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Category Archives: Genre
Despite all odds, the ‘digital menace’ resolved into a ‘digital opportunity’ favoring the diffusion of literature. According with wiser predictions (Carrière – Eco 2009), the rise of new media paradoxically fostered the popularity of the the book as a medium, of literature as a crucial communication system, and even more slightly the predominance of the novel as a genre. Calvino (1988) was right indeed when predicting that he trusted in literature and its ability to last through the current millennium, because its specific bag of tools make it possible to do things which are otherwise undoable.
Far from having been threatened, not to mention killed, by web culture and new media, literature seems to be in pretty good shape. Actually, literature played an essential part in the development of groundbreaking commercial web based services such as Amazon, which was originally introduced as a telematic bookshop. Moreover, very crowded second generation web-based communities, such as aNobii, LibraryThing, or Goodreads, are actually based on literature as the main interest shared by thousand of enthusiastic readers from everywhere in the world.
Interestingly, literary systems emerging from digital shelves of socially networked bookworms look like Taleb’s ‘Estremistan’, that is as a winner-takes-(almost)-all cultural environment (Taleb 2007: 30) in which the novel definitely plays an hegemonic role (Fuksas 2008). So, the rise of digital media did not impacted dramatically neither the popularity of literature, nor the predominance of the novel, that is emerging more and more as a global standard for storytelling.
Deep in the middle of the so-called digital era visitors of bookshops such as Barnes and Noble in DC, FNAC in Paris or Feltrinelli in Rome still find themselves surrounded by novels and they keep buying them. Many of them purchase or illegally download thousand of epub and mobi novels which they collect in their ipad and kindle tablets. Matter-of-factly, the novel is playing a dramatic role in the survival of literature across the digital age, as it did through the modern era, characterized by the rise of powerful media such as radio, cinema and television.
The present investigation aims at suggesting that the novel is so powerful and sticky because it is a “Genere Mondo” implying a collaborative interaction between all the literary products which belong to the genre. The very concept of Genere Mondo paraphrases Franco Moretti’s idea of “Opera Mondo”, applying to modern epic literary works which aim at incorporating the entire world into their textual format. An Opera Mondo aims at digesting and outclassing previous literary tradition rather than complementi it, that is at trespassing the boundaries of a specific genre, or the very notion of genre itself, rather than implementing it.
For instance, Dante’s Commedia is “comedy”, as the title suggests, an original verse narrative whose textual format is carefully designed so as to differ from a traditional novel. The octosyllabe (8sill) is replaced by the endecasillabo (10’sill), and the couplet by the terzina, adding 3 syllables ro each verse and 1 verse to any pattern metric unit.
Hence, the Commedia is an un-novelistic literary work whose textual format implicitly exceeds the boundaries of the novel, as its themes and subjects do.
The “Opera Mondo” typically aims at setting itself apart from the esthetics which implicitly substantiate traditional literary genres. A clear morphologic statement gives birth to a literary work which will be eventually celebrated as an original masterpiece, but will hardly emerge as a role-model. The “Opera Mondo” is typically unprecedented and unsurpassed because it is a league of its own, unparalleled and beyond compare, aberrant and superlative at the very same time: a wonder and freak.
Since an “Opera Mondo” will be hardly taken as a model, being intrinsically impossible to emulate, it won’t define the borders of a new literary genre. Sometimes authors are consciously operating so as to produce an inimitable “Opera Mondo”. In other cases such an outcome depends on the degeneration of a literary work which was originally planned to fit the current literary system but accidentally transcended its limits.
Unlike literary works ranging into such a very uncommon category, novels are intrinsically conceived as parts of a greater, collaborative system. Essentially, the writing of a novel entails the implicit reference to other literary works of a similar kind. In such terms, novels complement each other, providing readers with descriptions of characters, facts and events which give for granted and fit into a novelistic system.
Accordingly, new novels typically tell new stories featuring new characters and/or adding significant elements to existing ones by directly or indirectly interacting with them. Their original subject fits a perpetually growing system which aims at incorporating the entire human experience into the aesthetic borders of a “Genere Mondo”.
