Why We Draw: IV Lighting

A Strike in the Forest, Lines Precipitate

A lighting bolt, we can imagine, flashes at dusk. We observe the strike just beyond a curtain of leaves. The leaves quake, as leaves do, before a rain. In the background a field of tall grass shifts back and forth. Beyond, grounding and limiting the storm, is the face of a forest. Above is the bottom face of a storm-cloud. Only the eerie cast of ambient light from the nearby town lends depth and perspective to the scene. A waxing moon looking to be racing the clouds struggles to appear. Far away, lighting flashes leaving a patchwork of recollections.

Our attention is piqued by the thunder. Then, there is a flash just beyond the face of the forest and a crack of thunder. The event brings home the arrangement of things. Thunder lends an awareness of our surroundings; we need to pay attention. Lighting, Captain of the gods, the old man who steers the ship. The storm collects the cast: leaves, edge of forest, grass field and billowing cloud pregnant with electrical charges. They are image and pattern; the stage is set.

The event contrasts to the prolonged mundane and expected pulse of day-time. The dramatic moment of the lighting flash forces an appearance. In day-light things have neither the contrast nor the rounded definition brought by night time thunder and its scent of approaching rain. The mood of a thunderstorm lends us an increased ability to appreciate the scene.

Similarly, drawings are understood in a flash. When our eyes meet an image of interest our eyes move without self awareness from one region of the image to the next in fractions of a second. Despite the rapidity of the process of visual perception we make decisions about the image’s significance and meaning. Most people are able to identify an image or a complex collection montage of images, in as little as 13 milliseconds or a little over 1/100th of a second. For comparison’s sake, typical blink of an eye lasts between 100 to 150 milliseconds, around a tenth of a second. ¹

Often our best drawings are quick and flow unencumbered by calculation. The architect Victor Furth, many years a professor at Miami University, Oxford, Ohio said “From the eye to the hand…” ²When we are comfortable in our skill, lines shake onto paper with ease. Unlike our almost instantaneous grasp of of an image, that quick hand is available to us only after many years of drawing. When we have developed a quick hand, drawing proceeds – to a large extent– without reflection. Then, after having learned the skills and grammar of drawing we are comfortable with what it takes to clarify a drawing in its grammar of edge, fore and background (space). We relish the meditative trance or “zone” of the quick “eye to hand” drawing, as we proceed within a life of drawing, still we need to be willing to take on challenges of drawing as they appear. ³When we have mastered drawing or a skill like drawing, we not only gain the ‘muscle memory’ attuned to the skill we will have also achieved preparation for further challenges embedded in drawing. ⁴

Instead of the deliberately paced tesserae of spoken language, the language of drawing and image involves immanent appearance. Because of this immanence a drawing transcends the comparatively narrow cultural grammars of written and spoken language; drawings are understandable despite an apparently intractable cultural distance. Anyone of us, for example, can easily put ourselves into the images painted within the Cheuvet or Sulawesi caves even though they were drawn thirty-five and fifty-five thousand years before the present. ⁵

It is not hard for us to imagine beasts drawn on those cave walls to be breathing at a distance. Likewise the Makapansgat manuport, picked up by an Australopithecus perhaps at some river bank, those 3 million years ago – still has the obvious likeness to a hominin face with its two eyes, nose and mouth. Despite the distance of generations later we can still identify the face through pareidolia. ⁶With pareidolia faithful catholics see the Virgin Mary in the toasted surface of a slice of bread. Picasso intentionally made a bicycle seat and handle bar to be understood as a bull.[images]

If, at 3 million years ago the individual that grasped the face-like pebble had an ability to think and imagine a figure from the abstract patterns of a stone; how old and how deeply rooted can the ability to gather abstract features into a figure be? Is figuration, or the ability collect edge and surface into a figure that corresponds to individuated things that we know (or can imagine), limited to species Hominin? Or, which may be more likely, is abstraction – the ability to sort out what is essential in what is sensed – part and parcel of sentient existence?

Pareidolia and the ability to draw animals on caves walls evidences the need and the presence of already deeply embedded ability to make connections between other creatures and the phenomena of the world in general. Drawing resolves an urge to manifest in matter, those graphite lines, connections between things and creatures. Drawn lines connect similar and foreign worlds in a process that negotiates the tension between abstraction and figure.

