By José-Maria Parramon
Remark dessiner et peindre #224; vue d#339;il en tenant bien compte de los angeles viewpoint ? Cette m#thode pratique rappelle les fondements th#oriques de l. a. point of view g#om#trique et reveal ses functions pas #224; pas: formes de base, espace et profondeur, volumes, plans inclin#s, ombres et reflets, ainsi que los angeles point of view du corps humain.Как рисовать на глаз, в полной мере учитывая перспективу? Этот практический подход напоминает теоретические основы геометрической перспективы и предоставляет еешаг за шагом: основные формы, пространства и глубины, объем, наклонные плоскости, тени и отражения, и точки зрения человеческого тела.
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Extra info for Dessiner En Perspective
Architecture, structure, and iconicity seem the reference points for Fletcher’s framing. Fletcher discusses his image on his Web site. There he also displays many di,erent versions of the image, with slightly varying backgrounds for the syringe. ” He was diagnosed with MS in 2001, and he explains how this diagnosis, and the hospitalization that Visions of Anatomy preceded it, led to his art creation. Fletcher’s description of his life postdiagnosis focuses on the pharmaceutical industry. Di,erent from some disabled artists, Fletcher’s perspective seems celebratory rather than critical, emphasizing the achievement of modern medicine and the costliness of the endeavor.
These images arrive on television screens with a history and a certain authority. ”15 Discussing di,erent historical moments of medical imagery, Kemp points to some of the issues that open up when photographic realism presents the body (he discusses stereoscopic slides of photographic representations of skin diseases): Even such apparently obvious pieces of mechanical realism proved to be fraught with social frissons, particularly with respect to the portrayal of recognizable individuals and the potentials for voyeuristic viewing.
In the following discussion, I set up a tension between transparency and opacity to analyze the problems encountered in creating representations of bodies that consciously generate possibilities for knowing our bodies. 24 In the context of this chapter, they help me to think about a spatiality of vision, a sense of interaction between gazes and volumes. The thickness of matter—materiality itself—becomes the object of fantasies. The noncoincidence of bodies and visions, and of medical vision machines and individual desires, creates interferences and produces new relations between touch, vision, experience, and metaphor.