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Like the frame, the spaces of painting are constructions that factor into the (re)production of the limits of the pictorial world. How these spaces are viewed – when they are acknowledged as there at all – is largely overlooked in favor of a focus on the subject or “meaning” of the artwork, as if the key to understanding the image is to be found in the title – the starting point for the average gallery visitor’s apprehension of the artwork. This is perfectly legitimate, but it tends to distract the viewer from those parts of the work that are often considered less important, such as the background, as well as failing to account for the abstraction prevalent in the many modern artworks that avoid a title altogether. But space is never simply there; it is constructed like any other part of painting (line, color, composition etc.), and serves to situate the beholder within the domain of representation, positioning us in relation not only to the visual field (which is essentially the work of the frame), but also identifies these spaces according to the kinds of subject represented. The resulting field therefore opens up a world that functions, at its limit, symbolically, mediating between the beholder on the one hand and the needs of the artwork on the other. Presenting artwork drawn from cave painting to modernist abstraction, my examples seek to illustrate the various ways in which the framing of space may be said to be the foundational element of picture making – without which the limits of art could not be ascertained.

The main focus of this contribution is based on formal and semantic effects related to the use of digital devices in artistic creation, more specifically the digital photos of the Canadian artist Laurent Lamarche, whose visual grammar is inspired by technoscience and molecular biology. Due to their resemblance to the cells and their apparent scientificity, the question we are asking is : can we qualified his works as symbolic forms of science ? To try to answer this interrogation we first present the plastic universe of the artist. After we briefly review the definition of the symbolic form proposed by Ernst Cassirer and we finally analyze the corpus of images under the light of the triadic model of the sign defined by Charles Sander Peirce who differentiates indices, icons and symbols.

This article proposes a different perspective from the one usually adopted in the field of image augmentation applied to ancient art: rather than considering augmentation as an increase in information (according to the change of scale inherent in Big Data) or conceiving it in its immersive dimension (inviting us to dive into the image thanks to very high resolution digital reproductions and VR technologies), we propose to start from the principle that many images or works of art of the past are the result of augmented experiences, on the side of creation thus, but also on the side of reception. The aim is to show to what extent digital devices can or cannot contribute to a better understanding of these augmented experiences of the past, by placing the works of art within vast networks of other works, as well as within the physical and mental space with which they were intimately linked, not to mention their links with sensory stimuli other than the sole sense of sight. Starting with a case study, that of Caravaggio’s Madonna of the Pilgrims, the aim is more specifically to question the capacity of Digital Art History to enrich the idea of symbolic form, as a meeting point between meaning and form, intelligible and sensible, or more precisely between the semantic, kinetic and aesthetic dimensions; but also the idea of figurability, which refers to the work of meaning that goes through the work of forms and forces, namely the dynamics of virtualisation, indeterminacy, and inchoativity. The aim is to reflect on the way in which the model of “modelling interpretation” proposed by J. Drucker, who sees computer modelling as the very hermeneutic act, makes it possible to rely on the symbolic forms specific to digital devices in order to account for the intrinsic augmentation in the artworks.

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The purpose of the work is to determine the specifics of ornament functioning as a symbolic form of culture, its meaning and role in marking the socio-cultural environment. The methodological research consists in the application of analytical, structural, cultural-hermeneutical, axiological, and semiotical methods, which allow us to consider the phenomenon of ornament from different aspects of cultural knowledge. The scientific novelty of the research lies in the discovery of the specifics of human signs and symbolic activities based on the example of ornamental decoration and signification. The ornamental functions, its sign-symbolic and socio-psychological components in the cultural-historical environment are researched. We have proven that the carrier of cultural and historical information is ornament and it is the means of communication between generations in space and time. Conclusions. Self-management of a human in the field of culture is implemented by means of symbols and signs, which are organised in such symbolic forms as language, religion, science, and art. Ornament is an artistic means of shape creation of art. Ornament is a dynamic figurative form that demonstrates the temporal cycles of senses in different artistic genres showing the static of image, the topos. Due to dynamic and temporal component codifies the cultural memory of the community, the ornamental chronotope is a storage of national cultural narratives that are re-actualised during the socio-cultural crises, and during request for deep markers of collective knowledge. [ABSTRACT FROM AUTHOR]

