Art and Technology in the Nineteenth and Twentieth Centuries 在線電子書 pdf 下載 txt下載 epub 下載 mobi 下載 2024

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Pierre Francastel 作者

Zone Books

Randall Cherry 譯者

2000-12-11 出版日期

336 頁數

USD 36.95 價格

Hardcover

叢書系列

9781890951023 圖書編碼

Art and Technology in the Nineteenth and Twentieth Centuries 在線電子書圖書標籤: 建築 art-history architecture art 藝術史建築史英文藝術史書單

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發表於2024-12-22

Art and Technology in the Nineteenth and Twentieth Centuries 在線電子書 epub 下載 mobi 下載 pdf 下載 txt 下載 2024

Art and Technology in the Nineteenth and Twentieth Centuries 在線電子書 epub 下載 pdf 下載 mobi 下載 txt 下載 2024

Art and Technology in the Nineteenth and Twentieth Centuries 在線電子書 pdf 下載 txt下載 epub 下載 mobi 下載 2024

Art and Technology in the Nineteenth and Twentieth Centuries 在線電子書用戶評價

評分☆☆☆☆☆

說art和technology沒啥區彆，也不給frame of reference，除瞭說都是telic act。是不是有點太天真瞭？為瞭最後“驚世駭俗”的結論，似乎可以忽略techniques和technologies 最本質的區彆。而且彆說藝術不需要直感，藝術的本質就是直感。批判Giedion完全沒有ground。法國沙文主義就更彆說瞭，簡直distasteful.

評分☆☆☆☆☆

幾乎要讀完全書，的確，在50年代，作者動用瞭動態卻又精確的視點，抓齣瞭對於現代藝術變化和現代建築變化中的若乾重要因素，尤其是人造物特性的人類學討論，重新思考瞭由吉迪翁、塞維、芒福德等人提齣的技藝與技術、藝術與科學、技術、建築與材料等重要關聯問題的討論。譬如，作者認為，19、20世紀科學對於物質的微觀結構的發現，對藝術傢們對創造材料的認識，帶來瞭重要的啓示。同樣，對節奏的重新界定，也恰恰是立體派和柯布建築中所呈現齣來的狀態。這是一本存在著重要偏見卻又存在著明清洞見的著作。寂寞好書，塵封在圖書館裏

評分☆☆☆☆☆

Art and Technology in the Nineteenth and Twentieth Centuries 在線電子書著者簡介

Art and Technology in the Nineteenth and Twentieth Centuries 在線電子書 pdf 下載 txt下載 epub 下載 mobi 在線電子書下載

Art and Technology in the Nineteenth and Twentieth Centuries 在線電子書圖書描述

Although the work of Pierre Francastel (1900-1970) has long carried the label "sociology of art," it bears little resemblance to anything conventionally sociological. For too long Francastel has been unavailable to English-language readers, and hence known only through erroneous and secondhand characterizations. This translation of Art and Technology should open the way for a rediscovery and reconsideration of this brilliant, often misunderstood thinker. Unlike adherents of the dominant schools of Anglo-American and German art history, Francastel was not obsessed with establishing a quasi-scientific methodology as the basis for his studies. But as art history itself is being reshaped by the culture of technology, his nuanced meditations from the 1950s on the intricate intersection of technology and art gain heightened value. The concrete objects that Francastel examines are for the most part from the architecture and design of the late nineteenth to mid-twentieth century. Through them he engages his central problem: the abrupt historical collision between traditional symbol-making activities of human society and the appearance in the nineteenth century of unprecedented technological and industrial capabilities and forms. Francastel's vision of the indeterminate, shifting relation between the aesthetic and the technological will be of crucial interest to anyone interested in the history of art, architecture, and design.

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