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class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8319073" data-work_id="8319073" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8319073/Fran%C3%A7ois_B%C5%93spflug_Le_immagini_di_Dio_Una_storia_dell_Eterno_nell_arte_Einaudi_Torino_2012_tit_or_Dieu_et_ses_images_Une_histoire_de_l_%C3%89ternel_dans_l_art_Bayard_Montrouge_2008_pp_VII_581_ill">François Bœspflug, Le immagini di Dio. Una storia dell’Eterno nell’arte, Einaudi, Torino 2012 (tit. or. Dieu et ses images. Une histoire de l’Éternel dans l’art, Bayard, Montrouge 2008), pp. VII, 581, ill.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Pubblichiamo l'omelia pronunciata da mons. Gianni Bernardi durante la concelebrazione eucaristica tenutasi il 27 settembre 2013. La liturgia della Parola del giorno proponeva Aggeo 1,9 e Luca 9,[18][19][20][21][22] Prima di meditare sulla... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8319073" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Pubblichiamo l'omelia pronunciata da mons. Gianni Bernardi durante la concelebrazione eucaristica tenutasi il 27 settembre 2013. La liturgia della Parola del giorno proponeva Aggeo 1,9 e Luca 9,[18][19][20][21][22] Prima di meditare sulla parola di Dio che oggi è stata proclamata e che illumina la nostra vita, permettetemi due rapide premesse. 1. Durante gli anni nei quali sono stato presidente del Centro Pattaro, non ho mai voluto presiedere la celebrazione annuale in suffragio di don Germano, neppure quando sono diventato parroco di questa parrocchia, nella cui chiesa parrocchiale, per tradizione, la celebrazione si svolge: questo perché mi pareva giusto lasciare la parola a qualche altro confratello, che con don Germano poteva aver avuto, a qualsiasi titolo, un qualche rapporto. Anche quando qualche membro del Consiglio Direttivo del Centro mi chiedeva di presiedere, rispondevo dicendo che lo avrei fatto qualora non fossi più stato presidente. Senza pensarlo, sono stato profeta: infatti il momento è venuto; a fine luglio il Patriarca mi ha chiesto di diventare suo delegato per la vita consacrata e questo ha implicato che lasciassi l'Ufficio cultura, di cui ero direttore, e di conseguenza la presidenza del Centro. Celebro quindi con gratitudine questa santa Messa, e lo faccio proprio perché la presidenza del Centro è ora affidata a un altro, a don Gilberto Sabbadin, che conoscerete presto e che spero accoglierete con tanta disponibilità. 2. Ci ritroviamo oggi per ricordare don Germano e per pregare per lui a ventisette anni dalla sua morte: ci ritroviamo ogni anno, sempre ringraziando il Signore per quanto ha dato alla Chiesa di Venezia e a ciascuno di noi nella persona e nel ministero di don Germano. Ma permettetemi di osservare che sarebbe opportuno ricordare insieme tante altre figure di sacerdoti veneziani che, come don Germano, hanno dato tanto a tutti noi: a cominciare da don Bruno Bertoli, che ha saputo accogliere l'eredità di don Germano alla Chiesa di Venezia, dando anche vita al Centro, per il quale ha affrontato difficoltà di ogni genere, accettando anche sofferenze di non poco conto. E poi mons. Mario D'Este, mons. Silvio Tramontin, mons. Giuliano Bertoli, mons. Antonio Niero, mons. Silvio Zardon...: nomi che ci richiamano volti amati, insieme a tanti altri; nomi che ci fanno ricordare persone che con grande fedeltà al Signore hanno svolto il loro ministero sacerdotale a servizio del popolo di Dio. Nomi, volti e persone che non devono essere dimenticati.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8319073" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6f6e0df454fb3d395b096d40ab66d478" rel="nofollow" data-download="{"attachment_id":34726473,"asset_id":8319073,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34726473/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16604257" href="https://marcianum.academia.edu/EBrunet">Ester Brunet</a><script data-card-contents-for-user="16604257" type="text/json">{"id":16604257,"first_name":"Ester","last_name":"Brunet","domain_name":"marcianum","page_name":"EBrunet","display_name":"Ester Brunet","profile_url":"https://marcianum.academia.edu/EBrunet?f_ri=968659","photo":"https://0.academia-photos.com/16604257/4526570/5252713/s65_ester.brunet.jpg"}</script></span></span></li><li class="js-paper-rank-work_8319073 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8319073"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8319073, container: ".js-paper-rank-work_8319073", }); 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Una storia dell’Eterno nell’arte, Einaudi, Torino 2012 (tit. or. Dieu et ses images. Une histoire de l’Éternel dans l’art, Bayard, Montrouge 2008), pp. VII, 581, ill.","created_at":"2014-09-14T02:53:37.629-07:00","url":"https://www.academia.edu/8319073/Fran%C3%A7ois_B%C5%93spflug_Le_immagini_di_Dio_Una_storia_dell_Eterno_nell_arte_Einaudi_Torino_2012_tit_or_Dieu_et_ses_images_Une_histoire_de_l_%C3%89ternel_dans_l_art_Bayard_Montrouge_2008_pp_VII_581_ill?f_ri=968659","dom_id":"work_8319073","summary":"Pubblichiamo l'omelia pronunciata da mons. Gianni Bernardi durante la concelebrazione eucaristica tenutasi il 27 settembre 2013. La liturgia della Parola del giorno proponeva Aggeo 1,9 e Luca 9,[18][19][20][21][22] Prima di meditare sulla parola di Dio che oggi è stata proclamata e che illumina la nostra vita, permettetemi due rapide premesse. 1. Durante gli anni nei quali sono stato presidente del Centro Pattaro, non ho mai voluto presiedere la celebrazione annuale in suffragio di don Germano, neppure quando sono diventato parroco di questa parrocchia, nella cui chiesa parrocchiale, per tradizione, la celebrazione si svolge: questo perché mi pareva giusto lasciare la parola a qualche altro confratello, che con don Germano poteva aver avuto, a qualsiasi titolo, un qualche rapporto. Anche quando qualche membro del Consiglio Direttivo del Centro mi chiedeva di presiedere, rispondevo dicendo che lo avrei fatto qualora non fossi più stato presidente. Senza pensarlo, sono stato profeta: infatti il momento è venuto; a fine luglio il Patriarca mi ha chiesto di diventare suo delegato per la vita consacrata e questo ha implicato che lasciassi l'Ufficio cultura, di cui ero direttore, e di conseguenza la presidenza del Centro. Celebro quindi con gratitudine questa santa Messa, e lo faccio proprio perché la presidenza del Centro è ora affidata a un altro, a don Gilberto Sabbadin, che conoscerete presto e che spero accoglierete con tanta disponibilità. 2. Ci ritroviamo oggi per ricordare don Germano e per pregare per lui a ventisette anni dalla sua morte: ci ritroviamo ogni anno, sempre ringraziando il Signore per quanto ha dato alla Chiesa di Venezia e a ciascuno di noi nella persona e nel ministero di don Germano. Ma permettetemi di osservare che sarebbe opportuno ricordare insieme tante altre figure di sacerdoti veneziani che, come don Germano, hanno dato tanto a tutti noi: a cominciare da don Bruno Bertoli, che ha saputo accogliere l'eredità di don Germano alla Chiesa di Venezia, dando anche vita al Centro, per il quale ha affrontato difficoltà di ogni genere, accettando anche sofferenze di non poco conto. E poi mons. Mario D'Este, mons. Silvio Tramontin, mons. Giuliano Bertoli, mons. Antonio Niero, mons. Silvio Zardon...: nomi che ci richiamano volti amati, insieme a tanti altri; nomi che ci fanno ricordare persone che con grande fedeltà al Signore hanno svolto il loro ministero sacerdotale a servizio del popolo di Dio. Nomi, volti e persone che non devono essere dimenticati.","downloadable_attachments":[{"id":34726473,"asset_id":8319073,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16604257,"first_name":"Ester","last_name":"Brunet","domain_name":"marcianum","page_name":"EBrunet","display_name":"Ester Brunet","profile_url":"https://marcianum.academia.edu/EBrunet?f_ri=968659","photo":"https://0.academia-photos.com/16604257/4526570/5252713/s65_ester.brunet.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=968659","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=968659","nofollow":true},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=968659","nofollow":true},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659","nofollow":true},{"id":1003311,"name":"Theology of Images","url":"https://www.academia.edu/Documents/in/Theology_of_Images?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42148773" data-work_id="42148773" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42148773/Fichtes_Bildtheorie_im_Kontext_Teil_II_Systematische_Funktionen_des_Bildbegriffs_Fichte_Studien_48_2020">Fichtes Bildtheorie im Kontext Teil II: Systematische Funktionen des Bildbegriffs. Fichte-Studien 48, 2020.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This volume examines Fichte's notion of the image in the systematic domains of ethics, philosophy of history, political philosophy, philosophy of language, aesthetics, and the philosophy of religion. Several contributions investigate from... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42148773" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This volume examines Fichte's notion of the image in the systematic domains of ethics, philosophy of history, political philosophy, philosophy of language, aesthetics, and the philosophy of religion. Several contributions investigate from various viewpoints the central feature of Fichte's late philosophy that, in terms of image theory, human freedom is understood as the ability to understand oneself as the image of an absolute that transcends all appearances. These investigations reveal that Fichte's image theory underlies his late ethics, state theory, and educational conception and thus characterizes the peculiar meaning in which Fichte's late philosophy is still to be understood as an expression of an Enlightenment project that goes beyond mere theory. This volume also contains the three papers awarded with the "Fichte Prize for Young Researchers" in 2018. Der vorliegende Band untersucht Fichtes bildtheoretisches Denken von der Theorie der Einbildungskraft bis in die systematischen Bereiche der Ethik, der Geschichtsphilosophie, der politischen Philosophie, der Sprachphilosophie, der Kunsttheorie und der Religionsphilosophie. Dass die Freiheit des Menschen bildtheoretisch aus der in seinem Selbstbewusstsein angelegten Fähigkeit zu verstehen ist, sich als Bild eines alle Erscheinungen transzendierenden Absoluten zu verstehen, ist ein zentraler Gedanke der Spätphilosophie Fichtes, der in mehreren Beiträgen unter verschiedenen Fragestellungen in den Blick genommen und diskutiert wird. Dabei zeigt sich, dass diese These Fichtes seiner späten Ethik, Staatstheorie und Erziehungskonzeption zugrunde liegt und damit den eigentümlichen Sinn prägt, in dem auch Fichtes Spätphilosophie noch als Ausdruck eines über die bloße Theorie hinauszielenden Au lärungsprojekts zu verstehen ist. Der Band wird von drei Beiträgen beschlossen, die 2018 mit dem "Fichte-Preis für junge Forscher" ausgezeichnet wurden.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42148773" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c21c771eeccc19606e6d67efd1e5d634" rel="nofollow" data-download="{"attachment_id":62287785,"asset_id":42148773,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62287785/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5018339" href="https://ferrara.academia.edu/MatteoVincenzodAlfonso">Matteo Vincenzo d'Alfonso</a><script data-card-contents-for-user="5018339" type="text/json">{"id":5018339,"first_name":"Matteo Vincenzo","last_name":"d'Alfonso","domain_name":"ferrara","page_name":"MatteoVincenzodAlfonso","display_name":"Matteo Vincenzo d'Alfonso","profile_url":"https://ferrara.academia.edu/MatteoVincenzodAlfonso?f_ri=968659","photo":"https://0.academia-photos.com/5018339/3726948/13326132/s65_matteo_vincenzo.d_alfonso.jpg"}</script></span></span></li><li class="js-paper-rank-work_42148773 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42148773"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42148773, container: ".js-paper-rank-work_42148773", }); 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Fichte-Studien 48, 2020.","created_at":"2020-03-05T18:31:14.845-08:00","url":"https://www.academia.edu/42148773/Fichtes_Bildtheorie_im_Kontext_Teil_II_Systematische_Funktionen_des_Bildbegriffs_Fichte_Studien_48_2020?f_ri=968659","dom_id":"work_42148773","summary":"This volume examines Fichte's notion of the image in the systematic domains of ethics, philosophy of history, political philosophy, philosophy of language, aesthetics, and the philosophy of religion. Several contributions investigate from various viewpoints the central feature of Fichte's late philosophy that, in terms of image theory, human freedom is understood as the ability to understand oneself as the image of an absolute that transcends all appearances. These investigations reveal that Fichte's image theory underlies his late ethics, state theory, and educational conception and thus characterizes the peculiar meaning in which Fichte's late philosophy is still to be understood as an expression of an Enlightenment project that goes beyond mere theory. This volume also contains the three papers awarded with the \"Fichte Prize for Young Researchers\" in 2018. Der vorliegende Band untersucht Fichtes bildtheoretisches Denken von der Theorie der Einbildungskraft bis in die systematischen Bereiche der Ethik, der Geschichtsphilosophie, der politischen Philosophie, der Sprachphilosophie, der Kunsttheorie und der Religionsphilosophie. Dass die Freiheit des Menschen bildtheoretisch aus der in seinem Selbstbewusstsein angelegten Fähigkeit zu verstehen ist, sich als Bild eines alle Erscheinungen transzendierenden Absoluten zu verstehen, ist ein zentraler Gedanke der Spätphilosophie Fichtes, der in mehreren Beiträgen unter verschiedenen Fragestellungen in den Blick genommen und diskutiert wird. Dabei zeigt sich, dass diese These Fichtes seiner späten Ethik, Staatstheorie und Erziehungskonzeption zugrunde liegt und damit den eigentümlichen Sinn prägt, in dem auch Fichtes Spätphilosophie noch als Ausdruck eines über die bloße Theorie hinauszielenden Au lärungsprojekts zu verstehen ist. Der Band wird von drei Beiträgen beschlossen, die 2018 mit dem \"Fichte-Preis für junge Forscher\" ausgezeichnet wurden. ","downloadable_attachments":[{"id":62287785,"asset_id":42148773,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5018339,"first_name":"Matteo Vincenzo","last_name":"d'Alfonso","domain_name":"ferrara","page_name":"MatteoVincenzodAlfonso","display_name":"Matteo Vincenzo d'Alfonso","profile_url":"https://ferrara.academia.edu/MatteoVincenzodAlfonso?f_ri=968659","photo":"https://0.academia-photos.com/5018339/3726948/13326132/s65_matteo_vincenzo.d_alfonso.jpg"}],"research_interests":[{"id":6202,"name":"German Idealism","url":"https://www.academia.edu/Documents/in/German_Idealism?f_ri=968659","nofollow":true},{"id":10270,"name":"Johann Gottlieb Fichte","url":"https://www.academia.edu/Documents/in/Johann_Gottlieb_Fichte?f_ri=968659","nofollow":true},{"id":13031,"name":"Transcendental Philosophy","url":"https://www.academia.edu/Documents/in/Transcendental_Philosophy?f_ri=968659","nofollow":true},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_53208420" data-work_id="53208420" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/53208420/BONFIGLIOLI_S_2012_La_geografia_di_Egnazio_Danti_Il_sapere_corografico_a_Bologna_nellet%C3%A0_della_Controriforma">BONFIGLIOLI S. (2012) La geografia di Egnazio Danti. Il sapere corografico a Bologna nell'età della Controriforma</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/53208420" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1151f8faded6200f0b6bbe975681dd61" rel="nofollow" data-download="{"attachment_id":70105047,"asset_id":53208420,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/70105047/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="97227965" href="https://unibo.academia.edu/StefaniaBonfiglioli">Stefania Bonfiglioli</a><script data-card-contents-for-user="97227965" type="text/json">{"id":97227965,"first_name":"Stefania","last_name":"Bonfiglioli","domain_name":"unibo","page_name":"StefaniaBonfiglioli","display_name":"Stefania Bonfiglioli","profile_url":"https://unibo.academia.edu/StefaniaBonfiglioli?f_ri=968659","photo":"https://0.academia-photos.com/97227965/25177974/115656598/s65_stefania.bonfiglioli.jpg"}</script></span></span></li><li class="js-paper-rank-work_53208420 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="53208420"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 53208420, container: ".js-paper-rank-work_53208420", }); 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$(".js-view-count[data-work-id=53208420]").text(description); $(".js-view-count-work_53208420").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_53208420").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="53208420"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2018" rel="nofollow" href="https://www.academia.edu/Documents/in/Plato">Plato</a>, <script data-card-contents-for-ri="2018" type="text/json">{"id":2018,"name":"Plato","url":"https://www.academia.edu/Documents/in/Plato?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14191" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Geography">Philosophy of Geography</a>, <script data-card-contents-for-ri="14191" type="text/json">{"id":14191,"name":"Philosophy of Geography","url":"https://www.academia.edu/Documents/in/Philosophy_of_Geography?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="29901" rel="nofollow" href="https://www.academia.edu/Documents/in/History_of_geography">History of geography</a>, <script data-card-contents-for-ri="29901" type="text/json">{"id":29901,"name":"History of geography","url":"https://www.academia.edu/Documents/in/History_of_geography?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="35109" rel="nofollow" href="https://www.academia.edu/Documents/in/Chorography">Chorography</a><script data-card-contents-for-ri="35109" type="text/json">{"id":35109,"name":"Chorography","url":"https://www.academia.edu/Documents/in/Chorography?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=53208420]'), work: {"id":53208420,"title":"BONFIGLIOLI S. (2012) La geografia di Egnazio Danti. Il sapere corografico a Bologna nell'età della Controriforma","created_at":"2021-09-22T02:37:47.185-07:00","url":"https://www.academia.edu/53208420/BONFIGLIOLI_S_2012_La_geografia_di_Egnazio_Danti_Il_sapere_corografico_a_Bologna_nellet%C3%A0_della_Controriforma?f_ri=968659","dom_id":"work_53208420","summary":null,"downloadable_attachments":[{"id":70105047,"asset_id":53208420,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":97227965,"first_name":"Stefania","last_name":"Bonfiglioli","domain_name":"unibo","page_name":"StefaniaBonfiglioli","display_name":"Stefania Bonfiglioli","profile_url":"https://unibo.academia.edu/StefaniaBonfiglioli?f_ri=968659","photo":"https://0.academia-photos.com/97227965/25177974/115656598/s65_stefania.bonfiglioli.jpg"}],"research_interests":[{"id":2018,"name":"Plato","url":"https://www.academia.edu/Documents/in/Plato?f_ri=968659","nofollow":true},{"id":14191,"name":"Philosophy of Geography","url":"https://www.academia.edu/Documents/in/Philosophy_of_Geography?f_ri=968659","nofollow":true},{"id":29901,"name":"History of geography","url":"https://www.academia.edu/Documents/in/History_of_geography?f_ri=968659","nofollow":true},{"id":35109,"name":"Chorography","url":"https://www.academia.edu/Documents/in/Chorography?f_ri=968659","nofollow":true},{"id":51657,"name":"Landscape Studies","url":"https://www.academia.edu/Documents/in/Landscape_Studies?f_ri=968659"},{"id":229632,"name":"history of Bologna","url":"https://www.academia.edu/Documents/in/history_of_Bologna?f_ri=968659"},{"id":258267,"name":"Historical and Cultural Geography, Landscape and Memory, Toponymy","url":"https://www.academia.edu/Documents/in/Historical_and_Cultural_Geography_Landscape_and_Memory_Toponymy?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"},{"id":1187603,"name":"Egnazio Danti","url":"https://www.academia.edu/Documents/in/Egnazio_Danti?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26066891" data-work_id="26066891" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26066891/Elfelejtett_kepelmeletek">Elfelejtett_kepelmeletek</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Talk given at the Budapest Visual Learning Lab, June 9, 2016</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26066891" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6967f588c01a98d383adb5dadc452092" rel="nofollow" data-download="{"attachment_id":46413464,"asset_id":26066891,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46413464/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5302801" href="https://mta.academia.edu/KristofNyiri">Kristóf [ J . C . ] Nyíri</a><script data-card-contents-for-user="5302801" type="text/json">{"id":5302801,"first_name":"Kristóf","last_name":"Nyíri","domain_name":"mta","page_name":"KristofNyiri","display_name":"Kristóf [ J . C . ] Nyíri","profile_url":"https://mta.academia.edu/KristofNyiri?f_ri=968659","photo":"https://0.academia-photos.com/5302801/2330945/2718710/s65_kristof.nyiri.jpg"}</script></span></span></li><li class="js-paper-rank-work_26066891 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26066891"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26066891, container: ".js-paper-rank-work_26066891", }); });</script></li><li class="js-percentile-work_26066891 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 26066891; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_26066891"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_26066891 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="26066891"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 26066891; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=26066891]").text(description); $(".js-view-count-work_26066891").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_26066891").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="26066891"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="806" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Mind">Philosophy of Mind</a>, <script data-card-contents-for-ri="806" type="text/json">{"id":806,"name":"Philosophy of Mind","url":"https://www.academia.edu/Documents/in/Philosophy_of_Mind?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="968659" rel="nofollow" href="https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image">Theory and Philosophy of Image</a><script data-card-contents-for-ri="968659" type="text/json">{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26066891]'), work: {"id":26066891,"title":"Elfelejtett_kepelmeletek","created_at":"2016-06-12T02:50:40.378-07:00","url":"https://www.academia.edu/26066891/Elfelejtett_kepelmeletek?f_ri=968659","dom_id":"work_26066891","summary":"Talk given at the Budapest Visual Learning Lab, June 9, 2016 ","downloadable_attachments":[{"id":46413464,"asset_id":26066891,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5302801,"first_name":"Kristóf","last_name":"Nyíri","domain_name":"mta","page_name":"KristofNyiri","display_name":"Kristóf [ J . C . ] Nyíri","profile_url":"https://mta.academia.edu/KristofNyiri?f_ri=968659","photo":"https://0.academia-photos.com/5302801/2330945/2718710/s65_kristof.nyiri.jpg"}],"research_interests":[{"id":806,"name":"Philosophy of Mind","url":"https://www.academia.edu/Documents/in/Philosophy_of_Mind?f_ri=968659","nofollow":true},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_58458704" data-work_id="58458704" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/58458704/Anapus_funkcijos_vaizduot%C4%97_kaip_semideterminacija_Beyond_Function_Imagination_as_Semi_Determination">Anapus funkcijos: vaizduotė kaip semideterminacija / Beyond Function: Imagination as Semi-Determination</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The article raises the hypothesis that the activity of imagination cannot be fully described by a functional description. To this end, two positions are analyzed: the philosophy of Cornelius Castoriadis, who emphasizes social imaginary... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_58458704" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The article raises the hypothesis that the activity of imagination cannot be fully described by a functional description. To this end, two positions are analyzed: the philosophy of Cornelius Castoriadis, who emphasizes social imaginary and radical imagination, is juxtaposed with Gilbert Simondon’s theory of cyclic and genetic images. Castoriadis’ consideration reveals the specific character of indeterminacy, found in the work of imagination, which enables the coexistence of contradictions in psyche. Based on this reading I propose to perceive imagination through a semi-deterministic take. Whilst it is also possible to see an effort to overcome functional determination in Simondon’s theory, the latter also offers a way to interpret the imagination beyond the anthropological realm. The image ensures the field of mutual potentiality between organisms and their milieus, and this relationality is never fully determined, but rather semi-determined. Thus, by providing the tools for rethinking of determination and functionality, the juxtaposition of Castoriadis and Simondon enables to speculate on the need of a possible concept of sociobiological imagination.