scholarly journals Art and science: Chalk and cheese

2006 ◽  
Vol 28 (6) ◽  
pp. 13-14
Author(s):  
Lewis Wolpert
Keyword(s):  
Visual Arts ◽  
Art And Science ◽  
Creative Processes ◽  
Two Cultures ◽  
Industrial Management ◽  
Common Culture ◽  
The Arts

The enthusiasm to bring the arts and science closer together, even to emphasize similarities, is rather peculiar, as they are so very different. They are not two cultures, as pronounced by C.P. Snow, but both are aspects of a common culture that includes industrial management, engineering, banking, architecture, economics, politics and sport. Yet the journal Nature has recently devoted 30 of its much sought after pages to just this link. I remain puzzled, even bemused, at the continuing efforts to show that art -- particularly the visual arts -- is very similar to science, both in content and in the creative processes involved.

Similarities and Contrasts in the Creative Processes of the Sciences and the Arts

Leonardo ◽  
2010 ◽  
Vol 43 (1) ◽  
pp. 59-62 ◽  
Author(s):  
Roger Guillemin
Keyword(s):  
Art And Science ◽  
Creative Processes ◽  
The Arts

The author describes his experiences as first a scientist and later an early digital artist, which led him to recognize both similarities and contrasts in the thinking and practice of art and science.

scholarly journals Transcending utility? The gendered conflicts of a contemporary creative identification

2019 ◽  
Vol 30 (1) ◽  
pp. 63-79 ◽  
Author(s):  
Stephanie Taylor ◽  
Marie Paludan
Keyword(s):  
Visual Arts ◽  
Well Being ◽  
Cultural Industries ◽  
Creative Processes ◽  
Practical Applications ◽  
Creative Practice ◽  
The Arts ◽  
Art For Art's Sake ◽  
Therapeutic Utility ◽  
Psychology Of Creativity

The late 20th and early 21st centuries have been described as an age of creativity in affluent Western societies because of the increased popularity of the visual arts and the expansion of the global sector of the creative and cultural industries (CCI). The psychology of creativity has contributed new conceptualisations of creativity and creative processes, challenging associations that derive from the elite arts. This article investigates the implications of these changes for the gendering of creativity and creative practice. It asks if contemporary reconceptualisations of creativity open new possibilities for women to identify as creative practitioners. The article presents a critical discursive study of interviews with UK women maker-artists. The analysis shows how the women emphasise the practical applications or utility of their creative practice. A claim of utility can function to justify the practice. In addition, a claim of therapeutic utility, for others and for the artist herself, potentially addresses the neoliberal priority that people take responsibility for their personal well-being. However, the justification of utility contrasts with the creative vocation associated with the masculine elite artist who pursues “art for art’s sake”. The justification can therefore be seen to undermine the women’s creative identifications, reinstating the conventionally masculine status of creativity and the arts.

scholarly journals On Cultures and Artscience: Interdisciplinarity and Discourses of “Twos” and “Threes” after Snow’s Two Cultures

2016 ◽  
Vol 3 (1) ◽  
pp. 3 ◽  
Author(s):  
Nora Sørensen Vaage
Keyword(s):  
Third Culture ◽  
Binary Opposition ◽  
Art And Science ◽  
Two Cultures ◽  
The Third ◽  
Arts And Humanities ◽  
The Arts ◽  
Significant Difference ◽  
The Two Cultures ◽  
Media Discourses

<div><p>At least since C.P. Snow’s seminal Rede lecture The Two Cultures, the idea of a significant difference in kind between the natural sciences and the arts and humanities has been prevalent in Western culture. A gap has been perceived to exist not only in methodology and theory, but more fundamentally, in understandings and worldviews. This has resulted in a dichotomous debate both in academic and media discourses. As a reaction to this, and parallel in time, some actors have strived to achieve a ‘third culture’. This is a common attitude in the still emerging field of ‘artscience’, whose actors seek to combine the advantages and knowledges of the sciences with those of the arts and humanities. Researchers from every concerned field have contributed to the exploration of the interface between ‘art’ and ‘science’. However, I argue in this article that the very term artscience, in simply joining together the words ‘art’ and ’science’, is reenforcing an old notion of a binary opposition between these two fields.  The idea of ‘two cultures’, still implied within the image of a ‘third culture’, disguises the plurality of perceptions and approaches within and across fields. While useful in pointing out lack of communication between fields, it tends to overemphasize divisions, ignore complexities, and, in some cases, leave out important parts of the picture. I suggest that the discourse of the ‘third culture’ and the term ‘artscience’ may jointly occlude the multiple possible constellations of practitioners, roles and approaches, and may be a potential limitation to interdisciplinary collaborations.</p><div> </div></div>

scholarly journals Art and Science: The Inter-Relation of the Visual Arts and Science in General and Astronomy in Particular

2012 ◽  
Vol 16 (1 and 2) ◽  
pp. 261-269
Author(s):  
Sir Arnold Wolfendale
Keyword(s):  
Visual Arts ◽  
The Other ◽  
Art And Science ◽  
Two Cultures ◽  
Science And Art ◽  
Relationship Of ◽  
The Relationship

