This document discusses the differences and relationships between science and art. It argues that while science can analyze and explain the physical components and mechanisms of things, it cannot interpret or explain the subjective experience of art. Art is valued for its ability to evoke emotional and sensual responses in a way that transcends logical analysis. Both science and art are human endeavors used to understand and bring order to the world, and they have complementary roles and relationships despite employing different methods.
Critical Theory and Creative Research: Epigraphspncapress
This document contains a collection of epigraphs and quotes from various authors on the topics of critical theory, creative research, the role of the intellectual, and the relationship between knowledge and society. The quotes address ideas like the importance of marginal domains of knowledge, the aesthetic dimensions of innovation, and how our senses are shaped by social and historical forces.
An_Invitation_to_Cultural_Psychology by Jaan Valsiner, Chapter 1 Fran Maciel
This document discusses the challenges of capturing human experience and subjectivity in psychological science. It argues that human experiences are unique and cannot be repeated exactly due to the irreversible flow of time. While psychology aims to develop universal knowledge, psychological phenomena are transient thoughts, feelings and moments that are constantly changing. The author advocates for a new approach to psychology that acknowledges the subjective nature of human experience and focuses on the general features of affective processes, rather than trying to eliminate subjectivity. This invites the reader to rethink how science can study the complex and dynamic nature of human experiencing through a cultural psychological lens.
Project Loon is a network of balloons travelling on the edge of space, designed to connect the people in the rural and remote areas.
It is an initiative Project taken by Google to provide internet access all over the world.
This document discusses cloud computing, including definitions, advantages, and disadvantages. It analyzes services provided by three major cloud computing providers: Amazon, Microsoft, and Google. The key advantages of cloud computing include improved availability, performance, flexibility and cost effectiveness, while disadvantages include complexity, security risks, and lack of integration. Major cloud services discussed are Infrastructure as a Service (IaaS), Platform as a Service (PaaS), Software as a Service (SaaS), storage, and databases.
V.Prasanna Kumar presented on 6th sense technology, which uses hand gestures to access information from a wearable device. The presentation discussed how 6th sense technology works, its applications like accessing the internet from anywhere using gestures, and its pros like ease of use and mobility. Potential cons discussed were its reliance on power and use of free hand gestures. In conclusion, 6th sense technology can integrate internet access into daily tasks to easily find information.
Today’s cars come equipped with sophisticated infotainment systems that cannot be removed should you choose to upgrade. We have designed ways to add iPod, satellite radio, and Bluetooth to your existing system without jeopardizing your warranty or terms of your lease.
Project Loon, 'A Diminutive Note on Project Loon' : Prasanna KumarPrasanna Kumar Valluri
Project Loon is a Google initiative to provide internet access to remote areas using high-altitude balloons. The balloons float in the stratosphere, using wind currents to position themselves over desired locations. Each balloon carries a solar-powered communications package including a wireless transmitter. Signals from the balloons are transmitted to antennas on the ground and then to existing internet infrastructure. The balloons aim to create a wireless mesh network that maintains connectivity even as individual balloons move in and out of range. This experimental system could eventually provide low-cost internet access worldwide, including in areas affected by natural disasters.
Công ty Cổ phần Tư vấn Đầu tư Thảo Nguyên Xanh
http://lapduan.com.vn
Hotline : 0918755356 - 0903.034.381 - 08.3911.8552 – 39118551- 22103670
Dịch vụ:
1. Lập dự án tiền khả thi-khả thi, viết phương án vay vốn, phương án kinh doanh (xin chủ trương, giấy phép đầu tư, kêu gọi đầu tư, vay vốn,...)
2. Lập báo cáo đánh giá môi trường, xử lý chất thải
3. Lập chứng thư thẩm định giá, hồ sơ đấu thầu
4. Thiết kế đăng ký logo, thương hiệu, bản quyền tác giả 5. Dịch vụ thành lập công ty, nhà hàng, khách sạn, giấy phép kinh doanh BĐS
6. Dịch vụ kế toán
Critical Theory and Creative Research: Epigraphspncapress
This document contains a collection of epigraphs and quotes from various authors on the topics of critical theory, creative research, the role of the intellectual, and the relationship between knowledge and society. The quotes address ideas like the importance of marginal domains of knowledge, the aesthetic dimensions of innovation, and how our senses are shaped by social and historical forces.
An_Invitation_to_Cultural_Psychology by Jaan Valsiner, Chapter 1 Fran Maciel
This document discusses the challenges of capturing human experience and subjectivity in psychological science. It argues that human experiences are unique and cannot be repeated exactly due to the irreversible flow of time. While psychology aims to develop universal knowledge, psychological phenomena are transient thoughts, feelings and moments that are constantly changing. The author advocates for a new approach to psychology that acknowledges the subjective nature of human experience and focuses on the general features of affective processes, rather than trying to eliminate subjectivity. This invites the reader to rethink how science can study the complex and dynamic nature of human experiencing through a cultural psychological lens.
Project Loon is a network of balloons travelling on the edge of space, designed to connect the people in the rural and remote areas.
