[et_pb_section fb_built=\u00bb1″ fullwidth=\u00bbon\u00bb _builder_version=\u00bb4.16″ global_colors_info=\u00bb{}\u00bb][et_pb_fullwidth_image src=\u00bbhttp:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/fontana.jpg\u00bb _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb]
\n[\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.16″ background_color=\u00bb#0bb4ba\u00bb vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ custom_padding=\u00bb2px||0px|||\u00bb box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_row use_custom_gutter=\u00bbon\u00bb gutter_width=\u00bb1″ make_equal=\u00bbon\u00bb _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ custom_padding=\u00bb||0px|||\u00bb z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text _builder_version=\u00bb4.16″ text_font=\u00bbAlegreya SC|||on|||||\u00bb vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ width=\u00bb99.9%\u00bb custom_margin=\u00bb|-174px|-18px|-119px||\u00bb custom_padding=\u00bb|3px|31px|210px||\u00bb z_index_tablet=\u00bb0″ text_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb text_text_shadow_vertical_length_tablet=\u00bb0px\u00bb text_text_shadow_blur_strength_tablet=\u00bb1px\u00bb link_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb link_text_shadow_vertical_length_tablet=\u00bb0px\u00bb link_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ul_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ul_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ul_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ol_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ol_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ol_text_shadow_blur_strength_tablet=\u00bb1px\u00bb quote_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb quote_text_shadow_vertical_length_tablet=\u00bb0px\u00bb quote_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_2_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_2_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_2_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_3_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_3_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_3_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_4_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_4_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_4_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_5_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_5_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_5_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_6_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_6_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_6_text_shadow_blur_strength_tablet=\u00bb1px\u00bb box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n
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Image, Empathy, Motion<\/span><\/p>\n From Warburg to Experimental Aesthetics [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.16″ global_colors_info=\u00bb{}\u00bb][et_pb_row column_structure=\u00bb1_4,3_4″ _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb1_4″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_image src=\u00bbhttp:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/MedusaCaravaggio.jpg\u00bb _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb] In 1872 Charles Darwin's book La expresi\u00f3n de las emociones en el hombre y en los animales<\/em> The book presented a detailed study illustrated through photographs of the human gestural universe. The influence of Darwin's theory among social disciplines is sufficiently well known, although this book has been curiously forgotten. The interest in emotions and their bodily expression was also a subject of study for artists, a recurring place in sketches and drawings. From the History of Art, shortly after Darwin's book was published, in Germany and Austria a field of study began to take shape based on the contributions of psychology and ethnology of the German aesthetic tradition (Lotze, Vischer, Bastian, Warburg) and the tradition of the biology of art (Pitt Rivers, Haddon, Holmes, Stolpe). These approaches raised the possibility of studying visual thinking in human beings, rather than the interpretation of European art, and influenced theorists such as Aby Warburg, for whom the mental representation associated with a material impression can go far beyond what is contained in the image. In his notes on his visit to the Pueblo Indians in 1895, Aby Warburg expressed his weariness with an \u201caesthetic art history\u201d that was based on formal treatments that did not take into account the image. The library that he took such care to stock had a clear objective: to be \u201ca collection of documents that refer to the psychology of human expression.\u201d For Warburg, art history had limited its vision, leaving aside what was for him, a \u201chistorical psychology of human expression.