N\u00e1sleduj\u00edc\u00ed text by se m\u011bl \u010d\u00edst jako vzorn\u00edk text\u016f podobn\u00fd vzorn\u00edku l\u00e1tek, tkanin, jako vzorn\u00edk dotek\u016f a\u00a0vzorn\u00edk pocit\u016f. Odkazuje na\u00a0texty o\u00a0spojitosti taktiln\u00edho a\u00a0optick\u00e9ho a\u00a0o\u00a0rozd\u00edlu mezi taktiln\u00edm a\u00a0haptick\u00fdm. T\u011bmito texty se vine ot\u00e1zka po vztahu taktiln\u00ed a\u00a0optick\u00e9 zku\u0161enosti, po povaze textilu a\u00a0fotografie, po mo\u017enosti dot\u00fdkat se o\u010dima. O\u010d\u00a0z\u0159eteln\u011bj\u0161\u00ed budou \u0161vy mezi jednotliv\u00fdmi texty, o\u00a0to nejasn\u011bj\u0161\u00ed bude pom\u011br rubu a\u00a0l\u00edce, historick\u00e9ho a\u00a0ne\u010dasov\u00e9ho. P\u0159edlo\u017een\u00fd text-vzorn\u00edk by m\u011bl n\u00e9st z\u00e1rove\u0148 rysy v\u00fd\u0161ivky i\u00a0patchworku, jak je poj\u00edmaj\u00ed Gilles Deleuze a\u00a0F\u00e9lix Guattari.[1] Ti popisuj\u00ed \u201erozd\u00edl mezi v\u00fd\u0161ivkou, s\u00a0t\u00e9matem a\u00a0centr\u00e1ln\u00edm motivem, a\u00a0patchworkem, se se\u0161\u00edvan\u00fdmi konci a\u00a0postupn\u00fdm nekone\u010dn\u00fdm p\u0159ipojov\u00e1n\u00edm \u00fast\u0159i\u017ek\u016f tkaniny. V\u00fd\u0161ivka m\u016f\u017ee b\u00fdt jist\u011b neoby\u010dejn\u011b slo\u017eit\u00e1, co se t\u00fd\u010de prom\u011bnn\u00fdch a\u00a0konstant, st\u00e1l\u00e9ho a\u00a0pohybliv\u00e9ho. Patchwork m\u016f\u017ee nab\u00edzet ekvivalenty k\u00a0t\u00e9mat\u016fm, symetri\u00edm a\u00a0rezonanci, a\u00a0p\u0159ibl\u00ed\u017eit se tak v\u00fd\u0161ivce. Av\u0161ak prostor patchworku nen\u00ed v\u016fbec konstituov\u00e1n stejn\u00fdm zp\u016fsobem: nen\u00ed v\u00a0n\u011bm centrum; jeho z\u00e1sadn\u00ed motiv (blok) tvo\u0159\u00ed jedin\u00fd prvek; vracen\u00ed se tohoto prvku uvol\u0148uje v\u00fdhradn\u011b rytmick\u00e9 hodnoty, odli\u0161n\u00e9 od harmoni\u00ed v\u00fd\u0161ivky (zvl\u00e1\u0161\u0165 crazy patchwork, kter\u00fd uspo\u0159\u00e1d\u00e1v\u00e1 kousky r\u016fzn\u00e9 velikosti, tvaru a\u00a0barvy a\u00a0hraje si s\u00a0texturou tkanin).\u201c[2] Tento text by se m\u011bl \u010d\u00edst jako n\u00e1vod na\u00a0\u201ehmatov\u00e9 cvi\u010den\u00ed\u201c i\u00a0jeho v\u00fdkon, jako haptick\u00e9 cvi\u010den\u00ed a\u00a0cvi\u010den\u00ed pohledu zbl\u00edzka, cvi\u010den\u00ed v\u00a0doteku o\u010dima. Nepop\u00edr\u00e1 p\u0159itom z\u0159ejmou neschopnost textu zprost\u0159edkovat zku\u0161enost doteku. P\u0159esto\u017ee taktiln\u00ed slovn\u00edk nen\u00ed nijak chud\u00fd, zdaleka nedosahuje dostate\u010dn\u00e9 p\u0159esnosti ani nal\u00e9havosti. Dlouh\u00e9 d\u011bjiny psan\u00ed o\u00a0hmatu a\u00a0pota\u017emo o\u00a0doteku nesm\u011b\u0159uj\u00ed ke\u00a0kone\u010dn\u00e9mu