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Zero Degree of Representation: Art, Technique and Pictorial Appearing

Krešimir Purgar   ORCID icon orcid.org/0000-0003-0855-8810 ; Faculty of Textile Technology, University of Zagreb

Puni tekst: engleski, pdf (2 MB) str. 241-252 preuzimanja: 96* citiraj
APA 6th Edition
Purgar, K. (2016). Zero Degree of Representation: Art, Technique and Pictorial Appearing. Ars Adriatica, (6), 241-252. Preuzeto s https://hrcak.srce.hr/170930
MLA 8th Edition
Purgar, Krešimir. "Zero Degree of Representation: Art, Technique and Pictorial Appearing." Ars Adriatica, vol. , br. 6, 2016, str. 241-252. https://hrcak.srce.hr/170930. Citirano 03.04.2020.
Chicago 17th Edition
Purgar, Krešimir. "Zero Degree of Representation: Art, Technique and Pictorial Appearing." Ars Adriatica , br. 6 (2016): 241-252. https://hrcak.srce.hr/170930
Harvard
Purgar, K. (2016). 'Zero Degree of Representation: Art, Technique and Pictorial Appearing', Ars Adriatica, (6), str. 241-252. Preuzeto s: https://hrcak.srce.hr/170930 (Datum pristupa: 03.04.2020.)
Vancouver
Purgar K. Zero Degree of Representation: Art, Technique and Pictorial Appearing. Ars Adriatica [Internet]. 2016 [pristupljeno 03.04.2020.];(6):241-252. Dostupno na: https://hrcak.srce.hr/170930
IEEE
K. Purgar, "Zero Degree of Representation: Art, Technique and Pictorial Appearing", Ars Adriatica, vol., br. 6, str. 241-252, 2016. [Online]. Dostupno na: https://hrcak.srce.hr/170930. [Citirano: 03.04.2020.]
Puni tekst: hrvatski, pdf (2 MB) str. 241-252 preuzimanja: 591* citiraj
APA 6th Edition
Purgar, K. (2016). Nulti stupanj reprezentacije: Umjetnost, tehnika i slikovno pojavljivanje. Ars Adriatica, (6), 241-252. Preuzeto s https://hrcak.srce.hr/170930
MLA 8th Edition
Purgar, Krešimir. "Nulti stupanj reprezentacije: Umjetnost, tehnika i slikovno pojavljivanje." Ars Adriatica, vol. , br. 6, 2016, str. 241-252. https://hrcak.srce.hr/170930. Citirano 03.04.2020.
Chicago 17th Edition
Purgar, Krešimir. "Nulti stupanj reprezentacije: Umjetnost, tehnika i slikovno pojavljivanje." Ars Adriatica , br. 6 (2016): 241-252. https://hrcak.srce.hr/170930
Harvard
Purgar, K. (2016). 'Nulti stupanj reprezentacije: Umjetnost, tehnika i slikovno pojavljivanje', Ars Adriatica, (6), str. 241-252. Preuzeto s: https://hrcak.srce.hr/170930 (Datum pristupa: 03.04.2020.)
Vancouver
Purgar K. Nulti stupanj reprezentacije: Umjetnost, tehnika i slikovno pojavljivanje. Ars Adriatica [Internet]. 2016 [pristupljeno 03.04.2020.];(6):241-252. Dostupno na: https://hrcak.srce.hr/170930
IEEE
K. Purgar, "Nulti stupanj reprezentacije: Umjetnost, tehnika i slikovno pojavljivanje", Ars Adriatica, vol., br. 6, str. 241-252, 2016. [Online]. Dostupno na: https://hrcak.srce.hr/170930. [Citirano: 03.04.2020.]

Sažetak
My starting hypothesis in the theory of pictorial appearing
is that Gottfried Boehm’s notion of iconic difference
can serve as a sufficiently comprehensive concept for
differentiating between image and non-image in all visual
artefacts that have been created during the several millennia
of visual representation. This era started with the first
paleolithic drawings and includes the entire visual production
from the period “before art”, as well as all those
visual representations that emerged in the early modern
period beyond the needs of religious worship, only to be
substituted through the technosphere. However, since the
technosphere is characterized by increasingly evolved systems
of visual immersion, from the all-accessible OLED
screen and IMAX cinema theatres to Oculus Rift glasses
and further to the experience of total immersion, which
recreates synesthetic visual-haptic impressions, ontological
differentiation between the visual surface as such and
the extra-iconic reality can no longer be established with
the idea of difference alone. Namely, the notion of difference
can serve as a qualifier for defining the relationship
between the separate categories in an object – in our case,
the pictorial and non-pictorial ones – only insofar as the
reality in which they are situated is identical or equivalent.
Thus, nobody questions the clear ontological separation
between the two-dimensional represented reality such as
established in cinematic fiction and the non-represented,
that is actual reality existing outside of that fiction. Many
films and artworks count on that implied separation and
can therefore afford to question the borderline between
the two, primarily within a strictly artistic discourse.
Boehm’s theory of iconic difference and Jean-Luc Nancy’s
understanding of the cut have helped establish the semiotic-
phenomenological criteria for a theoretical differentiation
between various experiences that are innate to
man’s picture of the world. In other words, the difference
or ontological cut between image and non-image can exist
only because even a modestly capable individual can
empirically grasp these two categories.
However, my hypothesis is that iconic difference reveals
itself as an inadequate concept for that ontological
cut, not only because the status and the possibilities of
human experience are radically altered in the time and
space of the technosphere, but also because this new type
of experience has not yet been “normalized” within the
process that Flint Schier has termed “natural generativity”.
The space and time of the technosphere require that
one should no longer approach the image merely as the
ancient Greek eikon, i.e. mirroring or representation, but
rather as an experience, event, and a specific type of phenomenon.
The modalities of pictorial appearing in the
technosphere can be recognized as symptoms of the most
recent visual turn, in any case the first in the 21st century,
which no longer occurs in an encounter between image
and language, as lucidly described by Mitchell and Boehm,
but in an encounter between analogue and digital
images, between representation and post-representation,
reality and virtuality, semiotics and phenomenology. In
order to understand this epochally new reality, one can
use concepts such as Bolter’s and Grusin’s remediation,
or Žarko Paić’s idea of the technosphere, as well as some
other approaches, such as Paul Crowther’s categorization
of “transhistorical images” or the phenomenologically
based interpretation of art and images that Martin Seel
has termed “the aesthetics of appearing”.

Ključne riječi
representation; pictorial turn; technosphere; pictorial appearing; Gottfried Boehm; Žarko Paić; Paul Crowther

Hrčak ID: 170930

URI
https://hrcak.srce.hr/170930

[hrvatski]

Posjeta: 876 *