Images: A Reader
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Images: A Reader provides a key resource for students, academics, practitioners and other readers engaged in the critical, theoretical, and practical study of images. The Reader is concerned with the notion of the ‘image’ in all its theoretical, critical and practical contexts, uses and history. It provides a map of the differences and similarities between the various disciplinary approaches to images, breaking the ground for a new interdisciplinary study of images, in the arts and humanities and beyond. The selection of over 80 key readings, across the domains of philosophy, art, literature, science, critical theory and cultural studies tells the story of images through intellectual history from the Bible to the present. By including both well-established writings and more recent, innovative research, the Reader outlines crucial developments in contemporary discourses about images.
new vocabu laries his app~oach r~s~moling bo~h the 'aut9matic w riting' of the Surrealists and abstractl?n. HIS idea that lines andc olours have an energy or charge is evi?ent I~ t~e abstract wor~ "he ~~ sp i red , such as Bridget Riley's black and whIte paintings that use stnct geometric forms in tessellating patterns to create the optical ill usion of'movement. She understands Klee's method 'not [as] an end, but the . beg!.~ n i ng . Exery",pqinter starts.with elements - lines, colours, forms
ught to miniaturize head-mounted displ ays still further; by th e 1990s the possibility of laser mi cr oscann ers that painted images dir ectly on the retina was re ceivin g ser ious attention ." Vast in creases in available computing power have brought the simulation of co m plex , detailed three -dimensional worlds within reach. The embryon ic technology of virtual re alitv promi ses architects th e possib ility o f \~a lki ng through ge omet r ic ally modell ed proposed hUilding: , astron
are human , and as such , we depe nd on spe cificity and materialit y to learn and und erstand . Pictures, sometim es alone, oft en in sequen ces, are ste pping stones along the path towards th e real knowledge that intuition suppo rts . (... J [B]eyond p edagogy or even epistemology, images get at th e peculiar - th e unique - featu res of nat ure in a way that a calculati on or verbal description can ne ve r do. By mimicking nature, an image, even if not in every respect, cap tu res a ri chn
phenomenologi cal pract ice is intended as a supp lement to psychology and cognitive science bec ause it is argued that by pay ing close attention to the details of consci ou s exper ience scie ntists are better ab le to discrimi nate the phenomena they wi sh to investigate (Petitot et al., 1999). While most texts of classical phenomenol ogy tend to focu s on either traditio nal art objec tsa nd aesthetic theory, or differe nt aspects of cognltlon, mo re recently writers have turn ed their '
the sam e period , Cornelius Agrippa w ro te his De Vanitale SCientJamm, aimed as much at the ar ts as the scie nc es, and these objects are all symbolic of the sciences and arts as they were grouped at the time in the trivium and quadri vuun, What, then, before this display of the domain of appearance in all its most fascinating forms is this object, which from some angles appears to be flying through the air, at others to be tiltcdrYou cannot know -- for you turn away, thus escaping the