vyjasn\u011bn\u00ed pom\u011br\u016f, sp\u00ed\u0161e se v\u00a0nich rozv\u00edj\u00ed a\u00a0zav\u00edj\u00ed staronov\u00e9 otazn\u00edky. Dokladem toho budi\u017e dva v\u00fdroky poch\u00e1zej\u00edc\u00ed z\u00a0r\u016fzn\u00fdch dob a\u00a0kontext\u016f: podle Aristotela nen\u00ed jasn\u00e9, zda je hmat jedn\u00edm smyslem, nebo v\u00edce smysly, kter\u00e9 rozezn\u00e1vaj\u00ed v\u00edce po\u010ditk\u016f \u201ejako tepl\u00e9 a\u00a0studen\u00e9, such\u00e9 a\u00a0vlhk\u00e9, tvrd\u00e9 a\u00a0m\u011bkk\u00e9 a\u00a0podobn\u011b\u201c.[3] L\u00e1szl\u00f3 Moholy-Nagy dokl\u00e1d\u00e1 stejnou tezi na jin\u00e9 \u0161k\u00e1le: \u201ehladkost, drsnost, tvrdost, m\u011bkkost, vroubkov\u00e1n\u00ed, zvln\u011bn\u00ed, strupatost\u201c.[4] \u201eTo, co naz\u00fdv\u00e1me hmatem\u201c, je podle n\u011bj \u201eve\u00a0skute\u010dnosti sm\u011bsic\u00ed nejr\u016fzn\u011bj\u0161\u00edch vjem\u016f: tlaku, teploty, vibrace.\u201c[5] Aristoteles p\u0159izn\u00e1v\u00e1 hmatu zvl\u00e1\u0161tn\u00ed m\u00edsto mezi ostatn\u00edmi smysly, kter\u00e9 podle n\u011bj jist\u00fdm zp\u016fsobem podmi\u0148uje: \u201ebez hmatu nen\u00ed mo\u017eno m\u00edti \u017e\u00e1dn\u00fd jin\u00fd pocit\u201c.[6] Vibrace t\u00e9to teze lze zachytit v\u00a0d\u011bjepisu um\u011bn\u00ed na za\u010d\u00e1tku 20. stolet\u00ed. Podvojnost taktiln\u00edho a\u00a0optick\u00e9ho vylo\u017eil Alois Riegl v\u00a0knize Die\u00a0sp\u00e4tr\u00f6mische Kunstindustrie vydan\u00e9 roku 1901.[7] Zat\u00edmco vn\u00edm\u00e1n\u00ed plochy prob\u00edh\u00e1 podle Rieglova \u201eempirick\u00e9ho pozorov\u00e1n\u00ed\u201c v\u00a0\u010dist\u011b optick\u00e9m re\u017eimu, t\u0159et\u00ed rozm\u011br, hloubku, podmi\u0148uje taktiln\u00ed zku\u0161enost s\u00a0pevn\u00fdm, neproniknuteln\u00fdm povrchem. Tato \u201etaktiln\u00ed pam\u011b\u0165\u201c potom proch\u00e1z\u00ed \u201espletitou cestou my\u0161lenkov\u00e9ho procesu\u201c,[8] d\u00edky n\u011bmu\u017e se vid\u011bn\u00ed vyvazuje z\u00a0bezprost\u0159edn\u00ed z\u00e1vislosti na\u00a0hmatu a\u00a0z\u00e1rove\u0148 jej do sebe jist\u00fdm zp\u016fsobem zahrnuje. Rieglovo vymezen\u00ed taktiln\u00edho a\u00a0optick\u00e9ho tak v\u00a0sob\u011b nese jistou ambivalentnost. Svoje pojet\u00ed t\u00e9to pojmov\u00e9 dvojice Riegl p\u0159edkl\u00e1d\u00e1 na pozad\u00ed v\u00fdvojov\u00e9ho modelu starov\u011bk\u00e9ho um\u011bn\u00ed. Posun od egyptsk\u00e9ho um\u011bn\u00ed k\u00a0tomu \u0159\u00edmsk\u00e9mu popisuje jako posun od taktiln\u00edho k\u00a0optick\u00e9mu, od plochy k\u00a0prostoru, od celku k\u00a0\u010d\u00e1stem. To samoz\u0159ejm\u011b neznamen\u00e1, \u017ee by Riegl egyptsk\u00e9mu um\u011bn\u00ed up\u00edral jak\u00e9koli optick\u00e9 kvality. Ty jsou v\u0161ak nahsichtig. Nahsicht, pohled