LEADER 01261nam--2200385---450- 001 990003500160203316 005 20110222091105.0 035 $a000350016 035 $aUSA01000350016 035 $a(ALEPH)000350016USA01 035 $a000350016 100 $a20110221d1966----km-y0itay50------ba 101 $aita 102 $aIT 105 $a||||||||001yy 200 1 $aAtlante di atti chirurgici$fH.-E. Grewe e Karl Kremer$gintroduzione di Ernst Derra$gversione italiana a cura di Maurizio Monteleone 205 $apresentazione alla ed. italiana di Pietro Valdon 210 $aRoma$cEditoriale Internazionale Arti e scienze$d1966 215 $cXV, 358 p.$cill.$d32 cm 300 $aSul front.: con 1010 figure di W. Irmer, Bonn 606 0 $aChirurgia$xAtlante$2BNCF 676 $a610 700 1$aGREWE,$bHorst-Eberhard$0609490 701 1$aKREMER,$bKarl$0609442 702 1$aDERRA,$bErnst 801 0$aIT$bsalbc$gISBD 912 $a990003500160203316 951 $aFDC 246$b760 Med.$cFDC 959 $aBK 969 $aMED 979 $aMANCUSO$b90$c20110221$lUSA01$h1407 979 $aMANCUSO$b90$c20110221$lUSA01$h1412 979 $aMANCUSO$b90$c20110222$lUSA01$h0911 996 $aAtlante di atti chirurgici$91111556 997 $aUNISA LEADER 07739nam 2200589 450 001 9910816519103321 005 20230808191610.0 010 $a3-11-042299-9 024 7 $a10.1515/9783110422993 035 $a(CKB)3710000000586411 035 $a(EBL)4338400 035 $a(MiAaPQ)EBC4338400 035 $a(DE-B1597)451609 035 $a(OCoLC)979746215 035 $a(DE-B1597)9783110422993 035 $a(Au-PeEL)EBL4338400 035 $a(CaPaEBR)ebr11146665 035 $a(CaONFJC)MIL888773 035 $a(OCoLC)935921529 035 $a(EXLCZ)993710000000586411 100 $a20160209h20162016 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aSeeing motion $ea history of visual perception in art and science /$fRomana Karla Schuler 210 1$aBerlin, Germany ;$aBoston, [Massachusetts] :$cDe Gruyter,$d2016. 210 4$d©2016 215 $a1 online resource (304 p.) 225 1 $aEdition Angewandte,$x1866-248X 300 $aDescription based upon print version of record. 311 $a3-11-042300-6 311 $a3-11-042696-X 320 $aIncludes bibliographical references. 327 $tSeeing Motion --$tFront matter --$tTable of Contents --$tPreface. On Theories and Art in Visualizing (Apparent)-Motion --$tAcknowledgements --$tPART 1. On the Study of Apparent Motion, Apparent Corporeality and Apparent Spatiality --$tSeeing as a Scientific Topic --$tThe Beginnings of the Study of Apparent Motion --$tAn Individual Way of Seeing: Jan Evangelista Purkinje --$tThe Explanation of an Optical Illusion: Peter Mark Roget --$tThe First Motion Picture Machine: Joseph Plateau --$tThe Phenakistoscope or the Stroboscopic Disk --$tInventions with Stroboscopic Effects --$tThe Talbot-Plateau law of 1834/35 --$tGustav Theodor Fechner?s Subjective colors --$tFour notes on Afterimages --$tExperiments on the Simulation of Riparian Illusion with the oppel Antirheoscope --$tZöllner?s Illusion --$tReflections on Zöllner?s Illusion: Wilhelm Filehne --$tHermann Helmholtz and the new Physiological optics in the nineteenth century --$tHelmholtz?s Experiments on Visual Sensations --$tErnst Brücke: The Advantage of Intermittent Retina Stimuli --$tJosef Czermak: Thoughts on Speed during Motional Illusions --$tThe Influence of Psychophysics on Mach?s Experiments --$tMach?s Series of Experiments on light Stimulus on the Retina --$tMach?s Experiments on Sensation of Movement and Afterimages of Movement --$tStudies in Movement: The Mach Drum --$tSigmund Exner: Explorations into Kinesthetics, Sensation of Movement and Apparent Motion --$tTwo Sparks and One Apparent Motion --$tJohann Ignaz Hoppe?s Attempts at Defining Apparent Motion --$tThe First Psychological Analyses of Stroboscopic Phenomena (1886) --$tJames McKeen Cattell: Visual Stimulation in Time --$tThe First Monograph on the Perception of Movement --$tAlfred Borschke and Leo Hescheles: Movement Afterimages and Speed of Movement --$tAdolf Szily?s Experimental Analysis: Moving Afterimage and Contrasts of Movement --$tSzily?s Instrument Based Observations --$tAdolf Basler: Memoranda on the Process of Movements of Afterimages --$tVittorio Benussi: From Apparent Motion to Apparent Corporeality --$tStroboscopic Apparent Motion (S-Movement), 1912 --$tCombinations of Apparent Motion (1918) --$tStereo Kinetics --$tMax Wertheimer: The Berlin Gestalt Psychology --$tWertheimer?s Phi-Phenomena (1910?1912) --$tFrom Apparent Motion to a Repositioning of Psychology as a Whole --$tApplication of a Theory for Types of Visual Perception --$tKarl Duncker: On Induced Movements --$tHerbert Kleint: Simulation of a Tilted Room --$tThe Inverted Image of the