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Copyright of Signata is the property of Presses Universitaires de Liege and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Even if it is a tangible, symbol belongs to the domain of the image because we experience it with sight. It is precisely this original domain that is the link that completes communication, because after all, before language there was an image provided to us by the organ of sight, the eye. We first saw, and only later adopted the language which proves the analogy of the connection of these two forms of communication. What we cannot say with language, we try to convey with a picture. Every culture complemented this communication problem with a symbol that sought to touch the sacred, the unspeakable. At first glance sometimes by a different form, but with a common essence. The course of the development of the symbolic form, what it represented and how man used it in the past and how it is used now, seeks to show within the opinions and research of individual authors who have dealt with the problem of symbolic form. This is also the introductory part of the doctoral thesis “Sculpture as a symbolic form in the artistic-ritual act - Nexus” which sought to prove the universality of the individual creative process as a form that allows man to self-knowledge.

"Myth" is, in the view of the great Neo-Kantianism philosopher Ernest Cassirer, the most primitive and at the same time the most different human methodological method. According to him, in order to be aware of his existence and his surroundings, man has not started from the rational form of cognition at once, and before that, he has led a long period with elementary knowledge, which is the initial form of human knowledge called "mythical consciousness". is introduced to us. Perceptions and the world formed in this form of consciousness have contents and characteristics that are not easy to understand and accept by today's standards of theoretical knowledge; Therefore, these contents should be studied in the context of mythological system. In mythological consciousness, categories such as "space", "time" and "number", like today's rational consciousness, are introduced to us as "perceptual mediators"; But the nature, function, and embodiment of these intermediaries are in the consciousness of myths quite different from our perception of them today. The main issue in this research is to identify the nature of the "mythical number" and the sources that identify it. To achieve this goal, by carefully studying the works and views of Cassirer, in addition to identifying the nature, position and type of number representation in mythical consciousness, the factors that shape the specific nature of number in this form of consciousness are examined.

The paper deals with the kinematic analysis of the robot model. The matrix method of kinematic analysis is used. The robot mechanism is an open kinematic chain. The position, velocity and acceleration vector of the end point of the robot arm is determined in the Matlab program. Computer simulation is also performed in the MSC Adams program. [ABSTRACT FROM AUTHOR]

In this article, we suggest that our semiotic understanding of embodiment could be expanded to include a socially exalted individual, who embodies a symbol. To illustrate this argument, we draw on an ongoing research project that examines fandom rhetoric and debates around the 'Greatest of all time' or the GOAT symbol in Tennis. Grounding Bakhtin's tri-distinctions of identity, I-for-myself, I-for-other and other-for-me, in a Kantian hermeneutic tradition, we perform a theoretically informed analysis of the GOAT debate. None of the three tri-components exists in isolation; rather, they interact in a reflexive dialogue which continually shapes and re-shapes individual consciousness and experiences of embodiment. We apply a 'romanticism aesthetic activity' analytical framework to the tri-distinctions of identity, that consists of 'creative' and 'critical' rhetoric, within which we found genres of 'myth', 'art' and 'science'. Each genre functions through disparate means to exalt or metamorphise an individual (our focus is on Roger Federer) into a cultural symbol, and that the symbolic form of GOAT reflexively organises the emotional field and identities for those fans deeply invested in it. This article contributes to the current cultural psychological literature on understanding the mediation of people to symbols in a new digital age. [ABSTRACT FROM AUTHOR]

By focusing on the link between individuals and forms, Aby Warburg’s science of art (Kunstwissenschaft) allows the development of a unique genealogy of anxiety, which underlines the crucial role of this affect in understanding modern subjectivity. Entering into a dialogue with Ernst Cassirer on the need for a philosophy of “symbolic forms”, Warburg postulates that a shift from phobia to anxiety takes place through artistic creation. In this sense, anxiety reflects the subject’s relationship to being only because it more originally implies a relationship of the subject to form and to the absence of form. Thus, starting from an understanding of individuation as an ontogenetic taking of shape, we propose to articulate the relationship to being and the relationship to form, from a perspective that gives right to becoming. Gilbert Simondon’s philosophy of individuation can then shed light on the Warburgian enterprise. Anxiety appears as a particularly significant affect, as it marks a stop in the individuation of the subject and reveals to him the vertigo not of the nothingness of being but of his own taking shape. Simondon, however, enigmatically indicates that anxiety can mark a new “beginning of being”, an idea that Aby Warburg’s art history and Cassirer’s philosophy of culture can, in turn, help to clarify.

