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Description: The Shape of Time: Remarks on the History of Things
General content index
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00157.008
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Index
aboriginal art, 31
abstract expressionism, 23, 60
action(s), 5, 7, 13, 15, 16, 24, 36, 67, 70, 98, 111
historical drift and, 69–70
independent, 88
lack of, 32
possibilities for, 48
prior events and, 45
repetition of, 13, 50, 67
time and, 11–12, 91, 119
variation and change in, 57, 61, 62, 66, 67, 72, 82
works of art and, 23
actuality, 14–21, 42, 57, 59, 64, 70, 75, 111
aesthetic fatigue, 73–75
aesthetics, 2, 3, 13, 14, 19, 40, 59, 60–61, 104
age, 58, 95
assessment of, 12, 25
classes, in humans, 92, 93
coordinates of, 90
prime objects and, 39, 64
systematic, 49–51, 84, 85, 90, 91, 100, 101, 107–8, 109, 110
temperament and, 45
American Indian art, 98
anthropology, 2, 8, 77
antiquity, 26, 51, 54, 71, 80, 81, 84, 90, 91, 98, 110, 111, 116
archaeology, 1–2, 12, 20, 21, 28, 39, 54, 115
archaeological record, 84, 96, 110
classical, 24–25
archaic art, 10, 31, 51
architecture, 13, 14, 21, 26, 28, 29, 46, 47, 81, 90, 107
aesthetic appreciation of, 74, 83
classical, 24
Early Christian, 110
Gothic, 32, 33, 78, 94, 95, 104
Greek/Late Hellenistic, 51, 103–4
history of, 29
medieval, 104–5
messages and signals in, 22, 25
Mexican, 52, 53, 103
rib-vaulted, 33, 43, 51, 53, 94, 97
Roman, 104, 117
Spanish, 118
vaulted construction, 32, 33, 43, 52, 98, 101. See also cathedrals and churches
art (general discussion): corporate, 89
divisions of, 13–14
economic disorder and, 104
as economic history, 105
existential value of, 22
influence of, 17
natural resources of, 114
positional value of, 89–90
separation from science, 8–10
simultaneously occurring, 51, 110
useful, 13–14, 127n11
useless, 105
artifacts, 8, 13, 18, 30, 39, 76, 77, 78
artisans, 2, 9, 70, 82, 84, 85, 86, 100
artistic invention, 13, 59–61, 63–64
artists: competition among, 106
gregarious behavior of, 105
productive life-span of, 93, 94–96
solitary and gregarious, 46–48
types of, 82–85
typology of lives, 79–85
art nouveau, 10
art scholarship, 23, 29
astronomy, 17–18, 110
Athena Parthenos, 37–38
Aztec art, 98, 100, 101
baroque art, 3, 10, 29, 31, 46, 50, 51, 104, 117–18
behavior, 7, 36, 50, 53, 110
of artists, 18
durations of, 67
ethical, 100
modification, 113
new/inventive, 53, 61–62, 72, 75, 83, 103
symbolic, 97
traditional, 3, 53, 57, 67, 72, 111, 113
being, 15, 22, 34, 40, 43, 44, 61, 62, 115
class of, 30
transformation of, 64
Bergson, Henri, 60
Bernini, Giovanni Lorenzo, 46
biography, 29, 41, 118
of artists, 1, 4–10, 45, 46, 79, 80, 82, 93, 112, 114
history and, 95
narration of, 32
biology, 5, 25, 37, 39, 76, 91, 92
artistic invention and, 59
dynamics of style and, 32
history of art and, 29
metaphors and analogies of, 4, 7–8, 29, 30, 31, 36, 49. See also time: biological
Borromini, Francesco, 46, 82
Caravaggio, 47, 83
cathedrals and churches, 26, 32, 36, 37, 44, 45, 73, 84, 87, 103, 104, 106, 108
Mexican, 51–53
rib-vaulted, 33, 43, 51, 53, 94, 97
Cellini, Benvenuto, 79
Cézanne, Paul, 46, 47, 80, 83
