A.P.Polo - Paradigma

LIMITED EDITION of 50

A P POLO

# 404454

A.P.POLO - PARADIGMA

Name: A.P.Polo - Paradigma by A P Polo Wall Art
Brand: Pictorem
SKU: 404454
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A.P.Polo - "Paradigma" - Hamburg (Germany) - New Media Art. Abstract, contemporary work that captivates with its complex pattern and skilful use of l...[+]

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A.P.POLO - PARADIGMA A P POLO Canvas Print

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48 x 47 inches

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Acrylic Print with Stand off

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We suggest a thicker 3/16" acrylic for any size over 42 inches to guarantee a straight acrylic, without curvature

1/8" thickness

3/16" thickness

1/8" Thickness:

20 x 20 inches

51 x 51 cm

1/8 with 4 metal stand off

^C$628

24 x 24 inches

62 x 62 cm

1/8 with 4 metal stand off

^C$819

30 x 29 inches

77 x 74 cm

1/8 with 4 metal stand off

^C$1137

36 x 35 inches

92 x 90 cm

1/8 with 4 metal stand off

^C$1560

42 x 41 inches

108 x 105 cm

1/8 with 4 metal stand off

^C$2594

48 x 47 inches

123 x 121 cm

1/8 with 6 metal stand off

^C$3173

3/16" Thickness:

20 x 20 inches

51 x 51 cm

3/16 with 4 metal stand off

^C$851

24 x 24 inches

62 x 62 cm

3/16 with 4 metal stand off

^C$1093

30 x 29 inches

77 x 74 cm

3/16 with 4 metal stand off

^C$1497

36 x 35 inches

92 x 90 cm

3/16 with 4 metal stand off

^C$2033

42 x 41 inches

108 x 105 cm

3/16 with 4 metal stand off

^C$3201

48 x 47 inches

123 x 121 cm

3/16 with 4 metal stand off

^C$3934

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White Metal Print with Stand off

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A.P.Polo - Paradigma HD Metal print with Floating Frame on Back

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A.P.Polo - Paradigma HD Sublimation Metal print

A.P.Polo - Paradigma HD Sublimation Metal print with Decorating Float Frame (BOX)

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White and lighter areas are not printed on the wood, revealing the beauty of the wood’s texture and natural beauty!
Printed on 3/8" (9mm) thick and strong and durable Russian Birch wood which is ready to hang and enjoy! [+]

