Art History and Images That Are Not Art

Elkins, James

doi:10.2307/3046136

Cited by 57 publications

(27 citation statements)

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“…A similar approach is evident in Abithe propositional function of the scientifi c image [15]. The fi rst two artworks I discuss in this article, Cyclone.soc (2005)(2006)) (which I produced in collaboration with Gavin Baily) and Mount Fear East London (2003) by Abigail Reynolds, take this potential as a starting point to explore how IV has the potential to generate sensual and affective experiences for audiences through the use of intricate formal assemblages of information, space, material and image [16].…”

Section: Background: Visualization and Cultural Productionmentioning

confidence: 74%

Landscapes of Feeling, Arenas of Action: Information Visualization as Art Practice

Corby¹

2008

Leonardo

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Discussing his recent artworks alongside those by Abigail Reynolds, Lucy Kimbell and Christian Nold, the author examines emerging phenomena in the digital and wider fine arts whereby information visualization practices are approached as creative media. By laying bare points of convergence and divergence between artistic and scientific approaches, the article develops a number of arguments that show how the pictures produced by information visualization may be reframed within wider aesthetic and critical frameworks. Thus the author explores how models of image production derived from processes of scientific inquiry expand possibilities for the visual arts to develop new types of hybrid images that consist of data grounded both in material realities and in symbolic and aesthetic elements.

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Section: Background: Visualization and Cultural Productionmentioning

confidence: 74%

Landscapes of Feeling, Arenas of Action: Information Visualization as Art Practice

Corby¹

2008

Leonardo

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“…Emblems and devices were thus liminal compositions straddling two semiotic systems (linguistic and figural) and inherently involved in the early modern debate on the relationships between nature and representation, art and language (on this see the classic studies by Hagstrum [12], Clements [13] and Lee [14]). Of course, emblems and devices were basically what Elkins [15] termed "informational images", but their non-artistic status is just what allows the analysis of the peculiar relationship between these images and pictorial conventions. As Elkins explains, non-artistic images feature a special complexity because their referential quality is typically unstable, since they impose on the reader peculiar hermeneutic practices which must take into account the relation between pictorial and linguistic signs.…”

Section: Emblematics and Multimedialitymentioning

confidence: 99%

Discourse and Representation in Emblematics: Hermeneutic and Ideological Implications of Stylistic and Cognitive Analyses

Borgogni¹

2019

lls

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The article focuses on the dialectic relationship between visual and verbal representations in Renaissance emblematics, a multimodal genre in which words and images were inherently interactive and physiologically intermingled. Devices and emblems were "assemblages" of different modes and mediums, full of rhetorical wit and sophisticated allusions, and made the most of their appealing mix of discourse and representation to provide a practical moral lesson together with learned amusement. The article tries to discuss and revise these well-known aspects from a stylistic and cognitive perspective, relying on the analytical tools provided by Relevance Theory and Conceptual Integration Theory in the belief that such synergetic approach to emblematic texts is particularly rewarding to highlight the ideological implications of the unprecedented power attributed to the relation between images and language in the Renaissance. In particular, the article underscores the ideological dimension of emblematics, in a period rife with political and social tensions, and tries to draw attention to the ways in which this symbolic form of communication was transformed into an Althusserian practice of interpellation, interrogating the authority of the speaking subject and producing changing patterns in its relationship with the reader.

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“…In the last decades, science studies have supported art history on its way toward a “history of images that are not art” (Elkins 1995) and have generated an impressive amount of literature concerning the construction, communication, and storage of knowledge via images. They have thus helped to establish the history of knowledge also as a history of the scientific image.…”

Section: Historiographymentioning

confidence: 99%

Science and Cinema

Wellmann

2011

Sci Context

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This issue of Science in Context is dedicated to the question of whether there was a “cinematographic turn” in the sciences around the beginning of the twentieth century. In 1895, the Lumière brothers presented their projection apparatus to the Parisian public for the first time. In 1897, the Scottish medical doctor John McIntyre filmed the movement of a frog's leg; in Vienna, in 1898, Ludwig Braun made film recordings of the contractions of a living dog's heart (cf. Cartwright 1992); in 1904, Lucien Bull filmed in slow motion a bullet entering a soap bubble. In 1907 and 1908, respectively, Max Seddig and Victor Henri recorded Brownian motion with the help of a cinematograph (Curtis 2005). In 1909, the Swiss Julius Ries was one of the first to film fertilization and cell division in sea urchins (Ries 1909). In that same year in Paris, Louise Chevroton and Frédéric Vlès used a film camera to observe cell division in the same object (Chevroton and Vlès 1909). As early as 1898, the Parisian surgeon Eugène-Louis Doyen began filming several of his operations, among them the spectacular separation of the Siamese twins Doodica and Radica (Bonah and Laukötter 2009). And in England, the scientist and zoologist Francis Martin Duncan produced an array of popular-scientific films for Charles Urban: “The unseen world: A series of microscopic studies” was presented to the public in the Alhambra Theatre in London for the first time in 1903 (see Gaycken in this issue).

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Art History and Images That Are Not Art

Cited by 57 publications

References 0 publications

Landscapes of Feeling, Arenas of Action: Information Visualization as Art Practice

Landscapes of Feeling, Arenas of Action: Information Visualization as Art Practice

Discourse and Representation in Emblematics: Hermeneutic and Ideological Implications of Stylistic and Cognitive Analyses

Science and Cinema

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