LEADER 03301oam 2200661I 450 001 9910451638403321 005 20200520144314.0 010 $a1-280-66041-4 010 $a9786613637345 010 $a0-203-12184-8 010 $a1-136-32983-8 024 7 $a10.4324/9780203121849 035 $a(CKB)2550000000100298 035 $a(EBL)958296 035 $a(OCoLC)798532178 035 $a(SSID)ssj0000677653 035 $a(PQKBManifestationID)11365490 035 $a(PQKBTitleCode)TC0000677653 035 $a(PQKBWorkID)10696799 035 $a(PQKB)10686169 035 $a(MiAaPQ)EBC958296 035 $a(Au-PeEL)EBL958296 035 $a(CaPaEBR)ebr10558658 035 $a(CaONFJC)MIL363734 035 $a(OCoLC)794232982 035 $a(EXLCZ)992550000000100298 100 $a20180706d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aGenealogy and ontology of the Western image and its digital future /$fJohn Lechte 210 1$aNew York :$cRoutledge,$d2012. 215 $a1 online resource (217 p.) 225 1 $aRoutledge advances in art and visual studies ;$v3 300 $aDescription based upon print version of record. 311 $a1-138-81389-3 311 $a0-415-88715-1 320 $aIncludes bibliographical references and index. 327 $aCover; Genealogy and Ontology of the Western Image and its Digital Future; Copyright; Dedication; Contents; List of Figures; Acknowledgements; Introduction-'Genealogy', 'Ontology', 'Western Image' and the 'Digital'; Part I: Genealogy and Ontology (Paradigms); 1.The Image in Plato and the Greek World; PART 1; PART 2; PART 3; 2. The Byzantine Image; 3. The Renaissance Image; 4. Transparency and Opacity-The Image in Rousseau, Diderot, Hume and Kant; 5. The Industrial Image; Part II: The Image in Photography and Cinema and its Digital Future 327 $a6. Some Fallacies and Truths Concerning the Image in Old and New Media7. Barthes and Benjamin on the Photographic Image and Time; 8. The Image and Beauty in Relation to Visual Digital Art; 9. The Time-Image; Notes; References; Index 330 $a With the emerging dominance of digital technology, the time is ripe to reconsider the nature of the image. Some say that there is no longer a phenomenal image, only disembodied information (0-1) waiting to be configured. For photography, this implies that a faith in the principle of an ""evidential force"" - of the impossibility of doubting that the subject was before the lens - is no longer plausible. Technologically speaking, we have arrived at a point where the manipulation of the image is an ever-present possibility, when once it was difficult, if not impossible.What are the key 410 0$aRoutledge advances in art and visual studies ;$v3. 606 $aArt$xPhilosophy 606 $aImage (Philosophy) 608 $aElectronic books. 615 0$aArt$xPhilosophy. 615 0$aImage (Philosophy) 676 $a701 700 $aLechte$b John.$0678103 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910451638403321 996 $aGenealogy and ontology of the Western image and its digital future$92295803 997 $aUNINA