Question 1

According to Elkins, whatever viewers might notice would be considered _______________.

Accepted Answer

A)  visible 
B)  visual 
C)  depictable 
D)  none of the above 
A)  visible 
B)  visual 
C)  depictable 
D)  none of the above A

Question 2

Describe the differences between the invisible, the undepictable, the unrepresentable, and the inconceivable.

Accepted Answer

The differences between the invisible, the undepictable, the unrepresentable, and the inconceivable lie in their definitions and the ways in which they are understood.

The invisible refers to something that cannot be seen with the naked eye or detected through normal means of perception. This could be something that is physically transparent or intangible, such as air or certain gases.

The undepictable refers to something that cannot be accurately portrayed or depicted through visual or artistic representation. This could be due to its complexity, abstract nature, or lack of a tangible form.

The unrepresentable refers to something that cannot be effectively conveyed or expressed through language or other forms of communication. This could be due to its emotional or spiritual nature, or because it exists outside the realm of human understanding.

The inconceivable refers to something that is beyond the scope of human comprehension or imagination. This could be something that is so vast, complex, or abstract that it is impossible for the human mind to fully grasp or conceptualize.

In summary, the differences between these concepts lie in their relationship to perception, representation, communication, and human understanding. Each term represents a different aspect of the limitations of human perception and expression.

Question 3

For _______, if a math problem was geometrical, the solution had to be geometrical too.

Accepted Answer

Rene Descartes

Question 4

In the 21st century, the principal rival to non-visual mathematics is Benoit Mandelbrot's _______.

Accepted Answer

Question 5

In regards to the sublime, 18th century philosophers hoped they could write in an uncontrollable fashion about things that are already controlled.

Accepted Answer

A) True 
 B)False

Question 6

Explain how Elkins describes particular visualization and why he believes it is preferential to universalizing visualization.

Accepted Answer

In his book "The Object Stares Back: On

Question 7

Despite its postmodern origins, the discipline of Visual Studies has continued to place emphasis on what is _______.

Accepted Answer

The answer of Despite its postmodern origins, the discipline of...

Question 8

The principles of truth and divinity for which a painting of the Christ child stands for are examples of what is ____________________.

Accepted Answer

A)  undepictable 
B)  invisible 
C)  unrepresentable 
D)  uncontainable 
A)  undepictable 
B)  invisible 
C)  unrepresentable 
D)  uncontainable

Question 9

Briefly describe Jacques Derrida's four positions on "the truth in painting."

Accepted Answer

Jacques Derrida's four positions on "the

Question 10

Explain Konrad Fiedler's view of mimesis.

Accepted Answer

Konrad Fiedler, a German art historian,

Question 11

Select two of the five recurrent claims about visualization. Where do you see the presence of these ideas in contemporary life? How effective are the modes of visualization in the examples that you find?

Accepted Answer

Two recurrent claims about visualization

Question 12

The postmodern sublime has appeared as an aesthetic inquiry, a philosophic amendment, and an intervention in art criticism.

Accepted Answer

A) True 
 B)False

Question 13

Giulio Paolini's installation of two sculptures, discussed in chapter 14, provides a visual paraphrase for which newer understanding for the idea of mimesis?

Accepted Answer

A)  the two sculptures are in competition with each other 
B)  the two sculptures compliment each other aesthetically 
C)  the two sculptures mirror each other, and offer a moment of reflection 
D)  the two sculptures do not mirror one another, but enact a comparison 
A)  the two sculptures are in competition with each other 
B)  the two sculptures compliment each other aesthetically 
C)  the two sculptures mirror each other, and offer a moment of reflection 
D)  the two sculptures do not mirror one another, but enact a comparison

Question 14

_______'s capacity to visualize was so powerful that it moved from an artist's technique to a metaphor for knowledge itself.

Accepted Answer

The answer of _______'s capacity to visualize was so powerful...

Question 15

List four of the 17th century Dutch interests that signaled a "new obsession for defining the act of seeing."

Accepted Answer

In the 17th century, the Dutch Republic

Question 16

According to Georges Didi-Huberman, American minimalist sculptures like those of Donald Judd and Robert Morris are _________________________.

Accepted Answer

A)  full of invisible meaning 
B)  devoid of substance 
C)  ignorant to the history that they claim to revoke 
D)  visually stimulating, but nothing more 
A)  full of invisible meaning 
B)  devoid of substance 
C)  ignorant to the history that they claim to revoke 
D)  visually stimulating, but nothing more

Question 17

Traditionally, the main concern in imaging the visible world has been to make images correspond as far as possible to _________________________.

Accepted Answer

A)  the intentions of the artist 
B)  actual physical appearances 
C)  what the beholder wants in an image 
D)  all of the above 
A)  the intentions of the artist 
B)  actual physical appearances 
C)  what the beholder wants in an image 
D)  all of the above

Question 18

The historian Hans-Jorg Rheinberger distinguishes three strategies of visualization, which he calls compression and dilation, enhancement, and _______.

