Lecture Notes in Morphogenesis – serie

This book develops a morphodynamical approach to linguistic and sign structures as an integrated response to multilevel and interrelated problems in semiolinguistic research. More broadly, the content is linked to the realities of living speech through a connection (via the concept of diacriticity) with the Merleau-Pontian phenomenology, and beyond the formal determinations of a semiolinguistic system and its calculus. Such problems are mainly epistemological (concerning the nature and legitimate scope of semiolinguistic knowledge), empirical (concerning the observational device and the data’s composition), and theoretical (regarding the choice of a conceptual and formalized explicative frame). With regard to theory, the book introduces a morphodynamical architecture of linguistic signs and operations as a suitable mathematization of Saussurean theory. The Husserlian phenomenological signification of this formal apparatus is then established, and, from an empirical standpoint, its compatibility with neurobiological experimental results is discussed.

This book deals with the complexity of art by focusing on the singularity of the work of art. Gathering a selection of writings in art theory and semiotics, it explores the question of apprehending art from its perceptual aspects to aesthetic comprehension and understanding. Theoretical enquiries focus in particular on the dynamics of the perception of forms, the semiotic value of colour, the aesthetic phenomenon of empathy, the function of vision in relation to other senses and its faculty to lead, in a substantial way, to the embodiment of sense. These theoretical points are constantly observed with reference to the analysis of works of art, especially from the beginning of the modern era, when a renovated psychophysical approach oriented the evolution of contemporary aesthetics. Research into art theories sheds light on how differentials in topologic positions, dimensions, relationships and tones contribute to the arising of forms and colours in perception, and affectthe perceiver. The essays presented address in different ways the emergence of sense, by conceiving it as deeply anchored to the dynamics of perception, in addition to the cognitive disposition and knowledge, regardless of whether or not the subject (artist or beholder) is aware of these processes. Through in-depth analyses identifying to what extent the aesthetic moment builds on perceptual and semiotic processes, works of art are revealed to be singularities, reflecting the correlation with morphodynamics in the sciences.

This book deals with the complexity of art by focusing on the singularity of the work of art. Gathering a selection of writings in art theory and semiotics, it explores the question of apprehending art from its perceptual aspects to aesthetic comprehension and understanding. Theoretical enquiries focus in particular on the dynamics of the perception of forms, the semiotic value of colour, the aesthetic phenomenon of empathy, the function of vision in relation to other senses and its faculty to lead, in a substantial way, to the embodiment of sense. These theoretical points are constantly observed with reference to the analysis of works of art, especially from the beginning of the modern era, when a renovated psychophysical approach oriented the evolution of contemporary aesthetics. Research into art theories sheds light on how differentials in topologic positions, dimensions, relationships and tones contribute to the arising of forms and colours in perception, and affectthe perceiver. The essays presented address in different ways the emergence of sense, by conceiving it as deeply anchored to the dynamics of perception, in addition to the cognitive disposition and knowledge, regardless of whether or not the subject (artist or beholder) is aware of these processes. Through in-depth analyses identifying to what extent the aesthetic moment builds on perceptual and semiotic processes, works of art are revealed to be singularities, reflecting the correlation with morphodynamics in the sciences.

This book provides a thorough discussion about fundamental questions regarding urban theories and modeling. It is a curated collection of contributions to a workshop held in Paris on October 12th and 13th 2017 at the Institute of Complex Systems by the team of ERC GeoDiverCity. There are several chapters conveying the answers given by single authors to problems of conceptualization and modeling and others in which scholars reply to their conception and question them. Even, the chapters transcribing keynote presentations were rewritten according to contributions from the respective discussions. The result is a complete “state of the art” of what is our knowledge about urban processes and their possible formalization.

This book provides a thorough discussion about fundamental questions regarding urban theories and modeling. It is a curated collection of contributions to a workshop held in Paris on October 12th and 13th 2017 at the Institute of Complex Systems by the team of ERC GeoDiverCity. There are several chapters conveying the answers given by single authors to problems of conceptualization and modeling and others in which scholars reply to their conception and question them. Even, the chapters transcribing keynote presentations were rewritten according to contributions from the respective discussions. The result is a complete “state of the art” of what is our knowledge about urban processes and their possible formalization.