This article aims to find the paradigm of ecophilosophy in the philosophy of symbolic forms in the context of law. At the time of the article, ecophilosophy needed an introduction, and it needed to be defined within the scope of the philosophy of law. First, the symbolic universe was presented as the starting point for the search for this paradigm. The world in which the animal symbolicum lives differs significantly from the world of other organisms because only man lives in the symbolic universe. The symbolic universe was defined as a world consisting not only of material reality but also of numerous networks formed by symbols such as language, myth, and religion. Humankind recognized reality differently but also co-creates it.Next, Ernst Cassirer’s philosophy of symbolic forms was presented in more detail with particular emphasis on law. The philosopher identified nature as the sphere of lawfulness, and he acknowledged the wisdom of nature manifesting itself in harmony and biodiversity. He looked for sources of natural human rights. Man as an animal symbolicum should participate as the co-creator of the great masterpiece of creation. This act of co-creation included morally righteous actions, as well as establishing the appropriate content of law. Consequently, according to the philosophy of symbolic forms related to ecology, the guiding principle – a paradigm in the relationship between man and nature – should be the principle of personal, social, and state responsibility for nature. I called this principle the pneumocentrism paradigm of ecophilosophy. Additionally, I looked for acceptance or rejection of this principle, including in court rulings in Poland. I noted that in some ways the existence of this principle is considered desirable; however, its implementation may become a difficult task for mankind. Among other things, humankind desires to satisfy their own needs and faith quickly in future technological possibilities as a way to reduce its destructive actions towards nature in the present.

The paper deals with the kinematic analysis of a manipulator mechanism. The matrix method of kinematic analysis is used for the solution. The robot's mechanism is an open kinematic chain. The vector of position, velocity and acceleration is determined. The problem is solved using Matlab and MSC Adams / View. The Matlab program is used to solve kinematics equations in symbolic form. Computer software reduces the design time and also brings economic benefits. Conditions are being created for faster research and the creation of new mechanical systems gradually appearing in the production area. Computer simulation can also serve an educational purpose and giving additional information about the mechanical systems through simulation and kinematic analysis. [ABSTRACT FROM AUTHOR]

The paper identifies a continuity between the legal issue of the letter and spirit (or ratio) of the law and the invention of perspective as a symbolic form. The idea of perspective in Piero della Francesca's Annunciation and the concept of "Italian perspective" in Arasse's work are based on the aesthetic normativity of the painting in relation to the normative form of the norm, moving from the analysis of the invisible/visible nexus in legal theory. The notion of thirdness thus mediates between law as text and normativity as image, leading to the aesthetic enactment that conceives Italian playhouse as a form of theater, cinema, trial and university, as a symbolic form of knowledge and culture in the West. The simultaneously normative and aesthetic power of the gaze thus emerges as the removed from legal theory, until the problem of self-driving vehicles brings the issue back to the center of contemporary debate. The transition from frontal gaze to 360° vision suggests the theme of immersion as a new symbolic for the man–robot society. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Philosophy, Culture & Political Science is the property of Al-Farabi Kazakh National University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main instrument of human interaction with the world is called by Cassirer as symbol. It is the ability of a person to create and operate with symbols, that the thinker attributes as a significant feature of the human essence. Character of creation is not representative of human activity in reality, but constitutive. In other words, the person does not reflect the objects and processes of the world in consciousness, and the consciousness itself projects a certain symbolic meaning of reality. The symbol outlines of the procedure for defining an object or phenomenon, and in this its transcendental nature. All symbolic forms differ in their specificity (meaningful, expressive-representational, logical- verbal, etc.), but they all have a similar structure. The structure of the symbolic form is differentiated by the type of connection between speculative and empirical, and includes expression (perception), representation (contemplation), pure meaning (concept). That is, the formation of a corpus of culture occurs as a dialectical process of abstracting information of empirical experience, which in turn is determined by abstract symbolic forms. Indicative in this respect is the postulation that not individual pieces of empiricism are compared, but abstract forms denoting and defining perception. This act occurs at the stage of transformation of perception into imagination.

