{"id":2090,"date":"2019-09-07T00:50:24","date_gmt":"2019-09-06T22:50:24","guid":{"rendered":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/?p=2090"},"modified":"2022-07-31T23:12:19","modified_gmt":"2022-07-31T21:12:19","slug":"%d0%b2%d0%b8%d1%80%d1%82%d1%83%d0%b0%d0%bb%d1%8c%d0%bd%d0%b0%d1%8f-%d0%b2%d1%8b%d1%81%d1%82%d0%b0%d0%b2%d0%ba%d0%b0-%d0%b8%d0%b2%d0%b0%d0%bd%d0%b0-%d0%b3%d1%80%d0%b5%d0%b1%d0%b5%d0%bd%d1%89%d0%b8","status":"publish","type":"post","link":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/2019\/09\/07\/%d0%b2%d0%b8%d1%80%d1%82%d1%83%d0%b0%d0%bb%d1%8c%d0%bd%d0%b0%d1%8f-%d0%b2%d1%8b%d1%81%d1%82%d0%b0%d0%b2%d0%ba%d0%b0-%d0%b8%d0%b2%d0%b0%d0%bd%d0%b0-%d0%b3%d1%80%d0%b5%d0%b1%d0%b5%d0%bd%d1%89%d0%b8\/","title":{"rendered":"\u0412\u0438\u0440\u0442\u0443\u0430\u043b\u044c\u043d\u0430\u044f \u0432\u044b\u0441\u0442\u0430\u0432\u043a\u0430 \u0418\u0432\u0430\u043d\u0430 \u0413\u0440\u0435\u0431\u0435\u043d\u0449\u0438\u043a\u043e\u0432\u0430 &#8211; \u041f\u0430\u043c\u044f\u0442\u044c \u043a\u0430\u043a \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \/\/ \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u043a\u0430\u043a \u043f\u0430\u043c\u044f\u0442\u044c"},"content":{"rendered":"<p><em>\u0412\u0435\u0440\u0441\u0438\u044f \u043d\u0430 \u0440\u0443\u0441\u0441\u043a\u043e\u043c \u043d\u0438\u0436\u0435 \/ English below \/ traduzione in fondo alla pagina<\/em><\/p>\n<h3>Virtuelle Ausstellung von Ivan Grebenschikov<br \/>\nGed\u00e4chtnis als Kunst \/\/ Kunst als Ged\u00e4chtnis<\/h3>\n<p><strong>Einleitungswort des K\u00fcnstlers<\/strong><br \/>\nWie man schon an meinem Namen, Ivan Grebenschikov, sehen kann, ich wurde in der ehemaligen Sowjetunion (in der Stadt Karaganda in Kasachstan, genauer gesagt) geboren und lebte die ersten 12 Jahre meines Lebens in St. Petersburg, bevor ich 1995 mit meiner Familie nach Tessin umzog. Momentan schreibe ich in meiner Muttersprache* und pflege auch jetzt (und mit zunehmender Intensit\u00e4t gar) die Verbindung zu meiner Heimat.<br \/>\nAlso, warum Kunst? Fangen wir mit dem state of art an, mit dem aktuellen Stand der Dinge der \u201cKunstwissenschaft\u201d. Oder vielmehr mit der Vorstellung von Kunst als sensorisches und &#171;emotionales\u201d\/mentales Objekt, also als Objekt der Perzeption.<br \/>\nIm allt\u00e4glichen Erleben bleiben alle Objekte des Wahrnehmungsprozesses letzten Endes nur sie selbst. Das hei\u00dft, sowohl ein &#171;Baum\u201d, z. B., als auch das &#171;Schwarze Quadrat\u201d**, als Wahrnehmungsobjekte, f\u00fcr den &#171;zerebralen Sinnesapparat\u201d, sind dieselbe &#171;Baum&#187; und &#171;Schwarzes Quadrat\u201d: auf der Ebene des elektrochemischen Prozesses findet eine Art &#171;Translation&#187; statt, die von den Eindr\u00fccken der Sinne ausgeht und vom Gehirn in eine Art &#171;neurosensorisches \u00c4quivalent&#187; dieser Objekte umgewandelt wird.<br \/>\nGleichzeitig kann der Begriff der Perzeption nicht auf den Begriff eines trivialen Informationsrekorders reduziert werden \u2013 irgendeine Art biologisches \u201eAudio-\u201c oder \u201eVideorekorders\u201c \u2013 da die Wahrnehmung naturgem\u00e4\u00df auch an tieferen Prozessen beteiligt ist, auf neuronaler und metabolischer Ebene, wo der K\u00f6rper mit der Umgebung interagiert und auf die direkteste Weise darauf reagiert.<br \/>\nUnd es ist hier, dass wir, unter Ber\u00fccksichtigung dieser Tatsache aus einem anthropologischen Ansichtspunkt, behaupten k\u00f6nnen, dass als chromatische Derivate, unser &#171;Baum&#187; und &#171;Schwarzes Quadrat&#187;, in der Wahrnehmungserfahrung, rein subjektive Begriffe sind, autonome Ph\u00e4nomene, die in keinem Zusammenhang mit der Bedeutung stehen, die diesen Definitionen in einem verbalen Kontext zugeordnet ist, d. h. sie sollten, in diesem Sinne, in einem reduktionistischen Kontext betrachtet werden, als Gegensatz zu ihrem holistischen Korrespondenten realer Objekte .<br \/>\nDar\u00fcber hinaus beeinflusst die Wahrnehmung, auf der Ebene der Grosshirnrinde, direkt die Dynamik der Neuroplastizit\u00e4t, die wiederum direkt die psychosomatischen Prozesse im K\u00f6rper bestimmt. Die Anwendung dieser Prinzipien in der medizinischen Praxis, indessen, nennt man rezeptive Kunsttherapie.