zbl\u00edzka, stoj\u00ed je\u0161t\u011b bl\u00edzko k\u00a0taktiln\u00edmu a\u00a0odhaluje sv\u011bt symetrie a\u00a0z\u0159eteln\u00fdch obrys\u016f, sv\u011bt bez st\u00ednu a\u00a0bez horizontu. Kdy\u017e se pak pohled zbl\u00edzka postupn\u011b vyvazuje ze\u00a0sf\u00e9ry taktiln\u00edho, st\u00e1v\u00e1 se Fernsicht, pohledem zd\u00e1lky. Stru\u010dn\u011b lze Rieglovu teorii shrnout tak, \u017ee \u201estejn\u011b jako je taktiln\u00ed nezbytn\u00fdm p\u0159edch\u016fdcem optick\u00e9ho modu v\u00a0d\u011bjin\u00e1ch um\u011bn\u00ed, dotek je fyziologick\u00fdm p\u0159edch\u016fdcem vid\u011bn\u00ed v\u00a0r\u00e1mci na\u0161eho vn\u00edm\u00e1n\u00ed prostoru\u201c.[9] Podobn\u011b jako Riegl napojuje Heinrich W\u00f6lfflin ve\u00a0sv\u00fdch Z\u00e1kladn\u00edch pojmech d\u011bjin um\u011bn\u00ed (Kunstgeschichtliche Grundbegriffe) z\u00a0roku 1915 vztah mezi taktiln\u00edm a\u00a0vizu\u00e1ln\u00edm na jist\u00e9 v\u00fdvojov\u00e9 sch\u00e9ma: od linie k\u00a0plo\u0161e, od kresby k\u00a0malb\u011b, od D\u00fcrera k Rembrandtovi \u201ese taktiln\u00ed obraz st\u00e1v\u00e1 vizu\u00e1ln\u00edm obrazem \u2013 to je ta nejrozhodn\u011bj\u0161\u00ed revoluce, kterou d\u011bjiny um\u011bn\u00ed znaj\u00ed\u201c.[10] Tomuto v\u00fdvoji p\u0159itom nep\u0159izn\u00e1v\u00e1 definitivn\u00ed teleologickou platnost, kdy\u017e \u0159\u00edk\u00e1, \u017ee \u201e\u010dist\u011b vizu\u00e1ln\u00ed poj\u00edm\u00e1n\u00ed sv\u011bta p\u0159edstavuje jen jednu z\u00a0mo\u017enost\u00ed, nic v\u00edc. Vedle n\u00ed tu v\u017edy bude pot\u0159eba um\u011bn\u00ed, kter\u00e9 by nejen zachycovalo pohyblivou podobu sv\u011bta, ale pokou\u0161elo by se u\u010dinit zadost byt\u00ed tak, jak se odhaluje v\u00a0taktiln\u00ed zku\u0161enosti.\u201c[11] Ob\u011bma zp\u016fsob\u016fm vztahov\u00e1n\u00ed se ke\u00a0sv\u011btu p\u0159izn\u00e1v\u00e1 W\u00f6lfflin slo\u017eit\u011bj\u0161\u00ed pom\u011br, kter\u00fd se uplat\u0148uje tak\u0159ka \u201etakticky\u201c: \u201enen\u00ed \u017e\u00e1dn\u00fdm protimluvem, kdy\u017e se optick\u00fd cit zd\u00e1 b\u00fdt \u017eiven smyslem taktiln\u00edm \u2013 t\u00edm [\u2026] taktiln\u00edm smyslem, kter\u00fd ochutn\u00e1v\u00e1 druh povrchu, rozmanitou k\u016f\u017ei v\u011bc\u00ed. [\u2026] Z\u00a0r\u016fzn\u011b orientovan\u00fdch z\u00e1jm\u016f o\u00a0sv\u011bt pramen\u00ed poka\u017ed\u00e9 jin\u00e1 kr\u00e1sa.\u201c[12] W\u00f6lfflin\u016fv p\u0159\u00edstup jako by nach\u00e1zel ozv\u011bnu v\u00a0knize Od materi\u00e1lu k\u00a0architektu\u0159e, kde Moholy-Nagy popisuje \u201ehmatov\u00e1 cvi\u010den\u00ed\u201c, kter\u00e1 byla sou\u010d\u00e1st\u00ed z\u00e1kladn\u00edho kurzu na Bauhausu.