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/58458704" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2c5a30d285d87e242baea33e64911079" rel="nofollow" data-download="{"attachment_id":72859739,"asset_id":58458704,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/72859739/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="34625936" href="https://vu-lt.academia.edu/KristupasSabolius">Kristupas Sabolius</a><script data-card-contents-for-user="34625936" type="text/json">{"id":34625936,"first_name":"Kristupas","last_name":"Sabolius","domain_name":"vu-lt","page_name":"KristupasSabolius","display_name":"Kristupas Sabolius","profile_url":"https://vu-lt.academia.edu/KristupasSabolius?f_ri=968659","photo":"https://0.academia-photos.com/34625936/13529744/18724860/s65_kristupas.sabolius.jpg"}</script></span></span></li><li class="js-paper-rank-work_58458704 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="58458704"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 58458704, container: ".js-paper-rank-work_58458704", }); 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$(".js-view-count[data-work-id=58458704]").text(description); $(".js-view-count-work_58458704").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_58458704").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="58458704"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="244" rel="nofollow" href="https://www.academia.edu/Documents/in/Psychoanalysis">Psychoanalysis</a>, <script data-card-contents-for-ri="244" type="text/json">{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="803" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1441" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophical_Anthropology">Philosophical Anthropology</a>, <script data-card-contents-for-ri="1441" type="text/json">{"id":1441,"name":"Philosophical Anthropology","url":"https://www.academia.edu/Documents/in/Philosophical_Anthropology?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8298" rel="nofollow" href="https://www.academia.edu/Documents/in/Gilbert_Simondon">Gilbert Simondon</a><script data-card-contents-for-ri="8298" type="text/json">{"id":8298,"name":"Gilbert Simondon","url":"https://www.academia.edu/Documents/in/Gilbert_Simondon?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=58458704]'), work: {"id":58458704,"title":"Anapus funkcijos: vaizduotė kaip semideterminacija / Beyond Function: Imagination as Semi-Determination","created_at":"2021-10-16T11:13:37.620-07:00","url":"https://www.academia.edu/58458704/Anapus_funkcijos_vaizduot%C4%97_kaip_semideterminacija_Beyond_Function_Imagination_as_Semi_Determination?f_ri=968659","dom_id":"work_58458704","summary":"The article raises the hypothesis that the activity of imagination cannot be fully described by a functional description. To this end, two positions are analyzed: the philosophy of Cornelius Castoriadis, who emphasizes social imaginary and radical imagination, is juxtaposed with Gilbert Simondon’s theory of cyclic and genetic images. Castoriadis’ consideration reveals the specific character of indeterminacy, found in the work of imagination, which enables the coexistence of contradictions in psyche. Based on this reading I propose to perceive imagination through a semi-deterministic take. Whilst it is also possible to see an effort to overcome functional determination in Simondon’s theory, the latter also offers a way to interpret the imagination beyond the anthropological realm. The image ensures the field of mutual potentiality between organisms and their milieus, and this relationality is never fully determined, but rather semi-determined. Thus, by providing the tools for rethinking of determination and functionality, the juxtaposition of Castoriadis and Simondon enables to speculate on the need of a possible concept of sociobiological imagination.","downloadable_attachments":[{"id":72859739,"asset_id":58458704,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34625936,"first_name":"Kristupas","last_name":"Sabolius","domain_name":"vu-lt","page_name":"KristupasSabolius","display_name":"Kristupas Sabolius","profile_url":"https://vu-lt.academia.edu/KristupasSabolius?f_ri=968659","photo":"https://0.academia-photos.com/34625936/13529744/18724860/s65_kristupas.sabolius.jpg"}],"research_interests":[{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=968659","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=968659","nofollow":true},{"id":1441,"name":"Philosophical Anthropology","url":"https://www.academia.edu/Documents/in/Philosophical_Anthropology?f_ri=968659","nofollow":true},{"id":8298,"name":"Gilbert Simondon","url":"https://www.academia.edu/Documents/in/Gilbert_Simondon?f_ri=968659","nofollow":true},{"id":8487,"name":"Sigmund Freud","url":"https://www.academia.edu/Documents/in/Sigmund_Freud?f_ri=968659"},{"id":15838,"name":"Imagination","url":"https://www.academia.edu/Documents/in/Imagination?f_ri=968659"},{"id":18128,"name":"Gottfried Wilhelm Leibniz","url":"https://www.academia.edu/Documents/in/Gottfried_Wilhelm_Leibniz?f_ri=968659"},{"id":19357,"name":"Individuation","url":"https://www.academia.edu/Documents/in/Individuation?f_ri=968659"},{"id":21989,"name":"Social Imaginaries","url":"https://www.academia.edu/Documents/in/Social_Imaginaries?f_ri=968659"},{"id":39592,"name":"Cornelius Castoriadis","url":"https://www.academia.edu/Documents/in/Cornelius_Castoriadis?f_ri=968659"},{"id":74289,"name":"Imaginarios sociales","url":"https://www.academia.edu/Documents/in/Imaginarios_sociales?f_ri=968659"},{"id":76151,"name":"Determinism","url":"https://www.academia.edu/Documents/in/Determinism?f_ri=968659"},{"id":122138,"name":"Image Studies","url":"https://www.academia.edu/Documents/in/Image_Studies?f_ri=968659"},{"id":166573,"name":"Imaginary","url":"https://www.academia.edu/Documents/in/Imaginary?f_ri=968659"},{"id":181358,"name":"Fantasy","url":"https://www.academia.edu/Documents/in/Fantasy?f_ri=968659"},{"id":192660,"name":"Self Determination","url":"https://www.academia.edu/Documents/in/Self_Determination?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_63728708" data-work_id="63728708" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/63728708/_Intentionality_Phantasy_and_Image_Consciousness_in_Edmund_Husserl_in_K_Purgar_ed_The_Palgrave_Handbook_of_Image_Studies_Palgrave_MacMillan_2021_pp_249_263">"Intentionality, Phantasy and Image Consciousness in Edmund Husserl", in K. Purgar (ed.), The Palgrave Handbook of Image Studies, Palgrave MacMillan, 2021, pp. 249-263.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/63728708" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="36855303" href="https://unimi.academia.edu/ClaudioRozzoni">Claudio Rozzoni</a><script data-card-contents-for-user="36855303" type="text/json">{"id":36855303,"first_name":"Claudio","last_name":"Rozzoni","domain_name":"unimi","page_name":"ClaudioRozzoni","display_name":"Claudio Rozzoni","profile_url":"https://unimi.academia.edu/ClaudioRozzoni?f_ri=968659","photo":"https://0.academia-photos.com/36855303/20931412/131677235/s65_claudio.rozzoni.png"}</script></span></span></li><li class="js-paper-rank-work_63728708 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="63728708"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 63728708, container: ".js-paper-rank-work_63728708", }); });</script></li><li class="js-percentile-work_63728708 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 63728708; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_63728708"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_63728708 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="63728708"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 63728708; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=63728708]").text(description); $(".js-view-count-work_63728708").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_63728708").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="63728708"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8436" rel="nofollow" href="https://www.academia.edu/Documents/in/Edmund_Husserl">Edmund Husserl</a>, <script data-card-contents-for-ri="8436" type="text/json">{"id":8436,"name":"Edmund Husserl","url":"https://www.academia.edu/Documents/in/Edmund_Husserl?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15838" rel="nofollow" href="https://www.academia.edu/Documents/in/Imagination">Imagination</a>, <script data-card-contents-for-ri="15838" type="text/json">{"id":15838,"name":"Imagination","url":"https://www.academia.edu/Documents/in/Imagination?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="23797" rel="nofollow" href="https://www.academia.edu/Documents/in/Phenomenology_Research_Methodology_">Phenomenology (Research Methodology)</a>, <script data-card-contents-for-ri="23797" type="text/json">{"id":23797,"name":"Phenomenology (Research Methodology)","url":"https://www.academia.edu/Documents/in/Phenomenology_Research_Methodology_?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="225381" rel="nofollow" href="https://www.academia.edu/Documents/in/Phenomenology_of_image">Phenomenology of image</a><script data-card-contents-for-ri="225381" type="text/json">{"id":225381,"name":"Phenomenology of image","url":"https://www.academia.edu/Documents/in/Phenomenology_of_image?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=63728708]'), work: {"id":63728708,"title":"\"Intentionality, Phantasy and Image Consciousness in Edmund Husserl\", in K. Purgar (ed.), The Palgrave Handbook of Image Studies, Palgrave MacMillan, 2021, pp. 249-263.","created_at":"2021-12-10T02:00:28.808-08:00","url":"https://www.academia.edu/63728708/_Intentionality_Phantasy_and_Image_Consciousness_in_Edmund_Husserl_in_K_Purgar_ed_The_Palgrave_Handbook_of_Image_Studies_Palgrave_MacMillan_2021_pp_249_263?f_ri=968659","dom_id":"work_63728708","summary":null,"downloadable_attachments":[],"ordered_authors":[{"id":36855303,"first_name":"Claudio","last_name":"Rozzoni","domain_name":"unimi","page_name":"ClaudioRozzoni","display_name":"Claudio Rozzoni","profile_url":"https://unimi.academia.edu/ClaudioRozzoni?f_ri=968659","photo":"https://0.academia-photos.com/36855303/20931412/131677235/s65_claudio.rozzoni.png"}],"research_interests":[{"id":8436,"name":"Edmund Husserl","url":"https://www.academia.edu/Documents/in/Edmund_Husserl?f_ri=968659","nofollow":true},{"id":15838,"name":"Imagination","url":"https://www.academia.edu/Documents/in/Imagination?f_ri=968659","nofollow":true},{"id":23797,"name":"Phenomenology (Research Methodology)","url":"https://www.academia.edu/Documents/in/Phenomenology_Research_Methodology_?f_ri=968659","nofollow":true},{"id":225381,"name":"Phenomenology of image","url":"https://www.academia.edu/Documents/in/Phenomenology_of_image?f_ri=968659","nofollow":true},{"id":747701,"name":"Depiction","url":"https://www.academia.edu/Documents/in/Depiction?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"},{"id":1534131,"name":"Phenomenology of Phantasy","url":"https://www.academia.edu/Documents/in/Phenomenology_of_Phantasy?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34514476" data-work_id="34514476" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34514476/Two_Technical_Images_Blockchain_and_High_Frequency_Trading">Two Technical Images: Blockchain and High-Frequency Trading</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The article examines two digital phenomena linked to money and finance, which are the bitcoin (in particular the blockchain technology it is founded on) and high-frequency trading, through the lens of Vilém Flusser's concept of technical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34514476" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The article examines two digital phenomena linked to money and finance, which are the bitcoin (in particular the blockchain technology it is founded on) and high-frequency trading, through the lens of Vilém Flusser's concept of technical image. Flusser's theory highlights three aspects of technical images: they are engendered by the act of organizing particles, are produced by people who operate devices through keys, and are mediated by code, which is linear and pertains to the era of written text, which Flusser conflates with the notion of history. In this article, the argument focuses on the aspects of high-frequency trading and the blockchain that relate to the idea of images. The sections investigate how money has historically operated in the logic of Flusser's description of symbol manipulation in relation to consciousness and temporality: from the circular time of magical consciousness to the linear time of historical consciousness, and more recently, to the non-dimensional time of post-historical consciousness. The article argues that there are two levels, or layers, in the images involved in cryptocurrencies or algorithmic trading, but only one of them is visible to the human operator or viewer, in the form of a price. The other, which indeed represents the operations in the system, is only accessible to the machines themselves. The questions raised concern the role of these recent digital financial and monetary forms in the development of a reality dominated by apparatuses and technical images.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34514476" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6fc4bb8bab4fe9e5298984d714f76e98" rel="nofollow" data-download="{"attachment_id":54379534,"asset_id":34514476,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54379534/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="141519" href="https://usp-br.academia.edu/DiegoViana">Diego Viana</a><script data-card-contents-for-user="141519" type="text/json">{"id":141519,"first_name":"Diego","last_name":"Viana","domain_name":"usp-br","page_name":"DiegoViana","display_name":"Diego Viana","profile_url":"https://usp-br.academia.edu/DiegoViana?f_ri=968659","photo":"https://0.academia-photos.com/141519/7853809/8799765/s65_diego.viana.jpg_oh_9503f6173d002fdd8a24ea0e0de17249_oe_557a07c5___gda___1433893452_6e278f98fb967ad51cf9eb035f684b48"}</script></span></span></li><li class="js-paper-rank-work_34514476 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34514476"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34514476, container: ".js-paper-rank-work_34514476", }); 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$(".js-view-count[data-work-id=34514476]").text(description); $(".js-view-count-work_34514476").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34514476").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34514476"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="855" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Technology">Philosophy of Technology</a>, <script data-card-contents-for-ri="855" type="text/json">{"id":855,"name":"Philosophy of Technology","url":"https://www.academia.edu/Documents/in/Philosophy_of_Technology?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16724" rel="nofollow" href="https://www.academia.edu/Documents/in/Vilem_Flusser">Vilem Flusser</a>, <script data-card-contents-for-ri="16724" type="text/json">{"id":16724,"name":"Vilem Flusser","url":"https://www.academia.edu/Documents/in/Vilem_Flusser?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="28583" rel="nofollow" href="https://www.academia.edu/Documents/in/Money">Money</a>, <script data-card-contents-for-ri="28583" type="text/json">{"id":28583,"name":"Money","url":"https://www.academia.edu/Documents/in/Money?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="89212" rel="nofollow" href="https://www.academia.edu/Documents/in/High_frequency_trading">High frequency trading</a><script data-card-contents-for-ri="89212" type="text/json">{"id":89212,"name":"High frequency trading","url":"https://www.academia.edu/Documents/in/High_frequency_trading?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34514476]'), work: {"id":34514476,"title":"Two Technical Images: Blockchain and High-Frequency Trading","created_at":"2017-09-08T08:27:34.957-07:00","url":"https://www.academia.edu/34514476/Two_Technical_Images_Blockchain_and_High_Frequency_Trading?f_ri=968659","dom_id":"work_34514476","summary":"The article examines two digital phenomena linked to money and finance, which are the bitcoin (in particular the blockchain technology it is founded on) and high-frequency trading, through the lens of Vilém Flusser's concept of technical image. Flusser's theory highlights three aspects of technical images: they are engendered by the act of organizing particles, are produced by people who operate devices through keys, and are mediated by code, which is linear and pertains to the era of written text, which Flusser conflates with the notion of history. In this article, the argument focuses on the aspects of high-frequency trading and the blockchain that relate to the idea of images. The sections investigate how money has historically operated in the logic of Flusser's description of symbol manipulation in relation to consciousness and temporality: from the circular time of magical consciousness to the linear time of historical consciousness, and more recently, to the non-dimensional time of post-historical consciousness. The article argues that there are two levels, or layers, in the images involved in cryptocurrencies or algorithmic trading, but only one of them is visible to the human operator or viewer, in the form of a price. The other, which indeed represents the operations in the system, is only accessible to the machines themselves. The questions raised concern the role of these recent digital financial and monetary forms in the development of a reality dominated by apparatuses and technical images.","downloadable_attachments":[{"id":54379534,"asset_id":34514476,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":141519,"first_name":"Diego","last_name":"Viana","domain_name":"usp-br","page_name":"DiegoViana","display_name":"Diego Viana","profile_url":"https://usp-br.academia.edu/DiegoViana?f_ri=968659","photo":"https://0.academia-photos.com/141519/7853809/8799765/s65_diego.viana.jpg_oh_9503f6173d002fdd8a24ea0e0de17249_oe_557a07c5___gda___1433893452_6e278f98fb967ad51cf9eb035f684b48"}],"research_interests":[{"id":855,"name":"Philosophy of Technology","url":"https://www.academia.edu/Documents/in/Philosophy_of_Technology?f_ri=968659","nofollow":true},{"id":16724,"name":"Vilem Flusser","url":"https://www.academia.edu/Documents/in/Vilem_Flusser?f_ri=968659","nofollow":true},{"id":28583,"name":"Money","url":"https://www.academia.edu/Documents/in/Money?f_ri=968659","nofollow":true},{"id":89212,"name":"High frequency trading","url":"https://www.academia.edu/Documents/in/High_frequency_trading?f_ri=968659","nofollow":true},{"id":258413,"name":"Monetary innovations","url":"https://www.academia.edu/Documents/in/Monetary_innovations?f_ri=968659"},{"id":281112,"name":"Bitcoin","url":"https://www.academia.edu/Documents/in/Bitcoin?f_ri=968659"},{"id":740091,"name":"Cryptocurrency","url":"https://www.academia.edu/Documents/in/Cryptocurrency?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"},{"id":1450126,"name":"Blockchains","url":"https://www.academia.edu/Documents/in/Blockchains?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11829376" data-work_id="11829376" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11829376/Aesthetics_and_Anesthetics">Aesthetics and Anesthetics</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Walter Benjamin's Artwork Essay Reconsidered<br />(For constellation of  images: see link below)</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11829376" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c94376296411bc8e13f479c59cc9ac38" rel="nofollow" data-download="{"attachment_id":37233359,"asset_id":11829376,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37233359/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1199191" href="https://independent.academia.edu/susanbuckmorss">susan buck-morss</a><script data-card-contents-for-user="1199191" type="text/json">{"id":1199191,"first_name":"susan","last_name":"buck-morss","domain_name":"independent","page_name":"susanbuckmorss","display_name":"susan buck-morss","profile_url":"https://independent.academia.edu/susanbuckmorss?f_ri=968659","photo":"https://0.academia-photos.com/1199191/8328967/9314827/s65_susan.buck-morss.jpg"}</script></span></span></li><li class="js-paper-rank-work_11829376 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11829376"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11829376, container: ".js-paper-rank-work_11829376", }); });</script></li><li class="js-percentile-work_11829376 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11829376; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_11829376"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_11829376 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="11829376"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11829376; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11829376]").text(description); $(".js-view-count-work_11829376").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11829376").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="11829376"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="11150" rel="nofollow" href="https://www.academia.edu/Documents/in/Islamic_Studies">Islamic Studies</a>, <script data-card-contents-for-ri="11150" type="text/json">{"id":11150,"name":"Islamic Studies","url":"https://www.academia.edu/Documents/in/Islamic_Studies?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="109234" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_and_image_theory">Art and image theory</a>, <script data-card-contents-for-ri="109234" type="text/json">{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="115232" rel="nofollow" href="https://www.academia.edu/Documents/in/Archaeology_Classical_archaeology_Greek_and_Roman_history_Greek_Colonization_Magna_Graecia_and_S">Archaeology, Classical archaeology, Greek and Roman history, Greek Colonization (Magna Graecia and Sicily), Material Culture Studies, Funerary Archaeology</a>, <script data-card-contents-for-ri="115232" type="text/json">{"id":115232,"name":"Archaeology, Classical archaeology, Greek and Roman history, Greek Colonization (Magna Graecia and Sicily), Material Culture Studies, Funerary Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology_Classical_archaeology_Greek_and_Roman_history_Greek_Colonization_Magna_Graecia_and_S?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="968659" rel="nofollow" href="https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image">Theory and Philosophy of Image</a><script data-card-contents-for-ri="968659" type="text/json">{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11829376]'), work: {"id":11829376,"title":"Aesthetics and Anesthetics","created_at":"2015-04-07T07:37:30.281-07:00","url":"https://www.academia.edu/11829376/Aesthetics_and_Anesthetics?f_ri=968659","dom_id":"work_11829376","summary":"Walter Benjamin's Artwork Essay Reconsidered\n(For constellation of images: see link below)","downloadable_attachments":[{"id":37233359,"asset_id":11829376,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1199191,"first_name":"susan","last_name":"buck-morss","domain_name":"independent","page_name":"susanbuckmorss","display_name":"susan buck-morss","profile_url":"https://independent.academia.edu/susanbuckmorss?f_ri=968659","photo":"https://0.academia-photos.com/1199191/8328967/9314827/s65_susan.buck-morss.jpg"}],"research_interests":[{"id":11150,"name":"Islamic Studies","url":"https://www.academia.edu/Documents/in/Islamic_Studies?f_ri=968659","nofollow":true},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=968659","nofollow":true},{"id":115232,"name":"Archaeology, Classical archaeology, Greek and Roman history, Greek Colonization (Magna Graecia and Sicily), Material Culture Studies, Funerary Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology_Classical_archaeology_Greek_and_Roman_history_Greek_Colonization_Magna_Graecia_and_S?f_ri=968659","nofollow":true},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25599823 coauthored" data-work_id="25599823" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25599823/Posthuman_Vision">Posthuman Vision</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper addresses one fundamental question: How does the relation between image and vision change when machines are involved? We argue that with neurosciences and computer vision, the image as a stable visual entity no longer exists,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25599823" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper addresses one fundamental question: How does the relation between image and vision change when machines are involved? We argue that with neurosciences and computer vision, the image as a stable visual entity no longer exists, but that autonomous (machinic) vision does not necessarily render human vision or imaging obsolete. Adopting a posthumanist point of view, we stress collaborative vision across species, and proposes to define the posthuman image, or 'postimage' as the gathering/exchanging of (visual) data between humans, animals, and, increasingly, autonomous machines.