It is an initiative Project taken by Google to provide internet access all over the world.
This document discusses cloud computing, including definitions, advantages, and disadvantages. It analyzes services provided by three major cloud computing providers: Amazon, Microsoft, and Google. The key advantages of cloud computing include improved availability, performance, flexibility and cost effectiveness, while disadvantages include complexity, security risks, and lack of integration. Major cloud services discussed are Infrastructure as a Service (IaaS), Platform as a Service (PaaS), Software as a Service (SaaS), storage, and databases.
V.Prasanna Kumar presented on 6th sense technology, which uses hand gestures to access information from a wearable device. The presentation discussed how 6th sense technology works, its applications like accessing the internet from anywhere using gestures, and its pros like ease of use and mobility. Potential cons discussed were its reliance on power and use of free hand gestures. In conclusion, 6th sense technology can integrate internet access into daily tasks to easily find information.
Today’s cars come equipped with sophisticated infotainment systems that cannot be removed should you choose to upgrade. We have designed ways to add iPod, satellite radio, and Bluetooth to your existing system without jeopardizing your warranty or terms of your lease.
Project Loon, 'A Diminutive Note on Project Loon' : Prasanna KumarPrasanna Kumar Valluri
Project Loon is a Google initiative to provide internet access to remote areas using high-altitude balloons. The balloons float in the stratosphere, using wind currents to position themselves over desired locations. Each balloon carries a solar-powered communications package including a wireless transmitter. Signals from the balloons are transmitted to antennas on the ground and then to existing internet infrastructure. The balloons aim to create a wireless mesh network that maintains connectivity even as individual balloons move in and out of range. This experimental system could eventually provide low-cost internet access worldwide, including in areas affected by natural disasters.
Công ty Cổ phần Tư vấn Đầu tư Thảo Nguyên Xanh
http://lapduan.com.vn
Hotline : 0918755356 - 0903.034.381 - 08.3911.8552 – 39118551- 22103670
Dịch vụ:
1. Lập dự án tiền khả thi-khả thi, viết phương án vay vốn, phương án kinh doanh (xin chủ trương, giấy phép đầu tư, kêu gọi đầu tư, vay vốn,...)
2. Lập báo cáo đánh giá môi trường, xử lý chất thải
3. Lập chứng thư thẩm định giá, hồ sơ đấu thầu
4. Thiết kế đăng ký logo, thương hiệu, bản quyền tác giả 5. Dịch vụ thành lập công ty, nhà hàng, khách sạn, giấy phép kinh doanh BĐS
6. Dịch vụ kế toán
Arts and science are similar in that theyare expressions of .docxwraythallchan
Arts and science are similar in that they
are expressions of what it is to be human
in this world by Ariane Koek
Luc Lalande
Jun 26, 2017 · 6 min read
The following post is a copy/paste of an article by Ariane Koek that
deeply in9uenced my thinking of true art-science collaboration.
. . .
Original Source:
http://www.theartnewspaper.com/articles/Cern%3a+where+art+a
nd+science+collide/24678
By Ariane Koek.
Published online: 04 October 2011
Arts and science are similar in that they are
expressions of what it is to be human in this
world
https://medium.com/@luclalande?source=post_page-----b5624a2ffe2a----------------------
https://medium.com/@luclalande?source=post_page-----b5624a2ffe2a----------------------
https://medium.com/@luclalande/arts-and-science-are-similar-in-that-they-are-expressions-of-what-it-is-to-be-human-in-this-world-b5624a2ffe2a?source=post_page-----b5624a2ffe2a----------------------
https://twitter.com/beautyquark
http://www.theartnewspaper.com/articles/Cern%3a+where+art+and+science+collide/24678
Olafur Eliasson’s “Your Split Second House”, shown at the Venice Architecture
Biennale in 2010, took physics as its jumping-oK point
It is one of the fashionable arts movements of the moment. It is also
one of the most troubled because the aesthetic is unsubtle and still
evolving. With the seemingly giddy rise of the wonders of science in
our culture, epitomised by the boyish Brit physicist Brian Cox’s
blockbuster TV series, “Wonders of the Universe” on the BBC,
arts/science (sometimes called “sciart”) is gaining ascendancy in the
21st century as a movement of inXuence and power.
Almost every week, across the world, exhibitions are opening that are
billed as arts/science to cash in on this emerging trend, which is also
driven by new funding possibilities from science in the current arts
cash crisis.
But we are in the middle of a crisis of another kind — a reduction in
the wonder of creativity itself, and the question of who controls it and
how. Creativity, and where it comes from, is one of the last great
human frontiers, and one over which we have little control, cash crisis
or no cash crisis.
But there is a battle to do just that, and reduce creativity to a
systematic formula in our function-obsessed, input-output,
application-driven world. Artists are being driven to become
scienti]c, from the moment they ]ll in a funding application
predicting their ]nal production.
Let me explain. I work in arts/science myself. So, you could argue,
who I am to talk? After all, I have created an artists’ residency
programme at Cern, the world’s largest particle physics laboratory
and home to the large hadron collider. But it has at its heart the
wonder of the creative process. It is not a residency which is process-
driven or de]ned by an outcome; nor does it demand communication
about or homage to the science.
