think about trivial idea, but fundamental: our identity is built to a very large part also on the things perceived through the vision. With "identity" I mean the whole set of existential factors we consider when we think of the concept of "I" and "myself".
identity as self-consciousness, in short, has a very large visual component.
I am also the environment in which I move, are the people who attend, I walk the streets. I am also the landscape that surrounds me, the trees, flowers, buildings, are the rivers, mountains, sky. All these elements are in turn channeled largely through the visual stimulus to me that they projected.
So far nothing special, there are considerations that could make even the first fool who met on the street. Today, albeit virtually, there has touched me on the road to meet electronically, so that part of the fool I do.
The curious aspect of the reasoning, however, is popped out when I thought about the "black and white." With amazement mixed with cold professorial wit, then I came to myself spontaneously breaking out with the most classic of academic exclamations: "Shit ... !!!...» I said, "... But the black and white is not always existed ...».
The world is irretrievably colored by virtue of more stinker of paradoxes, it took ages to get to see it in black and white. Tell me if this is not a bizarre and beautiful sound, a harmless oddity worthy of two reflections and three tasty shit to report on "andarperpensieri. More
reflected on the strange case, more elements of my brief survey of abnormal inner piled up. Yes, because on one hand the feelings and suggestions related to the black and white associate spontaneously to a thing of the past. A movie, a picture in black and white, from a view of the pure aesthetic and chronological line, "we consider them as persons who" come before "with respect to the corresponding colored counterparts, improved in a second phase.
Yet for the man, before the invention of that old uncle of the photograph itself that went under the name of the daguerreotype, was totally unthinkable and unnatural to see the reality deprived of their specific colors.
the conviction that life is not so important to find the answers, but is much more fun and challenging to ask questions, I found myself wallowing in this delicate question, but then, the black and white is a feature che è giusto abbinare ad un sensazione di passato oppure appartiene più alla modernità?
La fotografia ed il cinema sono stati fenomenali strumenti di innovazione zampillati dalla ricerca dell’uomo per fare un passo avanti verso la modernità e tuttavia, per le iniziali limitazioni tecniche, questo passo avanti era obbligato ad essere mosso a partire da una rinuncia non da poco.
I colori andavano momentaneamente perduti, scivolavano via da addosso alle cose, rimanendo di pertinenza effettiva di queste ultime ed innescando nello stesso tempo un senso di connaturata nostalgia inseparabile dalle nuove immagini riproducibili
Il nuovo modo di “immaginare” in bianco e nero nasceva dunque portandosi appresso fin da subito una propria nostalgia interna per i colori abbandonati. Facendo un passo verso il “domani”, ci si ritrovava in qualche modo intrisi di “ieri”.
Certo, va anche precisato un aspetto importantissimo del discorso. Non è che con l’introduzione della fotografia, e del cinema poi, l’umanità veniva catapultata ex-abrupto, come se si partisse da una “fase zero” concettuale, nella dimensione del bianco e nero. Il “terreno estetico” in questo senso era stato precedentemente dissodato ben bene da diversi altri strumenti della riproducibilità per immagine. A replicare un mondo privo di colori ci avevano già pensato tecniche d’incisione e di stampa fra le più disparate (acquaforte, serigrafia, puntasecca, xilografia e così via, che fa pure rima…).
L’idea della riproduzione di soggetti privati della loro originaria cromia era stato patrimonio concettuale anche di altre espressioni artistiche “più dirette”, come la tecnica del carboncino, solo per fare un esempio banale, o altri modi di dipingere o “lasciare segni” ancor più primitivi (per banalizzare ancor di più, penso anche ai graffiti preistorici).
In aggiunta a tutto questo, si può menzionare la potente spallata inferta alla questione da un altro involontario evento che lentamente, nei secoli, si era insinuato fra le pieghe dei meccanismi estetici to which man is susceptible. I speak of the idea of \u200b\u200b"classic", one of the fundamental categories of the entire "aesthetic human history, that has been strangely formed around an erroneous conviction.