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25599823" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3a2dc77dfed1396bd2662b39af6ec427" rel="nofollow" data-download="{"attachment_id":45930250,"asset_id":25599823,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45930250/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="305464" href="https://msfinance.academia.edu/IngridHoelzl">Ingrid Hoelzl</a><script data-card-contents-for-user="305464" type="text/json">{"id":305464,"first_name":"Ingrid","last_name":"Hoelzl","domain_name":"msfinance","page_name":"IngridHoelzl","display_name":"Ingrid Hoelzl","profile_url":"https://msfinance.academia.edu/IngridHoelzl?f_ri=968659","photo":"https://0.academia-photos.com/305464/150021/57423376/s65_ingrid.hoelzl.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-25599823">+1</span><div class="hidden js-additional-users-25599823"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/RemiMarie">Remi Marie</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-25599823'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-25599823').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_25599823 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25599823"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25599823, container: ".js-paper-rank-work_25599823", }); });</script></li><li class="js-percentile-work_25599823 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25599823; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_25599823"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_25599823 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="25599823"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25599823; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25599823]").text(description); $(".js-view-count-work_25599823").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_25599823").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="25599823"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="161" rel="nofollow" href="https://www.academia.edu/Documents/in/Neuroscience">Neuroscience</a>, <script data-card-contents-for-ri="161" type="text/json">{"id":161,"name":"Neuroscience","url":"https://www.academia.edu/Documents/in/Neuroscience?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="428" rel="nofollow" href="https://www.academia.edu/Documents/in/Algorithms">Algorithms</a>, <script data-card-contents-for-ri="428" type="text/json">{"id":428,"name":"Algorithms","url":"https://www.academia.edu/Documents/in/Algorithms?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3115" rel="nofollow" href="https://www.academia.edu/Documents/in/Posthumanism">Posthumanism</a>, <script data-card-contents-for-ri="3115" type="text/json">{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10503" rel="nofollow" href="https://www.academia.edu/Documents/in/Photography_Theory">Photography Theory</a><script data-card-contents-for-ri="10503" type="text/json">{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=25599823]'), work: {"id":25599823,"title":"Posthuman Vision","created_at":"2016-05-24T21:55:08.772-07:00","url":"https://www.academia.edu/25599823/Posthuman_Vision?f_ri=968659","dom_id":"work_25599823","summary":"This paper addresses one fundamental question: How does the relation between image and vision change when machines are involved? We argue that with neurosciences and computer vision, the image as a stable visual entity no longer exists, but that autonomous (machinic) vision does not necessarily render human vision or imaging obsolete. Adopting a posthumanist point of view, we stress collaborative vision across species, and proposes to define the posthuman image, or 'postimage' as the gathering/exchanging of (visual) data between humans, animals, and, increasingly, autonomous machines.","downloadable_attachments":[{"id":45930250,"asset_id":25599823,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":305464,"first_name":"Ingrid","last_name":"Hoelzl","domain_name":"msfinance","page_name":"IngridHoelzl","display_name":"Ingrid Hoelzl","profile_url":"https://msfinance.academia.edu/IngridHoelzl?f_ri=968659","photo":"https://0.academia-photos.com/305464/150021/57423376/s65_ingrid.hoelzl.jpg"},{"id":32811923,"first_name":"Remi","last_name":"Marie","domain_name":"independent","page_name":"RemiMarie","display_name":"Remi Marie","profile_url":"https://independent.academia.edu/RemiMarie?f_ri=968659","photo":"https://0.academia-photos.com/32811923/11859515/13217097/s65_remi.marie.jpg"}],"research_interests":[{"id":161,"name":"Neuroscience","url":"https://www.academia.edu/Documents/in/Neuroscience?f_ri=968659","nofollow":true},{"id":428,"name":"Algorithms","url":"https://www.academia.edu/Documents/in/Algorithms?f_ri=968659","nofollow":true},{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism?f_ri=968659","nofollow":true},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=968659","nofollow":true},{"id":14417,"name":"Machine Vision","url":"https://www.academia.edu/Documents/in/Machine_Vision?f_ri=968659"},{"id":53293,"name":"Software","url":"https://www.academia.edu/Documents/in/Software?f_ri=968659"},{"id":68477,"name":"Robotics, Computer Vision, Artificial Intelligence","url":"https://www.academia.edu/Documents/in/Robotics_Computer_Vision_Artificial_Intelligence?f_ri=968659"},{"id":71898,"name":"Perspective","url":"https://www.academia.edu/Documents/in/Perspective?f_ri=968659"},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=968659"},{"id":187881,"name":"Dziga Vertov","url":"https://www.academia.edu/Documents/in/Dziga_Vertov?f_ri=968659"},{"id":257296,"name":"Image theory","url":"https://www.academia.edu/Documents/in/Image_theory?f_ri=968659"},{"id":744780,"name":"Man with a movie camera","url":"https://www.academia.edu/Documents/in/Man_with_a_movie_camera?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"},{"id":1122806,"name":"Kino Eye","url":"https://www.academia.edu/Documents/in/Kino_Eye?f_ri=968659"},{"id":1985766,"name":"Softimage","url":"https://www.academia.edu/Documents/in/Softimage?f_ri=968659"},{"id":2468712,"name":"Postimage","url":"https://www.academia.edu/Documents/in/Postimage?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7656683" data-work_id="7656683" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7656683/A_screen_is_a_screen_is_a_screen_A_screen_is_not_an_image">A screen is a screen is a screen: A screen is not an image</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In his book Différence et répétition (1968), Gilles Deleuze elaborates an essential concept for the theory of the image: the simulacrum. The plane of the simulacra is characterised by the co-extensiveness of images, which are individuated... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7656683" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In his book Différence et répétition (1968), Gilles Deleuze elaborates an essential concept for the theory of the image: the simulacrum. The plane of the simulacra is characterised by the co-extensiveness of images, which are individuated by their own difference, and not by their placement in an ontological hierarchy, platonic at its origin; and that has as its poles true and false, being and not-being, fair or unfair. <br />In current times, the concept of simulacrum seems to be one of the most efficient tools to overcome a further dichotomy: a dichotomy - old and based on past ontologies -, between virtual and real, and therefore, between virtual images and real images. <br />Firstly, the present work intends to apply the notion of simulacrum to the study of digitally-based images to make evident their belonging to the same plane of any other kind of images, namely the material ones. <br />Secondly, the notion of simulacrum is applied to the screen, to make evident how it has been mistakenly included in the plane of the images. Historically, the consequence of this mistake has been inauthentic experiences, and the triggering of processes of desubjectification. <br />After verifying the mentioned hypotheses and removing the screen from a potential ontology of the image, the screen is then correctly relocated in a semiotic and mediologic horizon. In this context, C.S. Peirce’s notions of icon and symbol, and Bolter-Grusin’s polarities of hypermediation and transparency are applied to demonstrate how the evolution of the screen in the last thirty years has culminated in a strong mannerist phase in the recent past, especially since the touch-screen technology has lead to a blurring of the limits between screen and interface. However, it is relevant to notice that in more recent releases of contemporary interfaces a return to a symbolic and hypermediated regime can be observed. <br />As a conclusion, the main aim of this article is to restore, in the light of the notion of simulacrum, a clear and fair relation between image and screen, so that from both of them an authentic and subjectifying experience can be drawn.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7656683" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c21094132b7e73ca73b7bde9d77b5e39" rel="nofollow" data-download="{"attachment_id":43538270,"asset_id":7656683,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/43538270/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="319184" href="https://naba.academia.edu/GabrielaGalati">Gabriela Galati</a><script data-card-contents-for-user="319184" type="text/json">{"id":319184,"first_name":"Gabriela","last_name":"Galati","domain_name":"naba","page_name":"GabrielaGalati","display_name":"Gabriela Galati","profile_url":"https://naba.academia.edu/GabrielaGalati?f_ri=968659","photo":"https://0.academia-photos.com/319184/79261/160347819/s65_gabriela.galati.jpeg"}</script></span></span></li><li class="js-paper-rank-work_7656683 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7656683"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7656683, container: ".js-paper-rank-work_7656683", }); 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$(".js-view-count[data-work-id=7656683]").text(description); $(".js-view-count-work_7656683").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_7656683").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="7656683"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="933" rel="nofollow" href="https://www.academia.edu/Documents/in/New_Media">New Media</a>, <script data-card-contents-for-ri="933" type="text/json">{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8302" rel="nofollow" href="https://www.academia.edu/Documents/in/Gilles_Deleuze">Gilles Deleuze</a>, <script data-card-contents-for-ri="8302" type="text/json">{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11927" rel="nofollow" href="https://www.academia.edu/Documents/in/Michel_Foucault">Michel Foucault</a>, <script data-card-contents-for-ri="11927" type="text/json">{"id":11927,"name":"Michel Foucault","url":"https://www.academia.edu/Documents/in/Michel_Foucault?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="44606" rel="nofollow" href="https://www.academia.edu/Documents/in/Hypermedia">Hypermedia</a><script data-card-contents-for-ri="44606" type="text/json">{"id":44606,"name":"Hypermedia","url":"https://www.academia.edu/Documents/in/Hypermedia?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7656683]'), work: {"id":7656683,"title":"A screen is a screen is a screen: A screen is not an image","created_at":"2014-07-13T23:16:52.375-07:00","url":"https://www.academia.edu/7656683/A_screen_is_a_screen_is_a_screen_A_screen_is_not_an_image?f_ri=968659","dom_id":"work_7656683","summary":"In his book Différence et répétition (1968), Gilles Deleuze elaborates an essential concept for the theory of the image: the simulacrum. The plane of the simulacra is characterised by the co-extensiveness of images, which are individuated by their own difference, and not by their placement in an ontological hierarchy, platonic at its origin; and that has as its poles true and false, being and not-being, fair or unfair.\r\nIn current times, the concept of simulacrum seems to be one of the most efficient tools to overcome a further dichotomy: a dichotomy - old and based on past ontologies -, between virtual and real, and therefore, between virtual images and real images.\r\nFirstly, the present work intends to apply the notion of simulacrum to the study of digitally-based images to make evident their belonging to the same plane of any other kind of images, namely the material ones.\r\nSecondly, the notion of simulacrum is applied to the screen, to make evident how it has been mistakenly included in the plane of the images. Historically, the consequence of this mistake has been inauthentic experiences, and the triggering of processes of desubjectification.\r\nAfter verifying the mentioned hypotheses and removing the screen from a potential ontology of the image, the screen is then correctly relocated in a semiotic and mediologic horizon. In this context, C.S. Peirce’s notions of icon and symbol, and Bolter-Grusin’s polarities of hypermediation and transparency are applied to demonstrate how the evolution of the screen in the last thirty years has culminated in a strong mannerist phase in the recent past, especially since the touch-screen technology has lead to a blurring of the limits between screen and interface. However, it is relevant to notice that in more recent releases of contemporary interfaces a return to a symbolic and hypermediated regime can be observed. \r\nAs a conclusion, the main aim of this article is to restore, in the light of the notion of simulacrum, a clear and fair relation between image and screen, so that from both of them an authentic and subjectifying experience can be drawn.\r\n\f","downloadable_attachments":[{"id":43538270,"asset_id":7656683,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":319184,"first_name":"Gabriela","last_name":"Galati","domain_name":"naba","page_name":"GabrielaGalati","display_name":"Gabriela Galati","profile_url":"https://naba.academia.edu/GabrielaGalati?f_ri=968659","photo":"https://0.academia-photos.com/319184/79261/160347819/s65_gabriela.galati.jpeg"}],"research_interests":[{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=968659","nofollow":true},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=968659","nofollow":true},{"id":11927,"name":"Michel Foucault","url":"https://www.academia.edu/Documents/in/Michel_Foucault?f_ri=968659","nofollow":true},{"id":44606,"name":"Hypermedia","url":"https://www.academia.edu/Documents/in/Hypermedia?f_ri=968659","nofollow":true},{"id":244928,"name":"Digitalisation","url":"https://www.academia.edu/Documents/in/Digitalisation?f_ri=968659"},{"id":346379,"name":"Dispositif (Apparatus-Theory)","url":"https://www.academia.edu/Documents/in/Dispositif_Apparatus-Theory_?f_ri=968659"},{"id":897972,"name":"Floating Signifier","url":"https://www.academia.edu/Documents/in/Floating_Signifier?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3778026" data-work_id="3778026" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3778026/Donor_Portraits_of_Medieval_Russia_11th_Early_16th_Centuries">Donor Portraits of Medieval Russia: 11th - Early 16th Centuries</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3778026" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5abd6348f7973a560742a30fb3c65bdc" rel="nofollow" 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Bratislava: VŠVU 2020</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Hlavná idea publikácie Obraz / rám / priestor vychádza z analýzy funkcie rámu a rámcovania, ktoré definujú vizuálny obraz v zmysle fyzickom (rám) i konceptuálnom a kontextuálnom (rámec). Jednotlivé príspevky z oblasti dejín a teórie... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49068701" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Hlavná idea publikácie Obraz / rám / priestor vychádza z analýzy funkcie rámu a rámcovania, ktoré definujú vizuálny obraz v zmysle fyzickom (rám) i konceptuálnom a kontextuálnom (rámec). Jednotlivé príspevky z oblasti dejín a teórie umenia, estetiky i filozofie približujú širokú škálu názorov nielen na vzájomné relácie rámu, obrazu a priestoru, ale všímajú si aj premeny chápania priestorových limitov a hraníc diela v rôznych druhoch umenia od obdobia stredoveku až po súčasnosť, a napokon aj to, ako sa pod vplyvom technológií transformoval štatút umeleckého diela, jeho inštitucionálne akceptovanie i priestorové a percepčné rámce. <br /><br />The main idea of the publication Image / Frame / Space is based on the analysis of the function of the frame and framing, which define the visual image in terms of physical (frame) as well as conceptual and contextual (frame). Individual contributions from the field of history and theory of art, aesthetics and philosophy bring a wide range of views not only on the mutual relations of frame, image and space, but also on changes in understanding of spatial limits and boundaries in various types of art from the Middle Ages to the present, and finally also how the status of a work of art, its institutional acceptance and spatial and perceptual frameworks have been transformed under the influence of technology.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49068701" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="51d658d787aa12c40e9a47c8a2f5fa7f" rel="nofollow" data-download="{"attachment_id":67460166,"asset_id":49068701,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67460166/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6660770" href="https://afad.academia.edu/j%C3%A1nkralovic">Ján Kralovič</a><script data-card-contents-for-user="6660770" type="text/json">{"id":6660770,"first_name":"Ján","last_name":"Kralovič","domain_name":"afad","page_name":"jánkralovic","display_name":"Ján Kralovič","profile_url":"https://afad.academia.edu/j%C3%A1nkralovic?f_ri=968659","photo":"https://0.academia-photos.com/6660770/30401405/29236381/s65_j_n.kralovic.jpg"}</script></span></span></li><li class="js-paper-rank-work_49068701 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49068701"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49068701, container: ".js-paper-rank-work_49068701", }); 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$(".js-view-count[data-work-id=49068701]").text(description); $(".js-view-count-work_49068701").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_49068701").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="49068701"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="9351" rel="nofollow" href="https://www.academia.edu/Documents/in/Image_Analysis">Image Analysis</a>, <script data-card-contents-for-ri="9351" type="text/json">{"id":9351,"name":"Image Analysis","url":"https://www.academia.edu/Documents/in/Image_Analysis?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="21704" rel="nofollow" href="https://www.academia.edu/Documents/in/Space_and_Time_Philosophy_">Space and Time (Philosophy)</a>, <script data-card-contents-for-ri="21704" type="text/json">{"id":21704,"name":"Space and Time (Philosophy)","url":"https://www.academia.edu/Documents/in/Space_and_Time_Philosophy_?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="140534" rel="nofollow" href="https://www.academia.edu/Documents/in/Conceptual_Framework">Conceptual Framework</a><script data-card-contents-for-ri="140534" type="text/json">{"id":140534,"name":"Conceptual Framework","url":"https://www.academia.edu/Documents/in/Conceptual_Framework?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=49068701]'), work: {"id":49068701,"title":"Zora Rusinová - Ján Kralovič (eds.) : Obraz - Rám - Priestor. Bratislava: VŠVU 2020","created_at":"2021-05-29T14:23:44.666-07:00","url":"https://www.academia.edu/49068701/Zora_Rusinov%C3%A1_J%C3%A1n_Kralovi%C4%8D_eds_Obraz_R%C3%A1m_Priestor_Bratislava_V%C5%A0VU_2020?f_ri=968659","dom_id":"work_49068701","summary":"Hlavná idea publikácie Obraz / rám / priestor vychádza z analýzy funkcie rámu a rámcovania, ktoré definujú vizuálny obraz v zmysle fyzickom (rám) i konceptuálnom a kontextuálnom (rámec). Jednotlivé príspevky z oblasti dejín a teórie umenia, estetiky i filozofie približujú širokú škálu názorov nielen na vzájomné relácie rámu, obrazu a priestoru, ale všímajú si aj premeny chápania priestorových limitov a hraníc diela v rôznych druhoch umenia od obdobia stredoveku až po súčasnosť, a napokon aj to, ako sa pod vplyvom technológií transformoval štatút umeleckého diela, jeho inštitucionálne akceptovanie i priestorové a percepčné rámce. \n\nThe main idea of the publication Image / Frame / Space is based on the analysis of the function of the frame and framing, which define the visual image in terms of physical (frame) as well as conceptual and contextual (frame). Individual contributions from the field of history and theory of art, aesthetics and philosophy bring a wide range of views not only on the mutual relations of frame, image and space, but also on changes in understanding of spatial limits and boundaries in various types of art from the Middle Ages to the present, and finally also how the status of a work of art, its institutional acceptance and spatial and perceptual frameworks have been transformed under the influence of technology.","downloadable_attachments":[{"id":67460166,"asset_id":49068701,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6660770,"first_name":"Ján","last_name":"Kralovič","domain_name":"afad","page_name":"jánkralovic","display_name":"Ján Kralovič","profile_url":"https://afad.academia.edu/j%C3%A1nkralovic?f_ri=968659","photo":"https://0.academia-photos.com/6660770/30401405/29236381/s65_j_n.kralovic.jpg"}],"research_interests":[{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=968659","nofollow":true},{"id":9351,"name":"Image Analysis","url":"https://www.academia.edu/Documents/in/Image_Analysis?f_ri=968659","nofollow":true},{"id":21704,"name":"Space and Time (Philosophy)","url":"https://www.academia.edu/Documents/in/Space_and_Time_Philosophy_?f_ri=968659","nofollow":true},{"id":140534,"name":"Conceptual Framework","url":"https://www.academia.edu/Documents/in/Conceptual_Framework?f_ri=968659","nofollow":true},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33066132" data-work_id="33066132" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33066132/Imaji_dan_Imajinasi_Suatu_Telaah_Filsafat_Postmodern">Imaji dan Imajinasi: Suatu Telaah Filsafat Postmodern</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">lmajinasi memang sering keliru ditafsirkan. Daerahnya dibatasi tak lebih jauh dari fantasi dan khayalan. Akibatnya, kekuatan imaji sebagai karakter fundamental pemikiran dan metodologi dikesampingkan dari wilayah ilmu-ilmu... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33066132" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">lmajinasi memang sering keliru ditafsirkan. Daerahnya <br />dibatasi tak lebih jauh dari fantasi dan khayalan. <br />Akibatnya, kekuatan imaji sebagai karakter fundamental <br />pemikiran dan metodologi dikesampingkan dari wilayah <br />ilmu-ilmu pengetahuan. Buku ini menghadirkan kembali <br />karakter tersebut, mempertajam pemahaman kita akan <br />imajinasi, serta membuka sebuah khazanah yang <br />selama ini tersembunyi di balik pemikiran manusia. <br /> <br />Melalui perspektif postmodern, buku ini mengkaji ulang <br />pertanyaan-pertanyaan menggelitik seputar proses <br />pengetahuan manusia. Pengetahuan bukan hanya <br />dilahirkan oleh rasio. melainkan oleh bayangan imaji-imaji <br />yang demikian kuat, juga di dalam proses berpikir <br />manusia. Dengan itu penulis serentak merancang <br />sebuah sketsa ke arah Filsafat lmajinasi, sebuah <br />pemikiran yang mengandalkan dan mengolah kolase <br />imajerial realitas. Bila selama ini lebih sering dilihat <br />sebagaifaktor sampingan, sudah saatnya kini imajidan <br />imajinasi kita perhitungkan sebagai titik sentral dalam <br />ilmu pengetahuan.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33066132" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c75a2164a4aff865c20ebae85a55a898" rel="nofollow" data-download="{"attachment_id":68184632,"asset_id":33066132,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/68184632/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4090140" href="https://parahyanganuniversity.academia.edu/HadrianusTedjoworo">Hadrianus Tedjoworo</a><script data-card-contents-for-user="4090140" type="text/json">{"id":4090140,"first_name":"Hadrianus","last_name":"Tedjoworo","domain_name":"parahyanganuniversity","page_name":"HadrianusTedjoworo","display_name":"Hadrianus Tedjoworo","profile_url":"https://parahyanganuniversity.academia.edu/HadrianusTedjoworo?f_ri=968659","photo":"https://0.academia-photos.com/4090140/1575282/36753506/s65_hadrianus.tedjoworo.jpg"}</script></span></span></li><li class="js-paper-rank-work_33066132 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33066132"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33066132, container: ".js-paper-rank-work_33066132", }); 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$(".js-view-count[data-work-id=33066132]").text(description); $(".js-view-count-work_33066132").