Abstract
Based on the semiotic distinction between sign and index, the paper examines the genealogical conditions that have allowed the emergence of indexicality as a paradigm of (meta)representation, beyond the principles of mimesis and verisimilitude in sixteenth-century image-making processes. It also investigates how current digital reproductions offer new venues of autoreferential analysis of art-related images.
Presenters
Ricardo De Mambro SantosChair, Art History, Willamette University, Oregon, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
RENAISSANCE ART AND THEORY, SEMIOTICS, INDEXICALITY, DIGITAL REPRODUCTION, STYLE
