A IMAGEM NA CIÊNCIA E NA ARTE

[REFERÊNCIAS BIBLIOGRÁFICAS / BIBLIOGRAFIC REFERENCES]

Starting from an in-depth investigation of the most important contemporary positions in esthetics and philosophy of art, will try to clarify, refine and elaborate a general PHILOSOPHY OF IMAGE. In order to do so, the major works of reference will be:

BOEHME G. (1999), Theorie des Bildes, Fink, München.
GADAMER, H.-G. (1960), Warheit und Methode, Mohr, Tübingen.
GOMBRICH, E. H, (1994), Das forschende Auge: Kunstbetrachtung und Naturwahrnehmung, Campus-Verl. - Ed. de la Fondation - Edition Pandora, Frankfurt/Main ; New York ; Paris. 
MAAR, C.; BURDA, H. (2005), Iconic Turn. Die Neue Macht der Bilder, DuMont Literatur und Kunst Verlag, Köln.
RHEINBERGER, H.-J. (2001), Objekt und Repräsentation, in Heintz, Bettina & Jörg Huber (eds.), Mit dem Auge denken: Strategien der Sichtbarmachung in wissenschaftlichen und virtuellen Welten. Voldemeer, Zürich, pp. 55-61.
RHEINBERGER, H.-J. (2003), Präparate - ´Bilder´ ihrer selbst, Akademie-Verlag, Berlin.

The anthropological, symbolical-theoretical and formal approaches will be taken into account:

BELTING H. (2001) “Bild Anthropologie”, Fink, München.
GOODMANN N. (1976), Languages of art: an approach to a theory of symbols, Hackett, Indianapolis.
WIESING L. (2005), “Artifizielle Praesenz”, Suhrkamp, Frankfurt aM.
WIESING L.(1997), Die Sichtbarkeit der Bilder. Geschichte und Perspektiven der formalen Ästhetik, Reinbek bei Hamburg.

In an epistemological perspective, some fundamental positions must be pointed out:

HACKING I. (1983), Representing and Inventing, Cambridge Univ. Press Cambridge.
PUTNAM H. (1988), Representation and Reality", MIT Press, Cambridge.
GALISON P. (1997) “Image and Logic”, Univ. of Chicago Press, Chicago.
GALISON P. (2002) “Images scatter into Data, Data gather into images” in Bruno Latour e Peter Weibel (Eds) (2002), Iconoclash. Beyond the Image Wars in Science, Relig-ion, and Art. Karlsruhe, Cambridge, pp. 300-323.
DASTON, L. e GALISON, P. (1992), "The Image of Objectivity," in Representations 40, pp. 81-128.

For the research on IMAGE AND DIAGRAMMATIC THINKING, we will take as a major reference: 

HOFFMANN, M. (2001), "Peirce´s ´Diagrammatic Reasoning´ as a solution of the learning paradox", in Process Pragmatism: Essays on a Quiet Philosophical revolution, Amsterdam , pp. 121-143´
HOFFMANN, M. (2004), “How to get it. Diagrammatic Reasoning as a Tool of Knowledge Development and its Pragmatic Dimension”, Foundation of Science, 9, pp. 285-305. 
KENT, B. (1997), "The Interconnectedness of Peirce´s Diagrammatic Thought " in Studies in the logic of Charles Sanders Peirce, Indiana, pp. 445-459, 
KETNER, K. (1986) "Peirce´s Most Lucid and Interesting Paper: an Introduction to Cenopythagoreanism", International Philosophical Quarterly, 26, pp. 375-392. 
STRAFFORD, B. (1999), Visual analogy. Counsciousness and the art of connecting, MIT Press, London,
TUFTE, E. R. (1983), The visual display of quantitative information, Graphics Press, Cheshire.
POMBO, O. (1987), Leibniz and the problem of a universal language, Münster: Nodus Publikationen, l987
POMBO, O. (1990), The leibnizian theory of representativity of the sign, in Niederehe, Hans-Joseph and Koerner, Konrad (eds), History and Historiography of Linguistics, vol. II, Amsterdam / Philadelphia: John Benjamins, pp. 447- 459
POMBO, O. (1996) Leibnizian strategies for the semantical foundation of the universal language, in Klaus D. Dutz e Stefano Gensini (eds.) Im Spiegel des Verstandes. Studien zu Leibniz, Münster, 161-171
POMBO, O.  (1998), La théorie leibnizienne de la pensée aveugle en tant que perspective sur quelques-unes des apories linguistiques de la modernité, Cahiers Ferdinand Saussure, n.º 51, 63-75

