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Morphology is the general theory of form and formation, which can
be seen as the innovative and fruitful point of intersection of the
scientific and the humanistic cultures. The three papers presented
in the book by Olaf Breidbach, Pietro Corvaja and Angelo Vianello
respectively illustrate different features of morphology from the
epistemic viewpoints of history of science, mathematics and
biology. The texts were produced in the context of the second
meeting of the "Centro Interdipartimentale di Morfologia F. Moiso",
which took place in Udine on 14 December 2007.
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 in cultural 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, both expressive 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.
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