Timberlands Hurt Ankle

Parret: between vision and touch


A theme discussed in the seminar Parret Herman gave us recently (see previous publications) was the difference between aesthetics and art oculocentrista and its opposite, the aesthetics of touch or Acari eye ence. To put

in short, has been the tradition oculocentrismo central ( mainstream ) of aesthetics and art. Paradigm of this way of understanding art was the work of Giambattista Alberti in Della pittura work, which inaugurates a new era in the history of Western art and bases raised the prospect that "must" sort out all figurative image. It exploits the power of "seeing eye" that builds a visual pyramid, making the distance between the observer and the observed fixed, and the light is stable. It is, in short, a look that is separated from the observed, a look, or position of observation "objectifying." This view raises a distance necessary for the construction of what looks, the "objectivity" is possible only at a distance "maximum." In this sense it is relevant, its analysis Parret of a painting with the theme of the Annunciation by Domenico Veneziano in the quattrocento , where you can see the central pyramid organizing perspective.
oculocentrismo
This is a whole philosophy, which proposes to look at as the ultimate sensory capacity among all the senses. And apart from the other sensory abilities.

We can say, semiotically speaking, it is a strategy of disengagement .

De otro lado, existe toda otra epistemología que se funda en la experiencia del tocar. Aquí el tacto se pone en la cima de jerarquía sensorial, y es esta experiencia la que ordena la sensorialidad en general. Incluso en la visión se trata de "la mirada que toca". Es Nietzche quien acuña el término oculocentrismo, precisamente para criticarlo duramente como paradigma de pensamiento occidental, como mito de la "transparencia", "pureza", o "neutralidad" de la mirada. Es una crítica dura a una filosofía de caracter "escópica".

Nietzche se ubica en un paradigma alternativo, un sensualismo radical que permite apreciar todos los sentidos; un sensualismo que destrona al ojo and re-evaluate and put in a higher sense called "intimate" (taste, smell and touch). This assessment involves the upgrading of the inner sensation of the body (not the material body or physiological) of a living body .



In any sensory experience, this paradigm touch, marks a necessary closeness, an intimacy imperative that organizes experiences, including visual or auditory. It is, in short, the entirety of lived body, which get caught in a cross sensory - synesthetic - of what is presented to the senses, and consistently integrated into the body . So Nietzsche

preferred both as a sculptor Canova, here in the play "The Three Graces." Because the finesse of the work of Canova is a constant invitation to touch, even caress the smoothness of the surface that emulates the human skin. The

semiotically, it is a clutch , construction of a proximity necessary for the survival of the body, and the recognition of any presence.

is not just two ways of feeling, but two epistemologies or paradigms that organize the aesthetics, philosophy and even science.



Parret
photo: Pipo Garcia Contte
Sources: Notes Parret Herman presentation, including visual material