This book is a significant novelty in the scientific and editorial landscape. Morphology is both an ancient and a new discipline that rests on Goethe's heritage and re-forms it in the present through the concepts of form and image. The latter are to be understood as structural elements of a new cultural grammar able to make the late modern world intelligible. In particular, compared to the original Goethean project, but also to C.P. Snow's idea of unifying the “two cultures”, the fields of morphological culture that are the object of this glossary have profoundly changed. The ever-increasing importance of the image as a polysemic form has made the two concepts absolutely transitive, so to speak. This is concomitant with the emergence of a culture that revolves around the image, attracting the verbal logos into its orbit. Incidentally, even the hermeneutic relationship between past and present relies more and more on the image, causing deep changes incultural environments. Form and image are not just bridging concepts, as in the field of ancient morphology, but real transitive concepts that define the state of a culture. From the Internet to smartphones, television, advertising, etc., we are witnessing – as Horst Bredekamp observes – an immense mass of images that fill our time and affect the most diverse areas of our culture.  The ancient connection between science and art recalled by Goethe emerges with unusual evidence thanks to intersecting patterns and expressive forms that are sometimes shared by different forms of knowledge. Creating a glossary and a culture of these intersections is the task of morphology, which thus enters into the boundaries between aesthetics, art, design, advertising, and sciences (from mathematics to computer science, to physics, and to biology), in order to provide the founding elements of a grammar and a syntax of the image. The latter, in its formal quality, bothexpressive and symbolic, is a fundamental element in the unification of the various kinds of knowledge, which in turn come to be configured, in this regard, also as styles of vision. The glossary is subdivided into contiguous sections, within a complex framework of cross-references. In addition to the two curators, the book features the collaboration of a team of scholars from the individual disciplines appearing in the glossary.

This book is a significant novelty in the scientific and editorial landscape. Morphology is both an ancient and a new discipline that rests on Goethe's heritage and re-forms it in the present through the concepts of form and image. The latter are to be understood as structural elements of a new cultural grammar able to make the late modern world intelligible. In particular, compared to the original Goethean project, but also to C.P. Snow's idea of unifying the “two cultures”, the fields of morphological culture that are the object of this glossary have profoundly changed. The ever-increasing importance of the image as a polysemic form has made the two concepts absolutely transitive, so to speak. This is concomitant with the emergence of a culture that revolves around the image, attracting the verbal logos into its orbit. Incidentally, even the hermeneutic relationship between past and present relies more and more on the image, causing deep changes incultural environments. Form and image are not just bridging concepts, as in the field of ancient morphology, but real transitive concepts that define the state of a culture. From the Internet to smartphones, television, advertising, etc., we are witnessing – as Horst Bredekamp observes – an immense mass of images that fill our time and affect the most diverse areas of our culture.  The ancient connection between science and art recalled by Goethe emerges with unusual evidence thanks to intersecting patterns and expressive forms that are sometimes shared by different forms of knowledge. Creating a glossary and a culture of these intersections is the task of morphology, which thus enters into the boundaries between aesthetics, art, design, advertising, and sciences (from mathematics to computer science, to physics, and to biology), in order to provide the founding elements of a grammar and a syntax of the image. The latter, in its formal quality, bothexpressive and symbolic, is a fundamental element in the unification of the various kinds of knowledge, which in turn come to be configured, in this regard, also as styles of vision. The glossary is subdivided into contiguous sections, within a complex framework of cross-references. In addition to the two curators, the book features the collaboration of a team of scholars from the individual disciplines appearing in the glossary.

This book deals with two fundamental issues in the semiotics of the image. The first is the relationship between image and observer: how does one look at an image? To answer this question, this book sets out to transpose the theory of enunciation formulated in linguistics over to the visual field. It also aims to clarify the gains made in contemporary visual semiotics relative to the semiology of Roland Barthes and Emile Benveniste. The second issue addressed is the relation between the forces, forms and materiality of the images. How do different physical mediums (pictorial, photographic and digital) influence visual forms? How does materiality affect the generativity of forms? On the forces within the images, the book addresses the philosophical thought of Gilles Deleuze and René Thom as well as the experiment of Aby Warburg’s Atlas Mnemosyne. The theories discussed in the book are tested on a variety of corporafor analysis, including both paintings and photographs, taken from traditional as well as contemporary sources in a variety of social sectors (arts and sciences).   Finally, semiotic methodology is contrasted with the computational analysis of large collections of images (Big Data), such as the “Media Visualization” analyses proposed by Lev Manovich and Cultural Analytics in the field of Computer Science to evaluate the impact of automatic analysis of visual forms on Digital Art History and more generally on the image sciences.

