The grammar of aesthetic intuition: on Ernst Cassirer's concept of symbolic form in

the visual arts

Author(s): Peer F. Bundgaard
Source: Synthese , March 2011, Vol. 179, No. 1, THE PHILOSOPHY OF SYMBOLIC FORMS
AND THE QUESTION OF HUMAN CULTURE: INTRODUCTIONS TO THE PHILOSOPHY OF
ERNST CASSIRER (March 2011), pp. 43-57
Published by: Springer

Stable URL: https://www.jstor.org/stable/41477394

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms

Springer is collaborating with JSTOR to digitize, preserve and extend access to Synthese

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
Synthese (201 1) 179:43-57
DOI 10. 1007/sI 1229-009-9631-8

The grammar of aesthetic intuition: on Ernst Cassirer's

concept of symbolic form in the visual arts

Peer F. Bundgaard

Received: 27 October 2006 / Accepted: 6 August 2008 / Published online: 14 July 2009
© Springer Science+Business Media B.V. 2009

Abstract This paper provides a précis of Ernst Cassirer's concept of art as a sym-
bolic form. It does so, though, in a specific respect. It points to the fact that Cassirer's
concept of "symbolic form" is two-sided. On the one hand, the concept captures gen-
eral cultural phenomena that are not only meaningful but also manifest the way man
makes sense of the world; thus myth, religion, and art are considered general symbolic
forms. On the other hand, it captures the formal structures and semiotic tools thanks
to which meaning is constructed within each general symbolic form (Cassirer called
these structures "modes of objectivation"); thus, in art, perspective or the golden sec-
tion are well-known examples of symbolic forms, now in a narrow sense, i.e. they
are means to configure parts into an organized, meaningful whole. The paper will
comment on art along both these two dimensions, but its main goal is to provide with
concrete examples of aesthetic symbolic forms in the narrow sense in order to show
how conceptual meaning can be inscribed in the space of aesthetic intuition.

Keywords Cassirer • Symbolic forms • Art • Perspective • Non-genericity

Der Gehalt des Geistes erschliesst sich nur in seiner Äusserung; die ideelle
Form wird erkannt nur an und in dem Inbegriff der sinnlichen Zeichen, der-
en sie sich zum Ausdruck bedient. Gelänge es, einen systematischen überblick
über die verschiedenen Richtungen dieser Art des Ausdrucks zu gewinnen -
gelänge es, ihre typische und durchgängigen Züge, sowie deren besondere Ab-
stufungen und innere Unterschiede aufzuweisen, so wäre damit das Ideal der
'allgemeinen Charakteristik' wie Leibniz es für die Erkenntnis afzustellte, für
das Ganze des geistigen Schaffens erfüllt. Wir besässen als dann eine Art Gram-
matik der symbolischen Formen als solcher, durch welche deren besondere

P. F. Bundgaard (CE3)
Center for Semiotics, Scandinavian Institute, University of Aarhus, Aarhus, Denmark
e-mail: sempb@hum.au.dk

â Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
 44 Synthese (201 1) 179:43-57

