1 . The epistemological temptation to immobilise seeing and the object of seeing like a butterfly nailed to a cork board . Picture by allispossible . org . uk , CC BY 2.0 < https :// creativecommons . org / licenses / by / 2.0 >, via Wikimedia Commons put in rhythm by the very reciprocal movements of the visible and the seer . These movements are complex and never end . The academic separation between the “ arts of time ” and the “ arts of space ” ( from which pictorial , sculptural or photographic images proceed ) is a very naïve simplification , if not a dangerous one . To see is first to see this , then suddenly that . Seeing perpetually changes the nature of what is seen as the constitution of the seer . It is to open the eyes , but also to close them ( otherwise the eye will dry up and die ), thereby producing the “ jerky ” rhythm of eyelids opening and closing . It is to get closer ( because you can ’ t see anything too far away ), but it is also to take a step back ( because you can ’ t see anything that sticks too close ). It is to stand in front , but also sideways and in all directions . Doesn ’ t our gaze continually shift here and there , in a head that keeps turning right and left , up and down , all led by a body that never stops moving in space ? Isn ’ t seeing also sometimes seeing through tears and through emotions in general ? Isn ’ t it , in the dark , for example , no longer being able to distinguish what appears to us , a phenomenon ( external , objective ) or a phosphene ( internal , subjective )?
Deep VIEW
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