La forma diagrammatica fra matematica e arti

Maria Giulia Dondero

Maria Giulia Dondero

Parole chiave: diagram, perception, painting, sculpture, environnemental art, Charles Sanders Peirce

Abstract

This paper aims to compare the theory of diagram presented in Peirce’s philosophy of mathematics and the reflections on the work of art formulated by Henry Van Lier and René Thom. The Peircean Theory of diagram states that a diagram is a configuration characterized as a totality (form) that is necessary and at the same time dynamic and experimental. In his lectures about the relation between the local and the global in art (Apologie du logos, 1990), Thom traces a theory of forms that can be compared to the conception of diagram in Peirce’s semiotics. For Thom, beauty is the result of strategies of framing and of composing parts in a dynamic totality. Van Lier’s develops the idea of a perfect totality characterized by a syntax of traits that are at the right place and that couldn’t be organized in any other way, without which the work of art would have no efficacy. For my part, I explore these conceptions of a necessary totality in the arts (aesthetic necessity) and in mathematical diagrams (the demonstration through perceptual forms) in order to describe the differences and the similarities between the theories and the domains of application

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