Epistemological-hermeneutical aspects of picture theory Cover Image

Epistemološko-hermeneutički aspekti teorije slike
Epistemological-hermeneutical aspects of picture theory

Author(s): Sonja Briski Uzelac
Subject(s): Visual Arts, Epistemology, Contemporary Philosophy, Hermeneutics
Published by: Bosansko Narodno Pozorište - Zenica
Keywords: visual arts; hermeneutics; contemporary philosophy; epistemology; hermeneutics;

Summary/Abstract: The destiny of the image as a paradigm of the concept of visuality, like the destiny of every other concept in general, is a certain and constant heterogenesis. When the question of the contemporary predominance and expansion of the concept of painting as a visual artifact is raised, the very notion of painting as a "finished work" finds itself in the focus of reflection again and inevitably. But such a notion of painting is only a disciplinary notion, with it being said that only a “pictorial work” is today at risk of dispersion; Boris Groys says in the face of the "danger" of "dissolving into a torrent of discourse and a torrent of life, thus losing its significance, its objectivity and its ability to resist" (Groys, 2006, 38). However, it is precisely the immersion in this double "torrent", in the vortex between discursive conceptualization and intuitive life force, that is precisely the salvation of the image as an "extended work" (which Groys also admits). Undoubtedly, in the modern unstoppable media-media communicative vortex, various images move and rotate due to their own appearances and events, which creates their significance, objectivity and ability to resist as active conceptual and creative action. But if in this electronic age the image itself is supposedly threatened by these two basic forces, the “force of concept” and the “force of life”, they are both contained precisely in its power of “structural plasticity” (Malabou, 2017) and thus its ability to resist; that is, the power of the image to “expand” and articulate as intertextual practice in space-between or “take” an in-between position of these forces in their asymmetric-symmetric and conceptual-procedural relationship of mutual transformation. Here, the objectivity of the visual zone is constructed as a “character” or “face,” a captured fluid visual perception that crystallizes on the basis of the action of different brightness relationships and in different planes of meaning.

  • Issue Year: 2021
  • Issue No: 33-34
  • Page Range: 127-154
  • Page Count: 28
  • Language: Bosnian