change, 9, 46, 48–55, 56–57, 64, 68–69, 70, 72, 78, 82, 85
active, 23
architectural, 33, 74
in content, 25
in fashion, 34, 71
fear of, 62
genetic, 31
historical, 3, 54, 58, 69, 76, 77
linguistic, 21, 54, 55, 63
mental, 26
permanence and, 65–66
prime objects and, 36, 39
processes of, 15–16
repetition and, 67
technical, 43, 71–72
in time, 11–12
in tools and instruments, 34
chiaroscuro, 44
Chicago, Illinois, 106–7
cities and metropolitan areas, 85–87, 88, 105, 106–7
class(es), 8, 18, 51, 52, 57, 89, 114
age, 93
architectural, 33
arrested, 99–102
form-class, 33, 36, 46, 50, 80, 82, 84, 85, 88, 90, 102, 106–10, 121n1
identity and, 61
intermittent, 96–99
linked solutions and, 30
patterns of time and, 67
of prime objects, 38
of sequences and series, 31–32, 34, 35, 39, 40, 43, 48, 75, 96, 104, 107, 111
of signals, 21
social, 91
of visible art, 13, 29, 104
classic art, 9, 26, 29, 31, 45, 46, 81, 94, 95, 98, 107, 109
classification, 2, 4, 20, 32, 88
clocks, 12, 20–21, 77
colonialism, 53, 86, 98, 100, 101, 102–104, 109
communication, 8–9, 14, 18, 54–55, 103
connoisseurship, 39–40, 108
contemporary art, 10, 23, 42, 108, 114–15
continuity and discontinuity, 2, 5, 24, 25, 63, 98, 101, 116, 118
copies and copying, 34, 38, 41, 56, 65, 67
communication and, 55
of inventions, 104
masses of, 78
as mechanical production, 57
properties of, 66
symbolic associations of, 68
variations in, 67. See also replicas and replications
Cosimo, Piero di, 82
crafts and craftsmen, 3, 6, 13–14, 29, 42–44, 52, 70, 71, 86, 87, 93, 96, 100, 102, 105, 112, 113
Croce, Benedetto, 28, 60, 125n2
Crystal Palace, London, 99
culture, 3, 8, 24, 53, 77, 95, 96, 100, 101, 111
change and, 54, 56
continuity of, 98
groupings of, 96
language and, 54
material, 2, 77
mental, 2, 8
symbols of, 24
tradition of, 56
Darwin, Charles, 57
dating and attribution, 39, 108, 115
diagnosis, 36–40
directed graphs concept, 122n3
discard, 56, 70–75, 113
drift, 39, 54, 65, 66, 85, 87–88
historical, 69–70
duration, 11, 15, 16, 18, 20, 21, 42, 113, 118, 127n10
biological, 12
fast and slow happening, 77–88
historical, 92, 96
in the history of art, 94–95
innovation and, 48–49
lenses vs. fibers of, 111
measurement of, 76, 91
patterns and, 65
sequences and series and, 49–50
time and, 29, 34, 69, 72, 77, 91–92, 93
variation and, 66–67, 68, 76–77. See also time
economics, 43, 69, 70, 71, 77–78, 102, 104, 105
Eliot, T. S., 31, 47
entertainment arts, 35, 81, 84
entrances, 47, 62, 82, 83
climactic, 37
individual, 5–6, 57, 79–81, 95
sequences and, 6, 84
events, 26, 32, 59, 92, 104, 110, 119
changing pace of, 76
classes of, 48, 88–89, 100
generalization of, 61
historical, 7, 17, 30, 42, 69, 86
influence of, 70
intervals between, 11, 15
inventions as, 78
invisible chain of, 44–46, 47
non-identical, 61
original, 18, 19, 20, 30
prior, 16, 18, 45, 73, 107
repetition of, 65
sequence of, 20, 63
series of, 95
signals of, 19, 21
succession of/linked, 12, 32, 42, 93
expression, 50, 115–19
Faraday, Michael, 8
fashion, 3, 34–36, 52, 53, 67, 81, 91, 92–93, 102, 107, 126n7
Flanagan, John, 98
Focillon, Henri, 2, 14, 29, 43, 56
folk arts, 13
forms. See class(es): form-class
functionalism, 99, 113
