{"id":32404,"date":"2013-06-26T06:39:21","date_gmt":"2013-06-26T06:39:21","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=32404"},"modified":"2015-02-07T16:25:15","modified_gmt":"2015-02-07T16:25:15","slug":"oblique-drawing-a-history-of-anti-perspective","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/oblique-drawing-a-history-of-anti-perspective\/","title":{"rendered":"<!--:es-->Oblique Drawing. A History of Anti-perspective<!--:--><!--:gl-->Oblique Drawing. A History of Anti-perspective<!--:--><!--:en-->Oblique Drawing. A History of Anti-perspective<!--:-->"},"content":{"rendered":"<p><!--:es--><\/p>\n<p style=\"text-align: justify;\">Es f\u00e1cil que muchos de los que lean estas l\u00edneas asocien el concepto de perspectiva a la lectura que de ella hizo Erwin Panofsky en el m\u00edtico <em>La perspectiva como forma simb\u00f3lica<\/em>. Durante a\u00f1os, los estudios de representaci\u00f3n visual han estado dominados por las interpretaciones de Panofsky. No es mala se\u00f1al que Massimo Scolari rescate en <em>Oblique Drawing<\/em> una visi\u00f3n mucho m\u00e1s amplia que discuta la jerarqu\u00eda de la perspectiva central en la historia.<\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-32405\" title=\"oblique_drawing\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing.jpg\" alt=\"\" width=\"620\" height=\"929\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing-200x300.jpg 200w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">Empezando por Panofsky y sus famosas \u201cconferencias\u201d del Instituto Warburg, podemos recuperar una idea fundamental: en la definici\u00f3n de la perspectiva de cada \u00e9poca tiene m\u00e1s importancia la concepci\u00f3n del mundo que la propia percepci\u00f3n visual.<\/p>\n<p style=\"text-align: justify;\">Esta premisa, llevada a cualquier tipo de representaci\u00f3n visual, es compartida por Scolari, quien considera las im\u00e1genes no solo como una forma de arte, sino como una forma de pensamiento. Al igual que Panofsky, el acercamiento de Scolari a la representaci\u00f3n visual y conceptual es un acercamiento a las manifestaciones filos\u00f3ficas e ideol\u00f3gicas de cada cultura.<\/p>\n<p style=\"text-align: justify;\">[&#8230;]<\/p>\n<p>David H. Falag\u00e1n<\/p>\n<p><a href=\"http:\/\/www.arquilecturas.com\/2013\/06\/axonometria-como-forma-simbolica.html\" target=\"_blank\"><span style=\"color: #888888;\">+ art\u00edculo publicado en arquilectura<\/span><\/a><\/p>\n<p><iframe loading=\"lazy\" style=\"width: 120px; height: 240px;\" src=\"http:\/\/rcm-eu.amazon-adsystem.com\/e\/cm?t=veredes-21&amp;o=30&amp;p=8&amp;l=as1&amp;asins=0262017741&amp;ref=tf_til&amp;fc1=000000&amp;IS2=1&amp;lt1=_blank&amp;m=amazon&amp;lc1=ED9913&amp;bc1=000000&amp;bg1=FFFFFF&amp;f=ifr\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" width=\"320\" height=\"240\"><\/iframe> <iframe src=\"http:\/\/rcm-eu.amazon-adsystem.com\/e\/cm?t=wwwveredeses-21&#038;o=30&#038;p=8&#038;l=as1&#038;asins=0847803171&#038;ref=tf_til&#038;fc1=E9940D&#038;IS2=1&#038;lt1=_blank&#038;m=amazon&#038;lc1=575760&#038;bc1=FFFFFF&#038;bg1=FFFFFF&#038;f=ifr\" style=\"width:120px;height:240px;\" scrolling=\"no\" marginwidth=\"0\" marginheight=\"0\" frameborder=\"0\"><\/iframe><br \/>\n<!--:--><!--:gl--><\/p>\n<p style=\"text-align: justify;\">\u00c9 f\u00e1cil que moitos dos que lean estas li\u00f1as asocien o concepto de perspectiva \u00e1 lectura que dela fixo Erwin Panofsky no m\u00edtico<em> A perspectiva como forma simb\u00f3lica<\/em>. Durante anos, os estudos de representaci\u00f3n visual estiveron dominados polas interpretaci\u00f3ns de Panofsky. Non \u00e9 malo sinal que Massimo Scolari rescate en <em>Oblique Drawing<\/em> unha visi\u00f3n moito m\u00e1is ampla que discuta a xerarqu\u00eda da perspectiva central na historia.<\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-32405\" title=\"oblique_drawing\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing.jpg\" alt=\"\" width=\"620\" height=\"929\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing-200x300.jpg 200w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">Empezando por Panofsky e as s\u00faas famosas \u201cconferencias\u201d do Instituto Warburg, podemos recuperar unha idea fundamental: na definici\u00f3n da perspectiva de cada \u00e9poca ten m\u00e1is importancia a concepci\u00f3n do mundo que a propia percepci\u00f3n visual.<\/p>\n<p style=\"text-align: justify;\">Esta premisa, levada a calquera tipo de representaci\u00f3n visual, \u00e9 compartida por Scolari, quen considera as imaxes non s\u00f3 como unha forma de arte, sen\u00f3n como unha forma de pensamento. Do mesmo xeito que Panofsky, o achegamento de Scolari \u00e1 representaci\u00f3n visual e conceptual \u00e9 un achegamento \u00e1s manifestaci\u00f3ns filos\u00f3ficas e ideol\u00f3xicas de cada cultura.