Nicolas Romanacci: »Possession plus reference«. Nelson Goodmans Begriff der Exemplifikation – angewandt auf eine Untersuchung von Beziehungen zwischen Kognition, Kreativität, Jugendkultur und Erziehung.
Dagmar Venohr: ModeBilderKunstTexte – Die Kontextualisierung der Modefotografien von F.C. Gundlach zwischen Kunst- und Modesystem
Hermann Kalkofen: Sich selbst bezeichnende Zeichen
Beatrice Nunold: Sinnlich – konkret: Eine kleine Topologie des S(ch)eins
We have always been in the picture, involved in sign processes. Picture or sign are not thing categories, but rather topological categories. Picture or Signs are relational structures. A Topology of Being and Appearance means World as a structure of relationship being part of physical-psychic-mental state in the world. Only disembodied anything will be sensual concretely as a picture, a sign. Concret things are always been abstract. The disembodiment is not the problem but our being- and appearance-oblivion. Max Bense early reveal re-emphasize the reality is appearance and the appearance is realty.
The essay examines the different iconotextual modes of photographs by F.C. Gundlach when shown at exhibitions and when published in magazines. By doing so, it tries to provide new impulses for a fundamental discussion of iconotextuality with respect to photographic images. At the same time, these examples will be used to give more substance to the definition of a Transmediality of Fashion in fashion theory.
Goodman‘s creative symbol-constructional philosophy concerns fundamental aspects of human cognition and practice. It is argued that especially his deeply interrelated conceptions of exemplification, induction and worldmaking provide us a subtle understanding of the connections between cognition, creativity, youth-culture and education. I will try to show that youth-culture contains a fundamental potential for aesthetic and creative practice with an immense cognitive value that should be taken seriously by humanities. This potential should be encouraged from scratch within our educational system and needs to be protected comprehensively from depreciation through narrow-minded (education-)policy and exploitation through the entertainment industries.
Most theories of signs agree on that a proper sign refers to something other than just itself. Signs being their own reference objects be thus a semiotic paradox. In aesthetics, however, became autoreference of the sign postulate. Since Charles Darwin 1872 one wondered now and then in psychology if The Expression of the Emotions not be emotion in itself. Centered on autoreference, the present contribution treats Kasimir Malewitsch’s (1913) Black Square, Wassily Kandinsky’s (since 1911) Compositions and his art theoretical writings, Eduard Hanslick’s (1854) theory of music, and Gustav Kafka’s (1938) ›Ausdruckstheorie‹. Conclusion: Autoreferential sensu stricto are at any rate signs as James R. Stroop’s (1935)
Coloured Words.
›Googeln‹ (›to google‹) has become a standard expression in the general (German) languague use because the internet user cannot pass by the usage of search engines like Google. As the frequency of how searching processes of the visual gathering at Google take place are not of much interest in this connection, the process itself is worth detailed considering: What is the likeness of ›Googeln‹? Which concepts are used to gather and process information? The following article covers those questions.
