The Iconology Of Abstraction

This book uncovers how we make meaning of abstraction, both historically and in present times, and examines abstract images as a visual language. The contributors demonstrate that abstraction is not primarily an artistic phenomenon, but rather arises from human beings’ desire to imagine, understand and communicate complex, ineffable concepts in fields ranging from fine art and philosophy to technologies of data visualization, from cartography and medicine to astronomy. The book will be of interest to scholars working in image studies, visual studies, art history, philosophy and aesthetics.

Scholarly editions contextualize our cultural heritage. Traditionally, methodologies from the field of scholarly editing are applied to works of literature, e.g. in order to trace their genesis or present their varied history of transmission. What do we make of the variance in other types of cultural heritage? How can we describe, record, and reproduce it systematically? From medieval to modern times, from image to audiovisual media, the book traces discourses across different disciplines in order to develop a conceptual model for scholarly editions on a broader scale. By doing so, it also delves into the theory and philosophy of the (digital) humanities as such.

Abstraction haunts medieval art, both withdrawing figuration and suggesting elusive presence. How does it make or destroy meaning in the process? Does it suggest the failure of figuration, the faltering of iconography? Does medieval abstraction function because it is imperfect, incomplete, and uncorrected-and therefore cognitively, visually demanding? Is it, conversely, precisely about perfection? To what extent is the abstract predicated on theorization of the unrepresentable and imperceptible? Does medieval abstraction pit aesthetics against metaphysics, or does it enrich it, or frame it, or both? Essays in this collection explore these and other questions that coalesce around three broad themes: medieval abstraction as the untethering of image from what it purports to represent, abstraction as a vehicle for signification, and abstraction as a form of figuration. Contributors approach the concept of medieval abstraction from a multitude of perspectives-formal, semiotic, iconographic, material, phenomenological, epistemological.

This volume critically discusses the role empathy plays in different processes of understanding. More precisely, it clarifies empathy’s role in interpersonal understanding and appreciating works of literature and art. The volume also includes a section on historical theories of empathy’s role in understanding. When it comes to understanding other persons, empathy is typically seen as a process that enables the empathizer to recognize a target person’s mental states, a process which is in turn seen as “understanding” this person. This volume, however, explores empathy’s role in understanding beyond mere mental state recognition. With contributions on processes of interpersonal understanding and understanding of literature and art, it provides readers with an overview over both differences and similarities regarding empathy’s epistemic role in two rather different areas. Since important roots of the debate about empathic understanding lie at the end of the nineteenth and the beginning of the twentieth century, the historical section of the volume focusses specifically on this period. Empathy’s Role in Understanding Persons, Literature, and Art will appeal to scholars and advanced students working in the philosophy of mind, epistemology, aesthetics and the history of philosophy, as well as in literary studies and art history.

Volume XXI Special Issue, 2023 Part 1: Phenomenological Perspectives on Aesthetics and Art Part 2: Heidegger and Contemporary French Philosophy Aim and Scope: The New Yearbook for Phenomenology and Phenomenological Philosophy provides an annual international forum for phenomenological research in the spirit of Husserl’s groundbreaking work and the extension of this work by such figures as Reinach, Scheler, Stein, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer. Contributors: Liliana Albertazzi, Dimitris Apostolopoulos, Gabriele Baratelli, Anna Irene Baka, Irene Breuer, John Brough, Peer Bundgaard, Justin Clemens, Richard Colledge, Bryan Cooke, Françoise Dastur, Ivo De Gennaro, Natalie Depraz, Helena De Preester, Daniele De Santis, Madalina Diaconu, Arto Haapala, Robyn Horner, Erik Kuravsky, Donald Landes, Elisa Magri, Michelle Maiese, Regina-Nino Mion, Brian O’Connor, Costas Pagondiotis, Knox Peden, Constantinos Picolas, Hans Reiner Sepp, Jack Reynolds, Jon Roffe, Claude Romano, Maxine Sheets-Johnstone, Michela Summa, Panos Theodorou, Fotini Vassiliou, and Sanem Yazicioglu. Submissions: Manuscripts, prepared for blind review, should be submitted to the Editors ([email protected] and [email protected]) electronically via e-mail attachments.

