Plantive Bernard, Via Lactea , wood, casein, porcelain inkwell.
say what a work of art assumes that it has a lot to say about the sublime, the blindness of the material, the imprint of a force on a form, all things strange it is difficult to make. This constant difficulty of producing a typology between valid for a large part in the chaotic and teeming report that we have with a work. One could say such a work of art she gathers around her, for multiple solutions - those of accumulation, the stratification of the city, perhaps that of the organization - what it entails. It captures the intensity of gaze that are addressed, hoarding frequency vibrations that the trial issues and maintaining and the various forces that correspond to its nature released, wins and renews his own power.
You could say conversely that the artwork is not able to give us this and it will be located, to be truly understood in terms of what it denotes , at both the type of reality to which it belongs and it is the result. By becoming the subject of analysis in which we seek conditions which will ensure its "validity" beyond those which have psychologically, socially or historically generated, the artwork would be reduced by the human sense through which we want to enlighten. But she would receive in return an assurance that it has an abundance of a specific language, the precise extent to which it bears the references belong to a symbolic framework. Y would then be conveyed real signs that he would be supportive.
Those critics or historians who do not share the positions of Panofsky felt we could assign to the symbolic representation of the full support of the reading of a work. Gombrich as Goodman, each according to its methodology, devalued the balance of representation, bypassing somehow pretend to imitate that remained, despite the invention of perspective, a goal they believed essential to say anything that belonged to art. Distinguish whether the sensitivity of the understanding, in order prior noble to give the first tokens of authority and autonomy, we must also know how to distinguish in the field of creation that is or literal denotation.
Capture intensities, symbolic systems non-verbal: there are two rival conceptions. Should they refuse so far to each other? Block sensations for a thinker like Deleuze (1) - who was strongly attached to the immanence of things to flow through them, perceptions and emotions that make up the work - for a thinker as exemplification Goodman (2) - that they exist as singular concrete realities, where the idea is merely a name, a simple word - the artwork of each position receives a copy force deployed under our eyes by an arsenal that convinces us or repels us. But we also suggested by an identical way, that we are part of this review.
For we are facing at work in the same manner as those who "take the pulse" or that decode the language. We like or dislike and seek to support our feelings as that of our thinking the reasons which justify our judgments. And those who are reviewing.
Notes:
1 Gilles Deleuze and Felix Guattari, What that philosophy? Paris, Les Editions de Minuit, 1991, p. 154 You could say conversely that the artwork is not able to give us this and it will be located, to be truly understood in terms of what it denotes , at both the type of reality to which it belongs and it is the result. By becoming the subject of analysis in which we seek conditions which will ensure its "validity" beyond those which have psychologically, socially or historically generated, the artwork would be reduced by the human sense through which we want to enlighten. But she would receive in return an assurance that it has an abundance of a specific language, the precise extent to which it bears the references belong to a symbolic framework. Y would then be conveyed real signs that he would be supportive.
Those critics or historians who do not share the positions of Panofsky felt we could assign to the symbolic representation of the full support of the reading of a work. Gombrich as Goodman, each according to its methodology, devalued the balance of representation, bypassing somehow pretend to imitate that remained, despite the invention of perspective, a goal they believed essential to say anything that belonged to art. Distinguish whether the sensitivity of the understanding, in order prior noble to give the first tokens of authority and autonomy, we must also know how to distinguish in the field of creation that is or literal denotation.
Capture intensities, symbolic systems non-verbal: there are two rival conceptions. Should they refuse so far to each other? Block sensations for a thinker like Deleuze (1) - who was strongly attached to the immanence of things to flow through them, perceptions and emotions that make up the work - for a thinker as exemplification Goodman (2) - that they exist as singular concrete realities, where the idea is merely a name, a simple word - the artwork of each position receives a copy force deployed under our eyes by an arsenal that convinces us or repels us. But we also suggested by an identical way, that we are part of this review.
For we are facing at work in the same manner as those who "take the pulse" or that decode the language. We like or dislike and seek to support our feelings as that of our thinking the reasons which justify our judgments. And those who are reviewing.
Notes:
2 Nelson Goodman, Languages of Art, Nimes, Editions Jacqueline Chambon, 1990.
© Fields of Art.
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