Medieval verse novels, the avatar of the genre, tell the story of famous knights, featuring minor characters who often emerge as the protagonists of new literary works. Since the medieval origins of the genre individual novels are complementing each other as part of a potentially exhaustive system which aims at incorporating the entire world into its perpetually expanding borders. This propensity to exhaustiveness is pragmatic and accumulative instead of encyclopedic and systematic and collaborative rather than solipsistic.
Based on these premises, it has been possible for modern novelists to eventually broaden the field of such an inclusive system, that is to introduce new classes of characters, such as picaros and tormented intellectuals, femmes savantes and clever detectives. The intrinsic tendency to work as an organic system might be the reason why the novel evolved into the prominent genre in western literatures and eventually in World Literature as well. This claim will be supported by an investigation concerning medieval recollection of verse novels in organic macro-narratives supported by properly “novelistic” manuscripts.
Previous studies had already shown that some medieval manuscripts provide organic recollections of verse romance novels which contemplate individual works as parts of an integrate narrative system. Essentially, novels fit into books which partially approximate the modern organic idea of a literary genre. Indeed, not only these manuscripts just include similar works belonging to the very same kind, but also they range them in a peculiar order, which reflects the idea of a macro-narrative.
The selection of the contents typically shows a peculiar rationale, the overlapping of subjects and topics being rare and occasional. Manuscripts just devoted to a single novel are not so common, and equally rare are those in which novels coexist with literary works of other kinds. Accordingly, the manuscript tradition of the verse romance novel approximates the idea of an integrate and potentially independent literary genre.
Azzam, W. – Collet, O. – Foer Janssens, Y. 2005
Les manuscrits littéraires français: Pour une sémiotique du
recueil médiéval, in «Revue belge de philologie et d’histoire» (Langues et littératures modernes – Moderne taal en litterkunde) 83, 3, pp. 639-669.
Busby, K. 2007
Post-Chrétien Verse Romance. The Manuscript Context, in «Cahiers de Recherches Médiévales et Humanistes», 14, pp. 11-24.
Busby, K. 2002
Codex and Context. Reading Old French Verse Narrative in Manuscript, Amsterdam-New York, Rodopi.
Calvino, I. 1988
Six Memos for the Next Millennium, Cambridge (MA), Harvard University Press, 1988.
Carrière, J. C. – Eco, U. 2009
N’espérez pas vous débarrasser des livres, Paris, Grasset (italian translation: Non sperate di liberarvi dei libri, Milano, Bompiani).
Gingras, F. 2007
Roman contre roman dans l’organisation du manuscrit du Vatican, Regina Latina 1725, in «Babel» 16, pp. 61-80.
Kelly, D. 2006
Arthurian Verse Romance in the Twelfth and Thirteenth Centuries, chapter X of The Arthur of the French. The Arthurian Legend in Medieval French and Occitan Literature, ed. by G. Burgess and K. Pratt, Cardiff, The University of Wales Press, pp. 393-460.
Middleton, R. 2006
The manuscripts, chapter I of The Arthur of the French, ed. by G. Burgess and K. Pratt, Cardiff, The University of Wales Press, pp. 8-92.
Moretti, F. 1994
Opere mondo: saggio sulla forma epica dal Faust a Cent’anni di solitudine, Torino, Einaudi.
Nixon, T. 1993
Romance Collections and the Manuscripts of Chrétien de Troyes, in Les Manuscripts de Chrétien de Troyes, ed. by K. Busby – T. Nixon – A. Stones – L. Walters, Amsterdam, Rodopi, I, pp. 17-25.
Catalogue of Manuscripts, in Les Manuscripts de Chrétien de Troyes, ed. by K. Busby – T. Nixon – A. Stones – L. Walters, Amsterdam, Rodopi, II, pp. 1-85.
Trachsler, R. 1994
Le recueil Paris, BN fr. 12603, in «Cultura Neolatina», 54, pp. 189–211.
Walters, L. 2006
Manuscript Compilations of Verse Romances, c. XI of The Arthur of the French. The Arthurian Legend in Medieval French and Occitan Literature, ed. by G. Burgess and K. Pratt, Cardiff, The University of Wales Press, pp. 461-487.
Walters, L. 1985
Le Rôle du scribe dans l’organisation des manuscrits des romans de Chrétien de Troyes, in «Romania», 106, pp. 303-25.
Walters, L. 1991
Paris, Bibliothèque Nationale, fonds français, MS 1433: The Creation of a Super Romance, «The Arthurian Yearbook», 1, pp. 3-25.
