Reflexions: Index
The posts can be read sequentially, following the order in which they were written, or through conceptual interrelationships from 1 to 100, or via different sections: influences, perspectives, experiences, or keywords. Alternatively, they can also be read and viewed as independent entities, since each post has its own identity.
Page 1
- 001 Learning Photography (Pere Formiguera & Jean A. Keim)
- 002 Learning Photography (Pere Formiguera & Jean A. Keim)
- 003 Pioneers in the new stages of image (Dürer, Daguerre & Sutherland)
- 004 Photography, Painting and CGI (Johannes Vermeer, Marc Riboud & Final Fantasy)
- 005 From Drawing to Digital Art
- 006 Pokémon Go and the Decisive Moment
Page 2
Page 3
Page 4
- 019 The Comic and the Iconic Sign (Scott McCloud)
- 020 Minimal Iconicity in the Graphic Novel (Nadia Hafid)
- 021 The Scream, the Expression of the Inner Gaze (E. Munch, A.Pont, T. Casassas)
- 022 The Comic and the Social Sciences (Carlos Sporttorno & Guillermo Abril)
- 023 Corto Maltese and the Interprofessional Work (Corto Maltese, Hugo Pratt & Carlos Saldi)
- 024 Perspectivism and Visual Metaphor (Picturing the Mind)
Page 5
Page 6
- 031 The Analog Scenography
- 032 The Evolution of Cities and Photography (Charles Marville & Gabriele Basilico)
- 033 Photography as the Scenography of the City
- 034 The Invisible Cities
- 035 City Imagery and Interactive Displays
- 036 City Image and the Iconic Sequences (Trajan’s Column & the Vendôme column)
Page 7
- 037 Photography and Political Science (The Fall of the Vendôme Column)
- 038 Analogical Location of the Past (Institut Lumière & Julen Knez)
- 039 Utopia and Visual Communication (May 68 & Vietnam War)
- 040 Advertising and Fashion Image (Amnesty International)
- 041 Sharpness in Light and Darkness (Hiroshi Sugimoto, Yoshio Shiratori & Tadao Ando)
- 042 The Decontextualisation of the Object and the Movement of the Subject (A. Siskind, A. Müller-Pohle & F. M. Neüsuss )
Page 8
- 043 Definition and Blurring in Pictorial Abstraction (P. Mondrian, M. Rothko & F. Bacon)
- 044 Sharp Chromatism vs. Sfumato (Rafael & Leonardo da Vinci)
- 045 The Visual Metaphor of Sharpness
- 046 Maximum Sharpness in Analogue Photography (Ansel Adams & Minor White)
- 047 Optical Geometry, Frontality, and Photography
- 048 The Inclined Plane and Sharpness in Analog Photography
Page 9
- 049 The evolution of the visual communication of architecture (Alex Roman & Zaha Hadid)
- 050 The change in Large-Scale Production Photography (Armstrong White & EGM)
- 051 The Photographic Image as a Source of Light (Mnactec & IBL)
- 052 Holography and Augmented Reality (Her & Pokémon Go)
- 053 Visual Culture and Pokémon Go
- 054 Digital Art, Photograhy and CGI (Peter Weibel & Michael Jostmeir)
Page 10
- 055 Visual Communication of a Three-Dimensional Space (Zaha Hadid & The Beginner's Guide)
- 056 Mathematical Imagination in Visual Creation (M.C. Escher & Monument Valley)
- 057 The Dot, the Minimum Visual Expression (Joan Miró, Hervé Tullet & Two Dots)
- 058 Clouds and the Random Image
- 059 Imagination and Visual Fantasy in Childhood (Charlie Brown & Mafalda)
- 060 Cloud images and emotional equivalents (Alfred Stieglitz & Minor White)
Page 11
- 061 The Visual Metaphor of the Intangible
- 062 Visual Semiotics of Rain
- 063 Visual Poetry (Joan Salvat-Papasseit, Joan Brossa & Chema Madoz)
- 064 The Representation of Space and Time in a Flat Image (Picasso, David Hockney & Enric Miralles)
- 065 The Beauty of Geometry and Visual Abstraction (al-Andalus & M.C.Escher)
- 066 Science and Technology in Visual Abstraction (Man Ray, Pierre Cordier & Jared Tarbell)
Page 12
- 067 The Analogue Photographic Mosaic
- 068 Contact Sheet and Visual Poetry
- 069 The Colour Narrative, Without Words
- 070 Photography, the Change of Visual Paradigm (H. Fox Talbot & C. Baudelaire)
- 071 The Rembrandt Light in Photography (Rembrandt Harmenzoon van Rijn & Gaspard-Félix Tournachon)
- 072 The Quality of the Light (Johannes Vermeer & Caravaggio)
Page 13
- 073 Lighting and Numerical Proportionality (Velázquez)
- 074 Visual Interrelationships in Art History (Étienne Jules Marey, Marcel Duchamp & Gjon Mili)
- 075 The Cinematographic Language and the Interactive Image (The Last of Us)
- 076 Evolution of the position of the point of view (Eugène Delacroix & Assassin’s Creed)
- 077 photomontage and computer-generated model (Albert Speer, John Heartfield & The Man in the High Castle)
- 078 The Analogue/Digital Model (Carl Warner)
Page 14
- 079 The Snapshot Created, the Snapshot Found
- 080 The sum of lights
- 081 Lines of Fire and Light Stains
- 082 The use of death, conceptual art and advertising (Jana Sterbak, Hermann Nitsch & advertising United Colors of Benetton)
- 083 The use of waste, conceptual art and advertising (Joseph Beuys & advertising WWF)
- 084 Photographic Memory of Ephemeral Art (Christo and Jeanne-Claude, J. Plensa & R. Smithson)
Page 15
- 085 Geometry in art and Architecture: the Golden Ratio (Phi Number & the Fibonacci Sequence)
- 086 Visual Illusions and Metaphysical Illusions (MEV)
- 087 Protophotography (Jan Van der Heyden)
- 088 Viewpoint and Illumination in the Visual Communication of Architecturea (COAC BCN)
- 089 The digital panoramic image (L'illa Diagonal, Barcelona)
- 090 The Decisive Moment in the Merging of Images
Page 16
- 091 Panoramic images as spectacle (R. Barker & Poor Things)
- 092 Video Mapping and the Three-Dimensional Space (Kim Simonsson & Pantocrator, Sant Climent de Taüll)
- 093 Utopian architecture and The belly of an architect (Étienne-Louis Boullée & Peter Greenaway)
- 094 Composition inside and outside the rule of thirds (Breaking Bad & Mr. Robot)
- 095 Visual communication and transhumanism (Black Mirror & Years&Years)
- 096 The evolution of 3D and 4D in electronic imaging (Electra)
Page 17