Reference : Constcamer Paintings as Epistemic Images: Early Modern Theaters of Wisdom
Scientific congresses, symposiums and conference proceedings : Unpublished conference
Arts & humanities : Art & art history
http://hdl.handle.net/10993/41001
Constcamer Paintings as Epistemic Images: Early Modern Theaters of Wisdom
English
Koeleman, Floor mailto [University of Luxembourg > Faculty of Language and Literature, Humanities, Arts and Education (FLSHASE) > Identités, Politiques, Sociétés, Espaces (IPSE) >]
4-Apr-2020
No
International
2020 Annual Meeting of the Renaissance Society of America
from 02-04-2020 to 04-04-2020
Renaissance Society of America
Philadelphia
PA
[en] This paper argues, against existing literature, that 17th-cent. constcamer paintings were objects to think with, functioning as the two-dimensional space of artificial memory. In turn, these artworks complicate conventional definitions of epistemic images more broadly. I focus on an analysis of constcamer paintings accounting for the reception of the ancients and the mnemonic and propaedeutic role of images, entailing concepts such as wonder or thauma (from Greek θεάομαι), the drive to gather knowledge, memory as the locus of this ‘collection’, and recollecting as the intellectual process of interaction with memorized knowledge. The term inventor, referring to the creator of a given collection, is derived from the rhetorical technique for the retrieval of information. The theatre or ‘place for viewing’ provided the physical context for the collected wisdom. Inventors of constcamer paintings – often artists themselves – vitally participated in knowledge formation contributing to contemporary intellectual debates.
Luxembourg Centre for Contemporary and Digital History (C2DH) > Doctoral Training Unit (DTU)
http://hdl.handle.net/10993/41001
FnR ; FNR10929115 > Andreas Fickers > DHH > Digital History and Hermeneutics > 01/03/2017 > 31/08/2023 > 2016

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