WHY GOD WAS AN ICONOCLAST? THE VISUAL AND THE PICTORIAL IN BIBLICAL HIEROTOPY

This study’s point of departure is a question: given that the Old Testament God so categorically prohibits all images, why is His Word, i.e., the Bible, so full of visions and visual imagery? In this paper, the issue is discussed in terms of a distinction between the visual, broadly understood, and the pictorial, relating in a narrow sense to graphic artefacts. I argue that mental images are distinct from and, in a sense, superior to pictures. The latter are contrasted with an ‘enhanced’ visual imagery that includes sensory and motor images as well. Holistic units of these ‘enhanced’ visual memories are termed as ‘image-experiences’. The first and most important quality of the ‘enhanced vision’ is its spatial character, which can even predetermine the emotional key of the response. This is particularly the case with ‘limitless’ natural spaces, such as the sea, the skies, or mountainous landscapes. The complex structure of the natural sublime and its affinity with divine imagery is discussed using the concrete example of the modern European aesthetics of mountains in its historical evolution. Then the paper turns to the hierotopic approach, according to which the spatial experience of religious imagery emerges from organized ensembles of sacred objects and symbolic pointers, conceptualised as spatial icons. Another important quality of the enhanced visual is in its organic link with movement and action. Image-experiences are lived through rather than passively watched. Calvinist visual theology provides a remarkable example of an iconoclast ideology, which explicitly supports the ‘enhanced visual’ and shows a way to develop it into a form of understanding and transforming the world. The motional/actional aspects of the ‘enhanced’ visual are further discussed in terms of a hierarchical model of motion control proposed by Nikolai Bernstein in which two kinds of spaces are defined: first, space as a geometric medium of locomotion defined by delimiting surfaces and dynamic constraints; secondly, spaces of purposeful tool-mediated activity as collections of meaningful objects. Our human talent for identifying things by unclear or incomplete features is instrumental to our ability to recognize objects in drawings and photographs. The Bernsteinian system helps to explain why the perception of 2D images is dominated by object-oriented parsing. Hence, there is a danger that the response to pictures be reduced to subject-object interaction in which many important holistic qualities of the enhanced visual would be lost. Hierotopic creativity – the construction of sacred spaces – can be seen as a strategy to mitigate these dangers by integrating image-pictures into higher-level spatial constructs of enhanced visuality.This study’s point of departure is a question: given that the Old Testament God so categorically prohibits all images, why is His Word, i.e., the Bible, so full of visions and visual imagery? In this paper, the issue is discussed in terms of a distinction between the visual, broadly understood, and the pictorial, relating in a narrow sense to graphic artefacts. I argue that mental images are distinct from and, in a sense, superior to pictures. The latter are contrasted with an ‘enhanced’ visual imagery that includes sensory and motor images as well. Holistic units of these ‘enhanced’ visual memories are termed as ‘image-experiences’. The first and most important quality of the ‘enhanced vision’ is its spatial character, which can even predetermine the emotional key of the response. This is particularly the case with ‘limitless’ natural spaces, such as the sea, the skies, or mountainous landscapes. The complex structure of the natural sublime and its affinity with divine imagery is discussed using the concrete example of the modern European aesthetics of mountains in its historical evolution. Then the paper turns to the hierotopic approach, according to which the spatial experience of religious imagery emerges from organized ensembles of sacred objects and symbolic pointers, conceptualised as spatial icons. Another important quality of the enhanced visual is in its organic link with movement and action. Image-experiences are lived through rather than passively watched. Calvinist visual theology provides a remarkable example of an iconoclast ideology, which explicitly supports the ‘enhanced visual’ and shows a way to develop it into a form of understanding and transforming the world. The motional/actional aspects of the ‘enhanced’ visual are further discussed in terms of a hierarchical model of motion control proposed by Nikolai Bernstein in which two kinds of spaces are defined: first, space as a geometric medium of locomotion defined by delimiting surfaces and dynamic constraints; secondly, spaces of purposeful tool-mediated activity as collections of meaningful objects. Our human talent for identifying things by unclear or incomplete features is instrumental to our ability to recognize objects in drawings and photographs. The Bernsteinian system helps to explain why the perception of 2D images is dominated by object-oriented parsing. Hence, there is a danger that the response to pictures be reduced to subject-object interaction in which many important holistic qualities of the enhanced visual would be lost. Hierotopic creativity – the construction of sacred spaces – can be seen as a strategy to mitigate these dangers by integrating image-pictures into higher-level spatial constructs of enhanced visuality