This book deals with two fundamental issues in the semiotics of the image. The first is the relationship between image and observer: how does one look at an image? To answer this question, this book sets out to transpose the theory of enunciation formulated in linguistics over to the visual field. It also aims to clarify the gains made in contemporary visual semiotics relative to the semiology of Roland Barthes and Emile Benveniste. The second issue addressed is the relation between the forces, forms and materiality of the images. How do different physical mediums (pictorial, photographic and digital) influence visual forms? How does materiality affect the generativity of forms? On the forces within the images, the book addresses the philosophical thought of Gilles Deleuze and René Thom as well as the experiment of Aby Warburg’s Atlas Mnemosyne. The theories discussed in the book are tested on a variety of corporafor analysis, including both paintings and photographs, taken from traditional as well as contemporary sources in a variety of social sectors (arts and sciences).   Finally, semiotic methodology is contrasted with the computational analysis of large collections of images (Big Data), such as the “Media Visualization” analyses proposed by Lev Manovich and Cultural Analytics in the field of Computer Science to evaluate the impact of automatic analysis of visual forms on Digital Art History and more generally on the image sciences.

This book is based on a two-day symposium at the Paris Institute of Advanced Study titled "space-time geometries and movement in the brain and the arts". It includes over 20 chapters written by the leading scientists and artists who presented their related research studies at the symposium and includes six sections; the first three focus on space-time geometries in perception, action and memory while the last three focus on specific artistic domains: drawing and painting, dance, music, digital arts and robotics. The book is accompanied by a dedicated webpage including related images and videos. There is an ever-growing interest in the topics covered by this book. Space and time are of fundamental importance for our understanding of human perception, action, memory and cognition, and are entities which are equally important in physics, biology, neuroscience and psychology. Highly prominent scientists and mathematicians have expressed their belief that our bodies and minds shape the ways we perceive space and time and the physical laws we formulate. Understanding how the brain perceives motion and generates -bodily movements is of great significance. There is also growing interest in studying how space, time and movement subserve artistic creations in different artistic modalities (e.g., fine arts, digital and performing arts and music). This interest is inspired by the idea that artists make intuitive use of the principles and simplifying strategies used by the brain in movement generation and perception. Building upon new understanding of the spatio-temporal geometries subserving movement generation and perception by the brain we can start exploring how artists make use of such neuro --geometrical and neuro-dynamic representations in order to express artistic concepts and emotionally affect the human observers and listeners. Scientists have also started formulating new ideas of how aesthetic judgements emerge from the principles and brain mechanisms subserving motor control and motion perception.Covering novel and multidisciplinary topics, this advanced book will be of interest to neuroscientists, behavioral scientists, artificial intelligence and robotics experts, students and artists.

This book is based on a two-day symposium at the Paris Institute of Advanced Study titled "space-time geometries and movement in the brain and the arts". It includes over 20 chapters written by the leading scientists and artists who presented their related research studies at the symposium and includes six sections; the first three focus on space-time geometries in perception, action and memory while the last three focus on specific artistic domains: drawing and painting, dance, music, digital arts and robotics. The book is accompanied by a dedicated webpage including related images and videos. There is an ever-growing interest in the topics covered by this book. Space and time are of fundamental importance for our understanding of human perception, action, memory and cognition, and are entities which are equally important in physics, biology, neuroscience and psychology. Highly prominent scientists and mathematicians have expressed their belief that our bodies and minds shape the ways we perceive space and time and the physical laws we formulate. Understanding how the brain perceives motion and generates -bodily movements is of great significance. There is also growing interest in studying how space, time and movement subserve artistic creations in different artistic modalities (e.g., fine arts, digital and performing arts and music). This interest is inspired by the idea that artists make intuitive use of the principles and simplifying strategies used by the brain in movement generation and perception. Building upon new understanding of the spatio-temporal geometries subserving movement generation and perception by the brain we can start exploring how artists make use of such neuro --geometrical and neuro-dynamic representations in order to express artistic concepts and emotionally affect the human observers and listeners. Scientists have also started formulating new ideas of how aesthetic judgements emerge from the principles and brain mechanisms subserving motor control and motion perception.Covering novel and multidisciplinary topics, this advanced book will be of interest to neuroscientists, behavioral scientists, artificial intelligence and robotics experts, students and artists.

