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Sara Minez

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Susana Sanches

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Tatiana Alves

Statement:

Ao retirarmos propriedades sensori-ais de um objecto, estamos a alterar a percepção do mesmo e consequentemente a memória da sua identidade.

O bjectivos:

- Apropriação de imagens / elementos refer-entes a uma memória colectiva (senso comum)- Manipulação / fragmentação desses mesmos elementos (erro / acidente)

Percepção e comportamento, definem-se (entre outros) por:

- Percepção da cor- Percepção do movimento- Orientação intelectual- Orientação individual

- A essência é algo sem o qual algo não pode ser o que é. É o que dá identi-dade a um ser e sem a qual aquele ser não pode ser reconhecido como sendo ele mes-mo.

- O acidente é algo que pode ser iner-ente ou não ao ser. É qualquer coisa que sem alterar a sua essência, altera a sua forma perceptiva. O tamanho de uma maçã é um acidente, pois essa maçã não deixará de ser uma maçã pelo simples facto de ser grande. Sendo assim, a sua cor é também um acidente, pois a característica que lhe atribui não faz da maçã aquilo que ela é.

Teoria de Aristóteles

Essência Vs. Acidente

Oliver Sacks – “And An-thropologist On Mars” (1995)

“The Case of The Color-blind Painter”

A perda do gosto pela comida:

“The “wrongness” of everything was disturbing, even disgusting, and ap-plied to every circumstance of dai-ly life. He found foods disgusting due to their greyish, dead appearance and had to close his eyes to eat. But this did not help very much, for the mental image of a tomato was as black as its appearance. Thus, unable to rectify even the inner image, the idea, of various foods, he turned in-creasingly to black and white foods-to black olives and white rice, black coffee and yogurt. These at least ap-peared relatively normal, whereas most foods, normally colored, now ap-peared horribly abnormal.” p.10

Preservação da identidade Vs. Perda da identidade

Sinestesias – Cruzamento dos 5 sentidos

A perda do gosto pela música:

“Music, curiously, was impaired for him too, be-

cause he had previously had an extremely intense

synesthesia, so that different tones had immediately

been translated into color, and he experienced all

music simultaneously as a rich tumult of inner col-

ors. With the loss of his ability to generate col-

ors, he lost this ability as well-his internal “col-

or-organ” was out of action, and now he heard music

with no visual accompaniment; this, for him, was mu-

sic with its essential chromatic counterpart missing,

music now radically impoverished.” P.12

A perda da memória:

“He knew all about color, externally, intellectually,

but he had lost the remembrance, the inner knowledge,

of it that had been part of his very being. He had

had a lifetime of experience in color, but now this

was only a historical fact, not something he could

access and feel directly. It was as if his past,

his chromatic past, had been taken away, as if the

brain’s knowledge of color had been totally excised,

leaving no trace, no inner evidence, of its existence

behind.” P.13