<\/p>\n<p>Um nun die Konsequenzen eines solchen Ansatzes zu verstehen, n\u00e4mlich der Fokussierung auf die Wahrnehmungsqualit\u00e4ten, mehr als schlicht auf die Beteiligung dieser am kreativen Prozess, nehmen wir das Beispiel des kulturellen Kontexts.<br \/>\nSein Grundprinzip, die Kommunikation, wird in ihrer konventionellen Ausdehnung zur Manifestation des Ged\u00e4chtnisses. Kein Ged\u00e4chtnis aber, das sich in einer Art &#171;verfestigtem&#187; Zustand befindet, kein &#171;analytisches\u201d Ged\u00e4chtnis, das sich uns als eine Art abstrakte und immaterielle Einheit vorstellt &#8211; eine Einheit, die in die Ewigkeit projiziert wird: von der Vergangenheit in die Zukunft; und nicht das Ged\u00e4chtnis in dem Sinne, wie es von der Moderne interpretiert wird: das heisst als eine Art von Elementen, die bestimmte Einheiten von \u201eErinnerungen\u201c oder \u201eZeugnissen\u201c ausmachen. Ged\u00e4chtnis im Schl\u00fcssel des Wahrnehmungsparadigmas ist ein Ged\u00e4chtnis, das eng mit den Gesetzen der (Un-)F\u00e4higkeit des Subjekts verbunden ist, Informationen aufzuzeichnen. Das heisst, mit bestimmten elementaren physikalischen Prinzipien der Erhaltung und des Verlustes einiger Daten \u00fcber die Realit\u00e4t. Das Ged\u00e4chtnis ist f\u00fcr das Wahrnehmungsparadigma, mit anderen Worten, die F\u00e4higkeit, zu erinnern, genauso wie die Kunst, f\u00fcr dieses Paradigma, die F\u00e4higkeit ist, wahrzunehmen.<\/p>\n<p>Die vorgestellten Arbeiten sind das Ergebnis eines Versuchs, die Frage zu beantworten, wie genau dieses Wissen angewendet werden kann und auf welcher Grundlage diese Prozesse ablaufen. Insbesondere habe ich in dieser Arbeit die Ideen der Gestaltpsychologie verwendet, um Konzepte im Zusammenhang mit der Kunsttherapie zu analysieren.<br \/>\nIch muss jedoch sofort warnen, dass diese Arbeit durch keine konkrete Anwendungsbeispiele der Ergebnisse meiner Schlussfolgerungen in der Praxis gest\u00fctzt wird, und damit durch keinen unwiderlegbaren Beweis f\u00fcr die Richtigkeit meiner Argumente auch, aber dennoch in diesem Prozess konnte ich, f\u00fcr mich, solche Begriffe definieren, wie &#171;Wahrnehmungsergonomie&#187; und &#171;Wahrnehmungsergotherapie\u201d, als Schl\u00fcsselbegriffe in dieser Richtung, und die Frage nach den Farbqualit\u00e4ten als die am besten geeignete Methode, um mit ihnen zu arbeiten. In ihrer urspr\u00fcnglichen Idee, mussten die Werke als Proben f\u00fcr Eye-Tracking-Experimente dienen (die Untersuchung von Mikrobewegungen des Auges), aber auch einfach als Feld f\u00fcr die Aufzeichnung einiger Schlussfolgerungen im Prozess des Denkens. (Die aktuelle Arbeit befasst sich in der Tat weiter: mit den Eigenschaften des Subjekts in der Kultur und der Wahrnehmung eines bestimmten Beobachters.)<br \/>\nDies ist das Ergebnis der Analyse verschiedener Konzepte von optischer Kunst, Pareidolie, Synchronizit\u00e4t, Abstraktion, \u00c4sthetik, Semantik, generativen und prozeduralen Prozessen usw. Es liegt jedoch absolut au\u00dferhalb meiner Ambitionen, in dieser Richtung umfassende Antworten geben zu wollen. Es handelt sich vielmehr um eine Sammlung von Fragen, deren Stellen mir wichtig erschien. Ich hoffe, in diesem Sinne, dass auch der\/die Zuschauer(-in)\/Leser(-in) etwas Interessantes f\u00fcr sich finden kann!<\/p>\n<p>* Der Originaltext wurde in russischer Sprache verfasst. Wobei auch Italienisch, neben dem Russischen, eine Muttersprache von mir ist.<\/p>\n<p>** Es wird hier auf das bekannte konzeptuelle Werk von Kasimir Malewitsch Bezug genommen, als eine einfache formale Geometrie, um eigene &#171;gemeinsame&#187; Eigenschaften gebracht, zugunsten der intellektuellen Aneignung von Signifikanz.