Science and art are two of the most significant facets of human endeavour, with astronomy occupying a key role within science. Despite C.P. Snow’s Two Cultures, there are many common aspects and each has an influence on the other. A brief analysis is made of the relationship of art and science: the effect of art on science and science on art. Some outstanding problems are identified.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light

2014 ◽  
Author(s):  
Ida Bagus Candra Yana*
Keyword(s):  
Visual Arts ◽  
Dance Movement ◽  
Multiple Images ◽  
Strobe Light ◽  
Creative Idea ◽  
The Arts ◽  
Art Works ◽  
Art Photography ◽  
Aesthetic Values ◽  
Aesthetic Expression

Dance  photography  is  a  photo  shoot  on a  dance  movement  which  has  a  characteristic as  it  shows  on  a  particular  movement  with unique costumes. The arts of dance photography specifically describes through a specific thematic effect  with  an  aesthetic  and  creative  oncoming. Based on the photographer experience to capture the  light  together  with  his  aesthetic  expression on  movement  photography,  he  finally  presented the  visual  arts  on  Baris  Tunggal  Dance  in  art photography expressions using strobe light. Basically,  the  creative  works  focused on  the  dancer  movements  and  transformed  into photography  expression  which  blended  with aesthetic  and  creative  idea  (ideational)  also  the technical photo shoot capability (technical) of the photographer. The photo shoots technique chosen through a variety of consideration which oriented on practical implementations possibilities, resulting photographs  in  freeze,  blurred,  and  multiple-images  as  art  photography.  The  art  photograph includes  extrinsic  and  intrinsic  aesthetic  values through photo presentation. With the presence of this photography art works it was not only present Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light in the form of mere documentation but it was the art photography expression on creative and aesthetic level. Keywords:  movements,  Baris  Tunggal  Dance, photography expression, strobo-light * Dosen ISI Denpasar

The Poetry and Music of Science

2019 ◽  
Author(s):  
Tom McLeish
Keyword(s):  
School Leaver ◽  
Creative People ◽  
Creative Processes ◽  
Arts And Sciences ◽  
The Past ◽  
The Arts ◽  
The Two Cultures ◽  
Personal Accounts ◽  
Poetry And Music

‘I could not see any place in science for my creativity or imagination’, was the explanation, of a bright school leaver to the author, of why she had abandoned all study of science. Yet as any scientist knows, the imagination is essential to the immense task of re-creating a shared model of nature from the scale of the cosmos, through biological complexity, to the smallest subatomic structures. Encounters like that one inspired this book, which takes a journey through the creative process in the arts as well as sciences. Visiting great creative people of the past, it also draws on personal accounts of scientists, artists, mathematicians, writers, and musicians today to explore the commonalities and differences in creation. Tom McLeish finds that the ‘Two Cultures’ division between the arts and the sciences is not after all, the best classification of creative processes, for all creation calls on the power of the imagination within the constraints of form. Instead, the three modes of visual, textual, and abstract imagination have woven the stories of the arts and sciences together, but using different tools. As well as panoramic assessments of creativity, calling on ideas from the ancient world, medieval thought, and twentieth-century philosophy and theology, The Poetry and Music of Science illustrates its emerging story by specific close-up explorations of musical (Schumann), literary (James, Woolf, Goethe) mathematical (Wiles), and scientific (Humboldt, Einstein) creation. The book concludes by asking how creativity contributes to what it means to be human.

Developing Craft in the Ballet Class

2021 ◽  
Vol 39 (2) ◽  
pp. 147-157
Author(s):  
Susie Crow
Keyword(s):  
Visual Arts ◽  
Alternative Model ◽  
Embodied Learning ◽  
Sports Science ◽  
The Arts ◽  
Theoretical Investigations ◽  
Attitudes And Perceptions

The ballet class is a complex pedagogical phenomenon in which an embodied tradition is transmitted in practice from one generation to the next, shaping not just the dancing but the attitudes and perceptions of dancers throughout their careers. This paper emerges from observations and experience of recent and current ballet class practice, and theoretical investigations into embodied learning in the arts. It outlines the influential role of large hegemonic institutions in shaping how ballet is currently taught and learned; and the effect of this on the class's evolving relation to ballet's repertoire of old and emerging dances as artworks. It notes the increasing importation into ballet pedagogy of thinking rooted in sports science, engendering the notion of the dancer as athlete; and of historic attitudes which downplay the agency of the dancer. I propose an alternative model for understanding the nature of learning in the ballet class, relating it to what Donald Schön calls ‘deviant traditions of education for practice’ in other performing and visual arts ( Schön 1987 p16). I look at the dancer's absorption via the class of ballet's danse d’école, its core technique of academic dance content. I suggest how this process might more constructively be understood through the lens of craft learning and the development of craftsmanship via apprenticeship, the dancer learning alongside the teacher as experienced artist practitioner who models behaviours that foster creativity.

The Arts We See, a Simplified Introduction to the Visual Arts

Art Education ◽  
1985 ◽  
Vol 38 (3) ◽  
pp. 44 ◽  
Author(s):  
John Keel ◽  
Vincent Lanier
Keyword(s):  
Visual Arts ◽  
The Arts
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