Working languages: Spanish to English |
| Gregory Vigo
Specialist in Art and Design
NA Local time: 13:34 CEST (GMT+2)
Native in: English  | |
Freelancer,  Verified site user | | Translation, Editing/proofreading | | Specializes in: | | Art, Arts & Crafts, Painting | General / Conversation / Greetings / Letters | | Architecture | Furniture / Household Appliances |
| Also works in: | | Textiles / Clothing / Fashion | History | | Computers: Software | Cinema, Film, TV, Drama | | International Org/Dev/Coop | Media / Multimedia | | Poetry & Literature |
More Less | | PRO-level points: 55, Questions answered: 45 | Sample translations submitted: 1 | Spanish to English: Art Criticism | Source text - Spanish
La percepción visual es un proceso interpretativo; la información de un motivo visual complejo es tan grande “que el sistema nervioso no sería capaz de interpretarlo si no existiera un proceso de abstracción que lo redujese a cantidades manejables. La percepción es entonces un proceso jerárquico de interpretación”1. Esto implica, por un lado, la eliminación de determinadas estructuras de información a favor de otras, donde la dinámica formal y semántica se reorganiza para generar en el espectador una explicación hermeneútica que, si bien no es el único camino que se abre a quien desea acercarse a una obra de arte, “implica una relación efectiva entre el intérprete y la obra”2. En este sentido, la forma matriz a la que aludimos se ubica siempre en una disposición y con una dimensión lo suficientemente relevantes como para que no quede subyugada por otras variantes temático-formales presentes en sus obras.
La compartimentación de una superficie limitada a través de una matriz principal objetivable codifica gran parte del significado al que el espectador de estas obras tiene acceso. En el caso de Qué queréis cenar I y Qué queréis cenar II, el propio título parece advertirnos que la investigación está determinada por una misma idea semántica3. Dentro de esta familia, en Pantalones voladores y Milagros en la ciudad la identidad específica del motivo matriz se dispone invertida respecto a las anteriores y, en el caso de la última obra mencionada, claramente alterada por la mayor proyección de uno de los apéndices, destacado con rojo. En esencia, las cuatro piezas comparten algunos códigos (no sólo gráficos, sino también de color y estructuración interna), pero al mismo tiempo, diferencias sustanciales; son estas últimas las que atraviesan la versatilidad semántica de la matriz original. | Translation - English
Visual perception is an interpretative process. The information from any visual motif is so great that "the nervous system would not be able to interpret it if there were no process of abstraction to reduce it into manageable quantities. Perception is therefore a hierarchical process of interpretation”1. This implies, on one hand, the elimination of certain information structures in favor of others, where the formal and semantic dynamic is re-organized to generate a hermeneutic explanation in the viewer which, even if it is not the only path that opens up for someone who wants to approach a work of art, it "implies an effective relationship between the interpreter and the work".2 In this sense, the matrix form we are referring to is always located within a composition and with a sufficient relative size so that it is not overshadowed by other thematic-formal variables present in the work.
The compartmentalization of a limited surface by means of an objectifiable predominant matrix codifies a large part of the meaning the spectator has access to in the work. In the case of What do You Want for Dinner I (Qué queréis cenar I) and What do You Want For Dinner II (Qué queréis cenar II), the title itself seems to tell us that the explorations are characterized by the same semantic idea.3 Within this family, in Flying Pants (Pantalones voladores) and Miracles in the City (Milagros en la ciudad), the specific identity of the matrix motif is found inverted in respect the previous examples, and in the last work mentioned above it is clearly altered to provide greater protection for one of the appendices, highlighted with red. Essentially, the four pieces share some codes (not only graphic but also of color and internal structure), but at the same time have substantial differences. It is these last pieces that run the gamut of the semantic versatility of the original matrix. |
More Less | | Art/Architecture/Art History Glossary | | Years of translation experience: 5. Registered at ProZ.com: Sep 2007. | | N/A | | N/A | | N/A | | Microsoft Excel, Microsoft Word, OmegaT, OpenOffice, Powerpoint | | http://translatevigo.com.es | | English (PDF) | | Gregory Vigo endorses ProZ.com's Professional Guidelines (v1.0). | | About me
No content specified | This user has earned KudoZ points by helping other translators with PRO-level terms. Click point total(s) to see term translations provided.
Total pts earned: 55
(All PRO level)
| | Language (PRO) | | Spanish to English | 55 | | Top general fields (PRO) | | Art/Literary | 28 | | Other | 19 | | Tech/Engineering | 4 | | Marketing | 4 | | Top specific fields (PRO) | | Art, Arts & Crafts, Painting | 31 | | Architecture | 8 | | Computers: Software | 4 | | Furniture / Household Appliances | 4 | | Poetry & Literature | 4 | | Textiles / Clothing / Fashion | 4 |
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Keywords: contemporary art, arte contemporáneo, modern art, arte moderno, painting, pintura, exhibition catalogue, catalog, catálogo, press release, nota de prensa, gallery, galería, museum, museo, Linux, tourism, turismo, design, diseño
Profile last updated
Sep 8, 2009 |
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