ITALIANA - AIC Associazione Italiana Autori della Fotografia ...
ITALIANA - AIC Associazione Italiana Autori della Fotografia ...
ITALIANA - AIC Associazione Italiana Autori della Fotografia ...
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<strong>AIC</strong><br />
PAOLA ??<br />
BARBAGLIA<br />
MAN RAY<br />
Meret Oppenheim<br />
(1929)<br />
...vide Dio che la luce era buona,<br />
e la divise dalle tenebre..."<br />
"And, God saw the light, that is was good: and God divided the light from<br />
the darkness... "<br />
(Genesis I, 3-4)<br />
"Light of my life, I'm immensely illumined, to bring the most deeply<br />
hiddenfeelings to light, he saw the light, the flame in him died"; and as a<br />
euphemism for birth and death, "Dixitque Deus: Fiat Lux. Et facta est<br />
lux... "<br />
Even from the beginning of the Old Testament, the light and its<br />
components (colours), and its negation (shadow), has always functioned<br />
as inspiration, subject and metaphor in various forms of artistic, poetic<br />
and literary expression.<br />
For example, entering a Dantean dark wood, indicates a fear of the<br />
unconscious-darkness, as opposed to feeling secure in the light of rational<br />
consciousness.<br />
Words become symbols, rather than merely being significant in<br />
themselves, in "The Shadow-line" and "Heart of Darkness" by Conrad, in<br />
which the words "shadow" and "darkness" symbolize a journey back to<br />
man's very origins — Kurtz in "Heart of Darkness" is a negative version of<br />
Prometheus, who has put out the fire and returned to the blackness (AA<br />
Rosa); this same symbolism is expressed magnificently, both<br />
conceptually and photographically, in "Apocalypse Now", when Marlow<br />
embarks cm the journey back to his origins, and the hot, vibrant light of<br />
day gives way to the dark jungle, and nights filled with danger.<br />
Pasolini treated the transition from words to images (cinema) as a<br />
virgin area where he constantly researched expressive forms which<br />
manifested themselves, in the photography of many of his films, in the<br />
(Genesi I, 3-4)<br />
Luce dei miei occhi, m'illumino<br />
d'immenso, portare alla luce le<br />
più recondite emozioni, ha visto<br />
la luce, si è spento, come<br />
eufemismo ad indicare la nascita<br />
e la morte, Dixitque Deus: Fiat<br />
Lux. Et Facta est lux fin dalle<br />
pagine dell'Antico Testamento, la<br />
luce con i suoi componenti<br />
(colori) e la sua negazione<br />
(ombra) è sempre stata essa<br />
stessa soggetto, metafora,<br />
ispirazione di varie espressioni<br />
artistiche, poetiche e letterarie.<br />
Come ad esempio l'addentrarsi<br />
nella selva oscura dantesca<br />
evidenzia il timore verso<br />
l'inconscio-oscurità rispetto alla<br />
luce <strong>della</strong> conoscenza razionale.<br />
Parole come simboli più che<br />
significanti in se, in "Linea<br />
d'ombra" e "Cuore di tenebra" di<br />
Conrad, shadow e darkness,<br />
rappresentano simbolicamente<br />
un viaggio alle radici dell'essere<br />
all'origine di noi stessi — il Kurtz<br />
di "Cuore di tenebra è una<br />
specie di Prometeo alla rovescia<br />
che ha spento il fuoco ed è<br />
rientrato nella nera tenebra" (A.<br />
A. Rosa) questa simbologia è<br />
stata splendidamente<br />
rappresentata, da un punto di<br />
vista ideologico e fotografico in<br />
Apocalypse Now, dove mentre<br />
Marlow si addentra nel viaggio<br />
verso la conoscenza delle<br />
proprie radici, la luce calda e<br />
baluginante del giorno lascia<br />
light and shadow contrast of black and white, where the light itself<br />
expresses the anguish, alienation and desolation experienced by the<br />
human soul.<br />
Man Ray made the transition from painting to photography:<br />
"Photography is the quickest way I have found of expressing myself; in a<br />
few seconds, I am able to create what would take me six months to express<br />
in painting; it is the light that does the work, not me".<br />
Perhaps it is not by mere chance that Jungian psychology uses the term<br />
"shadow" as a metaphor for our anxieties and all the things we are<br />
unable to accept, the entire corpus, in fact, that a personality in conflict<br />
refuses to consider rationally or consciously analyse, actually keeping<br />
them in "shadow"; according to Jung, the task of psychoanalysis is to<br />
bring to "light" the problems which can tear a human soul to pieces.<br />
Shadow, therefore, as darkness, and the negation of life; and light, as the<br />
language of love. Georgia O'Keefe's husband was a great photographer,<br />
and when speaking of his death, she said: "Steigliz was like the sun to<br />
me, and the only way I could bring him back was to paint images that<br />
were so filled with light, thay chased out darkness that had invaded my<br />
soul".<br />
Reading, itself, is a process by which we conjure up images from words.<br />
Calvino define the characters in Cavalcanti's poems as being like "sighs,<br />
brilliant rays, images created with light", using the intangibility of the<br />
light particles to define the ethereal quality of the poet's verse.<br />
And it is one again Calvino, who maintains that Leopardi has worked<br />
the miracle of fining down language to the point that it is as pure as<br />
moonlight; and, even though the moon appears in many of his poems but<br />
in few verses, they suffice to communicate all the "colours" of her light, or<br />
the shadow cast by her absence.