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33066132").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33066132"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15838" rel="nofollow" href="https://www.academia.edu/Documents/in/Imagination">Imagination</a>, <script data-card-contents-for-ri="15838" type="text/json">{"id":15838,"name":"Imagination","url":"https://www.academia.edu/Documents/in/Imagination?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="26210" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Images">Philosophy of Images</a>, <script data-card-contents-for-ri="26210" type="text/json">{"id":26210,"name":"Philosophy of Images","url":"https://www.academia.edu/Documents/in/Philosophy_of_Images?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="162125" rel="nofollow" href="https://www.academia.edu/Documents/in/Filsafat">Filsafat</a>, <script data-card-contents-for-ri="162125" type="text/json">{"id":162125,"name":"Filsafat","url":"https://www.academia.edu/Documents/in/Filsafat?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="189320" rel="nofollow" href="https://www.academia.edu/Documents/in/Epistemologi">Epistemologi</a><script data-card-contents-for-ri="189320" type="text/json">{"id":189320,"name":"Epistemologi","url":"https://www.academia.edu/Documents/in/Epistemologi?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33066132]'), work: {"id":33066132,"title":"Imaji dan Imajinasi: Suatu Telaah Filsafat Postmodern","created_at":"2017-05-17T23:17:27.055-07:00","url":"https://www.academia.edu/33066132/Imaji_dan_Imajinasi_Suatu_Telaah_Filsafat_Postmodern?f_ri=968659","dom_id":"work_33066132","summary":"lmajinasi memang sering keliru ditafsirkan. Daerahnya\r\ndibatasi tak lebih jauh dari fantasi dan khayalan.\r\nAkibatnya, kekuatan imaji sebagai karakter fundamental\r\npemikiran dan metodologi dikesampingkan dari wilayah\r\nilmu-ilmu pengetahuan. Buku ini menghadirkan kembali\r\nkarakter tersebut, mempertajam pemahaman kita akan\r\nimajinasi, serta membuka sebuah khazanah yang\r\nselama ini tersembunyi di balik pemikiran manusia.\r\n\r\nMelalui perspektif postmodern, buku ini mengkaji ulang\r\npertanyaan-pertanyaan menggelitik seputar proses\r\npengetahuan manusia. Pengetahuan bukan hanya\r\ndilahirkan oleh rasio. melainkan oleh bayangan imaji-imaji \r\nyang demikian kuat, juga di dalam proses berpikir\r\nmanusia. Dengan itu penulis serentak merancang\r\nsebuah sketsa ke arah Filsafat lmajinasi, sebuah\r\npemikiran yang mengandalkan dan mengolah kolase\r\nimajerial realitas. Bila selama ini lebih sering dilihat\r\nsebagaifaktor sampingan, sudah saatnya kini imajidan\r\nimajinasi kita perhitungkan sebagai titik sentral dalam\r\nilmu pengetahuan.","downloadable_attachments":[{"id":68184632,"asset_id":33066132,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4090140,"first_name":"Hadrianus","last_name":"Tedjoworo","domain_name":"parahyanganuniversity","page_name":"HadrianusTedjoworo","display_name":"Hadrianus Tedjoworo","profile_url":"https://parahyanganuniversity.academia.edu/HadrianusTedjoworo?f_ri=968659","photo":"https://0.academia-photos.com/4090140/1575282/36753506/s65_hadrianus.tedjoworo.jpg"}],"research_interests":[{"id":15838,"name":"Imagination","url":"https://www.academia.edu/Documents/in/Imagination?f_ri=968659","nofollow":true},{"id":26210,"name":"Philosophy of Images","url":"https://www.academia.edu/Documents/in/Philosophy_of_Images?f_ri=968659","nofollow":true},{"id":162125,"name":"Filsafat","url":"https://www.academia.edu/Documents/in/Filsafat?f_ri=968659","nofollow":true},{"id":189320,"name":"Epistemologi","url":"https://www.academia.edu/Documents/in/Epistemologi?f_ri=968659","nofollow":true},{"id":471444,"name":"Imajinasi","url":"https://www.academia.edu/Documents/in/Imajinasi?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"},{"id":1004951,"name":"Philosophy of Mind: Imagination","url":"https://www.academia.edu/Documents/in/Philosophy_of_Mind_Imagination?f_ri=968659"},{"id":2705155,"name":"imaji","url":"https://www.academia.edu/Documents/in/imaji?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4081189" data-work_id="4081189" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4081189/Vizualni_studiji_Umjetnost_i_mediji_u_doba_slikovnog_obrata_ur_K_Purgar_">Vizualni studiji - Umjetnost i mediji u doba slikovnog obrata (ur. K. Purgar)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Krešimir Purgar: Uvod u vizualne studije vii Prvi dio: Znanost o slici i pictorial turn Gottfried Boehm: Povratak slika 3 W. J. T. Mitchell: Metaslike 24 Stefan Majetschak: Pravila vidljivosti 58 Christiane Kruse: Nakon slika 79 Drugi... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4081189" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Krešimir Purgar: Uvod u vizualne studije vii Prvi dio: Znanost o slici i pictorial turn Gottfried Boehm: Povratak slika 3 W. J. T. Mitchell: Metaslike 24 Stefan Majetschak: Pravila vidljivosti 58 Christiane Kruse: Nakon slika 79 Drugi dio: Pobuna starih slika i nova povijest umjetnosti Jonathan Harris: Strukture i znaèenja u umjetnosti i društvu 95</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4081189" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="61b336539d055677057c1117c92699a9" rel="nofollow" data-download="{"attachment_id":31607623,"asset_id":4081189,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31607623/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2223529" href="https://unios.academia.edu/Kre%C5%A1imirPurgar">Krešimir Purgar</a><script data-card-contents-for-user="2223529" type="text/json">{"id":2223529,"first_name":"Krešimir","last_name":"Purgar","domain_name":"unios","page_name":"KrešimirPurgar","display_name":"Krešimir Purgar","profile_url":"https://unios.academia.edu/Kre%C5%A1imirPurgar?f_ri=968659","photo":"https://0.academia-photos.com/2223529/711019/154869468/s65_kre_imir.purgar.jpg"}</script></span></span></li><li class="js-paper-rank-work_4081189 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4081189"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4081189, container: ".js-paper-rank-work_4081189", }); 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Rola ram i obramień w dawnym malarstwie – zarys problematyki (Frames and “Their” Pictures. The Role of Frames and Frameworks in Old Painting: An Outline of the Subject)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39693697" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6086cfd5aaab752cb63f607cbb9fec56" rel="nofollow" data-download="{"attachment_id":59863738,"asset_id":39693697,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59863738/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="66459751" href="https://independent.academia.edu/MaciejKa%C5%BAmierczak">Maciej Kaźmierczak</a><script data-card-contents-for-user="66459751" type="text/json">{"id":66459751,"first_name":"Maciej","last_name":"Kaźmierczak","domain_name":"independent","page_name":"MaciejKaźmierczak","display_name":"Maciej Kaźmierczak","profile_url":"https://independent.academia.edu/MaciejKa%C5%BAmierczak?f_ri=968659","photo":"https://0.academia-photos.com/66459751/22061445/29568844/s65_maciej.ka_mierczak.jpg"}</script></span></span></li><li class="js-paper-rank-work_39693697 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39693697"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39693697, container: ".js-paper-rank-work_39693697", }); 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Eine neue Theorie der Bildlichkeit. Darmstadt 2011.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Der Einfluss von Bildern in den Medien und im täglichen Leben ist unübersehbar. Wissenschaftler sprechen daher schon seit Längerem vom „Pictorial turn“, den unsere Gesellschaft genommen habe. Eins ist klar: Wir müssen lernen, Bilder zu... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39111483" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Der Einfluss von Bildern in den Medien und im täglichen Leben ist unübersehbar. Wissenschaftler sprechen daher schon seit Längerem vom „Pictorial turn“, den unsere Gesellschaft genommen habe. Eins ist klar: Wir müssen lernen, Bilder zu lesen, so wie wir lernen müssen, Schrift zu lesen. Nur: Was ist eigentlich ein Bild? Was unterscheidet es von einem sprachlichen Zeichen? Was macht seine Bildlichkeit aus? Asmuths Theorie der Bildlichkeit fragt nach der Funktion des Bildbegriffs allgemein, auf einer Abstraktionsebene über dem konkreten (Kunst-)Bild. So entwickelt er eine Bildtheorie losgelöst von Erkenntnistheorie und Ästhetik, basierend u.a. auf Platon, Meister Eckhart und Fichte. Bildlichkeit wird darin als gedanklicher Akt begriffen, der auf gedanklichen Unterscheidungen basiert: Die Bildlichkeit der Bilder kann man nicht sehen, so die provokante These. Der Band eröffnet die Diskussion, inwiefern die derzeitige, fast ausschließlich ästhetisch-kulturwissenschaftlich geprägte Herangehensweise an Bilder gerechtfertigt ist.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39111483" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bbe251c2174a4a8bbb0b63286c8f206f" rel="nofollow" data-download="{"attachment_id":59231232,"asset_id":39111483,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59231232/download_file?st=MTc0MDU3MTk5Niw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="105990523" href="https://augustana-de.academia.edu/ChristophAsmuth">Christoph Asmuth</a><script data-card-contents-for-user="105990523" type="text/json">{"id":105990523,"first_name":"Christoph","last_name":"Asmuth","domain_name":"augustana-de","page_name":"ChristophAsmuth","display_name":"Christoph Asmuth","profile_url":"https://augustana-de.academia.edu/ChristophAsmuth?f_ri=968659","photo":"https://0.academia-photos.com/105990523/24593820/36965252/s65_christoph.asmuth.jpg"}</script></span></span></li><li class="js-paper-rank-work_39111483 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39111483"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39111483, container: ".js-paper-rank-work_39111483", }); 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Bildlichkeit wird darin als gedanklicher Akt begriffen, der auf gedanklichen Unterscheidungen basiert: Die Bildlichkeit der Bilder kann man nicht sehen, so die provokante These. Der Band eröffnet die Diskussion, inwiefern die derzeitige, fast ausschließlich ästhetisch-kulturwissenschaftlich geprägte Herangehensweise an Bilder gerechtfertigt ist.","downloadable_attachments":[{"id":59231232,"asset_id":39111483,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":105990523,"first_name":"Christoph","last_name":"Asmuth","domain_name":"augustana-de","page_name":"ChristophAsmuth","display_name":"Christoph Asmuth","profile_url":"https://augustana-de.academia.edu/ChristophAsmuth?f_ri=968659","photo":"https://0.academia-photos.com/105990523/24593820/36965252/s65_christoph.asmuth.jpg"}],"research_interests":[{"id":902,"name":"Philosophy Of Religion","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Religion?f_ri=968659","nofollow":true},{"id":2018,"name":"Plato","url":"https://www.academia.edu/Documents/in/Plato?f_ri=968659","nofollow":true},{"id":2562,"name":"Philosophical Theology","url":"https://www.academia.edu/Documents/in/Philosophical_Theology?f_ri=968659","nofollow":true},{"id":4136,"name":"Mental Representation","url":"https://www.academia.edu/Documents/in/Mental_Representation?f_ri=968659","nofollow":true},{"id":5135,"name":"Iconoclasm","url":"https://www.academia.edu/Documents/in/Iconoclasm?f_ri=968659"},{"id":5965,"name":"Continental Philosophy of Religion (Philosophy)","url":"https://www.academia.edu/Documents/in/Continental_Philosophy_of_Religion_Philosophy_?f_ri=968659"},{"id":10270,"name":"Johann Gottlieb Fichte","url":"https://www.academia.edu/Documents/in/Johann_Gottlieb_Fichte?f_ri=968659"},{"id":10711,"name":"Augustine","url":"https://www.academia.edu/Documents/in/Augustine?f_ri=968659"},{"id":12438,"name":"Plotinus","url":"https://www.academia.edu/Documents/in/Plotinus?f_ri=968659"},{"id":16653,"name":"Augustine of Hippo","url":"https://www.academia.edu/Documents/in/Augustine_of_Hippo?f_ri=968659"},{"id":20993,"name":"Plato and Platonism","url":"https://www.academia.edu/Documents/in/Plato_and_Platonism?f_ri=968659"},{"id":26210,"name":"Philosophy of Images","url":"https://www.academia.edu/Documents/in/Philosophy_of_Images?f_ri=968659"},{"id":31870,"name":"Iconology","url":"https://www.academia.edu/Documents/in/Iconology?f_ri=968659"},{"id":44104,"name":"Meister Eckhart","url":"https://www.academia.edu/Documents/in/Meister_Eckhart?f_ri=968659"},{"id":50118,"name":"Representation","url":"https://www.academia.edu/Documents/in/Representation?f_ri=968659"},{"id":51195,"name":"Esthetics","url":"https://www.academia.edu/Documents/in/Esthetics?f_ri=968659"},{"id":65695,"name":"Wissenschaftstheorie","url":"https://www.academia.edu/Documents/in/Wissenschaftstheorie?f_ri=968659"},{"id":324673,"name":"St. Augustine","url":"https://www.academia.edu/Documents/in/St._Augustine?f_ri=968659"},{"id":620285,"name":"History of Philosophy","url":"https://www.academia.edu/Documents/in/History_of_Philosophy?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8319197" data-work_id="8319197" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8319197/Limmagine_dellUomo_non_fatta_da_mani_duomo_Statuto_dellimmagine_e_dellarte_nei_racconti_dorigine_delle_acheropite">L'immagine dell'Uomo non fatta da mani d'uomo. Statuto dell'immagine e dell'arte nei racconti d'origine delle acheropite</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Starting from the identification and analysis of common points between the different stories of origin of the icons so-called "acheiropoieta" (or "not made by human hands"), the article wants to give an account of the theological... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8319197" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Starting from the identification and analysis of common points between the different stories of origin of the icons so-called "acheiropoieta" (or "not made by human hands"), the article wants to give an account of the theological implications of such cycles of legends, true "founding myths" of the Christian image. The article identifies some shared features and themes in the stories – related in particular the miraculous specificities of the “acheiropoieton” image, the inability of the artist to paint the face of the Lord, the particular quality of the image “not made by human hands” to be vicar on earth of the model, the Christological and redemptive beauty inspiration – in order to highlight the line of continuity linking the icons “not made by human hands” to the anthropological status of the image and art.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8319197" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="aa699a3a8ccfa648a7fca0ca0be0f611" rel="nofollow" data-download="{"attachment_id":34726610,"asset_id":8319197,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34726610/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16604257" href="https://marcianum.academia.edu/EBrunet">Ester Brunet</a><script data-card-contents-for-user="16604257" type="text/json">{"id":16604257,"first_name":"Ester","last_name":"Brunet","domain_name":"marcianum","page_name":"EBrunet","display_name":"Ester Brunet","profile_url":"https://marcianum.academia.edu/EBrunet?f_ri=968659","photo":"https://0.academia-photos.com/16604257/4526570/5252713/s65_ester.brunet.jpg"}</script></span></span></li><li class="js-paper-rank-work_8319197 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8319197"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8319197, container: ".js-paper-rank-work_8319197", }); 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The article identifies some shared features and themes in the stories – related in particular the miraculous specificities of the “acheiropoieton” image, the inability of the artist to paint the face of the Lord, the particular quality of the image “not made by human hands” to be vicar on earth of the model, the Christological and redemptive beauty inspiration – in order to highlight the line of continuity linking the icons “not made by human hands” to the anthropological status of the image and art.","downloadable_attachments":[{"id":34726610,"asset_id":8319197,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16604257,"first_name":"Ester","last_name":"Brunet","domain_name":"marcianum","page_name":"EBrunet","display_name":"Ester 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La dottrina delle icone definitasi in quegli anni si avvale, apparentemente senza remore, dei racconti relativi alle immagini acheropite. Per un iconofilo, l'impronta miracolosa del volto di Cristo su panno è il segno di un consenso della divinità all'immagine; prova della reale umanità di Cristo e insieme Rivelazione del divino, essa rappresenta il ritratto prototipico che sigilla la legittimità incarnazionale dell'icona.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8318676" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1c77c7992c21b16cf0b00a3c8f187320" rel="nofollow" data-download="{"attachment_id":34726156,"asset_id":8318676,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34726156/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16604257" href="https://marcianum.academia.edu/EBrunet">Ester Brunet</a><script data-card-contents-for-user="16604257" type="text/json">{"id":16604257,"first_name":"Ester","last_name":"Brunet","domain_name":"marcianum","page_name":"EBrunet","display_name":"Ester Brunet","profile_url":"https://marcianum.academia.edu/EBrunet?f_ri=968659","photo":"https://0.academia-photos.com/16604257/4526570/5252713/s65_ester.brunet.jpg"}</script></span></span></li><li class="js-paper-rank-work_8318676 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8318676"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8318676, container: ".js-paper-rank-work_8318676", }); 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il frangente culturale in cui si genera il pensiero sull'immagine di cui noi siamo oggi gli eredi 1 . La dottrina delle icone definitasi in quegli anni si avvale, apparentemente senza remore, dei racconti relativi alle immagini acheropite. Per un iconofilo, l'impronta miracolosa del volto di Cristo su panno è il segno di un consenso della divinità all'immagine; prova della reale umanità di Cristo e insieme Rivelazione del divino, essa rappresenta il ritratto prototipico che sigilla la legittimità incarnazionale dell'icona.","downloadable_attachments":[{"id":34726156,"asset_id":8318676,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16604257,"first_name":"Ester","last_name":"Brunet","domain_name":"marcianum","page_name":"EBrunet","display_name":"Ester Brunet","profile_url":"https://marcianum.academia.edu/EBrunet?f_ri=968659","photo":"https://0.academia-photos.com/16604257/4526570/5252713/s65_ester.brunet.jpg"}],"research_interests":[{"id":545,"name":"Canon Law","url":"https://www.academia.edu/Documents/in/Canon_Law?f_ri=968659","nofollow":true},{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=968659","nofollow":true},{"id":1446,"name":"Medieval 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class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">83 ] III IL CANONE 82 DEL CONCILIO QUINISESTO : RICORRENZE NELLA LETTERATURA OCCIDENTALE SULLE IMMAGINI III.1 Il canone 82 nelle fonti romane del primo periodo iconoclastico (726-787)</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8566652" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a1088f5db2a2df79f8f7aeece9409f54" rel="nofollow" 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Image, simulacre et événement chez Baudrillard</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31628869" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9770353" href="https://conicet-ar.academia.edu/SantiagoBellocq">Santiago Bellocq</a><script data-card-contents-for-user="9770353" type="text/json">{"id":9770353,"first_name":"Santiago","last_name":"Bellocq","domain_name":"conicet-ar","page_name":"SantiagoBellocq","display_name":"Santiago Bellocq","profile_url":"https://conicet-ar.academia.edu/SantiagoBellocq?f_ri=968659","photo":"https://0.academia-photos.com/9770353/6871952/36107244/s65_santiago.bellocq.jpg"}</script></span></span></li><li class="js-paper-rank-work_31628869 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31628869"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31628869, container: ".js-paper-rank-work_31628869", }); });</script></li><li class="js-percentile-work_31628869 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31628869; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_31628869"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_31628869 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="31628869"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31628869; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31628869]").text(description); $(".js-view-count-work_31628869").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31628869").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31628869"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1660" rel="nofollow" href="https://www.academia.edu/Documents/in/Terrorism">Terrorism</a>, <script data-card-contents-for-ri="1660" type="text/json">{"id":1660,"name":"Terrorism","url":"https://www.academia.edu/Documents/in/Terrorism?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5290" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Art">Philosophy of Art</a>, <script data-card-contents-for-ri="5290" type="text/json">{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="9351" rel="nofollow" href="https://www.academia.edu/Documents/in/Image_Analysis">Image Analysis</a><script data-card-contents-for-ri="9351" type="text/json">{"id":9351,"name":"Image Analysis","url":"https://www.academia.edu/Documents/in/Image_Analysis?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31628869]'), work: {"id":31628869,"title":"Violence hyperréelle. 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Together, the writings... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20415090" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">and Method (196o),l which also devotes considerable attention to the theme of play.• Also included in this text is our revised translation of Fink's "Oasis of Happiness: Thoughts toward an O ntology of Play." Together, the writings collected here constitute the most intensive and comprehensive philosophical engagement with play in the twentieth century, a theme that is all too often considered to be mere idle amusement, to be valid only as a restful pause which helps us return all the more energized to what is "really" important, or to be subordinate to pedagogy as a means by wh ich to educate the child and socialize the adult more effectively. Against these traditional views of play, Fink offers a speculative phenomenology of play that begins from the sort of play with which we are all familia r and from there attempts to reflect on play, moving from child's play all the way up to cosmic play, where the world itself is conceived as a "game without a player." 5 Along the way, he broaches such wide-ranging topics as embodiment, ontology, theology, sports, pedagogy, mimesis, cult practices, mythology, drama, and anthropology.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20415090" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="097c3ad14149186faa379272aacca65e" rel="nofollow" data-download="{"attachment_id":49069257,"asset_id":20415090,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49069257/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10884509" href="https://csustan.academia.edu/ChristopherTurner">Christopher Turner</a><script data-card-contents-for-user="10884509" type="text/json">{"id":10884509,"first_name":"Christopher","last_name":"Turner","domain_name":"csustan","page_name":"ChristopherTurner","display_name":"Christopher Turner","profile_url":"https://csustan.academia.edu/ChristopherTurner?f_ri=968659","photo":"https://0.academia-photos.com/10884509/3247189/3821522/s65_christopher.turner.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-20415090">+1</span><div class="hidden js-additional-users-20415090"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://lmu.academia.edu/IanAlexanderMoore">Ian Alexander Moore</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-20415090'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-20415090').html(); 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u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35877409" data-work_id="35877409" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35877409/Post_Agonistics_Pluralism_Realism_and_the_Image_Doctoral_Thesis_Curatorial_Knowledge_Visual_Cultures_Department_Goldsmiths_University_of_London_2017_">Post-Agonistics: Pluralism, Realism and the Image (Doctoral Thesis, Curatorial/Knowledge, Visual Cultures Department, Goldsmiths, University of London, 2017)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This thesis is situated at the crossroads between philosophy, political theory, and art. It proceeds from an enquiry into various philosophical discourses on ‘the real’ – in particular the Lacanian conceptualization of the real as... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35877409" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This thesis is situated at the crossroads between philosophy, political theory, and art. It proceeds from an enquiry into various philosophical discourses on ‘the real’ – in particular the Lacanian conceptualization of the real as impossible and the Guattari-Deleuze formulation of the real as artificial. It examines what these discourses engender in political theory and in the fields of art and activism. It looks at their investment in constructing ‘a people’ and seeks to understand this as an enterprise that involves images and their configuration. From this angle, the project is interested in exploring the discussion on ‘democracy and art’ and engages in advocating a shift in current positions on their relation. After critiquing Chantal Mouffe’s agonistic pluralism, it is suggested that provoking such a shift might be achieved by outlining a model similar to the way that Mouffe develops a model or ‘democratic design’.<br /><br />Mouffe’s model is structured on Lacan’s ‘impossible real’. Accordingly, this dissertation points towards a design for pluralism based on ‘a real’ grounded in Wilfrid Sellars’ conceptualization of a stereoscopic fusion between what he termed the manifest and scientific images of man-in-the-world. The project suggests that images can be sites in which such models or ‘designs’ are put into conceptual shape. Sellars’ characterization of science as being rational, not because it has foundation, but rather because it is a self-correcting venture that can put any claim into jeopardy, is drawn on as the basis for the ‘construction of a people’ established on the Sellarsian real. Furthermore, the project engages with the work of a number of post-Sellarsian thinkers to lay the grounds for an argument for ‘reasoning’ as a distinct position that can be taken up in the context of the structural reality of democracy and its relation to art. The term post-agonistics (or postagonistics) indicates this shift to reasoning and how it might contribute to the expanded field of art.<br /><br />Downloadable from Goldsmiths Research Online: <a href="http://research.gold.ac.uk/22573/" rel="nofollow">http://research.gold.ac.uk/22573/</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35877409" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0637e5f90bc12a7813109717486637ad" rel="nofollow" data-download="{"attachment_id":55757334,"asset_id":35877409,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55757334/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2549280" href="https://aalto-fi.academia.edu/BassamElBaroni">Bassam El Baroni</a><script data-card-contents-for-user="2549280" type="text/json">{"id":2549280,"first_name":"Bassam","last_name":"El Baroni","domain_name":"aalto-fi","page_name":"BassamElBaroni","display_name":"Bassam El Baroni","profile_url":"https://aalto-fi.academia.edu/BassamElBaroni?f_ri=968659","photo":"https://0.academia-photos.com/2549280/794578/18193024/s65_bassam.el_baroni.jpg"}</script></span></span></li><li class="js-paper-rank-work_35877409 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35877409"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35877409, container: ".js-paper-rank-work_35877409", }); 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$(".js-view-count[data-work-id=35877409]").text(description); $(".js-view-count-work_35877409").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35877409").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35877409"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1386" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5175" rel="nofollow" href="https://www.academia.edu/Documents/in/Dialogue">Dialogue</a>, <script data-card-contents-for-ri="5175" type="text/json">{"id":5175,"name":"Dialogue","url":"https://www.academia.edu/Documents/in/Dialogue?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14386" rel="nofollow" href="https://www.academia.edu/Documents/in/Agonistic_Pluralism">Agonistic Pluralism</a>, <script data-card-contents-for-ri="14386" type="text/json">{"id":14386,"name":"Agonistic Pluralism","url":"https://www.academia.edu/Documents/in/Agonistic_Pluralism?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15088" rel="nofollow" href="https://www.academia.edu/Documents/in/Scientific_Realism">Scientific Realism</a><script data-card-contents-for-ri="15088" type="text/json">{"id":15088,"name":"Scientific Realism","url":"https://www.academia.edu/Documents/in/Scientific_Realism?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35877409]'), work: {"id":35877409,"title":"Post-Agonistics: Pluralism, Realism and the Image (Doctoral Thesis, Curatorial/Knowledge, Visual Cultures Department, Goldsmiths, University of London, 2017)","created_at":"2018-02-09T02:36:56.702-08:00","url":"https://www.academia.edu/35877409/Post_Agonistics_Pluralism_Realism_and_the_Image_Doctoral_Thesis_Curatorial_Knowledge_Visual_Cultures_Department_Goldsmiths_University_of_London_2017_?f_ri=968659","dom_id":"work_35877409","summary":"This thesis is situated at the crossroads between philosophy, political theory, and art. It proceeds from an enquiry into various philosophical discourses on ‘the real’ – in particular the Lacanian conceptualization of the real as impossible and the Guattari-Deleuze formulation of the real as artificial. It examines what these discourses engender in political theory and in the fields of art and activism. It looks at their investment in constructing ‘a people’ and seeks to understand this as an enterprise that involves images and their configuration. From this angle, the project is interested in exploring the discussion on ‘democracy and art’ and engages in advocating a shift in current positions on their relation. After critiquing Chantal Mouffe’s agonistic pluralism, it is suggested that provoking such a shift might be achieved by outlining a model similar to the way that Mouffe develops a model or ‘democratic design’.\n\nMouffe’s model is structured on Lacan’s ‘impossible real’. Accordingly, this dissertation points towards a design for pluralism based on ‘a real’ grounded in Wilfrid Sellars’ conceptualization of a stereoscopic fusion between what he termed the manifest and scientific images of man-in-the-world. The project suggests that images can be sites in which such models or ‘designs’ are put into conceptual shape. Sellars’ characterization of science as being rational, not because it has foundation, but rather because it is a self-correcting venture that can put any claim into jeopardy, is drawn on as the basis for the ‘construction of a people’ established on the Sellarsian real. Furthermore, the project engages with the work of a number of post-Sellarsian thinkers to lay the grounds for an argument for ‘reasoning’ as a distinct position that can be taken up in the context of the structural reality of democracy and its relation to art. The term post-agonistics (or postagonistics) indicates this shift to reasoning and how it might contribute to the expanded field of art.\n\nDownloadable from Goldsmiths Research Online: http://research.gold.ac.uk/22573/","downloadable_attachments":[{"id":55757334,"asset_id":35877409,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2549280,"first_name":"Bassam","last_name":"El Baroni","domain_name":"aalto-fi","page_name":"BassamElBaroni","display_name":"Bassam El Baroni","profile_url":"https://aalto-fi.academia.edu/BassamElBaroni?f_ri=968659","photo":"https://0.academia-photos.com/2549280/794578/18193024/s65_bassam.el_baroni.jpg"}],"research_interests":[{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=968659","nofollow":true},{"id":5175,"name":"Dialogue","url":"https://www.academia.edu/Documents/in/Dialogue?f_ri=968659","nofollow":true},{"id":14386,"name":"Agonistic Pluralism","url":"https://www.academia.edu/Documents/in/Agonistic_Pluralism?f_ri=968659","nofollow":true},{"id":15088,"name":"Scientific Realism","url":"https://www.academia.edu/Documents/in/Scientific_Realism?f_ri=968659","nofollow":true},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=968659"},{"id":31055,"name":"Wilfrid Sellars and post-Sellarsian philosophy","url":"https://www.academia.edu/Documents/in/Wilfrid_Sellars_and_post-Sellarsian_philosophy?f_ri=968659"},{"id":32938,"name":"Pluralism","url":"https://www.academia.edu/Documents/in/Pluralism?f_ri=968659"},{"id":66712,"name":"Ray Brassier","url":"https://www.academia.edu/Documents/in/Ray_Brassier?f_ri=968659"},{"id":107547,"name":"Agonism","url":"https://www.academia.edu/Documents/in/Agonism?f_ri=968659"},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=968659"},{"id":130681,"name":"Real Abstraction","url":"https://www.academia.edu/Documents/in/Real_Abstraction?f_ri=968659"},{"id":257296,"name":"Image theory","url":"https://www.academia.edu/Documents/in/Image_theory?f_ri=968659"},{"id":853144,"name":"Stereoscopic Vision","url":"https://www.academia.edu/Documents/in/Stereoscopic_Vision?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"},{"id":2199429,"name":"Art and Democracy","url":"https://www.academia.edu/Documents/in/Art_and_Democracy?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4060614" data-work_id="4060614" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4060614/Jonathan_Soskin_Linqui%C3%A9tante_%C3%A9tranget%C3%A9_dun_lieu_commun_la_chair_du_per%C3%A7u_entre_Merleau_Ponty_Henry_et_Sartre_A_propos_de_Rapha%C3%ABl_G%C3%A9ly_Imaginaire_perception_incarnation_Exercice_ph%C3%A9nom%C3%A9nologique_%C3%A0_partir_de_Merleau_Ponty_Henry_et_Sartre_Bruxelles_Peter_Lang_2012_505_p_">Jonathan Soskin, "L'inquiétante étrangeté d'un lieu commun : la chair du perçu entre Merleau-Ponty, Henry et Sartre. A propos de Raphaël Gély, Imaginaire, perception, incarnation. Exercice phénoménologique à partir de Merleau-Ponty, Henry et Sartre , Bruxelles, Peter Lang, 2012, 505 p."</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4060614" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9f6f32e8d8cfbb21d79f36c6da51df90" rel="nofollow" data-download="{"attachment_id":31601497,"asset_id":4060614,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31601497/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3463441" href="https://uclep.academia.edu/Rapha%C3%ABlG%C3%A9ly">Raphaël Gély</a><script data-card-contents-for-user="3463441" type="text/json">{"id":3463441,"first_name":"Raphaël","last_name":"Gély","domain_name":"uclep","page_name":"RaphaëlGély","display_name":"Raphaël Gély","profile_url":"https://uclep.academia.edu/Rapha%C3%ABlG%C3%A9ly?f_ri=968659","photo":"https://0.academia-photos.com/3463441/1173047/117708782/s65_rapha_l.g_ly.jpeg"}</script></span></span></li><li class="js-paper-rank-work_4060614 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4060614"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4060614, container: ".js-paper-rank-work_4060614", }); 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The analysis of such assemblages provides insight into the making <br />and reception of the image, as well as the potential variance between the artist’s making and viewer’s reception. Further, such analysis reveals a structure of “thresholds” within the picture, a structure that refers <br />to inherent principles of representation and mimesis.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12708613" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d301c2eca00f9a806cdd419846383e92" rel="nofollow" data-download="{"attachment_id":37789471,"asset_id":12708613,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37789471/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3758364" href="https://bern.academia.edu/BeateFricke">Beate Fricke</a><script data-card-contents-for-user="3758364" type="text/json">{"id":3758364,"first_name":"Beate","last_name":"Fricke","domain_name":"bern","page_name":"BeateFricke","display_name":"Beate Fricke","profile_url":"https://bern.academia.edu/BeateFricke?f_ri=968659","photo":"https://0.academia-photos.com/3758364/1815124/2162300/s65_beate.fricke.jpg"}</script></span></span></li><li class="js-paper-rank-work_12708613 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12708613"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12708613, container: ".js-paper-rank-work_12708613", }); 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Further, such analysis reveals a structure of “thresholds” within the picture, a structure that refers\r\nto inherent principles of representation and mimesis.","downloadable_attachments":[{"id":37789471,"asset_id":12708613,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3758364,"first_name":"Beate","last_name":"Fricke","domain_name":"bern","page_name":"BeateFricke","display_name":"Beate Fricke","profile_url":"https://bern.academia.edu/BeateFricke?f_ri=968659","photo":"https://0.academia-photos.com/3758364/1815124/2162300/s65_beate.fricke.jpg"}],"research_interests":[{"id":106,"name":"Religion","url":"https://www.academia.edu/Documents/in/Religion?f_ri=968659","nofollow":true},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=968659","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=968659","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=968659","nofollow":true},{"id":2264,"name":"Mimesis","url":"https://www.academia.edu/Documents/in/Mimesis?f_ri=968659"},{"id":2899,"name":"Critical Realism","url":"https://www.academia.edu/Documents/in/Critical_Realism?f_ri=968659"},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=968659"},{"id":3080,"name":"History of Perspective in Painting","url":"https://www.academia.edu/Documents/in/History_of_Perspective_in_Painting?f_ri=968659"},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=968659"},{"id":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting?f_ri=968659"},{"id":13792,"name":"Speculative Realism","url":"https://www.academia.edu/Documents/in/Speculative_Realism?f_ri=968659"},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=968659"},{"id":20868,"name":"Theory and Practice of Visual Arts","url":"https://www.academia.edu/Documents/in/Theory_and_Practice_of_Visual_Arts?f_ri=968659"},{"id":23547,"name":"Assemblage Theory - Manuel De Landa","url":"https://www.academia.edu/Documents/in/Assemblage_Theory_-_Manuel_De_Landa?f_ri=968659"},{"id":50118,"name":"Representation","url":"https://www.academia.edu/Documents/in/Representation?f_ri=968659"},{"id":59692,"name":"Vision","url":"https://www.academia.edu/Documents/in/Vision?f_ri=968659"},{"id":64833,"name":"Realism","url":"https://www.academia.edu/Documents/in/Realism?f_ri=968659"},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=968659"},{"id":115535,"name":"Assemblage Theory","url":"https://www.academia.edu/Documents/in/Assemblage_Theory?f_ri=968659"},{"id":257296,"name":"Image theory","url":"https://www.academia.edu/Documents/in/Image_theory?f_ri=968659"},{"id":433482,"name":"History and theory of images (14th-16th centuries)","url":"https://www.academia.edu/Documents/in/History_and_theory_of_images_14th-16th_centuries_?f_ri=968659"},{"id":507685,"name":"Art and Art History","url":"https://www.academia.edu/Documents/in/Art_and_Art_History?f_ri=968659"},{"id":548468,"name":"Thresholds","url":"https://www.academia.edu/Documents/in/Thresholds?f_ri=968659"},{"id":643677,"name":"Saint Anthony Abbot","url":"https://www.academia.edu/Documents/in/Saint_Anthony_Abbot?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2963991" data-work_id="2963991" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2963991/Imaginaire_perception_incarnation_Exercice_ph%C3%A9nom%C3%A9nologique_%C3%A0_partir_de_Merleau_Ponty_Henry_et_Sartre">Imaginaire, perception, incarnation. Exercice phénoménologique à partir de Merleau-Ponty, Henry et Sartre</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Ce livre développe, à partir de Merleau-Ponty, Henry et Sartre, une phénoménologie décrivant la vie perceptive du point de vue du désir d'éprouver qui s'y déploie. L'auteur interroge, selon différents chemins tout à la fois opposés et... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2963991" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ce livre développe, à partir de Merleau-Ponty, Henry et Sartre, une phénoménologie décrivant la vie perceptive du point de vue du désir d'éprouver qui s'y déploie. L'auteur interroge, selon différents chemins tout à la fois opposés et noués les uns aux autres, le rapport de la vie perceptive à l'imaginaire et à la théâtralité originaire du corps. Il montre comment chaque expérience perceptive est la mise en jeu d'un désir de vivre, comment elle est susceptible d'accroître ou d'affaiblir la capacité des individus à se laisser affecter en profondeur par leur situation, à l'endurer, à y ouvrir du possible. <br /> <br />Contenu : Maurice Merleau-Ponty : La perception comme toucher à distance - La texture imaginaire du réel - Violence et événementialité de la vision - La théâtralité originaire du corps - Michel Henry : La vulnérabilité intrinsèque du pâtir - Affectivité, sensibilité, temporalité - Vie et possibilité - Impression et réalité - La texture imaginaire des impressions - Jean-Paul Sartre : Immanence, affectivité et intentionnalité - L'imaginaire et le retard originaire de la conscience - Émotion et imagination - Liberté et théâtralité.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2963991" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="beb1face76c24d1a738cad88c78ca030" rel="nofollow" data-download="{"attachment_id":31599418,"asset_id":2963991,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31599418/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3463441" href="https://uclep.academia.edu/Rapha%C3%ABlG%C3%A9ly">Raphaël Gély</a><script data-card-contents-for-user="3463441" type="text/json">{"id":3463441,"first_name":"Raphaël","last_name":"Gély","domain_name":"uclep","page_name":"RaphaëlGély","display_name":"Raphaël Gély","profile_url":"https://uclep.academia.edu/Rapha%C3%ABlG%C3%A9ly?f_ri=968659","photo":"https://0.academia-photos.com/3463441/1173047/117708782/s65_rapha_l.g_ly.jpeg"}</script></span></span></li><li class="js-paper-rank-work_2963991 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2963991"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2963991, container: ".js-paper-rank-work_2963991", }); 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$(".js-view-count[data-work-id=2963991]").text(description); $(".js-view-count-work_2963991").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_2963991").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="2963991"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">174</a>  </div><span class="InlineList-item-text u-textTruncate u-pl11x"><a class="InlineList-item-text" data-has-card-for-ri="188" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="221" rel="nofollow" href="https://www.academia.edu/Documents/in/Psychology">Psychology</a>, <script data-card-contents-for-ri="221" type="text/json">{"id":221,"name":"Psychology","url":"https://www.academia.edu/Documents/in/Psychology?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="234" rel="nofollow" href="https://www.academia.edu/Documents/in/Play_Therapy">Play Therapy</a>, <script data-card-contents-for-ri="234" type="text/json">{"id":234,"name":"Play Therapy","url":"https://www.academia.edu/Documents/in/Play_Therapy?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="254" rel="nofollow" href="https://www.academia.edu/Documents/in/Emotion">Emotion</a><script data-card-contents-for-ri="254" type="text/json">{"id":254,"name":"Emotion","url":"https://www.academia.edu/Documents/in/Emotion?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2963991]'), work: {"id":2963991,"title":"Imaginaire, perception, incarnation. Exercice phénoménologique à partir de Merleau-Ponty, Henry et Sartre","created_at":"2013-03-12T00:25:40.722-07:00","url":"https://www.academia.edu/2963991/Imaginaire_perception_incarnation_Exercice_ph%C3%A9nom%C3%A9nologique_%C3%A0_partir_de_Merleau_Ponty_Henry_et_Sartre?f_ri=968659","dom_id":"work_2963991","summary":"Ce livre développe, à partir de Merleau-Ponty, Henry et Sartre, une phénoménologie décrivant la vie perceptive du point de vue du désir d'éprouver qui s'y déploie. L'auteur interroge, selon différents chemins tout à la fois opposés et noués les uns aux autres, le rapport de la vie perceptive à l'imaginaire et à la théâtralité originaire du corps. Il montre comment chaque expérience perceptive est la mise en jeu d'un désir de vivre, comment elle est susceptible d'accroître ou d'affaiblir la capacité des individus à se laisser affecter en profondeur par leur situation, à l'endurer, à y ouvrir du possible. \r\n\r\nContenu : Maurice Merleau-Ponty : La perception comme toucher à distance - La texture imaginaire du réel - Violence et événementialité de la vision - La théâtralité originaire du corps - Michel Henry : La vulnérabilité intrinsèque du pâtir - Affectivité, sensibilité, temporalité - Vie et possibilité - Impression et réalité - La texture imaginaire des impressions - Jean-Paul Sartre : Immanence, affectivité et intentionnalité - L'imaginaire et le retard originaire de la conscience - Émotion et imagination - Liberté et théâtralité. 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Se dice que hace tiempo que lo hizo. Y que en su lugar se ha colocado un nuevo tipo de imagen... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34922337" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Notas sobre la postfotografía (Barcelona: Galaxia Gutenberg, 16) por paula vlas paal** Corre el rumor de que la fotografía ha muerto. Se dice que hace tiempo que lo hizo. 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Se dice que hace tiempo que lo hizo. Y que en su lugar se ha colocado un nuevo tipo de imagen que, pese a convivir con nosotros, es una gran desconocida: la postfotografía.","downloadable_attachments":[{"id":54783598,"asset_id":34922337,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2389092,"first_name":"Paula","last_name":"Velasco Padial","domain_name":"us","page_name":"VelascoPadialPaula","display_name":"Paula Velasco Padial","profile_url":"https://us.academia.edu/VelascoPadialPaula?f_ri=968659","photo":"https://0.academia-photos.com/2389092/749273/28832924/s65_paula.velasco_padial.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=968659","nofollow":true},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=968659","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=968659","nofollow":true},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=968659","nofollow":true},{"id":20079,"name":"History of photography","url":"https://www.academia.edu/Documents/in/History_of_photography?f_ri=968659"},{"id":61155,"name":"Estética","url":"https://www.academia.edu/Documents/in/Est%C3%A9tica?f_ri=968659"},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=968659"},{"id":140604,"name":"Fotografia","url":"https://www.academia.edu/Documents/in/Fotografia?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32879086" data-work_id="32879086" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32879086/_Review_Emmanuel_Alloa_Penser_limage_I_II_Anthropologie_du_Visuel">(Review) Emmanuel Alloa - Penser l'image I, II: Anthropologie du Visuel</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">As the editor of (and one of the contributors to) the first two volumes of the Penser l'image series published by Les Presses du réel in their " Perceptions " collection, Emmanuel Alloa manages to assemble an unprecedented theoretical... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32879086" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">As the editor of (and one of the contributors to) the first two volumes of the Penser l'image series published by Les Presses du réel in their " Perceptions " collection, Emmanuel Alloa manages to assemble an unprecedented theoretical kaleidoscope, having in its invisible center a protean and fluid conception of the image. The metaphor is not too far-reached, if one sees the two anthologies-distanced only in time, not so much in substance-as " optical " devices serving to an imaginative examination (skopeō) of the beauty (kalos) of images (eidos). 'What do we think about when we think about images?' seems to be the key question that confines within the covers of the series a wide range of contemporary insights into an inexhaustible paradox: it becomes increasingly obvious that the proliferation of images grows in reverse proportion with our ability to provide a stable definition for it.