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Publication
Modos de ser imagem: o problema dos diferentes planos de perceção
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Abstract(s)
O presente projeto teve como premissa testar os limites da perceção do observador, perante a imagem do corpo invisível de objetos reconhecíveis no seu dia a dia. Com esta pesquisa procuramos questionar o conceito pré-adquirido de “imagem” e perceber se fatores abstratos como o olhar do criador, nos podem dizer mais sobre realidade da imagem do que os espectros visíveis como a linha, a cor ou a textura. Ambicionámos analisar o conceito de imagem através de uma óptica Fenomenológica, de forma a tornar visível à nossa consciência, aquilo que não é visível na imagem, a sua essência.
Para desenvolvimento deste projeto o processo de construção técnico e conceptual foi fundamental, este é o reflexo da linguagem do objeto e do criador que é reapresentado nas presentes experiências visuais. As disciplinas utilizadas como a Xerografia, o desenho manual e a edição digital fornecem evidencias que entre todas as formas de linguagem, a imagem é o melhor exemplo para evidenciar a “máscara do pensamento”, ditando os modos de ver sem os revelar formalmente.
Da sobreposição quase constante destas disciplinas obtiveram-se peças visuais que se pretendeu que fossem polissémicas e expressivas. Estas experiências visuais constituem-se assim como diferentes modos de tornar visível a linguagem da imagem.
The present project had, as a premise, test the observer ́s perception towards an abstract image of recognizable objects in their daily lives. With this research we tried to question the pre-acquired concept of “image” in order to understand if abstract factors such as the creator ́s vision could tell us more about the reality of the image compared to the visible spectra such as line, color or texture. We aimed to analyze the concept of image through a phenomenological perspective in order to make visible to our conscience what is not visible in the image, its essence. For the development of this project, the technical and conceptual construction process was fundamental because this is the reflection of the object and it's creator language that is represented in the present visual experiences. The disciplines used such as Xerography, manual drawing and digital editing provide evidence that among all forms of language, the image is the best example to highlight the “mask of thought”, dictating the ways of seeing without formally revealing them. From the almost constant overlap of these disciplines, visual experiences were obtained that were supposed to be polysemic and expressive. These experiences are thus seen as different ways of making visible the language of the image.
The present project had, as a premise, test the observer ́s perception towards an abstract image of recognizable objects in their daily lives. With this research we tried to question the pre-acquired concept of “image” in order to understand if abstract factors such as the creator ́s vision could tell us more about the reality of the image compared to the visible spectra such as line, color or texture. We aimed to analyze the concept of image through a phenomenological perspective in order to make visible to our conscience what is not visible in the image, its essence. For the development of this project, the technical and conceptual construction process was fundamental because this is the reflection of the object and it's creator language that is represented in the present visual experiences. The disciplines used such as Xerography, manual drawing and digital editing provide evidence that among all forms of language, the image is the best example to highlight the “mask of thought”, dictating the ways of seeing without formally revealing them. From the almost constant overlap of these disciplines, visual experiences were obtained that were supposed to be polysemic and expressive. These experiences are thus seen as different ways of making visible the language of the image.
Description
Keywords
Cultura visual Fenomenologia Imagem Perceção Olhar