Space, time and sensory conclusion
This week we conclude the cycle devoted to space-time and sensory. Of our 12 meetings it appears that the nature and description of the work elements are malleable, or steerable. The profound reform image in the fourteenth century led to a dual individualization: firstly that of the plastic artist whose characters become an identifiable element on the other the spectator who is single but becomes more collective. This phenomenon is developing a unique dialogue.
The theme of this cycle is directly extracted from my academic research. We started with a manifesto from 1921 in which Raoul Hausmann for a time effective collusion urges that the work is present, that is to say, it must be the same time as the viewer. The artistic challenge described by Dada refers to the simultaneous printing that takes table when observed. The image that dates from the fourteenth century, or remain standing today and immutable. One of the many paradoxes of consciousness is emerging artists to make an image with the visual impact immediate and permanent.
Thus virtually immortal, the work is through the centuries and its dialogue with the viewer changes. This theme of space and time sensoriality built an amazing dialogue in which the image is always bustling with the viewer. Operatively the famous phrase "It makes the viewer work" resonates in the spatiotemporal deployment of the work by the senses. Changes and scientific advances will bring perceptual phenomena between the fourteenth and twenty-first century work of art to change. Sensory phenomena respond to an evolution of knowledge of physical phenomena. The apprehension of reality is not only by sight, the whole body and senses are always excited to be able to define this reality. Recognizing that the artists propose a sensory absorption to make the work more effective.
The implementation and the materialisation of an earthly image lead to a sham. Representation is intended more to become a true mirror of the world. Yet this view is artificial. Representation is confined to the two-dimensional nature of the support. Reflect thus proposed has to be culturally superior to reality. The staging of the story is that this idealized for augmented reality offers a more sensible sharing. The table can be considered as an extraction, a concentrate of the real. The composition and construction of the table are based research on effects and symbols. The work must be a visual and intellectual. Figuration of the major biblical events or major mythological stories led us to question a distance and a moral function of imagery. Space is not a sensory experience. Principle offers a picturesque image quality. The educational function of religious imagery is based on the table an educational principle and reflection. Contemplation is a visual exercise that can never be devoid of apperception. This distance consciously constructed a temporal development of the image. Art is a sensitive expression of the idea, the picture becomes the scene of a battle between an intelligible that seeks to incarnate and sensitive material claimed. We come to the table a dual nature. That of an image that serves to support the illustration of a text which only allows playback of having the entire content. And a fragment that alone should suffice to amaze and touch the viewer. In its modern construction Table has a dual nature. The temporality of narrative or contemplative gaze is led on an emulation of the sensitive viewer. The latter is based on the feeling and knowledge. Only time observation of the work allows him to become a means of expression and communication. Boasts a painting by his emancipation sensible quality, even if it is originally an art of space we have understood it in the temporality that comes into its own and it is making all its qualities.
By painting claim liberal dialogue with other artistic creations. Whether music, dance or sculpture built each exchange and fosters a higher value of pictorial support. The outbreak of the intimate experience facing the table materialized reflected on the composition and content dematerialized. The symbols and descriptions required by the artists are not always visual elements grasped. The organization and geometrical structure of the two-dimensional space are presented as means of the idealization of the subject. Thus, music and abstract mathematical model used artists to build a rhythm of movement of the gaze, which beyond a homology allows the paint to claim this "background" intellectual. The challenge is always the same: get to propose an internalization and increased perceived from the viewer. Dialogue with dance brings balances or imbalances that disrupt. The proposed figures and lose their likelihood to gain expressiveness. The man, pictorial subject matter, can be found through painting destabilized. For if it is a reflection of reality, it is nonetheless independent. The artificiality of the major compositions of the eighteenth century, where each body and each pose can be analyzed as false or inaccurate, this phenomenon plays sensitive. Dialogue with the sculpture and touch this principle leads us to understand how painting, art mind, wants greater a purely physical practice.
A quality painting is his ability to amalgamate and recover the vocabulary of other practices and transfer it to the surface of the table. Activated materials, the painting becomes a mental space. So even if the body in an erotic confessed seems more physically accessible by the sculpture, the quality of the painting to represent the flesh poropose a body that even though most do not seem less remote accessible.
