The image of the world and the subversion of the reality: Fink, Kandinsky and the image as 'window on the absolute'
Abstract
Eugen Fink, collaborator and Husserl's last assistant, inaugurated anew dimension of the phenomenological analysis by considering as one of its main theme - and methodological presuppositions - a 'medial reality' as the gap between the effective reality and irreality. The 'image', as the medial phenomenon par excellence, offers the intricated theoretical structure of an experience of the whole as structural and dynamical framing or, simply said, of what Fink calls 'Absolute'.
The image plays therefore a role of a opened window on the absolute, that is, of a portability between one and another reality which creates the medial gap called 'image's world'. Eugen Fink's treatment of the image and the image's world, from a philosophical point of view, reveals an interesting correspondence with the way Kandinsky exposes his concept of 'spiritual' in art.
The present conference aims to overlap those two approaches of the phenomenon of 'image' in order to understand the scope of a philosophical theory that assumes the experience of image as the most essential structure of experience in general - experience of the world as an absolute.