u00a0<em>Superhelden<\/em>, hg. von Joseph Imorde und J\u00f6rg Scheller, 135\u2013152<br><br>Politik der Unbestimmtheit. Jacques Ranci\u00e8re und die Grenzen des \u00e4sthetischen Regimes, in:\u00a0<em>Kritische Berichte. Zeitschrift f\u00fcr Kunst- und Kulturwissenschaften<\/em>\u00a0<em>1\/2010, Jg. 38: Das Politeske<\/em>, hg. von Joseph Imorde, 19\u201332<br><br>Fast Nichts. Lekt\u00fcren des Staubs, in:\u00a0<em>Zeitschrift f\u00fcr Kulturwissenschaften 1: Fremde Dinge<\/em>, hg. von Michael C. Frank, Bettina Gockel, Thomas Hauschild, Dorothee Kimmich, Kirsten Mahlke, Bielefeld: transcript 2007, 113\u2013124<br><\/p>\n<\/div><\/details><\/div>\n<\/div>\n<\/div>\n<\/div>","protected":false},"template":"","class_list":["post-646","people","type-people","status-publish","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Prof. Dr. Roland Meyer - digital cultures and arts<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/digitalculturesandarts.ch\/de\/people\/roland-meyer\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Prof. Dr. Roland Meyer - digital cultures and arts\" \/>\n<meta property=\"og:description\" content=\"Roland Meyer has been DIZH Bridge Professor for Digital Cultures and Arts at the University of Zurich and the Zurich University of the Arts (ZHdK) since July 2024. Previously, he was a postdoctoral fellow at the Collaborative Research Centre \u00abVirtual Lifeworlds\u00bb at the Ruhr University Bochum, where he worked on virtual image archives.&nbsp;Roland Meyer&#8217;s work [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/digitalculturesandarts.ch\/de\/people\/roland-meyer\/\" \/>\n<meta property=\"og:site_name\" content=\"digital cultures and arts\" \/>\n<meta property=\"article:modified_time\" content=\"2025-09-12T08:16:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/digitalculturesandarts.ch\/wp-content\/uploads\/2025\/09\/895B4A5F-AF82-4E6F-8B19-6ABCAA25A352.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2048\" \/>\n\t<meta property=\"og:image:height\" content=\"1365\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/digitalculturesandarts.ch\\\/people\\\/roland-meyer\\\/\",\"url\":\"https:\\\/\\\/digitalculturesandarts.ch\\\/people\\\/roland-meyer\\\/\",\"name\":\"Prof. Dr. Roland Meyer - 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