This in turn raises questions about the purpose of some conservation policies which set out to preserve, in the name of some historical truth, material components or arrangements at odds with the ambiance as it was first conceived. This call for papers concerns a broad range of researchers and practitioners, at the meeting point between history and ambiance, in the following fields:.
Papers should focus on one or more of the issues raised above, without historical periods, examples and case studies being over restrictive. A range of sources may be studied. Authors should submit a to words outline of their proposed article to the editors of the special issue. Proposals and the articles themselves may be submitted in French or English. Following preliminary acceptance authors should submit their complete article, from to words by 15 October at the very latest. Publication of the special issue is planned for September Subjects History of art Heritage Architecture.
Exploring sensory sources over time How may we gain access to past ambiances? Revealing imaginary ambiances What more is to be said of all these imaginary ambiances, dreamlike visions, ideas of projected buildings and places, the material realization of which has transformed, perhaps obliterated, the original intention? Papers we would like to see This call for papers concerns a broad range of researchers and practitioners, at the meeting point between history and ambiance, in the following fields: Architecture, town planning and design; Building rehabilitation, heritage studies; History of the senses, art, cinema and broadcasting; Anthropology, sociology, literature.
Submission of proposals Authors should submit a to words outline of their proposed article to the editors of the special issue. The deadline for proposals is 15 May Schedule Launch of the call for papers: 15 February Deadline for reception of proposals: 15 May to words Response to authors: 15 June Deadline for reception of complete articles: 15 October to words Projected publication of the special issue: September Date s Friday, May 15, Contact s Nathalie Simonnot courriel : simonnotnathalie [at] gmail [dot] com.
Reference Urls Ambiances - Revue internationale sur l'environnement sensible, l'architecture et l'espace urbain. Information source Nathalie Simonnot courriel : simonnotnathalie [at] gmail [dot] com.
L Incomprehensible Litterature Reel Visuel
Exploring the layers of meaning within oil paintings, photographs and graphic art, Berger argues that when we see, we are not just looking - we ware reading the language of images. Vision in context : historical and contemporary perspectives on sight New York ; London : Routledge, , 1 vol. V p. In recent theory, vision has been as a means of control, but this view disregards the question of why contemporary theory is critical of vision, yet generous towards listening and language. Thinking about these questions entails consideration of historical perspectives on vision. This collection of original essays brings together historical studies and contemporary theoretical perspectives on vision.
Historical studies focus on Ancien Greece, the Renaissance, the Enlightenment, and the nineteenth century, and provide a rigorous background for several new, exciting articles on vision and its bearings for feminism, race, sexual orientation, art, and film. This volume is the first of its kind to juxtapose historical and contemporary perspectives.
She is the author of The interpretation of the flesh and History after lacan. Martin Jay is professor of history at the University of California, Berkeley. Contents : Acknowledgments v Introduction 1. Vision in context : reflections and refractions, Martin Jay 1 Part one : Historical perspectives 2. Refracting classical vision : changing cultures of viewing, Simon Goldhill 15 3. Sight and vision in medieval Christian thought, Janet Martin Soskice 29 4. The visibility of visuality, Peter de Bolla 63 6. Imaginary identity : space, gender, nation, Helga Geyer-Ryan 9.
The gaze in the closet, Mieke Bal Hoogland In Undressing cinema, Stella Bruzzi explores how, far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between the cinema, fashion and costume history, gender, queer theory and psychoanalysis. Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and feminity are constructed through clothing.
Her wide-ranging study encompasses : - haute couture in film and the rise of the movie fashion designer, from Chanel to Gaultier - the eroticism of period costume in such film as The Piano and The Age of Innocence - clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction - generic male chic in Goodfellas, Reservoir dogs and Leon - pride, costume and masculinity in blaxploitation films, Boyz N the Hood and New Jack City - drag and gender confusion in cinea, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando Stella Bruzzi is a lecturer in film at Royal Holloway, Univeristy of London.
She has published widely in the areas of cinema and cultural studies and is a regular cotnributo to Sight and Sound. Cinema and haute couture : Sabrina to Pretty woman, Trop belle pour toi! Visual theory : painting and interpretation Cambridge : Polity Press, , 1 vol. Semiology, phenomenology, feminism, analytical philosophy and marxism have all contributed to a lively debate among art historians and have helped to stimulate new research.
This volume draws together some of the authors who have been most prominent and influential in recent methodological debates and enables them to develop their views. The contributions include Norman Bryson on semiology and the limits of meaning ; Arthur C. Danto on description and pictorial perception ; Rosalind Krauss on the reception of recent french critical theory ; Linda Nochlin on gender and power ; Michael Podro on depiction ; David Summers on image and metaphor ; and Richard Wollheim on the role of the spectator. Each of these major contributions is critically discussed by a number of other scholars in the field.
