There is a kind of truth that does not speak but shows. It does not reveal itself in discourse but in form. What it brings forth is visible, tangible, sensually perceivable order. We encounter such forms in art, in architecture, but also in a movement or a well-placed line. They appear coherent, even when we cannot quite explain why. Their “truth” lies not in verbal reasoning but in their visual presence. What is expressed here is a mode of insight beyond concepts—yet still intelligent. In his work Visual Identity* (Insel Verlag, Frankfurt 1975), Reimer Jochims describes this kind of recognition as a psycho- physical process between matter and mind. Building on Konrad Fiedler, he understands form not as something external but as the visible emergence of an inner order—an order that does not argue but reveals itself. This “visual truth” fundamentally differs from propositional truth as it is conceived in science. It is not “true” in the sense of a true statement, but in that it is coherent within its own conditions.
Hans-Joachim Rudolph (Sat,) studied this question.