"Challenge: Create an image out of a word, using only the letters in the word itself. Rule: Use only the graphic elements of the letters without adding outside parts. Word as Image invites you to see letters beyond their utilitarian dullness. It's about discovering the magic behind the unique shapes and infinite possibilities of letters and words. This book showcases nearly 100 of Ji Lee's head-scratching word images, along with tips to help you create your own and share them at www.wordasimage.com."--Page 4 of cover.
Engagement with the image has played a decisive role in the formulation of the very idea of philosophy since Plato. Identifying pivotal moments in the history of philosophy, Dennis J. Schmidt develops the question of philosophy's regard of the image in thinking by considering painting—where the image most clearly calls attention to itself as an image. Focusing on Heidegger and the work of Paul Klee, Schmidt pursues larger issues in the relationship between word, image, and truth. As he investigates alternative ways of thinking about truth through word and image, Schmidt shows how the form of art can indeed possess the capacity to change its viewers.
"[The Book of Kells' contains almost 2000 decorated initials, the majority of which are formed by human figures, beasts, birds and fish. This title offers an in-depth examination of the smaller decorated initials, script layout, and marginalia of this book]"--Jacket cover.
For decades educators and cultural critics have deplored the corrosive effects of electronic media on the national consciousness. The average American reads less often, writes less well. And, numbed by the frenetic image-bombardment of music videos, commercials and sound bites, we may also, it is argued, think less profoundly. But wait. Is it just possible that some good might arise from the ashes of the printed word? Most emphatically yes, argues Mitchell Stephens, who asserts that the moving image is likely to make our thoughts not more feeble but more robust. Through a fascinating overview of previous communications revolutions, Stephens demonstrates that the charges that have been leveled against television have been faced by most new media, including writing and print. Centuries elapsed before most of these new forms of communication would be used to produce works of art and intellect of sufficient stature to overcome this inevitable mistrust and nostalgia. Using examples taken from the history of photography and film, as well as MTV, experimental films, and Pepsi commercials, the author considers the kinds of work that might unleash, in time, the full power of moving images. And he argues that these works--an emerging computer-edited and -distributed "new video"--have the potential to inspire transformations in thought on a level with those inspired by the products of writing and print. Stephens sees in video's complexities, simultaneities, and juxtapositions, new ways of understanding and perhaps even surmounting the tumult and confusions of contemporary life. Sure to spark lively--even heated--debate, The Rise of the Image, the Fall of the Word belongs in the library of millennium-watchers everywhere.
A highly illustrated survey of the use of words (or language) in art. Art, Word and Image asks what it means when a painting is 'invaded' by language - how do the two forms converse and combine, and what messages are intended for the viewer?
Art and Science in Word and Image investigates the theme of ‘riddles of form’, exploring how discovery and innovation have functioned inter-dependently between art, literature and the sciences. Using the impact of evolutionary biologist D’Arcy Thompson’s On Growth and Form on Modernist practices as springboard into the theme, contributors consider engagements with mysteries of natural form in painting, photography, fiction, etc., as well as theories about cosmic forces, and other fields of knowledge and enquiry. Hence the collection also deals with topics including cultural inscriptions of gardens and landscapes, deconstructions of received history through word and image artworks and texts, experiments in poetic materiality, graphic re-mediations of classic fiction, and textual transactions with animation and photography. Contributors are: Dina Aleshina, Márcia Arbex, Donna T. Canada Smith, Calum Colvin, Francis Edeline, Philippe Enrico, Étienne Février, Madeline B. Gangnes, Eric T. Haskell, Christina Ionescu, Tim Isherwood, Matthew Jarron, Philippe Kaenel, Judy Kendall, Catherine Lanone, Kristen Nassif, Solange Ribeiro de Oliveira, Eric Robertson, Frances Robertson, Cathy Roche-Liger, David Skilton, Melanie Stengele, Barry Sullivan, Alice Tarbuck, Frederik Van Dam.
A catalogue and accompaniment to an exhibition at the China House Gallery, New York City, October to December 1992, which focused on Chinese seal as works of art related to calligraphy, rather than to their role in authenticating paintings. The pieces range from the 3rd (at least) century B.C. to the 1950s. Annotation copyright Book News, Inc. Port
