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Publicação
O Potencial Sublime do Fotográfico
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Orientador(es)
Resumo(s)
O ser humano parece ser assombrado por uma dimensão aparente de verdade nas imagens que
vê. Parece haver um elemento de verdade ilusório fixado no ser que olha a imagem, em especial
a fotográfica. Por isso, será possível aproximar o espectador de uma experiência estética do
sublime a partir de um meio aparentemente concreto e verdadeiro como o fotográfico? A partir
do pensamento kantiano sobre o sublime, este trabalho de projecto procura uma nova ponte
entre a experiência estética do sublime e a fotografia, um meio bastante familiar ao olho
humano. Para o efeito, será fundamental destruir o aparente olhar de verdade sobre a fotografia e
procurar possibilidades de espanto dentro do fotográfico. Esta procura levará ao corte como
fonte de intriga e ruína, que será completada pela montagem do espelho na produção artística.
O corte e o espelho permitirão ao espectador projectar-se sobre a obra; fazê-lo sair de si e
encontrar-se no que olha. Esta montagem corte-espelho apresentar-se-á como solução viável
para aproximar o espectador da experiência estética do sublime e, talvez, renovar o seu olhar.
Human beings seem to be haunted by an apparent dimension of truth in the images they see. There seems to be an element of illusory truth fixed in the being that looks at the image, especially the photographic one. Is it therefore possible to bring the spectator closer to an aesthetic experience of the sublime through an apparently concrete and true medium such as photography? Based on Kantian thinking about the sublime, this project seeks a new bridge between the aesthetic experience of the sublime and photography, a medium which is very familiar to the human eye. To this end, it will be essential to destroy the apparent view of truth about photography and look for possibilities of astonishment within the photographic medium. This search will lead to the cut as a source of intrigue and ruin, which will be completed by the montage of the mirror in the artistic production. The cut and the mirror will allow the spectator to project themselves onto the work; make him come out and find himself in what he looks at. This cut-mirror montage will present itself as a viable solution to bring the spectator closer to the aesthetic experience of the sublime and, perhaps, renew their gaze.
Human beings seem to be haunted by an apparent dimension of truth in the images they see. There seems to be an element of illusory truth fixed in the being that looks at the image, especially the photographic one. Is it therefore possible to bring the spectator closer to an aesthetic experience of the sublime through an apparently concrete and true medium such as photography? Based on Kantian thinking about the sublime, this project seeks a new bridge between the aesthetic experience of the sublime and photography, a medium which is very familiar to the human eye. To this end, it will be essential to destroy the apparent view of truth about photography and look for possibilities of astonishment within the photographic medium. This search will lead to the cut as a source of intrigue and ruin, which will be completed by the montage of the mirror in the artistic production. The cut and the mirror will allow the spectator to project themselves onto the work; make him come out and find himself in what he looks at. This cut-mirror montage will present itself as a viable solution to bring the spectator closer to the aesthetic experience of the sublime and, perhaps, renew their gaze.
Descrição
Palavras-chave
Fotografia Sublime Estética Kant Corte Espelho Espanto Ruína Mimesis Diferenciação artística Photography Aesthetics Cut Mirror Astonishment Ruin Artistic distinction Trabalho de projeto