\u201d<\/p>\n Most modern theories of representation have taken different approaches, emphasizing what Ernst Gombrich has called the beholder\u2019s share. Krois (2012) points out precisely how in these theories, attention has shifted from the represented object to human activities: seeing-in (R. Wollhein), the experience of similarity (C. Peacocke), symbolic interpretation (N. Goodman) or the perceptual capacity to recognize (F. Schier, D. Lopes, J. Kulvicki or L. Wiesing). In the late 1980s, David Freedberg again raised the question of the behavior and reactions of art viewers to a work of art. At that time, Freedberg\u2019s work was oriented towards emotional responses to images as symptoms rather than the relationship between how images are seen and the responses they provoke. In his most recent work, he has begun to evaluate the potential of a formal analysis in relation to how objects are seen and how people respond to them. The relationship between visual configurations and emotions is far from being a resolved issue. The approaches are truly diverse and the long list of classifications proposed throughout history configure the coordinates of a debate that is still not considered closed<\/p>\n Current studies from the contributions of neuroscience have reopened the question of the connection between emotion and image. From the history of art, works such as those of James Elkins have begun to investigate this aspect, allowing us to glimpse differences between paintings and sculptures in their way of producing emotions and responses, something that is undoubtedly linked to the relationship between vision and touch. On the other hand, Freedberg has proposed to think about the connection between art, emotion, body and brain incorporating the contributions of neuroscience. Without a doubt, in the concept of Pathosformeln<\/em> In Warburg's work, these elements are also a common theme, since it is a concept that seeks to understand how the body engages with images and how it responds emotionally to them. Warburg and other theorists such as Vischer, Lotze and later Maurice Merleau-Ponty, explored the idea that the feeling of physical involvement in an image provoked both a sensation that tended to imitate movement and the generation or accentuation of emotive responses in viewers. These ideas have given a central role to the body, recovered with great interest in the field of neuroscience (Gallese, 2002; 2012;2017) (Rizzolatti, 1992) (Zeki, 1999) and cognitive archaeology (Renfrew, 2008).\u00a0<\/p>\n This line of research is based on the recognition that there is an intrinsic power of form that forces us to understand that the image cannot be placed before or behind reality since it is not its consequence but the form of its condition (Bredekamp, \u200b\u200b2015). The image as an act refers to how and why images influence the way people think, act and feel. This ego of the image as created artifacts has the capacity to form the subject. In this sense, according to Krois (2012), images are active as long as they are capable of incorporating information and our body is a sensory-motor perceptual complex. Confronting an image is testing our knowledge about visual configurations, adapting our analysis methods to understand the specificity of the visual dimension<\/p>\n The publication The neurology of kinetic art<\/em> E. Zeki and M. Lamb introduced the concept of neuroaesthetics. In general terms, these studies have pointed out that perception is not an act of recording stimuli but a reconstruction. The brain reworks and interprets from cognitive schemes and internal representations. Perception is influenced and transformed by a complex series of processes that demonstrate that perceiving is an act of imagining. The suggestive contributions of Vittorio Gallese from the perspective of the experimental aesthetics<\/em>, open up new questions for the study of a model of perception based on the concept of simulated embodiment. As Vittorio Gallese points out, current studies show that seeing is not an act of recognizing or capturing in our brain what is before our eyes, but a complex construction whose result is the product of the fundamental contribution of our body with its motor potential, our senses and emotions, our imagination and our memories. The body-brain relationship, understood as a system, has shown how corporality plays a decisive role in cognitive processes, unlike the perspectives linked to classical cognitivism, according to which our sensations and emotions acquire meaning only when they become the object of a representation in linguistic terms.<\/p>\n \n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.16″ global_colors_info=\u00bb{}\u00bb][et_pb_row _builder_version=\u00bb4.16″ background_size=\u00bbinitial\u00bb background_position=\u00bbtop_left\u00bb background_repeat=\u00bbrepeat\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.16″ custom_padding=\u00bb|||\u00bb global_colors_info=\u00bb{}\u00bb custom_padding__hover=\u00bb|||\u00bb][et_pb_text _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ text_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb text_text_shadow_vertical_length_tablet=\u00bb0px\u00bb text_text_shadow_blur_strength_tablet=\u00bb1px\u00bb link_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb link_text_shadow_vertical_length_tablet=\u00bb0px\u00bb link_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ul_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ul_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ul_text_shadow_blur_strength_tablet=\u00bb1px\u00bb ol_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb ol_text_shadow_vertical_length_tablet=\u00bb0px\u00bb ol_text_shadow_blur_strength_tablet=\u00bb1px\u00bb quote_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb quote_text_shadow_vertical_length_tablet=\u00bb0px\u00bb quote_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_2_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_2_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_2_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_3_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_3_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_3_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_4_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_4_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_4_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_5_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_5_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_5_text_shadow_blur_strength_tablet=\u00bb1px\u00bb header_6_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb header_6_text_shadow_vertical_length_tablet=\u00bb0px\u00bb header_6_text_shadow_blur_strength_tablet=\u00bb1px\u00bb box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb]<\/p>\n Projects<\/strong><\/span><\/p>\n<\/blockquote>\n [\/et_pb_text][et_pb_filterable_portfolio fullwidth=\u00bboff\u00bb include_categories=\u00bb89″ _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ title_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb title_text_shadow_vertical_length_tablet=\u00bb0px\u00bb title_text_shadow_blur_strength_tablet=\u00bb1px\u00bb filter_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb filter_text_shadow_vertical_length_tablet=\u00bb0px\u00bb filter_text_shadow_blur_strength_tablet=\u00bb1px\u00bb caption_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb caption_text_shadow_vertical_length_tablet=\u00bb0px\u00bb caption_text_shadow_blur_strength_tablet=\u00bb1px\u00bb pagination_text_shadow_horizontal_length_tablet=\u00bb0px\u00bb pagination_text_shadow_vertical_length_tablet=\u00bb0px\u00bb pagination_text_shadow_blur_strength_tablet=\u00bb1px\u00bb box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb box_shadow_horizontal_image_tablet=\u00bb0px\u00bb box_shadow_vertical_image_tablet=\u00bb0px\u00bb box_shadow_blur_image_tablet=\u00bb40px\u00bb box_shadow_spread_image_tablet=\u00bb0px\u00bb text_shadow_horizontal_length_tablet=\u00bb0px\u00bb text_shadow_vertical_length_tablet=\u00bb0px\u00bb text_shadow_blur_strength_tablet=\u00bb1px\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_filterable_portfolio][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00bb4.19.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.19.4″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_text _builder_version=\u00bb4.19.4″ _module_preset=\u00bbdefault\u00bb hover_enabled=\u00bb0″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″]<\/p>\n <\/blockquote>\n Marina Guti\u00e9rrez De Angelis; L\u00f3pez de Munain, Gorka. \u00abPatrimonio cultural y entornos virtuales. Aportes te\u00f3ricos desde los estudios de la imagen y la est\u00e9tica experimental\u00bb, III Simposio Internacional de Cultura Visual 2020-2021, La interdisciplinariedad en el estudio de la imagen, Valencia,27-29 de octubre de 2021.<\/p>\n Marina Guti\u00e9rrez De Angelis; L\u00f3pez de Munain, Gorka. \u00abPatrimonio Cultural y conocimiento: Propuestas para el dise\u00f1o de una experiencia inmersiva basada en Realidad Mixta para el sitio arqueol\u00f3gico Cueva de las Manos (Argentina)\u00bb, HDH2021, Santiago de Compostela, Espa\u00f1a, 4-8 octubre de 2021.<\/p>\n Marina Guti\u00e9rrez De Angelis, \u00abAntropolog\u00eda visual expandida: grafismo parietal y realidad mixta en el sitio arqueol\u00f3gico Cueva de las Manos (Argentina)\u00bb, Revista de Antropolog\u00eda Visual, N\u00famero 29 \u2013 Santiago, Chile, 2021, pp. 1\/20 pp<\/a><\/p>\n Marina Guti\u00e9rrez De Angelis, Greta Winckler et al., \u201dRethinking Paleolithic Visual Culture\u201d, View. Theories and Practices of Visual Culture<\/i> 25 (2019)<\/a><\/p>\n
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\n[\/et_pb_image][et_pb_divider show_divider=\u00bboff\u00bb _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_divider][et_pb_divider show_divider=\u00bboff\u00bb _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_divider][et_pb_image src=\u00bbhttp:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/sanlorenzobernini.jpg\u00bb _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb]
\n[\/et_pb_image][et_pb_divider show_divider=\u00bboff\u00bb _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_divider][et_pb_divider show_divider=\u00bboff\u00bb _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_divider][et_pb_image src=\u00bbhttp:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/fontana.jpeg\u00bb _builder_version=\u00bb4.16″ vertical_offset_tablet=\u00bb0″ horizontal_offset_tablet=\u00bb0″ z_index_tablet=\u00bb0″ box_shadow_horizontal_tablet=\u00bb0px\u00bb box_shadow_vertical_tablet=\u00bb0px\u00bb box_shadow_blur_tablet=\u00bb40px\u00bb box_shadow_spread_tablet=\u00bb0px\u00bb global_colors_info=\u00bb{}\u00bb]
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Publications<\/strong><\/h3>\n