The various efforts to put the idea of humanity on a secure ethical, political, and social base have not succeeded. The various post-humanist and transhumanist programs are inadequate. Our deep-seated suspicion of our deepest selves and motives is understandable in light of the barbarity of the twentieth century, but humanism is not to blame. The thought of Ernst Cassirer holds a framework for a new humanism, once it is rid of certain colonialist, triumphalist, and Eurocentric ideas that distorted Cassirer’s understanding of the European role in creating the problems of civilization, especially its mistake of thinking that science was a progressive symbolic form of culture. I set out the basis of a new humanism based upon not the problem of knowledge, but the problem of genuine self-situating socialty, a personalist point of view.

Ernst Cassirer, a Neo-Kantian philosopher, believes that myth is one of the primary and most important cognitive forms. To get a grasp on being, humans have not begun from a conceptual knowledge overnight, rather they have long spent their lives on acquiring basic knowledge. This basic human knowledge is known as mythical knowledge. In this type of knowledge, perceptions and formed-world have certain characteristics that cannot easily be perceived and affirmed by today's theoretical knowledge. Therefore, such characteristics should be studied within a mythical cognitive framework. In mythical knowledge, such components as space, time, and numbers are known as perceptual mediators. This research investigated the nature and principles that form the mythical space and its objective embodiment compared with sensory perception and geometric spaces. In so doing, Ernst Cassirer's works were studied thoroughly and objective instances of mythical space were reviewed in ancient civilizations. Moreover, the place, rules, and patterns governing the formation of mythical knowledge and its spatial embodiment were studied and such space's characteristics were compared with sensory perceptions and abstract geometrical spaces. [ABSTRACT FROM AUTHOR]

The essay aims to reveal the role of music in the movie Interstellar by Christopher Nolan and its significance in creating an artistic message that relates to the love myths characteristic of European culture and art. The orientation point is the Tristanic myth and the project of musical dramaturgy by Richard Wagner, the founder of the concept of music being the significant layer in a Gesamtkunstwerk, a synthesis of the arts, which strongly inspires i.a. cinema. The article ponders possible messages to be decoded from the music in Nolan's movie: as a "form of a lover's discourse" (R. Barthes), "significant form" (Suzanne K. Langer), "symbolic form" (E. Cassirer), responsible for shaping the ambience that constitutes an inherent structural part of the movie in the metaphysical cinema genre. The musical solutions applied by Hans Zimmer in the soundtrack to Nolan's movie do more than merely imply inspiration from Wagner. They also allow for recognition of the polyphonic way of constructing formal and thematic relations between musical themes and the verbal-visual layer of the movie. This refined artistic project aims at a subtly directed confrontation with the nihilistic picture of love that is representative of melancholic-pessimistic images of the condition of human relationships in the modern culture. The analysed main musical theme, called the "à rebours chord" (i.e. anti-Tristan chord), turns out to be an overt musical manifestation of such a counterpunch and becomes a starting point to telling a story that refers to the concept of love which assumes taking action and fighting for the good of your loved ones, as well as the concept of Caritas and unconditional love. The way that the music and sound of the movie are orchestrated is therefore tightly coupled with its semantic and symbolic message, which allows for perceiving the music as a specific "libration point" of the movie structure. Its function might also be interpreted as a semantic attribute of "a spiritual intelligence", referring to that which is binding and crucial for the axiological and metaphysical message of the movie. [ABSTRACT FROM AUTHOR]

