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Visual perception in literature --- Vision in literature --- Perception visuelle dans la littérature --- Vision dans la littérature

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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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Il ne s’agit pas ici de ce que le cinéma fait à la littérature mais de ce que l’imaginaire polysémique de la projection suscite d’allers, de retours et de réécritures croisées entre les deux disciplines, y compris dans les possibles dérives « projectives » du geste interprétatif, du moment qu’il entraîne un gain heuristique et travaille au croisement de l’optique et du psychique. La projection cinématographique est en effet, d’abord, un dispositif optique. Un faisceau lumineux transporte en l’agrandissant, parfois en l’anamorphosant, une image sur un écran : image passée, qu’il actualise ; image fugace, dont il déploie l’évanescence ; image photogramme, qu’il met en mouvement et expose à la dissemblance. Or la participation émotionnelle que suscite l’optique n’est pas sans rapport avec le dispositif psychique du même nom, qui consiste à extérioriser un contenu inconscient pour le voir en le déniant comme sien. Les deux versants de la projection ont en commun d’être des mécanismes qui mettent en jeu un travail de déformation autant destiné à faire voir qu’à opacifier et faire écran. Le cinéma s’avère alors surface où s’inscrivent les traumas inassimilables auxquels la projection donne forme visible selon le modèle de la figurabilité inconsciente. Ces prémisses esquissent les contours d’un nouveau chantier interdisciplinaire dont cette publication collective entend déployer l’extension maximale et donner les premières clés de compréhension.

Film --- Literature --- Motion picture projection --- Anamorphosis (Visual perception) --- Motion pictures and literature --- Projection cinématographique --- Anamorphose (perception visuelle) --- Cinéma et littérature --- Projection cinématographique --- Cinéma et littérature --- Cinéma et littérature. --- Projection cinématographique. --- Cinéma et littérature. --- Projection cinématographique. --- Film Radio Television --- Literature (General) --- cinéma --- littérature

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The primacy of words over images has deep roots in Western culture. But what if the two are inextricably linked, equal partners in meaning-making? Written and drawn entirely as comics, Unflattening is an experiment in visual thinking. Nick Sousanis defies conventional forms of scholarly discourse to offer readers both a stunning work of graphic art and a serious inquiry into the ways humans construct knowledge. 'Unflattening' is an insurrection against the fixed viewpoint. Weaving together diverse ways of seeing drawn from science, philosophy, art, literature, and mythology, it uses the collage-like capacity of comics to show that perception is always an active process of incorporating and reevaluating different vantage points. While its vibrant, constantly morphing images occasionally serve as illustrations of text, they more often connect in nonlinear fashion to other visual references throughout the book. They become allusions, allegories, and motifs, pitting realism against abstraction and making us aware that more meets the eye than is presented on the page.

741.571 --- Verenigde Staten --- Sousanis Nick --- beeldverhaal --- eenentwintigste eeuw --- graphic novels --- kunst en wetenschap --- kennisleer --- waarneming --- perceptie --- kunsttheorie --- kunst --- strips --- tekenkunst --- Visual perception --- Knowledge, Theory of --- Imagery (Psychology) --- Communication --- Graphic novels. --- Methodology --- kunstfilosofie --- hedendaagse kunst --- Art --- Identité (psychologie) --- Perception (philosophie) --- Théorie de la connaissance --- Romans graphiques --- Imagerie (psychologie) --- Méthodologie --- MAD-faculty 15 --- grafische novellen --- Romans graphiques. --- Graphic novels --- Perception visuelle --- Imagerie (Psychologie) --- #SBIB:39A5 --- #SBIB:39A3 --- #SBIB:309H241 --- Kunst, habitat, materiële cultuur en ontspanning --- Antropologie: geschiedenis, theorie, wetenschap (incl. grondleggers van de antropologie als wetenschap) --- Andere media: functies, genres, historiek --- Comic book novels --- Fiction graphic novels --- Fictive graphic novels --- Graphic albums --- Graphic fiction --- Graphic nonfiction --- Graphic novellas --- Nonfiction graphic novels --- Comic books, strips, etc. --- Fiction --- Popular literature --- Communication, Primitive --- Mass communication --- Sociology --- Imagery, Mental --- Images, Mental --- Mental imagery --- Mental images --- Imagination --- Visualization --- Epistemology --- Theory of knowledge --- Philosophy --- Psychology --- Optics, Psychological --- Vision --- Perception --- Visual discrimination --- Psychological aspects --- art history. --- cartoons. --- cognition. --- comic book. --- drawing. --- graphic storytelling. --- neurodiversity. --- panels. --- pedagogy. --- perspective. --- scott mccloud. --- sequential art. --- teaching through comics. --- theorizing comics. --- visual literacy. --- visual metaphors. --- written v visual communication.