Retina --$tGeorge M. Stratton and the Experiment with Inversion Goggles --$tEarly Experimental Perception Research at the Innsbruck University: Franz Hillebrand, Theodor Erismann, Ivo Kohler --$tTheodor Erismann and Ivo Kohler?s Goggle Experiment --$tConsecutive Experiments with Inversion Goggles after 1955 --$tResume of Part I --$tPART 2. From the Artistic Transformation to Immateriality --$tThe Beginnings of Kinetic Art at the Turn of the Twentieth Century --$tFrom Schumann/Wertheimer Wheel-Tachistoscope to Duchamp?s Readymade Roue de bicyclette (Bicycle Wheel) --$tInfluence of Perception Research on Art after 1960 --$tArtistic Research: Alfons Schilling, Jeffrey Shaw, Peter Weibel --$tDiscerning Participatory capacity and Phenomenological narration: Jeffrey Shaw --$tAddiction to new Images: Alfons Schilling --$tFrom Perception Devices to Seeing Machines --$tVisual Test Situations between Experiment and Theory: Peter Weibel --$tThe observation of observation in Peter Weibel?s Work --$tConstruction of Imaginary Spaces and observations in Apparent Spaces --$tInteractive Images and Dislocation --$tInteractive Plasticity in the Virtual Image --$tFeedback-Effects --$tEpilog --$tAppendix --$tEndnotes --$tReferences --$tInternet sources --$tImage credits 330 $aDie avancierten Kunstschaffenden haben seit jeher innovativen Erfindungen aus dem Bereich der Naturwissenschaften zu den Themen Licht und Perspektive für ihre Darstellungen eingesetzt und dabei nachweislich sogenannte Sehapparate verwendet. Seit Anfang der zwanziger Jahre des 20. Jahrhunderts setzten sich Künstler wie Marcel Duchamp mit Scheinbewegungen auseinander. Aufbauend auf diesen frühen Ideen und künstlerischen Experimenten kam besonders die Scheinkontur durch die Beschäftigung mit Scheinräumlichkeit zu neuem Interesse, vor allem vonseiten der Vertreter der kinetischen Kunst und der Op-Art. Seeing Motion gibt einen Überblick entlang einer historischen Linie, die sich zwischen den Theorien der experimentellen visuellen Wahrnehmungsforschung (Hermann Helmholtz, Ernst Mach, Sigmund Exner, Wilhelm Stern, Vittorio Benussi, Max Wertheim, George Stratton, Ivo Kohler) bis hin zur apparativen Kunst (Alfons Schilling) sowie zur elektronisch-digitalen Kunst (Jeffrey Shaw, Peter Weibel) abzeichnet. 330 $aThe central focus of this publication is the synthesis of science and art in the field of visual perception, in particular how early 19th century perceptual research into illusions, kinetic illusory figures, and illusory movement influenced the apparative / machine, kinetic art of the 20th century and the computer-generated visual art of the 21st century. Professional artists have traditionally used innovative, scientific inventions involving light and perspective for their work as well as making use of ?visual aids?. Since the beginning of the 1920's, artists like Marcel Duchamp have been experimenting with illusory movement. Based on these early ideas and artistic experiments, and due to its relationship with illusory space, there was a renewed interest in illusory contour, especially among representatives of kinetic art and op art. Seeing Motion provides an historical overview extending from the theories of experimental visual perception research (Hermann Helmholtz, Ernst Mach, Sigmund Exner, Wilhelm Stern, Vittorio Benussi, Max Wertheim, George Stratton, Ivo Kohler) to apparative art (Alfons Schilling) and electronic-digital art (Jeffrey Shaw, Peter Weibel). 410 0$aEdition Die Angewandte, University Press. 606 $aVisual perception 606 $aOptical illusions in art 615 0$aVisual perception. 615 0$aOptical illusions in art. 676 $a701.15 700 $aSchuler$b Romana Karla$01640525 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910816519103321 996 $aSeeing motion$93984122 997 $aUNINA LEADER 00784nam0-2200277 --450 001 9911002690503321 005 20250526092955.0 010 $a9791220148610 100 $a20250526d2024----kmuy0itay5050 ba 101 0 $aita$cita 102 $aIT 105 $ay 001yy 200 1 $a<>sfida filosofica tra scettici e dogmatici$fSandro Blasutto 210 $aRoma$cEuropa Edizioni$d2024 215 $a852 p.$d21 cm 225 1 $aFare mondi 610 0 $aScetticismo 676 $a186$v23$zita 700 1$aBlasutto,$bSandro$f<1962- >$01371527 801 0$aIT$bUNINA$gREICAT$2UNIMARC 901 $aBK 912 $a9911002690503321 952 $aFIL 61$b1443/2025$fFSPBC 959 $aFSPBC 996 $aSfida filosofica tra scettici e dogmatici$94382612 997 $aUNINA