Ausdrücke und Idiome, wie wir

und in der Religion vor uns se
Ernst Cassirer, Philosophie der

1 Preamble

In the very beginning of his Philosophy of Symbolic Forms (1923-1929), that is t

say while introducing his general research program, Cassirer mentions Art as on
of the pillars of his investigation. Man, he says, is not only related to things or th
world in an objectively determining way, but also linguistically, in a mythical-religious
way, and through "aesthetic intuition" (Cassirer 1923-1929, vol. I, p. 11). Cassirer'
main and well-known aim is then to provide a comprehensive characterization of t
way in which man, along these dimensions, relates to and makes sense of the world
Yet, despite the vast range of his investigations and minute reconstructions of man
symbolic formation of a meaningful object-world in a wealth of different domains
and even despite the decisive import he attributed to aesthetic symbolizing activity
Cassirer has written only very few pages on art proper and hardly any at all with com
ments and actual analyses of concrete artworks. 1 Indeed, his writing on art basicall
boils down to a chapter in An Essay on Man (1944) - his only lengthy comment o
art as such - and a few pages in the conference paper "Mytischer, ästhetischer un
theoretischer Raum" (1931).
In this paper, I will therefore first briefly introduce Cassirer's general conception
of art as a symbolic form such as he unfolds it in the above-mentioned texts. Next
1 will take a more detailed look at a couple of those means of meaning construction
that artists have at their disposal in the aesthetic domain to give form to their meanin
intentions. The aim of the latter investigations is simply to provide with a concise idea
of what a symbolic form is and what its import is in the aesthetic domain.
Consequently, I stress that my purpose is not introductory, nor my method exegeti-
cal. The following is not a critical comment or an empathetic discussion of Cassirer
own, in my view quite vague, presentation of art as a symbolic form. It is rather a
elaboration of Cassirer's concept of symbolic form in art whose aim is to actualize i
relevance and provide it with a concise conceptual shape.

2 Art as a symbolic form

A great deal of Cassirer's work - crystallized in Philosophy of Symbolic Forms -

has consisted not only in characterizing what he believed to be the most important

1 Cassirer constantly - whatever the context - refers to and quotes different poets (Goethe being secon
to none), but this does not, of course, amount to a phenomenological description of the work of art as
symbolic form, nor of those symbolic forms artists make use of to give form to their aesthetic intuitio
and meaning intentions. The French neo-Kantian Alexis Philonenko goes as far as to claim Cassirer faile
in fulfilling his overarching research programme since he never developed a "symbolic phenomenology
of art" (Philonenko 1989, p. 144). While I do not think this has any consequences for his philosophy
symbolic forms, it is hard to disagree with Philonenko on the absence of a thorough examination of art
a symbolic form in Cassirer's writings: the rather vague generalities exposed in An Essay on Man hardl
qualify as such.

â Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
Synthese (2011) 179:43-57 45

symbolic form systems, but als

usually in three steps.2 This dev
increasingly sharp distinction be
and its non-sensual (intelligible)
tion and codification of the sign
symbolic medium itself, notwith
For Cassirer, there are three ma
systems. Before I even mention
to avoid serious misunderstandin
symbolic forms that are more r
function (in physics, say), and a
sign systems or world views to
natural-science systems, accordin
hierarchy of value. The value of
tively from the more or less per
only in light of the stage they p
as mythology and art, have an i
should not be assessed according
certain sense they point towards i
To make a long story short, one c
of symbolic form systems as follo
science. And one can characteriz
tionship between form and matt
symbolic forms. The signs of m
connection between form and m
signs, and so on, should be consid
matter penetrates the form to s
tions of its material pregnancy,
generalized, and decisive emancip
ifests itself in a given substrate,
with morphological structures, a
of figuration.3 Whereas in myth
matter, in the aesthetic sphere th
intensified interest in the auton
puts it in An Essay on Man , the
scientist is a discoverer of natura
specifically in theoretical physic
the conceptual forms by virtue
the symbols with which these pr
matter itself; secondly, obtain th

2 Cassirer's three steps are called "Expre

3 The poet and scientific-philosophical ja
stated the same thing in his Introduction
famous dictum that art is ultimately the
in a dynamic matter such as, for exampl

â Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
 46 Synthese (2011) 179:43-57

