[PDF] The Material Image eBook

Author : Brigitte Peucker
Publisher : Stanford University Press
Page : 276 pages
File Size : 31,97 MB
Release : 2007
Category : Literary Criticism
ISBN : 9780804754316

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Focusing on intermediality, The Material Image situates film within questions of representation familiar from the other arts: What is meant by figuring the real? How is the real suggested by visual metaphors, and what is its relation to illusion? How is the spectator figured as entering the text, and how does the image enter our world? The film's spectator is integral to these concerns. Cognitive and phenomenological approaches to perception alike claim that spectatorial affect is "real" even when it is film that produces it. Central to the staging of intermediality in film, tableaux moments in film also figure prominently in the book. Films by Scorsese, Greenaway, Wenders, and Kubrick are seen to address painterly, photographic, and digital images in relation to effects of the real. Hitchcock's films are examined with regard to modernist and realist effects in painting. Chapters on Fassbinder and Haneke analyze the significance of tableau for the body in pain, while a final chapter on horror film explores the literalism of psychopathic tableau. Here, too, art and the body—images and the real—are juxtaposed and entwined in a set of relations.

Author : Peter Galison
Publisher : University of Chicago Press
Page : 1002 pages
File Size : 40,69 MB
Release : 1997-10
Category : History
ISBN : 9780226279176

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Engages with the impact of modern technology on experimental physicists. This study reveals how the increasing scale and complexity of apparatus has distanced physicists from the very science which drew them into experimenting, and has fragmented microphysics into different technical traditions.

Author : Donald H. Wacome
Publisher : Rowman & Littlefield
Page : 347 pages
File Size : 45,18 MB
Release : 2020-09-29
Category : Religion
ISBN : 1978703910

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In The Material Image, Donald H. Wacome sets out to reconcile the Christian faith and contemporary science by embracing, rather than evading, its naturalistic implications. The sciences are our best way to know ourselves and the world we inhabit, Wacome argues, but this does not make belief in miracles unreasonable. The sciences reveal that we are fully material beings, the product of unguided natural selection. God created human persons for the vocation of sharing in the everlasting Triune life and work, but this creation does not involve design. The mind is the embodied, socially situated brain. There is no immaterial soul; we are the material image of our transcendent Creator. This materialist conception does not preclude the resurrection of the body. The freedom that matters for the human creature is compatible with our being governed by the laws of nature. Morality and religion are natural, merely human, legacies of our evolutionary history, which God employs in pursuit of fellowship with us. Christians can faithfully and enthusiastically welcome the image of human beings given in contemporary science.

Author : Kevin Lynch
Publisher : MIT Press
Page : 212 pages
File Size : 12,79 MB
Release : 1964-06-15
Category : Architecture
ISBN : 9780262620017

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The classic work on the evaluation of city form. What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion—imageability—and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.

Author : Jacob Gaboury
Publisher : MIT Press
Page : 323 pages
File Size : 40,54 MB
Release : 2021-08-03
Category : Computers
ISBN : 0262045036

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How computer graphics transformed the computer from a calculating machine into an interactive medium, as seen through the histories of five technical objects. Most of us think of computer graphics as a relatively recent invention, enabling the spectacular visual effects and lifelike simulations we see in current films, television shows, and digital games. In fact, computer graphics have been around as long as the modern computer itself, and played a fundamental role in the development of our contemporary culture of computing. In Image Objects, Jacob Gaboury offers a prehistory of computer graphics through an examination of five technical objects--an algorithm, an interface, an object standard, a programming paradigm, and a hardware platform--arguing that computer graphics transformed the computer from a calculating machine into an interactive medium. Gaboury explores early efforts to produce an algorithmic solution for the calculation of object visibility; considers the history of the computer screen and the random-access memory that first made interactive images possible; examines the standardization of graphical objects through the Utah teapot, the most famous graphical model in the history of the field; reviews the graphical origins of the object-oriented programming paradigm; and, finally, considers the development of the graphics processing unit as the catalyst that enabled an explosion in graphical computing at the end of the twentieth century. The development of computer graphics, Gaboury argues, signals a change not only in the way we make images but also in the way we mediate our world through the computer--and how we have come to reimagine that world as computational.

Author : Michal Haindl
Publisher : Springer Science & Business Media
Page : 304 pages
File Size : 26,66 MB
Release : 2013-01-18
Category : Computers
ISBN : 1447149025

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This book surveys the state of the art in multidimensional, physically-correct visual texture modeling. Features: reviews the entire process of texture synthesis, including material appearance representation, measurement, analysis, compression, modeling, editing, visualization, and perceptual evaluation; explains the derivation of the most common representations of visual texture, discussing their properties, advantages, and limitations; describes a range of techniques for the measurement of visual texture, including BRDF, SVBRDF, BTF and BSSRDF; investigates the visualization of textural information, from texture mapping and mip-mapping to illumination- and view-dependent data interpolation; examines techniques for perceptual validation and analysis, covering both standard pixel-wise similarity measures and also methods of visual psychophysics; reviews the applications of visual textures, from visual scene analysis in medical applications, to high-quality visualizations in the automotive industry.

