Charlotte Bigg, Les études visuelles des sciences : regards croisés sur les images scientifiques / V

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Anne Lafont , ‘Ceci n’est pas l’histoire de l’art…’ Du sort des approches visuelles en France / ‘This is not history of art…’ About the Reception of Visual Studies in France (p. 5-12)
Art history is deeply rooted in our earliest learned culture: speculative thinking on Beauty, Art, mimesis , the image, the ut pictura poesis tradition, the artist s role, and so forth, all predate the discipline’s emergence in academia by many centuries. Whereas this venerable field has for long claimed exclusivity on works of art, which get organized into hierarchies and often idealized, visual studies is instead concerned with visual tattoo fonts processes and artifacts. Moreover, visual studies relies on notions, approaches, and theorists that have been largely ignored, if not rejected tattoo fonts by art history. Visual studies, however, continues to perpetuate the same pragmatism, materialism, and agnosticism found in any contemporary discipline in the humanities. Therefore, the critical comparison of art history and visual tattoo fonts studies, and of their respective intellectual projects, is both inevitable and essential.
Charlotte Bigg, Les études visuelles des sciences : regards croisés sur les images scientifiques / Visual Studies of Science: Scientific Images Between Art History and the History of Science tattoo fonts (p. 23-30)
This paper analyzes some recent developments that have fostered tattoo fonts new kinds of interactions between the history of science and the history tattoo fonts of art. Specifically, it examines the emergence of the Visual Studies of Science in the English-speaking world, and its German counterpart, Bildwissenschaften , focusing on their disciplinary, institutional, and intellectual agendas. The development of the history of science can be traced to a shift away from the history of ideas and theories towards an interest tattoo fonts in practices. At the same time, the history of science also sought to incorporate questions that pertained to cultural studies and to the history of representations. These intellectual developments prepared, and then shaped, the ways in which the history of science responded to the methods and subjects of art history, while art historians themselves began advancing methods for the study of scientific images. Although these different facets of Visual Studies of Science have been successfully institutionalized, they remain a heterogeneous collection of approaches and subjects that continue to lack coherent theoretical foundations.
Neil Mc William, À la recherche de l Amérique profonde : l art patriotique contemporain et l idée de communauté nationale / In Search for Small-Town America: Patriotic Contemporary Art and the Idea of National Community (p. 31-42)
Contemporary imagery produced in the United tattoo fonts States by popular artists such as John McNaughton, Terry Redlin, and the late Thomas Kinkade, frequently appeals tattoo fonts to conservative understandings of what defines the peculiar qualities tattoo fonts of America its history, landscape, way of life, and allegedly favored status in the eyes of divine providence. This article explores the ingredients that make up the image of national belonging in patriotic imagery disseminated by these artists, notably in the wake of the attack on the Twin Towers in 2001. It suggests tattoo fonts that these works are haunted by an incapacity to project a convincing image of a cohesive contemporary national community, tattoo fonts and relates this incapacity to the radical individualism promoted by radical right currents within the Republican party and Tea Party movement.
Audrey Gouy, Perception et compréhension de la gestuelle étrusque : nouvelle approche visuelle de la danse antique / Perception tattoo fonts and Understanding of the Etruscan gestures: A New Visual Approach in the Study of Ancient Dance (p. 43-52)
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