independent, formal, and logical c

ligible altogether: it is owing to t
recognizable qualities.
Cassirer unfolds this difference
aesthetic concept of space, "Myt
"Concept of space" means in its
possible co-existence of a manif
is from Leibniz). One of Cassirer
organizational principle can be r
ways. It thus constitutes the bas
keeping with each of the concre
only appear isolated; they take o
position within a system of positi
In mythical space one finds an
that thus appears as an orderin
appearing in it. This organizatio
istics that characterize our ever
speak easily and already relativ
phenomenon with vanishing lines
fields , etc.). Mythical space is f
locations , and it is on the whole
these locations that calls forth th
the naturally experienced space,
that relate different locations in
demonized or sacred areas and one finds valorizations of the four essential elements
and thus also kinds of proto-connections between places where these are materialized.
As already mentioned, one finds a widespread tendency to attribute a positive value
to the East - because the light has its origin in the East - and vice versa as regards
the West. There is however nothing formal about these locations and connections;
the connecting lines and the spatial structure that might arise in such a space cannot
be regarded independently from the substantial domains they bind together. They are
functions , as it were, of the substantial significance inherent in these locations.4 To sum
up: if in mythical space we do find an initial, fundamental orientation of space (i.e., a
formation of a concept of space at all), this spatiality has no independent formal value
(it cannot be made the object of considerations regardless of the matter that it orients).
It is on the contrary oriented by that matter, it is a pure function of it; the structures of
spatiality are determined by lines of force emitted by substantially meaningful places.
Opposite this is aesthetic space. For Cassirer, aesthetic space is a space where a pure
interest in form and the conditions of form creation are displayed. It may sound a bit
vague, yet it may very well make sense without making too many speculative assump-
tions. Let us assume that at a certain moment man increasingly begins to produce
forms without any particular reason; that is to say, without these creative expressions -
drawings of various things - serving any ritual, conjuring, or prophylactic purpose,

4 Using René Thorn's terms one can call mythical space an absolute pregnant space (Thorn 1988, Chap. 2).

<0 Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
Synthese (201 1) 179:43-57 47

and without the value of the dra

content. One then gets a kind of
of object and finality: the form
create. Of course, the point is no
reflection on the morphological c
countless examples of paintings w
motif represented. The point is r
be purely reactive-conjuring or ri
of the represented content. This d
properties of the figurative proce

[. . .] as a content for aesthetic p

tance to the ego, it has been move
proper autonomous being, now on
new objectivity also characterize
the mythical world has been van
man with mysterious, unknown
- rather in virtue of the fundam
furthermore become the genuin

The autonomous character of aes

in the fact that it is accompanied
combine elements into a whole, an
and significance of that which is
direct reflection of the creator's e
relations among elements in, say,
become the object of independent
manifests the extent to which the
good independently of any repres
matter, it is an elaboration of m
and formalized in its own terms.
Golden Section), the development
are independent of what is create
fact that spatial qualities, relation
not simple functions of polarized

5 This expression is borrowed from Kant'

thetic judgment," in which Kant claims th
so as not to distort it as a vague derivativ
the principles of morality. Cassirer was in
collected works and in this context above a
viously been conceived as a possibly partia
senility). Cassirer's concept of form and
aesthetic activity is directly borrowed from
that the artist should do as nature does,
create organized forms. Cf. Cassirer's re
the third Critique.

Ö Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
 48 Synthese (2011) 179:43-57

the signification, the semiotic e

spatial, formal relationships lik
Let me recapitulate: aesthetic
general symbolic forms and sym
for an already autonomous reflec
coexist in an order. It thereby m
practically oppressive universe o
heralds a kind of rational freedom
distance to the signifying objec
make the object signify someth
content - morphological princip
aesthetic as well as natural mean
production and creation of meani
more depth seem to what at first
of cultural science, such as com
cultural works; what the above
work of art that heralds the poss
approach that characterize the ae
experimentation with the forma

3 Aesthetic symbolic forms

We shall now shift focus. We sh

system, nor consider what kind
free, aesthetic expression accord
uinely aesthetic means of constr
something qualifies as a general
formal unity or have at its disp
is characteristic for that specifi
its disposal a system in charge o
same must hold, mutatis mutand
form system at all. There must
domain that constitute fundame
indeed - called "the grammar" o

6 Just below, we will take a look at a c

of points by mentioning that one of El
of decentralized (and, as well shall see,
it possible for the painting to behave li
yield new meanings, reveal new aspects
Now, the possibility of inscribing bi-sta
on some plainly objective properties of
two-dimensional surface on which, a pr
the aesthetic effect or significance (pro
non-aesthetic, physical properties of th
"semiotic effect" (or "expressed signifi

â Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
Synthese (201 1) 179:43-57 49

object of analysis is a painting,7

be possible to define the pictoria
in the painting. So, if a painting
would probably not be wrong, but
resents the conflict between cult
and animal, etc. For this motif c
ofother artworks and a wealth of
ing the way the artist pictoriall
dragon; how he establishes their
concretely, in a perfectly observ
realm of culture or religious fait
The tools with which artists in
called symbolic forms in the nar
that is, the theoretical elucidatio
symbolic forms (the means of m
in question, and furthermore in
applied to a concrete artwork in
I will give two examples of thi
has been considered a classic wit
since Erwin Panofsky's work Pe
namely, the adoption of a non-g
equally as crucial as the former.
I thus venture into a domain wh
self proposed any concrete analy
shape to their aesthetic intentio
acknowledged as a natural and es

7 In the present paper, I only consider pain

music,...; cf. Bundgaard and 0stergaard (
8 The example is not chosen at random.
surface character of the canvas in order
values in the painting. It is indeed a recurr
of his lance (as well as his body) physical
in the background of the represented sp
distance and establishes a tight semantic
simply because the eye cannot perceive S
9 Cf. the opening quotation and its emph
(say, Art) can only be determined in and
narrow sense) - the system of which ma
Logik des Symbolbegriffs", Cassirer talk
die Philosophie der symblischen Formen
rie vom Wesen der Objekte und ihren G
kritischer Arbeit, die Arten der Objektiv
der Wissenschaft eigen und für diese ch
field of Art, "symbolic forms in the na
which are proper to Art.

â Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
50 Synthese (201 1) 179:43-57

4 Perspective as a symbolic for

In which respect is perspective

stating in which respect it is no
purely formal-technical standpo
perceptual experience of depth
definedgeometrical construction
that is quite independent of wh
homogeneous distribution of ele
mental level, the perspective is o
organizes a manifold of spatial en
ceived as a plurality of distinct u
Now, if perspective as a compo
invariant structure, identical th
only have been ascribed this very
have been a general composition
ing meaning. In that case, sayin
amount to saying about physical
is however that perspective, pr
very quickly became the object
obviously served the purpose of
sooner was this purely construct
radical games with it, resorting
( 1 ) they have at their disposal a
(2) they apply this rule in a spec
clear, but already very late10 ex

El Greco, Jesus Driving the Trad

10 Indeed, Ambrogio Lorenzetti delibera

from 1344, which Erwin Panofsky cons

Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
 Synthese (2011) 179:43-57 51

Clearly, the perspective is at

temple above the figure of Jesus
him. The perceptual effect is o
in accordance with the depths
point, and each time this unsta
figure of Jesus, which constitu
addition, the figure of Jesus its
it were, the gaze twice: the fir
while his entire arm roughly po
What is essential is that we i
intimate communion between
matter (motif). The motif is an
scenario is
flo highly dramatic,
posture, which is fixed in a m
you will). And it is precisely th
in the painting that is rendered
one vanishing point to the othe
to visit the same zone of turb
from vanishing point to vanishi
emotional excitation, is clearly
bifocal perspective, which prom
respect that the perspective is
not just a general principle of r

5 The semiotization of space:

Let us now consider another bo

visual arts: the non-generic vie
Like Fig. la, Fig. lb is just a N
point of
view, and in fact it ap
there exists an infinite set of
a cube, there is only one from
Figurelb is therefore statistic
generic viewpoint can be subm
the same type of 3D cube, the
if it is altered just at little bit,
diately present itself as a Neck
of spatial relations are highly i
visual system is extremely sens
reason that, as Petitot (2004) pu

[t]he visual system is a proba

extract the statistic regulariti

11 As is evident from the next section,

significant.

Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
 52 Synthese (2011) 179:43-57

Fig. 1 a Neckar's Cube from a generic point of view (with 3D effect), b Neckar's Cube from a non-generic
point of view (appears as a hexagon)

it detects very well the rare events and treats them as intrinsically significant
because of their rarity. (Petitot 2004, p. 57)

Moreover, the visual system is particularly attentive to all critical phenomena (qual-
itative discontinuities of all sorts) and therefore naturally sensitive to unstable con-
figurations that qua unstable or critical appear morphologically (non-conceptually)
significant. This distinction is quite crucial. What is meant here is that non-generic
configurations may very well be assessed by the cognitive system as unpleasant phe-
nomena in a natural or categorizing attitude: it is obviously the case for Fig. lb that
the cognitive system has a slim to no chance of conceptually grasping the config-
uration of spatial relations as a cube and thus successfully performing one of its
very main tasks, viz. automatic object recognition. Yet, the fact that such configura-
tions are ambiguous as to their conceptual signification and thus are negatively valo-
rized in everyday perception does not imply that they are not inherently perceptually
significant and that this perceptual signification cannot be exploited in experiential
domains (like art) where subjects are not engaged in the same type of intentional set
as when they are recognizing and automatically categorizing things in their environ-
ment. Aesthetic experience does not entail recognizing, but rather appreciating the
distribution of forms and qualities in space.12

12 Ramachandran and Hirstein (1999) also include the problem of genericity and non-genericity in
their principles underlying artistic expression and experience. However, they reach exactly the opposite

Ô Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
 Synthese (2011) 179:43-57 53

This way of aesthetically exploi

visual system is what we are g
Woman Weighing Pearls/Woma

The conceptual motif of this wo

the foreground is weighing pea

Footnote 12 continued
conclusion from mine here, namely, that artists in general avoid the "suspicious coincidences" displayed in
non-generic viewpoints, since they hinder automatic object recognition. This is wrong on a purely empiri-
cal basis: artists massively resort to non-generic viewpoints and configurations in order to morphologically
enhance the saliency of their paintings. It is furthermore wrong for reasons that could be revealed by an ad
absurdum argument: applied to language, their argument would indeed imply that since as a rule humans
avoid syntactic, semantic, phonetic, and prosodie oddities in their language use, in order not to hinder the
automatic recognition of the communicated meaning, then such oddities are also carefully avoided in the
poetic use of language. Eventually, the argument is also wrong for a somewhat deeper reason: the authors
do not seem to operate with the essential distinction between conceptual and non-conceptual significa-
tions. This distinction is key in Husserl's phenomenology, where it concerns the huge program of founding
conceptual-logical structures on pre-conceptual, intuitive meanings. It is nowadays the cornerstone in Jean
Petitot's impressive work in morphodynamic semiotics, the neuroscience of vision as well as aesthetic
inquiries (Petitot 1992, 2003, 2004).

â Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
 54 Synthese (201 1) 179:43-57

represents Jesus at the Last Judgm

ues. However, as Arnheim (1969)
ing of the painting only "intellec
to a shear allegory (it does not con
already established framework of
tional nature of the connection be
has not been laid bare. The follow
Since the spiritual values are repr
the foreground, it may be claimed
as "the domain of the spiritual va
Therefore, the task consists in l
nectionsbetween foreground and
(non-conceptual) way of connecti
values to them is purely morphol
in the painting in the background
figure being the pivotal counterp
more, whereas she has a hold on t
frames, and controls the young
superiority of the spiritual balanc
Another pictorial way of connec
hierarchy of values, rather it seem
the earthly and the divine realms
identical to the color of the curt
qualitative affinity between wom
fusion of the two realms.
This communication between the
of Vermeer's painting, which ind
the whole history of Christianity
in the foreground and ending with
the conceptual motif of the paintin
as a
symbolic form is confronted
lemsas all religions. It is not intri
two realms endowed with differ
difficulty consists in making the
domain usually makes it necessar
per impossible and therefore my
we have things like an immacula
mother, who is noneth a human
pictorial problem,
this specific in
that articulates a perceptual mea
complexity/communication moti
now are morphological and quali
tions between foreground and ba
that they do not present a double
a link, but do not materially prese

Ô Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
Synthese (201 1) 179:43-57 55

Here is where the non-generic view

Notice that the handle of the balan
the ledge of the frame in the back
impossible to decide whether the
handle or part of the ledge in the b
non-generic point of view: the sli
alteration of this sort of alignment.
the comments above, the improbab
attention of the visual system. So
of the central action represented i
is that the alignment obtained, tha
qualitative14 complex figure: the h
the background. This complex qual

• It is the locus of a continuous tr

thus the qualitative counterpart t
pathways between the divine and t
the two realms.
• As a qualitatively complex figure
both handle and ledge) it is the p
religious key figure (both human

In short, by adopting this non-ge

non-conceptual meaning that unde
means the conceptual universe of hi
space, distributing values in it, but
the represented semiotic domains a
in this sense that non-genericity is
visual arts.