An examination of the bodily, situated aspects of data-visualization work, looking at visualization practices around the development of MRI technology. Our bodies are scanned, probed, imaged, sampled, and transformed into data by clinicians and technologists. In this book, Silvia Casini reveals the affective relations and materiality that turn data into image--and in so doing, gives bodies back to data. Opening the black box of MRI technology, Casini examines the bodily, situated aspects of visualization practices around the development of this technology. Reframing existing narratives of biomedical innovation, she emphasizes the important but often overlooked roles played by aesthetics, affectivity, and craft practice in medical visualization. Combining history, theory, laboratory ethnography, archival research, and collaborative art-science, Casini retrieves the multiple presences and agencies of bodies in data visualization, mapping the traces of scientists' body work and embodied imagination. She presents an in-depth ethnographic study of MRI development at the University of Aberdeen's biomedical physics laboratory, from the construction of the first whole-body scanner for clinical purposes through the evolution of the FFC-MRI. Going beyond her original focus on MRI, she analyzes a selection of neuroscience- or biomedicine-inspired interventions by artists in media ranging from sculpture to virtual reality. Finally, she presents a methodology for designing and carrying out small-scale art-science projects, describing a collaboration that she herself arranged, highlighting the relational and aesthetic-laden character of data that are the product of craftsmanship and affective labor at the laboratory bench.

The essential elements of a dry Japanese garden are few: rocks, gravel, moss. Simultaneously a sensual matrix, a symbolic form, and a memory theater, these gardens exhibit beautiful miniaturization and precise craftsmanship. But their apparent minimalism belies a true complexity. In Zen Landscapes, Allen S. Weiss takes readers on an exciting journey through these exquisite sites, explaining how Japanese gardens must be approached according to the play of scale, surroundings, and seasons, as well as in relation to other arts—revealing them as living landscapes rather than abstract designs. Weiss shows that these gardens are inspired by the Zen aesthetics of the tea ceremony, manifested in poetry, painting, calligraphy, architecture, cuisine, and ceramics. Japanese art favors suggestion and allusion, valuing the threshold between the distinct and the inchoate, between figuration and abstraction, and he argues that ceramics play a crucial role here, relating as much to the site-specificity of landscape as to the ritualized codes of the tea ceremony and the everyday gestures of the culinary table. With more than one hundred stunning color photographs, Zen Landscapes is the first in-depth study in the West to examine the correspondences between gardens and ceramics. A fascinating look at landscape art and its relation to the customs and craftsmanship of the Japanese arts, it will appeal to readers interested in landscape design and Japan’s art and culture.

First published in 1998. The Encyclopedia of Comparative Iconography compares the uses of iconographic themes from mythology, the Bible and other sacred texts, literature, and popular culture in works of art through various periods, cultures, and genres. Art historians now tend to study narrative themes depicted in works of art in relation to such subjects as gender and sexuality, politics and power, ownership and possession, ceremony and ritual, legitimacy and authority. The Encyclopedia of Comparative Iconography reflects these new approaches by ordering the themes of various iconographic sources in particular biblical, mythological, and literary texts according to these new emphases.Each handsomely illustrated entry discusses the major relevant iconographic narratives and the historical background of each theme. A list of selected works of art that accompanies each essay guides the reader to examples in art that depict the theme under discussion. Each essay includes a list of suggested reading that provides further sources of information about the themes. A general bibliography of reference books is listed separately and can be used in association with all the essays. With 119 entries written by 42 experts, the Encyclopedia of Comparative Iconography is an important reference work for art historians, students of art history, artists, and the general reader.