IMAGE, BODIES , have a living repertory where

IMAGE, BODY AND MEDIUM :

images however are constrained by time, regardless of how peculiar(personal) they are. media also acts in the same – (also time-bound) 

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the interplay between body and images require a third parameter , which is the medium. the medium behaves as a vector force. it operates as a moderator for that image. Images require/demand media, to appear to the body. the body behaves as a living medium by collecting, converting and communicating/translating the images. it is with the medium of the body that one can differentiate the media from its images.

–  the triangle of image , body and medium . 
the medium is the technological – that conveys an image , it is anything that allows that image to become apparent/observable. 
the body is the living body of the viewer/beholder.
the image must be neither detached nor confused with its media  (the science of its medium) , when detached, they become figments and when confused , they turn into nothing more than (techniques). 
media gives birth/conceives fabricated/factious bodies, by controlling their visible display ,”media gives them visibility” 
media brings means to an end, where the image is exchanged and the goal is (culture/)education
these corresponded ideas maintain a position within the (collective memory) 
the body presents the image of a unified body, a site of the images in which cultures derive 
images of today wander/travel to other grounds into a new spatiality of time , but its culture that lingers on. 

one’s body acts as a ”living media” and not one as produced(fabricated)media . for images depend on two physical actions (or two corporal ventures/moves) , one of  fabrication/ formation and one of perception. 
– (OUR BODIES , have a living repertory where our INTERNAL IMAGES connect with the PHYSICAL PRODUCTION of EXTERNAL PICTURES(why pictures?) that we stage in the SOCIAL REALM.)

?but it is important to note that the body undertakes a twofold existence, ”between medium and image”
?the body is turned/becomes/take the role of an image

Plato : ” one can only remember a BODY that one has seen with one’s own body ” 
alterations/modifications in bodily concepts less to modification in the imagery, hence the relationship between the body and the image is one of (analogy) . 

The presence of the image requires the – of activation (animation but can’t use it), through which one’s thought is deduced from the medium. For it is the viewer that generates the image inside of his own being. For example, a statue is present physically within a space, however, it also survives/persists to be (present) existing as an image – old madonna

HISTORY OF IMAGE(but it also has body and medium so could fit into the fourth)  : (DON’T KNOW WHERE TO PLACE THIS SECTION , I IWLL FIX IT AND ASK WHERE DOES IT FIT , )

     In ancient times, the medium was imperative in funeral rituals, where mortals desired to SWIPE/change their bodies for an image, one that survives the pace of time, where immortality was their aim.
The history of imagery then does not go back to painting or portraits; it was first brought to life through the coat of arms (see in which times) . the making of these images was born out of social aspiration, in order to flaunt civil tenacity . The coat of arms does not portray a real individualistic face, but an ancestral one, a hereditary one. It carries the social status of a person or its kin. It was a tool to exhibit strength, manifested by the right to be portrayed rather than the final act of depiction . The coat of arms controlled the body, whose existence it extended in both time and space. It was standing as another body in between that of its owner and that of its opponent. Here, the existence of the image turned to be more meaningful than the resemblance to the actual body.

It is important to note that an image embodies a cerebral image, whilst a medium possesses a tangible nature, even if they grow into one entity within our understanding.

     It is inevitable to say that, the coat of arms was the leading force responsible for the growth of the portrait, one that aimed at the representation of the intricate relationship between the body, image and its medium. 
Moving within that realm of social superiority, emerged the painting (era?), where only those subjects who were seen as worth being remembered, were portrayed. The portrait was merely appointed to entitled benefactors within the religious background or for the disheartenment of ancestors in burial ceremonies. Those portrayed were seeking a public representation that would outlive their bodily life, they relied upon the image for it to evolve into a body.  
” Through PAINTING the FACES of the DEAD go on living for a very long time ” Leon Batista Alberti . 
Painting overcomes death by providing the memorization of an image. Hence, a portrait captures a person that has once inhabited a body, in the way it is now seen in the image.
with this act of replica, the act of portrayal was an indication of statutory status . the power of the gaze was enhanced, in a way where the face is looking directly towards the viewer.

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