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Clearly, based on these assumptions in more detail P.
Florensky stops on the fine arts. Graphics, as
he rightly points out, will not be a painting, even if done
colors. "(G)Rafik is based on motor sensations,and
therefore, organizing physical space. The scope --
the area of active relationship to the world. The artist here is not takes from the world, and
gives world, -- not vozdeistvuya the world, and affects the world" (p. 77).
The graph considers the thing as the possibility of movements, the painting looks at
the content of things and it builds all the outdoor space. "The graph building
the space of the movements, and to the inside of things want to come to the same
perception and portrayed because the amount of things inside it making mental
movement, i.e. imaginary physical experiments" (p.109).
Here Florensky enters the semiotic variant
grammar. "The space of the artwork would be
every time only, for more than a unique opportunity, if the funds
organizing would not be captured and the way to use them.
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