The result is a unique and engaging volume which will establish itself as a key reference point for the discussion of art historical method. It will be of interest not only to students of art history and the visual arts, but also to students in literature, cultural studies and the humanities generally. Contents : List of illustrations vii Preface x Acknowledgements xi Introduction 1 1. Using language to do business as usual, Rosalind Krauss 79 Commentary : The politics of arbitrariness, Norman Bryson 95 4. What the spectator sees, Richard Wollheim Commentary : Painting after art? Depiction and the golden calf, Michael Podro Commentary : Poussin and the rhetoric of depiction : a response to Michael Podro, Timothy Erwin 6.
Description and the phenomenology of perception, Arthur C. Danto Commentary : Minding the animals -or, can pigeons be hopeful? Real metaphor : towards a redefinition of the 'conceptual' image, David Summers Commentary : On the critical value of categorie : a response to David Summers, David Radcliffe Commentary : Real artefacts : a comment on 'conceptual art', Shelly Errington Notes on contributors Index Visual culture : images and interpretations Middletown : Wesleyan University Press, , 1 vol.
XXIX p. Lecturers, organizers, participants, and visitors met daily for six weeks to chart, discuss, and argue over the impact of contemporary theory on the discipline of art history. We came together from an assortment of academic departments art history, studio arts, philosophy, history, film studies, classics, theater, anthropology, psychology, and literary studies and from a variety of educational institutions, from technical schools to graduate programs.
Especially important to the organizers of the institute was the mix of geographical areas and of international perspectives, for we were concerned about the potential isolation of American art history from European cultural studies. This was the second time such an institute was held, and the second time the editors collected the lectures given for the occasion.
All of the essays anthologized in that volume were "theoretical" ; most concentrated on questions arising from debates in analytic philosophy and phenomenology. In this second anthology, we focus on the impact of recent post- structuralist thinking on traditional art historical analysis. Both institutes were designed to encourage discussion of theoretical perspectives in art history. The organizers of the two symposia felt that not many other forums existed for debating the issues that have enlivened so many other fields in the humanities and social sciences, from history, philosophy, and anthropology to literary studies.
We simply wanted to see what would happen to the conception of the discipline as a discipline if theoretical issues were brought to the fore. Norman Bryson is Professor of Fine Arts at Harvard University and author of Looking at the overlooked : four essays on still life painting The blind spot reveals why our faith in scientific certainty is a dangerous illusion, and how only by embracing science's inherent ambiguities and paradoxes can we truly appreciate its beauty and harness its potential.
Crackling with insights into our most perplexing contemporary dilemmas, from climate change to the global financial meltdown, this book challenges our most sacredly held beliefs about science, technology, and progress. At the same time, its shows how the secret to better science can be found where we least expect it- in the uncertain, the ambiguous, and the inevitably unpredictable. William Byers explains why the subjective element in scientific inquiry is in fact what makes it so dynamic, and deftly balances the need for certainty and rigor in science with the equally important need for creativity, freedom, and downright wonder.
Drawing on an array of fascinating examples - from Wall Street's overreliance on algorithms to provide certainty in uncertain markets, to undecidable problems in mathematics and computer science, to Georg Cantor's paradoxical but true assertion about infinity - Byers demonstrates how we can and must learn from the existence of blind spots in our scientific and mathematical understanding.
The blind spot offers an entirely new way of thinking about science, one that highlights its strenghts and limitations, its unrealized promise, and, above all, its unavoidable ambiguity. It also points to a more sophisticated approach to the most intractable problems of our time. William Byers is professor emeritus of mathematics and statistics at Concordia University in Montreal. He is the author of How mathematicians think : using ambiguity, contradiction, and paradox to create mathematics Princeton. Contents : Preface : The revelation of uncertainty vii 1. The blind spot 1 2. The blind spot revealed 17 3.
Certainty or wonder? A world in crisis! Ambiguity 69 6. Self-reference : the human element in science 91 7. The mystery of number 8. Science as the ambiguous search for unity 9. The still point Conclusion : living in a world of uncertaintly Acknowledgments Notes References Index The subjects of art history : historical objects in contemporary perspective Cambridge : Cambridge University Press, , 1 vol. XII- p. Examining a variety of theoretical approaches, the editors and contributors to this volume provide interpretations of the history and contemporary relevance of such important methodologies as semiotics, phenomenology, feminism, gay and lesbian studies, museology, and computer applications, among other topics.
Each chapter, specially commissioned for this volume, gives a fresh perspective on the topic by demonstrating how a particular approach can be applied to the understanding and interpretation of specific works of art. This volume will be a timely contribution to the current debate on the theory and practice of art history.
Immanuel Kant and the Bo a rders of art history, Mark A. Cheetham 6 2.
Art history's hegelian unconscious : naturalism as nationalism in the study of early 25 netherlandish painting, Keith Moxey 3. Spirits and ghosts in the historiography of art, Michael Ann Holly 52 Part two : The subjects and objects of art history 4. Seeing signs : the use of semiotics for the understanding of visual art, Mieke Bal 74 5. The politics of feminist art history, Patricia Mathews 94 6.