This book offers a critical account of Karl Marx’s dazzling theory of labour power which is also one of the most influential concepts in the history of contemporary philosophy. Labour power is the dark side of the digital revolution. Working men and women are invisible and treated like human service, flesh and blood automatons or organic extensions of a machine that produces data on its own. Automation is viewed as something magic made possible by algorithms whose life is independent of human beings.Labour power, however, has not disappeared. Without drivers, Uber cannot connect customers on its platform; without searches on its browser, Google grinds to a halt; without us, Facebook or Instagram is desert. Labour power is the dwarf hidden inside the puppet of technology that allows algorithms to be intelligent and make the biggest profits in the history of capitalism.The invisible centrality of labour power is the political enigma of our times. Today a new account of the theory of labour power is needed more than ever in order to understand the political economy of digital capitalism on new grounds. Unlike a long tradition in the history of work, labour power is not only the work or the data it produces, but a potency that does not coincide with its current commodification. The actuality of labour power does not exhaust the virtuality that can be actualised by its faculty. Even when reduced to a commodity, labour power does not exhaust the potency of its being otherwise.Immersed in the constant propaganda that boosts the latest technological inventions, we neglect the fact that this wealth is produced by us and that it could be ours precisely because it is a part of our potential to be other than what we are at present. This book is a vibrant invitation to consider the fact that we are always connected with the potency thatis constantly at work in our life. If this were not the case, we would not be alive. If we do not strive to become consciously and collectively active, we will never know.

This book offers a critical account of Karl Marx’s dazzling theory of labour power which is also one of the most influential concepts in the history of contemporary philosophy. Labour power is the dark side of the digital revolution. Working men and women are invisible and treated like human service, flesh and blood automatons or organic extensions of a machine that produces data on its own. Automation is viewed as something magic made possible by algorithms whose life is independent of human beings.Labour power, however, has not disappeared. Without drivers, Uber cannot connect customers on its platform; without searches on its browser, Google grinds to a halt; without us, Facebook or Instagram is desert. Labour power is the dwarf hidden inside the puppet of technology that allows algorithms to be intelligent and make the biggest profits in the history of capitalism.The invisible centrality of labour power is the political enigma of our times. Today a new account of the theory of labour power is needed more than ever in order to understand the political economy of digital capitalism on new grounds. Unlike a long tradition in the history of work, labour power is not only the work or the data it produces, but a potency that does not coincide with its current commodification. The actuality of labour power does not exhaust the virtuality that can be actualised by its faculty. Even when reduced to a commodity, labour power does not exhaust the potency of its being otherwise.Immersed in the constant propaganda that boosts the latest technological inventions, we neglect the fact that this wealth is produced by us and that it could be ours precisely because it is a part of our potential to be other than what we are at present. This book is a vibrant invitation to consider the fact that we are always connected with the potency thatis constantly at work in our life. If this were not the case, we would not be alive. If we do not strive to become consciously and collectively active, we will never know.

This book describes about unlike usual differential dynamics common in mathematical physics, heterogenesis is based on the assemblage of differential constraints that are different from point to point. The construction of differential assemblages will be introduced in the present study from the mathematical point of view, outlining the heterogeneity of the differential constraints and of the associated phase spaces, that are continuously changing in space and time. If homogeneous constraints well describe a form of swarm intelligence or crowd behaviour, it reduces dynamics to automatisms, by excluding any form of imaginative and creative aspect. With this study we aim to problematize the procedure of homogeneization that is dominant in life and social science and to outline the dynamical heterogeneity of life and its affective, semiotic, social, historical aspects. Particularly, the use of sub-Riemannian geometry instead of Riemannian one allows to introduce disjointed and autonomous areas in the virtual plane. Our purpose is to free up the dynamic becoming from any form of unitary and totalizing symmetry and to develop forms, action, thought by means of proliferation, juxtaposition, and disjunction devices. After stating the concept of differential heterogenesis with the language of contemporary mathematics, we will face the problem of the emergence of the semiotic function, recalling the limitation of classical approaches (Hjelmslev, Saussure, Husserl) and proposing a possible genesis of it from the heterogenetic flow previously defined. We consider the conditions under which this process can be polarized to constitute different planes of Content (C) and Expression (E), each one equipped with its own formed substances. A possible (but not unique) process of polarization is constructed by means of spectral analysis, that is introduced to individuate E/C planes and their evolution. The heterogenetic flow, solution of differential assemblages, gives rise to forms that are projected onto the planes, offering a first referring system for the flow, that constitutes a first degree of semiosis.

