I asked my students to act out a few early modern roles & practices e.g. coming up with a design for a print of a passion flower, featuring the “Passion” symbolism.
👆This is the first design they produced, based on an image of the flower that I provided. #AH4236
We discussed period reactions to this type of representation e.g. John Parkinson's account of the passion flower in Paradisi in Sole. Paradisus Terrestris (1629)
Their second design 👇 is remarkable , for it resembles another famous early modern image linked to the question of religious symbolism in the Americas: the Cross of Limache, Chile, published in Alonso de Ovalle, Histórica relación del Reyno de Chile (1646). #AH4236
In this other case, acting as artists working for a printer in early modern Antwerp, they were asked to produce an illustration of a creature they had never seen before, using only a textual account. #AH4236
“[...] a strange monster, the foremost part resembling a fox, the hinder a monkey, the feet were like a man’s, with ears like an owl; under whose belly hung a great bag, in which it carried the young, which they drop not, nor forsake till they can feed themselves”. (V. Y. Pinzón)
The aim of these exercises is to introduce students to various key themes like the challenges of representing "unknown" animals & plants, the range of uses of such images in the culture of the period, or the significance of first-hand, in situ observation & social status #AH4236
Thanks to my students for letting me post these wonderful images!! #AH4236
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Como investigador especializado en la historia de las imágenes científicas estoy siguiendo con mucho interés la evolución de los programas de generación de imágenes por #InteligenciaArtificial.
En este HILO voy a ir recopilando algunas reflexiones sobre el tema 👇
Por cierto, la imagen de arriba NO está generada mediante #AI. Es un dibujo atribuido al artista Jacopo Ligozzi (1547-1627), perteneciente al @museodelprado
Pero creo que captura bien el elemento "quimérico" de esta nueva y fascinante cultural visual
1⃣ El lenguaje. Al tratarse de programas “text to image”, el input textual es clave. Me interesa cómo estos programas responden al lenguaje que empleamos los historiadores a la hora de estudiar las imágenes y los temas que representan. *
Son días muy duros. Por si ayuda a alguien a desconectar, aquí va una segunda entrega de los #AcertijosdeHistoria sobre arte y ciencia, en apoyo de la iniciativa #TwitterCultural.
¿Qué representa el detalle en imagen?
Mi contribución al #TwitterCultural de hoy trata sobre una joya de la cultura visual impresa, fruto del ingenio y la imaginación del artista italiano Luigi Serafini:
el CODEX SERAPHINIANUS
Abro un hilo sobre este libro, desde la perspectiva de la historia de la ciencia 👇
Publicado por primera vez en 1981, el Codex Seraphinianus es una especie de enciclopedia fantástica, escrita en un lenguaje inventado. #TwitterCultural
El libro está dividido en varias secciones, e incluye temas relacionados con la botánica ... #TwitterCultural
Today at #AH4236 "Images and Knowledge in Early Modern Europe" we paid a visit to @StAndrewsUniLib Special Collections and examined a range of wonderful early modern books 👇
* These photos have been provided by students - thank you very much all for your contributions!
Above we see one of the well-known (and fascinating) illustrations featured in Athanasius Kircher's 'Arca Noe in tres libros digesta' (1675) [@StAndrewsUniLib, r17f BS658.K5C75]
Here you have a detail of this image, showing the distribution of creatures inside Noah's Ark 👇
Did you see the pair of rhinoceros? We examined two early representations of this animal, based on Dürer's famous print:
- the illustration in a 1550 edition of Münster's Cosmographiae uniuersalis
- Gessner's Historiae Animalium (I, 1551) [@StAndrewsUniLib, Typ SwZ.B51FG]