<\/p>\n<p><em>\u00a9 <a href=\"http:\/\/grebenshyo.dx.am\" target=\"_blank\" rel=\"noopener noreferrer\">Ivan Grebenschikov<\/a><\/em><\/p>\n\n\t\t\t<div id=\"2090-1\" class=\"gallery gallery-2090 gallery-col-2 gallery-columns-2 gallery-size-large\" itemscope itemtype=\"https:\/\/schema.org\/ImageGallery\">\n\t\t\t\t\t<figure class='gallery-item col-2' itemprop='associatedMedia' itemscope itemtype='https:\/\/schema.org\/ImageObject'>\n\t\t\t\t\t\t<div class='gallery-icon landscape'><a 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695w, https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/files\/2019\/08\/untitled-2018-2.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" itemprop=\"thumbnail\" \/><\/a><\/div>\n\t\t\t\t\t<\/figure>\n\t\t\t\t\t<figure class='gallery-item col-2' itemprop='associatedMedia' itemscope itemtype='https:\/\/schema.org\/ImageObject'>\n\t\t\t\t\t\t<div class='gallery-icon portrait'><a href='https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/2019\/09\/07\/%d0%b2%d0%b8%d1%80%d1%82%d1%83%d0%b0%d0%bb%d1%8c%d0%bd%d0%b0%d1%8f-%d0%b2%d1%8b%d1%81%d1%82%d0%b0%d0%b2%d0%ba%d0%b0-%d0%b8%d0%b2%d0%b0%d0%bd%d0%b0-%d0%b3%d1%80%d0%b5%d0%b1%d0%b5%d0%bd%d1%89%d0%b8\/_snellen_-2012\/' itemprop=\"contentURL\"><img loading=\"lazy\" decoding=\"async\" width=\"724\" height=\"1024\" src=\"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/files\/2019\/08\/snellen_-2012-724x1024.jpg\" class=\"attachment-large size-large\" alt=\"\" srcset=\"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/files\/2019\/08\/snellen_-2012-724x1024.jpg 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\u043f\u0440\u043e\u0446\u0435\u0441\u0441\u044b \u0440\u0443\u043a\u043e\u0432\u043e\u0434\u0441\u0442\u0432\u0443\u044e\u0442\u0441\u044f. \u0411\u043e\u043b\u0435\u0435 \u0441\u043f\u0435\u0446\u0438\u0444\u0438\u0447\u0435\u0441\u043a\u0438,\u00a0\u0432 \u044d\u0442\u043e\u0439 \u0440\u0430\u0431\u043e\u0442\u0435, \u044f \u0438\u0441\u043f\u043e\u043b\u044c\u0437\u0443\u044e \u0438\u0434\u0435\u0438 \u0433\u0435\u0448\u0442\u0430\u043b\u044c\u0442\u043f\u0441\u0438\u0445\u043e\u043b\u043e\u0433\u0438\u0438 \u0432 \u043a\u0430\u0447\u0435\u0441\u0442\u0432\u0435 \u0441\u0440\u0435\u0434\u0441\u0442\u0432 \u0434\u043b\u044f \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u044f \u043f\u043e\u043d\u044f\u0442\u0438\u0439 \u0441\u0432\u044f\u0437\u0430\u043d\u043d\u044b\u0445 \u0441\u00a0\u0430\u0440\u0442-\u0442\u0435\u0440\u0430\u043f\u0438\u0435\u0439.<br \/>\n\u0421\u0440\u0430\u0437\u0443 \u0436\u0435, \u043e\u0434\u043d\u0430\u043a\u043e, \u0434\u043e\u043b\u0436\u0435\u043d \u043e\u0433\u043e\u0432\u043e\u0440\u0438\u0442\u044c\u0441\u044f, \u0447\u0442\u043e \u044d\u0442\u0430 \u0440\u0430\u0431\u043e\u0442\u0430 \u043d\u0435 \u043f\u043e\u0434\u043a\u0440\u0435\u043f\u043b\u0435\u043d\u0430 \u043a\u043e\u043d\u043a\u0440\u0435\u0442\u043d\u044b\u043c\u0438 \u043f\u0440\u0438\u043c\u0435\u0440\u0430\u043c\u0438 \u043f\u0440\u0438\u043c\u0435\u043d\u0435\u043d\u0438\u044f \u0440\u0435\u0437\u0443\u043b\u044c\u0442\u0430\u0442\u043e\u0432 \u043c\u043e\u0438\u0445 \u0437\u0430\u043a\u043b\u044e\u0447\u0435\u043d\u0438\u0439\u00a0\u043d\u0430 \u043f\u0440\u0430\u043a\u0442\u0438\u043a\u0435, \u0430\u00a0\u0437\u043d\u0430\u0447\u0438\u0442 \u0438\u00a0\u043d\u0435\u043e\u0441\u043f\u043e\u0440\u0438\u043c\u044b\u043c\u0438 \u0434\u043e\u043a\u0430\u0437\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u0430\u043c\u0438 \u0441\u0443\u0449\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0441\u0442\u0438 \u043c\u043e\u0438\u0445 \u0434\u043e\u0432\u043e\u0434\u043e\u0432, \u043d\u043e\u00a0\u0442\u0435\u043c \u043d\u0435\u00a0\u043c\u0435\u043d\u0435\u0435, \u0432 \u0435\u0451 \u043f\u0440\u043e\u0446\u0435\u0441\u0441\u0435 \u044f \u0441\u043c\u043e\u0433 \u043e\u043f\u0440\u0435\u0434\u0435\u043b\u0438\u0442\u044c, \u0434\u043b\u044f \u0441\u0435\u0431\u044f, \u0442\u0430\u043a\u0438\u0435 \u043f\u043e\u043d\u044f\u0442\u0438\u044f \u043a\u0430\u043a \u00ab\u043f\u0435\u0440\u0446\u0435\u043f\u0442\u0438\u0432\u043d\u0430\u044f \u044d\u0440\u0433\u043e\u043d\u043e\u043c\u0438\u043a\u0430\u00bb \u0438\u00a0\u00ab\u044d\u0440\u0433\u043e\u0442\u0435\u0440\u0430\u043f\u0438\u044f \u0432\u043e\u0441\u043f\u0440\u0438\u044f\u0442\u0438\u044f\u00bb, \u043a\u0430\u043a \u043e\u0434\u043d\u0438\u043c \u0438\u0437\u00a0\u043a\u043b\u044e\u0447\u0435\u0432\u044b\u0445 \u0432\u00a0\u044d\u0442\u043e\u043c \u043d\u0430\u043f\u0440\u0430\u0432\u043b\u0435\u043d\u0438\u0438, \u0438\u00a0\u0432\u043e\u043f\u0440\u043e\u0441 \u0441\u0432\u0435\u0442\u043e\u0432\u044b\u0445 \u043a\u0430\u0447\u0435\u0441\u0442\u0432 \u0446\u0432\u0435\u0442\u0430, \u043a\u0430\u043a \u043d\u0430\u0438\u0431\u043e\u043b\u0435\u0435 \u043f\u043e\u0434\u0445\u043e\u0434\u044f\u0449\u0438\u0439 \u043c\u0435\u0442\u043e\u0434 \u0434\u043b\u044f \u0440\u0430\u0431\u043e\u0442\u044b \u0441\u00a0\u043d\u0438\u043c\u0438. \u0421\u0430\u043c\u0438\u00a0\u0436\u0435 \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u044f \u0434\u043e\u043b\u0436\u043d\u044b \u0431\u044b\u043b\u0438, \u0432 \u0438\u0445 \u0438\u0437\u043d\u0430\u0447\u0430\u043b\u044c\u043d\u043e\u0439 \u0437\u0430\u0434\u0443\u043c\u043a\u0435, \u0441\u043b\u0443\u0436\u0438\u0442\u044c \u043a\u0430\u043a \u043e\u0431\u0440\u0430\u0437\u0446\u044b \u0434\u043b\u044f \u044d\u043a\u0441\u043f\u0435\u0440\u0438\u043c\u0435\u043d\u0442\u043e\u0432 \u0441\u00a0eye-tracking (\u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u0435 \u043c\u0438\u043a\u0440\u043e-\u0434\u0432\u0438\u0436\u0435\u043d\u0438\u0439 \u0433\u043b\u0430\u0437), \u043d\u043e\u00a0\u0442\u0430\u043a\u0436\u0435 \u0438\u00a0\u043f\u0440\u043e\u0441\u0442\u043e \u043a\u0430\u043a \u043f\u043e\u043b\u0435 \u0434\u043b\u044f \u0444\u0438\u043a\u0441\u0438\u0440\u043e\u0432\u0430\u043d\u0438\u044f \u0442\u0435\u0445 \u0438\u043b\u0438 \u0438\u043d\u044b\u0445 \u0437\u0430\u043a\u043b\u044e\u0447\u0435\u043d\u0438\u0439 \u0432\u00a0\u043f\u0440\u043e\u0446\u0435\u0441\u0441\u0435 \u0440\u0430\u0441\u0441\u0443\u0436\u0434\u0435\u043d\u0438\u044f. (\u0410\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u0430\u044f \u0440\u0430\u0431\u043e\u0442\u0430, \u043f\u043e\u00a0\u0444\u0430\u043a\u0442\u0443, \u043e\u0431\u0440\u0430\u0449\u0430\u0435\u0442\u0441\u044f \u0434\u0430\u043b\u0435\u0435, \u043a\u00a0\u0441\u0432\u043e\u0439\u0441\u0442\u0432\u0430\u043c \u0441\u044e\u0436\u0435\u0442\u0430 \u0432\u00a0\u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0435 \u0438\u00a0\u0432\u043e\u0441\u043f\u0440\u0438\u044f\u0442\u0438\u0438 \u043a\u043e\u043d\u043a\u0440\u0435\u0442\u043d\u043e\u0433\u043e \u043d\u0430\u0431\u043b\u044e\u0434\u0430\u0442\u0435\u043b\u044f.)<br \/>\n\u042d\u0442\u043e \u0438\u0442\u043e\u0433 \u0430\u043d\u0430\u043b\u0438\u0437\u0430 \u0440\u0430\u0437\u043b\u0438\u0447\u043d\u044b\u0445 \u043f\u043e\u043d\u044f\u0442\u0438\u0439 \u043e\u043f\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430, \u043f\u0430\u0440\u0435\u0439\u0434\u043e\u043b\u0438\u0438, \u0441\u0438\u043d\u0445\u0440\u043e\u043d\u0438\u0447\u043d\u043e\u0441\u0442\u0438, \u0430\u0431\u0441\u0442\u0440\u0430\u043a\u0446\u0438\u0438, \u044d\u0441\u0442\u0435\u0442\u0438\u043a\u0438, \u0441\u0435\u043c\u0430\u043d\u0442\u0438\u043a\u0438, \u0433\u0435\u043d\u0435\u0440\u0430\u0442\u0438\u0432\u043d\u043e\u0433\u043e \u0438\u00a0\u043f\u0440\u043e\u0446\u0435\u0434\u0443\u0440\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u043f\u0440\u043e\u0446\u0435\u0441\u0441\u043e\u0432\u00a0\u0438 \u0442.\u0434. \u041d\u043e \u0441\u043e\u0432\u0435\u0440\u0448\u0435\u043d\u043d\u043e \u0432\u043d\u0435 \u043c\u043e\u0435\u0439 \u0430\u043c\u0431\u0438\u0446\u0438\u0438 \u043f\u0440\u0435\u0434\u043e\u0441\u0442\u0430\u0432\u0438\u0442\u044c \u043a\u0430\u043a\u0438\u0435-\u0442\u043e \u0438\u0441\u0447\u0435\u0440\u043f\u044b\u0432\u0430\u044e\u0449\u0438\u0435 \u043e\u0442\u0432\u0435\u0442\u044b \u0432 \u044d\u0442\u043e\u043c \u043d\u0430\u043f\u0440\u0430\u0432\u043b\u0435\u043d\u0438\u0438. \u042d\u0442\u043e \u0441\u043a\u043e\u0440\u0435\u0435 \u043a\u043e\u043b\u043b\u0435\u043a\u0446\u0438\u044f \u0432\u043e\u043f\u0440\u043e\u0441\u043e\u0432, \u043a\u043e\u0442\u043e\u0440\u044b\u0435, \u043c\u043d\u0435 \u043a\u0430\u0437\u0430\u043b\u043e\u0441\u044c, \u0432\u0430\u0436\u043d\u043e \u043f\u043e\u0441\u0442\u0430\u0432\u0438\u0442\u044c. \u0412 \u044d\u0442\u043e\u043c \u0441\u043c\u044b\u0441\u043b\u0435, \u044f \u043d\u0430\u0434\u0435\u044e\u0441\u044c, \u0447\u0442\u043e \u0438\u00a0\u0437\u0440\u0438\u0442\u0435\u043b\u044c\/\u0447\u0438\u0442\u0430\u0442\u0435\u043b\u044c \u0441\u043c\u043e\u0436\u0435\u0442 \u043d\u0430\u0439\u0442\u0438 \u0432\u00a0\u043d\u0438\u0445 \u0447\u0442\u043e-\u043d\u0438\u0431\u0443\u0434\u044c \u0438\u043d\u0442\u0435\u0440\u0435\u0441\u043d\u043e\u0435 \u0434\u043b\u044f \u0441\u0435\u0431\u044f!