By Amy Ione
Amy Ione's Innovation and Visualization is the 1st intimately account that relates the improvement of visible photographs to recommendations in artwork, communique, medical examine, and technological boost. built-in case reports enable Ione to place apart C. P. Snow's "two culture" framework in prefer of cross-disciplinary examples that refute the science/humanities dichotomy. the topics, which variety from cognitive technological know-how to illuminated manuscripts and media stories, will attract experts (artists, artwork historians, cognitive scientists, etc.) attracted to evaluating our snapshot saturated tradition with the environments of prior eras. The scope of the examples will entice the generalist.
Read or Download Innovation and Visualization: Trajectories, Strategies, and Myths (Consciousness, Literature and the Arts, Volume 1) PDF
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Extra info for Innovation and Visualization: Trajectories, Strategies, and Myths (Consciousness, Literature and the Arts, Volume 1)
Mimetic art, then, is an inferior thing cohabiting with an inferior and engendering offspring. (603b) 3. Knowledge and Praxis Plato not only questioned the mimetic qualities of art, he and his peers elevated ideas over work done with one’s hands as well. Indeed the Greeks’ disdain for manual work is well known and the divide that emerges between scholars and artisans can also be located within the Aristotelian scheme of knowledge, which held, with some minor changes, up to the seventeenth century.
Others go 22 The problem of precisely defining art is reinforced rather than resolved when we factor in dictionary definitions. Meanings listed range from a skill acquired by experience, study, or observation to a non-scientific branch of learning; one of the liberal arts. Art and Consciousness 45 beyond this, developing theories of art that endeavor to expand the scientific data beyond its empirical framework. Framing a scientific theory of art is problematic, almost by definition. The scientific intention to speak in terms of universals is unable to comprehensively reflect the diversity, richness and pluralism of art.
Had he looked at them he might have spoken about a number of recent scientific studies that have raised questions about the very philosophical and historical assumptions he relies on in his exposition of art. As Christopher W. Tyler and I have discussed (2004), what is most impressive about contemporary research in this area is the way the idea of five distinct senses, as codified by Aristotle, has been re- Art and Consciousness 53 examined and found to be too black and white. Suffice to say that scientists are opening “neurological” doors with synesthesia studies that will aid further study of sensory integration.