Walters, L. 2006
The Formation of a Gauvain Cycle in Chantilly MS 472, in «Neophilologus», 78 (1994), pp. 29-43 (then in Gawain: A Casebook, ed. by R. H. Thompson and K Busby, New York-London, Routledge (Arthurian Characters and Themes), p. 157-172.
Walters, L. 1994
Chantilly MS 472 as a Cyclic Work, in Cyclification: The Development of Narrative Cycles in the Chansons de Geste and the Arthurian Romances, ed. by B. Besamusca et al., Amsterdam, Royal Netherlands Academy of Arts and Sciences, pp. 135-39.
As remarked in previous entries, evidence of effector-specific motor responses to speech and activation of mirror matching circuits during the processing of action-related words and sentences while speaking, listening and reading throws open the door to an ecological theory of narrative reference based on embodied semantics. In fact, the understanding of narratives seems to rely on the reenactment of described events, that depends on congruent effector-specific motor responses. Indeed, action potential emerging from direct environmental experience likely resonates in the body of the listener or the reader during the processing of corresponding narrative descriptions.
Of course, the assumption that the understanding of stories depends on embodied experiences recruited by means of sensory-motor resonance does not imply that narrative descriptions typically refer to automatic reflex actions. Evidence emerging from any page of any novel in any language from anytime and anywhere clearly shows that emotions play a crucial role in defining intentionality and purposefulness of consequent behaviors adopted by protagonists or other characters in the development of the story. Even in such respect novels actually work in the same way reality does, in terms that the understanding of narrative descriptions featured in a novel seems to depend on the very same interplay between perception, emotion and action which supports the decoding of behavioral patterns in the actual experience of natural and social environments.
Recent advances in neuroscience showed that emotions are environmentally situated and somatically marked states of the subject who feels them (Damasio 1994, 1996). Perceptual experiences or memories provide individuals with emotionally competent stimuli to be processed by a so-called ‘interoceptive sense’ (Craig 2002, 2008). Moreover, an action can hardly be defined as ‘planned’ and meaningful at all if lacking an emotional trigger.
Such findings are congruent with the so called Somatic Marker Hypothesis, which maintains that emotions are embodied responses to environmental changes which aim at placing the organism in circumstances conducive to survival and well-being (Bechara and colleagues 1994, 1997, 2000). According to such hypothesis, emotions are just the most evident part of a system of biological regulation that includes for example homeostatic reactions maintaining metabolism, pain, hunger and thirst signaling (Damasio 1994, 1996). Therefore, emotions such as happiness or sadness, embarrassment or pride depend on patterned chemical and neural responses to emotionally competent stimuli which emerge from environmental interaction.
Such responses even target the brain, but their main target is the body indeed, namely the internal milieu, the viscera and the musculoskeletal system. The result of the brain-targeting responses is an alteration in the mode of brain operation during the emotional body adjustments. The result of the body-targeting responses is the creation of an emotional state which involves adjustments in homeostatic balance, as well as the enactment of specific behaviors and the production of particular facial expressions. While feeling those emotions individuals elaborate the mental representation of emotionally-dependent physiological changes which amplify the impact of a given situation, enhances learning, and increases the probability that comparable situations can be anticipated.
Thanks to such integrated system which targets both the brain and the body, Emotions immediately respond to challenges and opportunities, allowing organisms to cope successfully with objects and situations that are potentially dangerous or advantageous. Basically, emotions provide the organism with a couple of integrated biological functions: the production of specific reactions to environmental situations and regulation of the internal state of the organism in order to prepare appropriate responses (Damasio 1999: 53). So, emotions provide embodied and somatically-marked responses to emotionally-competent stimuli which emerge from environmentally-situated experiences. At the same time, they underlay the decision-making processes which make it possible to plan purposeful intentional actions to the point that an action can be hardly defined as ‘planned’ or meaningful at all if lacking an emotional trigger, that is an interoceptive background.
As Damasio (1999: 53-54) remarked, «emotions provide a natural means for the brain to evaluate the environment within and around the organism, and respond accordingly and adaptively». Researches on patients affected by frontal lobe damage offered strong support to such hypothesis, showing that internal states associated with emotional contents support response options and advantageous choice. Other studies indicate that the process of deciding advantageously starts even before knowing the advantageous strategy (Bechara and colleagues 1994, 1997, 2000), emotions should play a major role when it comes to action planning.
