Izvorni znanstveni članak
Zalihost i neoznačeno u hiperrealizmu
Nataša Lah
orcid.org/0000-0002-1725-6331
; Filozofski fakultet u Rijeci, Hrvatska
Sažetak
Realism is a stylistic qualification within the discipline of art history. The philosophy
of art in the late 1960s has undermined such an understanding in two ways: first by
relativising the notion of realism and then introducing the unstable status of the work
of art into the place of previously stable aesthetic qualifications. In the same period,
hyperrealism emerged as a postmodern version of realism. Using the visual language of
his time, hyperrealism goes along with the innovations of philosophy of language and
analytical philosophy, exposing semiosis as a production of signs devoid of meaning
and ambivalently positioning itself in the aesthetics of hyper-consumerism and hyperproductiveness
of postmodern culture. Unlike the realism that has been the answer to
the universal, general state of the world, hyperrealism has imposed itself as a peeled
off mirror image of the fragment, as a world without context. While in paintings of
historical realism the represented scene referred to a context outside of the picture, in
hyperrealistic practices the depicted scene was limited to the representation of a frozen
event, isolated from context, and therefore from what has been signified by the world.
From the theoretical position of philosophy of art, in this article we want to present the
thesis of the “redundancy of unsignified content in hyperrealism”: first by presenting
the relativisation of realism in Nelson Goodman, and then separating the general from
aesthetic meaning of sign information in Max Bense. For both authors, representation is
a matter of choice, and every sign shown is information. However, while for Goodman
realism is a matter of the recipient‘s habit of understanding the sign, information and
semantic structure of the image, for Bense the key is to distinguish life (realism) from
aesthetic sign communication. In the second part, we will apply Bense‘s distinction
further to the differentiation between realism and hyperrealism.
Ključne riječi
realism, hyperrealism, sign, reality, redundancy, Nelson Goodman, Max Bense
Hrčak ID:
276027
URI
Datum izdavanja:
15.12.2019.
Posjeta: 537 *