L’axe de réflexion principal de cette contribution porte sur les effets formels et sémantiques liés à l’usage des dispositifs numériques dans la création artistique, plus particulièrement les ...photographies numériques de l’artiste canadien Laurent Lamarche, dont la grammaire visuelle est inspirée par les technosciences et la biologie moléculaire. Compte tenu de leur similarité avec des organismes moléculaires couplée à leur apparente scientificité, la question que l’on pose ici est la suivante : peut-on qualifier les œuvres de cet artiste de formes symboliques de la science ? Pour tenter de répondre à cette interrogation, nous revenons d’abord sur la définition de la forme symbolique proposée par Ernst Cassirer, revisitons subséquemment le modèle triadique du signe de Charles Sanders Peirce, qui différencie les indices, les icônes et les symboles.
The main focus of this contribution is based on formal and semantic effects related to the use of digital devices in artistic creation, more specifically the digital photos of the Canadian artist ...Laurent Lamarche, whose visual grammar is inspired by technoscience and molecular biology. Due to their resemblance to the cells and their apparent scientificity, the question we are asking is : can we qualified his works as symbolic forms of science ? To try to answer this interrogation we first present the plastic universe of the artist. After we briefly review the definition of the symbolic form proposed by Ernst Cassirer and we finally analyze the corpus of images under the light of the triadic model of the sign defined by Charles Sander Peirce who differentiates indices, icons and symbols.
This article proposes a different perspective from the one usually adopted in the field of image augmentation applied to ancient art: rather than considering augmentation as an increase in ...information (according to the change of scale inherent in Big Data) or conceiving it in its immersive dimension (inviting us to dive into the image thanks to very high resolution digital reproductions and VR technologies), we propose to start from the principle that many images or works of art of the past are the result of augmented experiences, on the side of creation thus, but also on the side of reception. The aim is to show to what extent digital devices can or cannot contribute to a better understanding of these augmented experiences of the past, by placing the works of art within vast networks of other works, as well as within the physical and mental space with which they were intimately linked, not to mention their links with sensory stimuli other than the sole sense of sight. Starting with a case study, that of Caravaggio’s Madonna of the Pilgrims, the aim is more specifically to question the capacity of Digital Art History to enrich the idea of symbolic form, as a meeting point between meaning and form, intelligible and sensible, or more precisely between the semantic, kinetic and aesthetic dimensions; but also the idea of figurability, which refers to the work of meaning that goes through the work of forms and forces, namely the dynamics of virtualisation, indeterminacy, and inchoativity. The aim is to reflect on the way in which the model of “modelling interpretation” proposed by J. Drucker, who sees computer modelling as the very hermeneutic act, makes it possible to rely on the symbolic forms specific to digital devices in order to account for the intrinsic augmentation in the artworks.
Abstract This article aims to analyze the practice of the theater games by Viola Spolin (1906-1994) in her construction of the symbolic form and as a driver of meaningful experience (Dewey ...1859-1952). The definition of symbolic form will be based on the writings of the philosopher Ernst Cassirer (1874-1945) and the philosopher and educator Susana Langer (1895-1985). For these thinkers, the symbolic is presented as a fundamental element of knowledge and structuring of human culture in myth, religion, language, history, and art. The central problem of this research is based on theater-educational studies experienced by the authors, taking the practices of the theater games as a way of expanding knowledge for an integration of the being, as a cultural, social, and symbolic form being, in the construction of practices of significant acts in the world. Thus, the methodology used is the bibliographic review of the fundamental concepts of theater games in correlation with the construction of symbolic knowledge. We aim to understand art in the production of the symbolic context so that we can base the embodiment as a symbol. Such studies aim to promote the consummate experience of game practitioners in the theater-educational context, supported by the principle that the aesthetic experience played will enable the expansion of the player’s experience so that they can re-signify their world, building autonomy and knowledge of/in the aesthetic experience in a constant process of living and learning, forged in the webs of culture.
