La perspective a l'ordre du jour. Fonctionnement symbolique, fonctionnement esthetique et usage de la perspectiva artificialis
Institution:
Université Marc Bloch (Strasbourg) (1971-2008)Disciplines:
Directors:
Abstract EN:
The dramatic increase in the amount of digital images in our cultural environment proves that more information has been made available for our vision by perspective. A new approach of perspective, issued from experimentation combining photograph, cinema and painting as well as from a phylosophical interpretation borrowed from nelson goodman's analytical method, has brought along an actualization of a new use of perspectiva artificialis. The construction perspective, works in a similar way to musical scores, organising the mathematical structure of paintings and it also makes it easier to turn images into digital data. This allows a new, specific approach of ancient artworks. Thus, quattrocento becomes a priviledged subjet of study, both from an artistic and from a theoretical point of view. By underlining certain usages of linear perspective which had been ignored up to date and which do not aim at representing but at disminishing the capacity of representation of the painting itself, it is possible to ally the perspective with the main avant-garde theories of modernity which had banned it. The fact of showing the flatness of the painting, its rectangular layout, and of insisting on two specific properties of perspectiva artificialis, "being a rule" and "being a representation", are both manifestations of a exemplificational modernist logic and of the byzantinian logic which refuses to "make holes in the wall". Therefore, perspective is not a mere instrument, it is in fact an esthetic element that involves specific artistical methods. Perspective exists as a a rule of game like many others, although its main quality is to be deeply entrenched in our visual culture.
Abstract FR:
La multiplication des images numeriques dans notre environnement culturel temoigne d'une information toujours plus grande de notre vision par la forme perspective. Une approche nouvelle de la question perspective, via une experimentation plastique melant photographie, cinema et peinture, et via une lecture philosophique empruntee a la methode analytique de nelson goodman, a permis de mettre a jour des usages singuliers de la perspective, artificialis. S'approchant du fonctionnement notationnel de la partition musicale, la construction perspective orchestre le reseau mathematique des lignes d'un tableau, facilitant la numerisation des images tout en permettant un rapport specifique aux ~uvres anciennes. Le quattrocento se pose alors comme objet d'etude privilegie, tant du point de vue plastique que du point de vue theorique. En pointant du doigt certains usages negliges de la perspective lineaire, pour lesquels le dessein n'est pas de representer mais au contraire de freiner l'efficacite representationnelle du tableau, on reconcilie la forme perspective avec les grandes theories avant-gardistes de la modernite qui l'avaient diabolisee. Exhiber la planeite du tableau, sa rectangularite, insister sur la propriete "etre-une-regle" et "etre-une-representation" de la perspectif a artificialis, repondent a la fois d'une logique exemplificationnelle moderniste et d'une volonte byzantine de ne pas "trouer le mur". La perspective n'est pas un instrument, elle est une forme esthetique a part entiere, qui entraine des methodes de travail plastique et se pose comme une regle du jeu parmi d'autres, dont l'atout principal est d'etre fortement implantee dans notre culture visuelle.