Obrazová reprezentace a standard správnosti
| Title in English | Pictorial Representation and Standard of Correctness |
|---|---|
| Authors | |
| Year of publication | 2015 |
| Type | Appeared in Conference without Proceedings |
| MU Faculty or unit | |
| Citation | |
| Description | The existence of the picture assumes both, the object (referent) and the subject (i.e. pictorial content). A precondition for the active perception is a specific form of experience that is related to visual representations or depiction. To perceive something in the picture can be qualitatively comparable with the direct seeing of the same thing, the idea of its seeing, respectively seeing of actually present thing – but it is always a product of impression. The most essential in this process are information arising from the picture itself (medium, style) and recipient's ability to distinguish between the picture as a picture and picture as a representation of referent. Depiction means rather than the physical similarity between the referent and its picture their mutual structural isomorphism. Recipient is led to identify the subject of a picture, which may differ from the original object, through the formal features. At least some of the theories of depiction turns to various types of standards of correctness in an effort to definitional certainty. In the case of Richard Wollheim's theory of the “seeing-in” represents such a mechanism individual intentions of the author. But a technical apparatus or a picture itself and information that conceives can also have similar quality. The aim of this paper is to present selected theories of depiction and evaluate their general applicability. Taking into account the fundamental dichotomy between artificial and technical pictures (origin, relationship to the referent) implies an epistemological distinction that can manifest itself in the process of interpretation and evaluation. Unlike a painter who believes, the photographer sees and gives evidence. The reference point hence may vary from the author’s intention towards properties of the referent; also the demands on recognition of the pictorial content or the method for distinguishing the picture from an accidental visual configuration/ imaginative seeing may differentiate. |
| Related projects: |