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Qu'est-ce qu'une image ? La multiplication proliférante des images dans notre monde contemporain semble bien – et c'est là son paradoxe – inversement proportionnelle à notre faculté de dire avec exactitude ce qu'est une image. Si notre interaction quotidienne avec les écrans et autres surfaces visuelles a fait disparaître certaines peurs archaïques quant au pouvoir perturbateur des images, une telle normalisation des rapports nous fait oublier que nous ne savons encore qu'à peine comment les images agissent. Partant de l'assomption initiale que l'image n'est pas structurée comme un langage, le présent ouvrage reflète quelques-uns des débats autour des logiques imaginales, notamment les Bildwissenschaften allemandes ainsi que les visual studies aux Etats-Unis. Que ce soit à partir d'une perspective contemporaine ou encore depuis une position délibérément anachronique, les différentes contributions forment ensemble un arsenal conceptuel permettant d'affronter de façon nouvelle la question de l'image et son efficace.

Communication --- Sémiologie de l'image --- Sociologie de la communication --- Langage --- Perception visuelle. --- Sémiotique visuelle. --- Image (Philosophy). --- Anthropologie visuelle --- Aesthetics --- Image (Philosophy) --- Visual perception. --- Art --- Image (Philosophie) --- Perception visuelle --- Philosophy. --- Philosophie --- Language --- Semiotics and art --- Visual Perception --- Philosophy --- Image (philosophie) --- Esthétique --- Esthétique. --- Anthropologie visuelle. --- Art - Philosophy --- Esthétique.

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Histoire des échanges entre cinéma et photographie au XXe siècle, en particulier sur la fixité et le mouvement, domaines communs à chacun des deux arts et sur lesquels les professionnels des deux disciplines se sont longuement penchés.

Cinematography and photography --- Motion pictures --- Animated films --- Comic books, strips, etc --- Cinéma et photographie --- Cinéma --- Dessins animés --- Bandes dessinées --- History --- Histoire --- Photographie et cinéma --- Perception visuelle du mouvement --- Cinéma. --- Photographie. --- 778.5 --- 77 "20" --- Filmfotografie. Filmkunst --- Fotografie--21e eeuw. Periode 2000-2099 --- 77 "20" Fotografie--21e eeuw. Periode 2000-2099 --- 778.5 Filmfotografie. Filmkunst --- Cinéma et photographie --- Cinéma --- Dessins animés --- Bandes dessinées --- Comic books, strips, etc. --- Perception visuelle du mouvement.

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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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Motor Activity --- Goals. --- Intention. --- Psychomotor Performance --- Visual Perception --- Perceptual-motor processes. --- Motion perception (Vision) --- Visual perception. --- Processus perceptivomoteurs --- Perception du mouvement (Vision) --- Perception visuelle --- physiology. --- Perceptual-motor processes --- Goals --- Intention --- Activité motrice --- Perception spatiale --- Mouvement --- physiology --- 612.8 --- Fysiologie --- Zenuwstelsel --- Bewegen --- Motoriek --- Zenuwstelsel. Zintuigen. Motorische neurowetenschappen --- Visual perception --- Optics, Psychological --- Vision --- Perception --- Visual discrimination --- Sensory-motor processes --- Movement, Psychology of --- Movement perception (Vision) --- Speed perception --- Psychological aspects

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Focusing on the years from 1922 to 1938, this book revisits an important moment in black cultural history to explore how visual elements were used in poems, novels, and photography to undermine existing stereotypes. Miriam Thaggert identifies and analyzes an early form of black American modernism characterized by a heightened level of experimentation with visual and verbal techniques for narrating and representing blackness. The work of the writers and artists under discussion reflects the creative tension between the intangibility of some forms of black expression, such as spirituals, and the materiality of the body evoked by other representations of blackness, such as “Negro” dialect. By paying special attention to the contributions of photographers and other visual artists who have not been discussed in previous accounts of black modernism, Thaggert expands the scope of our understanding of the Harlem Renaissance and contributes to a growing recognition of the importance of visual culture as a distinct element within, and not separate from, black literary studies. Thaggert trains her critical eye on the work of James Weldon Johnson, Nella Larsen, George Schuyler, Carl Van Vechten, James Van Der Zee, and Aaron Siskind—artists who experimented with narrative and photographic techniques in order to alter the perception of black images and to question and reshape how one reads and sees the black body. Examining some of the more problematic authors and artists of black modernism, she challenges entrenched assumptions about black literary and visual representations of the early to mid twentieth century. Thaggert concludes her study with a close look at the ways in which Harlem and the Harlem Renaissance were reimagined and memorialized in two notable texts—Wallace Thurman’s 1932 satire Infants of the Spring and the Metropolitan Museum of Art’s controversial 1969 exhibition “Harlem on My Mind: The Cultural Capital of Black America, 1900–1968.”

African Americans in art --- African Americans in literature --- Afro-Americains dans l'art --- Afro-Americans in literature --- Afro-Amerikanen in de kunst --- Afro-Amerikanen in de literatuur --- Afro-Américains dans la littérature --- Amerikaanse zwarten in de literatuur --- Art dans la littérature --- Art in literature --- Black Americans in literature --- Harlem Renaissance --- Kunst in de literatuur --- Negroes in literature --- Noirs américains dans la littérature --- Perception visuelle dans la littérature --- Visual perception in literature --- Visuele waarneming in de literatuur --- Zwarte Amerikanen in de literatuur --- American literature --- African American authors --- History and criticism --- African American art --- 20th century --- African Americans --- Intellectual life --- Modernism (Literature) --- United States --- Johnson, James Weldon --- Criticism and interpretation --- Larsen, Nella --- Schuyler, George Samuel --- Van Vechten, Carl --- Siskind, Aaron --- Littérature américaine --- Noirs américains --- Auteurs noirs américains --- Histoire et critique --- Dans la littérature --- Dans l'art --- Vie intellectuelle --- 20e siècle