<\/p>\n<p>*\u0418\u043c\u0435\u0435\u0442\u0441\u044f \u0432\u0432\u0438\u0434\u0443 \u0438\u0437\u0432\u0435\u0441\u0442\u043d\u043e\u0435 \u043a\u043e\u043d\u0446\u0435\u043f\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0435 \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u0435 \u041a\u0430\u0437\u0438\u043c\u0438\u0440\u0430 \u041c\u0430\u043b\u0435\u0432\u0438\u0447\u0430, \u043a\u0430\u043a \u043f\u0440\u043e\u0441\u0442\u043e\u0439 \u0444\u043e\u0440\u043c\u0430\u043b\u044c\u043d\u043e\u0439 \u0433\u0435\u043e\u043c\u0435\u0442\u0440\u0438\u0438 \u043b\u0438\u0448\u0435\u043d\u043d\u043e\u0439 \u0441\u0432\u043e\u0438\u0445 \u00ab\u043e\u0431\u0449\u0438\u0445\u00bb \u043a\u0430\u0447\u0435\u0441\u0442\u0432 \u0432\u00a0\u043f\u043e\u043b\u044c\u0437\u0443 \u0438\u043d\u0442\u0435\u043b\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u043f\u0440\u0438\u0441\u0432\u043e\u0435\u043d\u0438\u044f \u0441\u043e\u0434\u0435\u0440\u0436\u0430\u0442\u0435\u043b\u044c\u043d\u043e\u0441\u0442\u0438.<\/p>\n<p><em>\u00a9 <a href=\"http:\/\/grebenshyo.dx.am\" target=\"_blank\" rel=\"noopener noreferrer\">\u0418\u0432\u0430\u043d \u0413\u0440\u0435\u0431\u0435\u043d\u0449\u0438\u043a\u043e\u0432<\/a><\/em><\/p>\n<h3>Virtual exhibition by Ivan Grebenshikov<br \/>\nMemory as art \/\/ Art as memory<\/h3>\n<p><strong>Introductory word of the artist<\/strong><br \/>\nAs one can see already from my name, Ivan Grebenshikov, I was born in the former Soviet Union (in the city of Karaganda, in Kazakhstan, to be precise), I lived the first 12 years of my life in St. Petersburg, before moving to Ticino in 1995 with my family. Right now I&#8217;m writing in my native language*, and even now I maintain (and with increasing intensity also) the bond with my homeland.<br \/>\nSo why art? Let&#8217;s start with the \u201cstate of art\u201d, the current state of the art science. Or rather, from the idea of \u200b\u200bart as a sensory and &#171;emotional&#187;\/mental object, as an object of perception, therefore.<br \/>\nIn everyday experience, all the objects of the process of perception at the end of the day remain only themselves. That is, both a &#171;tree&#187;, for example, and the \u201cBlack square&#187;**, as objects of perception, for the &#171;cerebral-sensory&#187; apparatus, are the same &#171;tree&#187; and \u201cBlack square&#187;: at the level of the electrochemical process, a sort of &#171;translation&#187; takes place, from the impressions received by the senses and transformed by the brain into a sort of a \u201cneurosensorial equivalent&#187; of these objects.<br \/>\nAt the same time, the very concept of perception cannot be reduced to the notion of a trivial information recorder \u2013 some sort of a biological \u201caudio\u201d or &#171;video recorder&#187; \u2013 because perception, by its very nature, also participates in deeper processes, at neural and metabolic levels, where the body interacts with the environment reacting to it in the most direct way.<br \/>\nAnd it is here that, with the consideration of this fact from an anthropological point of view, we can affirm that, being, on a perceptive level, chromatic derivatives, our &#171;tree&#187; and &#171;Black square&#187;, in the experience of perception, they are purely subjective concepts, autonomous phenomena, not at all associated with the meaning assigned to these definitions in a verbal context, i.e. they should be contemplated, in this sense, in a reductionist context, as an opposition to their holist correspondent of real objects.