By Therese Tierney
This visually wonderful, conceptually wealthy and creative e-book investigates the cultural connection among new media and architectural imaging. via a number fabric, from theoretical texts to experimental layout initiatives, Tierney explores notions of what the architectural photo capability today.
Within the book’s visually resourceful layout framework, summary house engages discourses from structure, visible and cultural experiences to computing device technological know-how and communications expertise to give an in-depth multi-media case research. Tracing a provisional background of the subject, the e-book additionally lends a provocative and multivalent knowing to the advanced relatives affecting the architectural snapshot at the present time.
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Extra info for Abstract Space: Beneath the Media Surface
Within the field of art, this loss was accompanied by the loss of an art-product produced on the basis of a desire to represent. It has been suggested that this loss was actually initiated much earlier in the century by artists’ adoption of a new technology, photography, which destabilized traditional art practices such as portrait and landscape painting. The Surrealist André Breton believed that it was photography’s indexical character that compelled a reexamination of art’s ontological origins and purpose as well as the grounding of the discipline itself.
His ideas negated the primacy of the five senses and spoke instead of a mind not subservient to sensory input. 8 Vision is never experienced directly; it is understood that we do not see the sense object, but only a reflection of light from the object. Plato further believed that, through mimesis, the world could be abstracted into a language of color, form, and line. By having an affinity with geometry, these abstracted qualities were then privileged over direct experience. 9 As a subsequent development of visual theory, Plato then proceeded to create the earliest intellectual structure related to knowledge formation by assigning hierarchical positions to both visuality and architecture within ancient Greek pedagogy.
If Vermeer’s The Painter and his Model as Klio (1666–1667)—a Dutch painting of the same period—is analyzed, for example, the painting reveals, in addition to its geometric structure, a method of tracing similar to the action of the camera obscura, with the intention to document or map fragments instead of presenting a holistic or monolithic view. Note the various formal methods of representation portrayed by Vermeer: the map on the wall, the plaster bust, and the compendium of architectural drawings on the table, as well as the painting on the easel.
Abstract Space: Beneath the Media Surface by Therese Tierney