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Abstract

A classification system traditionally presents knowledge as if it were static. However, pictures, words and the books written about them have meanings which (1) vary from place to place, (2) change with time and (3) depend on a cluster of related terms. The paper outlines a framework for these dynamic characteristics of knowledge: a model for integrating information from competing and even seemingly conflicting classification systems. To outline this model the word 'perspective' is analysed in terms of theory, practice and individuals. Perspectival theory is considered under definitions, primary and secondary literature and related terms. The lecture emphasizes the potential value of computers, lase discs and word processors for a new awareness of the historical and dynamic dimensions of knowledge. This model, if applied systematically, might lead to a reorganization of knowledge

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Abstract

Because much knowledge is stored in books in libraries, knowledge is equated with the written word and classified accordingly. The scope of knowledge extends, however, to (a) verbal, (b) visual and (c) numerical elements. It is proposed that in the realm of historical knowledge, present means of classification overemphasize the verbal and do not do justice to visual and numerical dimensions. Concrete examples are given. It is argued that a deeper understanding of visual and numerical knowledge is also of importance for the progress of knowledge. Some practival steps are outlined. Co-operation between a computer firm, audio-visual experts, historians and librarians of a great historical library is recommended

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Abstract

Building on the approach of Sir Ernest Gombrich, seven basic functions or goals of art are outlined as a new framework for the classification of fine art and visual images: connecting, ordering, matching, systematizing, mixing, internalizing and externalizing. It is suggested why only the first two of these goals, connecting and ordering, tend to produce closed repertoires of images, whereas the other goals stimulate open repertoires of images. A chief reason for these open repertoires was found in an interplay between visualization and verbalization which increased with the advent of printing