How Do Images Work
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| Author | : Christine Beier |
| Publisher | : Brepols Publishers |
| Total Pages | : 244 |
| Release | : 2022-03-10 |
| Genre | : Art, Medieval |
| ISBN | : 9782503595870 |
How did historical images work and interact with their beholders and users? Drawing on the results of an international conference held in Vienna in 2018, this volume offers new perspectives on a central question for contemporary art history. The fourteen authors approach working imagery from the medieval and early modern periods in terms of its production, usage, and reception. They address wide-ranging media--architecture, sculpture, painting, metalwork, stained glass--in similarly wide-ranging contexts: from monumental installations in the most public zones of urban churches to exquisite devotional objects and illuminated books reserved for more exclusive settings. While including research from West European and American institutions, the project also engages with the distinctive scholarly traditions of Eastern Europe and Israel. In all these ways, it reflects the interests of the dedicatee Michael Viktor Schwarz, whose introductory interview lays out the parameters of the subject.
| Author | : Molly Bang |
| Publisher | : Chronicle Books |
| Total Pages | : 100 |
| Release | : 2000-07 |
| Genre | : Design |
| ISBN | : 9781587170300 |
Using the tale of "Little Red Riding Hood" as an example, Bang uses boldly graphic artwork to explain how images and their individual components work to tell a story that engages the emotions. 3-color.
| Author | : David Morgan |
| Publisher | : Oxford University Press |
| Total Pages | : 241 |
| Release | : 2018 |
| Genre | : Art |
| ISBN | : 0190272112 |
Images can be studied in many ways--as symbols, displays of artistic genius, adjuncts to texts, or naturally occurring phenomena like reflections and dreams. Each of these approaches is justified by the nature of the image in question as well as the way viewers engage with it. But images are often something more when they perform in ways that exhibit a capacity to act independent of human will. Images come alive--they move us to action, calm us, reveal the power of the divine, change the world around us. In these instances, we need an alternative model for exploring what is at work, one that recognizes the presence of images as objects that act on us. Building on his previous innovative work in visual and religious studies, David Morgan creates a new framework for understanding how the human mind can be enchanted by images in Images at Work. In carefully crafted arguments, Morgan proposes that images are special kinds of objects, fashioned and recognized by human beings for their capacity to engage us. From there, he demonstrates that enchantment, as described, is not a violation of cosmic order, but a very natural way that the mind animates the world around it. His groundbreaking study outlines the deeply embodied process by which humans create culture by endowing places, things, and images with power and agency. These various agents--human and non-human, material, geographic, and spiritual--become nodes in the web of relationships, thus giving meaning to images and to human life. Marrying network theory with cutting-edge work in visual studies, and connecting the visual and bodily technologies employed by the ancient Greeks and Romans to secular icons like Che Guevara, Abraham Lincoln, and Mao, Images at Work will be transformative for those curious about why images seem to have a power of us in ways we can't always describe.
| Author | : W. J. T. Mitchell |
| Publisher | : University of Chicago Press |
| Total Pages | : 419 |
| Release | : 2013-12-23 |
| Genre | : Art |
| ISBN | : 022624590X |
Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray? According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm. What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike. “A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum
| Author | : Karamo Brown |
| Publisher | : Henry Holt and Company (BYR) |
| Total Pages | : 21 |
| Release | : 2019-11-05 |
| Genre | : Juvenile Fiction |
| ISBN | : 1250762227 |
I Am Perfectly Designed is an exuberant celebration of loving who you are, exactly as you are, from Karamo Brown, the Culture Expert of Netflix's hit series Queer Eye, and Jason Brown—featuring illustrations by Anoosha Syed. In this empowering ode to modern families, a boy and his father take a joyful walk through the city, discovering all the ways in which they are perfectly designed for each other. "With tenderness and wit, this story captures the magic of building strong childhood memories. The Browns and Syed celebrate the special bond between parent and child with joy and flair...Syed's bright, cartoon illustrations enrich the tale with a meaningful message of kindness and inclusion."—Kirkus
| Author | : Tina M. Campt |
| Publisher | : Duke University Press |
| Total Pages | : 140 |
| Release | : 2017-03-09 |
| Genre | : Photography |
| ISBN | : 0822373580 |
In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.
| Author | : Jacob Gaboury |
| Publisher | : MIT Press |
| Total Pages | : 323 |
| Release | : 2021-08-03 |
| Genre | : Computers |
| ISBN | : 0262045036 |
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 | : Susan M. Bielstein |
| Publisher | : University of Chicago Press |
| Total Pages | : 189 |
| Release | : 2010-06-15 |
| Genre | : Law |
| ISBN | : 0226046397 |
If a picture is worth a thousand words, then it's a good bet that at least half of those words relate to the picture's copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the complexity of the whole situation. Here, on a white—not a high—horse, Susan Bielstein offers her decades of experience as an editor working with illustrated books. In doing so, she unsnarls the threads of permissions that have ensnared scholars, critics, and artists for years. Organized as a series of “takes” that range from short sidebars to extended discussions, Permissions, A Survival Guide explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does “fair use” really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists' estates in languages she doesn't speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain. Filled with anecdotes, asides, and real courage, Permissions, A Survival Guide is a unique handbook that anyone working in the visual arts will find invaluable, if not indispensable.
| Author | : Philipp Ekardt |
| Publisher | : MIT Press |
| Total Pages | : 443 |
| Release | : 2018-08-07 |
| Genre | : Art |
| ISBN | : 0262037971 |
The first English-language monograph devoted to the full oeuvre of Alexander Kluge, the prolific German filmmaker, television producer, digital entrepreneur, author, thinker, and public intellectual. Alexander Kluge (born 1932) is a German filmmaker, author, television producer, theorist, and digital entrepreneur. Since 1960, he has made fourteen feature films and twenty short films and has written more than thirty books—including three with Marxist philosopher Oskar Negt. His television production company has released more than 3,000 features, in which Kluge converses with real or fictional experts or creates thematic montages. He also maintains a website on which he reassembles segments from his film and television work. To call Kluge “prolific” would be an understatement. This is the first English-language monograph devoted to the full scope of Kluge's work, from his appearance on the cultural scene in the 1960s to his contributions to New German Cinema in the 1970s and early 1980s to his recent collaborations with such artists as Gerhard Richter. In Toward Fewer Images, Philipp Ekardt offers both close analyses of Kluge's individual works and sustained investigations of his overarching (and perpetual) production. Ekardt discusses Kluge's image theory and practice as developed across different media, and considers how, in relation to this theory, Kluge returns to, varies, expands, and modifies the practice of montage, including its recent manifestations in digital media—noting Kluge's counterintuitive claim that creating montages results in fewer images. Kluge's production, Ekardt argues, allows us to imagine a model of authorship and artistic production that does not rely on an accumulation of individual works over time but rather on a permanent activity of (temporalized) reworking and redifferentiation.
| Author | : Kevin Lynch |
| Publisher | : MIT Press |
| Total Pages | : 212 |
| Release | : 1964-06-15 |
| Genre | : Architecture |
| ISBN | : 9780262620017 |
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.
