Alison, it is not a question of who is doing the exclusion. Strictly
speaking all art is outsider, however, the Postmodernist version of
Romanticism assigns outsider to the categories of inside and outside and
as such sets up a range of categorical imperatives. Visual perception is
a result of complex haptic feedback circuits (as I understand what you
are saying.)
Maturana in biology on the frog and the fly has had an impact on
understandings of visual also.
What is still not greatly understood is that photography is a Modernist
invention, BTW.
On Sun, 2009-06-28 at 17:03 +1000, Alison Croggon wrote:
> Hmm... Aside from optics being traditionally part of sensation, rather
> than something else, that argument seems hard to sustain in the
> digital age where the image is hardly any more evidential or
> stable...again, I wonder who is doing the excluding, barriers would
> shift where you look - others would claim (that would strike me as
> more common) that it's painting itself that's marginalised...In any
> case, outsider status is itself in some cases a privileged position if
> you're looking at art...
|