"As familiar and widely appreciated works of modern technology, bridges are a good place to study the relationship between the aesthetic and the technical. Fully engaged technical design is at once aesthetic and structural. In the best work (the best design, the most well made), the look and feel of a device (its aesthetic, perceptual interface) is as important a part of the design problem as its mechanism (the interface of parts and systems). We have no idea how to make something that is merely efficient, a rational instrument blindly indifferent to how it appears. No engineer can design such a thing and none has ever been built."—from Artifice and Design In an intriguing book about the aesthetics of technological objects and the relationship between technical and artistic accomplishment, Barry Allen develops the philosophical implications of a series of interrelated concepts-knowledge, artifact, design, tool, art, and technology-and uses them to explore parallel questions about artistry in technology and technics in art. This may be seen at the heart of Artifice and Design in Allen's discussion of seven bridges: he focuses at length on two New York bridges—the Hell Gate Bridge and the Bayonne Bridge—and makes use of original sources for insight into the designers' ideas about the aesthetic dimensions of their work. Allen starts from the conviction that art and technology must be treated together, as two aspects of a common, technical human nature. The topics covered in Artifice and Design are wide-ranging and interdisciplinary, drawing from evolutionary biology, cognitive psychology, and the history and anthropology of art and technology. The book concludes that it is a mistake to think of art as something subjective, or as an arbitrary social representation, and of Technology as an instrumental form of purposive rationality. "By segregating art and technology," Allen writes, "we divide ourselves against ourselves, casting up self-made obstacles to the ingenuity of art and technology."
Explores the intricate relationships of postmodern poetics to the culture of network television, advertising layout, and the computer. Perloff argues that poetry today, like the visual arts and theater, is always "contaminated" by the language of mass media. Among the many poets Perloff discusses are John Ashbery, George Oppen, Susan Howe, Clark Coolidge, Lyn Hejinian, Leslie Scalapino, Charles Bernstein, Johanna Drucker, Steve McCaffery, and preeminently, John Cage--Publisher.
Release on 1995-11 | by Celeste Brusati,Samuel van Hoogstraten
The Art and Writing of Samuel Van Hoogstraten
Author: Celeste Brusati,Samuel van Hoogstraten
Pubpsher: University of Chicago Press
Samuel van Hoogstraten is familiar to scholars of Dutch art as a talented pupil and early critic of Rembrandt, and as the author of a major Dutch painting treatise. In this book, Celeste Brusati looks at the art, writing, and career of this multifaceted artist. A rich appreciation of one of the most often cited but least understood figures in seventeenth-century Dutch art, this book will interest scholars and students of art history, social history, and visual culture.
Thinking about taking a vacation? Maybe you just need some rest? Now, through cutting edge technology, Tachia Corporation brings you the ultimate getaway experience, right from your home. Artifice, the digital world that you’ve been missing. This isn’t your kid’s video game. No, Artifice is a different internet experience, like none other before. Artifice is like a second chance at life, except this time you're in control! With Artifice, you can do anything that you wanted to do in the real world. Work, shop, play. Your imagination is the limit with Artifice. While investigating a chain of mysterious murders, Detective Anthony Quinn must enter a new digital world known as Artifice, in order to catch a killer...
Tom Lloyd kicks off a spectacular new fantasy series, perfect for fans of George R. R. Martin, Joe Abercrombie and, of course, Tom Lloyd! In a quiet corner of the Imperial City, Investigator Narin discovers the result of his first potentially lethal mistake. Minutes later he makes a second. After an unremarkable career Narin finally has the chance of promotion to the hallowed ranks of the Lawbringers - guardians of the Emperor's laws and bastions for justice in a world of brutal expediency. Joining that honoured body would be the culmination of a lifelong dream, but it couldn't possibly have come at a worse time. A chance encounter drags Narin into a plot of gods and monsters, spies and assassins, accompanied by a grief-stricken young woman, an old man haunted by the ghosts of his past and an assassin with no past. On the cusp of an industrial age that threatens the warrior caste's rule, the Empire of a Hundred Houses awaits civil war between noble factions. Centuries of conquest has made the empire a brittle and bloated monster; constrained by tradition and crying out for change. To save his own life and those of untold thousands Narin must understand the key to it all - Moon's Artifice, the poison that could destroy an empire.
The lovers' expressions of mutual affection and desire in the Song of Songs include intimate and detailed poetic descriptions of the body. These are challenging to interpret because the imagery used is cryptic, drawing on seemingly incongruous aspects of nature, architecture and war. Biblical scholarship frequently expresses some discomfort or embarrassment over this language, yet largely maintains the view that it should be interpreted positively as a complimentary and loving description of the body. If read without this hermeneutic, however, the imagery appears to construct nonsensical and ridiculous pictures of the human form, which raise interesting questions, and pose definite challenges, for the Song's readers. Fiona Black addresses the problematic nature of the Song's body imagery by using the artistic and literary construct of the grotesque body as a heuristic. The resulting reading investigates some issues for the Song that are often left to the margins, namely, the Song's presentation of desire, its politics of gender, and the affect of the text. The book concludes with the identification of some implications of this reading, including the creation of a new framework in which to understand the relevance of the Song's imagery for its presentation of love. This is volume 12 in the Gender, Culture, Theory subseries and volume 392 in the Journal for the Study of the Old Testament Supplement series.
Is it possible to trace the footprints of the historical Sokrates in Athens? Was there really an individual named Romulus, and if so, when did he found Rome? Is the tomb beneath the high altar of St. Peter’s Basilica home to the apostle Peter? To answer these questions, we need both dirt and words—that is, archaeology and history. Bringing the two fields into conversation, Artifact and Artifice offers an exciting excursion into the relationship between ancient history and archaeology and reveals the possibilities and limitations of using archaeological evidence in writing about the past. Jonathan M. Hall employs a series of well-known cases to investigate how historians may ignore or minimize material evidence that contributes to our knowledge of antiquity unless it correlates with information gleaned from texts. Dismantling the myth that archaeological evidence cannot impart information on its own, he illuminates the methodological and political principles at stake in using such evidence and describes how the disciplines of history and classical archaeology may be enlisted to work together. He also provides a brief sketch of how the discipline of classical archaeology evolved and considers its present and future role in historical approaches to antiquity. Written in clear prose and packed with maps, photos, and drawings, Artifact and Artifice will be an essential book for undergraduates in the humanities.