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32879086" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fd998fd0ecbd496dbd1f9096277e1b6b" rel="nofollow" data-download="{"attachment_id":53022249,"asset_id":32879086,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53022249/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3176536" href="https://uwontario.academia.edu/AlexandraIrimia">Alexandra Irimia</a><script data-card-contents-for-user="3176536" type="text/json">{"id":3176536,"first_name":"Alexandra","last_name":"Irimia","domain_name":"uwontario","page_name":"AlexandraIrimia","display_name":"Alexandra Irimia","profile_url":"https://uwontario.academia.edu/AlexandraIrimia?f_ri=968659","photo":"https://0.academia-photos.com/3176536/10073586/70434621/s65_alexandra.irimia.jpg"}</script></span></span></li><li class="js-paper-rank-work_32879086 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32879086"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32879086, container: ".js-paper-rank-work_32879086", }); 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The metaphor is not too far-reached, if one sees the two anthologies-distanced only in time, not so much in substance-as \" optical \" devices serving to an imaginative examination (skopeō) of the beauty (kalos) of images (eidos). 'What do we think about when we think about images?' seems to be the key question that confines within the covers of the series a wide range of contemporary insights into an inexhaustible paradox: it becomes increasingly obvious that the proliferation of images grows in reverse proportion with our ability to provide a stable definition for it. ","downloadable_attachments":[{"id":53022249,"asset_id":32879086,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3176536,"first_name":"Alexandra","last_name":"Irimia","domain_name":"uwontario","page_name":"AlexandraIrimia","display_name":"Alexandra Irimia","profile_url":"https://uwontario.academia.edu/AlexandraIrimia?f_ri=968659","photo":"https://0.academia-photos.com/3176536/10073586/70434621/s65_alexandra.irimia.jpg"}],"research_interests":[{"id":3887,"name":"Word and Image Studies","url":"https://www.academia.edu/Documents/in/Word_and_Image_Studies?f_ri=968659","nofollow":true},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=968659","nofollow":true},{"id":257296,"name":"Image theory","url":"https://www.academia.edu/Documents/in/Image_theory?f_ri=968659","nofollow":true},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42299311" data-work_id="42299311" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42299311/Cadre_et_templum_Une_arch%C3%A9ologie_des_limites_de_l_image_2020">Cadre et templum. Une archéologie des limites de l’image 2020</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A.C. Dalmasso, Cadre et templum. Une archéologie des limites de l’image, La Part de l’Œil, n° 33, 2020, pp. 133-151.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42299311" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ca6d5fe8e55916286b98f2730b0620bb" rel="nofollow" data-download="{"attachment_id":64172848,"asset_id":42299311,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64172848/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="786340" href="https://unimi.academia.edu/AnnaCaterinaDalmasso">Anna Caterina Dalmasso</a><script data-card-contents-for-user="786340" type="text/json">{"id":786340,"first_name":"Anna Caterina","last_name":"Dalmasso","domain_name":"unimi","page_name":"AnnaCaterinaDalmasso","display_name":"Anna Caterina Dalmasso","profile_url":"https://unimi.academia.edu/AnnaCaterinaDalmasso?f_ri=968659","photo":"https://0.academia-photos.com/786340/266893/129414206/s65_anna_caterina.dalmasso.jpg"}</script></span></span></li><li class="js-paper-rank-work_42299311 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42299311"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42299311, container: ".js-paper-rank-work_42299311", }); 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$(".js-view-count[data-work-id=42299311]").text(description); $(".js-view-count-work_42299311").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42299311").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42299311"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="928" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="939" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Archaeology">Media Archaeology</a>, <script data-card-contents-for-ri="939" type="text/json">{"id":939,"name":"Media Archaeology","url":"https://www.academia.edu/Documents/in/Media_Archaeology?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3225" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Culture">Visual Culture</a>, <script data-card-contents-for-ri="3225" type="text/json">{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3514" rel="nofollow" href="https://www.academia.edu/Documents/in/Divination">Divination</a><script data-card-contents-for-ri="3514" type="text/json">{"id":3514,"name":"Divination","url":"https://www.academia.edu/Documents/in/Divination?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42299311]'), work: {"id":42299311,"title":"Cadre et templum. 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Une archéologie des limites de l’image, La Part de l’Œil, n° 33, 2020, pp. 133-151.","downloadable_attachments":[{"id":64172848,"asset_id":42299311,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":786340,"first_name":"Anna Caterina","last_name":"Dalmasso","domain_name":"unimi","page_name":"AnnaCaterinaDalmasso","display_name":"Anna Caterina Dalmasso","profile_url":"https://unimi.academia.edu/AnnaCaterinaDalmasso?f_ri=968659","photo":"https://0.academia-photos.com/786340/266893/129414206/s65_anna_caterina.dalmasso.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=968659","nofollow":true},{"id":939,"name":"Media Archaeology","url":"https://www.academia.edu/Documents/in/Media_Archaeology?f_ri=968659","nofollow":true},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=968659","nofollow":true},{"id":3514,"name":"Divination","url":"https://www.academia.edu/Documents/in/Divination?f_ri=968659","nofollow":true},{"id":28374,"name":"Visual and Cultural Studies","url":"https://www.academia.edu/Documents/in/Visual_and_Cultural_Studies?f_ri=968659"},{"id":38432,"name":"Leon Battista Alberti","url":"https://www.academia.edu/Documents/in/Leon_Battista_Alberti?f_ri=968659"},{"id":51437,"name":"Magic and Divination in the Ancient World","url":"https://www.academia.edu/Documents/in/Magic_and_Divination_in_the_Ancient_World?f_ri=968659"},{"id":59692,"name":"Vision","url":"https://www.academia.edu/Documents/in/Vision?f_ri=968659"},{"id":102735,"name":"Visual Cultures","url":"https://www.academia.edu/Documents/in/Visual_Cultures?f_ri=968659"},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=968659"},{"id":215891,"name":"Cadre","url":"https://www.academia.edu/Documents/in/Cadre?f_ri=968659"},{"id":257296,"name":"Image theory","url":"https://www.academia.edu/Documents/in/Image_theory?f_ri=968659"},{"id":345959,"name":"Riti di fondazione del Templum","url":"https://www.academia.edu/Documents/in/Riti_di_fondazione_del_Templum?f_ri=968659"},{"id":346379,"name":"Dispositif (Apparatus-Theory)","url":"https://www.academia.edu/Documents/in/Dispositif_Apparatus-Theory_?f_ri=968659"},{"id":499810,"name":"Frame","url":"https://www.academia.edu/Documents/in/Frame?f_ri=968659"},{"id":507518,"name":"Roman divination","url":"https://www.academia.edu/Documents/in/Roman_divination?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"},{"id":2637782,"name":"Templum","url":"https://www.academia.edu/Documents/in/Templum?f_ri=968659"},{"id":3120679,"name":"Cornice","url":"https://www.academia.edu/Documents/in/Cornice?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31365488" data-work_id="31365488" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31365488/FROM_SOFTIMAGE_TO_POSTIMAGE">FROM SOFTIMAGE TO POSTIMAGE</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">With the digital revolution, the photographic paradigm of the image has become supplemented with an algorithmic paradigm. The result is a new kind of image capable to gather, compute, merge and display heterogeneous data in real time; no... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31365488" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">With the digital revolution, the photographic paradigm of the image has become supplemented with an algorithmic paradigm. The result is a new kind of image capable to gather, compute, merge and display heterogeneous data in real time; no longer a solid representation of a solid world but a softimage—a program-mable database view. In today's neurosciences and machine vision, the very concept of " image " as a stable visual entity becomes questionable. As a result, the authors propose that the need exists to radically expand the definition of image and abandon its humanist and subjective frame: The posthuman image—which the authors propose to call the postimage—is a collaborative image created through the process of distributed vision involving humans, animals and machines.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31365488" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fd77ecc4ac3b87add37890544235f5e1" rel="nofollow" data-download="{"attachment_id":51744234,"asset_id":31365488,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51744234/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="305464" href="https://msfinance.academia.edu/IngridHoelzl">Ingrid Hoelzl</a><script data-card-contents-for-user="305464" type="text/json">{"id":305464,"first_name":"Ingrid","last_name":"Hoelzl","domain_name":"msfinance","page_name":"IngridHoelzl","display_name":"Ingrid Hoelzl","profile_url":"https://msfinance.academia.edu/IngridHoelzl?f_ri=968659","photo":"https://0.academia-photos.com/305464/150021/57423376/s65_ingrid.hoelzl.jpg"}</script></span></span></li><li class="js-paper-rank-work_31365488 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31365488"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31365488, container: ".js-paper-rank-work_31365488", }); 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$(".js-view-count[data-work-id=31365488]").text(description); $(".js-view-count-work_31365488").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31365488").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31365488"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="854" rel="nofollow" href="https://www.academia.edu/Documents/in/Computer_Vision">Computer Vision</a>, <script data-card-contents-for-ri="854" type="text/json">{"id":854,"name":"Computer Vision","url":"https://www.academia.edu/Documents/in/Computer_Vision?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3115" rel="nofollow" href="https://www.academia.edu/Documents/in/Posthumanism">Posthumanism</a>, <script data-card-contents-for-ri="3115" type="text/json">{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10101" rel="nofollow" href="https://www.academia.edu/Documents/in/Critical_Posthumanism">Critical Posthumanism</a>, <script data-card-contents-for-ri="10101" type="text/json">{"id":10101,"name":"Critical Posthumanism","url":"https://www.academia.edu/Documents/in/Critical_Posthumanism?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14417" rel="nofollow" href="https://www.academia.edu/Documents/in/Machine_Vision">Machine Vision</a><script data-card-contents-for-ri="14417" type="text/json">{"id":14417,"name":"Machine Vision","url":"https://www.academia.edu/Documents/in/Machine_Vision?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31365488]'), work: {"id":31365488,"title":"FROM SOFTIMAGE TO POSTIMAGE","created_at":"2017-02-10T23:42:29.575-08:00","url":"https://www.academia.edu/31365488/FROM_SOFTIMAGE_TO_POSTIMAGE?f_ri=968659","dom_id":"work_31365488","summary":"With the digital revolution, the photographic paradigm of the image has become supplemented with an algorithmic paradigm. The result is a new kind of image capable to gather, compute, merge and display heterogeneous data in real time; no longer a solid representation of a solid world but a softimage—a program-mable database view. In today's neurosciences and machine vision, the very concept of \" image \" as a stable visual entity becomes questionable. As a result, the authors propose that the need exists to radically expand the definition of image and abandon its humanist and subjective frame: The posthuman image—which the authors propose to call the postimage—is a collaborative image created through the process of distributed vision involving humans, animals and machines.","downloadable_attachments":[{"id":51744234,"asset_id":31365488,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":305464,"first_name":"Ingrid","last_name":"Hoelzl","domain_name":"msfinance","page_name":"IngridHoelzl","display_name":"Ingrid Hoelzl","profile_url":"https://msfinance.academia.edu/IngridHoelzl?f_ri=968659","photo":"https://0.academia-photos.com/305464/150021/57423376/s65_ingrid.hoelzl.jpg"}],"research_interests":[{"id":854,"name":"Computer Vision","url":"https://www.academia.edu/Documents/in/Computer_Vision?f_ri=968659","nofollow":true},{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism?f_ri=968659","nofollow":true},{"id":10101,"name":"Critical Posthumanism","url":"https://www.academia.edu/Documents/in/Critical_Posthumanism?f_ri=968659","nofollow":true},{"id":14417,"name":"Machine Vision","url":"https://www.academia.edu/Documents/in/Machine_Vision?f_ri=968659","nofollow":true},{"id":257296,"name":"Image theory","url":"https://www.academia.edu/Documents/in/Image_theory?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"},{"id":1985766,"name":"Softimage","url":"https://www.academia.edu/Documents/in/Softimage?f_ri=968659"},{"id":2468712,"name":"Postimage","url":"https://www.academia.edu/Documents/in/Postimage?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29738809" data-work_id="29738809" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29738809/JAN_JI%C5%98%C3%8D_HEINSCH_K%C5%98EST_KN%C3%8D%C5%BDETE_BUNG%C5%AE_SV_FRANTI%C5%A0KEM_XAVERSK%C3%9DM_POKUS_O_IDENTIFIKACI_SKUPINY_EVROPSKY_OD%C4%9AN%C3%9DCH_MU%C5%BD%C5%AE_A_INTERPRETACI_SC%C3%89NY">JAN JIŘÍ HEINSCH – KŘEST KNÍŽETE BUNGŮ SV. FRANTIŠKEM XAVERSKÝM. POKUS O IDENTIFIKACI SKUPINY EVROPSKY ODĚNÝCH MUŽŮ A INTERPRETACI SCÉNY</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Jan Jiří Heinsch is a Czech baroque artist whose work has not been thoroughly examined yet. Even though a number of art historians paid attention to his work, the Baptism of the duke of Bungo by St. Francis Xavier was neglected for a long... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29738809" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Jan Jiří Heinsch is a Czech baroque artist whose work has not been thoroughly examined yet. Even though a number of art historians paid attention to his work, the Baptism of the duke of Bungo by St. Francis Xavier was neglected for a long time therefore I decided to examine this exceptionally interesting oil painting.  <br />    In the first part I will mention a few basic information about the Jesuits in Uherské Hradiště. In the second part, I will recapitulate the fate of the painting. First of all I find it necessary to make a short comment on the missionary work of St. Francis Xavier in Japan. It is the information of fundamental character without which it is not possible to put the Heinsch's work through thorough critical analysis. A description of the scene depicted follows. Next part deals with a amazingly interesting composition connected with the theme of dispute with pagans. <br />    In the end I will focus on the group of people surrounding St. Francis and l try to identify the persons in the group in order to present an overall look at the meaning of the scene depicted.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29738809" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f2b7e4f8c9b42523d4d5b4d8d15563b3" rel="nofollow" data-download="{"attachment_id":50194605,"asset_id":29738809,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50194605/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="49304080" href="https://upol.academia.edu/JanaMachackova">Jana Machackova</a><script data-card-contents-for-user="49304080" type="text/json">{"id":49304080,"first_name":"Jana","last_name":"Machackova","domain_name":"upol","page_name":"JanaMachackova","display_name":"Jana Machackova","profile_url":"https://upol.academia.edu/JanaMachackova?f_ri=968659","photo":"https://0.academia-photos.com/49304080/14822940/15614641/s65_jana.machackova.jpg"}</script></span></span></li><li class="js-paper-rank-work_29738809 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29738809"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29738809, container: ".js-paper-rank-work_29738809", }); 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FRANTIŠKEM XAVERSKÝM. POKUS O IDENTIFIKACI SKUPINY EVROPSKY ODĚNÝCH MUŽŮ A INTERPRETACI SCÉNY","created_at":"2016-11-08T13:31:30.366-08:00","url":"https://www.academia.edu/29738809/JAN_JI%C5%98%C3%8D_HEINSCH_K%C5%98EST_KN%C3%8D%C5%BDETE_BUNG%C5%AE_SV_FRANTI%C5%A0KEM_XAVERSK%C3%9DM_POKUS_O_IDENTIFIKACI_SKUPINY_EVROPSKY_OD%C4%9AN%C3%9DCH_MU%C5%BD%C5%AE_A_INTERPRETACI_SC%C3%89NY?f_ri=968659","dom_id":"work_29738809","summary":"Jan Jiří Heinsch is a Czech baroque artist whose work has not been thoroughly examined yet. Even though a number of art historians paid attention to his work, the Baptism of the duke of Bungo by St. Francis Xavier was neglected for a long time therefore I decided to examine this exceptionally interesting oil painting. \n In the first part I will mention a few basic information about the Jesuits in Uherské Hradiště. In the second part, I will recapitulate the fate of the painting. First of all I find it necessary to make a short comment on the missionary work of St. Francis Xavier in Japan. It is the information of fundamental character without which it is not possible to put the Heinsch's work through thorough critical analysis. A description of the scene depicted follows. Next part deals with a amazingly interesting composition connected with the theme of dispute with pagans. \n In the end I will focus on the group of people surrounding St. Francis and l try to identify the persons in the group in order to present an overall look at the meaning of the scene depicted. ","downloadable_attachments":[{"id":50194605,"asset_id":29738809,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":49304080,"first_name":"Jana","last_name":"Machackova","domain_name":"upol","page_name":"JanaMachackova","display_name":"Jana Machackova","profile_url":"https://upol.academia.edu/JanaMachackova?f_ri=968659","photo":"https://0.academia-photos.com/49304080/14822940/15614641/s65_jana.machackova.jpg"}],"research_interests":[{"id":11550,"name":"Theory of Space","url":"https://www.academia.edu/Documents/in/Theory_of_Space?f_ri=968659","nofollow":true},{"id":22405,"name":"Baroque art and architecture","url":"https://www.academia.edu/Documents/in/Baroque_art_and_architecture?f_ri=968659","nofollow":true},{"id":589910,"name":"Visual Art of the Jesuits","url":"https://www.academia.edu/Documents/in/Visual_Art_of_the_Jesuits?f_ri=968659","nofollow":true},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659","nofollow":true},{"id":1003311,"name":"Theology of Images","url":"https://www.academia.edu/Documents/in/Theology_of_Images?f_ri=968659"},{"id":1030037,"name":"The Jesuits","url":"https://www.academia.edu/Documents/in/The_Jesuits?f_ri=968659"},{"id":1223373,"name":"Sacral Art","url":"https://www.academia.edu/Documents/in/Sacral_Art?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38608637" data-work_id="38608637" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38608637/Immagine_dell_Immagine_dell_Immagine_la_radicale_teoria_costruttivista_dell_immagine_di_Fichte">Immagine dell’Immagine dell’Immagine: la radicale teoria costruttivista dell’immagine di Fichte</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Difficilmente, intorno al 1800, un filosofo ha fatto un uso così vivace e così originale del concetto di immagine come Johann Gottlieb Fichte 1 . Questo interesse fichtiano per il concetto di immagine inizia relativamente presto e vive un... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38608637" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Difficilmente, intorno al 1800, un filosofo ha fatto un uso così vivace e così originale del concetto di immagine come Johann Gottlieb Fichte 1 . Questo interesse fichtiano per il concetto di immagine inizia relativamente presto e vive un primo rafforzamento nel periodo jenese dal 1793 al 1799, pur ancora in una cornice filosofico-concettuale tradizionale. Solo nella tarda filosofia fichtiana si giunge all'elaborazione di una nuova e autonoma teoria dell'immagine, dovuta tuttavia non tanto a un cambiamento o a una svolta nel pensiero del filosofo, quanto piuttosto a una radicalizzazione e ad una intensificazione. Di seguito vorrei provare a restituire una visione d'insieme delle fasi e dei risultati di questa elaborazione. Intendo procedere attraverso cinque passaggi. (1) Anzitutto vorrei esplorare il contesto della teoria dell'immagine di Fichte, in cui, dalla prospettiva dei filosofi che operano in-</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38608637" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="312f373a8059f665363a48a42473b48b" rel="nofollow" data-download="{"attachment_id":58684257,"asset_id":38608637,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58684257/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="105990523" href="https://augustana-de.academia.edu/ChristophAsmuth">Christoph Asmuth</a><script data-card-contents-for-user="105990523" type="text/json">{"id":105990523,"first_name":"Christoph","last_name":"Asmuth","domain_name":"augustana-de","page_name":"ChristophAsmuth","display_name":"Christoph Asmuth","profile_url":"https://augustana-de.academia.edu/ChristophAsmuth?f_ri=968659","photo":"https://0.academia-photos.com/105990523/24593820/36965252/s65_christoph.asmuth.jpg"}</script></span></span></li><li class="js-paper-rank-work_38608637 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38608637"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38608637, container: ".js-paper-rank-work_38608637", }); 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Questo interesse fichtiano per il concetto di immagine inizia relativamente presto e vive un primo rafforzamento nel periodo jenese dal 1793 al 1799, pur ancora in una cornice filosofico-concettuale tradizionale. Solo nella tarda filosofia fichtiana si giunge all'elaborazione di una nuova e autonoma teoria dell'immagine, dovuta tuttavia non tanto a un cambiamento o a una svolta nel pensiero del filosofo, quanto piuttosto a una radicalizzazione e ad una intensificazione. Di seguito vorrei provare a restituire una visione d'insieme delle fasi e dei risultati di questa elaborazione. Intendo procedere attraverso cinque passaggi. (1) Anzitutto vorrei esplorare il contesto della teoria dell'immagine di Fichte, in cui, dalla prospettiva dei filosofi che operano in-","downloadable_attachments":[{"id":58684257,"asset_id":38608637,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":105990523,"first_name":"Christoph","last_name":"Asmuth","domain_name":"augustana-de","page_name":"ChristophAsmuth","display_name":"Christoph Asmuth","profile_url":"https://augustana-de.academia.edu/ChristophAsmuth?f_ri=968659","photo":"https://0.academia-photos.com/105990523/24593820/36965252/s65_christoph.asmuth.jpg"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=968659","nofollow":true},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=968659","nofollow":true},{"id":815,"name":"Epistemology","url":"https://www.academia.edu/Documents/in/Epistemology?f_ri=968659","nofollow":true},{"id":6202,"name":"German Idealism","url":"https://www.academia.edu/Documents/in/German_Idealism?f_ri=968659","nofollow":true},{"id":10270,"name":"Johann Gottlieb Fichte","url":"https://www.academia.edu/Documents/in/Johann_Gottlieb_Fichte?f_ri=968659"},{"id":13031,"name":"Transcendental Philosophy","url":"https://www.academia.edu/Documents/in/Transcendental_Philosophy?f_ri=968659"},{"id":26210,"name":"Philosophy of Images","url":"https://www.academia.edu/Documents/in/Philosophy_of_Images?f_ri=968659"},{"id":79471,"name":"Theoretical Philosophy","url":"https://www.academia.edu/Documents/in/Theoretical_Philosophy?f_ri=968659"},{"id":480954,"name":"Classical German Philosophy","url":"https://www.academia.edu/Documents/in/Classical_German_Philosophy?f_ri=968659"},{"id":529976,"name":"Wissenschaftslehre","url":"https://www.academia.edu/Documents/in/Wissenschaftslehre?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"},{"id":1222774,"name":"Continental Philosophy and Aesthetics","url":"https://www.academia.edu/Documents/in/Continental_Philosophy_and_Aesthetics?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8767949" data-work_id="8767949" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8767949/Theres_More_Than_Meets_the_Eye_A_Glance_at_Casey_and_Levinas">There's More Than Meets the Eye: A Glance at Casey and Levinas</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button 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itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44660357/Warburg_Agamben_Deleuze_a_imagem_e_a_filosofia_da_diferen%C3%A7a">Warburg, Agamben, Deleuze: a imagem e a filosofia da diferença</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">O trabalho busca tecer aproximações entre as operações estruturais e as dinâmicas epistemológicas do pensamento de Aby Warburg (1866-1929), Giorgio Agamben (1942-) e Gilles Deleuze (1925-1995) a certa filosofia da diferença. Pretende... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44660357" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O trabalho busca tecer aproximações entre as operações estruturais e as dinâmicas epistemológicas do pensamento de Aby Warburg (1866-1929), Giorgio Agamben (1942-) e Gilles Deleuze (1925-1995) a certa filosofia da diferença. Pretende refletir sobre a natureza comum da matriz conceitual dos três autores (dos quais destaco: “Pathosformel” e “Nachleben” em Warburg; “ponto de inflexão”, “diferença” e “repetição” em Deleuze, e “paradigma” e “analogia” em Agamben), operados principalmente por dinâmicas estruturais baseadas em dispositivos de diferença e repetição. Esta reflexão é motivada pela insurgente revisão epistemológica da historiografia contemporânea da arte e pelo poderio operacional possibilitado por esta estrutura ao lidar com as múltiplas complexidades das imagens.<br /><br />This paper aims to approximate the structural operations and epistemological dynamics on the work of Aby Warburg (1866-1929), Giorgio Agamben (1942-) and Gilles Deleuze (1925-1995) to a certain philosophy of difference. It discuss about the common nature of the three authors’ conceptual matrix (highlighting Warburg’s “Pathosformel” and “Nachleben”, Deleuze’s “inflection point”, “difference” and “repetition”, and Agamben’s “paradigm” and “analogy”), operated mainly by dynamic structures based on difference and repetition devices. This reflection is motivated by the insurgent epistemological revision of contemporary art historiography and by the operational force possible by this structure when dealing with images’ multiple complexities.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44660357" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="83bc352d05845d97135a7e4c823df763" rel="nofollow" data-download="{"attachment_id":65132486,"asset_id":44660357,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65132486/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="51041873" href="https://lisboa.academia.edu/MateusNunes">Mateus Nunes</a><script data-card-contents-for-user="51041873" type="text/json">{"id":51041873,"first_name":"Mateus","last_name":"Nunes","domain_name":"lisboa","page_name":"MateusNunes","display_name":"Mateus Nunes","profile_url":"https://lisboa.academia.edu/MateusNunes?f_ri=968659","photo":"https://0.academia-photos.com/51041873/13526918/38109668/s65_mateus.nunes.jpeg"}</script></span></span></li><li class="js-paper-rank-work_44660357 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44660357"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44660357, container: ".js-paper-rank-work_44660357", }); 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Pretende refletir sobre a natureza comum da matriz conceitual dos três autores (dos quais destaco: “Pathosformel” e “Nachleben” em Warburg; “ponto de inflexão”, “diferença” e “repetição” em Deleuze, e “paradigma” e “analogia” em Agamben), operados principalmente por dinâmicas estruturais baseadas em dispositivos de diferença e repetição. Esta reflexão é motivada pela insurgente revisão epistemológica da historiografia contemporânea da arte e pelo poderio operacional possibilitado por esta estrutura ao lidar com as múltiplas complexidades das imagens.\n\nThis paper aims to approximate the structural operations and epistemological dynamics on the work of Aby Warburg (1866-1929), Giorgio Agamben (1942-) and Gilles Deleuze (1925-1995) to a certain philosophy of difference. It discuss about the common nature of the three authors’ conceptual matrix (highlighting Warburg’s “Pathosformel” and “Nachleben”, Deleuze’s “inflection point”, “difference” and “repetition”, and Agamben’s “paradigm” and “analogy”), operated mainly by dynamic structures based on difference and repetition devices. This reflection is motivated by the insurgent epistemological revision of contemporary art historiography and by the operational force possible by this structure when dealing with images’ multiple complexities.","downloadable_attachments":[{"id":65132486,"asset_id":44660357,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":51041873,"first_name":"Mateus","last_name":"Nunes","domain_name":"lisboa","page_name":"MateusNunes","display_name":"Mateus Nunes","profile_url":"https://lisboa.academia.edu/MateusNunes?f_ri=968659","photo":"https://0.academia-photos.com/51041873/13526918/38109668/s65_mateus.nunes.jpeg"}],"research_interests":[{"id":6784,"name":"Contemporary French Philosophy","url":"https://www.academia.edu/Documents/in/Contemporary_French_Philosophy?f_ri=968659","nofollow":true},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=968659","nofollow":true},{"id":9535,"name":"Giorgio Agamben","url":"https://www.academia.edu/Documents/in/Giorgio_Agamben?f_ri=968659","nofollow":true},{"id":11510,"name":"Deleuze","url":"https://www.academia.edu/Documents/in/Deleuze?f_ri=968659","nofollow":true},{"id":38817,"name":"Agamben","url":"https://www.academia.edu/Documents/in/Agamben?f_ri=968659"},{"id":39853,"name":"Post-Structuralism","url":"https://www.academia.edu/Documents/in/Post-Structuralism?f_ri=968659"},{"id":40877,"name":"Aby Warburg","url":"https://www.academia.edu/Documents/in/Aby_Warburg?f_ri=968659"},{"id":61155,"name":"Estética","url":"https://www.academia.edu/Documents/in/Est%C3%A9tica?f_ri=968659"},{"id":61251,"name":"Filosofía","url":"https://www.academia.edu/Documents/in/Filosof%C3%ADa?f_ri=968659"},{"id":109234,"name":"Art and image theory","url":"https://www.academia.edu/Documents/in/Art_and_image_theory?f_ri=968659"},{"id":117138,"name":"Philosophy of Difference","url":"https://www.academia.edu/Documents/in/Philosophy_of_Difference?f_ri=968659"},{"id":233858,"name":"Filosofia da Diferença","url":"https://www.academia.edu/Documents/in/Filosofia_da_Diferenca?f_ri=968659"},{"id":257296,"name":"Image theory","url":"https://www.academia.edu/Documents/in/Image_theory?f_ri=968659"},{"id":301008,"name":"Deleuze Studies","url":"https://www.academia.edu/Documents/in/Deleuze_Studies?f_ri=968659"},{"id":564924,"name":"Mnemosyne Atlas","url":"https://www.academia.edu/Documents/in/Mnemosyne_Atlas?f_ri=968659"},{"id":668559,"name":"Teoria Da Imagem","url":"https://www.academia.edu/Documents/in/Teoria_Da_Imagem?f_ri=968659"},{"id":692536,"name":"Filosofias da diferença","url":"https://www.academia.edu/Documents/in/Filosofias_da_diferenca?f_ri=968659"},{"id":952250,"name":"Aesthetics and Theories of Art (A. Warburg","url":"https://www.academia.edu/Documents/in/Aesthetics_and_Theories_of_Art_A._Warburg?f_ri=968659"},{"id":959844,"name":"Teorias Da Imagem","url":"https://www.academia.edu/Documents/in/Teorias_Da_Imagem?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9707806" data-work_id="9707806" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9707806/The_Spring_and_the_Reel_On_Film_and_Revolution_in_boundary_2_">The Spring and the Reel: On Film and Revolution (in boundary 2)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper deals with the problem of filmically representing political revolutions. In working out what film can do with and for revolution, it argues that the representation of revolution is not as powerful or mobilizing as the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9707806" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper deals with the problem of filmically representing political revolutions. In working out what film can do with and for revolution, it argues that the representation of revolution is not as powerful or mobilizing as the reflection of revolutionary practices and ideas, always at a distance from the realm of representation. Documentary practices, I contend, can serve active reflection on the side and site of struggle. The concept of reflection leads to a deeper phenomenological and historical understanding of such documentary footage, as well as an understanding of the dynamics of revolutionary events themselves. The essay responds to political-theoretical discourse positing the “invisibility” of politics and the People. Its central claim is that film, but also more broadly audiovisual media in all their current proliferation, can have a revolutionary function that is usefully distinguished from the old one of symbolically representing revolutionary unity. The medium’s function need not be reduced to collective self-representation, of imagining the people as ‘One,’ when it is also engaged in the diffuse work of creating revolutionary subjects out of the process of collective reflection. As both a record and a means of this reflection, film can be revolutionary in ways that are as far from the practices of Eisenstein and Vertov as they are from those of Lenin and Mao.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9707806" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d7a93227db4c1e982bc340cffab24655" rel="nofollow" data-download="{"attachment_id":52772183,"asset_id":9707806,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52772183/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="23262933" href="https://yorku.academia.edu/SDChrostowska">SD Chrostowska</a><script data-card-contents-for-user="23262933" type="text/json">{"id":23262933,"first_name":"SD","last_name":"Chrostowska","domain_name":"yorku","page_name":"SDChrostowska","display_name":"SD Chrostowska","profile_url":"https://yorku.academia.edu/SDChrostowska?f_ri=968659","photo":"https://0.academia-photos.com/23262933/6355469/82613782/s65_sd.chrostowska.jpg"}</script></span></span></li><li class="js-paper-rank-work_9707806 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9707806"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9707806, container: ".js-paper-rank-work_9707806", }); 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$(".js-view-count[data-work-id=9707806]").text(description); $(".js-view-count-work_9707806").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9707806").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9707806"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">38</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3399" rel="nofollow" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a>, <script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4487" rel="nofollow" href="https://www.academia.edu/Documents/in/Revolutions">Revolutions</a>, <script data-card-contents-for-ri="4487" type="text/json">{"id":4487,"name":"Revolutions","url":"https://www.academia.edu/Documents/in/Revolutions?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12444" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_History">Film History</a><script data-card-contents-for-ri="12444" type="text/json">{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9707806]'), work: {"id":9707806,"title":"The Spring and the Reel: On Film and Revolution (in boundary 2)","created_at":"2014-12-10T05:37:01.640-08:00","url":"https://www.academia.edu/9707806/The_Spring_and_the_Reel_On_Film_and_Revolution_in_boundary_2_?f_ri=968659","dom_id":"work_9707806","summary":"This paper deals with the problem of filmically representing political revolutions. In working out what film can do with and for revolution, it argues that the representation of revolution is not as powerful or mobilizing as the reflection of revolutionary practices and ideas, always at a distance from the realm of representation. Documentary practices, I contend, can serve active reflection on the side and site of struggle. The concept of reflection leads to a deeper phenomenological and historical understanding of such documentary footage, as well as an understanding of the dynamics of revolutionary events themselves. The essay responds to political-theoretical discourse positing the “invisibility” of politics and the People. Its central claim is that film, but also more broadly audiovisual media in all their current proliferation, can have a revolutionary function that is usefully distinguished from the old one of symbolically representing revolutionary unity. The medium’s function need not be reduced to collective self-representation, of imagining the people as ‘One,’ when it is also engaged in the diffuse work of creating revolutionary subjects out of the process of collective reflection. As both a record and a means of this reflection, film can be revolutionary in ways that are as far from the practices of Eisenstein and Vertov as they are from those of Lenin and Mao.","downloadable_attachments":[{"id":52772183,"asset_id":9707806,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":23262933,"first_name":"SD","last_name":"Chrostowska","domain_name":"yorku","page_name":"SDChrostowska","display_name":"SD Chrostowska","profile_url":"https://yorku.academia.edu/SDChrostowska?f_ri=968659","photo":"https://0.academia-photos.com/23262933/6355469/82613782/s65_sd.chrostowska.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=968659","nofollow":true},{"id":3399,"name":"Documentary (Film 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u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28743024" data-work_id="28743024" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28743024/_Depiction_and_Plastic_Perception_A_Critique_of_Husserl_s_Theory_of_Picture_Consciousness_in_Continental_Philosophy_Review_2_2007_171_185">“Depiction and Plastic Perception. A Critique of Husserl’s Theory of Picture Consciousness,” in Continental Philosophy Review, 2/2007, 171-185.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28743024" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that his overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. Inn this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account [a] the constructive and plastic moment, [b] the social dimension and [c] the genetic dimension of what it means to see something in something (Wollheim).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28743024" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f91c7ff392561f5ff6f98d0910e28eb2" rel="nofollow" data-download="{"attachment_id":49155065,"asset_id":28743024,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49155065/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11800681" href="https://michiganstate.academia.edu/ChristianLotz">Christian Lotz</a><script data-card-contents-for-user="11800681" type="text/json">{"id":11800681,"first_name":"Christian","last_name":"Lotz","domain_name":"michiganstate","page_name":"ChristianLotz","display_name":"Christian Lotz","profile_url":"https://michiganstate.academia.edu/ChristianLotz?f_ri=968659","photo":"https://0.academia-photos.com/11800681/8492545/104789503/s65_christian.lotz.jpg"}</script></span></span></li><li class="js-paper-rank-work_28743024 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28743024"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28743024, container: ".js-paper-rank-work_28743024", }); 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$(".js-view-count[data-work-id=28743024]").text(description); $(".js-view-count-work_28743024").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28743024").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28743024"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5178" rel="nofollow" href="https://www.academia.edu/Documents/in/Phenomenology">Phenomenology</a>, <script data-card-contents-for-ri="5178" type="text/json">{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8436" rel="nofollow" href="https://www.academia.edu/Documents/in/Edmund_Husserl">Edmund Husserl</a>, <script data-card-contents-for-ri="8436" type="text/json">{"id":8436,"name":"Edmund Husserl","url":"https://www.academia.edu/Documents/in/Edmund_Husserl?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="23487" rel="nofollow" href="https://www.academia.edu/Documents/in/Husserl">Husserl</a><script data-card-contents-for-ri="23487" type="text/json">{"id":23487,"name":"Husserl","url":"https://www.academia.edu/Documents/in/Husserl?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28743024]'), work: {"id":28743024,"title":"“Depiction and Plastic Perception. A Critique of Husserl’s Theory of Picture Consciousness,” in Continental Philosophy Review, 2/2007, 171-185.","created_at":"2016-09-27T06:55:22.725-07:00","url":"https://www.academia.edu/28743024/_Depiction_and_Plastic_Perception_A_Critique_of_Husserl_s_Theory_of_Picture_Consciousness_in_Continental_Philosophy_Review_2_2007_171_185?f_ri=968659","dom_id":"work_28743024","summary":"In this paper, I will present an argument against Husserl’s analysis of picture consciousness. Husserl’s analysis of picture consciousness (as it can be found primarily in the recently translated volume Husserliana 23) moves from a theory of depiction in general to a theory of perceptual imagination. Though I think that Husserl’s thesis that picture consciousness is different from depictive and linguistic consciousness is legitimate, and that Husserl’s phenomenology avoids the errors of linguistic theories, such as Goodman’s, I submit that his overall theory is unacceptable, especially when it is applied to works of art. Regarding art, the main problem of Husserl’s theory is the assumption that pictures are constituted primarily as a conflict between perception/physical picture thing and imagination/picture object. Against this mentalist claim, I maintain, from a hermeneutic point of view, that pictures are the result of perceptual formations [Bildungen]. I then claim that Husserl’s theory fails, since it does not take into account what I call “plastic perception” [Bildliches Sehen], which plays a prominent role not only within the German tradition of art education but also within German art itself. Inn this connection, “plastic thinking” [Bildliches Denken] was prominent especially in Klee, in Kandinsky, and in Beuys, as well as in the overall doctrine of the Bauhaus. Ultimately, I argue that Husserl’s notion of picture consciousness and general perceptive imaginary consciousness must be replaced with a more dynamic model of the perception of pictures and art work that takes into account [a] the constructive and plastic moment, [b] the social dimension and [c] the genetic dimension of what it means to see something in something (Wollheim).","downloadable_attachments":[{"id":49155065,"asset_id":28743024,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11800681,"first_name":"Christian","last_name":"Lotz","domain_name":"michiganstate","page_name":"ChristianLotz","display_name":"Christian Lotz","profile_url":"https://michiganstate.academia.edu/ChristianLotz?f_ri=968659","photo":"https://0.academia-photos.com/11800681/8492545/104789503/s65_christian.lotz.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=968659","nofollow":true},{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology?f_ri=968659","nofollow":true},{"id":8436,"name":"Edmund Husserl","url":"https://www.academia.edu/Documents/in/Edmund_Husserl?f_ri=968659","nofollow":true},{"id":23487,"name":"Husserl","url":"https://www.academia.edu/Documents/in/Husserl?f_ri=968659","nofollow":true},{"id":25618,"name":"Phenomenology of Space and Place","url":"https://www.academia.edu/Documents/in/Phenomenology_of_Space_and_Place?f_ri=968659"},{"id":26210,"name":"Philosophy of Images","url":"https://www.academia.edu/Documents/in/Philosophy_of_Images?f_ri=968659"},{"id":99514,"name":"Images","url":"https://www.academia.edu/Documents/in/Images?f_ri=968659"},{"id":670462,"name":"Philosophy of the Image","url":"https://www.academia.edu/Documents/in/Philosophy_of_the_Image?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"},{"id":1222774,"name":"Continental Philosophy and Aesthetics","url":"https://www.academia.edu/Documents/in/Continental_Philosophy_and_Aesthetics?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7767476" data-work_id="7767476" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7767476/Truth_of_Image_and_the_Visual_Turn_Photographs_by_Igor_E%C5%A1kinja_in_a_Context_of_Symbolic_Systems">Truth of Image and the Visual Turn. Photographs by Igor Eškinja in a Context of Symbolic Systems </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Both photographs occupy the prominent positions as universally known and culturally relevant "moments of truth" which only an aloof camera eye could transform into the objective historical and anthropological value. There are no... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7767476" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Both photographs occupy the prominent positions as universally known and culturally relevant "moments of truth" which only an aloof camera eye could transform into the objective historical and anthropological value. There are no controversies about whether these two photographs depict events as they really happened -did Federico Borrell García really died on the spot where he was photographed and was the American flag truly hoisted on the Suribachi mountain -and could it be the case that the photographs' factography or iconography has been adjusted to the wishes of news agency, needs of political opportunism or authors' creative interpretation. These are the images of real events and they have become part of imagery of warfare history and visual culture in general. Though these two photographs are not the same, their difference evolve not so much from a fact they present two entirely different events as much as from a manner in which they were shot. A snapshot by Robert Capa is an unrepeatable and unique moment in time when Federico Borrrell suddenly fell down, hit by a nationalist soldier's deadly bullet. On the other hand rather than precede it. Therefore, we can support Martin Jay's claim that following the visual turn images cannot be understood as the signs that, due to analogy with natural objects, still possess some universal communication power. 2 On contrary, today the meaning of images is constituted through processes of resemantization or, as Norman Bryson would put it, by ascribing images with "discursive" features and by abandoning their "figural" features.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7767476" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="03cc829b5379b0c111cd766109d1bb21" rel="nofollow" data-download="{"attachment_id":34280935,"asset_id":7767476,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34280935/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2223529" href="https://unios.academia.edu/Kre%C5%A1imirPurgar">Krešimir Purgar</a><script data-card-contents-for-user="2223529" type="text/json">{"id":2223529,"first_name":"Krešimir","last_name":"Purgar","domain_name":"unios","page_name":"KrešimirPurgar","display_name":"Krešimir Purgar","profile_url":"https://unios.academia.edu/Kre%C5%A1imirPurgar?f_ri=968659","photo":"https://0.academia-photos.com/2223529/711019/154869468/s65_kre_imir.purgar.jpg"}</script></span></span></li><li class="js-paper-rank-work_7767476 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7767476"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7767476, container: ".js-paper-rank-work_7767476", }); 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Photographs by Igor Eškinja in a Context of Symbolic Systems ","created_at":"2014-07-24T01:05:51.012-07:00","url":"https://www.academia.edu/7767476/Truth_of_Image_and_the_Visual_Turn_Photographs_by_Igor_E%C5%A1kinja_in_a_Context_of_Symbolic_Systems?f_ri=968659","dom_id":"work_7767476","summary":"Both photographs occupy the prominent positions as universally known and culturally relevant \"moments of truth\" which only an aloof camera eye could transform into the objective historical and anthropological value. There are no controversies about whether these two photographs depict events as they really happened -did Federico Borrell García really died on the spot where he was photographed and was the American flag truly hoisted on the Suribachi mountain -and could it be the case that the photographs' factography or iconography has been adjusted to the wishes of news agency, needs of political opportunism or authors' creative interpretation. These are the images of real events and they have become part of imagery of warfare history and visual culture in general. Though these two photographs are not the same, their difference evolve not so much from a fact they present two entirely different events as much as from a manner in which they were shot. A snapshot by Robert Capa is an unrepeatable and unique moment in time when Federico Borrrell suddenly fell down, hit by a nationalist soldier's deadly bullet. On the other hand rather than precede it. Therefore, we can support Martin Jay's claim that following the visual turn images cannot be understood as the signs that, due to analogy with natural objects, still possess some universal communication power. 2 On contrary, today the meaning of images is constituted through processes of resemantization or, as Norman Bryson would put it, by ascribing images with \"discursive\" features and by abandoning their \"figural\" features.","downloadable_attachments":[{"id":34280935,"asset_id":7767476,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2223529,"first_name":"Krešimir","last_name":"Purgar","domain_name":"unios","page_name":"KrešimirPurgar","display_name":"Krešimir Purgar","profile_url":"https://unios.academia.edu/Kre%C5%A1imirPurgar?f_ri=968659","photo":"https://0.academia-photos.com/2223529/711019/154869468/s65_kre_imir.purgar.