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28 x 28" Framed Print

Printed Area: 24 x 24"
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ABOUT THIS ARTWORK: A.P.POLO - PARADIGMA
A.P.Polo - "Paradigma" - Hamburg (Germany) - New Media Art. Abstract, contemporary work that captivates with its complex pattern and skilful use of light & shadow. This work can be classified as concrete art. A paradigm ("Paradigma" in German) is a fundamental way of thinking. The word comes from the Greek parádeigma. Translated, it means "example, model, pattern" or "delimitation, explanatory model, prejudice"; also "world view" or "world view". In ancient rhetoric, it was understood to mean an incident cited as positive or negative evidence for a dogmatic argument or moral doctrine. Since the late 18th century, paradigm has referred to a particular kind of worldview or doctrinal opinion. The term was introduced by Georg Christoph Lichtenberg. According to Ludwig Wittgenstein, paradigms are patterns or standards against which experience is compared and judged. They are prior to experience (a priori) and provide orientation. In the modern history of science, the term was introduced by Thomas S. Kuhn. He uses it to describe the totality of basic views that constitute a scientific discipline in a historical period. Examples of such a "fundamental world view" are the geocentric world view or the heliocentric world view. These basic views outline which questions are scientifically permissible and what can be regarded as a scientifically satisfactory solution. According to Kuhn, scientific revolutions in the natural sciences are associated with changes in paradigms. Kuhn suggests that certain scientific works, such as Newton's Principia or John Dalton's New System of Chemical Philosophy (1808), provide an open-ended resource: a framework of concepts, results, and procedures within which subsequent work is structured. Normal science proceeds within such a framework or paradigm. A paradigm does not impose a rigid or mechanical approach, but can be taken more or less creatively and flexibly. Finally, the concept of the "paradigm" was also introduced into discourses critical of the times, for example by Fritjof Capra, based on approaches of the esoteric New Age movement. In Aristotle, paradeigma is the inductive argument in rhetoric. It denotes a rhetorical inference procedure with its individual cases, based on examples. In contrast to other inductive arguments, one does not proceed from particular cases to a general one, but from a particular case to another particular case of the same kind. Giorgio Agamben, in his Signatura rerum, defines the paradigm as "a form of knowledge that is neither inductive nor deductive, but analogical, thus progressing from one particular to another particular". In this context, he refers to his teacher Michel Foucault's understanding of paradigm as a "description of discourse as the historical articulation of a paradigm" and shows the connection between Foucault's epistemological understanding of paradigm and the normative concept of Thomas S. Kuhn's concept of paradigm, pointing out the double meaning of the paradigm concept in Kuhn's work: Kuhn's paradigm corresponds on the one hand to a "disciplinary matrix" as "what the members of a scientific community share with each other, a totality of techniques, models and values", but also applies "to a single element of this totality - to Newton's Principia, to Ptolemy's Almagest -: to an element which, serving as a communal example, takes the place of explicit rules and thus defines a particular, self-contained tradition of research." Kuhn defines paradigms as "generally accepted scientific achievements that provide authoritative problems and solutions for a community of experts for a certain period of time." Agamben's definition of paradigm goes back to the philosophical roots of the term in Aristotle's Analytica priora, which states "that the operation of the paradigm is not that of a part relating to a whole, nor that of a whole relating to a part, but that of a part relating to a part". Agamben adds to this: "The epistemological statute of the paradigm becomes clear only when we radicalise Aristotle's thesis and begin to understand that he questions the dichotomous opposition between the particular and the universal." Agamben relates the "epistemic statute" specifically to Paracelsus' medical semiotics: "The idea that all things bear a sign that manifests and reveals their invisible properties forms the original core of the Paracelsian epistem". The function of the paradigm, according to Agamben, is thus to transmit the signature of the concept of origin. In his much-cited essay "Clues: Roots of a Scientific Paradigm", Carlo Ginzburg also refers to the paradigm with explicit reference to Kuhn as an "epistemological model" and specifically explains the circumstantial paradigm as an interpretive pattern whose origins lie in medical semiotics and became known as the "Morelli method". The physician and art critic Giovanni Morelli succeeded in proving forgeries of old masters, but also the authorship of unsigned paintings, by analysing details such as auricles and fingernails. Sigmund Freud became aware of Morelli early on and described his technique - which, as Ginzburg pointed out, bears great resemblance to the meticulous sleuthing of Sherlock Holmes - in The Moses of Michelangelo (1914) as follows: "I believe his procedure is closely related to the technique of medical psychoanalysis. The latter, too, is accustomed to guess hidden things from underestimated or unnoticed features (...)" Ginzburg's "semiotic" understanding of paradigm is in line with Kuhn, who defines science as "the solving of riddles" that "only lack of perspicacity could hinder". In the preface to his