“Crystal Bodies” of Leonardo da Vinci: Towards an Epistemology of Speculative Interfaces of the Renaissance

Corpus Mundi Pub Date : 2024-07-10 DOI:10.46539/cmj.v5i1.90
Konstantin A. Ocheretyany
{"title":"“Crystal Bodies” of Leonardo da Vinci: Towards an Epistemology of Speculative Interfaces of the Renaissance","authors":"Konstantin A. Ocheretyany","doi":"10.46539/cmj.v5i1.90","DOIUrl":null,"url":null,"abstract":"Modern graphical interfaces define the user's experience according to various metaphorical spectra – bringing it closer to bureaucratic, then to ritualistic, then to magical interactions over reality. The article suggests a view according to which the basis of this metaphor lies in the idea and image of utopia, and the first forms of realization of such utopia by geometric, optical and technical means, taking into account their philosophical, speculative and eidetic orientation belong to the Renaissance. The utopia of such a geometrized and optically verified city is gradually passing into our logic of thinking about speculative cities, possible spaces of life in general, including graphic user interfaces, Leonardo da Vinci's concepts of space, light, physicality, as well as the features of his approach to using the elements to create environments of life are considered in which: 1) technology does not use styles, but is embedded in them; 2) the space of life is organized not by the material embodiment of ideas, but by involvement through geometric and optical effects in the game of ideas, i.e. it is not the visible forms of the city that become important, but the conditions that allow you to see and navigate; 4) the physicality of the utopian optical-geometric project, in its instrumental and behavioral features, becomes the model that subsequent optical media will focus on, up to the invention of the graphical user interface.","PeriodicalId":194838,"journal":{"name":"Corpus Mundi","volume":"71 18","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2024-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Corpus Mundi","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.46539/cmj.v5i1.90","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

Abstract

Modern graphical interfaces define the user's experience according to various metaphorical spectra – bringing it closer to bureaucratic, then to ritualistic, then to magical interactions over reality. The article suggests a view according to which the basis of this metaphor lies in the idea and image of utopia, and the first forms of realization of such utopia by geometric, optical and technical means, taking into account their philosophical, speculative and eidetic orientation belong to the Renaissance. The utopia of such a geometrized and optically verified city is gradually passing into our logic of thinking about speculative cities, possible spaces of life in general, including graphic user interfaces, Leonardo da Vinci's concepts of space, light, physicality, as well as the features of his approach to using the elements to create environments of life are considered in which: 1) technology does not use styles, but is embedded in them; 2) the space of life is organized not by the material embodiment of ideas, but by involvement through geometric and optical effects in the game of ideas, i.e. it is not the visible forms of the city that become important, but the conditions that allow you to see and navigate; 4) the physicality of the utopian optical-geometric project, in its instrumental and behavioral features, becomes the model that subsequent optical media will focus on, up to the invention of the graphical user interface.
达芬奇的 "水晶体":迈向文艺复兴时期投机界面的认识论
现代图形界面根据不同的隐喻光谱定义用户体验--使其更接近官僚主义,然后是仪式主义,最后是对现实的神奇互动。文章提出了一种观点,认为这种隐喻的基础在于乌托邦的理念和形象,而通过几何、光学和技术手段实现这种乌托邦的最初形式,考虑到其哲学、推测和寓意取向,属于文艺复兴时期。达-芬奇的空间、光线和物理概念,以及他利用各种元素创造生活环境的方法的特点,都被考虑在内:1)技术不是使用风格,而是嵌入风格之中;2)生活空间的组织不是通过思想的物质体现,而是通过几何和光学效果参与思想的游戏,也就是说,重要的不是城市的可见形式,而是让你看到和浏览的条件;4)乌托邦式的光学几何项目的物理性,在其工具和行为特征上,成为后来的光学媒体所关注的模式,直到图形用户界面的发明。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 求助全文
来源期刊
自引率
0.00%
发文量
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:604180095
Book学术官方微信