[13] V\u00a0jejich r\u00e1mci si studenti obstar\u00e1vali rozmanit\u00e9 materi\u00e1ly a\u00a0\u201ena nich se u\u010dili vn\u00edmat co mo\u017en\u00e1 nejv\u00edc po\u010ditk\u016f\u201c.[14] Z\u00a0materi\u00e1l\u016f pak sestavovali nejr\u016fzn\u011bj\u0161\u00ed hmatov\u00e9 tabulky, na nich\u017e byly materi\u00e1ly uspo\u0159\u00e1d\u00e1ny do \u0161k\u00e1ly p\u0159\u00edbuzn\u00fdch \u010di kontrastn\u00edch po\u010ditk\u016f. Po ur\u010dit\u00e9 dob\u011b se nau\u010dili uspo\u0159\u00e1dat jednotliv\u00e9 elementy tak, aby v\u00fdsledn\u00fd obraz co nejl\u00e9pe odpov\u00eddal p\u0159edem stanoven\u00e9mu z\u00e1m\u011bru.\u201c[15] T\u00edmto zp\u016fsobem m\u011bla vznikat \u201enov\u00e1 hmatov\u00e1 kvalita\u201c[16]. Krom\u011b toho Moholy-Nagy vypozoroval, \u017ee \u201eintenzivn\u00ed pr\u00e1ce s\u00a0materi\u00e1lem p\u0159isp\u00edv\u00e1 k\u00a0lep\u0161\u00edmu porozum\u011bn\u00ed vlastn\u00edm pocit\u016fm\u201c.[17] Kdy\u017e v\u00a0roce 1930 vy\u0161lo \u010d\u00edslo Revue Dev\u011btsilu (ReD) v\u011bnovan\u00e9 Bauhausu, jedn\u00edm ze zde oti\u0161t\u011bn\u00fdch text\u016f byl \u010dl\u00e1nek Otti Berger nazvan\u00fd \u201eL\u00e1tky v\u00a0prostoru\u201c.[18] V\u00a0n\u011bm Berger p\u0159ibli\u017euje povahu textiln\u00edho materi\u00e1lu, kter\u00fd p\u0159edstavoval hlavn\u00ed m\u00e9dium jej\u00ed pr\u00e1ce. Tkanina se podle n\u00ed vyzna\u010duje strukturou, texturou, fakturou a\u00a0barvou.[19] Ji\u017e tento v\u00fd\u010det nazna\u010duje taktiln\u00ed povahu l\u00e1tky. V\u00a0pozoruhodn\u00e9 pas\u00e1\u017ei sv\u00e9ho textu se k\u00a0tomu Berger vyjad\u0159uje v\u00fdslovn\u011b: \u201eD\u016fle\u017eit\u00e9 je v\u00a0l\u00e1tce to taktiln\u00ed. To taktiln\u00ed je v\u00a0l\u00e1tce prvotn\u00ed. L\u00e1tku je t\u0159eba uchopit (gegriffen). Je t\u0159eba dok\u00e1zat ji \u201auchopit\u2018 (begreifen) rukama. Hodnotu l\u00e1tky je t\u0159eba rozpoznat p\u0159edev\u0161\u00edm v\u00a0taktiln\u00edm, v\u00a0hmatov\u00e9m smyslu. Pochopen\u00ed (Begreifen) l\u00e1tky rukama lze c\u00edtit pr\u00e1v\u011b tak dob\u0159e jako barvy o\u010dima anebo zvuku uchem.\u201c[20] Opakov\u00e1n\u00edm slov a\u00a0pohr\u00e1v\u00e1n\u00edm si s\u00a0podvojnost\u00ed jejich v\u00fdznam\u016f a\u00a0jejich posuny zd\u016fraz\u0148uje Berger rytmick\u00e9 a\u00a0struktur\u00e1ln\u00ed kvality textu, kter\u00fd tak nab\u00fdv\u00e1 a\u017e \u201etextiln\u00edch\u201c kvalit. Berger p\u00ed\u0161e, jako by tkala. Bauhasovsk\u00e9 minusky vytv\u00e1\u0159\u00ed vizu\u00e1ln\u011b souvislou plochu textu, kter\u00fd se rozv\u00edj\u00ed ve\u00a0dvou sloupc\u00edch jako dva pruhy tkaniny. Tkanina \u201eje tvo\u0159ena dv\u011bma typy paraleln\u00edch prvk\u016f: v\u00a0nejjednodu\u0161\u0161\u00edm p\u0159\u00edpad\u011b jsou jedny vertik\u00e1ln\u00ed a\u00a0druh\u00e9 horizont\u00e1ln\u00ed, oboje se k\u0159\u00ed\u017e\u00ed, p\u0159et\u00ednaj\u00ed kolmo. [\u2026] Tyto dva typy prvk\u016f nemaj\u00ed tut\u00e9\u017e funkci; jedny jsou pevn\u00e9, druh\u00e9 pohybliv\u00e9, proch\u00e1zej\u00edc\u00ed nad a\u00a0pod t\u011bmi pevn\u00fdmi.