The Visual Language of Technique: Volume 3 - Heritage and by Luigi Cocchiarella

By Luigi Cocchiarella

The booklet is galvanized through the 3rd seminar in a cycle attached to the celebrations of the one hundred and fiftieth anniversary of the Politecnico di Milano (July 2013). "Educating via photo. educating types vs studying types" used to be the motto of this assembly. The contributions (coming from lectures, the poster consultation, interviews and around desk) goal to suggest an up to date examine visible schooling, highlighting how electronic instruments and networks have profoundly affected the "representational kinds" of the lecturers and the "cognitive types" of the novices, whereas while reaffirming the significance of the interplay among the 2 teams. As Herbert Alexander Simon as soon as stated, "Learning results... simply from what the scholar does and thinks"; as a result "the instructor can increase studying merely through influencing what the scholar does to learn". that's no suggest feat if we give some thought to that, in accordance with Benjamin Samuel Bloom, visible schooling not just comprises the natural cognition, but additionally the affective and the psychomotor domain names, let alone the social points. for the reason that, along a few theoretical and ancient retrospectives, the contributions suggest a continual revision of "what" and "how" can be incorporated within the educational curricula, additionally in reference to secondary colleges, the pro international, exact Lifelong studying Programmes for college students and lecturers. the quantity contains an interview with the technological know-how journalist and author Piero Angela.

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Peirce defined a sign as a relation, related to three things (Fig. 1): A sign is anything which is related to a second thing, its object, in respect to a quality, in such a way as to bring a third thing, its interpretant, into relation to the same object [18]. The sign is based on a repertoire, the material for representations. For visual representations the material is for examples lines and shapes with their characteristics. The medium can be selected out of the repertoire just set or as conventional signs as fixed in the ISO of drawing.

But the systematic scientific geometric approach was only possible after the introduction of projective geometry in the 19th century. The fundamental works for relief perspective “Traité de Perspective Linéaire” by Jules de la Gounerie, “Grundzüge der Reliefperspektive” by Rudolf Staudigl, and “Grundzüge der Reliefperspective nebst Anwendung zur Herstellung reliefperspectivischer Modelle” by Ludwig Burmester [4] had been all published in the 19th century. We project the space on an image plane for receiving a perspective.

Vite de pittori bolognesi, vol. 1, Bologna, p. 468. org/stream/felsinapittricev01malv (1678) 14. : Gesetze des Sehens. : Laws of Seeing. MIT Press Cambridge (2006) 15. : Komposition Q XX, 1923, © VG Bild-Kunst, Bonn. cc/ (2014) 56 C. Leopold 16. : Geometry and line. The Vitruvian “Science” of architectural drawing. In: Daidalos 1, pp. 20–35 (1981) 17. : On the foundations of mathematics. Ms. 7, §1. (1903) 18. 92 (1902) 19. : Perspective refers to the viewer, axonometry refers to the object. In: Daidalos 1, pp.

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