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32-517: To those who use the term, iconology is derived from synthesis rather than scattered analysis and examines symbolic meaning on more than its face value by reconciling it with its historical context and with the artist's body of work – in contrast to the widely descriptive iconography, which, as described by Panofsky, is an approach to studying the content and meaning of works of art that is primarily focused on classifying, establishing dates, provenance and other necessary fundamental knowledge concerning

64-447: A biological approach to images as forms of life, crossing iconology, ecology and sciences of nature. In an econological regime, the image ( eikon ) self-speciates, that is to say, it self-iconicizes with others and eco-iconicizes with them its iconic habitat ( oikos ). The iconology, mainly Warburghian iconology, is thus merged with a conception of the relations between the beings of the nature inherited, among others ( Arne Næss , etc.) from

96-457: A commitment to ecosophy T, Næss's personal beliefs. The "T" referred to Tvergastein, a mountain hut where he wrote many of his books, and reflected Næss's view that everyone should develop his own philosophy. Næss's ecosophy can be summed up as self-realization . According to Næss, every being, whether human , animal or vegetable , has an equal right to live and to blossom. Næss states that through self-realization humans can become part of

128-486: A compulsory course in philosophy ( examen philosophicum ) taught in Norwegian universities. Argumentation theorist Erik Krabbe later said that Næss's principles for effective discussion were precursors of the rules for critical discussion in pragma-dialectics . Ecosophy T, as distinct from deep ecology, was originally the name of Næss's personal philosophy. Others such as Warwick Fox have interpreted deep ecology as

160-446: A postlinguistic, postsemiotic "iconic turn", emphasizing the role of "non-linguistic symbol systems". Instead of just pointing out the difference between the material (pictorial or artistic) images, "he pays attention to the dialectic relationship between material images and mental images". According to Dennise Bartelo and Robert Morton, the term "iconology" can also be used for characterizing "a movement toward seeing connections across all

192-433: A variety of other symptoms. Interpreting these symbolical values, which can be unknown to, or different from, the artist's intention, is the object of iconology. Panofsky emphasized that "iconology can be done when there are no originals to look at and nothing but artificial light to work in." According to Ernst Gombrich , "the emerging discipline of iconology ... must ultimately do for the image what linguistics has done for

224-456: Is modulated by one personality and condensed into one work. According to Roelof van Straten, iconology "can explain why an artist or patron chose a particular subject at a specific location and time and represented it in a certain way. An iconological investigation should concentrate on the social-historical, not art-historical, influences and values that the artist might not have consciously brought into play but are nevertheless present. The artwork

256-481: Is mostly avoided by social historians who do not accept the theoretical dogmaticism in the work of Panofsky. Erwin Panofsky defines iconography as "a known principle in the known world", while iconology is "an iconography turned interpretive". According to his view, iconology tries to reveal the underlying principles that form the basic attitude of a nation, a period, a class, a religious or philosophical perspective, which

288-618: Is primarily seen as a document of its time." Warburg used the term "iconography" in his early research, replacing it in 1908 with "iconology" in his particular method of visual interpretation called "critical iconology", which focused on the tracing of motifs through different cultures and visual forms. In 1932, Panofsky published a seminal article, introducing a three-step method of visual interpretation dealing with (1) primary or natural subject matter; (2) secondary or conventional subject matter, i.e. iconography; (3) tertiary or intrinsic meaning or content, i.e. iconology. Whereas iconography analyses

320-447: Is the "integral iconography which accounts for the changes and development in the representations". In Iconology: Images, Text, Ideology (1986), W.J.T. Mitchell writes that iconology is a study of "what to say about images", concerned with the description and interpretation of visual art, and also a study of "what images say" – the ways in which they seem to speak for themselves by persuading, telling stories, or describing. He pleads for

352-608: Is the title of a book by Erwin Panofsky on humanistic themes in the art of the Renaissance, which was first published in 1939. It is also the name of a peer-reviewed series of books started in 2014 under the editorship of Barbara Baert and published by Peeters international academic publishers, Leuven , Belgium, addressing the deeper meaning of the visual medium throughout human history in the fields of philosophy, art history, theology and cultural anthropology. Jan Gerrit Van Gelder Too Many Requests If you report this error to

