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The Production of the World: Translation, Compensation, and Anamorphism in van Gogh and Faulkner (Site not responding. Last check: 2007-11-06) |
 | | Anamorphism becomes the dominant visual language through which a non-cognitive experience is rendered (which does not mean that Holbein's skull is an object only appreciable cognitively, or that van Gogh's works exclude all cognition). |
 | | Anamorphism in this sense is the resulting distortion that encapsulates a wider drive whose origins are not always individualized (thus, perhaps, explaning the problem in identifying the source of the compensatory energies in some of his paintings). |
 | | At first glance, anamorphism as defined here might appear synonymous with modernist distortion or stylization, an umbrella term under which might be found, for example, defamiliarization, shock as an aesthetic effect, and even the unique style or subjective vision. |
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