I have deliberately set it up to be a laboratory of the imagination,
where freeplay can hap.
This document provides an overview and summary of key ideas from John Dewey's book Art as Experience. It discusses how Dewey proposes a new definition of art as an interactive process between a viewer and an object, rather than the object itself. It also summarizes Dewey's view that art grows out of ordinary experience, and that understanding art requires understanding the human experiences and contexts that gave rise to the work. The document analyzes Dewey's perspective that habitual and routine perception can diminish experiences, while art has the power to renew perception and make experiences felt more fully.
This document contains a collection of epigraphs and quotes from various authors on the topics of critical theory, creative research, the role of the intellectual, and the relationship between knowledge and society. The quotes address themes like the importance of marginal ideas, the connection between material and meaning in works of art, the role of aesthetics in innovation, and the relationship between solitary contemplation and social engagement.
This document summarizes John Dewey's philosophy of art from his book Art as Experience. It discusses how Dewey rejects defining art as static objects separated from human experience. Instead, Dewey defines art as a dynamic process of interaction between a viewer and an object. The document outlines Dewey's view that art grows out of ordinary human experiences and aims to enrich experience. It also discusses how habituation and routine can diminish experience, and how art works to restore fullness of experience.
Aesthetic imitation and imitators in aristotle, by katherine e. gilbertMariane Farias
This article discusses Aristotle's view of aesthetic imitation and imitators. It argues that for Aristotle, imitative art ranks highly and imitators share qualities with philosophers, musicians, and lovers. The article examines Aristotle's concept of art as productive force and his view that imitation in art involves the interaction of contrary principles rather than mere repetition. It concludes that Aristotle saw imitation in art as equivalent to creative production according to a true idea.
International Journal of Humanities and Social Science Invention (IJHSSI)inventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online
This document provides a critique of philosophy and an argument for the pre-eminence of art in describing reality. It summarizes philosophy as promoting skepticism and confusion through overthinking. Modern physics is described as speculative and uncertain in its understanding of reality. The document argues that art such as Giorgione's "The Tempest" can retell eternal stories that language and logic cannot configure, showing art's superiority over philosophy in depicting reality.
In this module, we consider the work of Viktor Shklovsky and John Dewey as two proponents of the aesthetic as an antidote to habitualized perception and experience.
Towards being a polymath_extended version_July 2107Stephen Fischer
The concept of the renaissance character, a myriad blend of logic and esthetic prowess, made accessible to young engineers and artists alike. Light in tone, an essay for all who are curious, gifted or in discovery mode...
Experimental art can be considered a form of research in art. Artistic research seeks to develop new means of artistic expression through experimentation. It questions and explores the syntax and form of artworks. While scientific research aims to build coherent theories, artistic research demonstrates and extends possibilities through creation and performance. For artistic research to thrive, permanent art laboratories are needed as sanctuaries for experimentation that can connect to contemporary resources in science and technology. Doctoral programs are also important for supporting and recognizing artistic research, but criteria for experimentation and research must be clearly defined.
This document summarizes Arthur Danto's perspective on the philosophy of art. It discusses how the field of aesthetics was once seen as irrelevant but became important again due to conceptual artworks like Andy Warhol's Brillo Boxes. These raised philosophical questions about what distinguishes art from non-art. Danto argues that art is representational and has meaning or content, unlike indiscernible real objects, making representation key to a theory of art. He also notes that the distinction between art and philosophy has become problematic as art becomes more self-conscious.
This document discusses the concept of perception and representation through a dialogue between Roy and Coyote. Coyote tells a story about tricking a trader to illustrate that perception is tricky. He argues that we do not directly perceive the world, but that something comes between our perceptions and reality. Roy is skeptical but engaged in the discussion. Coyote maintains that perception involves tricks and illusions that reveal the beginnings of knowledge, not its end.
This document appears to be the introduction or preface to a collection of research studies from the Institute of Practical Psychophysics. It discusses how views of the world and human consciousness are undergoing major revisions due to advances in information technology and the information age. It introduces some of the studies that will be presented in the collection, including non-traditional theories about time and the existence of information fields in the universe that contain vast stores of information, including human thoughts, emotions and intentions. The introduction argues that phenomena not fully explained by classic science will be examined in ways that merge with and build upon established scientific arguments.
The document provides an art history commentary and visual companion to philosophical aesthetics texts discussed in class. It summarizes major developments in art like naturalism, abstraction, conceptual art, and challenges the idea of artistic genius. Over 50 artworks are discussed, from prehistoric cave paintings to modern abstract works, relating them to philosophers like Plato, Hegel, Kant, and Gadamer to illustrate key concepts in aesthetics through history. The presentation aims to give students a deeper understanding of how philosophical ideas are expressed through actual artworks.
The ArtworldArthur DantoThe Journal of Philosophy, Vol.docxmehek4
The Artworld
Arthur Danto
The Journal of Philosophy, Vol. 61, No. 19, American Philosophical Association Eastern
Division Sixty-First Annual Meeting. (Oct. 15, 1964), pp. 571-584.
