A RECONSIDERATION OF GYÖRGY KEPES'S THE NEW LANDSCAPE IN ART AND SCIENCE
A RECONSIDERATION OF GYÖRGY KEPES'S THE NEW LANDSCAPE IN ART AND SCIENCE
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对捷尔吉·凯佩斯《艺术与科学新景观》的重新思考
DOI：
10.11247/jsd.4.2_2_59
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发表时间：
2020
期刊：
影响因子：
--
通讯作者：
Toshino Iguchi
中科院分区：
文献类型：
--
作者：
金 勲;林 基哉;柳 宇;菊田 弘輝;本間 義規;イムウンス，金勲;Toshino Iguchi
捷尔吉·凯佩斯（1906-2001）是马萨诸塞州高级视觉研究中心（CAVS）的创始人之一，是20世纪世纪”科学艺术”的先驱。本文探讨了凯普斯的”艺术与科学的新景观”思想，并结合他在芝加哥设计学院的教学经历来阐明这一思想。凯普斯于1951年举办了一个名为“艺术与科学的新景观”的展览，这一展览最终成为他1956年出版的一本书的书名。他展示了生物形态和晶体结构的科学照片，即可见世界的新前沿。本文以历史的方法来评价他的设计思想，并以二战期间他在芝加哥设计学院的迷彩课程为例，阐明他的设计思想与他的设计教育之间的关系。我们将探讨他如何将他的视觉传达理论发展为无形影像的“视觉价值”。这里的结果为我们提供了新景观的意义。
György Kepes (1906-2001), a founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (MIT), was a pioneer of" scientific art" in the 20th century. This paper discusses his idea of" the new landscape in art and science" and examines his teaching experience at the School of Design in Chicago to clarify it. Kepes held an exhibition in 1951 titled The New Landscape in Art and Science, which eventually became the title of his 1956 book. He presented science photographs of biological forms and crystal structures, that is, the new frontier of visible world. Taking a historical approach to evaluate his ideas, we clarify the relation between his ideas and his design education at the camouflage course at the School of Design in Chicago during World War II. We examine how he had developed his theory on visual communication into" visual value" of an invisible image. The results here provide us the meaning of the New Landscape.