Resumo Este artigo tem por objetivo analisar a prática do jogo teatral de Viola Spolin (1906-1994) em sua construção do simbólico e como propulsor da experiência significativa (Dewey 1859-1952). A definição de simbólico será pautada nos escritos do filósofo Ernst Cassirer (1874-1945) e da filósofa e educadora Susana Langer (1895-1985). Nesses pensadores, o simbólico se apresenta como elemento fundamental de conhecimento e estruturação da cultura humana, no mito, na religião, na linguagem, na história e na arte. O problema central desta pesquisa baseia-se em estudos teatro-educativos vivenciados pelos autores, tomando-se as práticas do jogo teatral como forma de ampliação do conhecimento para uma integralização do ser, como ser cultural, social, simbólico, na construção das práticas de atos significativos no mundo. Para tanto, a metodologia utilizada é a revisão bibliográfica dos conceitos fundantes dos jogos teatrais em correlação com a construção do conhecimento simbólico. Visamos compreender a arte na produção do contexto simbólico para então fundamentarmos a corporificação como símbolo. Tais estudos objetivam a promoção da experiência consumatória dos praticantes do jogo no contexto teatro-educativo, respaldados no princípio de que a experiência estética jogada possibilitará a ampliação da vivência do jogador, de modo que ele possa ressignificar o seu mundo, construindo-se autonomia e conhecimento da/na experiência estética em constante processo de vivência e aprendizagem, forjado nas teias da cultura.
In this article, we suggest that our semiotic understanding of embodiment could be expanded to include a socially exalted individual, who embodies a symbol. To illustrate this argument, we draw on an ...ongoing research project that examines fandom rhetoric and debates around the ‘Greatest of all time’ or the GOAT symbol in Tennis. Grounding Bakhtin’s tri-distinctions of identity, I-for-myself, I-for-other and other-for-me, in a Kantian hermeneutic tradition, we perform a theoretically informed analysis of the GOAT debate. None of the three tri-components exists in isolation; rather, they interact in a reflexive dialogue which continually shapes and re-shapes individual consciousness and experiences of embodiment. We apply a ‘romanticism aesthetic activity’ analytical framework to the tri-distinctions of identity, that consists of ‘creative’ and ‘critical’ rhetoric, within which we found genres of ‘myth’, ‘art’ and ‘science’. Each genre functions through disparate means to exalt or metamorphise an individual (our focus is on Roger Federer) into a cultural symbol, and that the symbolic form of GOAT reflexively organises the emotional field and identities for those fans deeply invested in it. This article contributes to the current cultural psychological literature on understanding the mediation of people to symbols in a new digital age.
By focusing on the link between individuals and forms, Aby Warburg’s science of art (Kunstwissenschaft) allows the development of a unique genealogy of anxiety, which underlines the crucial role of ...this affect in understanding modern subjectivity. Entering into a dialogue with Ernst Cassirer on the need for a philosophy of “symbolic forms”, Warburg postulates that a shift from phobia to anxiety takes place through artistic creation. In this sense, anxiety reflects the subject’s relationship to being only because it more originally implies a relationship of the subject to form and to the absence of form. Thus, starting from an understanding of individuation as an ontogenetic taking of shape, we propose to articulate the relationship to being and the relationship to form, from a perspective that gives right to becoming. Gilbert Simondon’s philosophy of individuation can then shed light on the Warburgian enterprise. Anxiety appears as a particularly significant affect, as it marks a stop in the individuation of the subject and reveals to him the vertigo not of the nothingness of being but of his own taking shape. Simondon, however, enigmatically indicates that anxiety can mark a new “beginning of being”, an idea that Aby Warburg’s art history and Cassirer’s philosophy of culture can, in turn, help to clarify.
This paper examines the way in which Cassirer implicitly commented on current issues in his historical studies, proposing a case study on his monograph The Philosophy of the Enlightenment, published ...in November 1932. It begins with a general overview of a few famous and a few neglected instances of Cassirer's position-takings through historical studies, before discussing briefly the context in which this monograph was written and examining how the Enlightenment is presented in the monograph from 1932. The paper claims that at the centre of Cassirer's engagement with the Enlightenment was his concern with the autonomy of reason. The way in which Cassirer elaborated on this further shows that his defense of the Enlightenment was not just directed against the threats of totalitarian politics, but also had the aim of clarifying the nature of philosophy and its place in culture. This, however, the paper concludes, does not refute the notion that Cassirer was concerned with current politics when writing The Philosophy of the Enlightenment. The point is rather that he comprehended philosophy as political just in virtue of its exercising the autonomy that characterizes reason.