The investigation on the turn FROM WORD CIVILIZATION TO IMAGE CIVILIZATION will be grounded in the following inescapable works of reference:

MCLUHAN, M.; FIORE, Q.; AGEL, J., (1967), The Medium is the Massage: An Inventory of Effects, New York.
VIRILIO, P. (1988), La Machine de Vision: Essai sur les Nouvelles Techniques de Représentation, Galilée, Paris.
LÉVY, P. (1994), L’Intelligence Collective. Pour une Anthropologie du Cyberspace, La Découverte, Paris.
SARTORI, G. (1998), Homo Videns : Televisione e Post-Pensiero, Laterza, Roma / Bari.

Regarding the PHILOSOPHICAL STUDIES ON IMAGE BETWEEN ART AND SCIENCE (ON THE POETICS OF BACHELARD AND THE AESTHETICS OF DELEUZE), among the vast bibliography on the sybject we may mention: 

BACHELARD, G. (1942), L´eau et les rêves : essai sur l´imagination de la matière, José Corti, Paris.
BACHELARD, G. (1948), La terre et les rêveries du repos : essai sur les images de l´intimité, José Corti, Paris.
BACHELARD, G. (1957), La Poétique de l´Espace, P.U.F., Paris.
GIL, D. (1993), Bachelard et la culture scientifique, P.U.F, Paris.
GAGEY, J. (1969), Gaston Bachelard ou la conversion à l’imaginaire, Marcel Rivière et Cie., Paris.
DELEUZE, G. (1988), Le Pli - Leibniz et le baroque, Minuit, Paris.
DELEUZE, G. (1981), Francis Bacon, logique de la sensation, Edition de la différence, Paris.
DELEUZE, G. (1983-85), Cinéma 1 and Cinéma 2, Minuit, Paris.
RODOWICK, D.N., (ed.) (1997), Gilles Deleuze. Philosopher of the Image. Iris 23, no. 1 (Special Monographic Issue). 

For the research on THE ART OF SCIENTIFIC IMAGE, we will begin considering the following works: 

HARRIS, H. (1979), Scientific models and man, Clarendon Press/Oxford Univ. Press, New York/Oxford.
FORD, B. (1992), Images of Science. A History of Scientific Illustration, British Library, London.
VALENTE ALVES, M. e BARBOSA, A. (ed) (2004), Circulação/Circulation, Lisboa.
VALENTE ALVES, M., (2005). Passagens. 100 Peças para o Museu de Medicina, Lisboa.

The HISTORICAL STUDIES ON IMAGE BETWEEN ART AND SCIENCE aim at studying some major works by Leonardo, Vesalius, Goethe and Darwin, in its relation with the aesthetics and the scientific knowledge of their time and will take into account the following books:

