scholarly journals Visual Representation in Earth Sciences History after “The Emergence”

Nuncius ◽  
2018 ◽  
Vol 33 (3) ◽  
pp. 397-414
Author(s):  
Luca Ciancio ◽  
Domenico Laurenza
Keyword(s):  
Earth Sciences ◽  
Visual Culture ◽  
Da Vinci ◽  
18Th Century ◽  
Digital Technologies ◽  
Leonardo Da Vinci ◽  
Visual Language ◽  
Comprehensive Review ◽  
Future Developments ◽  
The Earth

Abstract Starting from the analysis of Martin Rudwick’s pionieristic The emergence of a visual language for geological science (1976), this Introduction tries to assess how Rudwick’s suggestions were received by a comprehensive review of what has been published on the topic of visual culture in the earth sciences. The analysis includes studies dealing with maps, sections, landscapes, representations of specimens. We show how historians’ curiosity about cartography has grown constantly (e.g. Kenneth Taylor and David Oldroyd). The studies on geological sections include, among others, Rudwick (2005 and 2008), Gordon Craig and Kerry Magruder and recent contributions dealing with Leonardo da Vinci and Athanasius Kircker. The consideration of essays focused on geological views and landscapes include an overview of the outcomes and limits of studies devoted to the representations of the Vesuvius. Studies dealing with the pictures of rocks, minerals and fossils are considered in their relationships with the results of general works on pictures of natural specimens. The review ends with studies by art historians in the field of geological iconography and pointing out less studied aspects and possible future developments, from the modes of visualising data that have arisen with the introduction of digital technologies to the need of a better studies of geological iconography before the 18th century, a period which the studies collected in this issue of Nuncius are concentrated on.

Geology Emerges as a Science

2021 ◽  
pp. 6-33
Author(s):  
Elisabeth Ervin-Blankenheim
Keyword(s):  
Twentieth Century ◽  
Sixteenth Century ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Basic Principles ◽  
Charles Lyell ◽  
The Earth ◽  
Forms Of Life ◽  
Principles Of Geology ◽  
The Way

This chapter and the next one cover the way in which geology came to be a science in its own right, spanning the early centuries of geology. Lives of crucial individual scientists from the sixteenth century to the beginning of the twentieth century are discussed by relating the stories and discoveries of each, commencing with Leonardo da Vinci and continuing with the European geologists, including Nicholaus Steno, Abraham Werner, James Hutton, Charles Lyell, and early fossilists such as Etheldred Benet. Steno, Werner, Hutton and Lyell, and other early geologists revealed and wrote about the basic principles of geology, painstakingly untangling and piecing together the threads of the Earth’s vast history. They made sense of jumbled sequences of rocks, which had undergone dramatic changes since they were formed, and discerned the significance of fossils, found in environments seemingly incongruous to where the creatures once lived, as ancient forms of life. They set the stage for further research on the nature of the Earth and life on it, providing subsequent generations of geologists and those who study the Earth the basis on which to refine and flesh out the biography of the Earth.

Up Close: Laboratoire de Recherche des Musées de France: Materials Science in the Service of Art History

MRS Bulletin ◽  
1994 ◽  
Vol 19 (7) ◽  
pp. 68-71
Author(s):  
Maurice Bernard ◽  
Jean-Michel Dupouy
Keyword(s):  
Social Status ◽  
Art History ◽  
Materials Science ◽  
Da Vinci ◽  
18Th Century ◽  
Leonardo Da Vinci ◽  
The Social ◽  
The Status ◽  
Almost All

Until the 18th century, the word “art” meant the product of the artisan (not the artist) and, by extension, also meant the product itself. Objects manufactured by craftsmen had, first of all, a useful function, although they might also have had a symbolic or aesthetic meaning. The concept of aesthetics is actually much older, considering the antiquity of Rome and Greece. And in Egypt, 3,500 years ago, at Saqqara, the first stone pyramid was engraved by scribes expressing their admiration for it.These artisans were famous for the quality of their work, for their genius in mastering their knowledge. One is reminded of Phidias in Athens, Michelangelo and Julius II, or Leonardo da Vinci and Francois the 1st.However, the social status of such artists was probably not very different from the status of other exceptional artisans in fields such as jewelry, metallurgy, clothing, music, etc. “Ĺart pour l'art,” a tenet which ignored the function of the object, arose only during the last century. In other words, almost all objects or artifacts in museums were originally devised and built to achieve a very specific and useful function.

An Artistic Perspective On The Continuity Of Space And The Origin Of Modern Geologic Thought

2001 ◽  
Vol 20 (2) ◽  
pp. 127-155 ◽  
Author(s):  
Gary Rosenberg
Keyword(s):  
Earth Sciences ◽  
Fourteenth Century ◽  
Human Body ◽  
Da Vinci ◽  
Three Dimensional ◽  
Spatial Relationships ◽  
Work Of Art ◽  
The Earth ◽  
Distinct Sequence ◽  
The Way

