in Figur und Figuration
AutorIn: Dieter Mersch

This essay is concerned with a reinterpretation of Theophrastus von Hohenheim’s (Paracelus) and Jakob Böhme’s ‚theory of signature‘ (Signaturenlehre). In contrast to common interpretations, it is considered from the angle of the opposition of symbollon and semeion. While the first category, symbollon, refers on an act of unification of divided parts that constitute one sign, the latter category, semeion, deals with conventional meaning. ‚Semiotic signs‘ always require interpretations, ‚symbolic signs‘ show meanings. The article argues that ‚showing‘ – in a mere Wittgensteinian sense in contrast to ‚saying‘ – turns out to be the key to understand the ‚theory of signature‘. From this perspective, the ‚theory of signature‘ could be a foundation of ‚phaenomenological semiotics‘. That means that it finds its starting-point in perception and aesthetics instead of denotation or signification. Its method is analogy. Thus, it can be compared with artistic work that gains various experiences through forms, materials, and figures (‚Gestalten‘), and not evidences by means of valid propositions about the world

in Signatur und Phantastik in den schönen Künsten und in den Kulturwissenschaften der frühen Neuzeit
in Kunst und Wissenschaft
in Politik des Zeigens
in Hide and Seek
in Stimme und Schrift
in Körper des Denkens
in Entautomatisierung
in Es gibt Kunstwerke - Wie sind sie möglich?
Materialität, Präsenz, Ereignis
AutorIn: Dieter Mersch