El movimiento y la imagen fija
DOI:
https://doi.org/10.5944/etfvii.4.2016.16540Palabras clave:
Jussi Niva, Henri Bergson, Imágenes en movimiento, cinemático, Moving images, Edvard Munch, cinematic,Resumen
El presente dossier explora el movimiento y sus implicaciones en cuatro significados diferentes. Este artículo introductorio sienta las bases de estos temas y pone en contexto las contribuciones del dossier. Comienza con el análisis del movimiento en su sentido más obvio, el cinemático. Examino cómo algunas pinturas figurativas modernistas muestran las características primarias de la cinemática sin recurrir –únicamente– a la representación del movimiento. El segundo significado del movimiento procede del arte de la percepción. Según Henri Bergson, la percepción es una selección producida por el sujeto perceptor y sus recuerdos. El tercer significado del movimiento es afectivo. Está relacionado con la naturaleza sinestésica del ver y, especialmente, con la importancia del sentido del tacto y del oído implícitos en ella. El último significado es el resultado de esto: el potencial de conducirnos hacia la acción en el terreno político.
The dossier explores movement in four different meanings and their implications. This introductory article lays out these topics and places the contributions to the dossier in relation to them. It starts with movement in the most obvious sense – the cinematic. I examine how a few modernist figurative paintings display the primary features of the cinematic without resorting (only) to representing movement. The second meaning of movement comes from the act of perception. According to Henri Bergson, perception is a selection by the perceiving subject and that subject’s memories. The third meaning of movement is affective. This is related to the synaesthetic nature of seeing, and the importance of especially tactility and hearing in it. The last meaning is the result of this: the potential to move us to action in the political domain.
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