The Ontographic Turn: From Cubism to the Surrealist Object

Abstract The practice of Ontography deployed by OOO, clarified and expanded in this essay, produces a highly productive framework for analyzing Salvador Dalí’s ontological project between 1928 and 1935. Through the careful analysis of paintings and original texts from this period, we establish the a...

Full description

Saved in:
Bibliographic Details
Published inOpen Philosophy Vol. 2; no. 1; pp. 384 - 398
Main Authors Weir, Simon, Dibbs, Jason Anthony
Format Journal Article
LanguageEnglish
Published De Gruyter 18.09.2019
Subjects
anachronism
cubism
dalí
idealism
kant
objects
ontography
ontology
realism
surrealism
Online AccessGet full text

Cover

More Information
Summary:Abstract The practice of Ontography deployed by OOO, clarified and expanded in this essay, produces a highly productive framework for analyzing Salvador Dalí’s ontological project between 1928 and 1935. Through the careful analysis of paintings and original texts from this period, we establish the antecedents for Dalí’s theorization of Surrealist objects in Cubism and Italian Metaphysical art, which we collectively refer to as ‘Ontographic art,’ drawing parallels with the tenets of Graham Harman’s and Ian Bogost’s object-oriented philosophical programmes. We respond to the question raised by Roger Rothman concerning Object-Oriented Idealism in Dalí’s work by showing pivotal changes to Dalí’s ontological outlook, from Idealism to Realism, across the aforementioned period, positing the Ontographic intentionality of Dalí’s ontological project in Surrealist art.
ISSN:2543-8875
2543-8875
DOI:10.1515/opphil-2019-0026