By Therese Tierney
This visually beautiful, conceptually wealthy and inventive e-book investigates the cultural connection among new media and architectural imaging. via quite a number fabric, from theoretical texts to experimental layout initiatives, Tierney explores notions of what the architectural photo ability today.
Within the book’s visually creative layout framework, summary area engages discourses from structure, visible and cultural reports to computing device technological know-how and communications expertise to offer an in-depth multi-media case research. Tracing a provisional heritage of the subject, the publication additionally lends a provocative and multivalent knowing to the advanced family affecting the architectural snapshot this present day.
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Additional resources for Abstract Space: Beneath the Media Surface
L. Heilbron chronicles in The Sun in the Church. In 1632, Galileo’s crime was simply an accurate description of an observation made through his invention, the telescope. He was forced to recant, forbidden to teach or write, and sentenced to life imprisonment. 4 These social and technological shifts were embedded within the architectural treatises and discourses of the time, and have continued to inform our thinking today. From the Renaissance era’s linear perspective to today’s computer special effects, the apparently separate disciplines of architecture, visual perception, and media technology have shared the same philosophical territory.
While we can say that vision is socially constructed, we must also ask upon what ground. Prior to digital media, the experience of external vision was a reflection of something real or actual in the world. Even photography and film relied on a direct reflection of light from a physical object. However, new viewing regimes linked to digital technology are more immaterial than in the past. Additionally, mass communication and the Internet cross language barriers, so that vision has evolved into the primary sense of the postindustrial era, with the visual image evolving as the lingua franca of a global market economy.
In Turin, Italy, Arte Povera challenged the assumption that only marble or bronze were suitable materials for artwork. Trash or refuse, industrial materials, even people, as well as immaterial substances such as moisture, sound, or energy, any of these could be art. Concurrently, art-and-technology questioned what type of media is inherent to artistic expression: only normative inert media? Instead, conceptual artists believed that art expressions could be gestured, spoken, written, acted, filmed, industrially produced, or conceptualized.