Resumen de Hybrid projection, machinic exhibition and the Eighteenth-Century critique of vision
In this essay I document a form of spatial prjection in western art that is a hybrid between Albertian perspective and curvilinear perspective. In the seventeenth century artists experimented with hybrid projection, and in the eighteenth, with apparatuses for exhibiting the visual such as the zograscope and peepshow, in an effort to model how theorists like Berkeley were beginning to understand the incorporation of binocularity, motion and memory in human spatial perception. Machinic forms of exhibition and physiological theories of perception challenged perspective theory, and the status of painting supported by it, earlier than is often supposed. The elevation of painting to 'high art' was a response to the 'mechanick' taint of technologically-mediated forms of exhibition. That elevation occasioned strategic denial of the embodied character of vision and of interesting machinic qualities of all realist visual exhibition.