6 Closing remarks

In this text I have proposed a broa

then, in a rather Panofskyan fash
aesthetic symbolic form: the kind o
formal means with which meaning
type of argument - and I believe
otics of aesthetic objects - that me
(resting on pre-established cultura

13 The following observation is Arnheim's

balance in the foreground coincides with the
a pictorial means, stricto sensu, to represe
Vermeer. However, Arnheim makes no com
14 I repeat "qualitative" because conceptual
at the same time. Perceptually, i.e., consider
is not so.

Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
 56 Synthese (2011) 179:43-57

means proper to each genre. Th

sculpture, music, etc., but also
myth, religion, language, etc.) re
narrow sense: those tools and fo
This is by the way the fact that
aesthetic intuition." Just as the s
that govern the composition and
ful semantic wholes, the artist
that (1) can be defined independ
serve the purpose of composing
constructing meaning in aesthet
In order to avoid possible misu
seems indeed to exist a potential
of genuinely pictorial symbolic
spatial relations are intrinsically
could be said about another highl
symmetry /asymmetry relations
generic configurations of spatia
by no means the result of intent
genericity from the domain of
exploit its intrinsic semiotic salie
Ultimately, I would like to emph
of this inquiry. The above-ment
inely aesthetic symbolic forms m
of a painting in the pre-concep
This kind of "grammar of intui
ment of the artworks' conceptu
perceptual counterpart would nat
do not). It is therefore a sound
show how the conceptual frame i
ally and morphologically. In thi
own example of talking in simp
accessible things.

References

Arasse, D. (2004). Histoires de peintures. Paris: Seuil.

Arnheim, R. (1969). Visual thinking. Berkeley /Los Angeles/London: University of California Press.
Bundgaard, P. F. (2002). Presentation and representation in art - ontic and gestaltic constraints on
aesthetic experience. Visio, 7(1-2), 187-203.

15 For an approach cognate to the prese

otic import of perspective in Italian Qu
symbolic forms as perspective are form
various ways in order to produce differ
remarked that perspective is absolutely n
with and by means of which they creat

Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms
 Synthese (2011) 179:43-57 57

Bundgaard, P. F., & 0stergaard, S. (20

variation on narrative structure. Se
Cassirer, E. (1918). Kants Leben und L
Cassirer, E. (1923-1929). Philosophie d
sellschaft (1954).
Cassirer, E. (1931). Mythischer, Ästhe
(Eds.), Symbol, Technik, Sprache. A
Meiner (1985).
Cassirer, E. (Ed.). (1938). Zur Logik d
(pp. 201-230). Darmstadt: Primus V
Cassirer, E. (1944). An essay on man
Kant, I. (1790). Kritik der Urteilskraf
Leyton, M. (1992). Symmetry, causali
Panofsky, E. (1993). Perspective as sy
Petitot, J. (1979). Saint-Georges: Re
Sémiotique de l'Espace (pp. 95-153)
Petitot, J. (1992). Physique du sens. P
Petitot, J. (2003). Neurogeometry of
Petitot, J. (2004). Morphologie et Est
Philonenko, A. (1989). L' Ecole de Mar
Ramachandran, V. S., & Hirstein, W. (19
15-51.
Thom, R. (1988). Esquisse d'une sémiophysique. Paris: Inter-Editions.

Springer

This content downloaded from

109.233.92.46 on Thu, 02 Nov 2023 20:01:34 +00:00
All use subject to https://about.jstor.org/terms