Assuming such perspective on emotions, it is not surprising that novels provide readers or listeners with descriptions of character-specific emotional states which reflect the response to perceptual events or underly the decision-making processes which lead to purposeful intentional actions. Indeed, the understanding of environmental descriptions typically rely on the contextual processing of its emotional rebounds. Likewise, narrative action are understood as purposeful and intentional because they rely on an emotional appraisal of the circumstances.
Basically, the understanding of a story necessarily implies the understanding of descriptions which focus on the emotional rebounds of a given perceptual event or on the interoceptive modulations which underly purposeful action planning. Therefore, being descriptions of emotions that crucial to the understanding of a novel, how do humans recognize and process them while reading or listening? As it happens with the understanding of descriptions referring to perceptual events and actual actions, the correct response might be the one resulting from the application of theories of embodied cognition to emotions.
Indeed, neuroscience suggests that emotional resonance across individuals plays a crucial role in observational learning which is likely supported by a reenactment of the emotional experience of the model in the observer. For instance, Wicker and colleagues (2006) showed that observing an emotion activates the neural representation of that emotion, as observing hand actions activates the observer’s motor representation of that action, providing evidence which support the idea of a a unifying mechanism for understanding the behaviors of others. Moreover, Chakrabarti and colleagues (2006) investigated the influence of trait empathy on perception of different basic emotion expressions (happy, sad, disgusted, angry), finding common neural regions underlying empathy across different emotions, and regions that show an emotion-specific correlation with empathy. Other experiments performed by Olsson and colleagues (2007) suggests that indirectly attained fears may be as powerful as fears originating from direct experiences.
Significant evidence emerged from studies concerning direct and social experience of pain. Singer and colleagues (2004) presented data suggesting that empathizing with the pain of others does not involve the activation of the whole pain matrix, but is based on activation of those second-order re-representations containing the subjective affective dimension of pain. Accordingly, they proposed that these cortical re-representations have a dual function: first, they ground human ability to form subjective representation of feelings that allow to predict the effects of emotional stimuli with respect to the self; second, they serve as the neural basis for human ability to understand the emotional importance of a particular stimulus for another person and to predict its likely associated consequences.
More recently Ogino and colleagues (2007) provided evidence supporting the idea that the imagination of pain elicited by viewing images which painful events may be based on representations of pain in the human brain, which reflects the multidimensional nature of pain experience including sensory, affective, and cognitive components. Even Lamm and colleagues (2007) showed that the perception of pain in others results in the activation of almost the entire pain-matrix, including its sensory-discriminative component. They even find that both the sensory-discriminative and the affective-motivational component is modulated by the context in which pain has occurred, and by the consequences the observer is focusing on.
Interestingly, other studies presented evidence which support the idea that even the recognition of emotional meaning in words and locutions which refer to emotions seems to be involving the embodiment of the implied emotion. Namely, Havas, Glenberg and Rinck (2007) showed that language referring to emotional states is only fully understood when those states are literally embodied during comprehension. Interestingly, the authors introduce the paper that presents evidence supporting such a view remarking that «reading a passage from a favorite novel makes it clear that language evokes emotion».
Actually, it seems that comprehension of emotionally-competent linguistic descriptions depends on the simulation of congruent emotional states. Basically, narrative descriptions of emotions are understood according to the way individuals feel them while reading a novel, based on their own experience of similar circumstances. Such hypotesis is congruent with the idea that «the body-sensing areas constitute a sort of theater where not only the “actual” body states can be “performed”, but varied assortments of “false” body states can be enacted as well, for example, as-if body states, filtered body states, and so on» (Damasio 2003: 117-118).
In Damasio’s view, «the commands for producing as-if body states are likely to come from a variety of prefrontal cortices as suggested by recent work on mirror-neurons on both animals and humans». Basically, a mirror-matching mechanism might be even responsible of the understanding of emotions felt and expressed by others both is somatic and linguistic terms. In that case, as-if body states would be the ones experienced while processing and understanding the narrative references that emerge from the reading of emotionally-competent descriptions featured in a novel.
