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03587aam a2200397 i 4500 001 C469241EF11E11E79D0FC10F97128E48 003 SILO 005 20180104010254 008 161219s2017 njua b 001 0 eng 010 $a 2016058251 020 $a 0691171947 020 $a 9780691171944 035 $a (OCoLC)966971553 040 $a DLC $b eng $e rda $c DLC $d OCLCO $d OCLCF $d OCLCQ $d BTCTA $d YDX $d BDX $d ERASA $d YDX $d OCLCO $d CHVBK $d OCLCO $d SILO 042 $a pcc 050 00 $a N7430.5 $b .D39 2017 082 00 $a 701/.18 $2 23 100 1 $a Davis, Whitney, $e author. 245 10 $a Visuality and virtuality : $b images and pictures from prehistory to perspective / $c Whitney Davis. 264 1 $a Princeton : $b Princeton University Press, $c [2017] 300 $a xiii, 350 pages ; $c 27 cm 504 $a Includes bibliographical references and index. 505 0 $a Introduction : Images and pictures -- Analytics of imaging pictures in visual space. Visuality and virtuality : Analytics of visual space and pictorial space -- Radical pictoriality : seeing-as, seeing-as-as, seeing-as-as-as ... -- What the Chauvet Master saw : on the presence of prehistoric pictoriality -- Bivisibility, bivirtuality, and birotationality. Bivisibility : between the successions to visuality -- Bivirtuality : pictorial naturalism and the revolutions of rotation -- Birotationality: frontality, foreshortening, and virtual pictorial space -- Pictorial successions of virtual coordinate space. What Hesire saw : virtual coordinate space in ancient Egyptian depiction -- What Phidias saw : virtual coordinate space in Classical Greek architectural relief -- What Brunelleschi saw : the pictorial succession of painter's perspective. 520 8 $a A provocative and challenging new conceptual framework for the study of images This book builds on the groundbreaking theoretical framework established in Whitney Davis's acclaimed previous book, A General Theory of Visual Culture, in which he shows how certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. Here, Davis uses revealing archaeological and historical case studies to further develop his theory, presenting an exacting new account of the interaction that occurs when a viewer looks at a picture. Davis argues that pictoriality - the depiction intended by its maker to be seen - emerges at a particular standpoint in space and time. Reconstruction of this standpoint is the first step of the art historian's craft. Because standpoints are inherently mutable and mobile, pictoriality constantly shifts in form and possible meaning. To capture this complexity, Davis develops new concepts of radical pictorial ambiguity, including "bivisibility" (the fact that pictures can always be seen in ways other than intended), pictorial naturalism, and the behavior of pictures under changing angles of view. He then applies these concepts to four cases - Paleolithic cave painting; ancient Egyptian tomb decoration; classical Greek architectural sculpture, with a focus on the Parthenon frieze; and Renaissance perspective as invented by Brunelleschi. 650 0 $a Visual perception in art. 650 7 $a Visual perception in art. $2 fast $0 (OCoLC)fst01905084 650 7 $a Kunst $2 gnd 650 7 $a Perspektive $2 gnd 650 7 $a Rezeption $2 gnd 650 7 $a Sehen $2 gnd 650 7 $a Visuelle Wahrnehmung $2 gnd 941 $a 2 952 $l OVUX522 $d 20191214024207.0 952 $l USUX851 $d 20180104062544.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=C469241EF11E11E79D0FC10F97128E48 994 $a 92 $b IWAInitiate Another SILO Locator Search