摘要：Alessandro Luigini’s book, in its 12x16.5 cm format, presents itself as a small precious text capable of bringing together the multitude of theories that feed the debates on visual culture, tracing useful connections for the framing of ontologies and epistemologies that orbit outside and inside the image, drawing and their becoming ‘art’. [read more]Alessandro Luigini’s book, in its 12 x 16.5 cm format, presents itself as a small precious text capable of bringing together the multitude of theories that feed the debates on visual culture, tracing useful connections for the framing of ontologies and epistemologies that orbit outside and inside the image, drawing and their becoming “art”.But what promises to be an interdisciplinary investigation, anticipated by the same monograph title, in fact articulates its own dialogical palimpsest in reflections expressed in terms of a transdisciplinary dissertation, as can also be deduce by reading the conclusions.As for the introductions, the connective pretexts, theadnexūs, here originate in the affective ties brought to light by the oculocentric sensorium linked to a memory that cannot help immortalizing the semblance of an embodied memory, so as to make its probable abandonment acceptable; therefore, the urgent need to hold it back fixes the image and stores it starting from the story of the Corinthian potter Butade daughter – handed down by Herodotus and recounted by Pliny the Elder in the first century BC –, whose torment for the sudden departure of her beloved drives her to trace the outline of his face, from the shadow outline projected on a wall.This legend, which became a very popular literary subject during the Enlightenment period, has been iconographical translated on several occasions into the drawing and painting origins, titling the works of famous artists such as Bartolomé Esteban Murillo, David Allan and Karl Friedrich Schinkel.The book starts right here: «From animage, a woman traces adrawing, and theartof clay portraits comes to life» [p. 8]. Thus, from the mythological origins of practices interconnected with the seeing act, we set off on a diachronic journey to investigate the role that the graphic sciences have played and continue to play in training courses at various levels.
