Innovation and Visualization: Trajectories, Strategies, and by Amy Ione

By Amy Ione

Amy Ione's Innovation and Visualization is the 1st intimately account that relates the improvement of visible photographs to options in artwork, communique, clinical learn, and technological enhance. built-in case reports enable Ione to place apart C. P. Snow's "two culture" framework in desire of cross-disciplinary examples that refute the science/humanities dichotomy. the topics, which variety from cognitive technological know-how to illuminated manuscripts and media experiences, will entice experts (artists, artwork historians, cognitive scientists, etc.) drawn to evaluating our snapshot saturated tradition with the environments of prior eras. The scope of the examples will attract the generalist.

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Innovation and Visualization: Trajectories, Strategies, and Myths (Consciousness, Literature and the Arts, Volume 1)

Amy Ione's Innovation and Visualization is the 1st intimately account that relates the advance of visible photos to recommendations in artwork, communique, clinical learn, and technological strengthen. built-in case reports permit Ione to place apart C. P. Snow's "two culture" framework in desire of cross-disciplinary examples that refute the science/humanities dichotomy.

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Extra resources for Innovation and Visualization: Trajectories, Strategies, and Myths (Consciousness, Literature and the Arts, Volume 1)

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Gombrich next asserts that we have seen a similar challenge in the past century [the nineteenth century], where we find the standards of the Academy and the Salon were undermined and annihilated by primitivist modes (Gombrich 2001: 35). 1266-1337) (Gombrich 2001: 39-40). 17 Structurally, Preface for the Primitive begins with a brief introduction of Plato and then quickly turns to Cicero, a superb rhetorician who flourished from 106-43 BCE. 98), is introduced to convey that references to painting supplied rhetoricians with metaphors, not as a means to talk about painting per se.

Briefly and despite his own artistry, Plato’s dialogues demonstrate that, although at times he does seem sympathetic to art, he repeatedly rails against the kinds of illusions he believes the poets and painters in his environment are creating. Plato also criticizes the skillful ways in which artists deceive us. According to Plato, those who make art frequently compel strong and decadent emotions, arousing passions rather than reason. For example, in Ion, an early work, Plato is already expressing some of his doubts about art.

Stafford 2001: 19). ” (Stafford 2001: 11). 38 Art and Consciousness Stafford concludes that since the concept of analogy, in recent times, has either been simplified beyond recognition into tautology or become tainted through relentless identification with mystical pantheism, theosophical synchronicity and empathetic quackery of the Hollywood variety, it is time to sketch out another vision. Her vision of a formulation based on resemblance and distinction speaks of equivalence is metaphoric in tone and strikingly bereft of any indication of how empirical science adds to our knowledge base an ongoing basis when new research enters the picture, Stafford ably acknowledges scientific data related to consciousness as it exists today but her humanities-based narrative demonstrates little sensitivity toward the degree to which theories are interpreted differently by scientists themselves.

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