<br \/>\nFurthermore, at the level of the cerebral cortex, perception directly influences the dynamics of neuroplasticity, which in turn directly determines the psychosomatic processes in the body. The use of these principles in medical practice, meanwhile, is called receptive art therapy.<\/p>\n<p>Now, in order to understand the consequences of such an approach, namely of the focus on the qualities of perception, rather than just the fact of its participation in the creative process, we are going to take the example of the cultural context.<br \/>\nIts founding principle, communication, in its conventional extension, becomes a manifestation of memory. Not memory, however, that is in a sort of &#171;solidified&#187; state, not an &#171;analytical&#187; memory, which would present itself as this kind of abstract and intangible unity \u2013 an entity projected into eternity: from the past to the future; and not memory, therefore, in that sense in which it is interpreted by modernity: that is, as a sort of any set of elements that constitute certain units of \u201cremembrances\u201d or &#171;testimonies&#187;. Memory in the key of the perceptive paradigm is a memory closely connected with the laws of the (in)ability of the subject to record information. That is, with specific elementary physical principles of conservation and loss of some data on reality. Memory, for the perceptive paradigm, is, in other words, the ability to memorize, as well as art, for this paradigm is the ability to perceive.<\/p>\n<p>The works presented are the result of an attempt to answer the question of how exactly we can apply this knowledge and on the basis of what principles these processes are based. More specifically, in this work I used the ideas of Gestalt psychology as a means to analyze concepts related to art therapy.<br \/>\nHowever, I must straight away warn that this work is not supported by concrete examples of the application of the results of my conclusions in practice, and therefore by irrefutable proof of the validity of my arguments, but nevertheless, in this process I was able to define, for myself, concepts such as &#187; perceptual ergonomics&#187; and &#171;perception ergotherapy\u201d, as key concepts in this direction, and the question of color qualities, as the most appropriate method to work with them. In their original idea, the works themselves had to act as samples for eye-tracking experiments (the study of micro-movements of the eye), but also simply as a field for recording some conclusions in the process of reasoning. (Current work, in fact, addresses itself further: to the properties of the subject in the culture and perception of a particular observer.)<br \/>\nThis is the result of the analysis of various concepts of optical art, pareidolia, synchronicity, abstraction, aesthetics, semantics, generative and procedural processes, etc. But it is absolutely beyond my ambition to want to provide exhaustive answers in this direction. Rather, it is a collection of questions that, it seemed to me, is important to ask. I hope, in this sense, that even the spectator\/reader can find something interesting for himself!<\/p>\n<p>* The original text was written in Russian. Although both Italian and Russian are my mother tongue.<\/p>\n<p>** Here it\u2019s being referred to the well-known conceptual work by Kazimir Malevich, meant as a simple formal geometry, deprived of its &#171;common&#187; qualities in favor of the intellectual appropriation of significance.<\/p>\n<p>\u00a9 <a href=\"http:\/\/grebenshyo.dx.am\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Ivan Grebenshikov<\/em><\/a><\/p>\n<h3>Mostra virtuale di Ivan Grebenschikov<br \/>\nMemoria come arte \/\/ Arte come memoria<\/h3>\n<p><strong>Parola introduttiva dell&#8217;artista<\/strong><br \/>\nCome gi\u00e0 si pu\u00f2 capire dal mio nome, Ivan Grebenscikov, sono nato nell&#8217;ex Unione Sovietica (nella citt\u00e0 di Karaganda, in Kazakistan, per precisione), ho vissuto i primi 12 anni della mia vita a San Pietroburgo, prima di trasferirmi al Ticino nel 1995 con la mia famiglia. In questo momento sto scrivendo nella mia lingua madre*, e anche ora mantengo (e con crescente intensit\u00e0 inoltre) il legame con la mia patria.