Victor Mazin
PhD in Philosophy
SHADOW OF LIGHT
1.TURN ON THE LIGHT - LOOK AT THE PICTURES
As we know, the structure of the human eye assumes the consideration of pictures in the light space.
Based on this immutable fact - the intimate nature of viewing is lost.
Standing in a museum (in any other non-cinema place) in daylight, the observer of a painting is influenced by the views of the surrounding viewers, which, of course, hinder the intimization (optimization) of the observation process.
That is to say: the higher the level of autism of the bearer of vision, the higher the degree of his immersion in intimate layers.
But nevertheless, even in a minimally human substance-loaded environment, the distracting and scattering effects of light rays continue.
2.TURN OFF THE LIGHTS - LOOK AT THE PAINTINGS
Immersion in darkness brings the viewer into a position of becoming-individual (external influences act already as interiorized messages, the intersubjective is brought into the zone of acute subjectivity), which is brought to an optimal state when immersed in sleep.
Thus, viewing a luminous painting is likened to an irrealization of space along the lines of the effects of cinema, television, hallucination, and deepening into dreaming.
The swinging of the body-eyes towards the s/colored source (the painting) can cause it to unfold and subsequently reveal the bodily surface. The psychotropic light acts as a reference point and stimulant for the unfolding.
In this kind of operation, the iconography of the ocular stimulator gradually (and the sooner the better) loses its significance. Semiosis develops independently of the picture, because the darkened nature of the situation provokes the earliest possible transition to individuation and passage into the zone of impressions not of everyday reality.
1.TURN ON THE LIGHT - LOOK AT THE PICTURES
As we know, the structure of the human eye assumes the consideration of pictures in the light space.
Based on this immutable fact - the intimate nature of viewing is lost.
Standing in a museum (in any other non-cinema place) in daylight, the observer of a painting is influenced by the views of the surrounding viewers, which, of course, hinder the intimization (optimization) of the observation process.
That is to say: the higher the level of autism of the bearer of vision, the higher the degree of his immersion in intimate layers.
But nevertheless, even in a minimally human substance-loaded environment, the distracting and scattering effects of light rays continue.
2.TURN OFF THE LIGHTS - LOOK AT THE PAINTINGS
Immersion in darkness brings the viewer into a position of becoming-individual (external influences act already as interiorized messages, the intersubjective is brought into the zone of acute subjectivity), which is brought to an optimal state when immersed in sleep.
Thus, viewing a luminous painting is likened to an irrealization of space along the lines of the effects of cinema, television, hallucination, and deepening into dreaming.
The swinging of the body-eyes towards the s/colored source (the painting) can cause it to unfold and subsequently reveal the bodily surface. The psychotropic light acts as a reference point and stimulant for the unfolding.
In this kind of operation, the iconography of the ocular stimulator gradually (and the sooner the better) loses its significance. Semiosis develops independently of the picture, because the darkened nature of the situation provokes the earliest possible transition to individuation and passage into the zone of impressions not of everyday reality.