Download Citation on ResearchGate | El lenguaje de la visión / Gyorgy Kepes | Traducción de: Language of vision Reimpresión en }. Title, El Lenguaje de la visión. Volume 6 of Biblioteca de diseño y artes visuales. Author, Gyorgy Kepes. Publisher, Infinito, Length, pages. Kepes Gyorgy El. Get this from a library! El lenguaje de la visión. [Gyorgy Kepes].

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After emigrating to the U. This section is sourced from Marga Bijvoet, Art as Inquiry During the late s and early s he changed from photography and photocollage to making films. During his stay in London he also made the acquaintance of a science writer, J.

There he developed light and color workshops in which various forms and techniques were researched on their visual and psychological impact. His fl with MIT would prove to be a long and fruitful one. The Language of Vision was his first attempt to connect the different languages of the different disciplines of knowledge, taking visual communication as a starting point. In particular the idioms of contemporary media like photography, motion pictures and television functioned in his eyes as a universal language that could be understood internationally.

He was able to develop this ideal vision through the interdisciplinary research groups which germinated at MIT around that time. Ina secret research group came together under the title Radar Laboratory. It was their task to develop a new electromagnetic radar system or anti-ballistic missile system, called Radio Detecting and Ranging.

El lenguaje de la visión

Its director was Jerome Wiesner, and one of the participants was Norbert Wienerwho was making a name in the science of cybernetics at that time.


While there was a growing exchange of ideas amongst a number of science departments, he noticed very little discourse between the humanities and science faculties. But even if many people thought that art and science were unmixable entities, Kepes was convinced that there existed a symbiotic relationship between the two, which would only grow stronger when nourished by each other.

For him, technological progress was not in itself negative, but he warned against an uncontrolled utilization of it. Seen together, aerial maps of river estuaries and road systems, feathers, fern leaves, branching blood vessels, nerve ganglia, electron micrographs of crystals and the tree-like patterns of electrical discharge-figures are connected, although they are vastly dw in place, origin and scale Their similarity of form is by no means accidental.

György Kepes – Monoskop

As patterns of energy-gathering and energy-distribution, they are similar graphs generated lenguame similar processes.

When Kepes tried to give an account of the different functions of the visual lenguae and the sciences, and what might connect them, he kept returning to the idea that nature served as a common base, as a common language for both. Both were looking for laws, such as pattern, structure, harmony, order or even disorder in natural and other phenomena.

In order to make his findings known to the public, he organized an exhibition titled The New Landscapein which he presented the visual analogues between recent scientific visualizations of research models and the visual arts. He felt that the scientific concerns with the invisible micro-world in terms of energy or dynamic organization instead of measurable, and tangible objects could be compared to the changes in the visual arts.


El Lenguaje de la visión – Gyorgy Kepes – Google Books

Kepes was convinced that if artists and scientists were to work in a closer communion, it might be possible that artists visoon work out new visual images that could inspire scientists in their search for new visual models. And if not properly guided our immensely potent technology may carry within itself curses of even more awesome proportions.

Only an artist who was knowledgeable about the developments in science and understood the implications of new technologies could influence the expected environmental problems.

For Kepes, this meant a new civic art his term visuon, based on interdisciplinary collaboration. One way to expand the vision of art was to create an exchange and communication for art with other disciplines, in particular the sciences.

Flame Orchard lehguaje of six units like the one seen here, each housing a 2′ x 2′ x 3″ gas container and a sound speaker that vibrated the gas. As composer Paul Earls’ music played, the flames vibrated and leap.

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