Stable URL:
http://links.jstor.org/sici?sici=0022-362X%2819641015%2961%3A19%3C571%3ATA%3E2.0.CO%3B2-6
The Journal of Philosophy is currently published by Journal of Philosophy, Inc..
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
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Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
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Wed Oct 3 10:24:42 2007
http://links.jstor.org/sici?sici=0022-362X%2819641015%2961%3A19%3C571%3ATA%3E2.0.CO%3B2-6
http://www.jstor.org/about/terms.html
http://www.jstor.org/journals/jphil.html
SYMPOSIUM: THE WORK O P ART
THE ARTWORLD *
Hamlet:
Do you see nothing there9
The Queen:
Nothing a t all; yet all that is I see.
Shakespeare: Hamlet, A c t III, Scene I V
H AMLET and Socrates, though in praise and deprecation respectively, spoke of art as a mirror held up to nature.
As with many disagreements in attitude, this one has a factual
basis. Socrates saw mirrors as but reflecting what we can already
see; so art, insofar as mirrorlike, yields idle accurate duplications
of the appearances of things, and is of no cognitive benefit what-
ever. Hamlet, more acutely, recognized a remarkable feature of
reflecting surfaces, namely that they show us what we could not
otherwise perceive--our own face and form-and so art, insofar
as it is mirrorlike, reveals us to ourselves, and is, even by socratic
criteria, of some cognitive utility after all. As a philosopher, how-
ever, I find Socrates7 discussion defective on other, perhaps less
profound grounds than these. If a mirror-image of o is indeed
an imitation of o, then, if art is imitation, mirror-images are art.
But in fact mirroring objects no more is art than returning
weapons to a madman is ju ...
Art, Science & Creativity - A Lecture by Piero Scaruffibnidever
This document discusses the relationship between art and science. It argues that art and science were originally integrated but became separated over time due to specialization. This separation has negative consequences, as art nurtures creativity which is important for scientific progress. The document suggests restoring the integration between art and science, for example by teaching both in interdisciplinary programs. It also argues that much creativity remains untapped, especially in underprivileged communities, and this could be leveraged to drive innovation.
This document discusses the relationship between art and science. It begins by exploring definitions of art throughout history and how art and science became separated. It argues that restoring the connection between the two could benefit both fields. Specifically, it suggests that art fosters creativity which is important for progress in science. The document also examines the origins of human creativity and how civilizations have impacted creativity. It proposes ways to encourage more interdisciplinary "Renaissance" thinkers through education reform.
This document summarizes key ideas from John Dewey's work Art as Experience regarding how he defines art. Dewey proposes that art should not be viewed as static objects, but as dynamic experiences and interactions between viewers and objects. He argues we must understand art in its unrefined forms found in everyday life, like watching a fire or construction work, before analyzing refined art forms. Dewey believes separating art from lived experience creates barriers to understanding its significance. His view defines art as a process embedded in how people engage with and find enjoyment in their activities, rather than static objects removed from human experience.
Etheric formative-forces-in-earth-cosmos-and-man-by-guenther-wachsmuth ocrElsa von Licy
This document provides an overview and summary of the book "Cosmos, Earth and Man" which aims to present a new conception of the world based on spiritual science. The book covers topics like the etheric formative forces, the earth organism, the origin and disappearance of substance, phenomena of light, color, tone, and radioactivity. It also examines the shaping forces and archetypal forms in nature and the human organism. The foreword discusses the need for a new worldview that sees the living as the basis, in contrast to past mechanistic views that reduced the cosmos to a corpse. It is presented as the first attempt to address these problems from the perspective of anthroposophy.
Belgium vs Romania Ultimate Guide to Euro Cup 2024 Tactics, Ticketing, and Qu...Eticketing.co
Euro Cup 2024 fans worldwide can book Belgium vs Romania Tickets from our online platform www.eticketing.co. Fans can book Euro Cup Germany Tickets on our website at discounted prices.
Arts and science are similar in that theyare expressions of .docxwraythallchan
Arts and science are similar in that they
are expressions of what it is to be human
in this world by Ariane Koek
Luc Lalande
Jun 26, 2017 · 6 min read
The following post is a copy/paste of an article by Ariane Koek that
deeply in9uenced my thinking of true art-science collaboration.
. . .
Original Source:
http://www.theartnewspaper.com/articles/Cern%3a+where+art+a
nd+science+collide/24678
By Ariane Koek.
Published online: 04 October 2011
Arts and science are similar in that they are
expressions of what it is to be human in this
world
https://medium.com/@luclalande?source=post_page-----b5624a2ffe2a----------------------
https://medium.com/@luclalande?source=post_page-----b5624a2ffe2a----------------------
https://medium.com/@luclalande/arts-and-science-are-similar-in-that-they-are-expressions-of-what-it-is-to-be-human-in-this-world-b5624a2ffe2a?source=post_page-----b5624a2ffe2a----------------------
https://twitter.com/beautyquark
http://www.theartnewspaper.com/articles/Cern%3a+where+art+and+science+collide/24678
Olafur Eliasson’s “Your Split Second House”, shown at the Venice Architecture
Biennale in 2010, took physics as its jumping-oK point
It is one of the fashionable arts movements of the moment. It is also
one of the most troubled because the aesthetic is unsubtle and still
evolving. With the seemingly giddy rise of the wonders of science in
our culture, epitomised by the boyish Brit physicist Brian Cox’s
blockbuster TV series, “Wonders of the Universe” on the BBC,
arts/science (sometimes called “sciart”) is gaining ascendancy in the
21st century as a movement of inXuence and power.
