<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1665-1200</journal-id>
<journal-title><![CDATA[Tópicos del Seminario]]></journal-title>
<abbrev-journal-title><![CDATA[Tóp. Sem]]></abbrev-journal-title>
<issn>1665-1200</issn>
<publisher>
<publisher-name><![CDATA[Benemérita Universidad Autónoma de Puebla, Seminario de Estudios de la Significación]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1665-12002023000200113</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Formatos técnicos y tecnopercepciones de las imágenes. La semiótica visual a la luz del trabajo artístico de Gerhard Richter]]></article-title>
<article-title xml:lang="en"><![CDATA[Technical Formats and Image Techno-percepts. Visual Semiotics in the Light of Gerhard Richter&#8217;s Artistic Work]]></article-title>
<article-title xml:lang="fr"><![CDATA[Les formats techniques et les techno-percepts des images. La sémiotique visuelle du travail artistique de Gerhard Richter]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[D&#8217;Armenio]]></surname>
<given-names><![CDATA[Enzo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[González Ochoa]]></surname>
<given-names><![CDATA[César]]></given-names>
</name>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Fonds National de la Recherche Scientifique - Universidad de Lieja  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2023</year>
</pub-date>
<numero>50</numero>
<fpage>113</fpage>
<lpage>141</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S1665-12002023000200113&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S1665-12002023000200113&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S1665-12002023000200113&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen En este artículo, proponemos un análisis de las fotopinturas de Gerhard Richter basado en la manera en la que éstas construyen un diálogo intersemiótico entre fotografía y pintura. Por un lado, trataremos de caracterizar las modalidades de ese diálogo y de proporcionar una interpretación original del trabajo de Richter; por el otro, utilizaremos ese caso de análisis como punto de partida para proponer una renovación conceptual en el análisis de los lenguajes visuales, en especial en lo que concierne a la aproximación semiótica. Más específicamente, nos esforzaremos en definir la dimensión mediática de las imágenes, que afecta a las sustancias, a los soportes y a los dispositivos mediante los cuales se producen. Lo haremos de manera que se integren las adquisiciones de la semiótica visual en cuanto a la dimensión composicional de colores, formas y figuras. Para tomar así en cuenta la manera en la que la materia y las sustancias de expresión de las imágenes tienen impacto sobre la construcción del sentido, de conformidad con la hipótesis de una superposición entre los aspectos técnicos y semánticos. La confrontación con la producción de Richter nos lleva a sobrepasar las lecturas plásticas y figurativas, y a elaborar los conceptos de formatos técnicos y de tecnoperceptos de las imágenes. Si los primeros conciernen al reconocimiento histórico de las imágenes sobre la base de los dispositivos que hayan producido su sustancia, los segundos se refieren a las configuraciones perceptivas producto del trabajo formativo de los dispositivos técnicos.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract In this article, we endeavor to analyze Gerhard Richter&#8217;s photo-paintings for the way they build an intersemiotic dialogue between photography and painting. On the one hand, we will try to characterize the modalities of this dialogue and to provide an original interpretation of Richter&#8217;s work. On the other hand, we will use the peculiar case of Richter&#8217;s work as a starting point for a conceptual renewal in the analysis of visual languages, notably about the semiotic approach. We will try to define the mediatic dimension of images, which has to do with the substances, substrates, and devices through which images are produced. We shall do so in a manner as to integrate the achievements of visual semiotics as regards the compositional dimension of colors, shapes, and figures. We will consider the way in which the material and the substances of expression of images impact the construction of meaning, in accordance with the hypothesis of a superposition of technical and semantic aspects. The confrontation with Richter&#8217;s production will lead us to go beyond plastic and figurative readings, as we will propose the concepts of technical formats and of techno-percepts of images. While the former concern the historical recognition of images based on the devices having produced their substance, the latter concern the perceptive configurations resulting from the formative work of the technical devices.]]></p></abstract>
<abstract abstract-type="short" xml:lang="fr"><p><![CDATA[Résumé Dans cet article, nous proposons une analyse des photo-peintures de Gerhard Richter basée sur la manière dont elles construisent un dialogue intersémiotique entre la photographie et la peinture. D'une part, nous tenterons de caractériser les modalités de ce dialogue et de fournir une interprétation originale de l'&#339;uvre de Richter ; d'autre part, nous utiliserons ce cas d'analyse comme point de départ pour proposer un renouvellement conceptuel dans l'analyse des langages visuels, notamment en ce qui concerne l'approche sémiotique. Plus précisément, nous nous efforcerons de définir la dimension médiatique des images, qui affecte les substances, les supports et les dispositifs par lesquels elles sont produites. Nous le ferons d'une manière qui intègre les acquisitions de la sémiotique visuelle en termes de dimension compositionnelle des couleurs, des formes et des figures. Afin de prendre en compte la manière dont le matériel et les substances d'expression des images ont un impact sur la construction du sens, conformément à l'hypothèse d'un chevauchement entre les aspects techniques et sémantiques. La confrontation avec la production de Richter nous amène à dépasser les lectures plastiques et figuratives, et à élaborer les concepts de formats techniques et de technopercepts d'images. Si les premières concernent la reconnaissance historique des images sur la base des dispositifs qui ont produit leur substance, les secondes se réfèrent aux configurations perceptives résultant du travail formatif des dispositifs techniques.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[semiótica]]></kwd>
<kwd lng="es"><![CDATA[artes visuales]]></kwd>
<kwd lng="es"><![CDATA[técnica]]></kwd>
<kwd lng="es"><![CDATA[percepción]]></kwd>
<kwd lng="es"><![CDATA[Richter (Gerhard)]]></kwd>
<kwd lng="en"><![CDATA[semiotics]]></kwd>
<kwd lng="en"><![CDATA[visual studies]]></kwd>
<kwd lng="en"><![CDATA[technics]]></kwd>
<kwd lng="en"><![CDATA[perception]]></kwd>
<kwd lng="en"><![CDATA[Richter (Gerhard)]]></kwd>
<kwd lng="fr"><![CDATA[sémiotique]]></kwd>
<kwd lng="fr"><![CDATA[études visuelles]]></kwd>
<kwd lng="fr"><![CDATA[techniques]]></kwd>
<kwd lng="fr"><![CDATA[perception]]></kwd>
<kwd lng="fr"><![CDATA[Richter (Gerhard)]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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