standard work, Kuhn himself points to the Polish physician Ludwik Fleck, whose "style of thinking" "demarcates what is relevant within a collective of thought from what is not", as the authoritative source of his understanding of paradigm. Semiotics in its self-understanding as a procedural hypothesis and methodological net that we have thrown over the diversity of phenomena in order to be able to speak of them is also the background of Kuhn's concept of paradigm. Its beginnings as a science lie (alongside Charles Sanders Peirce's theory of signs) with Ferdinand de Saussure, who had in mind a "semiology as translingustics". Thus, linguistics and philosophy oriented towards linguistics after the "linguistic turn" also make contributions to the concept of paradigm. Syntagma and paradigm, as elements of synchronic structure, are central concepts in the work of Ferdinand de Saussure, who is not only considered the founder of linguistics, but also the main initiator of structuralism. Kuhn explicitly refers to Ludwig Wittgenstein, who describes the paradigm as "something to be compared with" and speaks of "family resemblances". Saussure emphasises "the arbitrariness of the verbal sign which, because it is conventional, contains no inner and consequently stable relation to its meaning". This character of agreement is fundamental to Kuhn's understanding of paradigm, which is also a structuralist one. Thus, in the preface to his main work, Kuhn mentions Benjamin Whorf, who assumes that the structures of language shape thinking, and Jean Piaget, who elaborated the psychological structures of personality development. Kuhn himself ultimately dispensed with a stringent definition of his paradigm concept. While the structuralist components of his work are rather associatively connected, the history of science provides the concrete point of reference for his theses. In the preface to his main work, he names the works of Alexandre Koyré, Émile Meyerson, Hélène Metzger and Anneliese Maier, whose study was "almost as important to him as the primary source material"(ibid). After the upheaval of physics through relativity and quantum theory, which "caused a feeling as if the ground on which natural science stands were being pulled out from under our feet", the history of science and the philosophy of science found themselves in a general upheaval, which led in France with Gaston Bachelard to epistemology, whose self-understanding and methodology correspond in many respects with Kuhn's theses and in whose tradition Louis Althusser, Michel Foucault and Giorgio Agamben also stand. In Kuhn's, Agamben's and Ginzburg's understanding of paradigm, a connection between structuralism, epistemology and semiotics becomes apparent. Kuhn's "Structure of Scientific Revolutions" shows the structure of the paradigm in its synchronic and diachronic elements of agreement and history of science. Agamben places the function of the paradigm as the actualisation of the sign in the transmission of the signature at the centre of his interpretation. If, according to Jean Piaget, a system consists of the connection between structure and function, the paradigm can be understood as a systematic method of theory formation. Finally, with the semiotic component of reconstruction, Ginzburg directs attention to an expanded "dynamic" understanding of the paradigm as an epistemological model. Semiotics in its intention "to show how systems underlie cultural processes" is based on the "dialectic between structures and historical process", which becomes evident as the dialectic of system and process in Kuhn's notion of paradigm shift. According to current Hegel interpretation, the concept of paradigm shift is already laid down "avant la lettre" in Hegel's Phenomenology of Spirit: "Modernly speaking, phenomenology thematises the paradigm shift or the consequence of fundamental crises of science, morality, etc.". According to this, the change occurs in such a way that "temporally different (but not always successive) conceptions of the subject matter are connected by a dialectical movement that ultimately goes back to 'semantic relations' of the underlying concepts". These semantic relations are also evident in Agamben's concept of the "signature" and the circumstantial paradigm pointed out by Ginzburg. Concrete art was an art movement with a strong emphasis on geometrical abstraction. The term was first formulated by Theo van Doesburg and was then used by him in 1930 to define the difference between his vision of art and that of other abstract artists of the time. After his death in 1931, the term was further defined and popularized by Max Bill, who organized the first international exhibition in 1944 and went on to help promote the style in Latin America. The term was taken up widely after World War 2 and promoted through a number of international exhibitions and art movements.

This artwork can be shipped worldwide when ordered on Canvas & Poster Roll
Any other format including, Stretched Canvas, Acrylic etc, ships only in Continental USA & Canada (Free shipping)

A.P.POLO - PARADIGMA

Giclée Canvas Print

Stretched Split Canvas

Acrylic Print

Brushed Metal Print / Smooth White Metal Print

HD ChromaLuxe Sublimation High-Gloss Metal Print

Wood Print

Roll Print

Mural Print

Framed Print

Standard size framed print

Wall Clock

Product details

Digital Download

Print One Plant One

Proudly Canadian

A.P.POLO - PARADIGMA

Giclée Canvas Print

Stretched Split Canvas

Acrylic Print

Brushed Metal Print / Smooth White Metal Print

HD ChromaLuxe Sublimation High-Gloss Metal Print

Wood Print

Roll Print

Mural Print

Framed Print

Standard size framed print

Wall Clock

Product details

Digital Download

Print One Plant One

Proudly Canadian

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