Resumo Este artigo tem por objetivo analisar a prática do jogo teatral de Viola Spolin (1906-1994) em sua construção do simbólico e como propulsor da experiência significativa (Dewey 1859-1952). A ...definição de simbólico será pautada nos escritos do filósofo Ernst Cassirer (1874-1945) e da filósofa e educadora Susana Langer (1895-1985). Nesses pensadores, o simbólico se apresenta como elemento fundamental de conhecimento e estruturação da cultura humana, no mito, na religião, na linguagem, na história e na arte. O problema central desta pesquisa baseia-se em estudos teatro-educativos vivenciados pelos autores, tomando-se as práticas do jogo teatral como forma de ampliação do conhecimento para uma integralização do ser, como ser cultural, social, simbólico, na construção das práticas de atos significativos no mundo. Para tanto, a metodologia utilizada é a revisão bibliográfica dos conceitos fundantes dos jogos teatrais em correlação com a construção do conhecimento simbólico. Visamos compreender a arte na produção do contexto simbólico para então fundamentarmos a corporificação como símbolo. Tais estudos objetivam a promoção da experiência consumatória dos praticantes do jogo no contexto teatro-educativo, respaldados no princípio de que a experiência estética jogada possibilitará a ampliação da vivência do jogador, de modo que ele possa ressignificar o seu mundo, construindo-se autonomia e conhecimento da/na experiência estética em constante processo de vivência e aprendizagem, forjado nas teias da cultura.
Abstract This article aims to analyze the practice of the theater games by Viola Spolin (1906-1994) in her construction of the symbolic form and as a driver of meaningful experience (Dewey 1859-1952). The definition of symbolic form will be based on the writings of the philosopher Ernst Cassirer (1874-1945) and the philosopher and educator Susana Langer (1895-1985). For these thinkers, the symbolic is presented as a fundamental element of knowledge and structuring of human culture in myth, religion, language, history, and art. The central problem of this research is based on theater-educational studies experienced by the authors, taking the practices of the theater games as a way of expanding knowledge for an integration of the being, as a cultural, social, and symbolic form being, in the construction of practices of significant acts in the world. Thus, the methodology used is the bibliographic review of the fundamental concepts of theater games in correlation with the construction of symbolic knowledge. We aim to understand art in the production of the symbolic context so that we can base the embodiment as a symbol. Such studies aim to promote the consummate experience of game practitioners in the theater-educational context, supported by the principle that the aesthetic experience played will enable the expansion of the player’s experience so that they can re-signify their world, building autonomy and knowledge of/in the aesthetic experience in a constant process of living and learning, forged in the webs of culture.
ROBOT TRAJECTORY PLANNING HRONCOVA, DARINA; SINCAK, PETER JAN; MERVA, TOMAS ...
MM Science Journal,
11/2022, Letnik:
2022, Številka:
4
Journal Article
Recenzirano
Odprti dostop
The paper deals with the kinematic analysis of the robot model. The matrix method of kinematic analysis is used. The robot mechanism is an open kinematic chain. The position, velocity and ...acceleration vector of the end point of the robot arm is determined in the Matlab program. Computer simulation is also performed in the MSC Adams program.
The paper deals with the kinematic analysis of a manipulator mechanism. The matrix method of kinematic analysis is used for the solution. The robot's mechanism is an open kinematic chain. The vector ...of position, velocity and acceleration is determined. The problem is solved using Matlab and MSC Adams / View. The Matlab program is used to solve kinematics equations in symbolic form. Computer software reduces the design time and also brings economic benefits. Conditions are being created for faster research and the creation of new mechanical systems gradually appearing in the production area. Computer simulation can also serve an educational purpose and giving additional information about the mechanical systems through simulation and kinematic analysis.
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