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Open Philosophy

Editor-in-Chief: Harman, Graham


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The Ontographic Turn: From Cubism to the Surrealist Object

Simon Weir / Jason Anthony Dibbs
Published Online: 2019-09-18 | DOI: https://doi.org/10.1515/opphil-2019-0026

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.

Keywords: Ontography; Ontology; Surrealism; Cubism; Dalí; Realism; Idealism; Kant; Objects; Art; Anachronism

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About the article

Received: 2019-07-30

Accepted: 2019-08-28

Published Online: 2019-09-18

Published in Print: 2019-01-01


Citation Information: Open Philosophy, Volume 2, Issue 1, Pages 384–398, ISSN (Online) 2543-8875, DOI: https://doi.org/10.1515/opphil-2019-0026.

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© 2019 Simon Weir et al., published by De Gruyter Open. This work is licensed under the Creative Commons Attribution 4.0 Public License. BY 4.0

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