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. |
From inside the book
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Page 8
... hands of gods who pull the strings that make him dance. The third group characterized Sophocles as a “pure artist,” admired the way Sophocles developed this exciting play and saw the gods as simply a part of the machinery of the plot ...
... hands of gods who pull the strings that make him dance. The third group characterized Sophocles as a “pure artist,” admired the way Sophocles developed this exciting play and saw the gods as simply a part of the machinery of the plot ...
Page 11
... hand acquaintance with works of art and how many of them either . . . knew the art they talked about only through engravings, or else sieved their ideas out of the empty air”1 (Ivins 1978: 174). Indeed earlier historians of art as well ...
... hand acquaintance with works of art and how many of them either . . . knew the art they talked about only through engravings, or else sieved their ideas out of the empty air”1 (Ivins 1978: 174). Indeed earlier historians of art as well ...
Page 17
... hand, we can identify 8 To say that the history of art theory is complex is an understatement, to say the least. Changing fashions and fluid definitions of what “art” and “artist” mean plague areas of overlap that are worthy of in-depth ...
... hand, we can identify 8 To say that the history of art theory is complex is an understatement, to say the least. Changing fashions and fluid definitions of what “art” and “artist” mean plague areas of overlap that are worthy of in-depth ...
Page 18
... hand does not negate their minds were involved with ideas. Instead she ably details the artisan tradition simultaneously was active within this context, explaining that craft was never put aside once art gained entry into the “liberal ...
... hand does not negate their minds were involved with ideas. Instead she ably details the artisan tradition simultaneously was active within this context, explaining that craft was never put aside once art gained entry into the “liberal ...
Page 19
... hands-on knowledge of natural materials and the ways they had learned to manipulate them over time (Smith 2004). As I discuss below, the active process of experimentation used in developing their artwork is (and was) likely to be ...
... hands-on knowledge of natural materials and the ways they had learned to manipulate them over time (Smith 2004). As I discuss below, the active process of experimentation used in developing their artwork is (and was) likely to be ...
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 aesthetic Alberti allowed argument art history artists autostereogram brain Cambridge Carleton Watkins CAVE Cézanne Cézanne's cognitive color composition concept Consciousness Studies contemporary creative Cubism culture debates defined demonstrate depict developed Divine Comedy earlier early Early Netherlandish Painting Euclidean Euclidean geometry example experience experimental explains Eyck’s Frank Stella geometry Gombrich Greek Hockney human ideas illusion images innovation invention Jan van Eyck Kandinsky Klee knowledge Leonardo light London look mathematics metaphor Michelangelo mind modalities Modern narrative nature nineteenth century non-Euclidean non-Euclidean geometry objects offers oil paint optical painter perception perspective philosophical photographic physical picture pigments Plato printed projects questions reality relationship Rembrandt Renaissance representation Röntgen’s scientific scientists sense space speak stereogram surface synesthesia synesthetes techniques theory tradition trajectory Turrell twentieth century University Press Vasari viewer virtual reality vision visual art words X-ray York Zeki Zeki's