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"A collection of essays investigating the early modern debates on the nature of sight and its epistemic value"--

Art --- visual perception --- Art and science. --- Art and technology. --- Visual perception. --- Kunst. --- Optik. --- Visuelle Wahrnehmung. --- Wissenschaft. --- Visuell perception. --- Konst och teknik. --- Konst och vetenskap. --- Art and science --- Art and technology --- Perception visuelle --- Europe. --- Europa. --- Visual perception --- Art et sciences --- Art et technologie --- Perception visuelle. --- Technology and art --- Technology --- Science and art --- Science --- Optics, Psychological --- Vision --- Perception --- Visual discrimination --- Psychological aspects --- kunst en wetenschap

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Affective and dynamic functions --- Neuropsychologie --- Neuropsychology --- Optics [Psychological ] --- Perceptie [Visuele ] --- Perception [Visual ] --- Perception visuelle --- Perceptual-motor processes --- Perceptueel-motorische processen --- Processus perceptivomoteurs --- Psychologie [Neuro] --- Vision--Psychological aspects --- Visual perception --- Visuele perceptie --- Visuele waarneming --- Waarneming [Visuele ] --- Visual Perception --- Optics, Psychological --- Vision --- Perception --- Visual discrimination --- Sensory-motor processes --- Movement, Psychology of --- Neurophysiology --- Psychophysiology --- Psychological aspects --- Neuropsychology. --- Perceptual-motor processes. --- Visual perception. --- Aesthetics of art --- visual perception

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How are processes of vision, perception, and sensation conceived in the Renaissance? How are those conceptions made manifest in the arts? The essays in this volume address these and similar questions to establish important theoretical and philosophical bases for artistic production in the Renaissance and beyond. The essays also attend to the views of historically significant writers from the ancient classical period to the eighteenth century, including Plato, Aristotle, Plotinus, St Augustine, Ibn Sina (Avicenna), Ibn al-Haytham (Alhazen), Ibn Sahl, Marsilio Ficino, Nicholas of Cusa, Leon Battista Alberti, Gian Paolo Lomazzo, Gregorio Comanini, John Davies, Rene Descartes, Samuel van Hoogstraten, and George Berkeley.

History --- Renaissance --- Aesthetics --- Christian special devotions --- art theory --- Affective and dynamic functions --- Art --- Descartes, René --- anno 1400-1499 --- anno 1500-1599 --- Visual perception --- Vision --- Perspective --- Art, Renaissance. --- Perception visuelle --- Art de la Renaissance --- History. --- Philosophy. --- Histoire --- Philosophie --- Art, Renaissance --- Philosophy --- Geschichte 1420-1600. --- Art -- Philosophy. --- Perspective -- History. --- Visual perception -- History. --- Visual Arts --- Art, Architecture & Applied Arts --- Visual Arts - General --- Visual perception - History --- Vision - History --- Perspective - History --- Art - Philosophy

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In Art and Representation, John Willats presents a radically new theory of pictures. To do this, he has developed a precise vocabulary for describing the representational systems in pictures: the ways in which artists, engineers, photographers, mapmakers, and children represent objects. His approach is derived from recent research in visual perception and artificial intelligence, and Willats begins by clarifying the key distinction between the marks in a picture and the features of the scene that these marks represent. The methods he uses are thus closer to those of a modern structural linguist or psycholinguist than to those of an art historian. Using over 150 illustrations, Willats analyzes the representational systems in pictures by artists from a wide variety of periods and cultures. He then relates these systems to the mental processes of picture production, and, displaying an impressive grasp of more than one scholarly discipline, shows how the Greek vase painters, Chinese painters, Giotto, icon painters, Picasso, Paul Klee, and David Hockney have put these systems to work.


But this book is not only about what systems artists use but also about why artists from different periods and cultures have used such different systems, and why drawings by young children look so different from those by adults. Willats argues that the representational systems can serve many different functions beyond that of merely providing a convincing illusion. These include the use of anomalous pictorial devices such as inverted perspective, which may be used for expressive reasons or to distance the viewer from the depicted scene by drawing attention to the picture as a painted surface. Willats concludes that art historical changes, and the developmental changes in children's drawings, are not merely arbitrary, nor are they driven by evolutionary forces. Rather, they are determined by the different functions that the representational systems in pictures can serve.

Aesthetics of art --- Gezichtsbedrog --- Illusions d'optique --- Oblique projection --- Optical illusions --- Optics [Psychological ] --- Perceptie [Visuele ] --- Perception [Visual ] --- Perception visuelle --- Perspectief --- Perspective --- Projection [Oblique ] --- Vision--Psychological aspects --- Visual perception --- Visuele perceptie --- Visuele waarneming --- Waarneming [Visuele ] --- Visual perception. --- Perspective. --- Optical illusions. --- Oblique projection. --- Optics, Psychological --- Vision --- Perception --- Visual discrimination --- Architectural perspective --- Linear perspective --- Mechanical perspective --- Optics --- Space (Art) --- Space perception --- Projection --- Proportion (Art) --- Shades and shadows --- Illusions, Optical --- Hallucinations and illusions --- Physiological optics --- Psychological aspects --- art criticism --- philosophy of art

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Im Rahmen der interdisziplinären DFG-Forschungsgruppe Medien und Mimesis wird die Kulturtechnik der Mimesis vor dem Hintergrund der aktuellen Medienforschung untersucht. In diesem Band sind die Ergebnisse zum Thema Metamorphosen der Fläche versammelt. Es geht darum, Trompe-l'OEils im Rahmen eines Prozesses der medialen Ausdifferenzierung als Figuren zu entziffern, durch die die zweidimensionale Buchseite (z. B. der mittelalterlichen Stundenbücher ) selbstreferentiell ihre Flächigkeit thematisiert, und die - indem sie zwischen Zwei- und Dreidimensionalität changieren - medial hybride Räume erzeugen. Damit wird die Beziehung von Zeichen und Dingen, Bildraum und Bildträger ambivalent und dadurch gerade hochinteressant für medientheoretische Reflexionen.

Aesthetics of art --- mimesis --- trompe-l'oeil --- anno 1400-1499 --- anno 1500-1599 --- Trompe l'oeil painting --- Mimesis in art --- Mimêsis --- Mimesis in art. --- Trompe l'oeil painting. --- Visual perception in art --- Paitning, Medieval --- Illumination of books and manuscripts, Medieval --- Painting, Renaissance --- Illumination of books and manuscripts, Renaissance --- Trompe-l'oeil (Peinture) --- Perception visuelle dans l'art --- Peinture médiévale --- Enluminure médiévale --- Peinture de la Renaissance --- Enluminure de la Renaissance --- Painting, Medieval