Listing 1 - 10 of 30 | << page >> |
Sort by
|
Choose an application
Discusses the Indian design treatise the Vaastu Veda in relation to visual neuroscience. Relates visual perception in architecture to functional organisation of the brain. Relates Hubel and Weisel's orientation sensitivity to the sense of order and pleasure imparted by the regularity of colonnades and cable stay bridges. Suggests aspects of perception facilitated by neuronal architecture and the dynamic between familiarity and novelty, plasticity and visual attunement.
Choose an application
Discusses the Indian design treatise the Vaastu Veda in relation to visual neuroscience. Relates visual perception in architecture to functional organisation of the brain. Relates Hubel and Weisel's orientation sensitivity to the sense of order and pleasure imparted by the regularity of colonnades and cable stay bridges. Suggests aspects of perception facilitated by neuronal architecture and the dynamic between familiarity and novelty, plasticity and visual attunement.
Choose an application
Connu pour ses recherches sur les pouvoirs de l'image à l'âge classique et la figurabilité du mystère dans la peinture chrétienne, Louis Marin s'est aussi et passionnément intéressé à la culture visuelle de son temps. Le présent recueil met à disposition l'essentiel des contributions de l'auteur à la pensée de l'art au XXe siècle, jusque-là dispersées et souvent difficilement accessibles. Le trait de leur conjonction n'est cependant pas de simple pertinence chronologique, il réside plus profondément dans une exploration des « événements de contemporanéité », à la faveur desquels les images du présent et du passé entrent dans une « communauté temporelle ». À cet égard, l'art moderne et contemporain, loin de désigner le moment d'une crise dans le système de la représentation longuement étudié par Louis Marin, devient plutôt le lieu de son analyse, comme il en révèle les dynamiques figurales « entre forme et forces, entre visible et visuel, entre figurativité et figurabilité ». C'est en lisant Rembrandt à travers De Kooning et réciproquement, en repérant dans la cartographie de Disneyland les transformations de l'Utopia de Thomas More, c'est en concevant la matérialité de la peinture de Klee comme une origine a-chronologique, c'est en empruntant bien d'autres trajectoires du regard et des signes, que nous sommes appelés par Louis Marin à un voyage dans une histoire de « co-temporalités » inattendues, ce qu'il nomme ici « logique indéterministe de l'histoire de l'art ».
Arts --- Art --- Visual Perception --- Philosophy --- Art - Philosophy
Choose an application
Choose an application
In 1688 the Irish scientist and politician William Molyneux sent a letter to the philosopher John Locke. In it, he asked him a question: could someone who was born blind, and able to distinguish a globe and a cube by touch, be able to immediately distinguish and name these shapes by sight if given the ability to see? The philosophical puzzle offered in Molyneux's letter fascinated not only Locke, but major thinkers such as Leibniz, Berkeley, Diderot, Reid, and numerous others including psychologists and cognitive scientists today. Does such a question represent a philosophical puzzle or a problem that can be solved by experimental tests? Can vision be fully restored after blindness? What is the relation between vision and touch? Are the senses linked through learning or bound at birth? Molyneux's Question and the History of Philosophy is a major collection of essays that explore the long-standing issues Molyneux's problem presents to philosophy of mind, perception and the senses. In addition, the volume considers the question from an interdisciplinary angle, examines the pre-history of the question, and aspects of it that have been ignored, such as perspectives from religion and disability. As such, Molyneux's Question and the History of Philosophy presents a set of philosophically rich, empirically informed, and scientifically rigorous original investigations into this famous puzzle. It will be of great interest to students and researchers in philosophy, psychology, and the cognitive sciences including neuroscience, neurobiology and ophthalmology, as well as those studying the mind, perception and the senses.
Perception (Philosophy) --- Philosophy, Modern --- Visual perception --- Touch --- History. --- Molyneux, William,
Choose an application
Information visualization. --- Visual perception. --- Gaussian distribution. --- Three-dimensional imaging.
Choose an application
anamorphoses --- featherwork [visual works] --- visual perception --- anno 1600-1699 --- Mexico
Choose an application
"Using cinema to explore the visual aspects of alterity, Randall Halle analyzes how we become cognizant of each other and how we perceive and judge another person in a visual field. Halle draws on insights from philosophy and recent developments in cognitive and neuroscience to argue that there is no pure "natural" sight. We always see in a particular way, from a particular vantage point, and through a specific apparatus, and Halle shows how human beings have used cinema to experiment with the apparatus of seeing for over a century. Visual alterity goes beyond seeing difference to being conscious of how one sees difference. Investigating the process allows us to move from mere perception to apperception, or conscious perception. Innovative and insightful, Visual Alterity merges film theory with philosophy and cutting-edge science to propose new ways of perceiving and knowing"--
Visual perception in motion pictures. --- Motion pictures --- Philosophy.
Choose an application
Information visualization. --- Visual perception. --- Gaussian distribution. --- Three-dimensional imaging.
Choose an application
"We approach visual culture pedagogy through an account of our academic training and work histories as they informed our book Practices of Looking: An Introduction to Visual Culture in its three very different editions (2001, 2008, 2017). Our experience was unusually broad, spanning art and media practice, cultural studies, critical theory, cultural history, and media activism. With this mixed approach, we helped to introduce a range of images and image-making cultures and technologies, beyond art and film, to the then-nascent visual culture field. In this account, we aim to show how visual culture was, in the 1990s, not just a new direction in art history or a merger between art history and film studies. Rather, the field's emergence was also motivated by political movements and their multimodal forms of practice, as well as by a commitment to recognizing and studying images and imaging technologies at work in a host of institutions and practices beyond fine art, popular media, and art cinema"--
Art and society. --- Culture. --- Visual perception. --- Percepció visual --- Comunicació visual --- Cultura popular
Listing 1 - 10 of 30 | << page >> |
Sort by
|