LEONARDO DA VINCI (2002), Scritti [1512], editado por Carlo VECCE, Mursia, Milano.
VECCE, C. (2005), Leonardo da Vinci, Verbo, Lisboa.
VIATTE, F. e FORCIONE, V. (2003), Léonard de Vinci : dessins et manuscrits, Ed. Musée du Louvre, Paris.
KEMP, M. (ed.) (2001), Leonardo on painting, Yale Univ. Press, New Haven.
VESALIUS, De humani corporis fabrica [1543], Bâle, Johannes Oporinus, 2nd edition, 1555. 
CUSHING, H. W. (1986), A Bio-Bibliography of Andreas Vesalius, St. Paul´s Bibliographies, Winchester.
DARWIN, C. (1872), The Expression of the Emotions in Man and Animals, John Murray, London.
PRODGER, P. (1998), "Illustration as Strategy in Charles Darwin´s ´The Expression of the Emotions in Man and Animals´", in Timothy Lenoir (ed), Inscribing Science, Stanford, pp.140-181.
SMITH, J. (2006), Charles Darwin and Victorian Visual Culture, Cambridge Univ. Press, Cambridge/NY.
GOETHE, J. W. (2003), A Metamorfose das Plantas, trad. de F. Molder, IN - Casa da Moeda, Lisboa.
MOLDER, F. (1995), O Pensamento Morfológico de Goethe, IN - Casa da Moeda, Lisboa.

Our research on scientific drawing  - DRAWING SCIENCE -  will start from these works:

MITCHELL, W.J.T. (1998), The Last Dinosaur Book. The Life and Times of a Cultural Icon, Univ. of Chicago Press, Chicago.
SALGADO, P. (2001), O desenho científico - ilustração botânica, in A Natureza Mestra das Artes, Casa da Cerca - Centro de Arte Contemporânea.
SALGADO, P. (1999), Histórias de ilustração e de História Natural, in Instantes, Escola Superior de Arte e Design, Lisboa.
SALGADO, P. (1998), A arte de comunicar ciência, Catálogo oficial do Pavilhão dos Oceanos, EXPO´98, Lisboa.
ZWEIFEL, F. W. (1988), A Handbook of Biological Illustration, Univ. Of Chicago Press, Chicago.

The theoric foundation for the study of the ANATOMICAL DRAWINGS of the Lisbon Museum of Medicine must include the following works:

OLMI, G. (2004), Rappresentare il corpo. Arte e anatomia da Leonardo all´Illuminismo, Bononia Univ. Press, Bologna.
SMITH, R. (1996), Desenhar a figura humana, Editorial Presença, Lisboa.
GORDON, L. (1979), Desenho Anatómico, Editorial Presença, Lisboa.
HIRSCH, G. (1950), Art Anatomy and figure drawing. A study of the human figure, Major Book Co., New York.

The fundamental works of reference for the survey on nude model drawing - DRAWING THE NUDE - are:

BRANCO, C., (2005), O gesto capaz de esculpir a palavra, in M. Valente Alves (ed), Passagens. 100 Peças para o Museu de Medicina, Museu Nac. de Arte Antiga,
TAVARES, C. A., (1989), Da clarividência do desenho ao desenho clarividente, in Ver desenho hoje III / As irresoluções resolvidas, Galeria Mun. de Arte de Almada.
TAVARES, C. A.,  (2001), As artes plásticas em Portugal no séc. XX, in Silvia Ferrari, Guia de História da Arte Contemporânea, Lisboa.
TAVARES, C. A., (2002), Miguel Lupi e a figura como condição da prática artística, in Catálogo da Exposição Miguel Ângelo Lupi, Museu do Chiado, 2002.

Our investigation on NEUROESTHETICS will begin with a thorough consideration of the seminal works in the area: 

KOSSLYN, S. (1996), Image and Brain, MIT Press, Cambridge, 
ZEKI, S. (1993), Vision of the Brain, Blackwell Science, Oxford, 
ZEKI, S. (1999), Inner Vision. An Exploration of Art and the Brain, Oxford Univ. Press, Oxford / New York, 
RAMACHANDRAN, V. S. and HIRSTEIN, W. (1999), "The Science of Art: A Neurological Theory of Aesthetic Experience", Journal of Consciousness Studies, 6, pp. 15 - 51.
LIVINGSTONE, M. S. (2002), Vision and Art: The Biology of Seeing, Harry N. Abrams, New York.