This book describes about unlike usual differential dynamics common in mathematical physics, heterogenesis is based on the assemblage of differential constraints that are different from point to point. The construction of differential assemblages will be introduced in the present study from the mathematical point of view, outlining the heterogeneity of the differential constraints and of the associated phase spaces, that are continuously changing in space and time. If homogeneous constraints well describe a form of swarm intelligence or crowd behaviour, it reduces dynamics to automatisms, by excluding any form of imaginative and creative aspect. With this study we aim to problematize the procedure of homogeneization that is dominant in life and social science and to outline the dynamical heterogeneity of life and its affective, semiotic, social, historical aspects. Particularly, the use of sub-Riemannian geometry instead of Riemannian one allows to introduce disjointed and autonomous areas in the virtual plane. Our purpose is to free up the dynamic becoming from any form of unitary and totalizing symmetry and to develop forms, action, thought by means of proliferation, juxtaposition, and disjunction devices. After stating the concept of differential heterogenesis with the language of contemporary mathematics, we will face the problem of the emergence of the semiotic function, recalling the limitation of classical approaches (Hjelmslev, Saussure, Husserl) and proposing a possible genesis of it from the heterogenetic flow previously defined. We consider the conditions under which this process can be polarized to constitute different planes of Content (C) and Expression (E), each one equipped with its own formed substances. A possible (but not unique) process of polarization is constructed by means of spectral analysis, that is introduced to individuate E/C planes and their evolution. The heterogenetic flow, solution of differential assemblages, gives rise to forms that are projected onto the planes, offering a first referring system for the flow, that constitutes a first degree of semiosis.

This book provides a brief but accessible introduction to a set of related, mathematical ideas that have proved useful in understanding the brain and behaviour. If you record the eye movements of a group of people watching a riverside scene then some will look at the river, some will look at the barge by the side of the river, some will look at the people on the bridge, and so on, but if a duck takes off then everybody will look at it.  How come the brain is so adept at processing such biological objects? In this book it is shown that brains are especially suited to exploiting the geometric properties of such objects.  Central to the geometric approach is the concept of a manifold, which extends the idea of a surface to many dimensions.  The manifold can be specified by collections of n-dimensional data points or by the paths of a system through state space.  Just as tangent planes can be used to analyse the local linear behaviour of points on a surface, so the extension to tangent spaces can be used to investigate the local linear behaviour of manifolds.  The majority of the geometric techniques introduced are all about how to do things with tangent spaces.Examples of the geometric approach to neuroscience include the analysis of colour and spatial vision measurements and the control of eye and arm movements.  Additional examples are used  to extend the applications of the approach and to show that it leads to new techniques for investigating neural systems. An advantage of following a geometric approach is that it is often possible to illustrate the concepts visually and all the descriptions of the examples are complemented by comprehensively captioned diagrams.The book is intended for a reader with an interest in neuroscience who may have been introduced to calculus in the past but is not aware of the many insights obtained by a geometric approach to the brain. Appendices contain brief reviews of the required background knowledge in neuroscience and calculus.

This book provides a brief but accessible introduction to a set of related, mathematical ideas that have proved useful in understanding the brain and behaviour. If you record the eye movements of a group of people watching a riverside scene then some will look at the river, some will look at the barge by the side of the river, some will look at the people on the bridge, and so on, but if a duck takes off then everybody will look at it.  How come the brain is so adept at processing such biological objects? In this book it is shown that brains are especially suited to exploiting the geometric properties of such objects.  Central to the geometric approach is the concept of a manifold, which extends the idea of a surface to many dimensions.  The manifold can be specified by collections of n-dimensional data points or by the paths of a system through state space.  Just as tangent planes can be used to analyse the local linear behaviour of points on a surface, so the extension to tangent spaces can be used to investigate the local linear behaviour of manifolds.  The majority of the geometric techniques introduced are all about how to do things with tangent spaces.Examples of the geometric approach to neuroscience include the analysis of colour and spatial vision measurements and the control of eye and arm movements.  Additional examples are used  to extend the applications of the approach and to show that it leads to new techniques for investigating neural systems. An advantage of following a geometric approach is that it is often possible to illustrate the concepts visually and all the descriptions of the examples are complemented by comprehensively captioned diagrams.The book is intended for a reader with an interest in neuroscience who may have been introduced to calculus in the past but is not aware of the many insights obtained by a geometric approach to the brain. Appendices contain brief reviews of the required background knowledge in neuroscience and calculus.

