Vision élargie - Extended Vision
La vision élargie consiste en l'intégration de la vision fovéale (centrale) et de la vision périphérique.
Vision fovéale / vision périphérique
Vision fovéale (active, consciente)
- Utilise le centre de la rétine (cônes)
- Besoin d'une bonne luminosité (vision diurne)
- Sensible aux formes, aux couleurs.
- Vision précise (lecture, détails)...
- Vision de "prédateur" (identifier avec précision)
Vision périphérique (passive, inconsciente)
- Utilise la rétine extrafovéale (bâtonnets)
- Vision nocturne
- Sensible aux mouvements et aux contrastes (brillance).
- Vision en noir et blanc.
- Vision dynamique (mouvements, directions)
- Vision de "proie" (détecter tout mouvement)
La distinction entre la vision fovéale (environ 3 degrés) et la vision périphérique latérale ( selon les individus, entre 94 et 110 degrés) n'est pas absolue, notre champ visuel nous semble assez uniforme, de sorte que nous n'avons pas toujours conscience de différence entre les deux. y a une . Dans le tableau ci-bas, on distingue quatre zones, ailleurs, on en considère trois (fovéale, parafovéale et périphérique).
Concentrations de récepteurs (cônes et bâtonnets) par milimètre carré, selon la position sur la rétine
La vision élargie chez Matiouchine
« The painter and musician Mikhail Matiushin received state funding while continuing to paint nature-inspired, abstract canvasses emphasizing color and structural clarity that were, he claimed, a form of optical science.[See Evgenii Kovtun, "The Third Path to Non-Objectivity," The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932 (New York: Guggenheim Museum, 1992), pp. 321-28. In 1913 Matiushin wrote the music for the Futurist opera Victory Over the Sun (see above, note 17). After the Revolution he directed the Department of Organic Culture at the Petrograd GINKhUK, where he worked on his system of expanded viewing, or "see-know" (zorved), which combined development of physical vision ("circum-vision") with that of spiritual intuition. "Referring to optical variables in nature (the housefly has a very wide radius of sight while the dog has a very narrow one), Matiushin maintained that human beings could expand their optical radius. He affirmed that the body contained dormant optical reflexes on the soles of the feet and the back of the neck, and, basing his observations on private experiments, he proceeded to paint what he called landscapes from all points of view" (John E. Bowlt, "Body Beautiful," Bowlt and Matich, eds., Laboratory of Dreams, p. 52). The Ender siblings (Mariia, Boris, Kseniia and Georgii) were all his students. ] »
Revolutionary Art: The Bolshevik Experience* © Susan Buck-Morss, 2006. • Based on material from Susan Buck-Morss, Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West. (Cambridge: MIT Press, 2000).