When we think of the term "classical" in art, it is difficult to associate scenarios semi-automatically dispenses color: white plasticity of the state of Phidias or Praxiteles, the charm of the marble temples of Greece, etc..
The curious thing is that everything is based on a misunderstanding that can inspire almost smile.
These works have made it way through the centuries to come down to us in the wake a dramatic misunderstanding, because originally they were in full color and it was only under the mocking hands of time, we found that we returned the nude in their whiteness chiaroscuro.
short, though now out of sheer ignorance on my not come to my mind the most illuminating examples, there is no doubt that the black and white photography is not born with, or with the cinema. Yet the chromatic deprivation was probably never even been included in net so far and "shearing" as soon as those two techniques familiar to us now than they were introduced.
The novelty of the first photos and the first film has touched so effectively the illusion of a realistic reproduction of stress in a manner never before experienced the absence of one of the most powerful components of that illusion, as was that of color.
Every time that man, before the advent of photos and video footage was reinforced by images of the intention to reproduce reality, it was concerned first of all colors, they were his most immediate thought. Now, here comes the other hand these two new techniques that imitate the world in an amazing way never seen before, but fall by the wayside as a basic ingredient of their magic.
And to add yet only a small impromptu personal impression, not So when I hear a case that a person of 60 or 70 years or more tell a story of his youth, my imagination spontaneously fabricate the ideal frame of mind in black and white stories heard.
Perhaps it is precisely because of all these historical and cultural components that the picture or frame in black and white still fascinate us so much. Perhaps that is their tendency to that song with the temporality dall'attimo illogical in them since they were invented, there have always appeared veiled in an aura of enigma.
Maybe it's because today, in front of an image or a movie in black and white do not know if you ever decide to be good more modern although somewhat irrelevant, always present or even not modern.
Maybe it will be a bit 'for all those reasons, but not venitelo to ask me. To paraphrase the poet in fact, although much more modest in tone, as already mentioned earlier, "... I do not have the answer, I just do uòkk-enn-uòll ...».
identity as self-consciousness, in short, has a very large visual component.
I am also the environment in which I move, are the people who attend, I walk the streets. I am also the landscape that surrounds me, the trees, flowers, buildings, are the rivers, mountains, sky. All these elements are in turn channeled largely through the visual stimulus to me that they projected.
So far nothing special, there are considerations that could make even the first fool who met on the street. Today, albeit virtually, there has touched me on the road to meet electronically, so that part of the fool I do.
The curious aspect of the reasoning, however, is popped out when I thought about the "black and white." With amazement mixed with cold professorial wit, then I came to myself spontaneously breaking out with the most classic of academic exclamations: "Shit ... !!!...» I said, "... But the black and white is not always existed ...».
The world is irretrievably colored by virtue of more stinker of paradoxes, it took ages to get to see it in black and white. Tell me if this is not a bizarre and beautiful sound, a harmless oddity worthy of two reflections and three tasty shit to report on "andarperpensieri. More
reflected on the strange case, more elements of my brief survey of abnormal inner piled up. Yes, because on one hand the feelings and suggestions related to the black and white associate spontaneously to a thing of the past. A movie, a picture in black and white, from a view of the pure aesthetic and chronological line, "we consider them as persons who" come before "with respect to the corresponding colored counterparts, improved in a second phase.
Yet for the man, before the invention of that old uncle of the photograph itself that went under the name of the daguerreotype, was totally unthinkable and unnatural to see the reality deprived of their specific colors.
the conviction that life is not so important to find the answers, but is much more fun and challenging to ask questions, I found myself wallowing in this delicate question, but then, the black and white is a feature che è giusto abbinare ad un sensazione di passato oppure appartiene più alla modernità?
La fotografia ed il cinema sono stati fenomenali strumenti di innovazione zampillati dalla ricerca dell’uomo per fare un passo avanti verso la modernità e tuttavia, per le iniziali limitazioni tecniche, questo passo avanti era obbligato ad essere mosso a partire da una rinuncia non da poco.