Author : Scott Curtis
Publisher : Indiana University Press
Page : 406 pages
File Size : 24,88 MB
Release : 2018-03-22
Category : Performing Arts
ISBN : 0253034426

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In The Image in Early Cinema, the contributors examine intersections between early cinematic form, technology, theory, practice, and broader modes of visual culture. They argue that early cinema emerged within a visual culture composed of a variety of traditions in art, science, education, and image making. Even as methods of motion picture production and distribution materialized, they drew from and challenged practices and conventions in other mediums. This rich visual culture produced a complicated, overlapping network of image-making traditions, innovations, and borrowing among painting, tableaux vivants, photography, and other pictorial and projection practices. Using a variety of concepts and theories, the contributors explore these crisscrossing traditions and work against an essentialist notion of media to conceptualize the dynamic interrelationship between images and their context.

Author : Lois Farfel Stark
Publisher : Greenleaf Book Group
Page : 202 pages
File Size : 41,20 MB
Release : 2018-02-06
Category : Art
ISBN : 1626344728

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Next Generation Indie Book Awards, Best Non Fiction 2019 National Indie Excellence Award Winner Nautilus Book Awards, Gold #1 Amazon Best Seller in Architecture History & Periods Amazon Best Seller in Art Subjects & Themes Seeing the World Through Shape How do humans make sense of the world? In answer to this timeless question, award winning documentary filmmaker, Lois Farfel Stark, takes the reader on a remarkable journey from tribal ceremonies in Liberia and the pyramids in Egypt, to the gravity-defying architecture of modern China. Drawing on her experience as a global explorer, Stark unveils a crucial, hidden key to understanding the universe: Shape itself. The Telling Image is a stunning synthesis of civilization’s changing mindsets, a brilliantly original perspective urging you to re-envision history not as a story of kings and wars but through the lens of shape. In this sweeping tour through time, Stark takes us from migratory humans, who imitated a web in round-thatched huts and stone circles, to the urban ladder of pyramids and skyscrapers, organized by hierarchy and measurements, to today’s world of interconnected networks. ​In The Telling Image Stark reveals how buildings, behaviors, and beliefs reflect humans’ search for pattern and meaning. We can read the past and glimpse the future by watching when shapes shift. Stark’s beautifully illustrated book asks of all its readers: See what you think.

Author : Philippe-Alain Michaud
Publisher : Princeton University Press
Page : 408 pages
File Size : 22,81 MB
Release : 2024-09-10
Category : Art
ISBN : 1890951811

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A compelling analysis of the work of art historian Aby Warburg and its radical implications for the study of visual images Aby Warburg (1866–1929) is best known as the originator of the discipline of iconology and as the founder of the institute that bears his name. His followers included some of the celebrated art historians of the twentieth century, such as Erwin Panofsky, Edgar Wind, and Fritz Saxl. But his heirs developed, for the most part, a domesticated iconology based on the decipherment and interpretation of symbolic material. As Philippe-Alain Michaud demonstrates in this important book, Warburg’s project was remote from any positivist or neo-Kantian ambitions. Nourished on the work of Friedrich Nietzsche and Jacob Burckhardt, Warburg fashioned a “critical iconology” to reveal the irrationality of the image in Western culture. Opposing the grand teleological narratives of art inaugurated by Giorgio Vasari, Warburg’s method operated through historical anachronisms and discontinuities. Using procedures of “montage-collision” he brought together pagan artifacts with masterpieces of Florentine Renaissance art, the astrology of the ancient Near East with the Lutheran Reformation, Mannerist festivals with the sacred dances of Native Americans. Michaud insists that for Warburg, the practice of art history was not only the recognition of the radical heterogeneity of objects but the discovery within the art work itself of lines of fracture, contradictions, tensions, and the energies of magic, empathy, totemism, and animism. Michaud provides us with a book that not only is about Warburg but also extends his intuitions and discoveries into analyses of other categories of imagery like the daguerreotype, the chronophotography of Étienne-Jules Marey, early cinema, and the dances of Loïe Fuller. This edition also includes a foreword by Georges Didi-Huberman and texts by Warburg not previously translated into English. Chosen as one of the best art books of 2004 by the Washington Post and Bookforum.

Author : Patrick R. Crowley
Publisher : University of Chicago Press
Page : 337 pages
File Size : 48,45 MB
Release : 2019-12-10
Category : Art
ISBN : 022664829X

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Drawing from a rich corpus of art works, including sarcophagi, tomb paintings, and floor mosaics, Patrick R. Crowley investigates how something as insubstantial as a ghost could be made visible through the material grit of stone and paint. In this fresh and wide-ranging study, he uses the figure of the ghost to offer a new understanding of the status of the image in Roman art and visual culture. Tracing the shifting practices and debates in antiquity about the nature of vision and representation, Crowley shows how images of ghosts make visible structures of beholding and strategies of depiction. Yet the figure of the ghost simultaneously contributes to a broader conceptual history that accounts for how modalities of belief emerged and developed in antiquity. Neither illustrations of ancient beliefs in ghosts nor depictions of afterlife, these images show us something about the visual event of seeing itself. The Phantom Image offers essential insight into ancient art, visual culture, and the history of the image.