Innovation and Visualization: Trajectories, Strategies, and MythsAmy Ione's Innovation and Visualization is the first in detail account that relates the development of visual images to innovations in art, communication, scientific research, and technological advance. Integrated case studies allow Ione to put aside C.P. Snow's "two culture" framework in favor of cross-disciplinary examples that refute the science/humanities dichotomy. The themes, which range from cognitive science to illuminated manuscripts and media studies, will appeal to specialists (artists, art historians, cognitive scientists, etc.) interested in comparing our image saturated culture with the environments of earlier eras. The scope of the examples will appeal to the generalist. |
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Page 55
... colors with given musical notes and keys. (e.g. see Cytowic 1983; Harrison 2001). Yet, reportedly, Scriabin claimed the key of C-Minor was red, while Rimsky-Korsakov perceived it as white (Harrison 2001). The confusing and haphazard ...
... colors with given musical notes and keys. (e.g. see Cytowic 1983; Harrison 2001). Yet, reportedly, Scriabin claimed the key of C-Minor was red, while Rimsky-Korsakov perceived it as white (Harrison 2001). The confusing and haphazard ...
Page 56
... colors.” To composer Alexander Scriabin the key of F-sharp major appeared violet in color (Myers 1914). Writer Vladimir Nabokov noted in his autobiography Speak, Memory (1947: 21); “[t]he long 'aaa' of the English alphabet has for me ...
... colors.” To composer Alexander Scriabin the key of F-sharp major appeared violet in color (Myers 1914). Writer Vladimir Nabokov noted in his autobiography Speak, Memory (1947: 21); “[t]he long 'aaa' of the English alphabet has for me ...
Page 57
... color associations with sounds, digits and other numerical data. In fact, they reported highly specific and invariant color sensations evoked by vowels, consonants, musical notes, the sounds of instruments, numbers, dates, days of the ...
... color associations with sounds, digits and other numerical data. In fact, they reported highly specific and invariant color sensations evoked by vowels, consonants, musical notes, the sounds of instruments, numbers, dates, days of the ...
Page 58
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Page 59
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Contents
7 | |
11 | |
23 | |
37 | |
55 | |
5 Books Rhetoric and Visual Art | 75 |
Innovation Practice | 87 |
Painting Photography and Vision Science | 109 |
Painting | 155 |
New Genres | 175 |
11 Perception Visual Art and the Brain | 197 |
Conservation and Restoration Studies | 217 |
Entering the Twentyfirst century | 229 |
Notes on Chapter Title Quotes | 233 |
Bibliography | 235 |
Index | 265 |
Other editions - View all
Innovation and Visualization: Trajectories, Strategies, and Myths Amy Ione No preview available - 2005 |
Innovation and Visualization: Trajectories, Strategies, and Myths Amy Ione No preview available - 2005 |
Common terms and phrases
abstract active allowed appear approach areas argument artists associated body brain bring Cézanne changed cognitive color complex composition concept conclusions consciousness contemporary continue create culture debates defined demonstrate developed discussed drawings earlier early effect elements evident example experience explains Eyck figures further geometry Greek hand human ideas images important influenced innovation invention kind knowledge later light London look means method mind move nature nineteenth century noted objects offers painter painting particularly perception perspective philosophical photographic physical picture Plato possible practice present Press printed produced projects publication questions reality reflect relationship represent representation result scientific scientists seems seen sense space speak studies surface synesthesia techniques theory things thought tradition turn understanding University viewer vision visual visual art writing X-ray York