SOBRE PERSPECTIVA, FOTOGRAFÍA E INFOGRAFÍA Apuntes para una fenomenología de la representación
[EN] A comparative analysis is made between photography and infographics, proceeding from the basis of Renaissance and camera obscura perspectives. Other less successful forms of perspective are analysed, such as curvilinear perspectives and their computing and optical counterparts. The feature of p...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2011 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español inglés |
| OAI Identifier: | oai:riunet.upv.es:10251/14849 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/14849 |
| Access Level: | acceso abierto |
| Palabra clave: | Perspectiva Fotografía Infografía |
| Sumario: | [EN] A comparative analysis is made between photography and infographics, proceeding from the basis of Renaissance and camera obscura perspectives. Other less successful forms of perspective are analysed, such as curvilinear perspectives and their computing and optical counterparts. The feature of photography whereby it permits remembrance of the past is examined here, as is its nature, according to Barthes, as a “noesis without noema”. This is linked to Hegel’s analysis of knowledge, where he indicates that “mere knowledge does not demonstrate that one is actually present”. Finally we consider and discuss the scope of computer graphics as the descendant of the viewpoint of the Renaissance perspective. |
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