<br \/>\nDunque, perch\u00e9 arte? Cominciamo dallo state of art, lo stato attuale della scienza dell&#8217;arte. O meglio, dall&#8217;idea dell&#8217;arte come oggetto sensoriale ed &#171;emozionale\u201d\/mentale, come oggetto della percezione, quindi.<br \/>\nNell&#8217;esperienza quotidiana, tutti gli oggetti del processo della percezione alla fine dei conti rimangono solo se stessi. Cio\u00e8, sia un \u201calbero\u201d, per fare un esempio, che il &#171;Quadrato nero&#187;**, in quanto oggetti della percezione, per l&#8217;apparato \u201ccerebro-sensoriale&#187;, sono gli stessi &#171;albero&#187; e &#171;Quadrato nero&#187;: a livello del processo elettrochimico ha luogo una sorta di &#171;traduzione\u201d, dalle impressioni ricevute dai sensi e trasformate dal cervello in una sorta di un \u201dequivalente neurosensoriale&#187; di questi oggetti.<br \/>\nAllo stesso tempo, il concetto stesso di percezione non pu\u00f2 venire ridotto alla nozione di un banale registratore di informazioni \u2013 una qualche sorta di \u201caudio-\u201c o &#171;videoregistratore\u201d biologico \u2013 perch\u00e9 la percezione, per sua stessa natura, partecipa anche a processi pi\u00f9 profondi, a livelli neurali e metabolici, dove il corpo interagisce con l&#8217;ambiente reagendo ad esso nella maniera pi\u00f9 diretta.<br \/>\nEd \u00e8 qui che, con la considerazione di questo fatto da un punto di vista antropologico, possiamo affermare che, in qualit\u00e0, a livello percettivo, di derivati cromatici, i nostri \u201calbero&#187; e &#171;Quadrato nero&#187;, nell&#8217;esperienza della percezione, sono concetti puramente soggettivi, fenomeni autonomi, nient\u2019affatto associati al significato assegnato a queste definizioni in un contesto verbale. Andrebbero cio\u00e8 contemplate, in questo senso, in un contesto riduzionista, come opposizione al loro corrispettivo olista degli oggetti reali.<br \/>\nInoltre, a livello della corteccia cerebrale, la percezione influenza direttamente la dinamica della neuroplasticit\u00e0, che a sua volta determina direttamente i processi psicosomatici nel corpo. L&#8217;uso di questi principi nella pratica medica, invece, \u00e8 chiamato arteterapia ricettiva.<\/p>\n<p>Ora, per comprendere le conseguenze di un tale approccio, vale a dire del concentrarsi sulle qualit\u00e0 della percezione, pi\u00f9 che sul mero fatto della sua partecipazione nel processo creativo, prendiamo l\u2019esempio del contesto culturale.<br \/>\nIl suo principio fondante, la comunicazione, nella sua estensione convenzionale, diventa una manifestazione della memoria. Non memoria, tuttavia, che si trovi in una sorta di stato \u201csolidificato\u201d, non una memoria &#171;analitica&#187;, la quale si presenterebbe come questa specie di unit\u00e0 astratta e intangibile \u2013 un\u2019entit\u00e0 proiettata nell&#8217;eternit\u00e0: dal passato al futuro; e non memoria, quindi, in quel senso in cui essa viene interpretata dalla modernit\u00e0: cio\u00e8 come una sorta di qualsiasi insieme di elementi che costituiscono determinate unit\u00e0 di \u201cricordi\u201d o \u201ctestimonianze\u201d. La memoria nella chiave del paradigma percettivo \u00e8 una memoria strettamente connessa con le leggi della (in)capacit\u00e0 del soggetto di registrare informazioni. Cio\u00e8, con specifici elementari principi fisici della conservazione e della perdita di alcuni dati sulla realt\u00e0. La memoria, per il paradigma percettivo, \u00e8, in altre parole, la capacit\u00e0 di memorizzare, cos\u00ec come l&#8217;arte, per questo paradigma \u00e8 la capacit\u00e0 di percepire.<\/p>\n<p>Le opere presentate sono il risultato di un tentativo di rispondere alla domanda su come esattamente possiamo applicare questa conoscenza e sulla base di quali principi questi processi si fondino. Pi\u00f9 specificamente, in questo lavoro ho utilizzato le idee della psicologia della Gestalt in quanto mezzo mezzo per analizzare concetti relativi all\u2019arteterapia.