Phenomenology and the limits of hermeneutics, Stephen Melville 8. Photo-logos : photography and deconstruction, David Phillips 9. The work of art and its beholder : the methodology of the aesthetic of reception, Wolfgang Kemp Levine Passing between art history and postcolonial theory, James D. Art history and museums, Stephen Bann Museums and galleries as Sites for artistic intervention, Gerald McMaster Art history's significant other Interpreting the void : architecture and spatial anxiety, Anthony Vilder Computer applications for art history, William Vaughan Index An image of power, or the power of an image?
Maximilien Ier forge son image Franck Collard, Conclusions. Cambridge Mass. Collection October books. Although it primarily adresses events and developments before , it was written in the midst of a transformation in the nature of visuality probably more profound than the break that separates medieval imagery from Renaissance perspective. The rapid development in little more than a decade of a vast array of computer graphics techniques is part of a sweeping reconfiguration of relations between an observing subject and modes of representation that effectively nullifies most of the culturally established meanings of the terms observer and representation.
Jonathan Crary is professor of art history at Columbia University. Contents : Acknowledgments ix 1. Modernity and the problem of the observer 1 2. The camera obscura and its subject 25 3. Subjective vision and the separation of the senses 67 4. Techniques of the observer 97 5.
Visionary abstraction Bibliography Index Crary argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to the second half the nineteenth century. Contents : Acknowledgments ix Introduciton 1 1. Modernity and the problem of attention 11 2.
There would be nothing to describe, explain, remark on, interpret, or complain about. Without things, we would, in short, stop speaking ; we would become as mute as objects are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without losing their gritty materiality. Things that talk aims to escape the opposition between positivist facts and cultural reading s that bifurcates the current historiography of both art and science. Confronting this impasse from an interdisciplinary perspective, each author singles out one object for close attention : a Bosch drawing, the freestanding column, a Prussian island, soap bubbles, ealry photographs, glass flowers, Rorschach blots, newspaper clippings, paintings by Jackson Pollock.
Each object is revealed to be a node around which meanings accrete thickly. But not just any meanings : what these things are made of and how they are made shape what they can mean. Neither the pure texts of semiotics nor the brute objects of positivism, these things are satured with cultural significance. Things become talkative when they fuse matter and meaning ; they lapse into speechlessness when their matter and meanings no longer mesh. Each of the nine evocative objects examined in this book had its historical moment, when the match of this thing to that thought seemed irresistible.
At such junctures, certain things become objects of fascination, association, and enless consideration. Things that talk fleetingly realizes the dream of a perfect language, in which words and world merge. Norton and Elaine M. Norton Wise and Elaine M. Jones Notes Contributors Index Lorraine Daston and Peter Galison chart the emergence of objectivity in the mid-nineteenth-century sciences - and show how the concept differs from alternatives, truth-to-nature and trained judgment.
This is a story of lofty epistemic ideals fused with workaday pratices in the making of scientific images. From the eighteenth through the early twenty-first centuries, the images that reveal the deepest commitments of the empirical sciences - from anatomy to crystallography - are those featured in scientif atlases : the compendia that teach practitioners of a discipline what is worth looking at and how to look at it.
Atlas images define the working objects of the sciences of the eye : snowflakes, galaxies, skeletons, elementary particles. Galison and Daston use atlas images to uncover a hidden history of scientific objectivity and its rivals. Whether an atlas maker idealizes an image to capture the essentials in the name of truth-to-nature or refuses to erase even the most incidental detail in the name of objectivity or highlights patterns in the name of trained judgment is a decision enforced by an ethos as well as by an epistemology. As Daston and Galison argue, atlases shape the subjects as well as the objects of science.
To pursue objectivity - or truth-to-nature or trained judgment - is simultaneously to cultivate a distinctive scientific self wherein knowing and knower converge. The point at which they visibly converge is in the very act of seeing - not as a separate individual but as a member of a particular scientific community. Embedded in the atlas image are the traces of consequential choices about knowledge, persona, and collective sight. Objectivity is a book addressed to any one interested in the elusive and crucial notion of objectivity - and in what it means to peer into the world scientifically.
Contents : Preface to the paperback edition 3 Preface to the first edition 9 Prologue : Objectivity shock 11 I. Epistemologies of the eye 17 Blind sight 17 Collective empiricism 19 Objectivity is new 27 Histories of the scientific self 35 Epistemic virtues 39 The argument 42 Objectivity in shirtsleeves 51 II.
Truth-to-nature 55 Before objectivity 55 Taming nature's variability 63 The idea in the observation 69 Four-eyed sight 84 Drawing from nature 98 Truth-to-Nature after objetivity III. Mechanical objectivity Seeing clear Photography as science and art Automatic images and blind sight Drawing against photography Self-surveillance Ethics of objectivity IV.
The scientific self Why objectivity? Structural objectivity Objectivity without images The objective science of mind The real, the objective, and the communicable The color of subjectivity What even a god could not say Dreams of a neutral language The cosmic community VI.
