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 32
... argument that Plato had a creative mind and was in awe of artistic inspiration in the sense that he saw it as divinely inspired with his stronger assertions that artistic inspiration is often undependable , base , or imitative ( i.e. ...
... argument that Plato had a creative mind and was in awe of artistic inspiration in the sense that he saw it as divinely inspired with his stronger assertions that artistic inspiration is often undependable , base , or imitative ( i.e. ...
Page 38
... arguments are essentially in line with the text-based philosophical interpretations that drive Consciousness Studies ... argument has provided the foundation for art history as a discipline, so she mirrors those in her field who are more ...
... arguments are essentially in line with the text-based philosophical interpretations that drive Consciousness Studies ... argument has provided the foundation for art history as a discipline, so she mirrors those in her field who are more ...
Page 39
... argument. Reading this book with his earlier story of art in mind, the imbalance is quite striking. For example, his early book devoted over a hundred pages to medieval art. The final publication summarizes the years 400-1400 CE in a ...
... argument. Reading this book with his earlier story of art in mind, the imbalance is quite striking. For example, his early book devoted over a hundred pages to medieval art. The final publication summarizes the years 400-1400 CE in a ...
Page 40
... argument , is to warn his readers against trying to seduce their audience by means of verbal display . Gombrich fully explains ( Gombrich 2001 ) that Cicero is warning that just as a master artist can fool us with crudity that is ...
... argument , is to warn his readers against trying to seduce their audience by means of verbal display . Gombrich fully explains ( Gombrich 2001 ) that Cicero is warning that just as a master artist can fool us with crudity that is ...
Page 41
... argument never directly addresses whether the dichotomy of perfect representation and crudity is ultimately a useful opposition , although his failure to deal with the history of Western art fully and in a parallel fashion when probing ...
... argument never directly addresses whether the dichotomy of perfect representation and crudity is ultimately a useful opposition , although his failure to deal with the history of Western art fully and in a parallel fashion when probing ...
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