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Editorial Reviews
Product Description
Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range from art history to sociology, history and philosophy of science to gender studies, cultural history to the philosophy of mind. Organized in five sites--Styles, The Body, Seeing Wonders, Objectivity/Subjectivity, and Cultures of Vision--their topics extend from Cinquecento theories of female reproduction to the technologies of cloning, from medieval depictions of the stigmata to electrical metaphors for sex, from astronomical drawings to radioencephalography, from Phoenician griffons carved in ivory to factories cast in concrete.
The internationally renowned contributors go beyond both science wars and culturewars by exploring substantive links between systems of visual representation and knowledge in science and art. Contributors include Svetlana Alpers, Jonathan Crary, Arnold Davidson, Carlo Ginzburg, Donna Haraway, Bruno Latour, and Simon Schaffer.
About the Author
Caroline A. Jones teaches contemporary art and criticism and directs the Museum Studies Program in the Art History Department at Boston University. Her most recent exhibition is Painting Machines (1997), and her books include >Machine in the Studio$> (1996). Peter Galison is Mallinckrodt Professor of the History of Science and of Physics at Harvard University. He is a recent recipient of a MacArthur Foundation grant; his most recent publication is Image and Logic (1997), and he is co-author of a forthcoming of a forthcoming book, Images of Objectivity.
Between the disciplines of art history and the history of science lies a growing field of inquiry into what science and art share as both image-making and knowledge-producing activities. The contributors of Picturing Science, Producing Art occupy this intermediate zone to analyze both scientific and aesthetic representations, utilizing disciplinary perspectives that range from art history to sociology, history and philosophy of science to gender studies, cultural history to the philosophy of mind. Organized in five sites--Styles, The Body, Seeing Wonders, Objectivity/Subjectivity, and Cultures of Vision--their topics extend from Cinquecento theories of female reproduction to the technologies of cloning, from medieval depictions of the stigmata to electrical metaphors for sex, from astronomical drawings to radioencephalography, from Phoenician griffons carved in ivory to factories cast in concrete.
The internationally renowned contributors go beyond both science wars and culturewars by exploring substantive links between systems of visual representation and knowledge in science and art. Contributors include Svetlana Alpers, Jonathan Crary, Arnold Davidson, Carlo Ginzburg, Donna Haraway, Bruno Latour, and Simon Schaffer.
About the Author
Caroline A. Jones teaches contemporary art and criticism and directs the Museum Studies Program in the Art History Department at Boston University. Her most recent exhibition is Painting Machines (1997), and her books include >Machine in the Studio$> (1996). Peter Galison is Mallinckrodt Professor of the History of Science and of Physics at Harvard University. He is a recent recipient of a MacArthur Foundation grant; his most recent publication is Image and Logic (1997), and he is co-author of a forthcoming of a forthcoming book, Images of Objectivity.
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Inside This Book Citations: This book cites 192 books | 53 books that cite this book Explore: Citations | Concordance | Text Stats Key Phrases - CAPs: New York, Cambridge University Press, University of Chicago Press, Peter Galison, Man Ray (more) Browse Sample Pages: Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover | Surprise Me! |
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Inside This Book
(learn more)
First Sentence:
Analytic attempts to distinguish "art" and "science" often founder at the boundaries drawn between them. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Cambridge University Press, University of Chicago Press, Peter Galison, Man Ray, Harvard University Press, Hortus Malabaricus, Middle Ages, Royal Society, Lorraine Daston, Hieronymus Bosch, John Herschel, Lord Rosse, Princeton University Press, Albertus Magnus, Earl of Rosse, Francis Picabia, United States, Bruno Latour, University of California Press, British Association, Caroline Jones, Human Genome Project, Marcel Duchamp, Simon Schaffer New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover | Surprise Me!
Analytic attempts to distinguish "art" and "science" often founder at the boundaries drawn between them. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Cambridge University Press, University of Chicago Press, Peter Galison, Man Ray, Harvard University Press, Hortus Malabaricus, Middle Ages, Royal Society, Lorraine Daston, Hieronymus Bosch, John Herschel, Lord Rosse, Princeton University Press, Albertus Magnus, Earl of Rosse, Francis Picabia, United States, Bruno Latour, University of California Press, British Association, Caroline Jones, Human Genome Project, Marcel Duchamp, Simon Schaffer New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 192
books:
- The Uses of Experiment: Studies in the Natural Sciences by David Gooding on