{"title":"Reflexiones sobre las imágenes fotográficas de Jan Dibbets","authors":"Rubén Alberto Gramon","doi":"10.21789/24223158.1398","DOIUrl":null,"url":null,"abstract":"Photography is one possible way to capture reality. Although, like any other representation of reality, it is artificial, because it transforms it by the rules of perspective that dominate photography. It changes the three-dimensional object into a two-dimensional image. Barthes says that «In the image, as Sartre says, the object yields itself wholly, and our vision of it is certain-contrary to the text or to other perceptions which give me the object in a vague, arguable manner, and therefore incite me to suspicions as to what I think I am seeing» (Barthes 1980 [1981], 106). However, in the series Perspective correction by Jan Dibbets, the image does not yield itself wholly, and our vision of it is not certain of what it sees, on the contrary, the author invites us to distrust what we think we see.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2018-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"La Tadeo DeArte","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.21789/24223158.1398","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Photography is one possible way to capture reality. Although, like any other representation of reality, it is artificial, because it transforms it by the rules of perspective that dominate photography. It changes the three-dimensional object into a two-dimensional image. Barthes says that «In the image, as Sartre says, the object yields itself wholly, and our vision of it is certain-contrary to the text or to other perceptions which give me the object in a vague, arguable manner, and therefore incite me to suspicions as to what I think I am seeing» (Barthes 1980 [1981], 106). However, in the series Perspective correction by Jan Dibbets, the image does not yield itself wholly, and our vision of it is not certain of what it sees, on the contrary, the author invites us to distrust what we think we see.