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=968659","nofollow":true},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=968659","nofollow":true},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=968659","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=968659","nofollow":true},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37574323 coauthored" data-work_id="37574323" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37574323/Antropolog%C3%ADa_de_la_imagen_una_introducci%C3%B3n">Antropología de la imagen: una introducción</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37574323" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="758034c9b397dc1d50dba5a2dc68f415" rel="nofollow" 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type="text/json">{"id":2544211,"first_name":"Tarek","last_name":"Elhaik","domain_name":"ucdavis","page_name":"TarekElhaik","display_name":"Tarek Elhaik","profile_url":"https://ucdavis.academia.edu/TarekElhaik?f_ri=968659","photo":"https://0.academia-photos.com/2544211/792737/985470/s65_tarek.elhaik.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-37574323">+1</span><div class="hidden js-additional-users-37574323"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/xandrade3">xavier andrade</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-37574323'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-37574323').html(); } } new HoverPopover(popoverSettings); 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container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_37574323 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="37574323"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37574323; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37574323]").text(description); $(".js-view-count-work_37574323").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37574323").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37574323"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="767" rel="nofollow" href="https://www.academia.edu/Documents/in/Anthropology">Anthropology</a>, <script data-card-contents-for-ri="767" type="text/json">{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1760" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Anthropology">Media Anthropology</a>, <script 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andrade","profile_url":"https://independent.academia.edu/xandrade3?f_ri=968659","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=968659","nofollow":true},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=968659","nofollow":true},{"id":1760,"name":"Media Anthropology","url":"https://www.academia.edu/Documents/in/Media_Anthropology?f_ri=968659","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=968659","nofollow":true},{"id":3499,"name":"Social and Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Social_and_Cultural_Anthropology?f_ri=968659"},{"id":8232,"name":"Anthropology Of Art","url":"https://www.academia.edu/Documents/in/Anthropology_Of_Art?f_ri=968659"},{"id":122138,"name":"Image Studies","url":"https://www.academia.edu/Documents/in/Image_Studies?f_ri=968659"},{"id":173515,"name":"Anthropology of Image","url":"https://www.academia.edu/Documents/in/Anthropology_of_Image?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29635173" data-work_id="29635173" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29635173/Semiotyka_wizualna_mi%C4%99dzy_tekstualno%C5%9Bci%C4%85_a_praktyk%C4%85_Wok%C3%B3%C5%82_wypowiadania_La_s%C3%A9miotique_visuelle_entre_textualit%C3%A9_et_pratique_Autour_de_l_%C3%A9nonciation_2016">Semiotyka wizualna między tekstualnością a praktyką. Wokół wypowiadania » [La sémiotique visuelle entre textualité et pratique. Autour de l’énonciation] 2016</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">POL: Niniejszy artykuł stawia sobie dwa cele. Pierwszym jest porównanie semiotyki tekstu Algirdasa Juliena Greimasa i Louisa Marina z semiotyką praktyk Jacques’a Fontanille’a. Prace Michela de Certeau na temat praktyk odbioru i użycia... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29635173" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">POL:<br />Niniejszy artykuł stawia sobie dwa cele. Pierwszym jest porównanie semiotyki tekstu Algirdasa Juliena Greimasa i Louisa Marina z semiotyką praktyk Jacques’a Fontanille’a. Prace Michela de Certeau na temat praktyk odbioru i użycia pozwolą wyjaśnić relację między pojęciem wypowiadania wypowiedzianego (énonciation énoncée) w paradygmacie tekstu i wypowiadania w akcie (énonciation en acte) w paradygmacie praktyk.<br />Drugim celem jest problematyzacja pojęcia wypowiadania w ramach języka wizualnego. W oparciu o teorie i analizy Louisa Marina (Opacité en peinture – Nieprzejrzystość w malarstwie) ukazana zostanie użyteczność pojęcia wypowiadania wypowiedzianego w studiach nad obrazami i podjęta zostanie próba przetestowania znaczenia, które wypowiadaniu nadaje de Certeau (Wynaleźć codzienność 1. Sztuki działania) w ramach odbioru i interpretacji obrazów.<br /><br />FR: <br />Notre article vise deux objectifs. Le premier est de comparer la sémiotique du texte d’Algirdas Julien Greimas et de Louis Marin avec la sémiotique des pratiques de Jacques Fontanille. Les travaux de Michel de Certeau sur les pratiques de réception et d’usage nous permettront d’éclaircir la relation entre les notions d’énonciation énoncée dans le paradigme du texte et d’énonciation en acte dans le paradigme des pratiques.  <br />Le deuxième objectif est de problématiser la notion d’énonciation dans le cadre du langage visuel. Nous nous appuierons sur les théories et les analyses de Louis Marin (Opacité de la peinture) pour démontrer l’utilité de la notion d’énonciation énoncée pour étudier les images, et nous tâcherons de tester l’acception d’énonciation promue par de Certeau (L’invention du quotidien 1. Arts de faire) dans le cadre de la réception et de l’interprétation d’images.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29635173" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="933f2bcdbf7d2ee89a3bac37c8a9515a" rel="nofollow" data-download="{"attachment_id":50073837,"asset_id":29635173,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50073837/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26580255" href="https://frs-fnrs.academia.edu/MariaGiuliaDondero">Maria Giulia Dondero</a><script data-card-contents-for-user="26580255" type="text/json">{"id":26580255,"first_name":"Maria Giulia","last_name":"Dondero","domain_name":"frs-fnrs","page_name":"MariaGiuliaDondero","display_name":"Maria Giulia Dondero","profile_url":"https://frs-fnrs.academia.edu/MariaGiuliaDondero?f_ri=968659","photo":"https://0.academia-photos.com/26580255/11049234/35671517/s65_maria_giulia.dondero.jpg"}</script></span></span></li><li class="js-paper-rank-work_29635173 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29635173"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29635173, container: ".js-paper-rank-work_29635173", }); 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$(".js-view-count[data-work-id=29635173]").text(description); $(".js-view-count-work_29635173").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29635173").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29635173"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="4399" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Semiotics">Visual Semiotics</a>, <script data-card-contents-for-ri="4399" type="text/json">{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="22801" rel="nofollow" href="https://www.academia.edu/Documents/in/Michel_de_Certeau">Michel de Certeau</a>, <script data-card-contents-for-ri="22801" type="text/json">{"id":22801,"name":"Michel de Certeau","url":"https://www.academia.edu/Documents/in/Michel_de_Certeau?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="40893" rel="nofollow" href="https://www.academia.edu/Documents/in/S%C3%A9miotique">Sémiotique</a>, <script data-card-contents-for-ri="40893" type="text/json">{"id":40893,"name":"Sémiotique","url":"https://www.academia.edu/Documents/in/S%C3%A9miotique?f_ri=968659","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="285579" rel="nofollow" href="https://www.academia.edu/Documents/in/Algirdas_Julien_Greimas">Algirdas Julien Greimas</a><script data-card-contents-for-ri="285579" type="text/json">{"id":285579,"name":"Algirdas Julien Greimas","url":"https://www.academia.edu/Documents/in/Algirdas_Julien_Greimas?f_ri=968659","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29635173]'), work: {"id":29635173,"title":"Semiotyka wizualna między tekstualnością a praktyką. Wokół wypowiadania » [La sémiotique visuelle entre textualité et pratique. Autour de l’énonciation] 2016","created_at":"2016-11-03T01:37:55.307-07:00","url":"https://www.academia.edu/29635173/Semiotyka_wizualna_mi%C4%99dzy_tekstualno%C5%9Bci%C4%85_a_praktyk%C4%85_Wok%C3%B3%C5%82_wypowiadania_La_s%C3%A9miotique_visuelle_entre_textualit%C3%A9_et_pratique_Autour_de_l_%C3%A9nonciation_2016?f_ri=968659","dom_id":"work_29635173","summary":"POL:\nNiniejszy artykuł stawia sobie dwa cele. Pierwszym jest porównanie semiotyki tekstu Algirdasa Juliena Greimasa i Louisa Marina z semiotyką praktyk Jacques’a Fontanille’a. Prace Michela de Certeau na temat praktyk odbioru i użycia pozwolą wyjaśnić relację między pojęciem wypowiadania wypowiedzianego (énonciation énoncée) w paradygmacie tekstu i wypowiadania w akcie (énonciation en acte) w paradygmacie praktyk.\nDrugim celem jest problematyzacja pojęcia wypowiadania w ramach języka wizualnego. W oparciu o teorie i analizy Louisa Marina (Opacité en peinture – Nieprzejrzystość w malarstwie) ukazana zostanie użyteczność pojęcia wypowiadania wypowiedzianego w studiach nad obrazami i podjęta zostanie próba przetestowania znaczenia, które wypowiadaniu nadaje de Certeau (Wynaleźć codzienność 1. Sztuki działania) w ramach odbioru i interpretacji obrazów.\n\nFR: \nNotre article vise deux objectifs. Le premier est de comparer la sémiotique du texte d’Algirdas Julien Greimas et de Louis Marin avec la sémiotique des pratiques de Jacques Fontanille. Les travaux de Michel de Certeau sur les pratiques de réception et d’usage nous permettront d’éclaircir la relation entre les notions d’énonciation énoncée dans le paradigme du texte et d’énonciation en acte dans le paradigme des pratiques. \nLe deuxième objectif est de problématiser la notion d’énonciation dans le cadre du langage visuel. Nous nous appuierons sur les théories et les analyses de Louis Marin (Opacité de la peinture) pour démontrer l’utilité de la notion d’énonciation énoncée pour étudier les images, et nous tâcherons de tester l’acception d’énonciation promue par de Certeau (L’invention du quotidien 1. 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(2018) L'etica dei migranti, la terra del nomos: l'attualità della chōra /The ethics of migrants, the earth of the nomos: The topicality of chōra</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this paper, I argue that the ethical identity of Western man/woman is a migrant identity, on the basis of how its first foundations were outlined by Aristotle. Though entirely internal to the cultural striations of the West, this... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_53211778" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this paper, I argue that the ethical identity of Western man/woman is a migrant identity, on the basis of how its first foundations were outlined by Aristotle. Though entirely internal to the cultural striations of the West, this ethical identity destabilizes them, as it is bearer of a logic of the third arising from the Platonic concept of interweaving. This Platonic concept is interpreted here as the original formulation of the nature of complexity. The same logic of the third characterizes, in my view, the idea of chōra as land and sea of action. Just by virtue of the ethical concept of action, chōra is land and sea of migrations and also links its identity to all the meanings of nomos. A geographical theory of migrations is delineated here, aimed at interpreting the contemporary world through the reinterpretation of the epistemological potential of chōra and the reasons of its topicality.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/53211778" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cacfa7538486ebca9397745d73d67191" rel="nofollow" data-download="{"attachment_id":117655374,"asset_id":53211778,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/117655374/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="97227965" href="https://unibo.academia.edu/StefaniaBonfiglioli">Stefania Bonfiglioli</a><script data-card-contents-for-user="97227965" type="text/json">{"id":97227965,"first_name":"Stefania","last_name":"Bonfiglioli","domain_name":"unibo","page_name":"StefaniaBonfiglioli","display_name":"Stefania Bonfiglioli","profile_url":"https://unibo.academia.edu/StefaniaBonfiglioli?f_ri=968659","photo":"https://0.academia-photos.com/97227965/25177974/115656598/s65_stefania.bonfiglioli.jpg"}</script></span></span></li><li class="js-paper-rank-work_53211778 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="53211778"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 53211778, container: ".js-paper-rank-work_53211778", }); 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(2018) L'etica dei migranti, la terra del nomos: l'attualità della chōra /The ethics of migrants, the earth of the nomos: The topicality of chōra","created_at":"2021-09-22T03:43:36.491-07:00","url":"https://www.academia.edu/53211778/BONFIGLIOLI_S_2018_Letica_dei_migranti_la_terra_del_nomos_lattualit%C3%A0_della_ch%C5%8Dra_The_ethics_of_migrants_the_earth_of_the_nomos_The_topicality_of_ch%C5%8Dra?f_ri=968659","dom_id":"work_53211778","summary":"In this paper, I argue that the ethical identity of Western man/woman is a migrant identity, on the basis of how its first foundations were outlined by Aristotle. Though entirely internal to the cultural striations of the West, this ethical identity destabilizes them, as it is bearer of a logic of the third arising from the Platonic concept of interweaving. This Platonic concept is interpreted here as the original formulation of the nature of complexity. The same logic of the third characterizes, in my view, the idea of chōra as land and sea of action. Just by virtue of the ethical concept of action, chōra is land and sea of migrations and also links its identity to all the meanings of nomos. A geographical theory of migrations is delineated here, aimed at interpreting the contemporary world through the reinterpretation of the epistemological potential of chōra and the reasons of its topicality.","downloadable_attachments":[{"id":117655374,"asset_id":53211778,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":97227965,"first_name":"Stefania","last_name":"Bonfiglioli","domain_name":"unibo","page_name":"StefaniaBonfiglioli","display_name":"Stefania Bonfiglioli","profile_url":"https://unibo.academia.edu/StefaniaBonfiglioli?f_ri=968659","photo":"https://0.academia-photos.com/97227965/25177974/115656598/s65_stefania.bonfiglioli.jpg"}],"research_interests":[{"id":262,"name":"Human Geography","url":"https://www.academia.edu/Documents/in/Human_Geography?f_ri=968659","nofollow":true},{"id":263,"name":"Cultural Geography","url":"https://www.academia.edu/Documents/in/Cultural_Geography?f_ri=968659","nofollow":true},{"id":4850,"name":"Migration","url":"https://www.academia.edu/Documents/in/Migration?f_ri=968659","nofollow":true},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=968659","nofollow":true},{"id":10494,"name":"Mediterranean","url":"https://www.academia.edu/Documents/in/Mediterranean?f_ri=968659"},{"id":14191,"name":"Philosophy of Geography","url":"https://www.academia.edu/Documents/in/Philosophy_of_Geography?f_ri=968659"},{"id":14730,"name":"Migration Studies","url":"https://www.academia.edu/Documents/in/Migration_Studies?f_ri=968659"},{"id":14741,"name":"Strabo","url":"https://www.academia.edu/Documents/in/Strabo?f_ri=968659"},{"id":24086,"name":"Carl Schmitt","url":"https://www.academia.edu/Documents/in/Carl_Schmitt?f_ri=968659"},{"id":35109,"name":"Chorography","url":"https://www.academia.edu/Documents/in/Chorography?f_ri=968659"},{"id":72707,"name":"History and philosophy of Geography","url":"https://www.academia.edu/Documents/in/History_and_philosophy_of_Geography?f_ri=968659"},{"id":112819,"name":"Nomos","url":"https://www.academia.edu/Documents/in/Nomos?f_ri=968659"},{"id":359281,"name":"Greek Nomos","url":"https://www.academia.edu/Documents/in/Greek_Nomos?f_ri=968659"},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_48926895 coauthored" data-work_id="48926895" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/48926895/Au_del%C3%A0_des_sens_labstraction">Au-delà des sens, l'abstraction</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay explores several non-figurative objects to show that abstraction—predicated as it was on the theological articulation between truth, facts, and language—emerged in the Middle Ages as the primary vehicle for materializing the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_48926895" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay explores several non-figurative objects to show that abstraction—predicated as it was on the theological articulation between truth, facts, and language—emerged in the Middle Ages as the primary vehicle for materializing the ineffable. We begin our analysis with a consideration of medieval notions of abstraction as a mode of figuration and subsequently focus on three non-mimetic images in three media that span three centuries as our case studies. The abstractive operations at work in these images, which form a distinctive visual method, encouraged the pursuit of truth that lies beyond sensory perception by engendering the process of abstraction, both visual and intellectual, as it was understood in the Middle Ages.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/48926895" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3009d953ea4fbc97d5b43cd185488615" rel="nofollow" data-download="{"attachment_id":67330352,"asset_id":48926895,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67330352/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13491993" href="https://case.academia.edu/ElinaGertsman">Elina Gertsman</a><script data-card-contents-for-user="13491993" type="text/json">{"id":13491993,"first_name":"Elina","last_name":"Gertsman","domain_name":"case","page_name":"ElinaGertsman","display_name":"Elina Gertsman","profile_url":"https://case.academia.edu/ElinaGertsman?f_ri=968659","photo":"https://0.academia-photos.com/13491993/3777917/4422637/s65_elina.gertsman.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-48926895">+1</span><div class="hidden js-additional-users-48926895"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://ehess.academia.edu/VincentDebiais">Vincent Debiais</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-48926895'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-48926895').html(); 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We begin our analysis with a consideration of medieval notions of abstraction as a mode of figuration and subsequently focus on three non-mimetic images in three media that span three centuries as our case studies. The abstractive operations at work in these images, which form a distinctive visual method, encouraged the pursuit of truth that lies beyond sensory perception by engendering the process of abstraction, both visual and intellectual, as it was understood in the Middle Ages. ","downloadable_attachments":[{"id":67330352,"asset_id":48926895,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13491993,"first_name":"Elina","last_name":"Gertsman","domain_name":"case","page_name":"ElinaGertsman","display_name":"Elina Gertsman","profile_url":"https://case.academia.edu/ElinaGertsman?f_ri=968659","photo":"https://0.academia-photos.com/13491993/3777917/4422637/s65_elina.gertsman.jpg"},{"id":116201424,"first_name":"Vincent","last_name":"Debiais","domain_name":"ehess","page_name":"VincentDebiais","display_name":"Vincent Debiais","profile_url":"https://ehess.academia.edu/VincentDebiais?f_ri=968659","photo":"https://0.academia-photos.com/116201424/31583550/28926684/s65_vincent.debiais.jpg"}],"research_interests":[{"id":20759,"name":"Abstraction","url":"https://www.academia.edu/Documents/in/Abstraction?f_ri=968659","nofollow":true},{"id":22386,"name":"Medieval Art","url":"https://www.academia.edu/Documents/in/Medieval_Art?f_ri=968659","nofollow":true},{"id":27500,"name":"Representation Theory","url":"https://www.academia.edu/Documents/in/Representation_Theory?f_ri=968659","nofollow":true},{"id":257296,"name":"Image theory","url":"https://www.academia.edu/Documents/in/Image_theory?f_ri=968659","nofollow":true},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=968659"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39116962" data-work_id="39116962" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39116962/_Paganismo_triunfante_Aby_Warburg_y_la_imagen_del_papa_como_emperador">"Paganismo triunfante". Aby Warburg y la imagen del papa como emperador</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39116962" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="22bc62742c230248e508085a85386741" rel="nofollow" data-download="{"attachment_id":101453136,"asset_id":39116962,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/101453136/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11524124" href="https://unal.academia.edu/rossemberalape">Rossember Alape</a><script data-card-contents-for-user="11524124" type="text/json">{"id":11524124,"first_name":"Rossember","last_name":"Alape","domain_name":"unal","page_name":"rossemberalape","display_name":"Rossember Alape","profile_url":"https://unal.academia.edu/rossemberalape?f_ri=968659","photo":"https://0.academia-photos.com/11524124/3920751/50269322/s65_rossember.alape.jpg"}</script></span></span></li><li class="js-paper-rank-work_39116962 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39116962"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39116962, container: ".js-paper-rank-work_39116962", }); 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I Salons di Diderot</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">I Salons di Denis Diderot si presentano come un suggestivo viaggio attraverso le immagini artistiche e una preziosa testimonianza della cultura visuale settecentesca, condotta da uno dei protagonisti della rivoluzione culturale... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36575912" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">I Salons di Denis Diderot si presentano come un suggestivo viaggio attraverso le immagini artistiche e una preziosa testimonianza della cultura visuale settecentesca, condotta da uno dei protagonisti della rivoluzione culturale dell’Illuminismo. Inventando un nuovo genere letterario, Diderot inaugura uno sguardo estetico e filosofico sulle opere d’arte capace di dialogare con le istanze contemporanee che attraversano il nostro quotidiano commercio con il dominio delle immagini. Nella prima parte del volume sono analizzate le principali categorie estetiche attraverso cui Diderot legge e interpreta le opere d’arte, mentre nella seconda sezione è il confronto con i singoli artisti (Chardin, Deshays, Falconet, Fragonard, Greuze, La Tour, Robert, Vernet) a sollecitare un’interrogazione sulla natura e sulle diverse funzioni delle immagini.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36575912" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0b36b58086103ef590db176794e4e8ec" rel="nofollow" data-download="{"attachment_id":56502472,"asset_id":36575912,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56502472/download_file?st=MTc0MDU3MTk5Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5872101" href="https://unimi.academia.edu/MicheleBertolini">Michele Bertolini</a><script data-card-contents-for-user="5872101" type="text/json">{"id":5872101,"first_name":"Michele","last_name":"Bertolini","domain_name":"unimi","page_name":"MicheleBertolini","display_name":"Michele Bertolini","profile_url":"https://unimi.academia.edu/MicheleBertolini?f_ri=968659","photo":"https://0.academia-photos.com/5872101/2511982/159943094/s65_michele.bertolini.jpg"}</script></span></span></li><li class="js-paper-rank-work_36575912 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36575912"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36575912, container: ".js-paper-rank-work_36575912", }); 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Nella prima parte del volume sono analizzate le principali categorie estetiche attraverso cui Diderot legge e interpreta le opere d’arte, mentre nella seconda sezione è il confronto con i singoli artisti (Chardin, Deshays, Falconet, Fragonard, Greuze, La Tour, Robert, Vernet) a sollecitare un’interrogazione sulla natura e sulle diverse funzioni delle immagini. 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