Browsing: Epistemology

Magritte places a realistic image of a pipe beside a written denial of its identity, transforming a familiar object into a philosophical problem of language, signs, seeing, and Representation.

Panofsky’s layered iconology provides the methodological starting point for a transition toward Gadamerian openness and Visual Dialectic in the interpretation of modern and contemporary art.

The conditions of knowledge shift from the constituting subject to historical discourse and episteme, and finally toward data, models, algorithms, and synthetic production in the age of artificial intelligence.

Cassirer’s theory of symbolic form provides Panofsky with a philosophical framework for understanding perspective and visual form as historical modes of constructing experience rather than passive copies of reality.

Panofsky’s early theory examines how art history can produce valid knowledge through conceptual categories, historical context, internal structure, and disciplined interpretation.

Ernst Cassirer represents the transition from Marburg Neo-Kantian epistemology toward a philosophy of symbolic forms encompassing language, myth, culture, and art.

Panofsky’s concept of Sinn defines the work of art as a historically situated yet internally organized unity in which form, content, and meaning become inseparable.

Harari’s agency, Žižek’s knowledge without a knower, and Synthetic Epistemology converge around subjectless knowledge, representation, responsibility, and the Threshold Human.

A philosophical study of Kant’s transcendental conditions of possible experience and Bergson’s shift, developed through Deleuze, toward duration, intuition, singularity, and the conditions of real experience.

Baumgarten founded aesthetics as the science of sensuous cognition, connecting beauty, imagination, sensuous perfection, art, epistemology, and the autonomy of aesthetic knowledge.