L: nature /
ecstatic, finite transcendence
linear, in-finite transcendence
H: "Life is
Leben ist diesig")
L: chiaroscuro, sfumato
imagination: analogon to interpretation
imagination: analogon to natur
hermeneutic as (implicit) - apophantic as (explicit)
mente (implicit) - painting (explicit)
hermeneia and apophansis
space - time
space - time
Source: Leonardo filosofo.
difference between nature and imitation
can never be fully explained by design and/or language
- infinite /
finite difference (mathematical approximation)
presence in painting but only approximately
the epochal philosophical discovery of L? Humans are natural beings but
nature through imagination.
shows how to transcend nature by showing / painting:
(any) human comportment?
things as different from natural things
Nothingness / now (nichts /
being, the painter, who yields the 'there' ("Da") for the
manifestation of everything what is in its own being / movement / time
into a conversation with L on what remains un-thought namely the
H the being
nothingness in L:
- the point:
What is a point?
points: linear time.
is a potential perspective.
perspectives but: finite
observer / situation.
the (in-)finite as the task of the painter.
and the poet: aisthesis
of aisthesis as the via regia for opening a presence of the world.
precondition(s) guiding the constitution of painting.
in relation to nature (epistemic relation).
pre-understanding of being:
openness of nature
- the (un-)veiledness of nature
- trans-formation (Ovid: Metamorphosis)
- living: life as movement.
Source: On time and
nature as the leading being
facie: homocentric (androcentric) (Kantian)
- man: vita
underlies all trans-formations? time
form (Plato / Aristoteles)
- form(s) in
- not a priori
in the subject
observer is not the condition of possibility of trans-formations
Vitruvian circles is the 'Da'
On decentering human-being: the Vitruvian difference
On Points, Forms,
- an ontic/ontological
- an act of
transcendence: the givenness of beings into what makes them and the
of this ontological difference?
into his mind in order to find the form / idea of what appears.
this form (pre-formation) in his mind.
form in his mind is not the form of his mind.
forms come from into his mind?
take a distance:
distance-taking is not itself a form it is
painter (as mediator)
number: ground difference
inventor: machines / artificiality (mathematics)
counting be (time)
- time as a
of time as paradox of point
be a point?
being of points the basis of all beings? of being itself?
point - nothingness
where / how
do points come into being? In the (human) mind
of being (of a point)?
is god a
is nature a
is a point
the appearence of god?
appropriate L's theory of painting by interpreting it as a theory of
understanding and re-presenting nature
- in the mind
of the painter
- in his
discovery of (pre-) Renaissance perspective:
revolution as perspectivism.
revolution by L
retrieving (Wieder-holung) the essence of Renaissance perspectivism
theory of painting / Dar-stellens of what is in its being.
mind of the painter (ontological perspectivism) vs. byzantinism:
= human (painter) mind.
(poet: Plato: Ion (text
& transl) as
god's mediator (Ficino?) vs. L: the
painter is not god's mediator but nature's: The birth
of philosophy in contraposition to divine messengers/messages.
Source: On the Genealogy
of its own; more original possibility which is
the movement of human transcendence manifesting
time as its driving force towards transformation.
historical/geschichtlich inquiry into the meaning of being starts with Graf
around of the question of being:
Time --> Time and Being
time : Schemata
/ nature: number - perspective: forms as
transcendence - schemata (forms)
prioritizing natural beings over
but without a
view from nowhere (byzantinism): hieratic, non-situational, psyche-less
(pathemata tes psyches)
transpose the earthly epiphany
- to see
the world form the perspective of nature as it appears to a human
L's foundation of painting:
of nature (prioritizing the meta-physical / eternal).
arts prioritizing painting as what makes possible the manifestation of
perspective i.e. of time.