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384-452: The 21st century, Næss came to be recognized by newer generations of philosophers as a pioneer of experimental philosophy (a term that Næss himself used) for his empirical semantics research. One of Næss's early publications on experimental philosophy was "Truth" as Conceived by Those Who Are Not Professional Philosophers (1938). Næss's main philosophical work from the 1950s was entitled Interpretation and Preciseness (1953). This

416-532: The Wikimedia System Administrators, please include the details below. Request from 172.68.168.133 via cp1102 cp1102, Varnish XID 65788182 Upstream caches: cp1102 int Error: 429, Too Many Requests at Fri, 29 Nov 2024 06:53:29 GMT Arne N%C3%A6ss Arne Dekke Eide Næss ( / ˈ ɑːr n ə ˈ n ɛ s / , AR -nə NESS ; Urban East Norwegian: [ˈɑ̂ːɳə ˈdɛ̂kːə ˈæ̂ɪdə ˈnɛsː] ; 27 January 1912 – 12 January 2009)

448-546: The country at the time. He was a noted mountaineer, who in 1950 led the expedition that made the first ascent of Tirich Mir (7,708 metres or 25,289 feet) in Pakistan , depicted in the documentary film Tirich Mir til topps . The Tvergastein hut in the Hallingskarvet massif played an important role in the name of Næss's philosophy, "Ecosophy T", as "T" is said to represent his mountain hut Tvergastein. In 1958, he founded

480-585: The early post–World War II period had raised public awareness of the environmental issues of the time, they had largely failed to have insight into and address what he argued were the underlying cultural and philosophical background to these problems. Næss believed that the environmental crisis of the twentieth century had arisen due to certain unspoken philosophical presuppositions and attitudes within modern western developed societies which remained unacknowledged. He thereby distinguished between what he called deep and shallow ecological thinking. In contrast to

512-436: The human mind as conditioned by psychology and world view; he analyses the history of cultural symptoms or symbols, or how tendencies of the human mind were expressed by specific themes due to different historical conditions. Moreover, when understanding the work of art as a document of a specific civilization, or of a certain religious attitude therein, the work of art becomes a symptom of something else, which expresses itself in

544-449: The interdisciplinary journal of philosophy Inquiry . In 1970, together with a large number of protesters, he chained himself to rocks in front of Mardalsfossen , a waterfall in a Norwegian fjord , and refused to descend until plans to build a dam were dropped. Though the demonstrators were carried away by police and the dam was eventually built, the demonstration launched a more activist phase of Norwegian environmentalism. When he

576-471: The language processes" and the idea about "multiple levels and forms used to communicate meaning" in order to get "the total picture” of learning. "Being both literate in the traditional sense and visually literate are the true mark of a well-educated human." For several years, new approaches to iconology have developed in the theory of images. This is the case of what Jean-Michel Durafour , French philosopher and theorist of cinema, proposed to call "econology",

608-440: The language situation in which the utterance occurred. These differing interpretations are to be formulated in more precise language represented as subsets of the original utterance. Each subset can, in its turn, have further subsets (theoretically ad infinitum). The advantages of this conceptualisation of interpretation are various. It enables systematic demonstration of possible interpretation, making possible evaluation of which are

640-451: The midst of other images, past or present, but also future (those are only human classifications), which they have relations with. They self-iconicize in an iconic environment which they interact with, and which in particular makes them the images they are. Or more precisely, insofar as images have an active part: the images self-eco-iconicize their iconic environment ." Studies in Iconology

672-428: The more and less "reasonable interpretations". It is a logical instrument for demonstrating language vagueness, undue generalisation, conflation, pseudo-agreement and effective communication. Næss developed a simplified, practical textbook embodying these advantages, entitled Communication and Argument: Elements of Applied Semantics (1966), which became a valued introduction to this pragmatics or "language logic", and

