The Visual Language of Technique: Volume 1 - History and Epistemology
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The book is inspired by the first seminar in a cycle connected to the celebrations of the 150th anniversary of the Politecnico di Milano. "Dealing with the Image Ivory Towers and Virtual Bridges" was the motto of this meeting, aiming to stimulate a discussion among engineers, designers and architects, all of whom are traditionally involved in the use of the Image as a specialized language supporting their work, their research activities and their educational tasks. The book will also include the essays of invited or interviewed authors from other disciplines, namely Philosophy, Mathematics and Semiotics. According to Regis Debray, in the present "Visual Age", which he has significantly defined as a "Video-Sphere", all the information tends to be processed and controlled by means of visual devices. This occurs especially in the various branches of many technical studies and activities, one of the most sensitive areas to the use of Visual Language in the past and even more in the present.
immanence of an absolutely pure look. Once the historicity of landscape phenomenon is veriﬁed, we need to ask ourselves when, where and why—at least for what concerns Western history—landscape happened. 3 Where Landscape Is Created: The Function-Painting Landscape generates from visual arts, as it is always ﬁgurative, even when we enjoy its view without trying to represent it. Regarding this, I would like to add that landscape in literature is always the painted landscape’s ekphrasis. More
nature acquire the frame’s dignity? According to art historians, this happens when the representation of nature is assumed to be independent and separated from its function (as mentioned in the symbolic landscape case). In the 17th century, many painters used to handle landscape as an autonomous gender; in the 19th century landscape became the main gender, creating a new democratic and mass aesthetic in which landscape is synonymous of beauty (including even the kitsch aspect of illustrated
rejects the visual logic of a project for a double skyscraper on Oxford Street in London with the unique title Twidledee and Twidledum (the twins from Alice in Wonderland) (Fig. 31) and of a postcard, written and sketched by Cesare Chiodi for Milan, in which he proposes a skyscraper symmetric to the already existing one on the street that goes towards the Central Station of Milan, deﬁning the existing image as incomplete according to the principles of symmetry (Fig. 32) . 106 M.G. Sandri
of an image with a mobile surface or, better still, a mobile object constantly transforming, not ﬁxed, but ever willing to interact with the subject. Though less obvious in contemporary thinking, this instantly creates a problem of ethics of the image tied to a sense of belonging. I don’t believe it is actually necessary to distinguish between reality and image. In distinguishing the different ontological levels, subjects move around well. However I do believe that with the image it is very
Agostino Trani, Alessandra Zanelli, V. Cafﬁ, B. Copa, A. Guzzetti, G. Lobaccaro, R. Naboni, A. Stefanazzi and G. Zani Abstract The following paragraphs refer to the images included in the poster, focusing on the management of the Building Information Modeling in relation to the ﬁeld of Architecture, Built Environment, Construction Engineering. BIMM at the ABC Department: a Summary 1. “Portraits of cities in an interior” research (founded by Fondazione Cariplo) has the objective to build an online