27 October 2022
How Images Appear – Ontological and Epistemological Concerns

Krešimir Purgar

1 February 2023
2022/23 Multisensoriality
104
At the roots of digital: in praise of a rhizomatic archaeology

Francesco Casetti

20 January 2023
2022/23 Practices
108
Active Learning of Industrial Chemical Processes By Virtual Immersive Laboratory: The Eye4edu Project

Carlo Pirola

19 January 2023
2022/23 Multisensoriality
104
Sensing Cinema Heritage. For a multisensory approach to film heritage

Andrea Mariani, Eleonora Roaro

10 January 2023
2022/23 Multisensoriality
104
Archaeology of immersion

Barbara Le Maître, Natacha Pernac, Jennifer Verraes

16 December 2022
2022/23 Practices
108
What XR can do for a Museum

Luca Roncella

3 November 2022
2022/23 Multisensoriality
104
But have we ever (been) immersed? Atmospherological cues

Tonino Griffero

31 May 2022
2022 Presence
98
Virtual reality and pictorial seeing
19 May 2022
2022 Presence
98
Osaka ’70 VR Experience

Valentina Temporin, John Volpato

4 May 2022
2022 Presence
98
The “Banal” Deception of Digital Presence – Projecting Life onto Media and Machines, from Turing to Siri

Simone Natale

10 March 2022
2022 Presence
98
Towards a Science of Complex Experiences

Alice Chirico

17 February 2022
2022 Presence
98
From screen to body

Margherita Landi, Agnese Lanza

31 May 2021
2021 Interactivity
97
Experiencing with images

Giovanni Matteucci

24 May 2021
2021 Interactivity
97
Scaffolding the Interactive Imagination

Janet Murray

20 May 2021
2021 Interactivity
97
Archaeology of Interactivity: Materiality of Cinematic devices and Physiology of Human – Machine Interaction

Simone Venturini

10 May 2021
2021 Interactivity
97
Embodied simulation and experimental aesthetics

Vittorio Gallese

22 April 2021
2021 Interactivity
97
Enmeshing cloth with emotions through smart textiles and the role philosophy can play in the introduction of digital technologies

Nicola Liberati

8 April 2021
2021 Interactivity
97
Design of multisensory experiences in VR/AR

Marina Carulli

29 March 2021
2021 Interactivity
97
Cognition as Interaction – Autopoiesis, Media, Networks

Francesco Parisi

18 March 2021
2021 Interactivity
97
Can ‘interactiviy’ be saved? A terminological triage

Espen Aarseth

4 March 2021
2021 Interactivity
97
Virtuality Reality Continuum Beyond Design

Tilanka Chandrasekera

research: Seminar

2022/23 Multisensoriality
104

How Images Appear – Ontological and Epistemological Concerns

Krešimir Purgar

The discussion on the modalities of pictorial appearing is a fundamental prerequisite for the perception not only of images in general, but also for the possibility of aesthetic perception. These are both visual phenomena that have an interior logic different from that of reality (or the continuum of reality) in which they are located as objects of perception. These modalities have to be precisely defined, for two fundamental reasons. Firstly, because they can throw a new light on the still unresolved aporias of the pictorial turn, primarily that part of it that deals with the issue of the supremacy of the visual over the textual and vice versa; and secondly, because unprecedented advances in the technologies of virtuality face the pictorial mediality with completely new challenges. The question that arises is, how can a person’s capacity for the artistic transcending of reality be preserved when the experiences of pictorial representation – traditional painting and cinematography in the “old fashioned” 2D technique, for example – vanish in the digital worlds of virtuality, in which transcendence is actually no longer possible? If art in the pre-digital era was the only means through which it was possible to transgress the borders of cognition/perception and comprehend reality outside the framework of mere necessity, then the virtual space of some immersive reality makes pictorial representation today equally obsolete. Without any remorse or grieving over this radically new situation, this presentation will try to summarize how our sense of sight comes in interaction with the inherent characteristics of different types of images and how the ensuing types of pictorial cognition create the specific nexus ontology-epistemology, a key characteristic of image communication.

Biography

Krešimir Purgar

Krešimir Purgar is Associate Professor at the Academy of Arts and Culture in Osijek and director of the MA study programe Visual Studies, Art Criticism and Theory. He participated in about forty scholarly and professional symposia, for example in Genoa, Colorado Springs, Taormina, Rome, Florence, Manchester, Skopje, Dartmouth College, at the University of Western Ontario, as well as at the University of Chicago. He has given invited talks at the universities of Palermo, Cagliari, Genoa, Tirana, Prague, Mostar and Krakow. Among his most recent books are The Palgrave Handbook of Image Studies (ed.), Palgrave Macmillan (2021), The Iconology of Abstraction. Non-figurative Images and the Modern World (ed.), Routledge (2020); Iconologia e cultura visuale. W.J.T. Mitchell, storia e metodo dei visual studies, Carocci (2019); Pictorial Appearing. Image Theory After Representation, Transcript (2019); W.J.T. Mitchell’s Image Theory. Living Pictures (ed.), Routledge (2017), Theorizing Images (co-ed.), Cambridge Scholars Publishing (2016). Forthcoming is a university textbook Studiare le immagini – Teorie, concetti, metodi (co-ed.), Carocci (2022).

research: seminar

How Images Appear – Ontological and Epistemological Concerns

Krešimir Purgar

The discussion on the modalities of pictorial appearing is a fundamental prerequisite for the perception not only of images in general, but also for the possibility of aesthetic perception. These are both visual phenomena that have an interior logic different from that of reality (or the continuum of reality) in which they are located as objects of perception. These modalities have to be precisely defined, for two fundamental reasons. Firstly, because they can throw a new light on the still unresolved aporias of the pictorial turn, primarily that part of it that deals with the issue of the supremacy of the visual over the textual and vice versa; and secondly, because unprecedented advances in the technologies of virtuality face the pictorial mediality with completely new challenges. The question that arises is, how can a person’s capacity for the artistic transcending of reality be preserved when the experiences of pictorial representation – traditional painting and cinematography in the “old fashioned” 2D technique, for example – vanish in the digital worlds of virtuality, in which transcendence is actually no longer possible? If art in the pre-digital era was the only means through which it was possible to transgress the borders of cognition/perception and comprehend reality outside the framework of mere necessity, then the virtual space of some immersive reality makes pictorial representation today equally obsolete. Without any remorse or grieving over this radically new situation, this presentation will try to summarize how our sense of sight comes in interaction with the inherent characteristics of different types of images and how the ensuing types of pictorial cognition create the specific nexus ontology-epistemology, a key characteristic of image communication.

27 October 2022
17:00
18:30

Aula M303

Via Santa Sofia, Milano

How Images Appear – Ontological and Epistemological Concerns
Krešimir Purgar
Aula M303
Via Santa Sofia, Milano
20221027
17:00
18:30