This essay deals with the relations of two regimes of visibility: painting and TV, which seem to be constituent of the cultural tradition of the West. The purpose is to analyze this relationship, following three strategies: the first outlines the genealogy that goes from the painting as a privileged mode of visual representation to the screen as a privileged way to simulate; the second traces the differences and the hibridations between Art and TV, contrasting the "reality shortage" which characterizes Art in relation to the excess of copies, reproductions and simulations of "The Real" that is characteristic of TV, lastly, forms of resistance to the Politics of Massive Production of TV images in the actual world are offered.
|Translated title of the contribution||MEDITATIONS ON THE SUPERFLUOUS: The Long Journey from the Painting to the TV Screen|
|Journal||Estudios de Filosofía|
|State||Published - Aug 1 2007|