2 edition of Picturing Space, Displacing Bodies found in the catalog.
Source title: Picturing Space, Displacing Bodies: Anamorphosis in Early Modern Theories of Perspective
|Statement||Penn State University Press|
|Publishers||Penn State University Press|
|LC Classifications||Jan 14, 2016|
|The Physical Object|
|Pagination||xvi, 123 p. :|
|Number of Pages||92|
nodata File Size: 6MB.
com I can still remember the first time vanishing point perspective was explained to me.
The accompanying illustrations show, for example, how Niceron elongated a chair into an anamorphic form. In any case, the anamorphosis techniques were put into practice shortly Picturing Space the appearance of the first written explanations of common or regular linear perspective. As such, they were designed to Picturing Space the gap between theory and practice. Traditionally, perspective, which governed representation and its laws, had been the most frequently addressed theme, for being both a paradigmatic invention of the Renaissance and the most obvious convergence point between artists, architects, and mathematicians, and thus inaugurating a relationship between art and science that would become increasingly complex in the modern period.
und 16 Jahrhunderts so manches ab. For here, sight was objectified, was made visible as an act, and it was made thus by an instrument: the telescope. Therefore, biomedicine and biotechnology also reshape our perceptions of selfhood and life. Contemporary scholars interested in visual technologies, space, the body in the Renaissance, and current interpretations of early modern art theory will find no doubt find it the publication very appealing.
The images propose a narrative in the space where Picturing Space takes place. Far from arguing alternatively that embodied experience was granted primacy in perspectival investigations, I hope to show instead that perspective theory confronted and incorporated from the beginning its own contradictions by opposing the body and the Picturing Space while facing the limitations of both knowledge and representation.
And for still others, foremost among them Hubert Damisch, perspective is refracted through the lens of semiotics, phenomenology, and psychoanalysis and viewed as an enunciative structure within which certain fantasies of subjectivity and vision are performed.