The western European rediscovery of geometric perspective during the fourteenth century revolutionized the understanding of spatial relationships in general, and the structure of nature in particular. Renaissance artists-naturalists wrought this revolution, and the roots of the earth sciences can be traced to achievements such as Leonardo da Vinci's oldest known work of art, a drawing of the hills of Tuscany. A perspectival analysis of it reveals a distinct sequence of laterally continuous, horizontal strata which scaffold the Tuscan hills the way that bones give structure to the flayed human body in écorché images that Renaissance anatomists such as Vesalius as well as da Vinci produced. The drawing depicts original horizontality. superposition, and lateral continuity nearly two hundred years before Steno defined them in words in his Prodromus. Steno was educated in mathematics and anatomy, and his Prodromus is clearly an attempt to apply the geometric principles he had learned to further advance the Renaissance understanding of the three-dimensional continuity of nature.

scholarly journals The Cosmos in “Ginevra de’ Benci’’ by Leonardo da Vinci

2020 ◽  
Vol 9 (1) ◽  
pp. 29
Author(s):  
Grigol Keshelava
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
The Moon ◽  
Left Half ◽  
Dark Background ◽  
The Earth ◽  
The Face ◽  
The Right ◽  
Light And Shadow ◽  
Oval Shape

Leonardo observed the celestial phenomena to study the phenomenon of light and shadow, which was to be used in painting. The object of the research is the painting “Ginevra de’ Benci’’. This work was created in 1474-1478 by Leonardo da Vinci. In the left half of the painting the oval shape detail bordered with faint contour is observed. Trough the Paint X program, we moved this detail to the right part of the painting in the place of a round shadow near the face of Ginevra. According to our interpretation, the bright and oval face of Ginevra de’ Benci is a metaphorical image of the moon. The dark background around it is a cosmos with numerous stars. Below the displaced detail is a quarter of the sphere that resembles the Earth’s surface and is associated with our planet. The displaced detail represents the oval and is associated with the moon. The layout of the dark spots on the sphere is compared to the relief of the moon, which is described on a modern photo. Finally we can think that the painting describes the earth, the moon, the cosmos, and the stars.

Training Phonological Awareness in Children through Pedagogical Technologies: An App for Learning Italian as a Foreign Language

2017 ◽  
Vol 9 (2) ◽  
pp. 30
Author(s):  
Diana Peppoloni ◽  
Emanuele Bonesso
Keyword(s):  
Foreign Language ◽  
Phonological Awareness ◽  
Da Vinci ◽  
Effective Means ◽  
Writing Skills ◽  
Digital Technologies ◽  
Leonardo Da Vinci ◽  
Linguistic Ability ◽  
Didactic Strategies

This article analyses the role of phonological awareness (PA) in developing reading and writing skills in young learners, studying Italian as a Foreign Language. Its main objective is to identify and describe original didactic strategies supporting students in training PA, the metalinguistic strategy that allows them to reflect and manipulate the phonemic units composing words (Nijakowska, 2010). Research on PA shows a direct correlation between training this linguistic ability and improving learners’ linguistic competencies, either in their native language or in a foreign one (Bus & van IJzendoorn, 1999; Ehri et al., 2001; Snow et al., 1999; Ganschow & Sparks, 1995; Lesaux & Siegel, 2003; Chiappe et al., 2002; Gottardo et al., 2001). In particular, PA is directly involved in the process of learning how to read and write. Which are then the most suitable didactic tools to help students in improving PA? Digital technologies seem to constitute effective means, proposing challenging activities, creating pseudo-real communicative scenarios and stimulating different sensorial channels at the same time. Even if similar tools have been developed for children with learning disabilities, it doesn’t exist yet, according to our best knowledge, a specific instrument for the study of Italian as a foreign language by non-impaired learners. Starting from the observation of a classroom of the Elementary School “Colegio Leonardo da Vinci” in Bogotà, the prototype of an app for training PA has been developed, specifically based on their linguistic needs, provided with examples of usage, exercises, explanations, and a series of indications

Replication of Internal Biological Surfaces

1972 ◽  
Vol 30 ◽  
pp. 308-309
Author(s):  
J. A. Nowell ◽  
J. Pangborn ◽  
W. S. Tyler
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Rat Lung ◽  
Tubular Structures ◽  
Cerebral Ventricles ◽  
Internal Surfaces ◽  
Biological Surfaces ◽  
Dog Kidney ◽  
Lung And Kidney ◽  
Scanning Electron

Leonardo da Vinci in the 16th century, used injection replica techniques to study internal surfaces of the cerebral ventricles. Developments in replicating media have made it possible for modern morphologists to examine injection replicas of lung and kidney with the scanning electron microscope (SEM). Deeply concave surfaces and interrelationships to tubular structures are difficult to examine with the SEM. Injection replicas convert concavities to convexities and tubes to rods, overcoming these difficulties.Batson's plastic was injected into the renal artery of a horse kidney. Latex was injected into the pulmonary artery and cementex in the trachea of a cat. Following polymerization the tissues were removed by digestion in concentrated HCl. Slices of dog kidney were aldehyde fixed by immersion. Rat lung was aldehyde fixed by perfusion via the trachea at 30 cm H2O. Pieces of tissue 10 x 10 x 2 mm were critical point dried using CO2. Selected areas of replicas and tissues were coated with silver and gold and examined with the SEM.

Leonardo Da Vinci.—II

1910 ◽  
Vol 69 (1782supp) ◽  
pp. 138-140
Author(s):  
Edward P. Buffet
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci
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