THE DISCOVERY OF HIEROTOPY

This paper outlines the genesis of hierotopy, a notion serving to conceptualize the creation of sacred spaces as a particular form of human art. The concept encompasses the entirety of the multifarious components employed in Byzantine sacred spaces and analyzes the ways in which their cooperative interaction results in the formation of a ‘spatial icon’, or a kind of sacred ambiance. The very notion of a ‘spatial icon’ draws upon the central place of icons and iconicity in the Eastern Christian worldview. In Byzantium, icons were seen as windows opening out onto an otherworldly reality, or, rather, as doors opening up a two-way communication; in this way, the icon was understood as a means or a place, of immediate contact with the divine, or a sort of platonic chora, in which ideal divine forms assimilated material contours. Within the context of a sacred space, the icon appeared not only as a principal meaning-making agent, but also as a conceptual key for understanding the way in which other components, as well as the sacred space as a whole, effectively worked; each component was thus understood and experienced as being ‘iconic’, or icon-like, in the sense of providing other points (or, rather, spaces) of contact between the earthly and the divine. As this paper recounts, Alexei Lidov made his first steps towards forging the concept of hierotopy while studying the design, as well as the perception, of Byzantine iconographic programs; as his studies revealed, icons acted not simply as images, but also with the full deployment of their wonder-working potential evincing a powerful expression of religious meaning, particularly when purposefully employed together with wonder-working relics. Lidov’s next step was to realize the fully performative nature of spatial icons by taking into account the crucial role played by the surrounding liturgical context, in which each beholder, or liturgical participant, played an active role in giving life to the spatial icon. Hierotopy was thus discovered (and formally defined) as a special form of art involving the performative creation of spatial icons. The paper also discusses the concept of ‘image-paradigms’ as multimodal units of meaning within sacred spaces, or as compound mental constructs combining together dogmatic ideas, imagery and holistic emotive components (so-called atmospheres).This paper outlines the genesis of hierotopy, a notion serving to conceptualize the creation of sacred spaces as a particular form of human art. The concept encompasses the entirety of the multifarious components employed in Byzantine sacred spaces and analyzes the ways in which their cooperative interaction results in the formation of a ‘spatial icon’, or a kind of sacred ambiance. The very notion of a ‘spatial icon’ draws upon the central place of icons and iconicity in the Eastern Christian worldview. In Byzantium, icons were seen as windows opening out onto an otherworldly reality, or, rather, as doors opening up a two-way communication; in this way, the icon was understood as a means or a place, of immediate contact with the divine, or a sort of platonic chora, in which ideal divine forms assimilated material contours. Within the context of a sacred space, the icon appeared not only as a principal meaning-making agent, but also as a conceptual key for understanding the way in which other components, as well as the sacred space as a whole, effectively worked; each component was thus understood and experienced as being ‘iconic’, or icon-like, in the sense of providing other points (or, rather, spaces) of contact between the earthly and the divine. As this paper recounts, Alexei Lidov made his first steps towards forging the concept of hierotopy while studying the design, as well as the perception, of Byzantine iconographic programs; as his studies revealed, icons acted not simply as images, but also with the full deployment of their wonder-working potential evincing a powerful expression of religious meaning, particularly when purposefully employed together with wonder-working relics. Lidov’s next step was to realize the fully performative nature of spatial icons by taking into account the crucial role played by the surrounding liturgical context, in which each beholder, or liturgical participant, played an active role in giving life to the spatial icon. Hierotopy was thus discovered (and formally defined) as a special form of art involving the performative creation of spatial icons. The paper also discusses the concept of ‘image-paradigms’ as multimodal units of meaning within sacred spaces, or as compound mental constructs combining together dogmatic ideas, imagery and holistic emotive components (so-called atmospheres)

"Мыследействие" как основа умственной работы

Профессиональная деятельность вполне развитого образованного человека, использующего по максимуму свой интеллект и знания на работе, остается, как правило, вне круга интересов современной философии сознания, которая анализирует главным образом элементарные мысли и действия. В данной работе предлагается единый подход к описанию как простейших, так и чрезвычайно сложных действий на основе синтетического концепта «мыследействие», объединяющего как ментальные, так и внешние аспекты действий. Генезис нового понятия рассматривается в свете холистических парадигм экстернализма и энактивизма. Professional activity of a fully developed educated individual getting the most out of his knowledge and intellect at work has attracted as of yet little interest in modern cognitive science and philosophy of mind, whereas the main focus is on the analysis of elementary thoughts and actions. In this paper I propose a unified approach to both elementary and very complex actions based on a concept of “action-thoughts”, in which mental and physical aspects of actions are fused together. The genesis of this novel concept is presented in the light of holistic paradigms of externalism and enactivism

