Chapter 7. Kandinsky’s colour-form correspondence theory

2018 ◽  
pp. 123-145
Author(s):  
Sebastian Walter
2014 ◽  
Vol 31 (1) ◽  
pp. 91-124
Author(s):  
Michael Dorfman

In a series of works published over a period of twenty five years, C.W. Huntington, Jr. has developed a provocative and radical reading of Madhyamaka (particularly Early Indian Madhyamaka) inspired by ‘the insights of post- Wittgensteinian pragmatism and deconstruction’ (1993, 9). This article examines the body of Huntington’s work through the filter of his seminal 2007 publication, ‘The Nature of the M?dhyamika Trick’, a polemic aimed at a quartet of other recent commentators on Madhyamaka (Robinson, Hayes, Tillemans and Garfield) who attempt ‘to read N?g?rjuna through the lens of modern symbolic logic’ (2007, 103), a project which is the ‘end result of a long and complex scholastic enterprise … [which] can be traced backwards from contemporary academic discourse to fifteenth century Tibet, and from there into India’ (2007, 111) and which Huntington sees as distorting the Madhyamaka project which was not aimed at ‘command[ing] assent to a set of rationally grounded doctrines, tenets, or true conclusions’ (2007, 129). This article begins by explicating some disparate strands found in Huntington’s work, which I connect under a radicalized notion of ‘context’. These strands consist of a contextualist/pragmatic theory of truth (as opposed to a correspondence theory of truth), a contextualist epistemology (as opposed to one relying on foundationalist epistemic warrants), and a contextualist ontology where entities are viewed as necessarily relational (as opposed to possessing a context-independent essence.) I then use these linked theories to find fault with Huntington’s own readings of Candrak?rti and N?g?rjuna, arguing that Huntington misreads the semantic context of certain key terms (tarka, d???i, pak?a and pratijñ?) and fails to follow the implications of N?g?rjuna and Candrak?rti’s reliance on the role of the pram??as in constituting conventional reality. Thus, I find that Huntington’s imputation of a rejection of logic and rational argumentation to N?g?rjuna and Candrak?rti is unwarranted. Finally, I offer alternate readings of the four contemporary commentators selected by Huntington, using the conceptual apparatus developed earlier to dismiss Robinson’s and Hayes’s view of N?g?rjuna as a charlatan relying on logical fallacies, and to find common ground between Huntington’s project and the view of N?g?rjuna developed by Tillemans and Garfield as a thinker committed using reason to reach, through rational analysis, ‘the limits of thought.’


2013 ◽  
pp. 66-75
Author(s):  
Anna Opiela

This article analyses poetic visions, based on synesthesia and referring to Swedenborg’s correspondence theory, evoked by listening to music. In these visions the musical impressions are in some way sanctified and they contribute to the development of the spiritual area. This aesthetic phenomenon is noticeable in Balzac’s novels. The music for him is the light penetrating the listener’s soul and a means of accessing divine mysteries. Similarly, in George Sand’s works music is the inspiration to create soulful poetic visions and the character of Consuelo who, by her singing, is vouchsafed by divine revelations.


1974 ◽  
Vol 22 (3) ◽  
pp. 417 ◽  
Author(s):  
NA Campbell ◽  
RJ Mahon

A multivariate approach has been used to study morphological variation in the blue and orange-form species of rock crab of the genus Leptograpsus. Objective criteria for the identification of the two species are established, based on the following characters: width of the frontal region of the carapace; width of the posterior region of the carapace (rear width); length of the carapace along the midline; maximum width of the carapace; and the depth of the body. The first canonical variate, which differentiates between the two species, represents a contrast between the carapace width relative to the width of the front lip and the depth of the body; the blue-form species has a greater relative carapace width than has the orange form. The second canonical variate, which presents a contrast between the rear width and the carapace length, identifies males and females within each species; males have a greater relative carapace length than have females. All individuals, including 20 not used in the study, were correctly identified for colour form. The clear separation of the blue and orange forms achieved by canonical analysis supports the previously determined specific status of the two forms.


2021 ◽  
Vol 124 ◽  
pp. 10003
Author(s):  
Nurul Nisa Omar

Through the process of visual analysis of an artwork called ‘Hidden’, this research article explores the relevance of art and design projects for the development of AESD - Art Education for Sustainable Development. ‘Hidden’ is the name of one of the paintings produced in an art project by the Faculty of Communication, Arts and Media at the International University of Malaya-Wales, Malaysia. The concept of the project is for lecturers and students to produce artwork that revolves around the message of sustainability and 90% of the artwork must use recycled waste materials. The visual analysis of ‘Hidden’ covers five aspects of visual elements which are composition, focal point, colour, form, and symbolic value. It was found that there are multiple deepening sustainability messages within the artwork through the analysis of the actual meaning of the image, the estimate changes in meaning over time, and the student's reflection and reaction. The main questions addressed by this article are: What are the complex ‘pool’ of sustainability messages generated through a single image? How producing art can stimulate students’ consciousness on the importance of sustainable living? In conclusion, this article proposes that AESD is a positive and useful approach for students to embrace the sustainability culture.


2017 ◽  
Vol 7 (1) ◽  
pp. 81
Author(s):  
Via Linda Siswati

Philosophy of science is a branch of philosophy that reflects, radically and integral about the nature of knowledge itself. This writing aims to understand: (1) understanding of knowledge and science in etymology and terminology. (2) the difference of science, knowledge and religion in epistimology. (3) the extent of science in Islam. (4) the basic characteristics of science. (5) truth theory. (6) sources of knowledge. (7) the boundaries of science (8) the structure of knowledge. The results of this paper are: (1) science is from Arabic, 'alima. The meaning of this word is knowledge. And science in terminology is the whole conscious effort to investigate, find, and improve human understanding from various aspects of reality in human nature and we know (2) The location of the difference is the science is a summary of a collection of knowledge or the result of knowledge and facts, The order of faith or order of belief in the existence of something absolute outside man, in accordance and in line with the order of faith and order of worship. (3) The principal features of science are as follows: (a) Systematic, (b) Authenticity, (c) Rationality, (d) Objectivity, (e) Verifiability, (f) Communality. (4) The theory in a theory of truth there are 3 namely: Correspondence Theory, Coherence Theory, Theory of Pragmatism. (4) The source of human knowledge uses two ways of obtaining correct knowledge, first through rationality and secondly through experience. (5) Science limits its exploration to human experience, hence science begins on exploration of human experience and ceases to human experience, and that is the limit of knowledge. (6) Science is essentially a collection of knowledge that explains the various natural phenomena that allow humans to perform a series of actions to master these symptoms based on existing explanations.


Mind ◽  
2007 ◽  
Vol 116 (461) ◽  
pp. 234-237
Author(s):  
J. Collins

1882 ◽  
Vol 69 (1882) ◽  
pp. 294-307
Author(s):  
J ADAMS ◽  
S J V DAY ◽  
J ERICSSON ◽  
H E JONES ◽  
A B W KENNEDY ◽  
...  

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