March 11, 2021 Journal article Open Access

Hans Dieter Huber

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    "alternateName": "eng", 
    "@type": "Language", 
    "name": "English"
  }, 
  "description": "<p><a href=\"https://artstyle.international/\">Art Style | Art &amp; Culture International Magazine</a></p>\n\n<p>Abstract</p>\n\n<p>First, the question of what a material picture is and what is meant by an image is discussed. We do not clearly distinguish whether we mean a physical object, a pictorial representation or a mental image that arises in our brain. The pictorial surface of a material carrier is the interface between the physical picture and the mental image. In contrast, our way of speaking of a pictorial representation works quite differently. Material picture and pictorial representation are structurally coupled. The representation cannot exist without a material carrier. The material picture&nbsp;embodies&nbsp;the pictorial representation like the actor embodies the role. The pictorial representation is only partially determined. It contains spots of indeterminacy that are filled up by the viewer&rsquo;s imagination. Gibson invented the word&nbsp;affordance&nbsp;as a replacement for the concept of value. Affordances are what things offer a living being, what they &lsquo;provide&rsquo; or &lsquo;allow&rsquo; it to do. The fundamental problem with his theory lies in the attempt to construct a &lsquo;direct&rsquo; and &lsquo;unmediated&rsquo; approach to reality. The objectivism implicit in his theory oversees that affordances are neither &lsquo;given&rsquo; nor &lsquo;direct&rsquo; &lsquo;properties of objects. Affordances are the result of active attribution and evaluation by a scientific observer. The photographic series of Paul Graham&rsquo;s&nbsp;a shimmer of possibility&nbsp;exists in different materialities, namely as various photobooks and sequences of photographic colour prints on the wall, which provide different affordances. The photobooks and the photographic sequences are embedded into a space of potentiality out of which they are</p>\n\n<p>brought to actuality through a concrete process of aesthetic experience.</p>", 
  "license": "https://creativecommons.org/licenses/by-nc-sa/4.0/legalcode", 
  "creator": [
    {
      "affiliation": "State Academy of Fine Arts Stuttgart", 
      "@type": "Person", 
      "name": "Hans Dieter Huber"
    }
  ], 
  "headline": "Materiality, Embodiment and Affordance in Paul Grahams a shimmer of possibility", 
  "image": "https://zenodo.org/static/img/logos/zenodo-gradient-round.svg", 
  "datePublished": "2021-03-11", 
  "url": "https://zenodo.org/record/6371518", 
  "version": "Journal Article", 
  "keywords": [
    "Affordances, Pictorial Representation, Photographic Sequences, Art Exhibitions"
  ], 
  "@context": "https://schema.org/", 
  "identifier": "https://doi.org/10.5281/zenodo.6371518", 
  "@id": "https://doi.org/10.5281/zenodo.6371518", 
  "@type": "ScholarlyArticle", 
  "name": "Materiality, Embodiment and Affordance in Paul Grahams a shimmer of possibility"
}