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"Visual perception in art."
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Shadows : the depiction of cast shadows in western art
Cast shadows have been exploited in art to enhance the impression of the surrounding light as well as that of the solidity of the casting objects. They can contribute to the mood of the scene, and can reveal the presence of features outside the space represented, but as Professor Gombrich points out, they appear only sporadicaly and have been more frequently ignored or suppressed in Western art. Gombrich touches on the ambiguous nature of shadows in myth, legend, and philosophy, and briefly analyses the factors governing their shape: the location and form of the light source, the shape of the illuminated object and that of the surface on which the shadow falls, and the position of the viewer. Early Renaissance painters such as Masaccio and Campin, intent on a faithful rendering of visual reality, did incorporate shadows in their art, but artists of Leonardo's time largely avoided painting them, and it was not until early in the seventeenth century that painters - particualrly Caravaggio and Rembrandt - were again interested in the effects of shadows. In subsequent centuries artists of the Romantic, Impressionist and Surrealist movements exploited the device of the cast shadow to enhance the realism or drama of their images.
Book
3-D Experimental VR and Art Practices
The book addresses themes such as visual perception, perception of 3-D and stereo. With the event of the stereoscope and the theatre, dioramas and panoramas before it, vision and perception in the eighteenth and nineteenth century is seen to be marketed to a mass audience. As such the spectacle of the stereoscope and other optical devices can be seen as a precursor to mass media dissemination today.
Yet artists use the stereoscope and VR to signify the spectacle, clairvoyance, vision and the mechanism of vision as well as a symbol for the act of looking, being looked at while looking and the gaze within an art new media practice.
Other artists have used 3-D and virtual reality to address themes such as theories of consciousness or embodied consciousness, the human – machine relationship and the idea of mapping reality, alternative networked realities.
The book includes an introduction and summary of chapters, 86 anaglyphic 3-D images and presents a survey of artists working in 3-D and virtual reality, VR art. The convergence of other fields such as new media art, video art and early virtual reality art is described through many examples within the scope of the book.
Artists discussed include Mert Akbal, Zoe Beloff , Geoffrey Berliner, Lygia Clark, Dan Graham, Salvador Dali, Marcel Duchamp, Scott S. Fisher, Rebecca Hackemann, Perry Hoberman, Daniel Iglesia, Ken Jacobs, William Kentridge, Susan MacWilliam, Patrick Meagher, Rosa Menkman, Jim Naughten, Tony Ousler, Alfons Schilling, Joel Schlemowitz, Christopher Schneberger, Judith Sönniken, Ethan Turpin, Aga Ousseinov, Colleen Woolpert.
3-D glasses included with hardback book.
eBook
Second sight : the paradox of vision in contemporary art
Featuring sculptural, sound-based, and language-based artworks, this fascinating volume explores the experiential, psychological, and metaphorical implications of blindness and invisibility in recent American art. New research addresses the paradox of why and how numerous sighted and unsighted artists, normally considered to be \"visual artists\" such as William Anastasi, Robert Morris, Joseph Grigely, and Lorna Simpson, have challenged the primacy of vision as a bearer of perceptual authority. Their work explores what resides on the other side of the visual field, prompting audiences to reflect upon the significance of what we cannot see, whether by choice, habit, or physiological limitations, in the world around us. In so doing, they point to ways of knowing beyond what can be observed with the eyes, as well as to the invisible forces (societal, political, cultural) that govern our own frameworks of experience.00Exhibition: Bowdoin College Museum of Art, Brunswick, USA (01.03.-03.06.2018).
Book
To see without being seen : contemporary art and drone warfare
\"As the ubiquitous vision and remote engagement of unmanned aerial vehicles, or drones, are redefining contemporary life, their impact is filtering into art and visual culture, generating new investigations into issues of perception, visibility, technology, and fear. Considering an international array of video, sculpture, installation, photography, and web-based projects, To See Without Being Seen: Contemporary Art and Drone Warfare reveals the unique potential of art to further our understanding of--and give visual form to--drone warfare and digital surveillance in today's world. While the drone is the specific point of departure for this investigation, the essays in this book illuminate the ways in which the drone embodies a much broader discussion about the rapidly shifting conditions of perception--of seeing, and of being seen--made possible by advanced technology.\"--Publisher's description.
Book
Through the Prism of the Senses
This book is a vital contribution to discussions surrounding research creation and the body in relation to digital media, highlighting the ways in which new technologies confront the sensate, somatic body.
eBook
Georges de La Tour and the Enigma of the Visible
Not rediscovered until the twentieth century, the works of Georges de La Tour retain an aura of mystery. At first sight, his paintings suggest a veritable celebration of light and the visible world, but this is deceptive. The familiarity of visual experience blinds the beholder to a deeper understanding of the meanings associated with vision and the visible in the early modern period.
By exploring the representations of light, vision, and the visible in La Tour’s works, this interdisciplinary study examines the nature of painting and its artistic, religious, and philosophical implications. In the wake of iconoclastic outbreaks and consequent Catholic call for the revitalization of religious imagery, La Tour paints familiar objects of visible reality that also serve as emblems of an invisible, spiritual reality. Like the books in his paintings, asking to be read, La Tour’s paintings ask not just to be seen as visual depictions but to be deciphered as instruments of insight. In figuring faith as spiritual passion and illumination, La Tour’s paintings test the bounds of the pictorial image, attempting to depict what painting cannot ultimately show: words, hearing, time, movement, changes of heart.
La Tour’s emphasis on spiritual insight opens up broader artistic, philosophical, and conceptual reflections on the conditions of possibility of the pictorial medium. By scrutinizing what is seen and how, and by questioning the position of the beholder, his works revitalize critical discussion of the nature of painting and its engagements with the visible world.
eBook
Georges de La Tour and the Enigma of the Visible
Not rediscovered until the twentieth century, the works of Georges de La Tour retain an aura of mystery. At first sight, his paintings suggest a veritable celebration of light and the visible world, but this is deceptive. The familiarity of visual experience blinds the beholder to a deeper understanding of the meanings associated with vision and the visible in the early modern period.
By exploring the representations of light, vision, and the visible in La Tour's works, this interdisciplinary study examines the nature of painting and its artistic, religious, and philosophical implications. In the wake of iconoclastic outbreaks and consequent Catholic call for the revitalization of religious imagery, La Tour paints familiar objects of visible reality that also serve as emblems of an invisible, spiritual reality. Like the books in his paintings, asking to be read, La Tour's paintings ask not just to be seen as visual depictions but to be deciphered as instruments of insight. In figuring faith as spiritual passion and illumination, La Tour's paintings test the bounds of the pictorial image, attempting to depict what painting cannot ultimately show: words, hearing, time, movement, changes of heart.
La Tour's emphasis on spiritual insight opens up broader artistic, philosophical, and conceptual reflections on the conditions of possibility of the pictorial medium. By scrutinizing what is seen and how, and by questioning the position of the beholder, his works revitalize critical discussion of the nature of painting and its engagements with the visible world.
eBook