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Metafora visual

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Aproximación al significado y concepto de la metáfora visual en la creación artistica

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Metafora visual

  1. 1. METÁFORA VISUAL METÁFORA VISUAL METÁFORA VISUAL
  2. 2. modificación que realiza el EMISOR de un MENSAJE a los elementos visuales que lo componen CONCEPTO
  3. 3. Chema Mad óz <ul><li>La metáfora visual se configura por el encuentro de dos elementos que son &quot;físicamente no componibles” </li></ul><ul><li>Noël Carroll </li></ul>
  4. 4. CARACTERÍSTICAS <ul><li>Es una creación cognitiva (que compromete a todos los lenguajes humanos verbal, visual, etc.) </li></ul><ul><li>Supone un dominio de origen y otro de llegada . </li></ul><ul><li>Muestra y oculta. </li></ul><ul><li>Tiene base en la experiencia física y cultural. </li></ul><ul><li>Mantiene coherencia interna . </li></ul><ul><li>Se categoriza en términos de prototipos y parecidos de familia. Relacionales. </li></ul>
  5. 5. <ul><li>CAPACIDAD </li></ul><ul><li>DE CREAR </li></ul><ul><li>SEMEJANZAS </li></ul><ul><li>la percepción </li></ul><ul><li>metafórica es vital para </li></ul><ul><li>la construcción de </li></ul><ul><li>conocimientos sobre el </li></ul><ul><li>mundo y el ser </li></ul>ES UNA CREACIÓN COGNITIVA
  6. 6. DOMINIO DE ORIGEN Y OTRO DE LLEGADA <ul><li>proyección o correspondecias entre dos </li></ul><ul><li>conceptos por ANALOGÍA/SEMEJANZA </li></ul>Coraz ón = dominio origen AUSENCIA Huevo frito= domino destino VISIBILIDAD <ul><ul><li>dominio origen (atributos salientes) normalmente más básico y familiar </li></ul></ul><ul><ul><li>dominio destino más complejo y abstracto </li></ul></ul>
  7. 7. MUESTRA Y OCULTA <ul><li>Ausencia y visibilidad </li></ul><ul><li>LA AUSENCIA no es posible percibirla como figura debido a que está fuera del marco de la imagen construida </li></ul><ul><li>es una acción abstracta </li></ul><ul><li>PUEDE SER PERCIBIDO PERO NO CONSTITUYE UN ELEMENTO DE LA IMAGEN </li></ul>
  8. 8. la metáfora no es un fenómeno puramente lingüístico/visual sino que forma parte: <ul><li>de la experiencia cotidiana </li></ul><ul><li>de la imaginación simbólica </li></ul>BASE EN LA EXPERIENCIA FÍSICA Y CULTURAL
  9. 9. EXPERIENCIA FÍSICA DE LO REAL SÍMBOLOS CULTURALES
  10. 10. REPRESENTACIÓN COMO CONSTRUCCIÓN METAFÓRICA DE LA REALIDAD
  11. 11. construcción de la trama otorga sentido al conjunto de las unidades visuales cada objeto, persona o acción quedan inscritos en una lógica que los hace significar <ul><li>MANTIENE COHERENCIA INTERNA </li></ul>
  12. 12. MANTIENE COHERENCIA INTERNA La metáfora crea nuevos referentes entre los hablantes, nuevas perspectivas sobre la realidad ya existente, lo que da sentido al concepto de creatividad * CREACIÓN DE IMÁGENES CUYOS ELEMENTOS CONFIGURATIVOS INTERACTUAN DE UNA FORMA DETERMINADA PARA PRODUCIR UN SENTIDO ESPECÍFICO TEORÍA DE LA INTERACCIÓN*
  13. 13. TÉRMINOS DE PROTOTIPOS Y PARECIDOS DE FAMILIA
  14. 14. ARTE
  15. 15. la narrativa de imágenes / registro del mundo real. La metafora en su conjunto ofrece un sentido que va más allá del supuesto mundo objetivo que registra la imagen
  16. 16. CON SENTIDO NOVEDOSO <ul><li>su verdadero fin reside </li></ul><ul><li>en la creación de un </li></ul><ul><li>nuevo significado </li></ul>
  17. 17. proceso de organización O REORGANIZACIÓN <ul><li>El mundo real pasa a formar parte de un cuerpo estructurado de relaciones , gracias a la proyección de los esquemas abstractos ( SÍMBOLOS ) ACTIVADOS por el sujeto </li></ul>
  18. 18. <ul><li>los símbolos no son palabras o imágenes, sino formas a las cuales la imaginación (INDIVIDUAL O COLECTIVA) les confiere un plus de sentido </li></ul><ul><li>SIMBOLOS CULTURALES (CONVENCIONES) </li></ul><ul><li>SÍMBOLOS INDIVIDUALES (ARTE) </li></ul>
  19. 19. mediante ESTE SENTIDO las propiedades objetivas o funcionales de lo real pueden reorganizarse dentro de un discurso de ficción España
  20. 20. TRANSPOSICIÓN DE ELEMENTOS <ul><li>EL ESPACIO TRASTOCADO </li></ul><ul><li>ES LA </li></ul><ul><li>EXPRESIÓN DE LA METÁFORA </li></ul>
  21. 21. SENTIDO NOVEDOSO <ul><li>COLISIÓN PRODUCTIVA </li></ul><ul><li>CON UN SIGNIFICADO INÉDITO </li></ul><ul><li>Ricoeur </li></ul>
  22. 22. Valor simbólico a las imágenes <ul><li>Lo cotidiano crea un discurso </li></ul><ul><li>Metafísico /POÉTICO </li></ul>
  23. 23. <ul><li>CAPACIDAD DE ASOCIAR conocimientos establecidos para acceder a nuevas interpretaciones </li></ul><ul><li>CULTURA y EXPERIENCIA (información previa). </li></ul><ul><li>Ni siquiera las ficciones más radicales se elaboran en el vacío, siempre es posible encontrar en ellas marcas de lo conocido, de la vivencia o del recuerdo </li></ul><ul><li>Dialéctica entre lo conocido y lo por conocer que construye puentes por medio de la semejanza y de la analogía con el fin de producir un espacio común que articule a entes distintos. </li></ul>PARA COMPRENDER/crear LA METAFORA PARTIMOS
  24. 24. POR QUÉ CONSTRUIMOS METAFORAS <ul><li>necesidad de </li></ul><ul><li>construir saberes </li></ul><ul><li>más allá de lo real </li></ul>
  25. 25. <ul><li>la metáfora es siempre una construcción y no una descripción de la realidad </li></ul><ul><li>La metáfora no es azarosa ni accesorio sino que es el corazón del relato visual (narración) </li></ul><ul><li>La metáfora es lo que está más allá de la mirada </li></ul>decorados simbólicos angulosos, irregulares, asimétricos del cine expresionista, y por medio de los cuales se proyecta la angustia existencial del ser Es la subjetividad del espacio
  26. 26. Basado en el texto Metáfora y relato visual de Miguel G. Ochoa Santos http://www.ucm.es/OTROS/especulo/numero6/metafora.htm

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