Hence, readers or listeners likely understand linguistic descriptions of emotions according to their own embodied experience of similar emotionally-competent events. Accordingly, philological investigations focusing on emotionally-related words or locutions would make it possible to study single literary works and their textual tradition or to compare different ones in respect to the more or less integrated semantic systems that support their emotional understanding in readers or listeners. Assuming that co-occurrence of words can be interpreted as an indicator of semantic proximity and/or interdependency, co-occurring emotionally related words can be aggregated so as to define the borders of relevant lexical clusters.
Of course, such approach to emotional resonance and the novel is just the preliminary step preluding to the study of the integrated descriptive system that joins together perceptual events, emotional modulations and proper actions in a narrative whole which works in the exact same way the actual human experience of nature and society does. Indeed, previous remarks imply that descriptions of the way emotions are experienced and felt does not consist in isolated narrative events situated in some secluded ‘interiority’ of a specific character. Rather, novels typically describe emotional responses to perceptual events and emotional decisions which underly purposeful intentional actions.
Some narrative descriptions might emphasize the connections between emotions and action, but even the ones in which such connections may seem looser hardly describe character-specific feelings or states of mind as completely unrelated to environmentally situated decisions and actions. Certainly standard novels tend to avoid redundant descriptions of emotional states which do not lead to purposeful actions, because they may sound distracting and disturbing. Rather, such descriptions are typically included in experimental literary works which intentionally aim at broadening the borders of the genre or hybridizing the novelistic format with lyric overtones.
Conversely, even in extreme cases featuring robots or AI as the protagonists, novels can hardly tell the story of such characters without relating some of the described circumstances to emotionally-relevant events. Given that nothing can be told and narrated in a novel that never fell into the borders of human experience, novels tend to ‘humanize’ such extreme characters, so as to comply the requirements of the genre. Indeed, the presence of more or less detailed descriptions of emotional states is a mandatory requirement for a novel.
Specific investigations might provide interesting clues on the variable balance between perceptual events, interoceptive responses and purposeful actions featured by different novels. Action-driven stories are typically perceived as dumb and silly because they mostly lack detailed descriptions of the emotional background which make characters act the way they do. On the other hand, stories which indulge in redundant descriptions of emotions and feelings are usually addressed as boring.
The hypothesis that the more even is the balance of described events, the more the novel seems to be convenient in current social terms triggers interesting questions about the development of the genre from its western medieval origins to contemporary developments spreading everywhere around the globe. Indeed, will it be possible to identify crucial turning points in the history of the novel based on the way emotions are described? Do critical transitions from a standard novelistic format to another depend and/or imply a different descriptive balance between perceptual events, emotional responses and decisions and actual actions?
Moreover, may the role played by classic novels in the global literary system be due or related to such effective balance of perception, interoception and action? Did such novels find the point of equilibrium between action-driven stories and hyper-psychologic ones while exploring the emotional background which underlay decisions and prompt characters to action? Did descriptions of activity patterns based on such balanced integration of perceptual events, interoceptive responses and proper actions define specific morphologies of the story which are effective-enough to emerge as a standard and to be somewhat naturalized as ‘normal’?
Specific investigations focusing on novels which emerge as very popular or relevant ones from library catalogues might contribute to explain why novels which emerged as a global standards for storytelling are made the way they are.
Bechara, A. – Damasio, A. R. – Damasio, H. – Anderson, S. W. 1994
Insensitivity to future consequences following damage to human prefrontal cortex, in «Cognition» 50: 7-15.
Bechara, A. – Damasio, H. – Tranel, D. – Damasio, A. R. 1997
Deciding advantageously before knowing the advantageous strategy, in «Science» 275: 1293-1295.
Bechara, A. – Tranel, D. – Damasio, H. 2000
Characterization of the decision-making deficit of patients with ventromedial prefrontal cortex lesions, in «Brain» 123: 2189-2202.
Chakrabarti, B. – Bullmore, E. – Baron-Cohen, S. 2006
Empathizing with basic emotions: Common and discrete neural substrates, in «Social Neuroscience», 1, 3-4: 364-384
Craig, A. D. 2002
How do you feel? Interoception: the sense of the physiological condition of the body, in «Nature Review Neuroscience» 3: 655-666.
