By M. Rosengren
Utilizing the instance of prehistoric work came across within the past due nineteenth century in Spain and France Cave paintings, conception and data inquires into epistemic questions concerning photos, depicting and belief that this wealthy fabric has given upward thrust to. The booklet strains the description of the doxa of cave paintings reports.
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This anthology is outstanding not just for the choices themselves, between which the Schelling and the Heidegger essays have been translated specially for this quantity, but in addition for the editors' basic advent and the introductory essays for every choice, which make this quantity a useful reduction to the research of the robust, recurrent principles pertaining to artwork, attractiveness, severe procedure, and the character of illustration.
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Neither uniquely individual nor equal for all, logos serves as the cement holding humans together. Everyone has his or her own logos, still logos is the property of all men. Logos is perhaps the most important tool we have for chiselling 24 Cave Art, Perception and Knowledge out our nature – our own as well as the world’s – and at the same time it is through and in (the doxa produced by) logos that we are chiselled out, formed as human beings. In and through logos we give names and images to our sensations, perceptions and experiences so that we can speak and think about them; logos is our guide when we act in and upon the world.
It does not matter that texts, at least in ordinary parlance, do not resemble what they ‘are about’, whereas so-called mimetic representations are supposed to. One has to learn how to recognize a resemblance for what it is. It is not something given; it is always created from within a certain situation, that is, from within a thought style and a doxa. Even the very paradigm of realistic rendering of the world, such as paintings following the laws of perspective, has to be read according to certain, more or less arbitrary conventions.
Judging from recent research in cognitive science – as well as from the works of thinkers like Cassirer, Castoriadis and Derrida – it seems that this is where we encounter the most basic, or simple, effects of what Castoriadis would call the auto-creation of the human world or of the symbolic pregnance inherent in our being human (as Cassirer might have said). Contrary to the duck-rabbit case, we seem to be able to see a figure as a figure (but, obviously, not as ‘figure of’ this or that) without previously acquiring the concept of figure.
Cave Art, Perception and Knowledge by M. Rosengren