Drawings are “readable” because of these creature-abilities to recognize, interpret and represent principal features of things within the atmosphere of a world that we know. But, these abilities need to extend into other worlds. ⁷Indeed, we are able to draw precisely because of an ability of intuit and imagine intersections with other worlds. Imprisoned for a millennia by the biblical garden of eden story, that asks us to put a living cosmos at arms length, we are finding through the back door of modern science that we are little different than the plants, creatures and stones at our side. In other words, thinking – thinking through drawing in this case – cannot rightly be categorized as principally a human

projection into the world but, instead, a collaboration with many worlds. ⁸Our individuation as a particular species, as well as our ability to think, draw, and recognize significance is dependent on a living chattering cosmos within which we participate.⁹

With drawing the visual field that we can recognize to be drawable is drawable because of that chattering cosmos. A drawing puts under inspection interconnected worlds including everything illuminated by the lighting strike: clouds, an edge of trees, birds, fields of grass etc. All of these entities are resolved into figures that emerge out of that field. The draftsperson’s task is to discern edges, recognize figures out of apparent entropy and the chain of meaning – call it significance – within which these figures and edges participate. The edges of a drawing confirm to what is understood by the artist to have significance within a scene. An ability to discern edges is part and parcel of our ability for abstraction. Drawing out the edges is, of course, abstraction.

By the fact that a number of animals, including chimpanzees, dogs, sheep, pigeons and honey bees are able to distinguish their fellow creatures from another, indeed  (if not all) can distinguish human faces, offers skepticism that species hominin is exceptional in its ability to participate in the intersubjective business of abstraction and language.¹⁰

Can we extend all that goes into the capacity to recognize distinct others and other things, which in large part needs to involve the ability to recognize edges, lines as well as to distinguish relationships within the figure of things, to the skill that allows modern hominin to draw? If bees and sheep distinguish faces by parsing the edges of the visual field before their eyes how deep within the evolutionary web can this ability extend? Could, for example, bacteria or virus have an ability to recognize lines and edges?¹¹

As it turns out there are bacteria that can ‘read’ what loosely can be understood to be a dividing line, edge, or a horizon. Recently a team of researchers described how Cyanobacteria use “micro-optics” to sense light direction.¹²

Cyanobacteria, commonly called blue-green algae, are one of the most ancient life forms on earth and played a decisive role in converting earth’s anaerobic atmosphere, through photosynthesis, into one that is oxygen rich. Though recent excavations have found cyanobacteria dating to 3.46 billion years ago, cyanobacteria began to appear on the earth in large numbers about 2.4 billion years ago. Then, in an era called by geologists the great oxygenation event, cyanobacteria existed in large numbers throughout the earth. Colonies of cyanobacteria exist as stromatolites on some ocean shores in Australia today. ¹³

Built on an observation made in 1883 by Theodor Engalmann that some bacteria move toward light sources, a team of researchers, including Nils Schuergers at the École Polytechnique Fédérale de Lausanne, Germany, described the process used by bacteria, in their use of light, to be broadly similar to that of the human eye.¹⁴

Cyanobacteria cell walls, according to the team’s article, act as a lens to focus a light source onto photoreceptors at the interior wall opposite the source thereby informing the cell’s navigation of their landscape. Importantly, cyanobacteria act cooperatively. The line conceived by bacteria where darkness meets an illuminated field in their cooperative microcosm is little different from edge that we grasp the difference between forest and sky.

These bacteria consume, respond, engage, call it dance-out, an edge of light. Though bacteria and other creatures do not behold the phenomena of edge and light with graphics they do evidence a means of beholding. In other words, while chimpanzees, dogs, sheep, pigeons and honey bees do not draw they do behold edges in a way particular to their relationship to their and intersecting worlds.

