What kind of ‘temporality’, of time-denotation can we ascribe to images? The essay distinguishes between an expressive kernel of image round which all ‘narrative’ times are collected and a time-feature of image consisting in its ‘happening’ as innovative meaning, in its performED ‘appearance’. Looking for this second type of temporality as image-occurrence conveying a new or increased significance, the essay calls several authors for an answer about the topic. First of all Theodor W. Adorno and his description of work of art as “process and instant”, as the action building an aesthetical connection of elements and as “explosion” of energy. But the essay takes also notice of Walter Benjamin’s idea of “constellation” and “Dialektik im Stillstand”, together with Lessing’s distinction between space- and time- arts, Goethe’s visual experiments, Kant’s theory of productive imagination. Moreover, P. Ricoeur, E. Gombrich, F. Lyotard and L. Marin are also involved in the discussion, while among the artists emerge in particular the proposals and solutions made on this issue by Paul Klee, Barnett Newman and Francis Bacon; with special attention to the latter and his ‘rhythmical’ and ‘implosive’ figures.
L'immagine e il suo momento. Note sulla temporalità dell'immagine
TAVANI, ELENA
2006-01-01
Abstract
What kind of ‘temporality’, of time-denotation can we ascribe to images? The essay distinguishes between an expressive kernel of image round which all ‘narrative’ times are collected and a time-feature of image consisting in its ‘happening’ as innovative meaning, in its performED ‘appearance’. Looking for this second type of temporality as image-occurrence conveying a new or increased significance, the essay calls several authors for an answer about the topic. First of all Theodor W. Adorno and his description of work of art as “process and instant”, as the action building an aesthetical connection of elements and as “explosion” of energy. But the essay takes also notice of Walter Benjamin’s idea of “constellation” and “Dialektik im Stillstand”, together with Lessing’s distinction between space- and time- arts, Goethe’s visual experiments, Kant’s theory of productive imagination. Moreover, P. Ricoeur, E. Gombrich, F. Lyotard and L. Marin are also involved in the discussion, while among the artists emerge in particular the proposals and solutions made on this issue by Paul Klee, Barnett Newman and Francis Bacon; with special attention to the latter and his ‘rhythmical’ and ‘implosive’ figures.File | Dimensione | Formato | |
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