This paper examines the way in which Cassirer implicitly commented on current issues in his historical studies, proposing a case study on his monograph The Philosophy of the Enlightenment, published in November 1932. It begins with a general overview of a few famous and a few neglected instances of Cassirer's position-takings through historical studies, before discussing briefly the context in which this monograph was written and examining how the Enlightenment is presented in the monograph from 1932. The paper claims that at the centre of Cassirer's engagement with the Enlightenment was his concern with the autonomy of reason. The way in which Cassirer elaborated on this further shows that his defense of the Enlightenment was not just directed against the threats of totalitarian politics, but also had the aim of clarifying the nature of philosophy and its place in culture. This, however, the paper concludes, does not refute the notion that Cassirer was concerned with current politics when writing The Philosophy of the Enlightenment. The point is rather that he comprehended philosophy as political just in virtue of its exercising the autonomy that characterizes reason. [ABSTRACT FROM AUTHOR]

This paper questions the apparent silenc of Cassirer's Philosophy of Symbolic Forms on the unconscious, in its double sense of the psychic structure and of the description of the imperceptible. Although Cassirer is engaged in a very fine phenomenological analysis of our experience of the world, under the prism of a critic of culture, and although he does not believe in the evidence of the self, the absence of the unconscious from his account shows precisely the force of his conceptualization of the symbolic. Why and how does the theme of the unconscious absorb that of the symbolic? The article argues that the question has to be analyzed through "symbolic pregnance" (symbolische Prägnanz) and "concrescence" (Konkreszenz). Nonetheless, here, the concepts of "subject," "reason," and "representation" are considerably re-semantized and, therefore, displaced by the key concept of "symbol." To analyze this problem, the prism of aesthetics will be fundamentally privileged. Symbolic aesthetics crystallizes these questions of perceptive phenomenology with a rare intensity, articulating the personal and the impersonal dimensions in a focusedway. The texts of Langer will help us to explain the field that Cassirer explored only in a discontinuous and fragmentary way. Our hypothesis is the following: when the double dimension (personal and impersonal) of the experience is intensified, not only does symbolic aesthetics go beyond the classical opposition between conscious and unconscious, but it also goes beyond the distinctions between form and affect, form and content, and formalism and expression. [ABSTRACT FROM AUTHOR]