Still, it is unfair to leave viruses out of the question of sensitivity, relation to and even dependence on edge. The beauty of the virus is their individual simplicity and dependence on numbers without which their ability to survive is nil. Further, the virus, due to its comparative weight in numbers and effect on the world deserves mention. ¹⁵Like bacteria, indeed the tigers of India, fish in a pond or stones along the sides of a brook, virus are creatures of niche, place and edge.¹⁶

The phenomena of edge and line could be understood to be fundamental to existence and functions to be the ‘stuff’ of the cosmos. Edges are what let us function one creature among others and allow drawings to be understood. We can grasp the story of a drawing because lines and edges are a matter-of-fact part of every-day life. Boundaries, edges or frontiers grant the definition of some-thing; the difference between nothing (perhaps something we don’t care about for the moment) and something. Lines, edge or frontier also indicate communities, origin and the point of “origin” within the broadest possible “cosmological” context; individuation in contrast to the unindividuated entropical stuff.¹⁷

In this sense, origin myths frequently describe an unindividuated world without edge; an unnaturally calm sea without wave, horizon or sunlight. Origin and individuation emerge through events from a point, an island for example, and world that grows into greater and greater complexity. A representative story is that of the North American, Algonquin speaking, people’s Earth Diver Myth. In this story creatures, beaver, muskrat, and others find themselves on the surface of a placid sea tiring of having to paddle all day. Animal after animal dive to the bottom of the sea to bring up soil so that they have a place to rest but, after diving, all struggle to the surface without results. Finally, The muskrat succeeds to bring earth to the surface with a little bit tucked between its claws. From that soil an island emerges into the sea and the plane of still water. Edges at the intersection between an emerging mound of earth and the sea appear (a circle). Upon this mound of earth in a sea, trees, rivers and other animals begin to appear as well as states of being and clans etc, etc. The story represents the beginning of the world the origin point being a no-place without horizon or edges. In a world without horizon or edge a drawing would be absurd.¹⁸A world without edges is unthinkable. Edges, for example, exist as river to river-bank, stone to sand, creek to river, root to soil, mountain to sky etc. Each one of these edges exist as life and power in their own right.

Drawing, as a means to call our attention to a difference in things as well as how ‘things’ have articulated relationships, by way of an edge and line is on this basis “language” and a means of illuminating the logos. Here, the term logos, is in the context of that from ancient Greek philosophy offers a means of thinking about worlds and their constituent –interconnected – elements revealed in language.¹⁹ Drawing illuminates the logos as do words, dance, sculpture sport etc.

To a curiously significant degree the history of the word ‘language’ misdirects us to put emphasis on speech. I say curiously because the voice appears dominant in our ability to interpret, grasp, and direct our attention in the world. Arguably, his is how our most explicit commerce, communications and illuminations come about. On the other hand, there are probably as many ways to capture, seize, play, craft with the stuff of the world as there is phenomena and stuff. Each ‘engagement’ having to be a kind of language with grammars and insights differing according the stuff we are engaged with.

The next post will step out further in perspective to look at the ‘language’ of lines, edges and marks from the stand point of philosophy. Given that drawing is a language available to us because we live in soup of edges and seek to discern edges, the phenomena of edge can be interrogated from a greater distance. Martin Heidegger’s insight is that the stuff of the world is contingent upon our particular and cultural engagement with that stuff. In other words ‘stuff’ never makes its self ‘present’ on its own but, instead is always involved in a web of connections and meaning that makes stuff appear to us in a particular way.

Heidegger felt that we had become blind to the arc between the stuff of the world and the ebb and flow of significance that comes from the engagement with stuff. Thus, Martin Heidegger’s interest art, craft and making not found in any other twentieth century philosopher. The focus of the next post will be on Heidegger’s orientation to things while taking a closer look at the lighting bolt that began this post. The lighting bolt provides illumination but it is also a thing or stuff of the world. We take it to have a particular significance in our (particular) world. Seeking a world where the arc between stuff and the play of significance was not entirely lost, Martin Heidegger often used early Greek thinkers such as Parmenides, Thales or Heraclitus who had not lost the notion that the phenomena of the world is driven and somehow illuminated by our engagement with it. Here we will visit what, by many accounts, was a favorite of Heidegger the phrase or fragment, frag. 64, by Ionian philosopher Heraclitus:  It is the thunderbolt that steers the course of all things. The analysis of this fragment is left to Lighting part two but, in summary, this aphoristic phrase about the appearance of lighting is taken to tell a concise story about the beholding of an event of meaning and appearance. The shooting lines of a bolt call out our attention and illuminate a part of the world where we happen to stand when the bolt visits us. Both the bolt is brought into our imaginations but so is the world around it. How we ‘consume’ or engage that bolt, for instance, as well as the stuff of the world shape language and our dealings with the world. Part 2 of this blog on lighting and lines will take pause and look with yet longer view at how we grasp and bring the stuff of the closer to us. Beginning with the conceptualizing stance, a potentially misguided posture, criticized by Martin Heidegger the blog will offer as short history of how we grasp the stuff of the world, show how there are alternatives that are already well developed and discuss how our drawings, as a particular language and one of many ways to grasp the world can show us a renewed and rethought world depending on we draw and how we re-imagine our work to interrogate and grasp the world.

