Technical Formats and Image Techno-percepts. Visual Semiotics in the Light of Gerhard Richter’s Artistic Work
DOI:
https://doi.org/10.35494/topsem.2023.2.50.859Keywords:
semiotics, visual studies, technics, perception, Richer (Gerhard)Abstract
In this article, we endeavor to analyze Gerhard Richter’s photo-paintings for the way they build an intersemiotic dialogue between photography and painting. On the one hand, we will try to characterize the modalities of this dialogue and to provide an original interpretation of Richter’s work. On the other hand, we will use the peculiar case of Richter’s work as a starting point for a conceptual renewal in the analysis of visual languages, notably about the semiotic approach. We will try to define the mediatic dimension of images, which has to do with the substances, substrates, and devices through which images are produced. We shall do so in a manner as to integrate the achievements of visual semiotics as regards the compositional dimension of colors, shapes, and figures. We will consider the way in which the material and the substances of expression of images impact the construction of meaning, in accordance with the hypothesis of a superposition of technical and semantic aspects. The confrontation with Richter’s production will lead us to go beyond plastic and figurative readings, as we will propose the concepts of technical formats and of techno-percepts of images. While the former concern the historical recognition of images based on the devices having produced their substance, the latter concern the perceptive configurations resulting from the formative work of the technical devices.
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