Literaturverzeichnis
[1]Freeman Dyson, "Our Biotech Future," The New York Review of Books LIV: 12 (July 19, 2007): 4-8. Dyson refers to Carl Woese, "A New Biology for a New Century," Microbiology and Molecular Biology Reviews (June 2004).
Begriff von Alois Riegl für das Wachstums- und Transformationsbegehren der Kunst. See Aloïs Riegl, Problems of Style: Foundations for a History of Ornament, trans. Evelyn Kain (Princeton: Princeton University Press, 1992); see also Jacqueline E. Jung, translator’s introduction to Aloïs Riegl, Historical Grammar of the Visual Arts (New York: Zone, 2004), 13-19.
Cf. Gilles Deleuze and Félix Guattari, "1440: The Smooth and the Striated," A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (Minneapolis: Minnesota University Press,1987), 497-499; Niklas Luhmann, Art as a Social System, trans. Eva M. Knodt (University of Chicago Press, 2000); Manuel De Landa, "Non-Organic Life," in Zone 6: Incorporations, ed. Jonathan Crary and Sanford Kwinter (New York: Zone Books, 1992); Mitchell Whitelaw, Metacreation: Art and Artificial Life (Cambridge, MA; MIT Press, 2004).
Friedrich Spuhler, Oriental Carpets in the Musuem of Islamic Art, Berlin, trans Robert Pinner (London and Boston: Faber and Faber, 1988), 97.
Leonard Helfgott, Ties that Bind: A Social History of the Iranian Carpet (Washington, D.C.: Smithsonian Institution. 1994)
Holbein’s Ambassadors, Van Dyck’s Portrait of Lucas van Uffel
A. F. Kendrick, review of Altorientalische Teppiche in Siebenbürgen by Emil Schmutzler, The Burlington Magazine for Connoisseurs 63: 368 (November 1933): 237.
Svetlana Alpers, The Art of Describing: Dutch Art of the Seventeenth Century (University of Chicago, 1983)
Interestingly, Huyghens’ own artistic taste favored not the detailed genre painting of which his own portrait is exemplary, but the moody, character-driven painting of Rembrandt, whose work he recommended early on to the Prince of Orange. Yet the painting embodies the fusion of scientific and aesthetic curiosity in Huyghens’ own thought.
Safavid carpets featuring animals in combat, closely derived from Chinese models (often in a yin-yang form), provide the general form; Safavid vase carpets contribute the spots. Cf. the Medallion and Animal Carpet, c. 1600, possibly Isfahan 17th Century. Widener Collection, National Gallery of Art, Washington.
Darstellungsbreite ändern
Da bei großen Monitoren im Fullscreen-Modus die Zeilen teils unleserlich lang werden, können Sie hier die Breite auf das Minimum zurücksetzen. Die einmal gewählte Einstellung wird durch ein Cookie fortgesetzt, sofern Sie dieses akzeptieren.