Image Attribution: 1. First Photograph of lighting. Sept 2, 1882. William Nicholson Jennings (1860–1946). Image source: Igoe, Laura Turner. “Capturing ‘Jove’s Autograph’: Late Nineteenth-Century Lightning Photography and Electrical Agency.”, Panorama: Journal of the Association of Historians of American Art 2 no. 1 (Summer, 2016). PDF https://doi.org/10.24926/24716839.1535. This image is in the public domain. 2. Drawing by Victor Furth. In possession of the author’s family. 4. Drawing of wild pig at Sulawesi, Indonesia. Leang Tedongnge rock art panel. This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license. 8 November 2017 (https://commons.wikimedia.org/wiki/File:Leang_Tedongnge_rock_art_panel_credit_Basran_Burhan.jpg) 3. Drawings of animals at copy of the Chauvet Cave, France. Description from Wikicommons: “Lions Panel (center left), runaway rhinos (multiplied horn). Wooden charcoal drawings with fading, flint cropping with fading. Pont d’Arc cave ….” This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license. 16 March 2016 (https://commons.wikimedia.org/wiki/File:16_PanneauDesLions%28CentreGauche%29RhinocérosEnFuite.jpg) 5.Intersection of many worlds. Forest in front of the cabin in Indiana. Drawing by the author. This is a drawing of a forest in the fall. The lake can be seen beyond. Simply because we draw a forest and lake does not mean that to draw “nature” offers the epitome of the “intersection of many worlds.” Many drawings will offer us this intersection provided the intersection is already part of the world of the artist and, if it is the drawing will have the possibility of offering an opening of that intersection to the drawing’s reader. There is not genre of line and edge – drawing – that will better offer that intersection. 6. Sharks Bay (Australia) Stromatolites. This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license. 8 June, 2007. (https://commons.wikimedia.org/wiki/File:Shark_Bay_stromatolites.jpg)

 

