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In: The Imaginary: Word and Image
In: The Imaginary: Word and Image


Early twentieth-century photographers experimented with new means to apprehend the forms of natural world without relegating their art to the mere “mechanical” reproduction of reality. Still-life photography attracted some major personalities such as Edward Steichen (1879–1983) who confessed his fascination for the golden ratio, and for Cook’s The Curves of Life (1914). Paul Strand (1890–1976) expressed the same fascination for the beauty of essential “natural” geometry. Edward Weston (1886–1958) tried to combine formalism with a new kind of “objectivism” and—to some extent—“mysticism.” All of them were fascinated by the riddle of spirals and shells.

In: Art and Science in Word and Image
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How has reproduction transformed works of art and literature, their dissemination and their reception? And how does it continue to do so? In what ways have our definitions and practices of reproduction changed over the last centuries thanks to new printing, photographic and digital techniques? These questions are timely. From the medieval copy to contemporary digital culture, including the rise of the printing press and engraving techniques in the Renaissance and the Ancien Régime, myriad modes of reproduction informed both our access to texts and images and our ways of reading, seeing, understanding, discovering and questioning the world.

Dans quelle mesure la reproduction transforme-t-elle les œuvres, leur diffusion et leur réception ? De quelles manières les conceptions et les usages de la reproduction ont-ils subi des transformations majeures au cours des derniers siècles avec la diffusion des pratiques d’impression, de la photographie et des techniques numériques ? Ces questions sont d’une actualité incontournable. De la copie médiévale à la culture numérique contemporaine, en passant par l’essor de l’imprimerie et les techniques de gravure à la Renaissance et sous l’Ancien Régime, les différents modes de reproduction informent non seulement nos accès aux textes et aux images, mais aussi nos manières de lire, de voir, de comprendre, découvrir et d’interroger le monde.