Image - Karel Teige, Collage 286Image (above, left) - Karel Teige, Collage 286
Notes from the Introduction by Jean Molino (1986) / "Form [...] 'sets up within history an immutable order,' an autonomous reality that presents itself as a 'fourth realm' added to the three realms of the physical world." (p. 11) / "'The most attentive study of the most homogeneous milieu, of the most closely woven concatenation of circumstances, will not serve to give us the design of the towers of Laon.'" (p. 13) / "There exists, then, a world of artistic forms; but what is a form? The first move is, if not to define it, at least to see the model for it in contour or diagram, the shadow thrown by a body exposed to the sun, the play of cracks and fissures on the wall where Leonardo saw warriors and clouds take on outlines." (p. 16) / Karl Popper: First World (physical), Second World (subjective), Third World (symbolic) (p. 20) / "'[F]orm signifies only itself ...'" (p. 21) / Worringer-Wolfflin: psychodynamics of art / Panofsky-Warburg: iconography/iconology / Foucault: spasmodic histories and ruptures / "[F]orm and significance ..." (p. 21) / Signifier and signified - "Sign: index, sign, icon, symbol" / Artistic form is none of these but can become any of the four forms of sign ... (p. 21) / "The meaning of form is above all the rhythm of the body, the movement of the hand, the curve of the gesture. It is only at a second stage that the various levels of conceptual signification become articulated and attached to form." (p. 21) / See 'field' notes on sub-linguistic territories ... / "[F]orms are caught in a perpetual metamorphosis ..." (p. 26) / "'Rembrandt's sketches swarm across Rembrandt's paintings ...'" (p. 27) / "O memories! O horrible form of the hills!" Victor Hugo (p. 27)
Notes from the Introduction by Jean Molino (1986) / "Form [...] 'sets up within history an immutable order,' an autonomous reality that presents itself as a 'fourth realm' added to the three realms of the physical world." (p. 11) / "'The most attentive study of the most homogeneous milieu, of the most closely woven concatenation of circumstances, will not serve to give us the design of the towers of Laon.'" (p. 13) / "There exists, then, a world of artistic forms; but what is a form? The first move is, if not to define it, at least to see the model for it in contour or diagram, the shadow thrown by a body exposed to the sun, the play of cracks and fissures on the wall where Leonardo saw warriors and clouds take on outlines." (p. 16) / Karl Popper: First World (physical), Second World (subjective), Third World (symbolic) (p. 20) / "'[F]orm signifies only itself ...'" (p. 21) / Worringer-Wolfflin: psychodynamics of art / Panofsky-Warburg: iconography/iconology / Foucault: spasmodic histories and ruptures / "[F]orm and significance ..." (p. 21) / Signifier and signified - "Sign: index, sign, icon, symbol" / Artistic form is none of these but can become any of the four forms of sign ... (p. 21) / "The meaning of form is above all the rhythm of the body, the movement of the hand, the curve of the gesture. It is only at a second stage that the various levels of conceptual signification become articulated and attached to form." (p. 21) / See 'field' notes on sub-linguistic territories ... / "[F]orms are caught in a perpetual metamorphosis ..." (p. 26) / "'Rembrandt's sketches swarm across Rembrandt's paintings ...'" (p. 27) / "O memories! O horrible form of the hills!" Victor Hugo (p. 27)