<br \/>\nDevo tuttavia subito avvisare che questo lavoro non \u00e8 sostenuto da esempi concreti dell&#8217;applicazione dei risultati delle mie conclusioni nella pratica, e quindi da prove inconfutabili della fondatezza dei miei argomenti, ma ciononostante, in questo processo ho potuto definire, per me stesso, concetti come &#171;ergonomia percettiva&#187; ed &#171;ergoterapia della percezione\u201d, in quanto concetti chiavi in questa direzione, e la questione delle qualit\u00e0 del colore, in quanto il metodo pi\u00f9 appropriato per lavorare con essi. Le opere stesse dovevano, nella loro idea originale, fungere da campioni per esperimenti di eye-tracking (lo studio dei micro-movimenti oculari), ma anche semplicemente come un campo per la registrazione di alcune conclusioni nel processo di ragionamento. (Il lavoro attuale, infatti, si rivolge pi\u00f9 in l\u00e0: alle propriet\u00e0 del soggetto nella cultura e nella percezione di un particolare osservatore.)<br \/>\nQuesto \u00e8 il risultato dell&#8217;analisi di vari concetti di arte ottica, pareidolia, sincronicit\u00e0, astrazione, estetica, semantica, processi generativi e procedurali, ecc. Ma \u00e8 assolutamente al di l\u00e0 della mia ambizione voler fornire risposte esaustive in questa direzione. Si tratta piuttosto di una raccolta di domande che, mi \u00e8 sembrato, \u00e8 importante porre. Mi auguro, in questo senso, che anche lo spettatore\/lettore possa trovarvici qualcosa di interessante per s\u00e8 stesso!<\/p>\n<p>*Il testo originale \u00e8 stato scritto in russo. Sebbene entrambi italiano e russo siano mie lingue madri.<\/p>\n<p>** Qua ci si riferisce al noto lavoro concettuale di Kazimir Malevich, in quanto una semplice geometria formale, privata delle proprie qualit\u00e0 &#171;comuni&#187; a favore dell&#8217;appropriazione intellettuale della significativit\u00e0.<\/p>\n<p>\u00a9 <a href=\"http:\/\/grebenshyo.dx.am\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Ivan Grebenscikov<\/em><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Wie man schon an meinem Namen, Ivan Grebenschikov, sehen kann, ich wurde in der ehemaligen Sowjetunion geboren<span class=\"more-link\"><a href=\"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/2019\/09\/07\/%d0%b2%d0%b8%d1%80%d1%82%d1%83%d0%b0%d0%bb%d1%8c%d0%bd%d0%b0%d1%8f-%d0%b2%d1%8b%d1%81%d1%82%d0%b0%d0%b2%d0%ba%d0%b0-%d0%b8%d0%b2%d0%b0%d0%bd%d0%b0-%d0%b3%d1%80%d0%b5%d0%b1%d0%b5%d0%bd%d1%89%d0%b8\/\">Read More &rarr;<\/a><\/span><\/p>\n","protected":false},"author":484,"featured_media":2091,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_FSMCFIC_featured_image_caption":"\u00a9 Ivan Grebenschikov","_FSMCFIC_featured_image_nocaption":null,"_FSMCFIC_featured_image_hide":null,"footnotes":""},"categories":[419],"tags":[116,115,124,448,114],"class_list":["entry","author-flowie","has-excerpt","post-2090","post","type-post","status-publish","format-standard","has-post-thumbnail","category-reportage","tag-english","tag-german","tag-italian","tag-ivan-grebenscikov","tag-russian"],"acf":[],"_links":{"self":[{"href":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/wp-json\/wp\/v2\/posts\/2090","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/wp-json\/wp\/v2\/users\/484"}],"replies":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/wp-json\/wp\/v2\/comments?post=2090"}],"version-history":[{"count":15,"href":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/wp-json\/wp\/v2\/posts\/2090\/revisions"}],"predecessor-version":[{"id":11385,"href":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/wp-json\/wp\/v2\/posts\/2090\/revisions\/11385"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/wp-json\/wp\/v2\/media\/2091"}],"wp:attachment":[{"href":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/wp-json\/wp\/v2\/media?parent=2090"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/wp-json\/wp\/v2\/categories?post=2090"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/slavicumpress\/wp-json\/wp\/v2\/tags?post=2090"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}