Hiérotopie de l’obscurité

Tandis que le rôle de la lumière dans la création des espaces sacrés est bien connu, la hiérotopie de l’obscurité n’a jamais fait l’objet d’études specifiques. Dans cet article, l’obscurité est thématisée comme un élément constitutif des espaces sacrés. J’affirme que l’obscurité est plus que l’absence de lumière. L’ambiance sombre engendre une spiritualité toute particulière, caractérisée par le silence, la paix sereine et par la concentration sur le monde intérieur. Cette spiritualité est dotée de sa propre symbolique sacrée, étroitement liée avec la dramaturgie et la symbolique de la lumière. Comme exemple typique, nous allons prendre les catacombes romaines paléochrétiennes, lieux de rituels funéraires et commémoratifs. Du point de vue hiérotopique, les catacombes peuvent être considérées comme des icônes spatiales du royaume des morts, où l’image-paradigme du paradis chrétien luisait invisiblement à travers l’ambiance lugubre de ce monde souterrain.Although the role of light in the creation of sacred spaces is well known, the hierotopy of darkness has never been, to our knowledge, a subject of a dedicated study. In this work, darkness is thematized as a constitutive element of sacred spaces. I argue that there is more to darkness than merely the absence of light. A dark ambience engenders its own spirituality characterized by serenity, quiet peace and focusing on one’s inner life. Moreover, darkness is imbued with its own sacred meanings intimately intertwined with the dramaturgy and meanings of light. As an example, we take Roman catacombs, a site of funerary rituals and a spatial icon of the underworld through which the Christian paradise was shining, with sporadically embedded small gold-glass tondo icons as points of connection between earth and heaven

Action-thoughts and the genesis of time in linguistic semiosis

The genesis of time is explained in the spirit of constructivism combined with the activity approach to cognition. The cardinal temporal categories of present, past, and fu- ture are discussed in terms of action-thoughts understood as elementary units of activity whose structure is determined by linguistic semiosis. Husserl’s tripartite model of the phenomenology of time (prime perception, retention, protention) is applied to the ana- lysis of the subject’s experience of his actions. It is demonstrated that, while our lived present is composed of the actually performed actions, our past and future are construc- ted by reflexive action-thoughts in the cognitive domain of language. It is emphasized that the construction of a temporal sequence that unites what is and what already or still is not, is possible only in linguistic semiosis. The analogy with Husserl’s tripartite structure of the time-consciousness flow helps elucidate the triad ‘present-past-future’ as an instance of the epistemological trap of language: ‘past’ and ‘future’ are mental const- ructs that belong to the present just as any other act of thinking

JAMMING AND SPOOFING ARE REAL!

GPS receivers are crucial for GNSS/INS systems protecting INS systems from jamming and spoofing, as MARIA SIMSKY explains </jats:p

Мыследействие как синергия и как иерархия

При осмыслении мира аналитическим сознанием происходит дробление воспринимаемой реальности вдоль семантических границ языковых понятий, противоречащее стремлению человека к органичному и целостному мировосприятию. Один из путей преодоления этих разделений состоит в формировании новых синтетических понятий, отражающих глубинное сродство разделенных в языковом семиозисе категорий. Примером такого подхода является понятие мыследействия, понимаемое как синергия действия с его ментальными и психологическими аспектами. Мыследействия мобилизуют двигательный аппарат на достижение целей, используя органическую способность мозга к обобщению опыта действий в программы-репрезентации, не нуждающиеся в символических представлениях. В рамках деятельностного подхода в психологии мыследействие вводится как холистическая единица анализа индивидуальной деятельности, включая весь ее спектр от элементарных действий-движений до сложной умственной работы. Далее, концепт мыследействия обсуждается в свете радикального конструктивизма Пиаже – Глазерсфельда, а также применяется для интерпретации основных временных категорий прошлого, настоящего и будущего. Многоуровневая система построения движений Н. А. Бернштейна продолжается в иерархических системах мыследействий и далее – в управлении коллективными действиями на основе языка. С этой точки зрения социум представляется динамичной системой связей руководства – подчинения, в которых цель действия передается языковыми командами, образующими первый и основной канал перехода от знака к смыслу. Надстроенная таким образом иерархия движений связывает биологию и культуру в единую жизнеспособную структуру, дальнейшее развитие которой идет путем формирования высшего уровня практик, которые понимаются как холистические единицы анализа жизненного процесса в целом. Практики образуют над-языковый и над-понятийный уровень координации, который определяет характер представляющих и поддерживающих практики онтических деятельностных структур