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Explores the origins and evolution of eleven visual iconic images still found in today's culture, including Jesus, the Coke bottle, and Einstein's famous equation, e equals mc squared.
This book argues that the extraordinary force of the image in contemporary life?the contemporary imaginary?can be traced back to the Byzantine iconoclastic controversy of the eighth and ninth centuries.
This book deals with the apse as a showcase for images in the early Christian and early Byzantine periods. Two opposed traditions, harking back to early imperial times, nourished the invention of the Christian apse image: on the one hand there were statues in apses of pagan temples and imperial cult rooms which were venerated during cult ceremonies, on the other hand, there were apse mosaics in nymphaea where aquatic myths and figures celebrated the amenities of water. Christian apse mosaics originated within this context and in spite of the Old Testament prohibition of the image. The functions and effects of apse mosaics in Christian cult rooms were explored step by step and invented afresh. The participants of this delicate process of Christian image inventions were not only ecclesiastical but also private patrons. Without any qualm, emperors and representatives of the ruling class decorated their mausolea (S. Costanza in Rome, S. Aquilino in Milan) and representational rooms in villas (Centcelles) with Christian images. Because of the Mosaic prohibition of images, the Church could not attribute to the image a biblically grounded role, it behaved cautiously towards the decoration of churches with images during the fourth century. Only during the fifth century did it relax, and start to invent high brow theological programs (S. Maria Maggiore in Rome), understandable only to few believers. Some bishops gave special treatment to the promotion of aniconic programs (Paulinus of Nola, baptistery of the Lateran in Rome, Casaranello, church of Paraskevi in Salonica). Others rejected images in churches categorically (Epiphanius of Salamis). The Church admitted images and programs representing and portrayed Jesus Christ as God and as a human being that private patrons and artists had invented together with theologians; it provoked thereby a conflict (never really argued out) between the pagan representation of gods and emperors and the representation of Christ whose image should never recall images of gods nor of emperors, though points of contact were unavoidable. Highly original creations of apse mosaics resulted from this fertile conflict that were never repeated. All early Christian apse mosaics are unprecedented, one of creations without any succession. Their treatment as iconographic types is a blind ally. The Church sat back and watched how mosaics and frescoes in apses of cult rooms generated very particular effects, evoking in the viewer respect, admiration, awe and maybe even veneration. The representation of the Virgin with the child in a large apse evoked something like visual worship. The capacity of the image to have an impact on the viewer could not be decreed by the Church, but this was an affair manifested more or less casually according to the inventive power of the artist. For several centuries, the Church was not in a situation to create an official image of Christ. It cared for having apse mosaics not being adored. But the Church could not prevent images from being adored by private persons and/or control private concerns, such as setting-up of ex votos, in official church apses (S. Venanzio in Rome). Private persons first launched the cult of the Virgin (sarcophagus of Adelphia, gold glass). From the sixth century on, images - apse-mosaics, frescoes and panel paintings - were installed for ''cult-propaganda'' (SS. Cosma e Damiano, Hag. Demetrius in Salonica). In some cases, perhaps, images promoted a devotion on the part of the private believers. This process was a novelty for the sixth century. But a real cult around an apse mosaic was never instituted, even though the altar for the celebration of the Mass was installed in the apse. The early Christian period had no interest in representing the sacrifice of the Mass in an apse mosaic. Official ecclesiastical prayers were not addressed to divine figures and saints represented in apse mosaics. Apse mosaics are never mentioned in liturgies. Apse mosaics are, therefore, a very specific species which developed in constant dialogue with other categories of images (icons, ex votos, memorial images), representing contemporaneously specific theological issues.
Enter into an ancient method of meditation and prayer using sacred icons and sacred images as has been done since the beginning of the Christian Church. Icons and sacred images are said to be, -windows into heaven-.
Of all the Ajax-specific frameworks that have popped up in recent years, one clearly stands out as the industrial strength solution. Dojo is not just another JavaScript toolkit—it's the JavaScript toolkit—and Dojo: The Definitive Guide demonstrates how to tame Dojo's extensive library of utilities so that you can build rich and responsive web applications like never before. Dojo founder Alex Russell gives a foreword that explains the "why" of Dojo and of this book. Dojo provides an end-to-end solution for development in the browser, including everything from the core JavaScript library and turnkey widgets to build tools and a testing framework. Its vibrant open source community keeps adding to Dojo's arsenal, and this book provides an ideal companion to Dojo's official documentation. Dojo: the Definitive Guide gives you the most thorough overview of this toolkit available, showing you everything from how to create complex layouts and form controls closely resembling those found in the most advanced desktop applications with stock widgets, to advanced JavaScript idioms to AJAX and advanced communication transports. With this definitive reference you get: Get a concise introduction to Dojo that's good for all 1.x versions Well-explained examples, with scores of tested code samples, that let you see Dojo in action A comprehensive reference to Dojo's standard JavaScript library (including fundamental utilities in Base, Dojo's tiny but powerful kernel) that you'll wonder how you ever lived without An extensive look at additional Core features, such as animations, drag-and-drop, back-button handling, animations like wipe and slide, and more Exhaustive coverage of out-of-the-box Dijits (Dojo widgets) as well as definitive coverage on how to create your own, either from scratch or building on existing ones An itemized inventory of DojoX subprojects, the build tools, and the DOH, Dojo's unit-testing framework that you can use with Dojo—or anywhere else If you're a DHTML-toting web developer, you need to read this book—whether you're a one-person operation or part of an organization employing scores of developers. Dojo packs the standard JavaScript library you've always wanted, and Dojo: The Definitive Guide helps you transform your ideas into working applications quickly by leveraging design concepts you already know.
The book examines the process of symbolic and material alteration of religious images in antiquity, the middle ages and the modern period. The process by which the form and meaning of images are modified and adapted for a new context is defined by a large number of spiritual, religious, artistic, geographical or historical circumstances. This book provides a defined theoretical framework for these symbolic and material alterations based on the concept of iconotropy; that is, the way in which images change and/or alter their meaning. Iconotropy is a key concept in religious history, particularly for periods in which religious changes, often turbulent, took place. In addition, the iconotropic process of appropriating cult images brought with it changes in the materiality of those images. Numerous accounts from antiquity, the middle ages and the modern period detail how cult images were involved in such processes of misinterpretation, both symbolically and materially. The book will be of interest to scholars working in art history, visual culture and religious history.
First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.