In the present book, the starting line is defined by a morphogenetic perspective on human communication and culture. The focus is on visual communication, music, religion (myth), and language, i.e., on the “symbolic forms” at the heart of human cultures (Ernst Cassirer). The term “morphogenesis” has more precisely the meaning given by René Thom (1923-2002) in his book “Morphogenesis and Structural Stability” (1972) and the notions of “self-organization” and cooperation of subsystems in the “Synergetics” of Hermann Haken (1927- ). The naturalization of communication and cultural phenomena is the favored strategy, but the major results of the involved disciplines (art history, music theory, religious science, and linguistics) are respected.Visual art from the Paleolithic to modernity stands for visual communication. The present book focuses on studies of classical painting and sculpture (e.g., Leonardo da Vinci, William Turner, and Henry Moore) and modern art (e.g., Jackson Pollock and Joseph Beuys). Musical morphogenesis embraces classical music (from J. S. Bach to Arnold Schönberg) and political songwriting (Bob Dylan, Leonhard Cohen). The myths of pre-literary societies show the effects of self-organization in the re-assembly (bricolage) of traditions. Classical polytheistic and monotheistic religions demonstrate the unfolding of basic germs (religious attractors) and their reduction in periods of crisis, the self-organization of complex religious networks, and rationalized macro-structures (in theologies). Significant tendencies are analyzed in the case of Buddhism and Christianism. Eventually, a holistic view of symbolic communication and human culture emerges based on state-of-the-art in evolutionary biology, cognitive science, linguistics, and semiotics (philosophy of symbolic forms).

In the present book, the starting line is defined by a morphogenetic perspective on human communication and culture. The focus is on visual communication, music, religion (myth), and language, i.e., on the “symbolic forms” at the heart of human cultures (Ernst Cassirer). The term “morphogenesis” has more precisely the meaning given by René Thom (1923-2002) in his book “Morphogenesis and Structural Stability” (1972) and the notions of “self-organization” and cooperation of subsystems in the “Synergetics” of Hermann Haken (1927- ). The naturalization of communication and cultural phenomena is the favored strategy, but the major results of the involved disciplines (art history, music theory, religious science, and linguistics) are respected.Visual art from the Paleolithic to modernity stands for visual communication. The present book focuses on studies of classical painting and sculpture (e.g., Leonardo da Vinci, William Turner, and Henry Moore) and modern art (e.g., Jackson Pollock and Joseph Beuys). Musical morphogenesis embraces classical music (from J. S. Bach to Arnold Schönberg) and political songwriting (Bob Dylan, Leonhard Cohen). The myths of pre-literary societies show the effects of self-organization in the re-assembly (bricolage) of traditions. Classical polytheistic and monotheistic religions demonstrate the unfolding of basic germs (religious attractors) and their reduction in periods of crisis, the self-organization of complex religious networks, and rationalized macro-structures (in theologies). Significant tendencies are analyzed in the case of Buddhism and Christianism. Eventually, a holistic view of symbolic communication and human culture emerges based on state-of-the-art in evolutionary biology, cognitive science, linguistics, and semiotics (philosophy of symbolic forms).

Drawing a line, and then another, and another. Go back from the lines to the movements they capture and see gestures in them: not spatial displacements, but modes of knowledge that pass through the exercise of the body. Discovering something new in a gesture: the line that contracts into a point or the point that expands into a zone, perhaps sinking into a hole. Thus experiencing a diagram: a becoming other inscribed in the novelty of the gesture and in the changes of the forms it shapes. This and much more is discussed in the essays gathered in Diagrams and Gestures. Resulting from trans-disciplinary work between mathematicians, philosophers, linguists and semioticians, the volume delivers an up-to-date account of the most valuable research on the connections between gesture and diagram. As one of the most important themes in contemporary thought, the study of these connections poses a challenge for the future: to elaborate a theory that is equal to new and stimulating research methodologies. We call this theory a philosophy of diagrammatic gestures.

Drawing a line, and then another, and another. Go back from the lines to the movements they capture and see gestures in them: not spatial displacements, but modes of knowledge that pass through the exercise of the body. Discovering something new in a gesture: the line that contracts into a point or the point that expands into a zone, perhaps sinking into a hole. Thus experiencing a diagram: a becoming other inscribed in the novelty of the gesture and in the changes of the forms it shapes. This and much more is discussed in the essays gathered in Diagrams and Gestures. Resulting from trans-disciplinary work between mathematicians, philosophers, linguists and semioticians, the volume delivers an up-to-date account of the most valuable research on the connections between gesture and diagram. As one of the most important themes in contemporary thought, the study of these connections poses a challenge for the future: to elaborate a theory that is equal to new and stimulating research methodologies. We call this theory a philosophy of diagrammatic gestures.

