in front of each section for an annotated version (does not include all sources).Click the
in front of each section for an annotated version (does not include all sources).
Collaboration |
THEORIES & METHODS - ANNOTATED
Bredekamp, H. (1995). The Lure of Antiquity and the Cult of the Machine: The
Kunstkammer and the Evolution of Nature, Art, and Technology. Princeton, Markus
Wiener Publishers.
From Book News, Inc.
Bredekamp (art history, Humboldt U.) explains the sources of pictures of the
Baroque era and offers insights on the relationships between art, science, and
scholarship in early modern Europe, in this analysis of the Kunstkammer, displays
of art and oddities amassed by wealthy Europeans during the 16th to the 18th
centuries. He combines analysis of images with interpretation of texts in a
new account of the development of aesthetics and natural history of the period.
Includes b&w photos. Annotation c. by Book News, Inc., Portland, Or.
Journal of the History of Collections, vol. 9, no. 1 (1997)
...With its presentation of familiar and less familiar material in new and often
surprising relationships, this book is a pleasure to read, whether for its reinterpretation
of these collections, for its re-reading of Francis Bacon's Advancement of Learning
as a theory of the metamorphosis from normal nature via the monsters of 'erring'
nature to 'nature altered and wrought', or for its confrontation of Winckelmann
and Piranesi as two variants of the beginnings of alienation between art and
technique in the second half of the 18th century. Bredekamp offers a perspective
for looking at the recent blurring or fading, in the age of the computer, of
the boundaries between nature, art and technology and at the growing interest
in the encyclopaedic Kunstkammer that goes with it...
Earle, E. W. "`It's the end of the world as we know it' (and I feel fine)."
Camerawork: A Journal of Photographic Arts 21(2): 12-19.
Discusses the influence of technology on art and culture. The author considers
how technological innovations have changed people's perceptions of and relationship
to the world, citing the 19th century photographer and inventor Samuel Morse's
anticipation of Marshall McLuhan's `global village' as an example. He examines
how photography, television and particularly digital imaging processes have
blurred distinctions between reality and the imagined in both art and everyday
life, and studies the contributions made to computer art by artists, including
Jim Pomeroy, Lynn Hershman, Stephen Axelrad, George Legrady, Christine Tamblyn
and Pedro Meyer. He focuses on the development of multimedia art using CD-ROMs,
video displays and sound, and concludes by applauding their `alternative' contributions
to the growing commercialization of the Internet.
Moran, J. (2001). Interdisciplinarity (The New Critical Idiom). London, Routledge.
This volume examines the way in which we organize knowledge into disciplines,
then reorganize it into new configurations when the existing disciplines have
come to seem irrelevant or exclusory. Joe Moran traces the history and use of
the term interdisciplinarity and tackles such vital topics as: the rise of the
disciplines; interdisciplinary English; literary and cultural studies; "theory"
and the disciplines; texts and histories; and literature, science, space and
nature. Interdisciplinarity is the ideal entry point into one of today's most
heatedly argued critical debates.
Waddington, C. H. (1970). Behind Appearance; a Study Of The Relations Between
Painting And The Natural Sciences In This Century. Cambridge, MIT Press.
This reviewer recalls that, inspired by Cahal’s example, the Scottish
geneticist C.H. Waddington authored an influential art and science book entitled
Behind Appearance: A Study of the Relations Between Painting and the Natural
Sciences in this Century. Cahal’s interdisciplinary spirit of inquiry
was everywhere present in the SLS conference – and even could be intuited
in several recent publications about cyber culture and psychology. ... Summary
and discussion of the relationship between twentieth century painting and physics,
includes the art movements of Cubism, Constructivism, Surrealists, Chirico,
Kandinsky. Also examines the influence of the modern sciences of communication,
automation and information system and how they relate to paintings and photographs.
Includes 150 b/w illustrations and 70 color plates.