scholarly journals Aldrovandi, truthfully drawing naturalia, and local context

2021 ◽  
Vol 32 (18 N.S.) ◽  
pp. 81-96
Author(s):  
Florike Egmond
Keyword(s):  
Visual Culture ◽  
Natural Science ◽  
16Th Century ◽  
Local Context ◽  
Image Collection

This essay focuses on the 16th -century Bolognese naturalist and collector Ulisse Aldrovandi (1522-1605) and his enormous image collection of naturalia. Do these images present a specifically Bolognese form of visual natural science, and was his visual format of truthfulness new at the time? Did Local visual culture leave clear marks on Aldrovandi's image collection?   On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.

scholarly journals Pekojan: Image of an Arab Kampong during XVIII to XIX Centuries Batavia

2019 ◽  
Vol 3 (2) ◽  
pp. 99-110
Author(s):  
Johan Wahyudi ◽  
Dien Madjid
Keyword(s):  
Eighteenth Century ◽  
Indian Ocean ◽  
Social Dynamics ◽  
16Th Century ◽  
Local Context ◽  
Arab Culture ◽  
East Indies ◽  
Arab Immigrants ◽  
The Social ◽  
The Indian Ocean

This study discusses the social dynamics of a kampong in Batavia during XVIII to XIX centuries. Pekojan has already emerged as the center of commerce for Arabs and Muslim Indians community since the 16th century. By the eighteenth century, many Arab immigrants from Hadramawt (Southern Yemen) settled here. Its initial landscape can be traced by the theory of the coming of Islam in the Archipelago. One of the theories says that it was driven by international trade by the Arabs, which also carried Islam along with them. The Hadramis went through the naval journey passing the Indian Ocean to the Malaka Strait. They stopped over in Singapore then went on to Batavia, especially Pekojan. This study found Pekojan became a place where Arab culture and ideas were constructed yet negotiated within a local context. There prominent ulamas, merchants, writers, educators, the initiators of independence, the benefactors, and artists socialized under close racial surveillance of the Dutch East Indies government. 

Martin Luther and Visual Culture

2017 ◽  
Author(s):  
Elke Anna Werner
Keyword(s):  
Visual Culture ◽  
Martin Luther ◽  
Negative Attitude ◽  
16Th Century ◽  
Art And Politics ◽  
Innovative Methods ◽  
Equal Importance ◽  
The Reformation ◽  
The Mind

In the mind of Martin Luther, images were first and foremost adiaphora and, as such, neither good nor bad. However, Luther spoke out firmly against the worship of images, as did other reformers. Based on his own anthropology, he countered the misuse of images by suggesting correct ways of using them, on the basis that man could only discover true faith through the mediation of images. For many years, researchers emphasized Luther’s negative attitude to images as a medium and highlighted the shift from a pre-Reformation culture of piety to the reformatory emphasis on the Scriptures. However, more recent examinations of liturgical practices and the link between art and politics, involving innovative methods, as well as some degree of imagination, have not only traced the development of a specific visual culture in Lutheranism but also highlighted their identity-creating function in denominational conflicts. What follows is an overview of the major image and media categories as portraits, allegories, altarpieces and epitaphs which influenced the visual culture of the Reformation. Lucas Cranach the Elder (c. 1472–1553) and his youngest son Lucas Cranach the Younger (1515–1586) were at the very center of this activity, together with their productive Wittenberg workshop. From the very beginning of the Reformation right through to the 1580s, both liaised with Luther, Melanchthon, and other Wittenberg reformers, respectively accompanying and decisively shaping the development of Protestantism with their pictures. What is more and of equal importance, the influence of their work is reflected in the popularity of their style in Protestant territories throughout the Empire during the 16th century.

Parallax Error: The Aesthetics of Image Censorshipe

2017 ◽  
pp. 74-81
Author(s):  
Ronnie Close
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Arab World ◽  
The Political ◽  
Photographic Images ◽  
Original Photograph ◽  
The Impact ◽  
Image Collection ◽  
Visual Cultures ◽  
Image Object

Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.e. parts of the human body. The position of photography within Egypt and much of the Arab world is a contested one shaped by the visual formations of Orientalism created by the impact of European colonial empires in the region. This archival project examines the intersection of visual cultures embedded behind the series of photographic images that have been transformed through acts of censorship in Egypt. This frames how these doctored photographic images impose particular meanings on the original photographs and the potential merits, if any, of iconoclastic intervention. Parallax Error examines the political and aesthetic status of the image object in the transformation from the original photograph to censored image. The ink and paint marks on the surface of the photograph create a tension between the censorship act and its impact on the original. These hybrid images provide a political basis to rethink visual culture encounters in our interconnected and increasingly globalised contemporary image world. Keywords: aesthetics, censorship, iconoclasm, images, representation

‘Pretty Rooms’

2013 ◽  
Author(s):  
Russ McDonald
Keyword(s):  
Visual Culture ◽  
Domestic Architecture ◽  
Visual Design ◽  
16Th Century ◽  
Tudor England

I first propose a new context for examining the sonnets and then scrutinize some verbal features of the poems with that context in mind. The context is visual design in the second half of the 16th century: the cultural commitment to arrangement in Tudor England is visible in furniture, textiles, gardening, and to a certain degree in painting, but especially in architecture, particularly Elizabethan domestic architecture. The feature I analyse is a species of poetic ornament: literal and lexical forms of repetition. My aim is to identify the increasing devotion to order in Elizabethan visual culture with the manifest delight in patterning exhibited in Shakespeare’s sonnets and shared by all the imaginative writers of the period.

