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Confronting Images: Questioning the Ends of a Certain History of Art

Pennsylvania State University Press (2009)

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  1. Architecture.Nele De Raedt - 2016 - In Encyclopedia of Renaissance Philosophy. Springer International Publishing. pp. 1-14.
    During the Renaissance in Europe, between roughly 1300 and 1650, a number of intellectual discourses and practices helped shape the discipline of architecture. This article is not about canonical buildings or the evolution of distinctive stylistic characteristics but rather six key topics within an overall threefold structure: heritage and rupture with the tradition, innovative and original aspects, and impact and legacy. The six topics are geometry as the scientific foundation of architecture; humanism, antiquarianism, and the recovery of ancient architecture; architectural (...)
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  • The Image: Historical, Conceptual, Aesthetic, Moral.Alison Ross - 2013 - Critical Horizons 14 (3):265-270.
    The concept of ‘the image’ can be given historical, conceptual, aesthetic and moral specifications. This essay sets out some of the scholarly issues in the dense semantic field of ‘the image’. In particular, the essay considers how the meaning of the image is often determined in relation to the opposition between sensible form and intelligible idea. Specific attention is given to Kantian aesthetics, which inaugurates a specific way of understanding the sensible form as a mode of processing moral ideas.
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  • Vilém Flusser’s Theories of Photography and Technical Images in a U.S. Art Historical Context.Martha Schwendener - 2014 - Flusser Studies 18 (1).
    In the field of U.S. art history, the photography specialization is fairly new and the discourse is dominated by a handful of voices like Walter Benjamin and Roland Barthes, while Vilém Flusser has been virtually ignored. This essay examines the trilogy of “technical image” texts Flusser wrote in the 1980s—Towards a Philosophy of Photography, Into the Universe of Technical Images, and Does Writing Have a Future? —and beyond these, locating the seeds of Flusser’s “photophilosophy” in his use of information and (...)
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