By Walter Benjamin
ISBN-10: 8806208349
ISBN-13: 9788806208349
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Additional resources for Aura e choc. Saggi sulla teoria dei media
Sample text
Sarà a questo recupero dell’esperienza tattile che Benjamin ricondurrà quei fenomeni suoi contemporanei - dall’arte dadaista al teatro di Brecht, al cinema -, che negando la distanziazione estetica rispondevano all’esigenza di «portarsi più vicino»25 le cose. Molti lettori di Riegl e di Wölfflin - ricordiamo Panofsky, Sedlmayr, Révész - si erano preoccupati di tenere rigorosamente separata la sfera della percezione fisiologica dell’uomo «naturale» dalla raffigurazione artistica, leggendo in chiave meramente metaforica la storicità della visione.
Vero e proprio «fisionomo»22 dell’arte, lo storico austriaco aveva affrontato la trattazione dello spazio nell’antichità prestando attenzione a una dimensione che potremmo chiamare di pragmatica dell’immagine, relativa cioè alla sua capacità di attirare presso di sé l’osservatore, invitandolo a una visione ravvicinata, o al contrario di respingerlo lontano, a distanza. Tale polarità - ben nota agli antichi e ai moderni - era stata rilanciata dal teorico e scultore Adolf von Hildebrand, che ne Il problema della forma nell'arte figurativa (1893), sulla scorta degli studi di ottica fisiologica di Helmholtz, aveva distinto il colpo d’occhio proprio del contemplare a distanza dall’esplorazione progressiva ravvicinata del percetto.
Russell, New Media and Film History: Walter Benjamin anà the Awakening of Cinema, in «Cinema Journal», XLIII (2004), n. 3, pp. 81-85; R. Bohn, Sendungsbewusstsein: Walter Benjamin und sein Medium, Könighausen & Neumann, Würzburg 2005; F. Casetti, L’occhio del Novecento. Cinema, esperienza, modernità, Bompiani, Milano 2005; M. Jay, Songs of Experience: Modem American and European Variations on a Universal Theme, University of California Press, Berkeley - Los Angeles - London 2005 (su Benjamin il cap.
Aura e choc. Saggi sulla teoria dei media by Walter Benjamin
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