Craig, A. D. 2008
Interoception and Emotion A Neuroanatomical Perspective, in Handbook of emotions, ed. by M. Lewis – J. M. Haviland-Jones – L. Feldman Barrett, New York, Guilford Press: 272-288.
Damasio, A. R. 1994
Descartes’ Error: Emotion, Reason, and the Human Brain, Avon, New York.
Damasio, A. R. 1996
The somatic marker hypothesis and the possible functions of the prefrontal cortex, in «Philosophical Transactions of the Royal Society of London, Series B (Biological Sciences)» 351: 1413–1420.
Damasio, A. 2003
Looking for Spinoza. Joy, Sorrow, and the Feeling Brain, Orlando (FL), Harcourt.
Havas, D. A. – Glenberg, A. M. – Rinck, M. 2007
Emotion simulation during language comprehension, in «Psychonomic Bulletin & Review» 14: 436-441.
Lamm, C. – Nusbaum, H. C. – Meltzoff, A. N. – Decety, J. 2007
What are you feeling? Using functional magnetic resonance imaging to assess the modulation of sensory and affective responses during empathy for pain, in «PLoS ONE», 12: e1292.
Ogino, Y. – Nemoto, H. – Inui, K. – Saito, S. – Kakigi, R. – Goto, F. 2007
Inner experience of pain: imagination of pain while viewing images showing painful events forms subjective pain representation in human brain, in «Cerebral Cortex», 17: 1139-1146.
Olsson, A. – Nearing, K. I. . Phelps, E. A. 2007
Learning fears by observing others: the neural systems of social fear transmission, in «Social Cognitive and Affective Neuroscience Advance Access», 2: 3-11.
Singer, T. – Seymour, B. – O’Doherty, J. – Kaube, H. – Dolan, R. J. – Frith, C. D. 2004
Empathy for pain involves the affective but not sensory components of pain, in «Science», 303, 5661: 1157-1162.
Wicker, B. – Keysers, C. – Plailly, J. – Royet, J. P. – Gallese, V. – Rizzolatti, G. 2003
Both of us disgusted in my insula: The common neural basis of seeing and feeling disgust. in «Neuron», 40, 3: 655-664.
Università di Cassino
Centro Interdipartimentale di Ricerca su Tradizione e Tradizione
Translation and Innovation in Literary Systems and Canons
Biblioteca Comunale di Gaeta
october 1 2009
Translation stretches the borders of the linguistic domain in which a literary work ends up playing a relevant role. At the same time, cultural identity of novels and poems, as the one of works belonging to other genres, may happen (and it often does) to be lost in translation since such items may even become part of literary canons based on and referring to languages in which they have been translated.
So, the translation of a given literary work may trigger crucial evolution of literary systems, resulting in the breeding or fostering of genres or patterns and meaningful innovations in corresponding canons. Eventually, entire genres may be integrally imported into a new linguistic and cultural domain by means of systematic translations. Conversely, translation may work the opposite, bottom-up direction, following massive reference to the original version of given literary works. All mentioned phenomena operate underneath significant, extremely evident or very peculiar processes of ‘g-localization’ of literary systems since the Middle-Ages through the Modern Era till the present contemporary developments.
Such remarks suggest that new consideration should be given to the crucial topic of ‘nationality of books’. Indeed, translation seems to stretch the linguistic borders which traditionally defined to which national literature a novel or a poem belongs. So called ‘nationality of books’, that is linguistic and cultural identity of literary work seems to be defined in reader-based terms. Local language-based literary systems «think globally and act locally», that is they g-localize themselves by incorporating foreign books in translation.
According with such premises, the workshop on «Translation and Innovation in Literary Systems and Canons aims at collecting different approaches in respect to the idea that literary systems g-localize themselves by acquiring foreign works by means of the amazingly powerful mediation of translation. Presentations and debate will be planned so as to verify how effectively such statement properly apply to the evolution of literary canons since the medieval origins of European vernacular literatures, through Modern Era, till present times and the so-called problem of World Literature.
Previous entries about Mark Jenkins’ and Xing Danwen’s artworks showed that an investigation on how immersive environments are described in novels and how narrative references interfere with sensory experience of landscapes may take advantage from comparative remarks coming from sculpture and manipulation of digital imaging. More advantageous remarks may come from the field of photography, namely from suggestive artistic shots by Timothy Atherton, a former police evidence photographer who definitely developed an ecological artistic approach to landscapes.