Trained judgment The uneasiness of mechanical reproduction Accuracy should not be sacrificed to objectivity The art of judgment Practives and the scientific self VII. Representation to presentation Seeing is being : truth, objectivity, and judgment Seeing is making : nanofacture Right depiction Acknowledgments Notes Index Its instruments include not only the naked senses but also tools such as the telescope and microscope, the questionnaire, the photographic plate, the notebook, the glassed-in beehive, and myriad other ingenious inventions designed to make the invisible visible, the evanescent permanent, the abstract concrete.
Yet observation has almost never been considered as an objets of historical inquiry in itself. This wide-ranging collection offers the first examination of the history of scientific observation in this own right, as both epistemic category and scientific practice. Histories of scientific observation features engaging episodes drawn from across the spectrum of the naturel and human sciences, ranging from meteorology, medicine, and natural history to economics, astronomy, and psychology.
The contributions spotlight how observers have scrutinized everything - from seaweed to X-ray radaition, household budgets to the emotions - with ingenuity, curiosity, and perseverance verging on obsession. This book makes a compelling case for the epistemic significance of the long, surprising history of scientific observation, a history full of innovations that have enlarged the possibilities of perception, judgment, and reason. Lorraine Daston is director of the Max Planck Institute for the history of science in Berlin and is visiting professor in the Committee on social thought at the University of Chicago.
Contents : Introduction : Observation observed, Lorraine Daston and Elizabeth Lunbeck 1 Part 1 : Framing the history of scientific observation, Introduction 11 1. Observation in the Margins, , Katharine Park 15 2. Observation rising : birth of an epistemic genre, , Gianna Pomata 45 3.
LFC Magazine #8 - Gilles Legardinier Avril by La Fringale Culturelle // LFC Magazine - Issuu
The color of blood : between sensory experience and epistemic sgnificance, Domenico Bertoloni Meli 5. Seeing is believing : professor Vagner's wonderful world, Michael D. Gordin 6. Frogs on the maltelpiece : the practice of observation in daily life, Mary Terrall 8. Sorting things out : the economict as an armchair observer, Harro Maas 9.
Empathy as a psychoanalytic mode of observation : between sentiment and science, Elizabeth Lunbeck Part 4 : Observing new things : objects Introduction Seeking parts, looking for wholes, Mary S. Morgan Seeing the blusc-h : feeling emotions, Otniel E. Dror Visualizing radiation : the photographs of Henri Becquerel, Kelley Wilder Part 5 : Observing together : communities Introduction The geography of observation : distance and visibility in eighteenth-century botanical travel, Daniela Bleichmar The world on a page : making a general observation in the eighteenth century, J.
Andrew Mendelsohn Coming to attention : a commonwealth of observers during the Napoleonic wars, Anne Secord List of contributors Index XVI p. In this ambitious book, Whitney Davis provides new answers to these difficult and important questions by presenting an original framework for understanding visual culture. Grounded in the theoretical traditions of art history, A general theory of visual culture argues that, in a fully consolidated visual culture, artifacts and pictures have been made to be seen in a certain way ; what Davis calls "visuality" is the visual perspective from wich certain culturally constituted aspects of artifacts and pictures are visible to informed viewers.
In this book, Davis provides a systematic analysis of visuality and describes how it comes into being as a historical form of vision. Expansive in scope, A general theory of visual culture draws on art history, aesthetics, the psychology of perception, the philosophy of reference, and vision science, as well as visual-cultural studies in history, sociology, and anthropology. It provides penetrating new definitions of form, style, and iconography, and draws important and sometimes surprising conclusions for example, that vision does not always attain to visual culture, and that visual culture is not always wholly visible.
The book uses examples from a variety of cultural traditions, from prehistory to the twentieth century, to support a theory designed to apply to all human traditions of making artifacts and pictures - that is, to visual culture as a worldwide phenomenon. Whitney Davis is the George C.
Pardee professor of history of art at the university of California, Berkeley. He is the author of many books, most recently Replications : archaeology, art history, psychoanalysis and Queer beauty : sexuality and aesthetics from Winckelmann to Freud and Beyond. Contents : Illustrations xi Preface xv Part one : The successions of visual culture 1. Vision has an art history 3 2. Vision and the successions to visual culture 11 Part two : What is cultural about vision? What is formalism? The stylistic succession 75 5. The close reading of artifacts 6.
Successions of pictoriality 7. The iconographic succession 8. Visuality and pictoriality Part three : What is visual about culture? How visual culture becomes visible Visuality and the cultural succession Notes Index Paris : Presses universitaires de France, , 1 vol. X- p. Collection Premier cycle. Sommaire : Chapitre I. Photographies, affiches, films ou caricatures touchent au politique, au social, au culturel et au religieux. Sommaire : I. Brecht, Benjamin, Kraus et la presse. Observation et imagination.
