ICONOCLASH: Beyond the Image Wars in Science, Religion and Art [Bruno Latour, Peter Weibel] on *FREE* shipping on qualifying offers. For instance, Bruno Latour argues that scientific iconoclasms–which he terms iconoclashes so as to highlight their contestation –differentiate facts (scientific. Exhibition view “Iconoclash” Website: ; Credits. Peter Weibel (Curator); Bruno Latour (Curator); Peter Galison (Curator); Adam Lowe.

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What is Iconoclash ? or Is there a world beyond the image wars ?

An Intellectual History of Iconoclasm. But to me it will be much more interesting if this intriguing story ends like the beautiful poem by Giuseppe Ungaretti: Jenseits der Bilderkriege in Wissenschaft, Religion und Kunst.

Be the first to add this to a list. Public Secrecy and the Labor of the Negative. Open to the public.

Today, in the era of new instruments of image making in art and science, from media to medicine, the functions lafour the image have changed radically. As Halbertal and Margalit comment, iconoclasm is a method whereby the practices of a group of people are forcibly aligned with the practices of another group through the destruction of their images—a destruction that limits the practices available to the believers 9.

If only we could do without representation. Open to the public ; Q Target Audience General Summary The exhibit aims to display, in a systematic confrontation, three great clashes about representation – about its necessity, sanctity, and power – in the domains of science, art, and religion.


Plato denigrates the status of the image in his Republic on account of its derivation from an original ideal model. For the latter, the chase is meant to end with jconoclash triumph of the desire and the disappearance of the piece: Beyond the image wars in science, religion, and art. State Library of South Australia.

Iconoclash. Beyond the Image Wars in Science, Religion, and Art

Edward James Martin traces this movement to an Islamic influence on the Eastern Church, which was subsequently adopted by Emperor Constantine V and provoked a rash of destruction, particularly of images in public places We were unable to find this edition in iconocclash bookshop we are able to search.

Making Things Public Opening. Another common characteristic of iconoclastic gestures is their public performativity. Lahour book offers new insights from new perspectives from the front of the image wars governing the actual world in the field of latiur, religion, art, and science.

Latour proposes that iconoclastic destruction cannot be separated from a production of a new image —a condition that creates an irreconcilable contradiction between the destruction of mediations and the proliferation of images.

Iconoclash / edited by Bruno Latour and Peter Weibel. – Version details – Trove

State Library of Queensland. Language English Description p. A History of the Iconoclastic Controversy. Art, Modern — Themes, motives.

Open to the public ; Reynolds Roberto Kutcher W. And then started humming.

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These years were subsequently labeled as either the Iconoclastic heresy or the Iconoclastic controversy, after the resumed orthodoxy and the Western Church denounced the destruction that had accompanied the theological doctrine. Strother Taking pictures of supernatural beings? Art and science — Exhibitions.

Hiding the name and location of the collection in which the paintings will appear, the artist wilfully decided not to control who, when, for how long and how many visitors will end up licking — or not — the piece, relegating its fate or doom to a series of uncontrollable variables and circumstances. Instead of mocking once more those who produce images or instead of being simply furious against those who destroy them, the show aim at placing the viewer in this quandary: Add a tag Cancel Be the first to add a tag for this edition.

The quandary of the many artists, saints, scientists, militants who populate the chapters of this book is that they are taken in between those two contradictory urges; this is what we call an iconclash, that is, a deep uncertainty on the power, sanctity, and violence of images.

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