<\/p>\n<p style=\"text-align: justify;\">[&#8230;]<\/p>\n<p>David H. Falag\u00e1n<\/p>\n<p><a href=\"http:\/\/www.arquilecturas.com\/2013\/06\/axonometria-como-forma-simbolica.html\" target=\"_blank\"><span style=\"color: #888888;\">+ artigo publicado en arquilectura<\/span><\/a><\/p>\n<p><iframe loading=\"lazy\" style=\"width: 120px; height: 240px;\" src=\"http:\/\/rcm-eu.amazon-adsystem.com\/e\/cm?t=veredes-21&#038;o=30&#038;p=8&#038;l=as1&#038;asins=0262017741&#038;ref=tf_til&#038;fc1=000000&#038;IS2=1<1=_blank&#038;m=amazon&#038;lc1=ED9913&#038;bc1=000000&#038;bg1=FFFFFF&#038;f=ifr\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" width=\"320\" height=\"240\"><\/iframe> <iframe src=\"http:\/\/rcm-eu.amazon-adsystem.com\/e\/cm?t=wwwveredeses-21&#038;o=30&#038;p=8&#038;l=as1&#038;asins=0847803171&#038;ref=tf_til&#038;fc1=E9940D&#038;IS2=1&#038;lt1=_blank&#038;m=amazon&#038;lc1=575760&#038;bc1=FFFFFF&#038;bg1=FFFFFF&#038;f=ifr\" style=\"width:120px;height:240px;\" scrolling=\"no\" marginwidth=\"0\" marginheight=\"0\" frameborder=\"0\"><\/iframe>\n<\/p>\n<p><!--:--><!--:en--><\/p>\n<p style=\"text-align: justify;\">It is easy that many of that read these lines associate the concept of perspective with the reading that of her Erwin Panofsky did in the mythical one <em>The perspective as symbolic form<\/em>. For years, the studies of visual representation have been dominated by Panofsky&#8217;s interpretations. It is not a bad sign that Massimo Scolari rescues in <em>Oblique Drawing<\/em> a vision much more wide that it discusses the hierarchy of the central perspective in the history.<\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-32405\" title=\"oblique_drawing\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing.jpg\" alt=\"\" width=\"620\" height=\"929\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/06\/oblique_drawing-200x300.jpg 200w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\">Beginning for Panofsky and his famous \u201cconferences\u201d of the Institute Warburg, we can recover a fundamental idea: in the definition of the perspective of every epoch more importance has the conception of the world that the own visual perception.<\/p>\n<p style=\"text-align: justify;\">This premise led to any type of visual representation, is shared by Scolari, who considers the images to be not alone as a form of art, but as a form of thought. As Panofsky, Scolari&#8217;s approximation to the visual and conceptual representation is an approximation to the philosophical and ideological manifestations of every culture.<\/p>\n<p style=\"text-align: justify;\">[&#8230;]<\/p>\n<p>David H. Falag\u00e1n<\/p>\n<p><a href=\"http:\/\/www.arquilecturas.com\/2013\/06\/axonometria-como-forma-simbolica.html\" target=\"_blank\"><span style=\"color: #888888;\">+ article is published in arquilectura<\/span><\/a><\/p>\n<p><iframe loading=\"lazy\" style=\"width: 120px; height: 240px;\" src=\"http:\/\/rcm-eu.amazon-adsystem.com\/e\/cm?t=veredes-21&#038;o=30&#038;p=8&#038;l=as1&#038;asins=0262017741&#038;ref=tf_til&#038;fc1=000000&#038;IS2=1<1=_blank&#038;m=amazon&#038;lc1=ED9913&#038;bc1=000000&#038;bg1=FFFFFF&#038;f=ifr\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" width=\"320\" height=\"240\"><\/iframe> <iframe src=\"http:\/\/rcm-eu.amazon-adsystem.com\/e\/cm?t=wwwveredeses-21&#038;o=30&#038;p=8&#038;l=as1&#038;asins=0847803171&#038;ref=tf_til&#038;fc1=E9940D&#038;IS2=1&#038;lt1=_blank&#038;m=amazon&#038;lc1=575760&#038;bc1=FFFFFF&#038;bg1=FFFFFF&#038;f=ifr\" style=\"width:120px;height:240px;\" scrolling=\"no\" marginwidth=\"0\" marginheight=\"0\" frameborder=\"0\"><\/iframe>\n<\/p>\n<p><!--:--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Es f\u00e1cil que muchos de los que lean estas l\u00edneas asocien el concepto de perspectiva a la lectura que de ella hizo Erwin Panofsky en el m\u00edtico La perspectiva como forma simb\u00f3lica. Durante a\u00f1os, los estudios de representaci\u00f3n visual han estado dominados por las interpretaciones de Panofsky. No es mala se\u00f1al que Massimo Scolari rescate [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":32405,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[794,26],"tags":[12449,399,3432,424,8044,580,586,668,6957,8045,8043,1021,3659,2066],"class_list":["post-32404","post","type-post","status-publish","format-standard","has-post-thumbnail","category-libros","category-publicaciones","tag-arte","tag-cultura","tag-david-hernandez-falagan","tag-dibujo","tag-erwin-panofsky","tag-filosofia","tag-forma","tag-historia","tag-ideologia","tag-instituto-warburg","tag-massimo-scolari","tag-pensamiento","tag-perspectiva","tag-proyectar"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Oblique Drawing. A History of Anti-perspectiveOblique Drawing. A History of Anti-perspectiveOblique Drawing. 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