Van Eyck's "Miracle of Composition": Ante-Deleuzian Crystals of Space/Time in the Arnolfini Portrait
X-rays and lasers have extended human vision and multiplied its perspectives so greatly that even the perfectionist fifteenth-century philosopher Nicholas of Cusa might revise upward his low estimate of peoples' representations of reality through their perceptions, which suffer from being "...
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| Published in: | CTHEORY (Montreal) 2010-10, p.1 |
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| Main Author: | |
| Format: | Article |
| Language: | eng |
| Subjects: | |
| Online Access: | Get full text |
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| Summary: | X-rays and lasers have extended human vision and multiplied its perspectives so greatly that even the perfectionist fifteenth-century philosopher Nicholas of Cusa might revise upward his low estimate of peoples' representations of reality through their perceptions, which suffer from being "contracted to a sense organ." In the postmodern era, aesthetic experience, the very notion of looking, has been transformed for the viewer whose technologically enhanced gaze penetrates into the hidden dimensions of works such as Jan van Eyck's Arnolfini Portrait (1434). Derived from the efforts of specialists in modern optics, reflectographic analysis attests to the Portrait's ongoing allure, its magnetic ability to attract narratives around itself. Even a short view of the painting's intersections with modern critical analyses reveals a series of rubbings-out and repositionings ranking in number and quality with those executed by the painter himself. A holographer would recognize in the Portrait the crystallization of a holographic universe. |
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| ISSN: | 1190-9153 1190-9153 |