Future or future image of Jacques Rnsiir | Gideon Efrat's warehouse
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Not crazy about the "sensory division", a book by Jacques Rnsiir ("Wrestling", 2008), although, as expected, H"bon Ton "Tel Aviv responded immediately tell Quote usually every hill and under every tree. French tsunami in these parts, which all renowned thinker Francophone necessarily caught one and brightly-exile - that dubious tsunami, I will admit, is also swept me and made me buy the book by Jacques cn Rnsiir other, "future image" (originally published in French in 2003 and translated into English in 2007). [1] By the way, in French called the book "The fate of the images" (Le destin des images), a more appropriate title's discussion of the thinker. I saw the book (2009 edition) on the shelf B"barns & Noble "and cn I said to myself: Give another chance; Allow this time will be surprised and insights.
"The Future of the image" is a lecture Rnsiir in 2002 in Paris, the National Center for Photography "(CNF), meaning years after hearing the semiotics (the study of signs) images of the culture of various kinds (Roland Barthes), or neo-Marxist discussion of social images (Gee Dbor), or total simulation discussion of our culture, that is - "Everything is an image" (Jean Baudrillard). My curiosity was greater, therefore: What's in store Jacques Rnsiir, and in particular he make his temple contemporary photography?
Not much. Well, Rnsiir examines the issue of the meaning of the images in art, when he, at first, mainly refers cn to the film of Robert (I) Brson, dealing cn with the fate of the donkey, Balthasar, while seeking to point out the "otherness" that operates within each image. The images of Bresson, claims Rnsiir, are not serious or two children characters in the film, but "operations paired and separate the visible and the meaning [...], which create expectations and frustrating." [2] the idea of the creation of the expectations of the viewer and Thwarted (a process of creating artistic meaning ) - the idea that I remembered more music theory book by Leonard cn B.mayer, "Emotion and Meaning in Music", 1968. [3] As Lrnsiir, he believes that the principle in question of artistic meaning can be traced more Gustave Flaubert's novels, that is - this means which lies between cn misperceptions it creates, the actions and the history of the plot.
Thus, based on this very well-known cn distinction, offers Rnsiir modernist distinction, also well remembered, the applicant fidelity image (copying) and the image based on the internal operations of game creation. This distinction, whose roots we will think more in "Poetics" of Aristotle, which is also known as epistemology of modern [4], it is furnished to the Rnsiir, that the art of meaning lies in R interoperability of operations developing the work, that is - a position cn that negates the principle Hdomot outer , releases the image independent of figurative foreseeable, in short - was advocating the artistic cn image C"al-Domot "((dissemblance. [5] And there you have it Hahrot of the artistic image. cn It should be noted that despite H"al-Domot" Rnsiir does not hesitate to call This last named "Domot-on" (hyper-resemblance). [6]
Israeli reader is hard not to recall his observation of Rnsiir in "sensory division" between the three "regimes of Art" Western modernity: 1. image regime (art pretext of speculation on the ethical-theological status and conscious of the image). cn 2. regime of representation (mimesis principles cn and representational arts Moloch analogy). 3. aesthetic regime (diagnostic unique sensory experience art, and demand another form itself). The last two regimes appropriate the dialectical tension artistic image attributes Rnsiir current book.
Accordingly, when it is released mezzo actions, artistic image, by Rnsiir, may raise expectation but realize image X Y image, as much as he might dwell verbal level than at the visual level. Moreover, just as any object analogy, artistic image may grow from a breach of this analogy.
At this point, the reader turns the familiar phenomenon, we already pointed to in previous articles, and is Figorm artistic philosophers. For, although Srnsiir carries the words in 2002, it turns out that for him, contemporary art is abstract painting (and remind us: the golden age of painting it faded in the late 50s), she meets the other pole photography. [7] However, the main point is, that in terms of the thinker, also shooting while at the same time the two conflicting trends: are embedded coding for Evidence things and illustrate the barriers to visible and to check. Art is a regime that appears invisible, speech and silence regime at the same time. Artistic image of a silent talk. [8]
"Photography cn has become an art placing his particular technique in the service of this double Poetics: cn Causes anonymous people's faces double Ldber - silent witnesses Vichy embedded mode