\u201c[21] Prostor tkaniny je tedy \u201enutn\u011b omezen\u00fd, alespo\u0148 z\u00a0jedn\u00e9 strany uzav\u0159en\u00fd: tkanina m\u016f\u017ee b\u00fdt nekone\u010dn\u011b dlouh\u00e1, ale nikoli \u0161irok\u00e1 \u2013 jej\u00ed \u0161\u00ed\u0159e je d\u00e1na r\u00e1mem osnovy; nutnost pohybu tam a\u00a0zp\u011bt implikuje uzav\u0159en\u00fd prostor [\u2026].\u201c[22] V\u00a0tomto prostoru doch\u00e1z\u00ed d\u00edky opakov\u00e1n\u00edm a\u00a0v\u00fdznamov\u00fdm posun\u016fm k\u00a0nap\u00edn\u00e1n\u00ed mezi st\u00e1lost\u00ed a\u00a0zm\u011bnou; v\u00fdsledn\u00fd text je potom pevn\u00fd a\u00a0pru\u017en\u00fd. V\u00a0haptick\u00e9m v\u00fdkonu se propojuje uchopov\u00e1n\u00ed a\u00a0ch\u00e1p\u00e1n\u00ed, jejich\u017e souvislost nazna\u010duje u\u017e etymologie \u010desk\u00fdch i\u00a0n\u011bmeck\u00fdch slov. P\u0159esto\u017ee Anni\u00a0Albers studovala na Bauhausu o\u00a0n\u011bkolik let d\u0159\u00edve ne\u017e Berger, jej\u00ed kniha O\u00a0tkan\u00ed vy\u0161la a\u017e v\u00a0roce\u00a01965. V\u00a0jedn\u00e9 jej\u00ed kapitole se v\u011bnuje \u201etaktiln\u00ed citlivosti\u201c.[23] Podle Albers se z\u00a0modern\u00edho sv\u011bta, zat\u00edmco se zapl\u0148uje slovy a\u00a0obrazy, vytr\u00e1c\u00ed smysl hmatu. Pr\u016fmyslov\u00e1 v\u00fdroba n\u00e1m uleh\u010duje pr\u00e1ci, ale odv\u00e1d\u00ed n\u00e1s od styku se samotn\u00fdmi materi\u00e1ly. Zakrn\u011blou schopnost doteku mus\u00edme proto dnes cvi\u010dit.[24] Albers doporu\u010duje dot\u00fdkat se se zakryt\u00fdma o\u010dima r\u016fzn\u00fdch povrch\u016f, rozpozn\u00e1vat je a\u00a0porovn\u00e1vat, abychom z\u00edskali schopnost vn\u00edmat hmatov\u00e9 kvality hmoty a\u00a0p\u0159\u00edpadn\u011b s\u00a0nimi dok\u00e1zali zach\u00e1zet. Ani Anni Albers neomezuje \u201etaktiln\u00ed\u201c na sf\u00e9ru hmatu. P\u0159ipou\u0161t\u00ed mo\u017enost vytvo\u0159en\u00ed iluzivn\u00edho taktiln\u00edho povrchu nap\u0159\u00edklad kresbou, tiskem anebo pomoc\u00ed psac\u00edho stroje. Takov\u00e9 pokusy n\u00e1m podle Albers mohou pomoct ve\u00a0vytv\u00e1\u0159en\u00ed \u201enov\u00fdch pojm\u016f ve\u00a0slovn\u00edku taktiln\u00edho jazyka\u201c.[25] Tyto pojmy vznikaj\u00ed v\u00a0p\u0159ekladu z\u00a0jednoho druhu smyslov\u00fdch po\u010ditk\u016f do jin\u00e9ho. Tento p\u0159enos prob\u00edh\u00e1 i\u00a0mezi jednotliv\u00fdmi druhy um\u011bn\u00ed a\u00a0um\u011bleck\u00fdmi m\u00e9dii. Gottfried Semper p\u0159ipom\u00edn\u00e1 staroegyptsk\u00e9 hrobky, jejich\u017e st\u011bny pokr\u00fdvala geometrick\u00e1 dekorace p\u0159eb\u00edraj\u00edc\u00ed \u201etvaroslov\u00ed\u201c v\u00fd\u0161ivek a\u00a0tkanin.