simulation / representation

Fresco, Mosaic / Renaissance paintings – simulation / representation

“the fact that the fresco and mosaic are “hardwired” to their architectural setting allows the artist to create a continuity between virtual and physical space. In contrast, a painting can be put in an arbitrary setting, and therefore, such continuity can no longer be guaranteed. Responding to this new condition, a painting presents a virtual space that is clearly distinct from the physical space where the painting and spectator are located. At the same time, its imprisons the spectator through a perspective model or other techniques so that she and the painting form one system. Therefore, if in this simulation tradition, the spectator exists in a single coherent space- the physical space and virtual space that continues it – in the representational tradition, the spectator has a double identity. She simultaneously exists in physical space and in the space of representation. This split of the subject is the tradeoff for the new mobility of the image as well as for the newly available possibility to represent any arbitrary space, rather than having to simulate the physical space where an image is located.”

The Language of New Media, Lev Manovich


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