1. A 2014 online MIT News article states that the most people are able to identify an image or a complex collection montage of images in as little as 13 milliseconds. Previous studies, according to the article, timed image recognition at 100 milliseconds. https://news.mit.edu/2014/in-the-blink-of-an-eye-0116. [accessed June, 15, 2023]An eye blink lasts between 100 and 150 milliseconds (This according to the University College London online newsletter article: https://www.ucl.ac.uk/news/2005/jul/blink-and-you-miss-it) [accessed June, 15, 2023])
2. My parents were his students at the School of Architecture at Oxford University in Ohio. I recollect Victor Furth saying this in his home. The visit was probably sometime in the late 1970s. For a child the visit was memorable. I remember two images: behind us a portrait of Fredrick the Great and professor Furth gesturing in a dramatic voice: with a gesture of his finger pointing to his eye and tracing a line along his arm to the tips of his fingers he said “from the eye to the hand.” https://en.wikipedia.org/wiki/Victor_F%C3%Bcrth. [accessed Aug. 19 2021].
3. Correspondence between practice, the sharpening of perception and heightened care based on that practice could be the topic for another involved discussion. For the moment I take this relationship to be an a priori fact of drawing based on experience understanding that a priori truths are more often unexplored myth and or “common sense.”
4. The late philosopher Hubert Dreyfus largely focused on skill, meaning, notions of flow, comfort, and skill acquisition. His work is in debt to Martin Heidegger’s notion of zuhandenheit or “ready-to-hand” but also empirical work with his brother Stuart Dreyfus while testing machines and their operators (Mentioned by H. Dreyfus in one of his Heidegger lectures, this may have been at the Rand Corporation). Zuhandenheit, appears in Heidegger’s Being and Time, part I. and has to do with how we experience and use things, especially tools. Heidegger’s principal metaphor for zuhandenheit is a hammer. When a hammer works correctly, and when we are comfortable using it the hammer virtually disappears, it is of little concern to us, but when the hammer breaks, our attention is directed to the hammer because we are unable to continue on in the work. “Flow” is the atmosphere of a working hammer. In contrast to Heidegger and Dreyfus’s explanation of skill, it has been held – and continues to be at some places – that skill is a matter of accumulating and putting in to action (every-time we function to do a task) a series of rules.  Even doing something like opening a door needs a concatenation of orders between the brain, the body (the hand in many cases) and the task at hand. This has generally been the position of analytic philosophy. John Searle, who taught at UC Berkeley with Dreyfus was often used as a foil in Dreyfus’s lectures on skill takes this, series of rules, position. See also: Interview by the radio show and podcast, Philosopher’s Zone. Shaun Gallagher, and Daniel Hutton both from University of Wollongong, NSW, Australia and 24 January 2023, The Philosopher’s Zone. ABC, https://www.abc.net.au/listen/programs/philosopherszone/skilled-performance-and-cognition/14137496. See also Horacio Banega. (2020). [Review of the book Action and Interaction, by Shaun Gallagher]. Journal Phenomenological Reviews, Phenomenological Reviews, 14, March 2021 https://reviews.ophen.org/2021/03/14/shaun-gallagher-action-and-interaction-review/ [accessed Sept, 5, 2025]
5. Cheuvet Caves preserve drawings made between 30 and 33 thousand years before the present. See https://archeologie.culture.fr/chauvet/en (English version of the Chauvet site). More recent findings of rock art in Indonesia see Oktaviana, A.A., Joannes-Boyau, R., Hakim, B. et al. Narrative cave art in Indonesia by 51,200 years ago. Nature 631, 814–818 (2024).   https://doi.org/10.1038/s41586-024-07541-7 [accessed Sept 7, 2025]  
6. See Why We Draw II, Very Old Art – Faces and Edges, for a more in depth discussion of pareidolia. For the purposes of this essay pareidolia is the phenomenon where a thing, by creative intention or not, presents in the imagination the substitution of one figure for another. The Makapansgat pebble, for example, is a naturally worn pebble but the pebble recalled or evidenced the figure of a Hominin face.
7. Creature Ability “Natural ability” or species-being, how anyone of us, as a member of the species hominin, homo sapiens, experience, grasp (deal with) and understand a world. The boundary conditions of world are bound by our atmosphere of thinking / making and our embodied perspective.
8. Theories of vision have focused on individual projection (active vision or visual fire) or capture (apprehension). The question among scholars was; do we project or capture the world with our eyes? In that key, individual beholding is still the language that we use to narrate the science of vision.
9. The biblical Garden of Eden story asks us to accept a clear rupture between our species and every other living thing on the planet. See also the essay by Audy Meadow Davison in on the website for the Center for Humans and Nature at https://humansandnature.org/the-garden-of-eden-and-native-people/ [accessed Sept 7, 2025] and Thompson Highway’s Comparing Mythologies. Charles R. Bronfman Lecture in Canadian Studies. University of Ottawa Press. (2003).
