The Emblematic Divide: Contemplating Reality, the Imaginary and Perception in Photographic Practices
| dc.contributor.advisor | Brundrit, Jean | |
| dc.contributor.advisor | Inggs, Stephen | |
| dc.contributor.author | Tanner, Nicolas | |
| dc.date.accessioned | 2024-03-11T13:30:10Z | |
| dc.date.available | 2024-03-11T13:30:10Z | |
| dc.date.issued | 2020 | |
| dc.date.updated | 2024-03-11T12:21:51Z | |
| dc.description.abstract | In The Four Fundamental Concepts of Psychoanalysis, Seminar XI, the psychoanalyst Jacques Lacan (1977) recounts the ancient Greek parable of the contest between the Zeuxis and Parrhasios, two artists competing to paint the most convincing trompe l'oeil painting. In the first instance, Zeuxis painted grapes so perfectly that birds flew down from the sky to peck on them. Satisfied with his undertaking, he then turns to Parrhasios and asks him to lift the veil to see the painting behind it – failing to realise that the veil itself is the lifelike painting. Naturally, Parrhasios won the competition. This is not due to any superior technical mastery, but because his painting reveals an interesting conception relating to the very nature of human perception. That is to say, perception is never ‘neutral', we never simply see reality ‘as it is' – there is always an underlying psychic economy of (unconscious) hopes, fears, and desires which structures our very perception of reality itself. | |
| dc.identifier.apacitation | Tanner, N. (2020). <i>The Emblematic Divide: Contemplating Reality, the Imaginary and Perception in Photographic Practices</i>. (). ,Faculty of Humanities ,Michaelis School of Fine Art. Retrieved from http://hdl.handle.net/11427/39235 | en_ZA |
| dc.identifier.chicagocitation | Tanner, Nicolas. <i>"The Emblematic Divide: Contemplating Reality, the Imaginary and Perception in Photographic Practices."</i> ., ,Faculty of Humanities ,Michaelis School of Fine Art, 2020. http://hdl.handle.net/11427/39235 | en_ZA |
| dc.identifier.citation | Tanner, N. 2020. The Emblematic Divide: Contemplating Reality, the Imaginary and Perception in Photographic Practices. . ,Faculty of Humanities ,Michaelis School of Fine Art. http://hdl.handle.net/11427/39235 | en_ZA |
| dc.identifier.ris | TY - Thesis / Dissertation AU - Tanner, Nicolas AB - In The Four Fundamental Concepts of Psychoanalysis, Seminar XI, the psychoanalyst Jacques Lacan (1977) recounts the ancient Greek parable of the contest between the Zeuxis and Parrhasios, two artists competing to paint the most convincing trompe l'oeil painting. In the first instance, Zeuxis painted grapes so perfectly that birds flew down from the sky to peck on them. Satisfied with his undertaking, he then turns to Parrhasios and asks him to lift the veil to see the painting behind it – failing to realise that the veil itself is the lifelike painting. Naturally, Parrhasios won the competition. This is not due to any superior technical mastery, but because his painting reveals an interesting conception relating to the very nature of human perception. That is to say, perception is never ‘neutral', we never simply see reality ‘as it is' – there is always an underlying psychic economy of (unconscious) hopes, fears, and desires which structures our very perception of reality itself. DA - 2020 DB - OpenUCT DP - University of Cape Town KW - Fine Arts LK - https://open.uct.ac.za PY - 2020 T1 - ETD: The Emblematic Divide: Contemplating Reality, the Imaginary and Perception in Photographic Practices TI - ETD: The Emblematic Divide: Contemplating Reality, the Imaginary and Perception in Photographic Practices UR - http://hdl.handle.net/11427/39235 ER - | en_ZA |
| dc.identifier.uri | http://hdl.handle.net/11427/39235 | |
| dc.identifier.vancouvercitation | Tanner N. The Emblematic Divide: Contemplating Reality, the Imaginary and Perception in Photographic Practices. []. ,Faculty of Humanities ,Michaelis School of Fine Art, 2020 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/39235 | en_ZA |
| dc.language.rfc3066 | eng | |
| dc.publisher.department | Michaelis School of Fine Art | |
| dc.publisher.faculty | Faculty of Humanities | |
| dc.subject | Fine Arts | |
| dc.title | The Emblematic Divide: Contemplating Reality, the Imaginary and Perception in Photographic Practices | |
| dc.type | Thesis / Dissertation | |
| dc.type.qualificationlevel | Masters | |
| dc.type.qualificationlevel | MA |