0000000000906556
AUTHOR
Federico Vercellone
Formation
Since the first programmatic drafts devoted to MORPHOLOGY, Goethe establishes a very strong connection between the birth of the new science, a dynamic consideration of FORM, and the intent to reach the description of the procedures through which the FORM itself is produced, transformed, and perceived. In fact, the first private entry dedicated to MORPHOLOGY defines it as “Lehre von der Gestalt, der Bildung und Umbildung der organischen Körper”
Morphology
Phenomenology and ontology. In the Goethean project of MORPHOLOGY, some basic theoretical LINES can be seen which have not ceased to profoundly influence the further development of methodological reflection on living FORMS and their becoming, on the relationships between FORM and IMAGE, and not least on the configurations of knowledge in the light of the decisive encounter with FORM and IMAGE.
Aesthetics
Aesthetics, structure and perception of the living form. Since its modern disciplinary foundation, AESTHETICS has developed a position of great interest in defining the relationship between sensitive knowledge, FORM and the question of living FORM. In fact, defining as the aim of AESTHETICS the “perfectio cognitionis sensitivae”.
Introduction
Starting from Goethe. Currently, there exists no discipline whose specific boundaries could be defined as MORPHOLOGY. Nevertheless, it is possible to trace out its history in ample terms and to define its scope broadly by understanding it as the place where the semantics of FORMS are defined and where they are connected to a reference IMAGE. The central link in the field of MORPHOLOGY is FORM-IMAGE, and it refers to those dynamics of the FORM and to the DYNAMIC SYSTEMS that have taken hold in late modernity and that continue to grow today.