Materia: Narrativas experimentales. Tema: Percepción y realidad. Profesor: Pablo MZ
Preámbulo: la pedagogía y el arte como rituales de cuidado




Percepción y realidad







Etimología de experimentación: la palabra significa “acción y efecto de ensayar, hacer una prueba”; sus componentes léxicos son: el prefijo ex- (separación del interior), periri (tratar, probar), -mento (resultado, medio o instrumento), más el sufijo -ción (acción y efecto).






¿Qué nos dicen los colores? ¿Cómo percibimos el mundo a través de los colores? ¿Podemos percibir el mundo de maneras alternativas en función de tonalidades? ¿Cómo perciben ustedes el mundo?




Acá pueden leer la teoría de los colores de Goethe: https://www.gutenberg.org/files/50572/50572-h/50572-h.htm //// abajo les pongo el apartado I, titulado “efecto de la luz y la oscuridad sobre el ojo”:
I
EFFECTS OF LIGHT AND DARKNESS ON THE EYE.
The retina, after being acted upon by light or darkness, is found to be in two different states, which are entirely opposed to each other.
If we keep the eyes open in a totally dark place, a certain sense of privation is experienced. The organ is abandoned to itself; it retires into itself. That stimulating and grateful contact is wanting by means of which it is connected with the external world, and becomes part of a whole.
If we look on a white, strongly illumined surface, the eye is dazzled, and for a time is incapable of distinguishing objects moderately lighted.
The whole of the retina is acted on in each of these extreme states, and thus we can only experience one of these effects at a time. In the one case (6) we found the organ in the utmost relaxation and susceptibility; in the other (7) in an overstrained state, and scarcely susceptible at all.
If we pass suddenly from the one state to the other, even without supposing these to be the extremes, but only, perhaps, a change from bright to dusky, the difference is remarkable, and we find that the effects last for some time.
In passing from bright daylight to a dusky place we distinguish nothing at first: by degrees the eye recovers its susceptibility; strong eyes sooner than weak ones; the former in a minute, while the latter may require seven or eight minutes.
The fact that the eye is not susceptible to faint[Pg 4] impressions of light, if we pass from light to comparative darkness, has led to curious mistakes in scientific observations. Thus an observer, whose eyes required some time to recover their tone, was long under the impression that rotten wood did not emit light at noon-day, even in a dark room. The fact was, he did not see the faint light, because he was in the habit of passing from bright sunshine to the dark room, and only subsequently remained so long there that the eye had time to recover itself.
The same may have happened to Doctor Wall, who, in the daytime, even in a dark room, could hardly perceive the electric light of amber.
Our not seeing the stars by day, as well as the improved appearance of pictures seen through a double tube, is also to be attributed to the same cause.
If we pass from a totally dark place to one illumined by the sun, we are dazzled. In coming from a lesser degree of darkness to light that is not dazzling, we perceive all objects clearer and better: hence eyes that have been in a state of repose are in all cases better able to perceive moderately distinct appearances.
Prisoners who have been long confined in darkness acquire so great a susceptibility of the retina, that even in the dark (probably a darkness very slightly illumined) they can still distinguish objects.
In the act which we call seeing, the retina is at one and the same time in different and even opposite states. The greatest brightness, short of dazzling, acts near the greatest darkness. In this state we at once perceive all the intermediate gradations of chiaro-scuro, and all the varieties of hues.
We will proceed in due order to consider and examine these elements of the visible world, as well as the relation in which the organ itself stands to them, and for this purpose we take the simplest objects.

Cuatro temperamentos fundamentales derivados de la teoría filosófica griega y romana de la antigüedad, que son: Melancólico, del violeta al rojo; Colérico, del rojo al amarillo.; Sanguíneo, del amarillo al verde; Flemático. del verde al azul; El diagrama relaciona doce colores con las ocupaciones humanas o con sus rasgos de carácter, agrupados en los cuatro temperamentos: colérico (rojo/naranja/amarillo): tiranos, héroes, aventureros; sanguíneos (amarillo/verde/cian): hedonistas, amantes, poetas; flemáticos (cian/azul/violeta): oradores públicos, historiadores, profesores; melancólicos (violeta/magenta/rojo): filósofos, pedantes, gobernantes.


Decíamos que la experimentación en arte puede acercarse bastante a la experimentación en ciencia, aquí un par de ejemplos de la historia temprana del cine: Marinescu y Painlevé.


Aquí pueden leer el libro Science is Fiction. The Films of Jean Painleve.