furniture, 106
Gabriel, J.-A., 83
Gaudi, Antonio, 97
Gauguin, Paul, 83–84
generations, 92, 93, 94–96
genius, 5, 6–7
glottochronology, 21
Göller, Adolf, 74, 75, 125n2
Gothic style, 3, 10, 32, 33, 53, 78, 90, 94, 95, 104, 106, 107
Greco-Roman art, 24, 29, 84, 86, 88, 89–90, 91–92, 98
Gropius, Walter, 113
Guarini, Guarino, 82
guilds, 105
happening, 2, 3, 26, 27, 31, 91, 92–93, 107, 111
arrested, 17
fast and slow, 77–88
historical, 11, 18–19, 20, 28, 39, 42, 55, 69, 72, 87
lack of, 15
nature of, 9
sequences in, 15. See also duration
time
history, 8, 16, 26, 32, 40, 41, 107, 118
cultural, 24
divisions of, 28, 31, 107
duration and, 92, 96
happening and, 27, 28, 39, 55
historical drift, 65, 69–70
invention and, 59, 61
knowledge and, 19–21, 27, 101
mechanisms of change, 3, 26, 53, 54–55, 58, 65, 69, 90
prime objects and, 34
problem solving and, 30
rejection of, 113
segmentation of, 15
sequences of, 7, 32, 33, 38, 39, 42, 51, 63
signals of, 18, 19, 21
situation of artists in, 79
of style, 32
text of, 41
time and, 11, 17, 50
uses of, 108
written, 19, 20
history of art, 1, 2, 5, 8, 9, 10, 19, 23, 28, 29, 35–36, 42–43, 46, 55, 96, 113, 114, 122n3
artistic temperament and, 45
astronomy and, 17–18
biological conception of, 29, 32
generational sequences, 89
innovations in, 83, 99
portrayal of time and, 11–14
sequences in, 94
technical developments in, 93–94
time spans of, 91
types in, 9
value of, 4
history of science, 3–4, 8, 9, 44, 99, 115
Homer, 24, 25, 26
iconography, 14, 23, 24
iconology, 3–4, 25, 116–17
immanence concept, 126n7
innovation, 40, 43, 47, 48, 52, 101–102, 105, 106, 108, 109, 112
technical, 42–44. See also invention
instinct, 16
intelligence, 16
invention, 6, 9, 34, 35, 39, 68, 71–72, 74, 83, 85, 89, 94, 95, 97, 100, 103, 104–5
artistic, 13, 59–61, 63–64, 86
change and, 43
finite, 112–15
lack of, 102
linked nature of, 78
process of, 56
replicas and, 65–66
simultaneously occurring, 88
variation and, 57–64. See also innovation
Italy, 100, 101, 117
architecture, 90, 118
art, 28, 60, 95, 105
Renaissance, 1, 52, 81, 94
jewelry, 96
Joyce, James, 47
Kaminaljuyu, Guatemala, 109–10
Kant, Immanuel, 14
Kaschnitz-Weinberg, Guido v., 24
Klee, Paul, 47
knowledge, 58, 60, 62, 73, 74, 79, 88, 100, 102, 112, 116
of formal sequences, 38, 39
historical/past, 12, 19–21, 27, 101
new, 59, 61, 64, 83
reduction of, 113–14
language and speech, 53, 61, 76–77
linguistic change, 54–55
literacy, 62
pictorial, 59–60
visual, 100
Ledoux, Claude, 99
Leonardo da Vinci, 6, 81
literature, 3, 4–10, 24–25, 29, 41
Lodoli, Carlo, 14
Lorrain, Claude, 80
Luini, Bernardino, 6
Malraux, André, 56
man-made things, 1, 12, 38, 78, 90
durable manufacture of, 96
history of, 77
self-image reflected in, 8
as solutions to problems, 7
useless and useful, 1, 85. See also tools and instruments
Mannerism, 10
mathematical systems, 30, 35, 61–63
Matz, Friedrich, 24
Maya art and civilization, 46, 50, 51, 54, 94, 98, 109–10
meaning, 2, 11, 54, 74, 112, 115–16, 117
adherent, 23–24
analysis of, 118
of signals, 15, 20, 22–23
taxonomy of, 25–27
verbal, 41
measurement, 12, 20–21, 41–42, 50, 54, 62, 76, 96, 116
of duration, 65, 72, 91, 96