Cadrages, intervalles et chocs. Prendre position, prendre connaissance, prendre forme Distanciation. Brecht avec Socrate, Hegel, Marx. Histoire et imagination : les contradictions de Brecht. Prendre parti, rejoindre le Parti. Prendre position : du message au montage. Montage et Umfunktionierung : formes, forces et chocs efficaces V. Le document rendu plus ambigu, cruel, dialectique.
La survivance des formules du pathos. Prendre position et prendre le rythme. Lyrisme de guerre, entre la peur et le jeu VI. La Kriegsfibel entre Krieg dem kriege! Regarder comment bougent les corps : Hitler vu par Chaplin. Le montage comme ivresse des images. Connaissance par les gouffres Illumination. Rimbaud, illuminateur de la Commune. Engagement majeur vs position mineure. Les deux sens de la Beschreibung et la connaissance par les images selon Benjamin. Visual culture regards images as central to the representation of meaning in the world.
But despite the current proliferation of studies and programs in visual culture, there seems to be no consensus within the field itself as to its scope and objectives, definitions, and methods. In Visual culture, Margaret Dikovitskaya offers an overview of this new area of study in order to reconcile its diverse theoretical positions and understand its potential for further research. Her aim is to show how visual culture can avoid what she defines as the Scylla and Charybdis that threaten it : the lack of a specific object of study given its departure from the traditional hierarchies of art history and the expansion of the field to the point of incoherence as it seems to subsume everything related to the cultural and the visual.
Bringing together considerations of theory and practice, Dikovitskaya charts the future of visual culture programs in the twenty-first century Margaret Dikovitskaya is landsdowne professor of art history at the University of Victoria, British Columbia. Contents : Acknowledgments ix Introduction 1 About this book 1 The study of visual culture : a bibliographic essay 6 Chapter 1.
Theoretical frameworks 47 Genealogy and the object s of visual studies 47 Between art history and cultural studies : methodology of visual studies 64 Chapter 2. Mitchell An interview with David N. Quels hommes furent les pionniers de ces aventures transdisciplinaires? Quels objets furent les supports de ces discours novateurs? Reformed theology and visual culture : the protestant imagination from Calvin to Edwards.
Here, William Dyrness explores the roots of reformed theology in an attempt to counteract these prevailing notions. Studying sixteenth-century Geneva and England, seventeenth and eighteenth-century puritan New England, Dyrness argues that, though this tradition impeded development of particular visual forms, it encouraged others, especially in areas of popular culture and the ordering of family and community. Exploring the theology of JohnCalvin, William Ames, John Cotton, and Jonathan Edwards, Dyrness shows how this tradition created a new aesthetic of simplicity, inwardness, and order to express underlying theological commitments.
With over forty illustrations, this book will prove invaluable to those interested in the reformed tradition. He is the author of over a dozen books on theology and culture including The earth is god : a theology of american culture and Visual faith : art, theology and workship in dialogue Contents : List of figures viii preface xiii 1. Introduction : imagination, theology and visual culture 1 2. Medieval faith and the ambiguity of sight 16 3.
John Calvin : seeing God in the preache word 49 4. England and the visual culture of the Reformation 90 5. William Ames, John Cotton and seventeenth-century puritanism 6. Seventeenth-century visual culture 7. Jonathan Edwards : the world as image and shadow Epilogue Bibliography Index The visible self : global perspectives on dress, culture, and society. New York : Fairchild publications, , 1 vol. The visible self, third edition, presents a systematic approach to analyzing these daily rituals that we all share - not simply the act of putting on clothing, but also cleansing the body and adorning it.
Using western and non-western examples, the authors take a three-pronged approach to understanding dress across cultures, uncovering its relationship to human beings as biological, aesthetic, and social animals. Readings collected from classic books and academic journals enable students to appreciate the complexity of dress from a multidisciplinary perspective that includes anthropology, sociology, economics, fine arts, and the natural sciences.
The classification system of dress 2 2. Dress, culture, and society 34 3. Records of the types of dress 64 4. Written interpretations of dress 90 Readings fort Part I I. The baths, Alev Lytle Croutier I. Body ritual among the Nacirema, Horace Miner I. Eurocentrism in the study of ethnic dress, Suzanne Baizerman, Joanne B. Eicher, and Catherine Cerny I. Many disciplines, many rewards : inuit clothing research, Betty Kobayashi Issenman I. Dress as a reflection and sustainer of social reality : a cross-cultural perspective, Jean A.
Hamilton and James W. Physical appearance and dress 6. Pressure of menswear on the neck in relation to visual performance, Leonora M. Watkins II. Domestic-scale culture and dress 8. Political-scale culture and dress 9. Berns III. Schreier III. In service of the dragon throne, John E. Vollmer III. Helping or hindering? Controversies around the international second-hand clothing trade, Karen Tranberg Hansen Part IV : Art, aesthetics, and dress The art of creating dress Ideals for individual appearance and the art of dress The art of dress : conformity and individuality Erekosima and Joanne B.