Accepted Answer

The answer of The historian Hans-Jorg Rheinberger distinguishes three strategies...

Question 19

Describe the difference between the narrow understanding of mimesis and the broad understanding of mimesis.

Accepted Answer

The narrow understanding of mimesis refe

Question 20

A distorted drawing that appears normal when viewed from a particular angle is known as an _______.

Accepted Answer

The answer of A distorted drawing that appears normal when...

According to Elkins, whatever viewers might notice would be considered _______________.

Describe the differences between the invisible, the undepictable, the unrepresentable, and the inconceivable.

For _______, if a math problem was geometrical, the solution had to be geometrical too.

In the 21^st century, the principal rival to non-visual mathematics is Benoit Mandelbrot's _______.

In regards to the sublime, 18^th century philosophers hoped they could write in an uncontrollable fashion about things that are already controlled.

Explain how Elkins describes particular visualization and why he believes it is preferential to universalizing visualization.

Despite its postmodern origins, the discipline of Visual Studies has continued to place emphasis on what is _______.

The principles of truth and divinity for which a painting of the Christ child stands for are examples of what is ____________________.

Briefly describe Jacques Derrida's four positions on "the truth in painting."

Explain Konrad Fiedler's view of mimesis.

Select two of the five recurrent claims about visualization. Where do you see the presence of these ideas in contemporary life? How effective are the modes of visualization in the examples that you find?

The postmodern sublime has appeared as an aesthetic inquiry, a philosophic amendment, and an intervention in art criticism.

Giulio Paolini's installation of two sculptures, discussed in chapter 14, provides a visual paraphrase for which newer understanding for the idea of mimesis?

_______'s capacity to visualize was so powerful that it moved from an artist's technique to a metaphor for knowledge itself.

List four of the 17^th century Dutch interests that signaled a "new obsession for defining the act of seeing."

According to Georges Didi-Huberman, American minimalist sculptures like those of Donald Judd and Robert Morris are _________________________.

Traditionally, the main concern in imaging the visible world has been to make images correspond as far as possible to _________________________.

The historian Hans-Jorg Rheinberger distinguishes three strategies of visualization, which he calls compression and dilation, enhancement, and _______.

Describe the difference between the narrow understanding of mimesis and the broad understanding of mimesis.

A distorted drawing that appears normal when viewed from a particular angle is known as an _______.

Concepts and Theories of the Visual

Types of Seeing

Styles of Looking

Handling Images

How Disciplines Look at Images

Writing Images, Writing Looking

Filters

Exam 4: Turning Worlds Into Images

According to Elkins, whatever viewers might notice would be considered _______________.

Describe the differences between the invisible, the undepictable, the unrepresentable, and the inconceivable.

For _______, if a math problem was geometrical, the solution had to be geometrical too.

In the 21st century, the principal rival to non-visual mathematics is Benoit Mandelbrot's _______.

In regards to the sublime, 18th century philosophers hoped they could write in an uncontrollable fashion about things that are already controlled.

Explain how Elkins describes particular visualization and why he believes it is preferential to universalizing visualization.

Despite its postmodern origins, the discipline of Visual Studies has continued to place emphasis on what is _______.

The principles of truth and divinity for which a painting of the Christ child stands for are examples of what is ____________________.

Briefly describe Jacques Derrida's four positions on "the truth in painting."

Explain Konrad Fiedler's view of mimesis.

Select two of the five recurrent claims about visualization. Where do you see the presence of these ideas in contemporary life? How effective are the modes of visualization in the examples that you find?

The postmodern sublime has appeared as an aesthetic inquiry, a philosophic amendment, and an intervention in art criticism.

Giulio Paolini's installation of two sculptures, discussed in chapter 14, provides a visual paraphrase for which newer understanding for the idea of mimesis?

_______'s capacity to visualize was so powerful that it moved from an artist's technique to a metaphor for knowledge itself.

List four of the 17th century Dutch interests that signaled a "new obsession for defining the act of seeing."

According to Georges Didi-Huberman, American minimalist sculptures like those of Donald Judd and Robert Morris are _________________________.

Traditionally, the main concern in imaging the visible world has been to make images correspond as far as possible to _________________________.

The historian Hans-Jorg Rheinberger distinguishes three strategies of visualization, which he calls compression and dilation, enhancement, and _______.

Describe the difference between the narrow understanding of mimesis and the broad understanding of mimesis.

A distorted drawing that appears normal when viewed from a particular angle is known as an _______.

Concepts and Theories of the Visual

Types of Seeing

Styles of Looking

Handling Images

How Disciplines Look at Images

Writing Images, Writing Looking

Filters

In the 21^st century, the principal rival to non-visual mathematics is Benoit Mandelbrot's _______.

In regards to the sublime, 18^th century philosophers hoped they could write in an uncontrollable fashion about things that are already controlled.

List four of the 17^th century Dutch interests that signaled a "new obsession for defining the act of seeing."