Peircean Semiotics in the Context of Design Praxis: Abduction and Perception in Dialogue
This paper discusses design process as a creative activity along with conceptual correlations of the semiotics developed by Charles Sanders Peirce. The central aim of this paper is to examine one of the most important concepts in Peirce’s theory related to design praxis: the concept of abduction. Abduction is the driving force behind creation and a way of producing new ideas. Peirce’s original concept is fundamental in order to maintain constant commitment to innovation required by design. To transmit messages in a creative way it is more efficient to intensely work with associations by similarity in order to obtain signs rich in information and analogies. Design communicates by all its constituent elements: shape, function, colour, material, technique, technology, etc. Therefore, signs of design share peculiar values of artistic signs as well as those of communicative ones. The associated information is as much aesthetic (shape) as it is semantic (content). The appropriation of Peircean concepts contributes to the understanding of the creative process, which in turn is crucial for understanding new possibilities by means of design.
The article concerns R. Wollheim’s theory of twofoldness, the one of the most acclaimed analytical theories of pictorial representation. Wohhleim has pointed to the structural distinction of seeing pictures from seeing objects and situations face-to-face, thus proposing the theory of seeing-in and twofoldness. This conception presupposes the split, simultaneous seeing of the picture’s object and material surface. Considering the basic influences, features and shortcomings of Wollheim’s theory, author specifies the question of to what extent the scope of this theory is limited to artistic pictures. Alongside with this theory’s reconstruction and critique, the article provides its interpretation based on spatially-oriented definitions of twofoldness (B. Nanay, J. Kulvicki) coupled with the actualization of the distinction between representational content of a picture and its figurative content. The first one includes all spatial relations that can be seen in it, the second one – all that can be seen in it and described by non-abstract concepts. Wollheim reframed to apply this distinction to his notion on twofoldness. But it gives the possibility to bring out the convincing definition of twofoldness as the simultaneous visual experience of pictorial surface (i.e., some material object in viewer’s egocentric space) and of representational content (i.e., semantically active spatial relations which one sees in the picture). This interpretation may be considered a useful instrument for non-reductionist description of pictorial experience and pictures’ ontological duality, hence it is devoid of Wollheim’s psychologism while maintaining his focus on visuality. Moreover, it provides some opportunities for applying Wollheim’s theory beyond the contexts of analytical philosophy of pictures, thus connecting it to the problems of phenomenological and hermeneutic theories of image.
This article aims at analyzing objects as signs of filmic aesthetic. Objects acquire several functions in films: Sometimes they are only scene objects or support a particular film style. Some objects are specially chosen to translate the characters’ interior or the directors’s aesthetical or even his ethical commitment with the narrative. In order to understand such functions and commitments this paper analyze objects of Wim Wenders’ films and apply an original systematic, which is based on Peircean semiotics and intermedial studies. This theme involves Cinema and Design, but it also embraces points of view of other disciplines, such as literature studies, history, psychology and sociology.
Recent events in Ukraine and Russia and the subsequent incorporation of Crimea into the Russian state, with the support of some circles of inhabitants of the peninsula, have shown that the desire of people to belong to the Western part of Europe should not automatically be assumed. Discussing different perceptions of the Ukrainian-Russian war in neighbouring countries, this book offers an analysis of the conflicts and issues connected with the shifting of the border regions of Russia and Ukraine to show how ’material’ and ’psychological’ borders are never completely stable ideas. The contributors – historians, sociologists, anthropologists and political scientists from across Europe – use an interdisciplinary and comparative approach to explore the different national and transnational perceptions of a possible future role for Russia.
Plato’s interest in vision and the visual is multifaceted, and complex. Visual words and images are frequent in the dialogues along with many direct and indirect discussions of physiological, intellectual, and social vision. The increased emphasis in recent scholarship on the importance of visuality in Plato is a part of a ‘scopic turn,’ the effect of which was to ground interpretations of the history of western European philosophy and metaphysics in its entirety in certain optical premises.
The article considers the Views of L. N. Tolstoy not only as a representative, but also as a accomplisher of the Enlightenment. A comparison of his philosophy with the ideas of Spinoza and Diderot made it possible to clarify some aspects of the transition to the unique Tolstoy’s religious and philosophical doctrine. The comparison of General and specific features of the three philosophers was subjected to a special analysis. Special attention is paid to the way of thinking, the relation to science and the specifics of the worldview by Tolstoy and Diderot. An important aspect is researched the contradiction between the way of thinking and the way of life of the three philosophers.
Tolstoy's transition from rational perception of life to its religious and existential bases is shown. Tolstoy gradually moves away from the idea of a natural man to the idea of a man, who living the commandments of Christ. Starting from the educational worldview, Tolstoy ended by creation of religious and philosophical doctrine, which were relevant for the 20th century.
The article is concerned with the notions of technology in essays of Ernst and Friedrich Georg Jünger. The special problem of the connection between technology and freedom is discussed in the broader context of the criticism of culture and technocracy discussion in the German intellectual history of the first half of the 20th century.