The sweetness of fat : health, procreation, and sociability in rural Jamaica, Elisa J. Scruffy is badge of pride, but some physicists long for cool, Malcolm W. Browne IV. Stabb Part V : Dress and the future Your future and dress Reading for Part V V.
Late eighteenth-century music and visual culture Turnhout : Brepols, , V p. Nevertheless, there has been relatively little research to actively consider and thoroughly examine the symbiotic relationship between looking and listening during the period. In this volume, nine prominent scholars employ a set of interdisciplinary methodological tools in order to come to a comprehensive understanding of the rich tapestry of eighteenth-century musical taste, performance, consumption and aesthetics.
While the link between visual material and musicological study lies at the heart of the research presented in this collection of essays, the importance of the textual element, as it denoted the process of thinking about music and the various ways in which that was symbolically and often literally visualized in writing and print culture, is also closely examined. Through a critical analysis of a number of important contemporary sources as well as current scholarship and research, the authors draw conclusions that extend well beyond the scope of their immediate material and closely-formulated questions.
The conversation opened up in the chapters of this volume will hopefully break new ground on which the interrelationship between art and music, and more broadly between visual art and other forms of creative practice, may be studied and debated. Authenticity and Likeness in Mozart portraiture, Cliff Eisen 9. San Diego [Calif. Collection Harvest books. We just focus our eyes and take in whatever is before us. This ability seems detached, efficient, and rational, as if the eyes were competent machines telling us everything about the world without distorting it in any way.
Blindness is not the opposite of vision, but its constant companion, and even the foundation of seeing itself. Using drawings, paintings, diagrams, and photographs to illustrate his points, Elkins raises intriguing questions and offers astonishing perceptions about the nature of vision. Contents : Introduction 11 1. The object stares back 46 3. Looking away, and seeing too much 86 4. Seeing bodies 5. What is a face? Blindness Envoi For further reading Photo credits Index Ithaca : Cornell university press, , 1 vol. XXI p. Collection Cornell paperbacks.
Such images, James Elkins asserts, can be as rich and expressive as those in any canonical painting. Elkins blends philosophical insight with historical detail to produce startling new meanings for such basic terms as pictures, writing, and notation. James Elkins teaches in the Department of art history, theory, and criticism at the School of the Art Institute of Chicago. His books include How to use your eyes, The object stares back : on the nature of seeing, What painting is, and, also from Cornell, The poetic of perspective. Art history and images that are not art 3 2.
Art history as the history of crystallography 13 3. Interpreting nonart images 31 4. What is a picture? Picture as ruined notations 68 6. Problems of classification 82 Part II 7. Allographs 95 8. Semasiographs 9. Pseudowriting Subgraphemics Hypographemics Emblemata Schemata Conclusion : ghosts and natural images Glossary Frequently cited sources Picture credits Index New York ; London : Routledge, , 1 vol. XIII p. Ordinary objects of everyday life.
But when we look at them - really look at them - what do we see? Here are the common artifacts of life, often misunderstood and largely ignored, brought into striking focus. A cloudless sky yields a precise sequence of colors at sunset. A bridge reveals the relationship of a population with its landscape.
With the discerning eye of a painter and the zeal of a detective, Elkins also explores complicated things like mandalas, the periodic table, or a hieroglyph, remaking the world into a treasure box of observations - eccentric, ordinary, marvelous. How to use your eyes will transform your view of nature and the mind. James Elkins is E. Chadbourne chair in the Department of art history, theory and criticism at the School of the Art Institute of Chicago. His many books include What painting is, Pictures and tears, Stories of art,Visual studies, Why are our pictures puzzles, On the strange place of religion in contemporary art, and Master narratives and their discontents, all published bu Routledge.
Contents : Preface ix Things made by man 1. How to look at a postage stamp 2 2. How to look at a culvert 12 3. How to look at an oil painting 20 4. How to look at Pavement 28 5. How to look at an X ray 34 6. How to look at linear B 48 7. How to look at chinese and japanese script 54 8. How to look at egyptian hieroglyphs 62 9. How to look at egyptian scarabs 68 How to look at an engineering drawing 74 How to look at a rebus 80 How to look at mandalas 86 How to look at perspective pictures 92 How to look at an alchemical emblem How to look at special effects How to look at the periodic table How to look at a map Things made by nature How to look at a shoulder How to look at a face How to look at a fingerprint How to look at grass How to look at a twig How to look at sand How to look at halos How to look at sunsets How to look at color How to look at the night How to look at mirages How to look at a crystal How to look at the inside of your eye How to look at nothing Postscript : How do we look to a scallop?
Visual cultures. Bristol ; Chicago [Ill. Focusing on the national instead of the global, distinguished art critic James Elkins offers a critique of general histories of visuality, such as those of Martin Jay or Jean Baudrillard, as well as a critique of local histories of visuality, as in Third text and other postcolonial studies. The content is not only analytic, but also historical, tracing changes in the significance of visual and verbal literacy in each nation. Visual cultures also explores questions of national identity and the many issues raised suggest a wealth of promising avenues for future research.