[26] I\u00a0po p\u0159esunu z\u00a0textilu do architektury si ornament udr\u017eel ur\u010dit\u00e9 textiln\u00ed kvality: st\u00e1le rozpozn\u00e1v\u00e1me \u201evzory, \u0161vy a\u00a0lemy\u201c. Repetitivn\u00ed struktura ornament\u00e1ln\u00edho vzoru pokr\u00fdv\u00e1 plochu a\u00a0podn\u011bcuje tak taktiln\u00ed dojem, a\u0165 se jedn\u00e1 o\u00a0list pap\u00edru, tapetu na st\u011bn\u011b anebo jej\u00ed iluzivn\u00ed v\u00fdmalbu. Taktiln\u00ed se osvobozuje od sv\u00e9ho p\u016fvodn\u00edho materi\u00e1ln\u00edho nosi\u010de: optick\u00fd efekt imituje tkaninu, a\u00a0otev\u00edr\u00e1 t\u00edm zraku novou zku\u0161enost; umo\u017e\u0148uje dotek o\u010dima. Jak \u0159\u00edk\u00e1 Berger, skrze materi\u00e1l doch\u00e1z\u00ed ke\u00a0zmizen\u00ed materi\u00e1lu.[27] Taktiln\u00ed potenci\u00e1l nesou i\u00a0m\u00e9dia tradi\u010dn\u011b pova\u017eovan\u00e1 za \u201eoptick\u00e1\u201c, jako fotografie, jak v\u00a0sv\u00e9 knize Bauhaus Weaving Theory uk\u00e1zala histori\u010dka um\u011bn\u00ed T\u2019ai Smith.[28] Na p\u0159\u00edkladu Otti Berger a\u00a0L\u00e1szl\u00f3 Moholy-Nagye p\u0159edvedla, jak pojmy taktiln\u00edho a\u00a0optick\u00e9ho pronikaly dobov\u00fdm um\u011bleck\u00fdm my\u0161len\u00edm. Stejn\u011b jako Berger zd\u016fraz\u0148ovala prim\u00e1rn\u011b taktiln\u00ed kvalitu textilu, vystihoval Moholy-Nagy fotografii coby v\u00fdsostn\u011b optick\u00e9 m\u00e9dium. Na druhou stranu ve\u00a0sv\u00e9m experiment\u00e1ln\u00edm p\u0159\u00edstupu k\u00a0fotografii odm\u00edtal jej\u00ed \u010dist\u011b reprezentativn\u00ed pojet\u00ed, jak\u00e9 prezentoval nap\u0159\u00edklad kolega z\u00a0Bauhausu Ern\u00f6 K\u00e1llai. Zat\u00edmco podle K\u00e1llaie nedok\u00e1\u017ee fotografie, a\u010d jinak tak v\u011brn\u00fd prost\u0159edek reprodukce mal\u00ed\u0159sk\u00fdch pl\u00e1ten, zprost\u0159edkovat taktiln\u00ed kvality malby,[29] Moholy-Nagy zd\u016fraz\u0148oval fakturu a\u00a0texturu samotn\u00e9 fotografie, tedy ur\u010ditou jej\u00ed \u201ehaptickou\u201c povahu.[30] T\u2019ai Smith dokl\u00e1d\u00e1, \u017ee fotografie tkanin zviditel\u0148uje texturu l\u00e1tek: \u201epodobn\u011b jako taktiln\u00ed smysl p\u0159edch\u00e1zel optick\u00e9mu Kunstwollen v\u00a0Rieglov\u011b teleologii, vizu\u00e1ln\u00ed vn\u00edm\u00e1n\u00ed textury prost\u0159ednictv\u00edm fotografi\u00ed textilu podmi\u0148uje rozpozn\u00e1n\u00ed taktiln\u00edho v\u00a0tkanin\u00e1ch\u201c.