Looking at the history of perspective we could suppose that a certain
type of perspective has been adapted to the contemporary viewer. To say
it rough, there is no big difference how this mechanism of adaptaion has
been
working in the Past and in the Present. And contemporary artist in his/her
installation takes in consideration "the factual standpoint of the
beholder"
as well as it happend in 17th century, when an artist had to paint on the
ceiling.
Another case is the case of the history of art, when the European beholder
ought to adapt him/herself today to the perspectival configuration in the
ancient
Egyptian or Indian art. In this case he/she has to accept certain
'symbolical'
convention (E.Panofsky. Die Perspective als "symbolische Form").
But in a peculiar case an artist could intensify beholder's perceptive
capacity.
We could consider this case as particular one in the general procces
of the evolution of human perception. But not every beholder is ready to
adapt all the forms
of the contemporary diversified visual space to her/his capacity of seeing.
For example, we have had an experience in which viewers
complained about headache, stomach ache and even sexual impotency. It
happened at
an exhibition where artists chanalled background radiation into the light
and acoustic waves.
Evolution of perception in its turn is connected with the general
techno-logical evolution of
the human being. This evolution might be traced in the morhogenesis of so
to say
esthetical evolution. Anthropogenesis as techno-logical evolution is
represented in forms of
prothesis', if to borrow this notion from Freud. Constant reorganisation of
human psychic
reality is correlated with techno-logo-genesis.
Olessia Tourkina, Viktor Mazin
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