پيتورسك در معناي عام

pittoresque in General

براي سنتز و ساده‌تركردن فهم ارزش‌هاي مربوط به پيتورسك سه رويكرد متفاوت را مي‌توان در پيش‌گرفت : اول، پرداختن به رابطه و تناسب بين مفهوم و شي به عنوان آنچه موضوع مطالعه تاريخي بوده است؛ دوم، بي‌تفاوتي كامل نسبت به مفهوم، چرا كه حتي براي مواجهه با مسايل و چالش‌هاي شكل‌گيري جهان معاصر ناتوان است1 و سوم نوعي پذيرش مسيله با بي‌ميلي و از سر تفنن از يك سو و انتقاد تكان‌دهنده و كنايه‌آميز از سوي ديگر، براي نشان‌دادن ساخت تماماً باسمه‌اي جهان امروز توسط گردشگري به عنوان جزيي جدانشدني از فرآيند زيباسازي جهان و يكي از عناصر بنيادي پيتورسك. در اين تصوير اجمالي، موضع‌گيري2 ما شامل اين پرسش مي‌شود كه آيا وجه مشخص ساختار جهان معاصر نمي‌تواند امروز ـ بيش از هر زمان ديگرـ يك پيتورسك كلي، گسترش‌يافته، چندريختي، فريبنده و نگران‌كننده، در مقياس كره زمين باشد3؟ اين فرضيه، بازنگري اين مقوله زيباشناسانه را در شكل‌پذيري و تاريخ‌مندي آن ايجاب مي‌كند و چرايي و چگونگيِ كارآمدي و انعطاف‌ آن را از نقطه نظر منطقه‌اي، مادي و بصري مورد توجه قرار مي‌دهد. تاريخ، پيچيدگي و گستردگي اين مفهوم و تاثيرات واقعيات مجسم آن، چه تاريخي و چه معاصر، سبب مي‌شود به محض يافتن و آشكارشدن پاره‌اي از مسايل، به آنچه اصطلاحاً جهاني‌سازي4 ناميده مي‌شود و همچنين ساخت‌مايه‎هاي «منظر»هاي معاصر5 منجر شود.

We can summarize and simplify the collection of values associated with pittoresque from three viewpoints: first, the relevance of the word and the thing as an object of historical study, worthy of study, second in a total disinterest toward the concept insofar as it is considered unfit to name and understand the issues of the contemporary world which produces a third attitude that is at once a kind of soft acceptance and fun on one side , or shocked or ironic criticism of the other, to designate the kitsch producing all azimuths of a world driven by tourism, intimate part of the process pictorialization a world and one of the founding elements of the picturesque. In this quickly brushed range, our "position" is to ask whether the manufactures of the modern world could not - more than ever - be characterized today by a generalized picturesque expanded polymorphically, intriguingly and disturbingly at the scale of the planet. This hypothesis requires reconsidering the aesthetic category in its plasticity and its historicity, as well as considering the quiddity of the plastic from a territorial efficiency, equipment and visual point of view. The history, complexity, expanding the concept, the impact of its visual realities whether historical and contemporary, would eventually point to situate or to expose a number of issues which are called globalization and it also manufactures "landscapes" contemporaries. The picturesque is an oxymoronic place in any culture, at one time or another, meeting within itself to be as an inside versus one outside as it expels its margins or it suppresses the deeper self, but who constantly makes comeback. The edge of pittoresque is not so much another aesthetic category (as beautiful or sublime) that to capture a fragment (worthy or unworthy) of the world (natural or built) to seize and represent. The edge of pittoresque is not so beautiful, the sublime or the modern limits of representation itself and therefore is voluntary, not to represent a self-limiting representation or exhaustion. It is therefore not so much a limit imposed by an exterior that is a tension between the desire to do the opposite and do not do and do not exactly want to do, and doing it.