The Ontology of Polyphonic Visual Images
- Authors: Aminov E.F.1
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Affiliations:
- Issue: No 10 (2025)
- Pages: 123-146
- Section: Articles
- URL: https://journal-vniispk.ru/2409-8728/article/view/365434
- EDN: https://elibrary.ru/KJGJOS
- ID: 365434
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Abstract
This article attempts to build an ontological model of a visual image based on the principle of polyphony – a plurality of autonomous but interacting semantic voices. The category of polyphony, borrowed from musical and literary traditions, is reinterpreted as a fundamental characteristic of visual existence. The historical and modern manifestations of polyphonic images are analyzed, from ancient symbolic compositions to digital multimedia installations. A categorical framework is being developed that includes integration and differentiation, resonation, mutual activity of components, ontological valence, and contextual openness. The concept of a co-image is introduced as a minimal unit of visual polyphony – an autonomous image that preserves integrity while simultaneously coexisting with others. It is argued that a polyphonic visual image is not a closed representation, but an ontological event in which being manifests itself through a dialogue of multiple voices distributed across different layers of perception, time, and cultural context. The research uses an interdisciplinary approach combining methods of visual analysis, philosophical hermeneutics and cultural studies. The principles of phenomenological description, structural analysis and comparative method are used in the study of polyphonic visual images. The scientific novelty of the research lies in the development of an ontological model of the visual image, where polyphony is a fundamental category of being. For the first time, the concept of a co-image as a unit of visual polyphony was introduced and a categorical apparatus for analyzing such structures was developed. The study demonstrates that a polyphonic image is not a static composition, but an ontological event where being is manifested through a dialogue of multiple voices. It is revealed that valence as a quantitative characteristic determines the potential of a visual object to retain multiple meanings. The results obtained allow us to consider polyphony not as a metaphor, but as a basic structure of visual experience, where multiplicity does not destroy integrity, but creates it, turning the image into a dynamic field of interaction of various semantic layers. Polyphony is revealed as a special type of integrity, in which the difference is not eliminated, but becomes its basis.
References
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