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Photomontage: Between Fragmentation and Reconstruction of Experience

100%

Weichert K.

Eidos. A Journal for Philosophy of Culture

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2020

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vol. 4

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issue 1

7-22

EN

In the twentieth century, due to the development of mechanical reproduction and press, photomontage became a popular means of communication – popular and diverse in its nature and methods of exploitation (considering press in Germany or in the Soviet Union and individual works of art). It is one of the cultural phenomena related to the change of rhythm of life and a sense of its increased pace, and an impression of fragmentation of reality. This article questions the role of photomontage in such an experience. The said role is complex: sometimes photomontage allows for expression of that experience, and sometimes it is meant to evoke it, in the spirit of modernity; it is both a tool of agitation and critique. In order to answer this question I shall assume the approach of Walter Benjamin, who diagnoses the crisis of experience and the loss of storytelling skills – and describes the potential of photography. This potential is differently approached by artists and scholars who point out contradictory purposes and results of using photomontage. Referring to various works of art shall make it possible to define the tensions characteristic of photomontage. Due to its plasticity and the ambiguity of a photograph, and the potential for (de)contextualization and (de)construction, photomontage can function in a hard to understand, rapidly changing world and address the fragmentation of experience.

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The hermeneutics of the image – sensual appearance of sense

100%

Weichert K.

Estetyka i Krytyka

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2016

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issue 4(43)

187-202

EN

The task of the hermeneutics of the image is to grasp the sensual emergence of meaning, to describe the conditions of its forming and the possibilities for its understanding. Gottfried Boehm suggests an answer to the question about sensual sense and formulates the most important aspects of the potential for creation of meaning. This potential is rooted in iconic difference, which manifests itself both through the liberating power of contrast and as a relation between the part and the whole – that is, a relation between transitions, or consecutiveness, and the simultaneity of the image. Sensuality, which organises and articulates the pictorial meaning, remains unseen, even elusive – “empty” – though it drives the play of difference and oscillation.

3

The Role of Image and Imagination in Paul Ricoeur’s Metaphor Theory

100%

Weichert K.

Eidos. A Journal for Philosophy of Culture

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2019

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vol. 3

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issue 1(7)

64–77

EN

Paul Ricoeur uncovered the creative aspect of language in his theory of metaphor. The metaphor is a special combination of words that as a clash of distant semantic fields forces the reader to interpret the sentence in a new way and see things in a new light. It is a process in which the imagination plays an important role. Ricoeur compares the metaphor to the Kantian schema which is a procedure to provide an image to a concept. The image helps in the process of assimilating distant elements and thus to achieve a new interpretation. To change perspective the suspension of reference (imaginary neutralization) is also needed. The aim of this essay is to analyze the imaginative functions which are operative in the metaphor and look for an answer to the question about the role of the imagination as a productive power as well as a power of internal intuitions.

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2 Eidos. A Journal for Philosophy of Culture

1 Estetyka i Krytyka

3 Weichert K.

1 2020

1 2019

1 2016

Photomontage: Between Fragmentation and Reconstruction of Experience

The hermeneutics of the image – sensual appearance of sense

The Role of Image and Imagination in Paul Ricoeur’s Metaphor Theory