By Wilhelm Wurzer
The hot digital age has visible a thorough transition from booklet to reveal, a improvement which has obscured the truth that it isn't what we see which concerns yet how we see what we see. we are living in a time whilst the obvious has to be retheorised.Panorama provides a extensive research of philosophies of the obvious in paintings and tradition, relatively in portray, movie, images, and literature. The paintings of key philosophers—Kant, Hegel, Nietzsche, Heidegger, Levinas, Barthes, Blanchot, Foucault, Bataille, Derrida, Lyotard and Deleuze—is tested within the context of visibility, expressivity, the representational and the postmodern. participants: Zsuzsa Baross, Robert Burch, Alessandro Carrera, Dana Hollander, Lynne Huffer, Volker Kaiser, Reginald Lilly, Robert S. Leventhal, Janet Lungstrum, Ladelle McWhorter, Ludwig Nagl, Anne Tomiche, James R. Watson, Lisa Zucker>
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Additional resources for Panorama : philosophies of the visible
In which way is this “reading by touching” a functional equivalent, or a supplementum, of seeing? And, above all, does this ability of the optical to be supplemented teach us something? For example, does that circumvention of the text’s ordinary visibility implemented by blind readers suggest that the text can be – quasi-platonically – freed from its material burden, from the visible incorporation that manifests, as well as hides, its spirit? Not quite, it seems: Braille writing does not work without providing a substitute for the optical.
In principle these two garments refer to the same reality (this dress worn on this day by this woman), and yet they do not have the same structure . . in one the substances are forms, lines, surfaces, colors, and the relation is spatial: in the other, the substance is words, and the relation is, if not logical, at least syntactic; the ﬁrst structure is plastic, the second verbal. Barthes contrasts these two garments, the photographed/drawn and the written, with a third structure, “real clothing,” that is neither “plastic” nor “verbal” but has “technological” and “social” characteristics (F, 3–5).
There are times when one can be ashamed of it, as of feasting during a plague. 13 Or as Levinas writes in a very clear statement: “Art is not the supreme value of civilization” (LR, 142): it certainly has its place, “but only a place, in man’s happiness” (LR, 142). ” But the vain and self-complacent “artistic idolatry” (LR, 143) that Levinas ﬁnds dangerous due to its seductive avoidance of the other is characteristic of depraved forms of aesthetic experience. His warning counts only “for art separated from the criticism that integrates the inhuman work of the artist into the human world.