Almost every week, across the world, exhibitions are opening that are
billed as arts/science to cash in on this emerging trend, which is also
driven by new funding possibilities from science in the current arts
cash crisis.
But we are in the middle of a crisis of another kind — a reduction in
the wonder of creativity itself, and the question of who controls it and
how. Creativity, and where it comes from, is one of the last great
human frontiers, and one over which we have little control, cash crisis
or no cash crisis.
But there is a battle to do just that, and reduce creativity to a
systematic formula in our function-obsessed, input-output,
application-driven world. Artists are being driven to become
scienti]c, from the moment they ]ll in a funding application
predicting their ]nal production.
Let me explain. I work in arts/science myself. So, you could argue,
who I am to talk? After all, I have created an artists’ residency
programme at Cern, the world’s largest particle physics laboratory
and home to the large hadron collider. But it has at its heart the
wonder of the creative process. It is not a residency which is process-
driven or de]ned by an outcome; nor does it demand communication
about or homage to the science.
I have deliberately set it up to be a laboratory of the imagination,
where freeplay can hap.
This document provides an overview and summary of key ideas from John Dewey's book Art as Experience. It discusses how Dewey proposes a new definition of art as an interactive process between a viewer and an object, rather than the object itself. It also summarizes Dewey's view that art grows out of ordinary experience, and that understanding art requires understanding the human experiences and contexts that gave rise to the work. The document analyzes Dewey's perspective that habitual and routine perception can diminish experiences, while art has the power to renew perception and make experiences felt more fully.
This document contains a collection of epigraphs and quotes from various authors on the topics of critical theory, creative research, the role of the intellectual, and the relationship between knowledge and society. The quotes address themes like the importance of marginal ideas, the connection between material and meaning in works of art, the role of aesthetics in innovation, and the relationship between solitary contemplation and social engagement.
This document summarizes John Dewey's philosophy of art from his book Art as Experience. It discusses how Dewey rejects defining art as static objects separated from human experience. Instead, Dewey defines art as a dynamic process of interaction between a viewer and an object. The document outlines Dewey's view that art grows out of ordinary human experiences and aims to enrich experience. It also discusses how habituation and routine can diminish experience, and how art works to restore fullness of experience.
Aesthetic imitation and imitators in aristotle, by katherine e. gilbertMariane Farias
This article discusses Aristotle's view of aesthetic imitation and imitators. It argues that for Aristotle, imitative art ranks highly and imitators share qualities with philosophers, musicians, and lovers. The article examines Aristotle's concept of art as productive force and his view that imitation in art involves the interaction of contrary principles rather than mere repetition. It concludes that Aristotle saw imitation in art as equivalent to creative production according to a true idea.
International Journal of Humanities and Social Science Invention (IJHSSI)inventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online
This document provides a critique of philosophy and an argument for the pre-eminence of art in describing reality. It summarizes philosophy as promoting skepticism and confusion through overthinking. Modern physics is described as speculative and uncertain in its understanding of reality. The document argues that art such as Giorgione's "The Tempest" can retell eternal stories that language and logic cannot configure, showing art's superiority over philosophy in depicting reality.
In this module, we consider the work of Viktor Shklovsky and John Dewey as two proponents of the aesthetic as an antidote to habitualized perception and experience.
Towards being a polymath_extended version_July 2107Stephen Fischer
The concept of the renaissance character, a myriad blend of logic and esthetic prowess, made accessible to young engineers and artists alike. Light in tone, an essay for all who are curious, gifted or in discovery mode...
Experimental art can be considered a form of research in art. Artistic research seeks to develop new means of artistic expression through experimentation. It questions and explores the syntax and form of artworks. While scientific research aims to build coherent theories, artistic research demonstrates and extends possibilities through creation and performance. For artistic research to thrive, permanent art laboratories are needed as sanctuaries for experimentation that can connect to contemporary resources in science and technology. Doctoral programs are also important for supporting and recognizing artistic research, but criteria for experimentation and research must be clearly defined.
This document summarizes Arthur Danto's perspective on the philosophy of art. It discusses how the field of aesthetics was once seen as irrelevant but became important again due to conceptual artworks like Andy Warhol's Brillo Boxes. These raised philosophical questions about what distinguishes art from non-art. Danto argues that art is representational and has meaning or content, unlike indiscernible real objects, making representation key to a theory of art. He also notes that the distinction between art and philosophy has become problematic as art becomes more self-conscious.
