Picturing Science, Producing Art

Erscheinungsjahr 1998
ISBN: 978-0-415-91912-8
Verlag: Routledge

Buch, Englisch, 530 Seiten, Format (B × H): 178 mm x 254 mm, Gewicht: 985 g

Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range from art history to sociology, history and philosophy of science to gender studies, cultural history to the philosophy of mind. Organized in five sites--Styles, The Body, Seeing Wonders, Objectivity/Subjectivity, and Cultures of Vision--their topics extend from Cinquecento theories of female reproduction to the technologies of cloning, from medieval depictions of the stigmata to electrical metaphors for sex, from astronomical drawings to radioencephalography, from Phoenician griffons carved in ivory to factories cast in concrete. The internationally renowned contributors go beyond both science wars and culture wars by exploring substantive links between systems of visual representation and knowledge in science and art. Contributors include Svetlana Alpers, Jonathan Crary, Arnold Davidson, Carlo Ginzburg, Donna Haraway, Bruno Latour, and Simon Schaffer.

Autoren/Hrsg.

Galison, Peter

Jones, Caroline A.

Fachgebiete

• Geisteswissenschaften Kunst Kunst, allgemein Kunsttheorie, Kunstphilosophie
• Interdisziplinäres Wissenschaften Wissenschaften: Allgemeines Wissenschaften: Theorie, Epistemologie, Methodik
• Geisteswissenschaften Philosophie Ästhetik
• Geisteswissenschaften Philosophie Wissenschaftstheorie, Wissenschaftsphilosophie

Inhaltsverzeichnis

TABLE OF CONTENTS

Caroline A. Jones - Introduction

STYLES
Carlo Ginzburg - Style as Inclusion, Style as Exclusion
Irene J. Winter - The Affective Properties of Styles: An Inquiry into Analytical Process and the Inscription of Meaning in Art History
Amy Slaton - Style/Type/Standard: The Production of Technological Resemblance

THE BODY

Arnold Davidson - Miracles of Bodily Transformation, or, HOw St. Francis Recieved the Stigmata

Londa Schiebinger - Lost Knowledge, Bodies of Ignorance, and the Poverty of Taxonomy as Illustrated by the Curious Fate of Flos Pavonis, an Abortifacient

Caroline A. Jones - The Sex of the Machine: Mechanomorphic Art, New Women, and Francis Picabia's Neurasthenic Cure

Donna J. Haraway - Deanimations: Maps and Portraits of Life Itself

SEEING WONDER

Krzysztof Pomian - Vision and Cognition

Lorraine Daston - Nature by Design

Katharine Park - Impressed Images:Reproducing Wonders

David Freedberg - Iconography Between the History of Art and the History of Science: Art, Science, and the Case of the Urban Bee

Joseph Leo Koerner - Hieronymus Bosch's World Picture

OBJECTIVITY/SUBJECTIVITY

Peter Galison - Judgment Against Objectivity

Jan Goldstein - Eclectic Subjectivity and the Impossibility of Female Beauty

Joel Snyder - Visualization and Visibility

CULTURES OF VISION

Svetlana Alpers - The Studio, the Laboratory, and the Vexations of Art

Bruno Latour - How to Be Iconophilic in Art, Science, and Religion?

Simon Schaffer - On Astronomical Drawing

Jonathan Crary - Attention and Modernity in the Ninteenth Century

Über Autor(innen)

Caroline A. Jones teaches contemporary art and criticism and directs the Museum Studies Program in the Art History Department at Boston University. Her most recent exhibition is Painting Machines (1997), and her books include Machine in the Studio (1996). Peter Galison is Mallinckrodt Professor of the History of Science and of Physics at Harvard University. He is a recent recipient of a MacArthur Foundation grant; his most recent publication is Image and Logic (1997), and he is co-author of a forthcoming of a forthcoming book, Images of Objectivity.