Deck 4: Turning Worlds Into Images

Question 1

Which one of these is NOT one of the four positions found in Jacques Derrida's The Truth in Painting?

A) truth as images
B) truth in images
C) truth in materiality
D) truth in consciousness
E) all of the above are positions in Derrida's book

Answer 1

D

Question 2

Traditionally, the main concern in imaging the visible world has been to make images correspond as far as possible to _________________________.

A) the intentions of the artist
B) actual physical appearances
C) what the beholder wants in an image
D) all of the above

Answer 2

B

Question 3

Giulio Paolini's installation of two sculptures, discussed in chapter 14, provides a visual paraphrase for which newer understanding for the idea of mimesis?

A) the two sculptures are in competition with each other
B) the two sculptures compliment each other aesthetically
C) the two sculptures mirror each other, and offer a moment of reflection
D) the two sculptures do not mirror one another, but enact a comparison

Answer 3

D

Question 4

Which 17^th century figure stated that "un picture ita visio" (vision is like painting)?

A) John Locke
B) Voltaire
C) Johannes Kepler
D) Blaise Pascal

Question 5

In the 15^th and 16^th centuries, a goal in much of art was to create a new nature that possibly surpassed the original.

Question 6

According to Georges Didi-Huberman, American minimalist sculptures like those of Donald Judd and Robert Morris are _________________________.

A) full of invisible meaning
B) devoid of substance
C) ignorant to the history that they claim to revoke
D) visually stimulating, but nothing more

Question 7

According to Elkins, whatever viewers might notice would be considered _______________.

A) visible
B) visual
C) depictable
D) none of the above

Question 8

Because of the viewer's knowledge, the absence of Joseph and the Saints in a 15^th century painting would be an example of the ___________.

A) undepictable
B) undecipherable
C) splendid
D) invisible

Question 9

Which of the following is an example of the splendor in a painting?

A) the Christ child's realistic eyes
B) the glints of light seen on Renbrandt's eye in his self portrait
C) the depiction of a sunset
D) hazy clouds found in Rococo paintings

Question 10

The principles of truth and divinity for which a painting of the Christ child stands for are examples of what is ____________________.

A) undepictable
B) invisible
C) unrepresentable
D) uncontainable

Question 11

Current textbooks warn of illustrations inability to adequately represent subjects in quantum mechanics.

Question 12

Which is one of the few visible properties of particles in particle physics?

A) physical position in space
B) phase angles
C) electron barriers
D) radiation maps

Question 13

Hypothetical properties of particles are considered to be outside the field of representation, and are thus ______________.

A) inconceivable
B) undepictable
C) inconsistent
D) invisible

Question 14

The postmodern sublime has appeared as an aesthetic inquiry, a philosophic amendment, and an intervention in art criticism.

Question 15

In regards to the sublime, 18^th century philosophers hoped they could write in an uncontrollable fashion about things that are already controlled.

Question 16

Thomas Weiskel stated that "a humanist sublime is ________________."

A) an inevitable position
B) anti-religious
C) rooted in theology
D) an oxymoron

Question 17

Which word did Aristotle use to define what we now call "imagination"?

A) dianoia
B) phantasia
C) aisthesis
D) communis

Question 18

In Immanuel Kant's Meditations on First Philosophy, he distinguishes between imagination and "pure intellection."

Question 19

Photons and electrons are known as equations, making them _______________.

A) non-visual
B) non-pictorial
C) both a and b
D) neither a nor b

Question 20

Sound spectrograms are an example of the strategy of ___________________.

A) pictorialization
B) picturizing
C) invisibility
D) telescopic vision

Question 21

_______of the non-visual can be potentially misleading and unhelpful.

Question 22

For _______, if a math problem was geometrical, the solution had to be geometrical too.

Question 23

In the 21^st century, the principal rival to non-visual mathematics is Benoit Mandelbrot's _______.

Question 24

There are signs of a new visually oriented mathematics in the fields of _______.

Question 25

_______'s capacity to visualize was so powerful that it moved from an artist's technique to a metaphor for knowledge itself.

Question 26

A distorted drawing that appears normal when viewed from a particular angle is known as an _______.

Question 27

Despite its postmodern origins, the discipline of Visual Studies has continued to place emphasis on what is _______.

Question 28

The historian Hans-Jorg Rheinberger distinguishes three strategies of visualization, which he calls compression and dilation, enhancement, and _______.

Question 29

The insufficiency of visualization as a universalizing notion is best shown by practices of _______.

Question 30

The neuro-histologist _______ favored hand-drawn visualizations of microscopic images, allowing for his judgement to intervene.

Question 31

In what way does William Kentridge's art make "the process of drawing itself" visible?

Question 32

Which of the five claims for visualization are most important for science?

Question 33

List four of the 17^th century Dutch interests that signaled a "new obsession for defining the act of seeing."

Question 34

Describe the difference between the narrow understanding of mimesis and the broad understanding of mimesis.

Question 35

Explain Konrad Fiedler's view of mimesis.

Question 36

Explain how Elkins describes particular visualization and why he believes it is preferential to universalizing visualization.

Question 37

Discuss why the link between visualization and scientific method is so problematic.

Question 38

Select two of the five recurrent claims about visualization. Where do you see the presence of these ideas in contemporary life? How effective are the modes of visualization in the examples that you find?

Question 39

Briefly describe Jacques Derrida's four positions on "the truth in painting."

Question 40

Describe the differences between the invisible, the undepictable, the unrepresentable, and the inconceivable.