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704-461: The prevailing utilitarian pragmatism of western businesses and governments, he advocated that a true understanding of nature would give rise to a point of view that appreciates the value of biological diversity , understanding that each living thing is dependent on the existence of other creatures in the complex web of interrelationships that is the natural world. Næss was born in Slemdal, Oslo, Norway,

736-468: The son of Christine (Dekke) and Ragnar Eide Næss. Ragnar was a successful banker, and Arne was the younger brother of shipowner Erling Dekke Næss . Næss had two children with his first wife Else and was the uncle of mountaineer and businessman Arne Næss Jr. (1937–2004). In 1939, Næss was the youngest person to be appointed full professor at the University of Oslo and the only professor of philosophy in

768-418: The subject matter of an artwork that is needed for further interpretation. Panofsky's "use of iconology as the principal tool of art analysis brought him critics." For instance, in 1946, Jan Gerrit Van Gelder "criticized Panofsky's iconology as putting too much emphasis on the symbolic content of the work of art, neglecting its formal aspects and the work as a unity of form and content." Furthermore, iconology

800-411: The word." However, Michael Camille is of the opinion that "though Panofsky's concept of iconology has been very influential in the humanities and is quite effective when applied to Renaissance art, it is still problematic when applied to art from periods before and after." In 1952, Creighton Gilbert added another suggestion for a useful meaning of the word "iconology". According to his view, iconology

832-405: The world of images, stories and allegories and requires knowledge of literary sources, an understanding of the history of types and how themes and concepts were expressed by objects and events under different historical conditions, iconology interprets intrinsic meaning or content and the world of symbolical values by using "synthetic intuition". The interpreter is aware of the essential tendencies of

864-529: The writings of Kinji Imanishi . For Imanishi, living beings are subjects. Or, more precisely, the environment and the living being are just one. One of the main consequences is that the "specity", the living individual, "self-eco-speciates its place of life" ( Freedom in Evolution ). As far as the images are concerned: "If the living species self-specify, the images self-iconicize. This is not a tautology. The images update some of their iconic virtualities. They live in

896-751: Was 61, he met Kit Fai, who was four decades younger and whom he later married. In 1996, he won the Swedish Academy Nordic Prize , known as the "little Nobel". In 2005 he was decorated as a Commander with Star of the Royal Norwegian Order of St. Olav for socially useful work. Næss was a minor political candidate for the Norwegian Green Party in 2005. Næss died on 12 January 2009, at the age of 96. Næss's book Erkenntnis und wissenschaftliches Verhalten (1936) anticipated many themes familiar in post-war analytic philosophy . In

928-535: Was a Norwegian philosopher who coined the term " deep ecology ", an important intellectual and inspirational figure within the environmental movement of the late twentieth century, and a prolific writer on many other philosophical issues. Næss cited Rachel Carson 's 1962 book Silent Spring as being a key influence in his vision of deep ecology. Næss combined his ecological vision with Gandhian nonviolence and on several occasions participated in direct action . Næss averred that while western environmental groups of

960-481: Was an application of set theory to the problems of language interpretation, extending the work of semanticists such as Charles Kay Ogden in The Meaning of Meaning . A simple way of explaining it is that any given utterance (word, phrase, or sentence) can be considered as having different potential interpretations, depending on prevailing language norms, the characteristics of particular persons or groups of users, and

992-449: Was not the actual investigation of the work of art but rather the result of this investigation. The Austrian art historian Hans Sedlmayr differentiated between "sachliche" and "methodische" iconology. "Sachliche" iconology refers to the "general meaning of an individual painting or of an artistic complex (church, palace, monument) as seen and explained with reference to the ideas which take shape in them." In contrast, "methodische" iconology

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1024-428: Was used over many decades as a sine qua non for the preparatory examination at the University of Oslo , later known as examen philosophicum ("exphil"). Næss's book Communication and Argument (1966) included his recommendations for objective public debate . Næss argued for adhering to the following principles to make discussions as fruitful and pleasant as possible: For many years these points were part of

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