Being resonance a key-concept in Gibson’s Theory of affordances, Atherton conceptualization of photography makes plenty of sense in ecological terms since he maintains that «the idea of a photographer as being a person who follows traces is one that resonates strongly for me». Moreover, Atherton conceives the transference happening when the photographer make a picture as part of an exchange taking place between photographer and scene. Basically, in his view «the photographer simply uses the camera to make a trace of what he sees before him or her». Atherton’s approach to photography doesn’t seem based on traditional mimetic approaches, given that he describes his photography as an «ongoing attempt» to understand what he sees, by following clues so to establish «temporary conclusions that then lead to other questions and other clues». In these terms, by quoting Joyce («Bethicket me for a stump of a beech»), Atherton summarizes his work as aimed to «interpreting traces».
Introducing his series of “Peripheral Vision” (2003) Atherton states that «extended suburban condition does not easily show up on maps, it is in many ways more of a suburban state of mind than a topographic location». While photographing suburban landscapes, Atherton found himself «looking at things that are somewhat off centre, off to the side – a peripheral vision. Things that are often unnoticed and just below our level of perception». Indeed, «things seen that are in plain sight yet so familiar or obvious they are usually ignored, unseen, and their existence barely registered – attention no longer paid to them».
Describing his series of “Immersive Landscapes” (2006), Atherton offers that «to try and impose order on this messy and unordered view seems a mistake. Instead, recognizing the disorder, letting the fine detail spread over the whole image and allowing the eye to wander over the whole field without finding a clear point of rest draws the viewer into the apparent fractal detail and chaos of the image». Indeed, he describes the results of his work as portraits of «“immersive” landscapes where the whole wide visual field is potentially full of interesting subplots over and against the overall story that the picture is telling».
Introducing his new work, Traces (2007), Aherton interestingly quotes Italo Calvino:
The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the street, the gratings of the windows, the bannisters of the steps, the antennae of the lightning-rods, the poles of the flags. Every segment marked in turn with scratches, indentations, scrolls
Actually, Atherton’s collection of Traces seems pretty much inspired by Calvino’s remarks from the Invisible City (Le città Invisibili, Torino, Einaudi, 1972), that may even count as a very interesting meditation on hybrid ecologies based on the merge of literary references and sensory experience of landscapes. Namely, the bare concept of Le città invisibili entails open reference to cities that are there even tho they are not perceivable by sight. Actually, Atherton’s Traces exert potential of landscapes referring to previous or potential actions. The camera can help guessing or foreshadowing past or future events on the basis of clues, leftovers, affordances ready to be triggered by somebody who’s actually out of the picture.
Introducing his work, the photographer describes his photo art in very general terms as «an essential way of seeing, of exploring and understanding something or somewhere». Art is conceived as an explorative behavior leading to the discovery of traces. The artist finds and collects evidences and tries to make sense of them, interpreting them in some way, so to reach «provisional conclusions which are then either discarded or built on». Still, art doesn’t imitate some sort of physical reality located ‘out there’. Rather, it establishes temptative approaches to the environment based on «traces people leave, the evidence or signs that the camera can discover, often seeming to find them in unnoticed or disregarded terrain».
Actually, Atherton adopts a very ecological approach to photo art based on «the principle of exchange», maintaining that «every contact leaves a trace – that with contact between two things there will be an exchange». As an artist, he sees exchange as an interaction not just taking place between «inhabitant and place, but also between photographer and place». That is, he regards the trace of light on film as an exchange». Interestingly, Atherton portrays traces in order to make the viewer wondering about actions that eventually took place or are about to happen. In this sense, a former police evidence photographer, he exerts action potential triggered by visual hints in the very same way detectives try to re-enact events leading to crimes on the basis of clues they find on crime scenes.
With all evidence, the very same process is exerted into crime stories, namely the ones defined as “woodonit”, so as to establish a deep involvement of the reader into the story being told. Indeed, the reader is involved into reverse engineering since the very beginning of the novel, when the corpse of the victim is typically discovered. The same process is exerted to a variable extent in basically every novel, thriller as romantic, mainstream as experimental ones, since potential reference always outstrips textual borders, bringing into play speculations about other events that are not necessarily encoded into textual description.