I managed to find time to visit, unfortunately, quickly, the exhibition, curated by Antonella Sbrilli and Ada De Pirro, Ah, what a conundrum! Five centuries of art and puzzle game Italian National Institute for Graphic Art at the Palazzo Poli. It was worth it: the relationship between the image and the writing is a question that has always intrigued me and the exhibition seemed very rich. They range from the reproduction of the portrait of Lucina Brembate the Lotto, the classic texts on business from Jupiter, the Hypnoerotomachia Ars to Francesco Colonna reminescendi Giovan Battista della Porta, Agostino Carracci, Stefano Della Bella, Giuseppe Maria Mitelli, such figures as Augustine Nini, engraver Marches I was unknown, by Maurizio Calvesi and de Chirico, Maria Ghezzi, found out from another character on this occasion, by Schifano and Dangers and Sanguineti Balestrini, and the list is only partial ... The catalog was published by Mazzotta, provides additional materials. The puzzle, who often contrasted images, and writing, is offered, as noted by Antonella Sbrilli as "expressive experience [...] to become a sign or become torn between word, image or narrative" (p. 11).
would be really interesting to deepen, perhaps in the wake of Benjamin, the relationship between ABC, educational use of the rebus on the one hand and the broader way to use the images as teaching other mediator. Too often the images are opposed to writing (even if it makes me think, as noted Bartezzaghi, p. 18, that today the creation of a puzzle the issue of authorship is distinct from that of the designer ...) recovering, from what documents Lina Bolzoni, an established tradition: "Bembo continued to support the superiority of the word image" (p. 102). Search for the complementarity between different forms of expression may be a track to follow. Lorenzo Federica Pellati Bonoldi and remember, speaking of the Renaissance, that "each symbol is [...] chosen because it is able to tell something of the holder: a purpose, a purpose, a tilt character or otherwise. The etymology of the term emphasizes that vocation: the word derives from late Latin company imprensum , past participle of entrepreneurs in the sense of "taking upon himself", "aim at" a moral purpose, a rule or a norm " (p. 106). There is a thread that ties the firm Renaissance with the digital culture: the creation of an avatar or even just choosing a picture to your profile or blog to submit their identity has implications similar ...
would be really interesting to deepen, perhaps in the wake of Benjamin, the relationship between ABC, educational use of the rebus on the one hand and the broader way to use the images as teaching other mediator. Too often the images are opposed to writing (even if it makes me think, as noted Bartezzaghi, p. 18, that today the creation of a puzzle the issue of authorship is distinct from that of the designer ...) recovering, from what documents Lina Bolzoni, an established tradition: "Bembo continued to support the superiority of the word image" (p. 102). Search for the complementarity between different forms of expression may be a track to follow. Lorenzo Federica Pellati Bonoldi and remember, speaking of the Renaissance, that "each symbol is [...] chosen because it is able to tell something of the holder: a purpose, a purpose, a tilt character or otherwise. The etymology of the term emphasizes that vocation: the word derives from late Latin company imprensum , past participle of entrepreneurs in the sense of "taking upon himself", "aim at" a moral purpose, a rule or a norm " (p. 106). There is a thread that ties the firm Renaissance with the digital culture: the creation of an avatar or even just choosing a picture to your profile or blog to submit their identity has implications similar ...
Here the image of the poster: http://www.flickr.com/photos/25911409 @ N08/5439986858
