Non-classical subject of vision. Part II
Philosophy
DOI:
https://doi.org/10.17072/2078-7898/2021-3-423-432Keywords:
визуальная культура, современный субъект, мерцающий субъект, гибридный объект, Воображаемое, Сартр, Диди-Юберман, диалектический образAbstract
The article is a continuation of the previous article Non-Classical Subject of Vision. Part I and is devoted to the analysis of the eventivity of a non-classical subject. The analysis of non-classical subjectivity in the article is based on the three-part mechanism of the power of distance, power of gaze and power of memory proposed by W. Benjamin. The concept of the image as a mediator through which the subject regains the lost distance with the world is discussed. The article deals with the concepts of the non-classical subject of visuality by J.-P. Sartre and G. Didi-Huberman as different types of transformation of the power of gaze and the role of memory in non-classical vision. Important elements of the concept of «scanty image» by J.-P. Sartre are analyzed: criticism of the naive understanding of the immanence of consciousness and the world, criticism of images as a weak copy of the object of observation, the development of a specific givenness of a thing in an image through its distant present absence. It is shown that the theory of «scanty image» breaks the unreal objects of visual consciousness and the sensually perceived world into two poles that are not connected with each other. Therefore, in Sartre’s concept, the relationship with the world — both in visual and sensory comprehension of reality, turns out to be problematic. In the theory of G. Didi-Huberman, built on the reorganization of the understanding of the aura in technically reproducible art, a deeper understanding of the image is given. The presence as well as the absence of things of the world do not appear as separate from each other, but turn out to be the dialectical unity of the game of near and far (Fort-Da). The article discusses this dialectical understanding of the relationship between the man and the world, which acts as an incessant rhythm of approaching and removing a visible object. In this eventful space of a vision (D. Joselit) turns a thing into a hybrid object, and the person appears as a flickering subject of vision.References
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