What do we mean by semiotic perception? Why should the concepts of perception and expressivity be reinterpreted within the encompassing framework of a dynamic theory of semiotic fields and forms?  Can we redeploy the concept of form in such a way as to make explicit such a native solidarity (‘chiasmatic’ would have said Merleau-Ponty) between perception, praxis and expression -- and first and foremost in the activity of language, right to the heart of the life of the social and speaking animal that we are? What then would be the epistemological and ontological consequences, and how might this affect the way we describe semiolinguistic forms? This book aims to provide answers to these questions by opening up avenues of research on how to understand the linguistic and semiotic dimensions at work in the constitution of experience, both individual and collective.

What do we mean by semiotic perception? Why should the concepts of perception and expressivity be reinterpreted within the encompassing framework of a dynamic theory of semiotic fields and forms?  Can we redeploy the concept of form in such a way as to make explicit such a native solidarity (‘chiasmatic’ would have said Merleau-Ponty) between perception, praxis and expression -- and first and foremost in the activity of language, right to the heart of the life of the social and speaking animal that we are? What then would be the epistemological and ontological consequences, and how might this affect the way we describe semiolinguistic forms? This book aims to provide answers to these questions by opening up avenues of research on how to understand the linguistic and semiotic dimensions at work in the constitution of experience, both individual and collective.

Jean Petitot is a polyhedric thinker whose contributions has been fundamental in a number of disciplines, such as epistemology, morphodynamics, differential geometry, structural semiotics, neurogeometry, phenomenology, linguistics, cognitive grammars, the theory of catastrophes, social sciences, literary studies, and aesthetics. This book is a homage to his huge contribution about the main concepts of morphogenesis and meaning that constitute the center of gravity around which Petitotian reflection revolves and returns.The scientific path of Jean Petitot develops between these two poles, topology and meaning. At stake it was to challenge the hiatus separating the exact sciences from the humanities that was the main point of the Petitot seminar of EHESS Epistemology of Models. By designing the appropriate qualitative dynamics between the two poles, form and meaning, it is possible to understand the Saussurian sign in structural semiotics, or the Greimasian semiotic square fordeep narrative structures or even the canonical formula of the myth of Lévi Strauss in structural anthropology. These are just few results in applying the theory of catastrophes to the emergence of meaning. The book is a collection of testimonies by distinguished authors who worked extensively with Jean Petitot in the different fields of Mathematics, Neurogeometry, Semiotics, Aesthetics, and Epistemology. An extensive bibliography of Petitot’s work is also presented.

Jean Petitot is a polyhedric thinker whose contributions has been fundamental in a number of disciplines, such as epistemology, morphodynamics, differential geometry, structural semiotics, neurogeometry, phenomenology, linguistics, cognitive grammars, the theory of catastrophes, social sciences, literary studies, and aesthetics. This book is a homage to his huge contribution about the main concepts of morphogenesis and meaning that constitute the center of gravity around which Petitotian reflection revolves and returns.The scientific path of Jean Petitot develops between these two poles, topology and meaning. At stake it was to challenge the hiatus separating the exact sciences from the humanities that was the main point of the Petitot seminar of EHESS Epistemology of Models. By designing the appropriate qualitative dynamics between the two poles, form and meaning, it is possible to understand the Saussurian sign in structural semiotics, or the Greimasian semiotic square fordeep narrative structures or even the canonical formula of the myth of Lévi Strauss in structural anthropology. These are just few results in applying the theory of catastrophes to the emergence of meaning. The book is a collection of testimonies by distinguished authors who worked extensively with Jean Petitot in the different fields of Mathematics, Neurogeometry, Semiotics, Aesthetics, and Epistemology. An extensive bibliography of Petitot’s work is also presented.

