Bredekamp’s “image act”: ontology and presence of visual artefacts

Authors

  • Frederico Feitoza

DOI:

https://doi.org/10.11606/issn.2316-7114.sig.2022.181203

Keywords:

Image act, Visual artefact, Gaze

Abstract

Images are living entities that assault the eyes. This is the motto behind the concept of “image act” developed by German art historian Horst Bredekamp, who proposed to rethink a problematic topic in image studies: its dependence on linguistic theory-based models. On his systematic study of several visual artefacts since prehistory, he proposes three variations of this image act – schematic, substitutive and intrinsic –, which act individually, through a specific latent force, on the eyes and body of the spectator. In this study, we seek to introduce and contextualize this concept, explaining its three variations to, then, evidence and conclude the existence of both the ontological dimension of the visual artefacts and its inhuman autonomy.

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Author Biography

  • Frederico Feitoza

    Doutor em Comunicação pela Universidade Federal de Pernambuco (UFPE). Mestre em Comunicação pela mesma instituição. Fez estágio de doutoramento (Capes) na Universidade de Leeds, Reino Unido. Formado em Jornalismo pela Universidade Estadual da Paraíba (UEPB) e especialista em Jornalismo Cultural pela Fundação Francisco Mascarenhas.

References

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Published

2022-02-04

Issue

Vol. 49 No. 57 (2022): Arlindo Machado: Conceitos e processos poéticos nas comunicações e artes (II)

Section

Articles

License

Copyright (c) 2022 Frederico Feitoza

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How to Cite

Bredekamp’s “image act”: ontology and presence of visual artefacts. (2022). Significação: Journal of Audiovisual Culture, 49(57), 181-197. https://doi.org/10.11606/issn.2316-7114.sig.2022.181203