This document discusses the concept of perception and representation through a dialogue between Roy and Coyote. Coyote tells a story about tricking a trader to illustrate that perception is tricky. He argues that we do not directly perceive the world, but that something comes between our perceptions and reality. Roy is skeptical but engaged in the discussion. Coyote maintains that perception involves tricks and illusions that reveal the beginnings of knowledge, not its end.
This document appears to be the introduction or preface to a collection of research studies from the Institute of Practical Psychophysics. It discusses how views of the world and human consciousness are undergoing major revisions due to advances in information technology and the information age. It introduces some of the studies that will be presented in the collection, including non-traditional theories about time and the existence of information fields in the universe that contain vast stores of information, including human thoughts, emotions and intentions. The introduction argues that phenomena not fully explained by classic science will be examined in ways that merge with and build upon established scientific arguments.
The document provides an art history commentary and visual companion to philosophical aesthetics texts discussed in class. It summarizes major developments in art like naturalism, abstraction, conceptual art, and challenges the idea of artistic genius. Over 50 artworks are discussed, from prehistoric cave paintings to modern abstract works, relating them to philosophers like Plato, Hegel, Kant, and Gadamer to illustrate key concepts in aesthetics through history. The presentation aims to give students a deeper understanding of how philosophical ideas are expressed through actual artworks.
The ArtworldArthur DantoThe Journal of Philosophy, Vol.docxmehek4
The Artworld
Arthur Danto
The Journal of Philosophy, Vol. 61, No. 19, American Philosophical Association Eastern
Division Sixty-First Annual Meeting. (Oct. 15, 1964), pp. 571-584.
Stable URL:
http://links.jstor.org/sici?sici=0022-362X%2819641015%2961%3A19%3C571%3ATA%3E2.0.CO%3B2-6
The Journal of Philosophy is currently published by Journal of Philosophy, Inc..
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained
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SYMPOSIUM: THE WORK O P ART
THE ARTWORLD *
Hamlet:
Do you see nothing there9
The Queen:
Nothing a t all; yet all that is I see.
Shakespeare: Hamlet, A c t III, Scene I V
H AMLET and Socrates, though in praise and deprecation respectively, spoke of art as a mirror held up to nature.
As with many disagreements in attitude, this one has a factual
basis. Socrates saw mirrors as but reflecting what we can already
see; so art, insofar as mirrorlike, yields idle accurate duplications
of the appearances of things, and is of no cognitive benefit what-
ever. Hamlet, more acutely, recognized a remarkable feature of
reflecting surfaces, namely that they show us what we could not
otherwise perceive--our own face and form-and so art, insofar
as it is mirrorlike, reveals us to ourselves, and is, even by socratic
criteria, of some cognitive utility after all. As a philosopher, how-
ever, I find Socrates7 discussion defective on other, perhaps less
profound grounds than these. If a mirror-image of o is indeed
an imitation of o, then, if art is imitation, mirror-images are art.
But in fact mirroring objects no more is art than returning
weapons to a madman is ju ...
Art, Science & Creativity - A Lecture by Piero Scaruffibnidever
This document discusses the relationship between art and science. It argues that art and science were originally integrated but became separated over time due to specialization. This separation has negative consequences, as art nurtures creativity which is important for scientific progress. The document suggests restoring the integration between art and science, for example by teaching both in interdisciplinary programs. It also argues that much creativity remains untapped, especially in underprivileged communities, and this could be leveraged to drive innovation.
This document discusses the relationship between art and science. It begins by exploring definitions of art throughout history and how art and science became separated. It argues that restoring the connection between the two could benefit both fields. Specifically, it suggests that art fosters creativity which is important for progress in science. The document also examines the origins of human creativity and how civilizations have impacted creativity. It proposes ways to encourage more interdisciplinary "Renaissance" thinkers through education reform.
This document summarizes key ideas from John Dewey's work Art as Experience regarding how he defines art. Dewey proposes that art should not be viewed as static objects, but as dynamic experiences and interactions between viewers and objects. He argues we must understand art in its unrefined forms found in everyday life, like watching a fire or construction work, before analyzing refined art forms. Dewey believes separating art from lived experience creates barriers to understanding its significance. His view defines art as a process embedded in how people engage with and find enjoyment in their activities, rather than static objects removed from human experience.
Etheric formative-forces-in-earth-cosmos-and-man-by-guenther-wachsmuth ocrElsa von Licy
This document provides an overview and summary of the book "Cosmos, Earth and Man" which aims to present a new conception of the world based on spiritual science. The book covers topics like the etheric formative forces, the earth organism, the origin and disappearance of substance, phenomena of light, color, tone, and radioactivity. It also examines the shaping forces and archetypal forms in nature and the human organism. The foreword discusses the need for a new worldview that sees the living as the basis, in contrast to past mechanistic views that reduced the cosmos to a corpse. It is presented as the first attempt to address these problems from the perspective of anthroposophy.
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Hesan Soufi's Legacy: Inspiring the Next GenerationHesan Soufi
Hesan Soufi's impact on the game extends far beyond his on-field exploits. With his humility, sportsmanship, and unwavering commitment to excellence, Soufi has become a role model for aspiring footballers worldwide. His legacy lies not only in his achievements but also in the inspiration he provides to the next generation of talented players.