The body of work presented in this book comes from research carried out since 2017 as part of the international "Actualité de René Thom" project. This project was initially entitled "Morphology and qualitative dynamics: Knowledge of forms / Forms of knowledge". Subsequently, the name "Relevance of René Thom" was chosen for its clarity and evocative power.The aim of this research project is to promote the scientific relevance of René Thom's thinking on forms, and to demonstrate the importance of his method and discoveries. It is based on discussions of Thom's thinking and the method he proposes - i.e., to seek out dynamic structures in order to understand changes of form in nature and at the human-social level, to explain the transformation of these dynamic forms, to study the morphologies of process in various fields in order to advance scientific knowledge...The relevance of this thinker has manifested itself in the form of monthly sessions of a research seminar, held from 2017 to 2022, as well as in the form of international congresses (2018, 2019), bringing together the greatest friends and continuators, both of the work of René Thom himself, and of reflection on morphogenetic dynamics in the most diverse disciplines. This created a space for dialogue and listening between the exact sciences and the social and human sciences. Indeed, the fields of study are necessarily interdisciplinary, since, as René Thom teaches us, morphological organization, or form, in its exchanges with matter, must be considered as "independent" of its substrate, i.e. the environment in which this morphogenesis unfolds. Finally, this book marks a symbolic moment: it takes shape in the year that marks the centenary of the birth of René Thom, who was born in the French town of Montbéliard in 1923. To mark this centenary (1923-2023), a number of initiatives have been launched to celebrate the discoveries and advances of this mathematician-philosopher, ashe liked to call himself… The publication of the present book is one more, which we hope will shed light that will stimulate the morphological gaze Thom so urged us to adopt.

The body of work presented in this book comes from research carried out since 2017 as part of the international "Actualité de René Thom" project. This project was initially entitled "Morphology and qualitative dynamics: Knowledge of forms / Forms of knowledge". Subsequently, the name "Relevance of René Thom" was chosen for its clarity and evocative power.The aim of this research project is to promote the scientific relevance of René Thom's thinking on forms, and to demonstrate the importance of his method and discoveries. It is based on discussions of Thom's thinking and the method he proposes - i.e., to seek out dynamic structures in order to understand changes of form in nature and at the human-social level, to explain the transformation of these dynamic forms, to study the morphologies of process in various fields in order to advance scientific knowledge...The relevance of this thinker has manifested itself in the form of monthly sessions of a research seminar, held from 2017 to 2022, as well as in the form of international congresses (2018, 2019), bringing together the greatest friends and continuators, both of the work of René Thom himself, and of reflection on morphogenetic dynamics in the most diverse disciplines. This created a space for dialogue and listening between the exact sciences and the social and human sciences. Indeed, the fields of study are necessarily interdisciplinary, since, as René Thom teaches us, morphological organization, or form, in its exchanges with matter, must be considered as "independent" of its substrate, i.e. the environment in which this morphogenesis unfolds. Finally, this book marks a symbolic moment: it takes shape in the year that marks the centenary of the birth of René Thom, who was born in the French town of Montbéliard in 1923. To mark this centenary (1923-2023), a number of initiatives have been launched to celebrate the discoveries and advances of this mathematician-philosopher, ashe liked to call himself… The publication of the present book is one more, which we hope will shed light that will stimulate the morphological gaze Thom so urged us to adopt.

This book advances a new interdisciplinary approach that engages with the concepts of science and literature through the mediation of philosophy (with a focus on the ideas of Gilbert Simondon and Gilles Deleuze). It investigates in innovative ways the multifaceted dimensions of creation, of genesis, considered here in artistic and mathematical terms as “heterogenesis”.The dialogic interaction among the three domains generates a renewed analysis of poems selected in the work of particularly inventive poets, both French and American—Emily Dickinson, e.e. cummings and Francis Ponge—as well as the artwork of Pierre Soulages, Anna-Eva Bergman and Cy Twombly.Literary Heterogenesis. Diagrammatic Dynamics. The Interplay of the Virtual and the Actual will interest specialists of mathematics, physics, literary theory and criticism, philosophy, and epistemology. It will also attract any curious mind drawn to the bridging of disciplines and the concepts of the two cultures.

This book advances a new interdisciplinary approach that engages with the concepts of science and literature through the mediation of philosophy (with a focus on the ideas of Gilbert Simondon and Gilles Deleuze). It investigates in innovative ways the multifaceted dimensions of creation, of genesis, considered here in artistic and mathematical terms as “heterogenesis”.The dialogic interaction among the three domains generates a renewed analysis of poems selected in the work of particularly inventive poets, both French and American—Emily Dickinson, e.e. cummings and Francis Ponge—as well as the artwork of Pierre Soulages, Anna-Eva Bergman and Cy Twombly.Literary Heterogenesis. Diagrammatic Dynamics. The Interplay of the Virtual and the Actual will interest specialists of mathematics, physics, literary theory and criticism, philosophy, and epistemology. It will also attract any curious mind drawn to the bridging of disciplines and the concepts of the two cultures.