medieval art and architecture, 29, 51, 52, 87, 101, 104, 105, 107. See also middle ages
Mendel, Gregor, 99
metaphors, 26, 46
biological, 4, 7–8, 29, 31, 36, 49
Mexico, 35, 51–53, 58, 92, 97, 98, 100–101, 109–10
Michelangelo, 31, 81, 82
middle ages, 26, 58, 84, 101, 113, 116
Miller, John Paul, 96–97
modern art, 64, 80
Moore, Henry, 98
morphology, 4, 7, 28, 72, 116–17
music and musicians, 7, 11, 12, 16, 29, 47, 60, 61, 117
mutants, 35
myths, 20, 21, 26, 81
narration, 2, 21
needs, 56, 59, 70, 72–73, 105, 111, 113
problem solving and, 49, 52, 89, 99, 106–8
sequences and series and, 31, 49, 85
technical change and, 43
for tools and instruments, 9, 34
networks, 122n3
“noise,” 54
non-representational art, 25
novelty, 19, 62, 72, 109
obsolescence, 9, 71–73
occidental art, 63
originals, 78. See also copies and copying
replicas and replications
painting, 13, 26, 47, 105
history of, 29
Italian, 95
Renaissance, 78
as self-signal, 22
in sequence, 89
Spanish, 103, 104
technical invention of, 60
tempera, 97
theoretical limits of, 114
Paleolithic era, 42, 58–59, 93, 95
Parthenon, 36, 37, 38, 90, 107
patronage, 81, 86, 87, 88, 89, 105
Paxton, Sir Joseph, 99
periodization, 127n10
permanence, 56, 65–66
Picasso, Pablo, 47, 50–51, 83, 98
planiform composition, 117
Plateresque art, 52, 100, 101
Plato, 10
poetry and poets, 10, 16, 44–46, 47
Homeric, 24, 25, 26
systematic age and, 51
visual arts and, 24–25
pornography, 25
pottery, 70, 85, 96, 108, 109. See also vases
Poussin, Nicolas, 46, 80
prehistoric art, 42
prime numbers, 35
prime objects, 34–48, 37
replicas and replications of, 64, 78
primitivism, 10
problems: chain of solutions to, 34
late solutions to, 50
linked solutions to, 30–31, 33, 78–79
needs and, 49
progressive solutions to, 89
sequential solutions to, 58
series of related solutions to, 95–96
solutions to, 7, 30–31, 33, 34, 44, 53, 105–6
progression, 56
psychology, 19
Raphael, 6, 36, 37
redundancy, 113–14
Reformation, 10
Rembrandt, 82
Renaissance, 5, 9, 67, 80, 87, 96, 98
in Italy, 1, 52, 81, 94
painting, 78–79, 104, 108
Renoir, Pierre-Auguste, 50–51
renovation, 80–81
repetition, 56
of patterns, 54
recognizable, 66
ritual, 36, 50, 62
routine, 85
successive, 67
symbols and, 67–68
replicas and replications, 2, 8, 35–48, 64–70, 104, 119
gradual changes in, 68, 69
prime objects and, 64, 78
quality of, 69–70
replica-mass, 35, 37–38, 39, 78
seriation and, 38–39. See also copies and copying
representation, 44
retention, 70–75
Reynolds, Sir Joshua, 83
Riegl, A., 28
ritual, 66, 71–73, 85
instruments, 85
repetition, 36, 50, 62
routine, 66–67. See also routine
Rococo, 107
rococo art, 10
Rodin, Auguste, 31
Roman empire, 26
Roman Imperial art, 10
Romano, Giulio, 6
romantic art, 9–10
Rome, Italy, 105, 117
routine, 13, 56, 57, 61, 85, 95, 113
anatomy of, 66–69
learning of, 101. See also ritual
schools of art, 2, 4, 8, 17, 108
science: biological, 11
historical, 76
psychological, 59
pure and applied, 60
separation from art, 8–10
useful, 64. See also history of science
sculpture, 13, 22, 26
African tribal, 31
Aztec, 101
Gothic medieval, 107–8
Greek, 41, 78, 95
history, 29
Roman, 41
statues, 106
sentiment, 26
sequences, 2, 8, 56, 101
arrested, 31
of artifacts, 39
