Alessia Gennari Voyeurism tactile, that is, when the eye loses its intangible and immaterial dimension you touch, contact, involvement and full penetration. When the use ceases to be a distance "vision" becomes a groping and pushed the limits of the permissible. When art gives way and "touch" through the eyes, every fiber of the body of the observer.
The "touch voyeurism" as a category of the enjoyment of contemporary art Maddalena is the view taken by Mis-Mazzocut in his essay Voyeurism tactile, visual and tactile aesthetic values, published by The Melangolo in 2002. In it, the author takes a journey through contemporary art, especially of type "performative" in search of an answer to the question of whether or not we can still talk about art in our time. The answer, obvious, is that art is certainly still alive and that what has changed is not so much (or only) the aesthetic paradigm, as the fruit.
reflection of the author uses an important theoretical framework, which refers to aesthetics, particularly in the eighteenth century, and theories regarding the relations existing between the two directions in play: the touch and sight. First stop, the discussion of the note issue raised by William Molyneux in 1693, which opened one of the biggest debates in the history of philosophy (still unsolved), a blind man who has learned to distinguish, by means of touch, a sphere from the cube, may, once restored, to distinguish the two forms using the mere sight? Sight and touch are therefore complementary bodies or each of them acts overwhelming cognitive abilities of the other? If you can talk to the blind, in fact, a dictatorship of feel that, in cases of recovery from blindness, often makes it difficult if not impossible, to adapt the functioning of the sense of sight, in the sighted world there is a back view of the dominance over the other senses, rather than coming to the physical and then placed in the lowest rung of the hierarchy. And if having a dialogue with the beauty, indeed, is the responsible way, touch is rather entrusted with the management of relations with disgust, feeling far more speculative physics.
Contemporary art comes to rescue at this point touch. Triumph with their naked bodies, their sections exhibited, their fluids (blood, tears, semen, sweat), their miasma, sensations, pain, horror. Triumph for the physical (Defined as volume, weight, size) wins and a use of proximity (that of touch), to the detriment of the distance prescribed by the glance. Restore dignity to the touch is cognitive and not only: the most authentic vision of lies, just by touching it captures the truth of physical reality. Not that contemporary art is to touch, rather than to see. It is the view, rather, on whether to incorporate the use of tactile features: proximity, contact and, above all, loyalty.
The enjoyment of contemporary art is in fact a use "in detail" observed parties, special areas, the eye acts like a hand probe progression surfaces without being able to grasp the entirety. A detailed view, then, that lingers on the especially rough, in a voyeuristic: the morbidity is not only justified but actually required, the private sphere of the intimate and powerfully enter into the eye of the viewer, who can not help but touch , not "hand" but rather "eye", the object dissected before his eyes. It is precisely this "fragmentation" is the secret of use: we can tolerate some expressions of contemporary art, the most extreme and painful, just because the face "to groping, groping here and there and experimenting with the look alone senses, emotions, passions.
different from the simple mode of touch, that should also be redeemed and should be reconsidered in its role as a "poor relation of sight", also different from a simple haptic mode, the touch-voyeuristic feel combines with the eye, how use of incremental and fragmented, with an attitude of participation of different ways, with an involvement which is prompted by the same physiological rappresentazione.1
For art to be touched with the eyes.
Mazzocut 1-Mis M., Voyeurism tactile, visual and tactile aesthetic values \u200b\u200b, The Melangolo, Genoa 2002.
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