James Elkins is the E. Chadbourne professor in the Department of art history, theory, and criticism at the School of Art Institute of Chicago. Contents : Introduction 1 Slovenia : Visuality and literarity in slovene culture, Andrej Smrekar 7 Ireland : Words upon the windowpane : image, text, and irish culture, Luke Gibbons 43 Poland : A visually-oriented literary culture? Pennsylvania : The Pennsylvania state unviersity press, , 1 vol. X p. This innovative collection gathers some of the most influential historians and theorists working on images to discuss what the visual has come to mean.
Topics include concepts such as image and picture in the west and outside it ; the reception and rejection of semiotics ; the question of what is outside the image ; the question of whether images have a distinct nature or are products of discourse, like language ; the relationship between images and religious meanings ; and the study of non-art images in medecine, science, and technology. How many theories of images are there? What is outisde images 23 3. Accounts of images, and accounts that begin from images 31 4. Ontology 35 5.
Non-western accounts 53 6. Public and private 63 7. Painting and images 79 9. Image, notation, graph Vision and visuality. Seattle [Wash. Collection Discussions in contemporary culture ; 2. Although vision suggests sight as a physical operation, and visulity sight as a social fact, the two are not opposed as nature to culture : vision is social and historical too, and visuality involves the body and the psyche. Yet neither are they identical : here, the difference between the terms signals a difference within the visual - between the mechanism of sight and its historical techniques, between the datum of vision and its discursive determinations - a difference, many differences, among how we see, how we are able, allowed, or made to see, and how we see this seeing or the unseen therein.
With its own rhetoric and representations, each scopic regime seeks to close out these differences : to make of its many social visualities one essential vision, or to order them in a natural hierarchy of sight. Collection Essais. L'enjeu de minimalisme 63 3. La passion du signe 99 4.
L'art de la raison cynique 5. Portrait de l'artiste en ethnographe 7. XVII p. Collection Fabula. XVII et p. Style et culture IX. Amsterdam, , 1 vol. Cultural studies : deux paradigmes 81 IV. Penser la diaspora : chez-soi de loin Multiculturalismes et moment postcolonial XVI. Penser la limite XVII. La question multiculturelle Rediscovering aesthetics : transdisciplinary voices from art history, philosophy, and art practice.
XIV- p. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and as a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive because it provides a selection of significant but divergent positions.
The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of possibly incompatible ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge. Francis Halsall lectures in history and theory of modern and contemporary art at the National College of Art and Design, Dublin. Aesthetics in art history and art theory 1. Aesthetics and the two cultures : why art and science should bu allowed to go their 34 separate ways, James Elkins 3.
Stones of Solace, Michael Ann Holly 51 4. The dogma of conviction, David Raskin 66 5. Aesthetics in philosophy 7. The future of aesthetics, Arthur C. Danto 8. After greenberg : some remarks on Arthur C. Artistic creativity : illusions, realities, futures, Paul Crowther Gadamar and the ambiguity of appearance, Nicholas Davey Modernisms and mediations, Peter Osborne Aesthetics beyond aesthetics, Wolfgang Welsch Aesthetics in artistic and curatorial practice Seasonal fractional political idiosyncratic aesthetics, Carole Schneemann Toward an ophthalmology of the aesthetic and an orthopedics of seeing, Robert Morris The social turn : collaboration and its discontents, Claire Bishop The richter effect on the regeneration of aesthetics, Michael Kelly Notes Index London : BFI Publishing, , 1 vol.
Bibliographie p. This book charts the development of a flamboyant genre from the s to the s. A pioneering study which combines the interpretation of unknown archival material with attention to visual style, it establishes the ways in which historical film responded to social change and provided potent metaphors for its audiences. Sue Harper demonstrates how producers such as Alexander Korda, Herbert Wilcox, Michael Balcon and the Ostrers constructed images of the past which drew, variously and selectively, on key themes in popular culture. She shows that official bodies feared the effects of historical film and attempted to influence it.
She conducts a broad survey of contemporary audience response, establishing that it was for women and the working class that costume film had an important symbolic function. Sue Harper has published widely on british cinema. She teaches film and cultural history at the University of Portsmouth.
Contents : Acknowledgments ix Introduction 1 1. Historical feature film : political constraints 8 2. Korda and balcon : aristocratic and bourgeois symbolism 20 3. Dean, Wilcox, and others : the politics of the marketplace 39 4. Lowbrow and middlebrow responses in the s 56 5. Highbrow interventions : the historical association and its friends 64 6.
Official histories in the war years 77 7. Commercial film production and history 95 8. A middle-class view of history : ealing 9. History and the working class : Gainsborough Wartime and postwar responses to historical film The postwar period : contexts and constraints Monopoly and history : rank films A fossilised history : independent producers Conclusion Notes Select bibliography Filmography Index London ; New York : Routledge, , 1 vol.