The structuring of space and time in painting becomes an oscillation between physical and mental. Painting is a place of experience, his challenge is to be a medium for reflection, observation. The analysis of the painting as a reflection of a cultural object field theory is not viable. Whatever time, whatever the considerations discussed in the theoretical field, the painting retains its sensory system a sensitive function, devoid of reflection. Attempts between the fourteenth and twenty-first century to find a common rule for the work a similar reception in each individual is negated dialogue. Given a table we are not all equal. While reading the story art and the image theory seems more and more fed a reception and collective discourse, any text can never convince if the work in the first place does not affect the observer. The painting is fundamentally empirical. It is not and can not be set free from a sensitive principle, and perceptive. And that is what is at stake in modernity. Whatever the content, the manifesto of the artist, he is aware that its retransmission plastic, it remains linked to a sensible diet and sensory table. Analysis and decomposition by a field theory is a possibility of sight. But it must still confront the support of the work. Whether the conclusion of a reflection of the artist or the starting point of a reflection of the scholar, the picture remains a fundamental image in which space and time are activated by sensory.
For efficiency, the artist will try to convene the body in its entirety. Whether through links with the touch when painting becomes almost a staging touch, or by the musicality of its composition as staging rhythmic Painting in confronting the real and terrestrial imaging should to be a full member of our own experience of reality. We are never fooled facing the painting and we always realize that we are being manipulated by the very recognition of the objects represented. Yet we still see the issue before observing the painting, we always try to identify the source as the narrative pattern of the subject.
Space and time are the four dimensions at the base of our reality. The paradox is that the painting is a two-dimensional space and timeless. The image, space is flat yet the artist trying to rip that veil, to flourish temporally topic. This is where the dialogue and the sensitive structures with more than necessary for the renewal of the imagery. The painter active surface by an organization, composition. Whether tables full transparency on a diet of imitation or compositions almost completely opaque not claiming that the material, the challenge is always the same: to establish a theater. That is to say a spatio-temporal development from a fixed object. That is why theoretical developments and NTELLECTUAL who have journeyed from the fourteenth century painting develop a speech in line with the support, but suggest or submit the work a certain transcendence. The description is academic or modern, this transcript verbal built these temporalities. Reconciliations between painting and poetry (or even the famous critical essays that emerge in the eighteenth century) the meeting of two media is giving the nature of each other. The text develops over time, painting in space. The critical text is an extraction of space and back in time the paint will be a lapse of time in space. Contemplation and absorption principle is an invitation to extend the observation time of an immediate image.
painting even when not object symbol always seems to contain more than her image suggests. The symbolism, spirituality, the feeling gives this object a nature superior to others. If at first the painting stands on an expansion of building space and its time path very quickly by reading its dematerialization seems to contain more. This dual nature of material and immaterial coincides initially with a construction space and time. If space material is time itself is not.
The painter becomes an intellectual. Whatever the topic of painting may be motivated by a thought. This builds the discourse of painting. The table to be an object of effective communications emotionally and morally, must be designed and painted travaillé.Ainsi sketches submitted to the jury before the composition of large pieces of receipt. The artist should think about building the most effective answer to the codes of his time so that the picture is perfect, perfect. Because the image in paint is not the reality is that a complete artificiality just trying to lead the viewer to an elevation. The latter is in principle a purification or purgation in principle about the catharsis, the issue is that faced with a table we are not facing the world. We are facing a high image or felt by this concentration is higher. Even when the paint is not intended or sensory qu'oculaire, they are not excited as if they were subjected to an experience of reality. The image is always an interface, like the eye itself is an interface. The principle of the individual as maker or viewer as developing dialogue beyond the material. These exchanges complicate the picture. The image before our eyes is an artifact, it is the conclusion of a concentration effect. It is like going through the mill reality to extract the essence. A kind of object extremely concentrated and which overwhelms us with his simple vision. We will always use our experience of reality in the identification of a subject in the construction of a space, but when the latter by a visual analysis and a comparison to our reality becomes incoherent or higher, we will be destabilized or have grown the possibility that a material object appears unattainable a reality. And this is where the theatricality of the play table. This is not the subject that makes the action but the form and composition.
Questioning the time and space of the painting can be done without the senses is the very basis of feelings. But when it's going to be heckled by the artist, questioned about his achievements and good paint will not be worse but propose to get beyond the fact his audience.
space and time by the senses is a question that crosses the entire period the fourteenth to the twenty-first century. Once again even the art is changing, if the principle of creation itself evolves, the definition of a work that must both embody a subject and offer intangible felt defined our own contribution to painting. We recognize that the composition of matter and spirit is painted. That is why we often seem dispossessed, we are unable to capture the paint because its spiritual part seems to elude us. But the material part is always present. It is the origin of the composition. Painting is always made that painting. The matter must therefore be a transcript, a medium. The surface of the table playing on the construction of a space and a fictitious time and space and real time. The sensory principle reconciles these two realities: that of painting in its autonomy and that of his observation.
With this theme of space and time I wanted to address this sensory complexity of the nature of the work. The image is abstract or figurative, religious or secular, it remains the paint and the opportunity to understand how the artist to reach his audience, to bring it to exceed the material will bind space and time by its sensory and that of the beholder.
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