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Clearly, based on these assumptions in more detail P.Florensky stops on the fine arts. Graphics, ashe rightly points out, will not be a painting, even if donecolors. "(G)Rafik is based on motor sensations,andtherefore, organizing physical space. The scope --the area of active relationship to the world. The artist here is not takes from the world, andgives world, -- not vozdeistvuya the world, and affects the world" (p. 77).The graph considers the thing as the possibility of movements, the painting looks atthe content of things and it builds all the outdoor space. "The graph buildingthe space of the movements, and to the inside of things want to come to the sameperception and portrayed because the amount of things inside it making mentalmovement, i.e. imaginary physical experiments" (p.109). Here Florensky enters the semiotic variantgrammar. "The space of the artwork would beevery time only, for more than a unique opportunity, if the fundsorganizing would not be captured and the way to use them.
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