[31] Fotografie se st\u00e1v\u00e1 v\u00fdsostn\u00fdm n\u00e1strojem pohledu zbl\u00edzka, a\u00a0jako takov\u00e1 odkr\u00fdv\u00e1 hloubku povrchu, strukturu, texturu a\u00a0fakturu l\u00e1tky. Od\u00a0Aristotela p\u0159es Riegla a\u00a0W\u00f6lfflina k\u00a0Berger, Albers a\u00a0Moholy-Nagyovi, k\u00a0Deleuzovi a\u00a0Guattarimu se tedy navrac\u00ed stejn\u00fd motiv: taktiln\u00ed zku\u0161enost n\u011bjak podmi\u0148uje tu optickou, z\u00e1rove\u0148 v\u00a0n\u00ed miz\u00ed a\u00a0z\u016fst\u00e1v\u00e1, sou\u010dasn\u011b ji omezuje i\u00a0roz\u0161i\u0159uje. M\u016f\u017eeme potom p\u0159itakat tvrzen\u00ed, \u017ee \u201ehaptick\u00fd je lep\u0161\u00ed slovo ne\u017e taktiln\u00ed, proto\u017ee proti sob\u011b nestav\u00ed dva smyslov\u00e9 org\u00e1ny, ale dovoluje p\u0159edpoklad, \u017ee oko samo m\u016f\u017ee m\u00edt neoptickou funkci.\u201c[32] Pohled zbl\u00edzka odpov\u00edd\u00e1 v\u00edce haptick\u00e9mu ne\u017e optick\u00e9mu vjemu. Haptick\u00e9 se nev\u00e1\u017ee ke\u00a0konkr\u00e9tn\u00edmu smyslov\u00e9mu org\u00e1nu, ale vyzna\u010duje ur\u010dit\u00fd zp\u016fsob vn\u00edm\u00e1n\u00ed, kter\u00fd se rozv\u00edj\u00ed kolem doteku. Zcela na m\u00edst\u011b je pak ot\u00e1zka Jacquese Derridy, zda se lze dot\u00fdkat o\u010dima.[33] Haptick\u00e9 se spojuje \u2013 sp\u00ed\u0161 ne\u017e s\u00a0taktiln\u00edm \u2013 s\u00a0taktn\u00edm. Derrida ch\u00e1pe takt \u201enikoli v\u00a0b\u011b\u017en\u00e9m smyslu taktiln\u00edho\u201c, ale jako schopnost \u201edot\u00fdkat se, ani\u017e bychom se dot\u00fdkali, ani\u017e bychom se dot\u00fdkali p\u0159\u00edli\u0161 tehdy, kdy dot\u00fdk\u00e1n\u00ed je v\u017edy ji\u017e p\u0159\u00edli\u0161.\u201c[34] Mo\u017en\u00e1, \u017ee pr\u00e1v\u011b tady doch\u00e1z\u00ed k\u00a0doteku o\u010dima. K\u00a0tomu je t\u0159eba d\u00edvat se zbl\u00edzka, a\u00a0to nikoli jen v\u00a0prostorov\u00e9m smyslu slova. Nahsicht tak m\u016f\u017ee nab\u00fdvat dal\u0161\u00edch v\u00fdznam\u016f: vid\u011bn\u00ed zbl\u00edzka, vid\u011bn\u00ed bl\u00edzk\u00e9ho, vid\u011bn\u00ed bl\u00edzkosti, bl\u00edzkost vid\u011bn\u00ed a\u00a0bl\u00edzkost doteku, bl\u00edzkost vid\u011bn\u00ed doteku. \u201eDot\u00fdk\u00e1me se v\u011bc\u00ed, abychom se ujistili o\u00a0skute\u010dnosti. Dot\u00fdk\u00e1me se p\u0159edm\u011bt\u016f na\u0161\u00ed l\u00e1sky. Dot\u00fdk\u00e1me se v\u011bc\u00ed, kter\u00fdm d\u00e1v\u00e1me tvar.\u201c[35] V\u00a0ka\u017ed\u00e9m doteku se dot\u00fdk\u00e1me a\u00a0jsme dot\u00fdk\u00e1ni.[36] Ka\u017ed\u00fd dotek je z\u00e1rove\u0148 dotekem sebe sama.[37]<\/p>\n
Vojt\u011bch M\u00e4rc, kv\u011bten 2017<\/p>\n
[1] Gilles Deleuze a F\u00e9lix Guattari, \u201e1440 \u2013 Hladk\u00e9 a r\u00fdhovan\u00e9\u201c, in t\u00ed\u017e, Tis\u00edc plo\u0161in, Praha: Herrmann & synov\u00e9, 2010, s. 543\u2013545.
\n[2] Tamt\u00e9\u017e, s. 544.
\n[3] Aristoteles, O du\u0161i, Praha: P. Rezek, 1996, s. 77.