Urgency of the research. The problem of philosophical comprehension of the phenomenon of culture in different variations and methodologies is invariably presented in the worldview discourse. Especially when the nature of the existence of culture becomes problematic and crisis. In such cases, it is advisable to verify the mechanisms of culture, to analyze the procedures of its (culture) formation and dynamics. E. Cassirer was, if not the first, but the most famous author, who unambiguously noted the attribution of human essence and existence in the space of symbolic forms of culture. Thus, culture has acquired the necessary legitimization for the ascertainment techniques of thinking, perception and activity. Are there any reasons to consider these processes as spontaneous and variational, or rather causal and universal? In the context of the increasing pace of globalization and the mass of post-colonial critics, this problem is of particular importance and meaning. Target setting. The main problem of the study is the answer to the question: are epistemological, axiological, and activity constructs of human subjectivity universal and invariant in historical and cultural retrospective, or their content determined by the appropriate sociocultural context of formation and sustainability? Actual scientific researches and issues analysis. E. Cassirer's works are of constant interest from scientists of various fields of knowledge and specificity of research. In the philosophical aspect, the works of K. Swasyan, A. Losev, Yu. Lotman, V. Bibler and others on the study, interpretation and analytics of the system of understanding of the world and a human by E. Cassirer became already a textbook. So, Jeremy Heis (2011) considers the method of symbolic forms in the philosophy of mathematics of E. Cassirer one of the most meaningful in view of the criticism of Euclidean geometry. Christine Ludl (2015) refers to a methodology for the study of the facts and artifacts of E. Cassierer's culture, which insisted on the constitutive nature of perception and thinking. This idea is supported by Emmanuel Alloa (2015), who analyzes the problem of the perspective of perception and assessment of reality. S. Gayevska (2015) seeks to elucidate patterns of human understanding through the prism of symbolic forms that are the "morphology" of the spirit. Minakov M. (2006) insists on the importance of the historical tradition in forming the foundations of thinking and knowing the world. Jon Solomon (2009) explores the problem of narrative on the basis of theoretical concepts of E. Cassierer's philosophy and contemporary processes of globalization. The problem of interaction between cultures and different worldviews is explored by Stephan Steiner (2015). Oli Belas (2018) criticizes educational practices based solely on the concept of knowledge. The author applies the philosophy of E. Cassirer's symbolic forms in order to illustrate the connection between knowledge and time. I. Victor (2018) applies the epistemological methodology of E. Cassirer's research to the study of the specifications of Ukrainian culture. The research objective. Appeal to the philosophical heritage of E. Cassirer is productive in exploring the problem of universality / contextuality of the basic procedures of thinking, perception and human activity. In other words, do symbolic forms really shape subjectivity, or do they just sort out the chaos of empirical perception? The statement of basic material. The main instrument of human interaction with the world is called by Cassirer as symbol. It is the ability of a person to create and operate with symbols, that the thinker attributes as a significant feature of the human essence. Character of creation is not representative of human activity in reality, but constitutive. In other words, the person does not reflect the objects and processes of the world in consciousness, and the consciousness itself projects a certain symbolic meaning of reality. The symbol outlines of the procedure for defining an object or phenomenon, and in this its transcendental nature. All symbolic forms differ in their specificity (meaningful, expressive-representational, logicalverbal, etc.), but they all have a similar structure. The structure of the symbolic form is differentiated by the type of connection between speculative and empirical, and includes expression (perception), representation (contemplation), pure meaning (concept). That is, the formation of a corpus of culture occurs as a dialectical process of abstracting information of empirical experience, which in turn is determined by abstract symbolic forms. Indicative in this respect is the postulation that not individual pieces of empiricism are compared, but abstract forms denoting and defining perception. This act occurs at the stage of transformation of perception into imagination. Conclusions. The symbol is a substitute for things, and not burdened by the causality of the material world, potentially unlimited in the possibilities of definition, even that does not exist. Language, myth, religion, art, science - all these forms are only conditionally related to the world of things, and they do not need such attribution to justify their ontology. It is well known that the phenomenon of culture is permanently at the epicenter of critical currency range of interpretations of the purpose and content of culture varies from fascinating-approving theories (F.-M. Voltaire, F. Fichte) to the shattering critique of its influence and subsequent fate (J.-J. Rousseau, F. Nietzsche). It is undoubtedly a fact that culture produces its own ontology other than natural. And a person loses both his natural instincts and absolutism of vital values. And it is natural that the gap between the marking and the marked will increase rapidly. [ABSTRACT FROM AUTHOR]

This paper focuses on the influence that the tradition of Jewish prophetism shows in the interpretation of Kant's philosophy claimed by the scholars of the University of Marburg, Hermann Cohen and Ernst Cassirer. Both considered a key point to argue for the continuity between the notions of right and historical temporality stemming from the classical Jewish thought and Kant's transcendental model. The paper has three main goals. First, it tackles Cohens vindication of Jewish intellectuals as key actors of the making of European civilization. Second, it highlights the debt that Cassirer's theory of symbolic forms owes to Cohens conception of messianism. Third, it aims at outlining a line of contemporary Jewish thought that decides to underline the large contribution of some of its prominent figures to the genesis of European culture and political modern tradition. [ABSTRACT FROM AUTHOR]

In the article I intend to argue for the symbolic understanding of the architectural ornament. I trace the historical evolution of the ornament in relation with the most relevant artistic styles of the 19th century: Neoclassicism, Historism, Eclecticism, Art Nouveau. I also map the different theoretical conceptualizations of the ornament, ranging from considering it an auxiliary element of the architectural edifice to its analysis as a self-contained object, bearing an illustrative dimension. It is this latter approach that I am envisaging relevant and appropriate for the investigation of the architectural ornament in Cluj-Napoca during the period spanning from the 19th century till the beginning of the 20th century. The symbolic framing of the ornament places the architectural accessories from that time within a web of meanings specific for the transnational communication of forms and artists/architects in East Central Europe. I make a case for the argument as a cultural artifact bearing testimony about a certain historical context, about the personal choices of the architect and the views of the commissioner and, last but not least, about the morphological traces having a life of their own. The architectural ornaments from Cluj-Napoca can thus be seen in their stylistic complexity, but also as artifacts having a local imprint, dependent or independent on individual artistic choices. [ABSTRACT FROM AUTHOR]