Leonardian analogue of 'lying the foundation': the movement
of temporal transcendence as what L.
dis-covers when imitating nature.
nature a mimesis of time in painting but time as
presence in paiting vs. music.
apparent steady state of time in painting: the disappearence of
the soul (in transcendental imagination)
the problem of the ontological difference in L:
- analysis of
beings through disegno / paiting: infintiy
- What is the
common source underlying all phenomena? vs. metaphysics (God)
- time as the
being of beings
mathematical follows of nows / points
past, present, future
the roadblocks that obscured L's access to the question of being:
(finis / counting / points)
movement of transcendence itself (being) vs. all other movements of
trans-formation (beings) that L.
dis-covers in the act of painting, i.e. of transposing the forms in the
the forms in the painting.
Painting as analogy to the soul
receiving the forms of things.
Creative 'imagination' (Ein-bildung)
in the soul of the painter::
- needs time: forms arise through thinking
- thinking of the painter as a analogon to the ideas in God.
painter as painter?
metaphysical position of the painter as
- I imagine
therefore I am (a painter)
- L. and
Descartes: cogito, litterae, logos
- L. and
Kant/H: forming , sinnlich, aesthetics has the priority over abstract
- back to
senses: objectifying it in painting
vs. noesis ton adiaireton:
knowledge of the indivisibles, in-formatio.
Source: Plato: Ion
Pacioli: mathematische Methode
Hist. Wörterbuch der Philos. II,
Descartes: Idea entis, Idee der Unendlichkeit
Natur: nicht substantiell, sondern mechanisch als Prozess
der Erzeugung von formen in exakten formulae als Bedingung der
Erforschung empirischer Ursachen: Substanzen, Kräfte,
Geschehnisse vs. Abstraktion, Dialektik
Hist.Wörterbuch der Philosophie,
eidola poietike (Bilderzeugung)
Aristoteles, Peri Psyches, 432a
deconstruction gen. subj/obj
the arts (paragone)
mathematics - esperienza: grounding in time
the mind (not: out there)
the painter: each one unique
of paintings vs. reproduction (books)
vs. Aura (W. Benjamin)
- painting time
- painting space
L on care: nature:
air, water, earth, fire
Nature and Machines
L.: a change of perspective
L. as he
- the hierarchy of arts
- time as
mimesis of natural time trans-formation
---> nature ---> arts
of time through human finitude
portrayal of the temporal horizon: relativity knower/known
back to L.
portrayal: (arts / nature)
construction of objects
Kantian: S - O
esperienza, nature (but nature -> mind ) (not: S/O)
- Kant: a
priori knowledge of possibility of objects (not: objects)
no a priori in L.
constitution of objects in the mind of the painter according to
L is the
thinker of the a posteriori but:
- Frame of
- power of
remains unsaid in L's transcendental philosophy?
singularity of its manifestations (painting)
- collapse of
being/time is, is not anything universal, abstract but
concert with the singularity of what
painter of singularity.
of the singular
- responds to
the singularity of nature in its infinite manifestations
- as a
place-holder for disclosedness
- on the
Ab-grund of the ontological difference
appears (finitude) --- infinity
as (painter, imaginatio)
ontological task of the painter: original act of disclosedness
interpretation in terms of the horizon of Renaissance: nature,
experience comes to a
limit where imagination
is the abyss out of which the painter /
painting relation arises as unique.
- The painter
dis-closes a possible 'as' a
hermeneutes bringing a message: thinking
matter of painting: the disclosure of being as time. Being -
time is the un-ground of painting.
- painting / paintings
- time/finitude / 'timelessness', infinite
- form /
colour / points
- matter /
situation / 'object'
- beings /
(time) transcends infinite in finite time
Source: Leonardo filosofo
bene spesa lunga è"
life as bene spesa
finitude - infinite
- relation: time:
in-form - imagination
becomes question-worthy and withdraws
from explicit consideration
paintings remain for Western aesthetics or the
artist as genie (19th/20th century) that
disappears in the digital age: mathematics of in-formation.
painting difference withdraws as
paintings and painting become
superseded by: media, photo, digitality
back the difference hidden in his paintings.