\n[4] L\u00e1szl\u00f3 Moholy-Nagy, Od materi\u00e1lu k architektu\u0159e, Praha: Tri\u00e1da, 2002, s. 30.
\n[5] Tamt\u00e9\u017e, s. 22.
\n[6] Aristoteles, O du\u0161i, s. 111.
\n[7] Alois Riegl, Die sp\u00e4tr\u00f6mische Kunst-Industrie nach den Funden in \u00d6sterreich-Ungarn im Zusammenhange mit der Gesamtentwicklung der Bildenden K\u00fcnste bei den Mittelmeerv\u00f6lkern, V\u00edde\u0148: \u00d6sterreichische Staatsdruckerei, 1901.
\n[8] Tamt\u00e9\u017e, s. 18.
\n[9] T\u2019ai Smith, \u201eLimits of the Tactile and the Optical: Bauhaus Fabric in the Frame of Photography\u201c, Grey Room VI, \u010d. 26, 2006, s. 10.
\n[10] Heinrich W\u00f6lfflin, The Principles of Art History: The Problem of the Development of Style in Later Art, New\u00a0York: Dover, 1950, s. 21.
\n[11] Tamt\u00e9\u017e, s. 29.
\n[12] Tamt\u00e9\u017e, s. 27.
\n[13] Moholy-Nagy, Od materi\u00e1lu k\u00a0architektu\u0159e, s. 22\u201331.
\n[14] Tamt\u00e9\u017e, s. 22
\n[15] Tamt\u00e9\u017e.
\n[16] Tamt\u00e9\u017e, s. 25.
\n[17] Tamt\u00e9\u017e, s. 32.
\n[18] Otti Berger, \u201eStoffe im Raum\u201c, ReD III, \u010d. 5, 1930, s. 143\u2013145.
\n[19] Tamt\u00e9\u017e, s. 143.
\n[20] Tamt\u00e9\u017e, s. 145.
\n[21] Deleuze a Guattari, s. 543.
\n[22] Tamt\u00e9\u017e.
\n[23] Anni Albers, On Weaving, Middletown, Conn.: Wesleyan University Press, 1965.
\n[24] Tamt\u00e9\u017e, s. 63.
\n[25] Tamt\u00e9\u017e, s. 65.
\n[26] Gottfried Semper, Die textile Kunst f\u00fcr sich betrachtet und in Beziehung zur Baukunst, Frankfurt nad Mohanem: Verlag f\u00fcr Kunst und Wissenschaft, 1860, s. 415.
\n[27] Berger, \u201eStoffe im Raum\u201c, s. 145.
\n[28] T\u2019ai Smith, Bauhaus Weaving Theory: From Feminine Craft to Mode of Design, Minneapolis, Minnesota: University of Minnesota Press, 2014, s. 79\u2013110.
\n[29] Ernst Kallai, \u201ePainting and Photography\u201c, in Roswitha Fricke (ed.), Bauhaus Photography, Cambridge, Mass.: MIT\u00a0Press, 1985, s. 132.
\n[30] Smith, Bauhaus Weaving Theory, s. 82\u201384.
\n[31] Tamt\u00e9\u017e, s. 109.
\n[32] Deleuze a Guattari, \u201e1440 \u2013 Hladk\u00e9 a r\u00fdhovan\u00e9\u201c, s. 563.
\n[33] Jacques Derrida, On Touching: Jean-Luc Nancy, Stanford: Stanford University Press, 2005.
\n[34] Tamt\u00e9\u017e, s. 67.
\n[35] Albers, On Weaving, s. 62.
\n[36] Eve Kosofsky Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity, Durham: Duke University Press, 2003, s. 14.
\n[37] Derrida, On Touching, s. 6 a d\u00e1l.<\/p>","protected":false},"excerpt":{"rendered":"
N\u00e1sleduj\u00edc\u00ed text by se m\u011bl \u010d\u00edst jako vzorn\u00edk text\u016f podobn\u00fd vzorn\u00edku l\u00e1tek, tkanin, jako vzorn\u00edk dotek\u016f a\u00a0vzorn\u00edk pocit\u016f. Odkazuje na\u00a0texty […]<\/p>\n","protected":false},"author":2,"featured_media":656,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-723","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions-homepage","category-exhibitions","wpautop"],"acf":[],"_links":{"self":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/723","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/comments?post=723"}],"version-history":[{"count":17,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/723\/revisions"}],"predecessor-version":[{"id":1714,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/723\/revisions\/1714"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/656"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=723"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=723"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=723"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}