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Leonardo (again) and the puddles. [Continued from the Air]

followed by: "The Clouds "

arousing the mind

Leonardo Da Vinci had a habit to note down his thoughts, wherever he was, on the individual sheets, using a few words written in a code is not always comprehensible. Each subject was developed and repeated several times.

After Leonardo's death, his heir Francesco Melzi gathered these writings in a collection entitled to treatise on painting, including several copies circulated (pardon the redundancy) in Italian academic circles. The thousands of pages in the condensed treatment may be considered the most significant work of Leonardo and his most important text on the art.
Now What has this to do with clouds?
Chapter XX of the Treaty the painter Leonardo suggests a bizarre practice of inspiration, which seems quite remember the process of imaginatively clouds described in the previous post. The practice consists of:

1) Attach the eye with a pool, a wall smeared with a stain any
2) Wait
3) Admire the extraordinary appearance of faces, landscapes and anything else you normally surface yet stunning forms.

So the Da Vinci:

"And that is: if you relate in any walls stained with various stains or stones various mixed, if arai invention to some site, there you will see similarities de 'different countries, adorned with mountains, rivers, rocks, dawn, plains, valleys and large hills in several ways you can still see many battles and acts of figures ready , strange faces and clothes and air of infinite things, which you can reduce complement and bona form. It intervenes in such walls and blends are as of bells, which 'touches their name and you'll find all you Vocabulaire Imagine "(p.151)

There is therefore something that unites the dirty walls, puddles, the clouds (and the bells) and makes it a well from which they emerge, through long and focused observation, fantastic images? It seems
che il trait d'union di tutte queste superfici sia il disordine, il caso, la non-struttura. In tutti i casi gli stimoli che ci vengono proposti sembrano costitutivamente ambigui, confusi. “Ci sono altri passi, anche più interessanti, in cui Leonardo esamina la capacità che le cose confuse hanno di destare l’ingegno a nuove invenzioni”.

La macchia, il contorno, il non definito.
Nel 1788 Il medico e poeta romantico tedesco Justinus Kerner utilizzava delle macchie d’inchiostro su fogli di carta piegata per stimolare la fantasia sua e dei suoi amici. Kerner coniò per le sue chiazze il termine Kleksographien (dal tedesco: Kleks = stain) and wrote many poems about the mysterious apparitions that these spots suggests. Being a spiritualist (and first physician to document the 'appearance of certain phenomena and Geister medium) not surprising that it was mostly about ghosts. The way in which these images are formed in the spots we have described in verse by the same Kerner:

Diese Bilder aus dem Hades,
At schwarz und schauerlich,
(Geister sind's, sehr niedern Grades,)
Haben selbst gebildet sich
Ohn Zuthun mein, mir zum Schrecken, Einzig
nur - aus Tintenflecken. 1 [1]

These images dall'Ade
all black and horrible
(spirits are, of vile degree)
of whether they are given form
Without my help, arising from my terror,
so, only, on the stains 'ink.

[ Justinus Kerner, Kleksographien. Mit Illustrationen nach den Vorlagen des Verfassers, Stuttgart, Leipzig, Berlin, Wien 1890 (geschrieben 1857), p. 12. ]

It 's interesting to note that the ambiguous case, and if they come out again, involuntarily, of the forms. In such use of stains Kerner (and his gang) could be considered the predecessor of a famous Swiss psychologist, that Hermann Rorschach, who inspired perhaps by some kleksografica spot, which seems to delight in his youth, he invented the famous namesake and psychological test, the Rorschach inkblots. (Incidentally note the similarity between the Kleksographie of Kerkner below on the left and the table 5 of the Rorschach to the right).

The advantage of the Rorschach in the cloud is that you can replicate, and compare the interpretations given by different subjects.

Both the Rorschach test as the Kleksographien are based on a procedure quite familiar:

1) fix or look at a spot (table Rorschach)
2) Wait
3) Describe the shapes that are delineated.

The Rorschach is a projective psychodiagnostic tests.

Pro - jet, then.
projection comes from the Latin pro-iacio literally throw anti dav. When you remove a content yourself and then porvelo before your eyes and look at it, as if it were something external, so here you are projecting something that belongs to you. Assuming the term in its side, not specifically geometric (orthogonal projections) or psychoanalytic (in this case your boss becomes vostro padre), anche se ci sono tratti comuni ad entrambi questi due sensi.

Ora, la proiezione, ci insegnano gli psicologi, è una facoltà inconscia, particolarmente stimolata in contesti destrutturati, ambigui, non definiti, proprio e non a caso come quelli sopra menzionati. Essa interverrebbe laddove l’informazione è manchevole o poco chiara, provvedendo al suo completamento, alla sua “interpretazione”, attraverso il collegamento col noto, stabilendo un legame con contenuti propri al soggetto che la esercita.

In questo modo si abbozza, in maniera enormemente grossolana e approssimativa, la facoltà che è chiamata in causa da alcuni (Ernst Gombrich, per noi, in particolare) per spiegare il processo di metamorfosi delle nuvole, delle pozzanghere e delle macchie, nonché tutti i processi di illusione, artistica e non, e infine, più in generale, quelli della visione stessa.

I Carracci ed il TAT

Uno tra i primi a rappresentare l'effetto per cui le nuvole assumono sembianze umane fu il Mantegna, che nel quadro " La virtù scaccia il vizio " (il primo in alto) dipinge un volto che assiste alla scena proprio nel cirro in alto a sinistra (particolare qui a fianco).

Sono tuttavia i fratelli Carracci a farci sperimentare giocosamente il modo in cui agisce la nostra, di proiezioni. I due fratelli infatti, oltre ad be counted among the fathers of the genre of caricature (which is based on maybe once a game projection - that of a familiar face on a load), are also the inventors of so-called "playful riddles," that invite the viewer to fill \\ complete with the imagination a sense of whether they have sketched on the canvas, drawing from it the corresponding meaning. Example:
what you see in the picture below left (rectangle surmounted by a triangle)?

The majority of persons who have submitted the application fulfilled "in a shark tank." This gives to reflect on what Damien Hirsch (with his shark in formaldehyde, " contemporary work of art sold more expensive in the world) and the film Jaws have shaped our imagination. In reality it is, at least according to the Carracci, a Capuchin friar asleep behind the pulpit (the fact that the Carracci brothers who had more familiarity with the sharks is important for our point of view). The line surmounted by a circle and a triangle is a mason with his trowel, seen in profile beyond the wall.

In reality the paper there are only four lines (and perhaps this is a projection \\ interpretation), but, as you can see, the operation which we call the projective Carracci, well aware of the mechanism of vision, once failed to give a precise meaning of these signs.

Now it's almost paradigmatic example of the Carracci to understand and elucidate how the projection of the intervening process of vision. It is like an essential operation for reading an image in that it interprets the signs, support them, establishing cross-references between one or the other, creating a whole with respect.

The projection adds to them (the relations between the signs?), And is a crucial addition to the attribution of meaning and understanding of traits that might otherwise remain an unrelated fragmented, unstructured and senseless. It throws a bridge between the visible and invisible, between three lines and a shark looking for an interpretation of the first through the second. The projection selects and organizes the details \\ perceptual signs and, by connection with the well-known, gives us a sense "of those 'riddles, or divinarelli paintings, which were so common among them, and that in a few lines, or signs of great things enclose and disclose. "