A clear- cut separation between the reality of the life-world and the (alleged) “unreality” of the image- world has been traditionally considered as the sine qua non of aesthetic enjoyment. Accordingly, framing devices have been identified as crucial tools capable of ensuring the island- like structure essential to pictures. This structure goes hand in hand with the beholder’s awareness of being in front of “nothing but pictures.” A particular subset of images, hyper- realistic pictures tend on the contrary to conceal their iconic nature: their affective power lies precisely in the ability to blur the threshold between image and reality. Yet both the aesthetic value and the affective power of ordinary hyper-realistic puppets are usually considered minimal, if not non-existent. This essay offers an explanation of how it is that deceivingly life- like pictures, which at first one would be tempted to define as ultra-affective, come instead to be judged as almost non-affective. After focusing on the most common strategies of anaesthetizing hyperrealism, I will show how these very same strategies can be reverted so as to achieve the exactly opposite effect, i.e., to give back to hyper-realistic likenesses their unparalleled affective charge precisely through a process of un-framing.

(An)Aesthetics of affect: the Case of Hyper-Realism / P. Conte (THAMYRIS INTERSECTING: PLACE, SEX AND RACE). - In: How to do things with affects : Affective triggers in aesthetic forms and cultural practices / [a cura di] E. van Alphen, T. Jirsa. - [s.l] : Brill, 2019. - ISBN 9789004397699. - pp. 40-58 [10.1163/9789004397712_004]

(An)Aesthetics of affect: the Case of Hyper-Realism

P. Conte
2019

Abstract

A clear- cut separation between the reality of the life-world and the (alleged) “unreality” of the image- world has been traditionally considered as the sine qua non of aesthetic enjoyment. Accordingly, framing devices have been identified as crucial tools capable of ensuring the island- like structure essential to pictures. This structure goes hand in hand with the beholder’s awareness of being in front of “nothing but pictures.” A particular subset of images, hyper- realistic pictures tend on the contrary to conceal their iconic nature: their affective power lies precisely in the ability to blur the threshold between image and reality. Yet both the aesthetic value and the affective power of ordinary hyper-realistic puppets are usually considered minimal, if not non-existent. This essay offers an explanation of how it is that deceivingly life- like pictures, which at first one would be tempted to define as ultra-affective, come instead to be judged as almost non-affective. After focusing on the most common strategies of anaesthetizing hyperrealism, I will show how these very same strategies can be reverted so as to achieve the exactly opposite effect, i.e., to give back to hyper-realistic likenesses their unparalleled affective charge precisely through a process of un-framing.
Hyperrealism; phenomenology; affects; emotions; unframing; unframedness
Settore M-FIL/04 - Estetica
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/2434/931773
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