March 11, 2021 Journal article Open Access

Hans Dieter Huber

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    <subfield code="a">Art Style, Art &amp;amp; Culture International Magazine is an open-access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, art is considered the significance of socio-cultural, historical, and market influence.</subfield>
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    <subfield code="a">Materiality, Embodiment and Affordance in Paul Grahams a shimmer of possibility</subfield>
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&lt;p&gt;Abstract&lt;/p&gt;

&lt;p&gt;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&amp;nbsp;embodies&amp;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&amp;rsquo;s imagination. Gibson invented the word&amp;nbsp;affordance&amp;nbsp;as a replacement for the concept of value. Affordances are what things offer a living being, what they &amp;lsquo;provide&amp;rsquo; or &amp;lsquo;allow&amp;rsquo; it to do. The fundamental problem with his theory lies in the attempt to construct a &amp;lsquo;direct&amp;rsquo; and &amp;lsquo;unmediated&amp;rsquo; approach to reality. The objectivism implicit in his theory oversees that affordances are neither &amp;lsquo;given&amp;rsquo; nor &amp;lsquo;direct&amp;rsquo; &amp;lsquo;properties of objects. Affordances are the result of active attribution and evaluation by a scientific observer. The photographic series of Paul Graham&amp;rsquo;s&amp;nbsp;a shimmer of possibility&amp;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&lt;/p&gt;

&lt;p&gt;brought to actuality through a concrete process of aesthetic experience.&lt;/p&gt;</subfield>
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