Holy Week and the Theater of Art: Sculpture, Retables, and the Spanish Baroque Aesthetic

2021 ◽  
Author(s):  
Rafael Japón
Keyword(s):  
Visual Culture ◽  
Catholic Church ◽  
Virgin Mary ◽  
16Th Century ◽  
The Public ◽  
Religious Wars ◽  
The People ◽  
The Social ◽  
Counter Reformation ◽  
Spanish Baroque

In the 16th century, the social and political changes derived from the European religious wars between Catholic and Protestant countries, economic crises, and the Counter-Reformation had an enormous impact on the evolution of visual culture. These transformations drastically changed the way in which the Catholic faithful interacted with works of art. The exemplary uses given to the images of Jesus Christ, the Virgin Mary, and the saints were promoted as intermediaries between God and people. The intense realism in art served precisely this objective, since the faithful could recognize themself in these figures. In addition, the rise of the brotherhoods and penitentiary guilds led to the popularization of behaviors that imitated the Passion of Christ, such as public self-flagellation. Therefore, the Spanish processional sculpture was fully brought forward by many of these brotherhoods. Processions used theatrical resources and were very successful among the people. In the 17th century, the Hispanic baroque aesthetic was strongly linked to the Catholic Church and was especially evident during Holy Week. The public processions and their artistic resources were very successful, so much so that they have survived to the present, evolving and adapting to each period.

Electrochemical nucleation and growth of copper on iron and aluminum: A TEM study of industrial copper cementation

1978 ◽  
Vol 36 (1) ◽  
pp. 454-455
Author(s):  
L.E. Murr ◽  
V. Annamalai
Keyword(s):  
Metal Surface ◽  
Copper Deposit ◽  
Nucleation And Growth ◽  
16Th Century ◽  
Electrochemical Reactions ◽  
Mine Shaft ◽  
De Re ◽  
Copper Precipitation ◽  
Electrochemical Nucleation ◽  
Interesting System

Georgius Agricola in 1556 in his classical book, “De Re Metallica”, mentioned a strange water drawn from a mine shaft near Schmölnitz in Hungary that eroded iron and turned it into copper. This precipitation (or cementation) of copper on iron was employed as a commercial technique for producing copper at the Rio Tinto Mines in Spain in the 16th Century, and it continues today to account for as much as 15 percent of the copper produced by several U.S. copper companies.In addition to the Cu/Fe system, many other similar heterogeneous, electrochemical reactions can occur where ions from solution are reduced to metal on a more electropositive metal surface. In the case of copper precipitation from solution, aluminum is also an interesting system because of economic, environmental (ecological) and energy considerations. In studies of copper cementation on aluminum as an alternative to the historical Cu/Fe system, it was noticed that the two systems (Cu/Fe and Cu/Al) were kinetically very different, and that this difference was due in large part to differences in the structure of the residual, cement-copper deposit.

Use of digital microscopy in process control during the manufacture of rubber-modified thermoplastics

1996 ◽  
Vol 54 ◽  
pp. 616-617
Author(s):  
M. T. Dineen
Keyword(s):  
Ccd Camera ◽  
Operating Costs ◽  
Hard Copy ◽  
Production Plant ◽  
Digital Microscopy ◽  
Nih Image ◽  
Transmission Electron ◽  
Conventional Film ◽  
Product Loss ◽  
Image Collection

The production of rubber modified thermoplastics can exceed rates of 30,000 pounds per hour. If a production plant needs to equilibrate or has an upset, that means operating costs and lost revenue. Results of transmission electron microscopy (TEM) can be used for process adjustments to minimize product loss. Conventional TEM, however, is not a rapid turnaround technique. The TEM process was examined, and it was determined that 50% of the time it took to complete a polymer sample was related to film processing, even when using automated equipment. By replacing the conventional film portion of the process with a commercially available system to digitally acquire the TEM image, a production plant can have the same TEM image in the control room within 1.5 hours of sampling.A Hitachi H-600 TEM Operated at 100 kV with a tungsten filament was retrofitted with a SEMICAPS™ image collection and processing workstation and a KODAK MEGAPLUS™ charged coupled device (CCD) camera (Fig. 1). Media Cybernetics Image-Pro Plus software was included, and connections to a Phaser II SDX printer and the network were made. Network printers and other PC and Mac software (e.g. NIH Image) were available. By using digital acquisition and processing, the time it takes to produce a hard copy of a digital image is greatly reduced compared to the time it takes to process film.

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