Here are our Euro 2024 predictions for the group stages
Will England make it through the group stages?, Will Germany use the home advantage to full effect?
Follow our progress, see how many we get right
If you want to join in let us know before the first game kick off and we can invite you to our private league
or join in with our friends at DeeperThanBlue
https://www.linkedin.com/posts/activity-7204868572995538944-qejG
https://www.selectdistinct.co.uk/2024/06/13/euro-2024-match-predictions/
#EURO2024 #Germany2024 #England #EURO2024predictions
Euro Cup Group E Preview, Team Strategies, Key Players, and Tactical Insights...Eticketing.co
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Spain vs Croatia Euro 2024 Spain's Chance to Shine on the International Stage...Eticketing.co
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Poland vs Netherlands UEFA Euro 2024 Poland Battles Injuries Without Lewandow...
Science and art
1. 1
Science and Art
by Leonid I. Ponomarev
The limitations of science are the most evident in attempts to use scientific methods to
unveil the secrets of art. Science 'knows everything' about the grand piano: the number,
quality and length of its strings; the species of wood used; the composition of the glue,
and the finest details of its design. Nevertheless, it is unable to explain what happens to
this polished box when a virtuoso sits down to play. Perhaps this is even unnecessary. A
person crying over a book does not usually concern himself with the means the author
used to achieve this effect. He can, of course, at a later date read a critical work, twice as
thick, on the book that has impressed him so. This all, however, will resemble an autopsy,
a thing necessary for specialists but extremely unpleasant for most people. Marcus
Aurelius wrote that 'to despise songs and dances, it is sufficient to decompose them into
their component elements'. But Art is wise - through all the ages it has guarded the
intangible truth of sensual perceptions from the persistent intrusions of probing science.
Art has always been valued precisely for its capacity to 'remind us of harmonies
inaccessible to systematic analysis'. Anyone can understand the construction of a nuclear
reactor even if he has never seen one. But it is absolutely impossible to explain to a
person what charm is if he has never been enchanted.
'The might of science lies in its universality. Its laws are free of the arbitrariness of
people, it only represents their collective experience, independent of age, nationality, or
frame of mind.'
The secret of art is its inimitability. The power of its influence depends on the whole
body of the previous experience of a person, on the wealth of his associations, on elusive
changes in his mood, on a chance glance, word, or touch - on all that constitutes the
individuality, the beauty of the transient and the power of the inimitable.
2. The highest achievement for a scientists is to have his findings confirmed, i.e. repeated
by another scientist. On the other hand, sameness kills art, and so a great tragic actor
'dies' on the stage in a new way each night.
Cases are known of symphonies composed by persons without even the rudiments of a
formal musical education. These works may have been unusual but were eligible as such
if at leas a small section of the public liked them. In science such a situation is
inconceivable. It has a criterion of truth and its language does not contain the words 'like'
and 'dislike'.
In Science truths are proved and phenomena are explained. In art they are interpreted.
Logical reasoning is alien to art which substitutes the spontaneous cogency of images for
rigorous proofs.
As a rule, science can explain why this formula is good and why that theory is bad. Art
can only show the fascination of music and the brilliance of a sonnet, never explaining
anything completely.
Science is thorough and unhurried; it keeps on solving its problems for years on end, and
many of them are often passed over from generation to generation. It can afford this
luxury because of an unambiguous method that has been devised for recording and
storing the facts established by science. In art the intuitively precise world of images is
fluid. (Great actors are sometimes called 'heroes of the fleeting moment'.) One keen but
split-second perception, however, may awake in the heart of a person a response that will
stay with him for years and that may even alter the whole course of his life.
Then would I hail the fleeting moment
O stay - you are so fair!
was Faust's passionate longing that could only be fulfilled by the magic of art. It is this
magic that after a lapse of many years can bring back with a frightening clarity the
nuances of remote thoughts and moods that defy any words.
3. 'Notwithstanding the seeming fragility of ambiguity of artistic images, art is more durable
and ancient than science. The Gilgamesh Epic and Homer's poems do stir us even now
because they tell us something that is vital in man and that has remained unchanged for
thousands of years. As for science, it has hardly had time to consolidate the new
possibilities of research.'
It is almost impossible today to read books on physics written in the last century, so
obsolete they have become and so much has the whole style of scientific thought changed
since then. The importance of scientific works is, therefore, determined by their
productivity, not their longevity. They have already done their bit, if they helped to
promote science in their time.
We could go on searching for and finding endless shades of distinction between art and
science. The benefit of such an exercise is doubtful, for the two human endeavours only
differ in their ways of gaining knowledge of the surrounding world and human nature.
Ancient Greeks did not distinguish between the two notions and called them by a single
word Greek(techne), meaning 'skill', 'art', 'craft', and 'refinement' (hence 'technology').
And the first laws of physics established by Pythagoras were laws of harmony.