XVIII p. Structured around an examination of key texts by major contemporary critics, including Timothy Clark, Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key moment in the discipline of art history, tracing the development and interaction of marxist, feminist and psychoanalytic critical theories. He is the author of Federal art and national culture , co-author of Modernism in dispute : art since the forties , and co-editor of Art in modern culture Contents : List of illustrations ix Acknowledgements xi Introduction 1 Aims and readers 1 New, critical, radical, social 6 Terms and texts 10 Readings, meanings, values, and politics 17 Art history, radical art history, and real history 22 Notes 28 1.
Radical art history : back to its future? Feminism, art, and art history 95 Politics, position, perspective 96 Greatness, creativity, and cultural value Ideologies, sexual difference, and social change Modernism, modernity, and feminist art history in the s Notes Select bibliography 4. Subjects, identities, and visual ideology Psychoanalysis and radical politics after the s Self, sex, society, and culture Psychoanalysis and systems of signification Sight, social ordering, and subjectivity Notes Select bibliography Searching, after certainties Beyond subjects and structures Signs, surfaces, and civilisation Politics, culture, and post-modernism Cultivating nature Notes Select bibliography 7.
Malden Mass. Comprising a series of contributions from different continents, the book helps readers to move beyond consideration of gender as a social construct, towards an understanding of the visual constructions of gender. Chapters explore the ways in which the visual shapes meaning, with material ranging from documentary film footage of liberated concentration camps after world war II, contemporary fashion photography in Tehran, to a queer art exhibition with overtones of a nineteenth-century archive.
The book is organised thematically under the headings of documenting, trafficking and experimenting. They focus mainly on the nineteenth and twentieth centuries, covering not only Europe and North America but also Argentina, Iran and southern Africa. A diverse selection of exceptional and provocative images accompanies the text. She directs research and postgraduate studies in visual history. Contents : Notes on contributors vii Introduction 1.
Introduction : visual genders, Patricia Hayes 1 Documenting 2. Does gender matter? Filmic representations of the liberated nazi concentration camps, 20 , Ulrike Weckel 3. Brown Trafficking 6. History, memory and trauma in photography of the tondues : visuality of the Vichy past through the silent image of women, Alison M.
Moore 7. A glance into the camera : gendered visions of historical photographs in Kaoko North- Western Namibia , Lorena Rizzo 8. Decoration and desire in the Watts Chapel, Compton : narratives of gender, class and colonialism, Elaine Cheasley Paterson Experimenting 9. Faces and bodies : gendered modernity and fashion. Photography in Tehran, Alec H.
Birdsall The temperance temple and architectural representation in late-nineteenth-century Chicago, Paula Young Lee The few studies that do cover these neglected areas have tended to be quite general, focusing upon garments rather than the wearers. As such this present volume fills an important gap by providing a detailed analysis of not only what people wore in Henry's reign, but why.
The book describes and analyses dress in England through a variety of documents, including warrants and accounts from Henry's Great Wardrobe and the royal household, contemporary narrative sources, legislation enacted by Parliament, guild regulations, inventories and wills, supported with evidence and observations derived from visual sources and surviving garments.
Whilst all these sources are utilised, the main focus of the study is built around the sumptuary legislation, or the four 'Acts of apparel' passed by Henry between and English sumptuary legislation was concerned primarily with male dress, and starting at the top of society with the king and his immediate family, it worked its way down through the social hierarchy, but stopped short of the poor who did not have sufficient disposable income to afford the items under consideration.
Certain groups - such a women and the clergy - who were specifically excluded from the legislation, receive consideration in the second half of the book. Combining the consideration of such primary sources with modern scholarly analysis, this book is invaluable for anyone with an interest in the history of fashion, clothing, and consumption in Tudor society.
Costly array : the henrician sumptuary legislation 17 2. Production : the English textile and clothing trades 63 4. Consumption : material choices 85 5. Rich apparel : clothing and accessories 6. Livery : symbol of royal, noble and military service Part III : Living within the law : the landed hierarchy 7. Defining the House of Tudor : the King and his family 8. The nobility : dukes, earls, marquesses and lords 9. The gentry : knights, esquires and gentlemen The middling and lower sort : yeomen, husbandmen and labourers Part IV : Living beyond the law : the exceptions Women : wives and spinsters, vowesses and widows The ecclesiastical elite : cardinals, archbishops and bishops The parish clergy : priests, parsons, curates and chantry priests Living by the rule : the regular clergy Entertainers : players of interludes and minstrels The secular professions : academics, lawyers and doctors The urban elite : civic livery and the mercantile community Conclusions : The acts of apparel : clothing choices and social definition Documents Glossary Bibliography Index Chicago Ill.
XII p. The box was the Picture academy for the young, a popular encyclopedia in pictures invented by preacher-turned-publisher Johann Siegmund Stoy in eighteenth-century Germany.