10. Knolle Franziska, Goncalves Rita P. and Morton A. Jennifer. “Sheep recognize familiar and unfamiliar human faces from two-dimensional images.” in Royal Society, Open Science. 4171228171228 (2017) http://doi.org/10.1098/rsos.1228 [accessed Sept 5, 2021]
11. What is it like to be a virus? Most agree that bacteria have a sense of the world around them but not virus. See Flyn, Cal. “What is it Like To Be A Virus” in Prospect. May 2021. https://www.prospectmagazine.co.uk/ideas/technology/37472/what-its-like-to-be-a-virus [accessed Sept 7, 2025]
12. Nils Schuergers et al. Cyanobacteria use micro-optics to sense light direction. In eLife. https://elifesciences.org/articles/12620. [accessed 23 Aug. 2021].
13. For a reference for this early finding see Nora Noffke et al. “Microbially Induced Sedimentary Structures Recording an Ancient Ecosystem in the ca. 3.48 Billion-Year-Old Dresser Formation, Pilbara, Western Australia.” in Astrobiology. Dec 2013.1103-1124. (https://www.liebertpub.com/doi/10.1089/ast.2013.1030 [accessed Sept 1 2021.] See also, https://asm.org/articles/2022/february/the-great-oxidation-event-how-cyanobacteria-change#:~:text=Gradually%2C%20the%20accumulated%20oxygen%20started,2.4%20–%202.1%20billion%20years%20ago. [accessed Sept 8, 2025]
14. … the secret of “vision” in these cyanobacteria is that the cells act as tiny spherical lenses. When a light is shone at the cell, an image of the light source is focused at the opposite edge of the cell. Light-detecting molecules called photoreceptors respond to the focused image of the light source, and this provides the information needed to steer the cell towards the light.” Nils Schuergers et al. Cyanobacteria use micro-optics to sense light direction. In eLife. https://elifesciences.org/articles/12620. [accessed 23 Aug. 2021]. See also Monahan, Patrick. “These Bacteria Actuily Tiny Eyeballs.” in Science. 2016 9 Feb. [accessed Dec 1, 2024].
15. Virus are understood to vastly outnumber other organisms on earth. Truly, the debates stands as to weather viruses are ‘living’ at all. The argument against its being alive rests, apparently, on its being able to fit into an evolutionary tree. See Brown, Nigel. “Are Viruses Alive?” in Microbiology Today. 10 May 2016. https://microbiologysociety.org/publication/past-issues/what-is-life/article/are-viruses-alive-what-is-life.html. [accessed Sept 7, 2025] and regarding the abundance of virus see Eveleth, Rose. “Guess What the Most Abundant Organism on Earth Is?” in Smithonian Magazine. 15 Feb, 2013. https://www.smithsonianmag.com/smart-news/guess-what-the-most-abundant-organism-on-earth-is-19254662/[accessed Sept 7, 2025]
16. See Brian Wasik and Paul E Turner. “On the Biological Success of Viruses.” in Annual Review of Microbiology. 67(1). June, 2013.
17. Boundary as indicative of being (a process) Being (a noun) and individuation. As a “further research note” see possible relations between process, aletheia, physus, edge, Simondon, Stiegler  Heidegger. At this point my understanding is that individuation, according to Simondon, can be very similar to that of the ancient Greek physus and aletheia, as individuation is process and contingent on place. The ancient Greeks were very place conscious. Each god is named with its place. Further reading into place and individuation, Simondon and Heidegger: Steigler, Bernard. tr. Kristina Lebedeva. “The Theater Of Individuation: Phase-Shift” in Parrhesia. no. 7. 2009. pp. 46-57. https://parrhesiajournal.org/parrhesia07/parrhesia07_stiegler.pdf as well as Shaviro, Steven. “Simondon on Individuation” in his blog The Pinocchio Theory. Posted January 16, 2006. [last accessed Sept 8, 2025] http://www.shaviro.com/Blog/?p=471
18. Variants of the Earth Diver myth abound and is the most common origin story among the First Peoples of North America. A favorite resource on this myth is: Rooth, Anna Birgitta. The Raven and the Carcass. F. F. Communications. Vol. LXXVII. No. 186. Helsinki: Suomalainen Tiedeakatemia Academia Scientiarum Fennica. 1962. The book describes numerous earth diver and related myths from around the world.
19. Heidegger’s story about logos is for me convincing. I believe that it is informed principally by his translations of Heraclitus (especially frag. B 50) and Parmenides as well as his life long interest in the question of ‘being.’ An understanding of Heidegger’s interpretation of logos is important for this essay on drawing because Heidegger’s discussion of logos includes the related themes of logos, itself, as well as legien and topos (λόγος, λέγω, τόπος) Logos is the process of the appearance (truth, blossoming, aletheia) as if laid-down (legien) in a clearing (topos, in a particular place). Out of the twisted, interconnected world of the forest, for example, is a clearing open to the sky. There, in the clearing, we better see some sticks or stones laid upon the ground to be counted and grasped as sticks or stones in themselves. That logos is related to place, a particular clearing should give pause to the artist and draftsperson. See: Excerpts for Heidegger’s Early Greek Thinking at https://www.beyng.com/pages/en/EarlyGreekThinking/Logos.html  and a discussion of Heidegger’s interpretation of logos, legien and their dependence on topos (place) in: Karamercan, A.O. “Heidegger’s Question of Being: the Unity of Topos and Logos.” in SOPHIA 62, 309–325 (2023). https://doi.org/10.1007/s11841-023-00966-z   [accessed Month XX, 20XX]