Poets have long been searching for a 'poesy of thought' and not simply poetry. Scientists,
on their part, speak about 'poetry in science'. Both clans, it seems, are now eager to break
down the age-old barriers between them and to forget their ancient feuds. There is no
sense in arguing about which hand, right or left, is the more important, even thought they
develop and function differently.
Any actor understands that he cannot reach the acme of his art without first mastering the
sciences of diction, mimicry, and gesture. And only then (provided he is talented, of
course!) can he create something unique and wondrous quite unconsciously.
'In exactly the same manner, a scientist, even thought he has mastered the trade of a
physicist, will make no real physicist if he only trusts to formulas and logic. All profound
4. truths of science are paradoxes at birth and cannot be attained by only leaning on logic
and experiment.'
To cut the long story short, real art is impossible without the most rigorous science.
Likewise, deep scientific revelations only in part belong to science, the other part lying in
the domain of art. But there are always boundaries to the scientific analysis of art, and
there is always a limit to grasping science by an impulse of inspiration.
There is an apparent complementarity in the methods utilized by art and science to know
the world. Science relies routinely on the analysis of facts and search for cause-effect
relations; it strives to ' ... find an eternal law in the marvelous transmutations of chance',
endeavours to ' ...find a fixed pole in the endless train of phenomena'. Art, on the other
hand, is largely unconscious synthesis, which finds among the same 'transmutations of
chance' the only and the inimitable ones and among the same 'endless train of
phenomena' infallibly selects only those that enable one to sense the harmony of the
whole.
The world of human perceptions is infinitely diverse, although chaotic and coloured with
personal emotions. Man has a way of putting his impressions in order and comparing
them with those of others. To this end, he has invented science and created arts. Art and
science have thus had common beginnings. They are united by the feeling of wonder they
evoke - how did this formula, this poem, this theory or this music came into existence? (
The ancients said, 'The beginning of knowledge is wonder.' )
'The creative aspect of all arts and sciences is the same. It is determined by one's intuitive
capacity to group facts and impressions of the surrounding world so as to satisfy our
emotional need for harmony, a feeling one experiences when out of chaos of external
impressions one has worked up something simple and consummate, e.g., a statue out of a
block of marble, a poem out of a collection of words, or a formula out of numbers. This
emotional satisfaction is also the first criterion of the truth of the product, which of course
is to be tested later on - by experiments in science and by time in art.'
5. 'Scientist studies nature not because it is useful; rather he studies it because it is a source
of pleasure for him, because nature is beautiful. If nature were not beautiful, it would not
be worthy of the effort that goes into knowing it, and life would be not worthy of the
effort it takes to live it.'
These words belong to Henri Poincare. Aesthetic perception of the logical beauty of
science is inherent in some form or other in each true scientist. But perhaps nobody said
about this better than Poincare. 'He loved science not only for the sake of science. For
him it was a source of spiritual joys and aesthetical delights of an artist who has mastered
the art of couching beauty in real forms, ' commented the Russian translator of his
famous books Science and Method, Science and Hypothesis, The Value of Science,
Mathematics and Science: Last Essays, which were instrumental in deciding the scientific
careers of Louis de Broglie, Frederic Joliot-Curie and many, many others.
6. 2
What great questions! In my opinion, science and technology demonstrate such things as
observations and our own believed principles that exist within and govern this world,
such as natural laws and such others. However, artists are still highly valued, for not only
do they demonstrate the creativity possessed by mankind, and what people can do with
innovation, but they also break away from mortality's chain. They surpass the mortal
pales to create something brilliant, and such freedom not known but with creation is
valued, and perchance even a bit envied. Life, as told by the artists, is not that of rigid
truths, but opportunity and possibility in a myriad of wonderful hues.
The fact that the proportion of older people steadily increases in other countries, and its
effect, depends highly upon how modernized that country and society is. For example, in
a third world country with a traditional economic system, the possession of many elders
would benefit with knowledge from the past, and ancestral and filial worship to better
live enlightened. However, some other countries derive their livelihood and businesses
from that of the young population, such as the United States as in electronics, clothing,
etc. Yet in both circumstances, it depends on moreso on the proportion of younger people
in the country. Without another generation, the population is condemned to wither and
gradually fade into history. An older population is valued, but the younger population
really determines the future of that civilization.
In air travel with pollution and consumption of global fuel resources, not necessarily air
travel be restricted, but a another fuel source should be instated. Not necessarily that I
know what that would be, but we are constricting the atmosphere enough with our seven
billion tons of carbon dioxide deposited in the air, but merely from ground activities. Air
pollution is much more direct and harmful, and thus might be considered to be restricted
until we have a grasp and comprehension, as to what sequence should be followed.
Yes, two views with that of studying history. Well, ignoring that of history, we wander
into the future, and may thus pursue our route unhindered by the knowledge of the events
of the past. We can create our own future, and attempt to follow another new road (also,
7. determined on whether or not we would document history after this action). However, it
is often stated that those who condemn and neglect history, are condemned themselves to
repeat it. It would be wise to study past history, for we can live within this life, with
knowledge of history's follies and advantages, and learn from this to implement
thoughtful decisions. This course of action will also benefit the future in long-term
events.