![]() ![]() Our goal is to develop a Web-based workspace that will enable scientists in any image-oriented discipline to create simple and precise links between images and image details, in a fashion similar to that which until now has been the privilege of text. ![]() The HyperImage project is concerned with the currently unsolved technical problem of establishing links between image details. Additionally, any technical solution to the lack of easy-to-use technology has to be Web-based in order to support collaborative research on images. Neither the employment of a complex image manipulation software package nor the time-consuming and not very precise verbal description is satisfactory and appropriate for everyday use in science. 2 where a similar dark spot can be found nearly in the centre of the picture. above left is an interest-ing dark spot in picture No. But with digital images one either has to make marks by employing an image manipula-tion software, which is not as widespread and easy to use as current text processing software, or one has to describe one's findings verbally, such as ". Using paper images, one can just mark up details of interest with a pencil. ![]() In sharing this knowledge one will necessarily also communicate about image details. The relevant images are studied closely and the details of one image are compared with the details of another. For example, a researcher may want to analyse satellite photographs or x-ray images of human livers or symbols of death in Dutch baroque paintings. Images are an important source of scientific knowledge in many disciplines. Image annotation, pictorial indexing, Web-based collaborative work International Cultural Heritage Informatics Meeting - ICHIM07: Proceedings T.HyperImage: Image-Oriented e-Science Networks “From triumphal arch to triptych to collector’s cabinet to Bilderatlas, Felix Thürlemann’s survey of multiple image displays provides an authoritative introduction to a central question in art history: how have collectors, curators, artists, and art historians deployed the array of multiple images to generate meaning? Rich in examples and sensitive to the different potentials of spectatorial experience, this book provides an excellent foundation for further exploration in the way images gather in constellations of genres, styles, and canons of value.” His analysis of the ways in which images are assembled and associated provides a crucial context for the explosive present-day deployment of images on digital devices.įelix Thürlemann is professor of art history at the University of Konstanz. Through case studies organized within three groups of producers-collectors and curators, art historians, and artists-Thürlemann proposes a theory of the hyperimage, explores the semiotic nature of this plural image use, and discusses the arrangement and interpretation of such pictures in order to illuminate the phenomenon of Western image culture from the beginning of the seventeenth century until today. In part because the hyperimage is not permanently available, this interplay of images has been largely unexplored. These hyperimages have played a major role in the history of art since the seventeenth century, and the main actors of the art world are all hyperimage creators. In this volume, Felix Thürlemann develops a theory of this type of image use, arguing that with each new gathering of images, an art object is reinterpreted. In exhibitions, illustrated art books, and classrooms, artworks or their photographic reproductions are arranged as calculated ensembles that have their own importance. South Georgia & South Sandwich Islands (USD $)
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