Vaizdo ontologiniai būviai. Ikona kaip tikrovės steigimas

LTStraipsnyje kalbama apie prezentaciją, reprezentaciją ir simuliaciją kaip vaizdo ontologinius būvius. Šiems būviams įvardyti ir apibūdinti pasitelkiami Christopho Wulfo, Jeano Luco Mariono, Jeano Baudrillardo tekstai. Aptariamas vaizdo ir tikrovės krizės ryšys. Ypatingas dėmesys skiriamas ikonos kaip prezentuojančio vaizdo atvejui, gilinamasi į jos ontologiškumą. Keliami klausimai apie vaizdo galią steigti, atkurti ir neigti tikrovę, taip pat analizuojamas ontologinis vaizdo fenomenologijos potencialas. [Iš leidinio]Reikšminiai žodžiai: Vaizdas; Ontologija; Prezentacija; Reprezentacija; Simuliacija; Ikona; Image; Ontology; Presentation,; Representation; Simulation; Icon.

ENThe article aims to identify how the image exists and what are its possible relations with reality as well as where the power of image can be found when asserting or denying the reality. It strives to clarify the ontology of image and presentation, representation and simulation as ontological states of the existence of an image. The author emphasizes the visual turn, to which philosophical reflexion switched in the 20th century and which witnesses a complicated situation or even a crisis of image. This can be proved first of all with W. Benjamin’s insights about technical reproducibility when the change of the medium, based on photography technologies, leads us to a desacralization (the loss of aura) of an art piece and an image as well. Increased possibilities to produce and spread the images all around the world cause the experience of the world as an image. Consequently, the crisis of image and reality seems to be related to new visual technologies, especially the digital ones, which provoke the abundance of images. In screen culture almost every image becomes self-referent; that is why the question of reality must be raised again. This context allows discussing the influence of the change of medium for the ontological state of image. In ontological point of view, using the classification of images proposed by Christoph Wulf, there are researched cases of: representational image, which is based on mimesis, imitation, simulacrum, or image that have turned into an idol and obtained the status of simulation, and presentational image, which establishes the reality in presence. An example of icon, which is an image treated as sacral image and sometimes also as a piece of art, is used to describe the main features of image as presentation. An icon has a special visibility, which is independent from perspective: by assuming visual austerity and letting viewer to look through the visual surface, it makes its prototype present.The viewer’s gaze meets with a gaze of a Saint. The essence of the presentational power of an icon can be named as that crossing of two gazes. The article is based on works of several philosophers (J. L. Marion, J. Baudrillard, M. Merleau-Ponty), it also analyses the ontological potential of the phenomenology of image, as M. Merleau-Ponty once wrote: any theory of painting is metaphysics. [From the publication]