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articles in english
1. Proceedings of the XXII World Congress of Philosophy: Volume > 12
Din Aslamazishvili Structure of Symbol within Cultural Transitions
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Among such social-philosophic notions as society, culture, civilization, system, human, sense, sign, truth and others, concept “symbol” takes a special place. Most of the researchers meet the view, that symbol possesses an important place in the development of culture as a social phenomenon. The role of symbol in cultures birth and development is characterized by antipathy and polysemy. However revelation of the symbol role in spiritual processes of cultural transitions is beyond question one of the urgent philosophic issues. Symbol is a form of access to over-sensible culture’s substance, it functions as a money-box and hearth of culture senses, which are included by the systems of signs, images, metaphors into the circulation of world and human relations.
2. Proceedings of the XXII World Congress of Philosophy: Volume > 12
Sukyung Chung How a Map Works in the Land Arts
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Based on the Kantian aesthetics, Modernist critics insisted that an art experience is disinterested aesthetic experience different and independent from cognitive experience, and excluded the cognitive dimension from the art experience. But since 1960s, many art practices and theories that were challenging Modernismappeared. As a result, contemporary arts accept the cognitive dimension as an essential part of art experience. Minimalism made a great contribution to this change and established a new paradigm of art. Emphasis on the active and complicated experience of the viewer is representative. A land artist Robert Smithson used a symbol, a map to achieve that kind of experience. This thesis considers how he made use of a symbol in his work and how that symbol played in theexpansion of art experience.
3. Proceedings of the XXII World Congress of Philosophy: Volume > 12
Kuan-Min Huang The Ethical Image in a Topological Perspective: The Poetics of Gaston Bachelard
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In the poetics of Gaston Bachelard, the natural images, especially the four elements (fire, water, air, earth), occupy the eminent place for literary imagination. Under this main frame, this paper tries to present the relation of ethics and aesthetics in focusing on the ethical image as a synthetic concept. It also argues that the poetic imagination in Bachelard presupposes a metaphysical base managing the being, the force, the will, and the action. There is a dynamic structure in this metaphysics of imagination. Notwithstanding the usual separation of different spheres in philosophy, Bachelard urges a primary fusion in the cosmic scale, i.e.the world and the human are communicative and correspondent. Taking these principles into consideration, this paper explores the topological dimension in those poetic images of elements and space. The ontological sense of being-there is evaluated by the dynamic function of “there” in restoring its ethical meaning. Likewise, the terms “in front of the fire”, “before the water”, “in the water” are given the topological accents. The verticality indicating the dynamic function of the flight, of the falling, and of standing upright is topologically effective. In accordance to the verticality, the concept of survival contains an effect of surpassing the existential conditions, the prefix “sur-“ means that tentative of the higher degree. In sum, the cosmicity as the very place of ethical and ontological unificationreveals Bachelard’s concern on the imaginative transformation of the personality, the appropriation in the cosmos.
4. Proceedings of the XXII World Congress of Philosophy: Volume > 12
Jae-Joon Lee An Experience of Machine-Based Images by the Autonomy of Computing System
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Contemporary production of machine-based images relay gradually on the autonomy of computing machines. Autonomous computing machines require the interaction with users like Human-Computer-Interaction technology and other interface technologies, especially computing machine-based images must also ask for viewer as an inter-actor, viewer’s participations. Whether this interaction of viewer-user is with machines or with images, if it is an interaction with each individual that have autonomy or self-organization, its interaction will be the interaction of each ecosystem. And the forms of this environmental interaction are an exchange of energy in natural ecosystem or aesthetic communication in art. Hence the aesthetics of future autonomous machine-based images need to focus on a number of mesh-works and the ways of interactions between the aesthetic individuals and their structures, i.e. aesthetic ecosystems.
