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emotional geography

January 15, 2006

It 'something like that emerges, something that has been done but for some reason was forgotten: the need to share the natural landscape, but also the urban as atmospheres of. This need of remembrance is called "emotional geography is an aesthetic movement that in recent years has been able to in New York or Tokyo, Berlin or London, the symptoms of an awakened need for a stay in a room and tell part by emotion which can give. In the era of being everywhere, but actually feel disoriented, sensory experiences, touch, smell, taste, glare interior are anchors that help to perceive the space that you live. The trip, on the other side of the world as well as the pedestrian crossing under the house, that apply to transmit feelings.

To tell this philosophy, there is a magazine in Italy. A quarterly born in Milan, but with international firms. It's called Aria.
Laura Broggi - "Air" - : "In an age of visual overload, just the images do not seem to be enough. The city, the country once again becomes a place to go. You want a place to rediscover that conveys the emotion rather than time, unnecessarily increased, which forces a scan. You want to listen rather than watch it as a simple catalog of exterior surfaces: buildings, objects, clothes or attitudes if you prefer. Emotional geography means looking at things and people and hear what might come to mind in relation to the most unlikely things. Think of people you are watching a piano, a showcase, a work of art, a way ".
A geography emotional but not to be confused with the simple emotions surface, with the immediate response and complacency. E 'rather than the practice experiences that help in preparing a personal, intimate routes.
It 's a bit that "from self" which contains both the idea itself but also the beginning of removal itself, just to travel and discover their own geography.
Laura Broggi: " Photography, film, art, design ... The emotional geography is declined in the various artistic practices: images that tell of transparencies and mirrors, pictures that are not only what they see, stories that describe particular places temporary, internal ordinary; architecture on the edge of abandonment. Anything to do with the ideas of celebration and excitement. "
Giuliana Bruno, the theory that kicked off this trend, he lives in the United States, is a professor at Harvard. For her it was the beginning of a new era after postmodernism. From out of things to occur years ago with the desire to understand what all the places you live. E 'which means that i-move your out of themselves, perhaps without coordinated look with the new normal.
Laura Broggi: " Whether the trend is also found in newspapers and books. The law calls for a simple design but with a strong emotional impact. Rethought starting from the small town of emotions. To listen to the passage of seasons, to make room in the dark, to perceive odors and spaces. We learn that science has discovered the mirror neurons: that is the secret of emotions. It is said of profiles for new professions, such as the Environmental Organizer emotion. We organize dinners and parties in the dark, but quiet, to awaken sleeping perceptions. The museum set olfactory pathways and tactile. The rising columns of marketing stimuli perception around each product. Even the last festival was dedicated to the philosophy of the senses, to the body. In short, the desire to feel the world makes its way in a society as a whole turned to what you see. "
From advertising to design, lifestyle, through architecture and narrative, fashion, film and art a lot of light seems to reverberate ' emotional. This trend reflected in a cinema, a certain narrative, its own aesthetic codes. A vein that passes from Wenders to Sofia Coppola, Wong Kar Wai and Paolo Sorrentino . From Kuitca and Wilson to Hillman , Woodmann and Chiaramonte. E 'praise of the shadow of the Biennale Forster.
One thing is certain: the emotional geography of bulimia is not new but rather a strange feeling to put it differently, and as Voltaire " The real voyage of discovery consists not in seeking new landscapes but in having new eyes ".



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