According to William, both paintings and photographs "obscure some information that is "filled in" by the viewer", and if we questioned him a bit further, I'm sure he would admit that the human mind does some "filling in" when looking at anything.
Is more being "filled in" when viewing a room, a photograph of same, or a painting by either Meissonier or Monticelli? How can such a thing be measured? Doesn't it depend on who is doing the viewing and what they are looking for? This issue has nothing to do with either aesthetic value or the difference between painting and photography. Regarding "dead photos- alive paintings", I was speaking metaphorically -- but come to think of it -- a form can be considered as 'alive' in the same way as a virus. It can only reproduce itself within another life form, i.e. a human mind. I suppose we can note that styles of photography are reproduced from one generation of photographers to another - so in that sense, photographic form is alive. But there can be a certain quality to the drawn form, in either drawing, painting, or sculpture, that is completely outside the facture of photography. I can't prove the presence or importance of this quality. Like so much else in aesthetics, you either see it or you don't. ____________________________________________________________ Click here for easy weight loss help and diet information. http://thirdpartyoffers.netzero.net/TGL2231/fc/BLSrjnxYFS6U5TR1NofKhFGzpcqPzf aunUPAqzYUGrz79t46MEUCGw4gfWw/