5. Proceedings of the XXII World Congress of Philosophy: Volume > 12
Aya Ogawara Representing Our Existence: Comments on Cavell’s Discussion of Rohmer’s Conte d’hiver
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In the film Conte d’hiver directed by Eric Rohmer in 1992, the heroine is passionately in love with her boyfriend who is missing. She has faith in his reappearance. According to Stanley Cavell, she has found her existence within her desire to see him again, irrelevant to the world’s existence. However, her faith materializes in her way of living every day. She wagers her real life on the encounter and thus situates her existence in the world’s existence. At the ending,she really encounters him in the bus. According to Cavell, an encounter is an everyday event, because the world consists of strangers passing and we are destined to be passers-by who are coincidentally here and now with others. This can be seen when she moves from place to place among the crowd, including the scene ofthe encounter. Furthermore, in the scenes of her being in the transportations, the views from the windows look passing against passengers, as also in the scene of the encounter. The view, the world, looks itself passing in film, because its medium specificity is motion. Then film can show: we as passers-by encounter someone and something here and now in the world itself passing. That we choose how to live in the coincidental situation is our existence in the world’s existence.
6. Proceedings of the XXII World Congress of Philosophy: Volume > 12
Shigeng Zhang Images and Symbols: Two Forms of Subjectivity Information
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The world is a unification of matter, energy and information. Subjectivity information is such information that subject receives, deals with and expresses. Subjectivity information can be classified to two categories by form: image and symbol. On the basis of ontology of ‘matter, energy and information——triunity’, this paper presents the definitions of symbol and image, points out the origin of them and brings forward the mechanism that men cognize symbols. Also, the paper classifies symbols in two ways: In one way, according to essence, origin and function, symbols can be classified to three categories: image symbols, appellation symbols and digit symbols. In the other way, symbols can be classified to two categories: static symbols and dynamic symbols, according to the carriers. Moreover, the author discussed the respective advantages and characteristics of image and symbol, especially presented four important characteristics of symbols: 1) be derived from definitions; 2) rely on manifold brain activities; 3) discretization; 4) meaning congruence. In the end, the author pointed out the epoch-making significance of symbols in the process that animals evolved into men.
articles in french
7. Proceedings of the XXII World Congress of Philosophy: Volume > 12
Makoto Sekimura Relation Dynamique entre Image et Forme dans la Pensée de Platon
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On sait que Platon fait grand cas des êtres intelligibles en instaurant la théorie des Idées. Mais il n’est pas approprié de le considérer comme penseur qui néglige le rôle de l’apparence sensible. Ce philosophe demeure très sensible à la modalité par laquelle les phénomènes apparaissent dans le champ de notreperception. En distinguant deux types d’apparence : image et simulacre, il donne à l’image le rôle d’intermédiaire actif entre le sensible et l’intelligible. L’examen des modalités des actions humaines qui reçoivent et créent des images, nous aide à voir comment Platon intègre la fonction des images dans la structure de sa philosophie. La réception et la création des images sont étroitement reliées et synthétisées pour former le système original de Platon, système dans lequel le fondement de la théorie des Idées relève d’un certain dynamisme de l’action humaine. Dans la recherche relative à la modalité de réception et de création des images, je porte mon attention sur l’usage platonicien du terme tupos qui exprime le principe de la conformité de l’image et de son modèle.Notamment dans la théorie de la formation des futurs gardiens de la cité idéale, le tupos fonctionne, comme un principe qui réglemente et oriente à plusieurs niveaux les activités de la mimèsis et de la poièsis qui portent sur les images. La réflexion sur cette fonction conductrice
8. Proceedings of the XXII World Congress of Philosophy: Volume > 12
Jean-Jacques Wunenburger Contribution a une Logique Paradoxale du Symbolique
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l’expression symbolique gagne à être distinguée de la logique synthématique propre aux signes, comme une forme de pensée analogique et participative. Mais sa richesse nécessite une approche paradoxale : elle se donne à la fois comme libre et conventionnelle et comme motivée par une consistance sémantique interne ; elle apparaît à la fois comme transubjective et comme exposée à une compréhension hermeneutique subjective ; elle exige à la fois unedisposition existentielle qui en assure la réceptivité et un engagement actif de la totalité du sujet.