La metáfora de los mapas colectivos como alumbramiento estético
In the light of the fragmentation of to know in autonomous disciplines, with the equivocal association between truth and cognitive way, an unitary reality has been presumed in the plurality of means and terms of reference. The maps that represent theirs sequences or aspects of reality, are legitimiz...
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| Tipo de recurso: | capítulo de libro |
| Estado: | Versión publicada |
| Fecha de publicación: | 2015 |
| País: | España |
| Institución: | Universidad de Sevilla (US) |
| Repositorio: | idUS. Depósito de Investigación de la Universidad de Sevilla |
| OAI Identifier: | oai:idus.us.es:11441/169085 |
| Acceso en línea: | https://hdl.handle.net/11441/169085 |
| Access Level: | acceso abierto |
| Palabra clave: | Epistemology Community Imaginary AST Micrography Nanoart (Visual) allegory Epistemología Colectividad Imaginario ACT Micrografía Nanoarte Metáfora (visual) |
| Sumario: | In the light of the fragmentation of to know in autonomous disciplines, with the equivocal association between truth and cognitive way, an unitary reality has been presumed in the plurality of means and terms of reference. The maps that represent theirs sequences or aspects of reality, are legitimized inside his corpuses as dispositions of the intellect to the same scene: with multiple intrigues, atrezos, fit perspectivos, degrees of lights, sonorous moments… In the similar theatrical one we must understand that, in the great map, so many colors are discerned as visual appliances leak and allow it to meditate –to think, before an already elaborated reflection, it brings over of scales or facets indeed-. These reflections, codes of representation, they materialize in visual maps. But this has not to today develop as a species of "cultural schizophrenia" –that Bertrand Rusell would warn-. Today it is an epoch, more of foliage that of ferreous taxonomy; more of, rhizomes, and networks in which the channels must supply us of images that to do to us of the world: only in these channels, and from a clear collectivity operating, we can construct us images of the material reality. We move this central matter to the paradigm of the micrography, or microscopy: imaginary that already turns out to be emblematic for a company that only across him can visualize what the human eye does not reach. His appliances are the precise interface for an act, not only cognitive, but creative. Are they the micrographical images a devised, created construction, for the man? Could these elaborate perhaps from the individual loneliness, without the contest of multiple actors participants in his creation? Pre-eminent keys to think a new hybrid role of tecno-scientist and visual artist |
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