I colori andavano momentaneamente perduti, scivolavano via da addosso alle cose, rimanendo di pertinenza effettiva di queste ultime ed innescando nello stesso tempo un senso di connaturata nostalgia inseparabile dalle nuove immagini riproducibili
Il nuovo modo di “immaginare” in bianco e nero nasceva dunque portandosi appresso fin da subito una propria nostalgia interna per i colori abbandonati. Facendo un passo verso il “domani”, ci si ritrovava in qualche modo intrisi di “ieri”.
Certo, va anche precisato un aspetto importantissimo del discorso. Non è che con l’introduzione della fotografia, e del cinema poi, l’umanità veniva catapultata ex-abrupto, come se si partisse da una “fase zero” concettuale, nella dimensione del bianco e nero. Il “terreno estetico” in questo senso era stato precedentemente dissodato ben bene da diversi altri strumenti della riproducibilità per immagine. A replicare un mondo privo di colori ci avevano già pensato tecniche d’incisione e di stampa fra le più disparate (acquaforte, serigrafia, puntasecca, xilografia e così via, che fa pure rima…).
L’idea della riproduzione di soggetti privati della loro originaria cromia era stato patrimonio concettuale anche di altre espressioni artistiche “più dirette”, come la tecnica del carboncino, solo per fare un esempio banale, o altri modi di dipingere o “lasciare segni” ancor più primitivi (per banalizzare ancor di più, penso anche ai graffiti preistorici).
In aggiunta a tutto questo, si può menzionare la potente spallata inferta alla questione da un altro involontario evento che lentamente, nei secoli, si era insinuato fra le pieghe dei meccanismi estetici to which man is susceptible. I speak of the idea of \u200b\u200b"classic", one of the fundamental categories of the entire "aesthetic human history, that has been strangely formed around an erroneous conviction.
When we think of the term "classical" in art, it is difficult to associate scenarios semi-automatically dispenses color: white plasticity of the state of Phidias or Praxiteles, the charm of the marble temples of Greece, etc..
The curious thing is that everything is based on a misunderstanding that can inspire almost smile.
These works have made it way through the centuries to come down to us in the wake a dramatic misunderstanding, because originally they were in full color and it was only under the mocking hands of time, we found that we returned the nude in their whiteness chiaroscuro.
short, though now out of sheer ignorance on my not come to my mind the most illuminating examples, there is no doubt that the black and white photography is not born with, or with the cinema. Yet the chromatic deprivation was probably never even been included in net so far and "shearing" as soon as those two techniques familiar to us now than they were introduced.
The novelty of the first photos and the first film has touched so effectively the illusion of a realistic reproduction of stress in a manner never before experienced the absence of one of the most powerful components of that illusion, as was that of color.
Every time that man, before the advent of photos and video footage was reinforced by images of the intention to reproduce reality, it was concerned first of all colors, they were his most immediate thought. Now, here comes the other hand these two new techniques that imitate the world in an amazing way never seen before, but fall by the wayside as a basic ingredient of their magic.
And to add yet only a small impromptu personal impression, not So when I hear a case that a person of 60 or 70 years or more tell a story of his youth, my imagination spontaneously fabricate the ideal frame of mind in black and white stories heard.
Perhaps it is precisely because of all these historical and cultural components that the picture or frame in black and white still fascinate us so much. Perhaps that is their tendency to that song with the temporality dall'attimo illogical in them since they were invented, there have always appeared veiled in an aura of enigma.
Maybe it's because today, in front of an image or a movie in black and white do not know if you ever decide to be good more modern although somewhat irrelevant, always present or even not modern.
Maybe it will be a bit 'for all those reasons, but not venitelo to ask me. To paraphrase the poet in fact, although much more modest in tone, as already mentioned earlier, "... I do not have the answer, I just do uòkk-enn-uòll ...».
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