Cualidades hápticas de la imagen digital
[EN] The qualities of the digital imagen is generated from imitate the textural qualities of perceptual image, leading software creators to turn to history image (photography, painting, drawing, printmaking, photography) to increase the potential for manipulation of the images because in this story...
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2015 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/97944 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/97944 |
| Access Level: | acceso abierto |
| Palabra clave: | Háptico Imagen digital Mimésis perceptual DIBUJO |
| Sumario: | [EN] The qualities of the digital imagen is generated from imitate the textural qualities of perceptual image, leading software creators to turn to history image (photography, painting, drawing, printmaking, photography) to increase the potential for manipulation of the images because in this story are many examples that this relationship between the tactile identification of the image and its representation. Digital imagen, in its various forms of production and display, supposedly goes to the "pure" visuality. However, the development of the applications and the ways in which it is displayed tell us otherwise. It is true that not all digital images used in the same ways and to the same degree the plastic processes, but at the time they are made visual, the haptic relationship between image and perception turn up. Unable to generate the purely visual image because the perception are complex series of sensitive relationships that involve varying degrees tactile image. Verisimilitude rests to on the perception of the tactile qualities of the image, what I call perceptual mimesis. Digital animations created for the cinema and hyperrealistic games are a example for this. If your verisimilitude astonish us is because we feel the microstructures of imagery in much the same way that we perceive in reality (also the reality created by the history of the image). We could say with Pliny: "It is also said that Zeuxis painted over a child ..." I painted the grapes better than the child, if he had done so well, the bird had been afraid." |
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