classing of, 32
composition of, 43
consistent, 41
developmental, 46
duration of, 49
of entrances, 6
of events, 20
fashion and, 34–35
of forms/formal, 25, 30–35, 39, 40, 42, 43, 78, 79–80, 84
in happening, 15
historical, 38
linked, 90
linked solutions and, 30–31, 44
mathematical concept of, 122n3
necessary, 28
open and closed, 30, 31–34, 40
position in, 58
replicas and, 39
stunted, 43–44, 78
in time, 41
seriation, 78
series, 2
active, 50, 58
closed, 40, 96
cultural, 101
duration of, 49
extended, 102–4
formal, 50
linked, 93–94
mathematical concept of, 122n3
rule of, 48–49
serial appreciation, 40–42
serial position, 48–55, 89
simultaneous, 50, 58, 107–11
of solutions, 44
wandering, 104–7
signals, 15, 17–23, 25, 56
signatures and dates on works of art, 39, 108, 115
simultaneity, 22, 44, 50, 51, 58, 88, 107–11
social displacement, 81
societal phases, 85–86
sociology, 77
Socrates, 10
solutions. See problems
South African art, 42
Spain, 50, 52, 53, 100, 101
colonies, 102–3
stained-glass technique, 40
steam engines, 9, 43
Strukturanalyse, 24
Strukturforschung, 24, 111, 123n12
studio work, 122n3
styles of art, 2–3, 4, 10, 29, 118–19
deficiencies of, 39, 108, 115, 117–18
dynamics of, 32
history of, 32
metaphors of, 7
provincial, 13
restrictions on, 3
theory of, 122n2
symbols, 24, 41
talent, 6–7
temperament, 5, 6, 19, 47, 80
artistic, 46, 79, 80, 85
entrance and, 84
prior events and, 45
variation and, 46
text: “establishing the text” concept, 41–42
time, 1
actions and, 11–12, 91, 119
ancient, 20
biological, 5, 11, 12
calendrical, 76, 93
celestial, 77
as clusters of actions, 11–12
codes of, 43
duration and, 29, 34, 69, 72, 77, 91–92, 93
historical/past, 11, 17, 50
history of art and, 11–14
linked solutions and, 30
natural, 29
patterns in, 67
perception of, 65
periods and their length, 90–93
portrayal of, 11–14
prior events, 45
sequences of, 41
shape and structure of, 17, 29, 81
solar year, 91, 92
temporal position, 90
trajectory from past to future, 16. See also duration
happening
Toledo, Spain, 105
tomb furnishings, 71
tools and instruments, 8, 14, 34
metal, 58
need for, 9
ritual, 85
self-signals of, 23
steel, 101
stone, 2. See also man-made things
topology, 30, 76
tradition, 6, 11, 26, 42, 44, 45, 62, 68, 70, 81, 83, 87, 99–100, 110–11, 113, 116
artistic, 4–5, 30, 95, 98, 101, 102, 105, 109, 112, 117
innovation and change and, 40, 43, 47, 52, 53, 56, 97
literary, 24
replications and, 75
traits, 9, 36, 83, 90
formal, 109
prime, 38
subordinate, 32, 33
tribal societies, 85–88
typology, 7, 79–85
Uccello, Paolo, 45–46, 47, 82
Van Gogh, Vincent, 82
variants, 2
variation: and change in action, 57, 61, 62, 66, 67, 72, 82
durations and, 66–67, 68, 76–77
invention and, 57–64, 65–66
Vasari, Giorgio, 45–46, 81
vases: black- and red-figured, 43
Dipylon, 25
Greek, 31, 44, 108. See also pottery
Vignola, Giacomo Barozzi da, 53
Villani, Filippo, 4
Visigothic art, 50, 51
visual order, 12
Wallace, Alfred, 57
West, Rebecca, 40–41
Wickhoff, F., 28
Winckelmann, J. J., 9
Wölfflin, Heinrich, 28, 29, 123n2
Wright, Frank Lloyd, 83, 98, 107
writing/written record, 12, 21. See also literature
Zevi, Bruno, 4, 122n3 dedication
Index