Relationships between Art, Science and Epistemology: The Earth as a Laboratory and the “Intruder Artist”

Leonardo ◽  
2018 ◽  
Vol 51 (2) ◽  
pp. 191-192
Author(s):  
Paz Tornero

This article is a brief review on the contemporary artistic epistemology and its use of the transdisciplinary practices as a form of developing artwork. The main objective is to analyze the artist’s interest and creativity on scientific issues and their peculiar view on new scientific and ecological paradigms to generate new knowledge, critical thinking, creative processes or new innovations. The author also explains his experience as researcher in the Institute of Microbiology at San Francisco University of Quito, Ecuador, where perhaps his presence could have been viewed as an “invasion” of the laboratory. For that reason, he uses the expression “intruder artist”—“the scientific spaces” foreign visitor who tries to understand technical considerations on processes and experiments, so they could produce inspiration on new “hybrid” artworks.

Author(s):  
Maureen N. Short ◽  
Yolanda Keller-Bell

This chapter contends that increasing technological innovation has disrupted and continues to disrupt the labor markets making some jobs obsolete and workers redundant. The key to success in the twenty-first century and future labor markets is to combine hard and soft skills into a comprehensive package tailored to specific needs including the ability to think clearly about complex problems, apply creative and innovation solutions to solve problems, and apply new knowledge and skills in new settings. This chapter will provide a discussion of some of the reasons underlying the demand for higher workforce skills and a descriptive overview of curricula and pedagogy that promote students' acquisition and application of critical thinking skills as well as other skills considered essential for 21st century workforce.


Author(s):  
Roxanne M. O'Connell

Mind mapping is a visual technique that exploits the way we actually think—through synaptic connections and non-linear associations. Because mind mapping gives practitioners, be they professional or student, access to subconscious observations and connections, it is a powerful thinking tool, useful in a variety of situations in business and in education. This chapter focuses on how mind mapping fosters the kind of flexible and organic thinking vital to critical thinking and the creative problem-solving process. It explains what is at work in the brain as we create new knowledge and how mind mapping exploits these processes to gain intuitive and concrete understanding in situations requiring critical thinking. A step-by-step outline of how to mind map in both individual and group settings is followed by examples of mind maps from both business and education.


1916 ◽  
Vol 36 (1-2) ◽  
pp. 174-185
Author(s):  
John Aitken

In 1900 I communicated to this Society a paper on the above subject. Since that date a great deal of information has been obtained by means of free balloons carrying instruments which recorded the temperature, humidity, and pressure of the air up to great elevations. Much of this new knowledge seems to contradict our previous ideas, and does not seem to fit into the old convectional theory that cyclones are formed by the rising of the hot, moist air from the surface of the earth; their energy being due to their temperature and to the heat liberated by the condensation of the water vapour in them. We are told by those who have studied the bearing of the new knowledge on our atmospheric circulation that the old theory is “utterly untenable.” Their reasons for this conclusion are, first, that the recent investigations show that the air is colder in cyclones than in anticyclones; second, that the isothermal layer is lower than the mean over cyclones, while it is higher than the mean over anticyclones. At first sight these discoveries seem to shatter the convectional theory, but before we come to any conclusion I should like to present certain facts which it appears to me will require to be considered before we scrap our old ideas.


2011 ◽  
pp. 3149-3156
Author(s):  
H. Muukkonen

In higher education, students are often asked to demonstrate critical thinking, academic literacy (Geisler, 1994), expert-like use of knowledge, and creation of knowledge artifacts without ever having been guided or scaffolded in learning the relevant skills. Too frequently, universities teach the content, and it is assumed that the metaskills of taking part in expert-like activities are somehow acquired along the way. Several researchers have proposed that in order to facilitate higher level processes of inquiry in education, cultures of education and schooling should more closely correspond to cultures of scientific inquiry (Carey & Smith, 1995; Perkins, Crismond, Simmons & Under, 1995). Points of correspondence include contributing to collaborative processes of asking questions, producing theories and explanations, and using information sources critically to deepen one’s own conceptual understanding. In this way, students can adopt scientific ways of thinking and practices of producing new knowledge, not just exploit and assimilate given knowledge.


2016 ◽  
Vol 26 (2) ◽  
pp. 83-110
Author(s):  
Tamara de Szegheo Lang

This article proposes that objects might be instrumental in museum exhibitions that promote critical thinking around issues of human rights and social inequity. Objects have the potential to present histories that have been marginalized for far too long and to get away from rehearsed narratives, while also engaging the visitor through emotional connection — making the visitor care about the histories that are being presented. In looking at the GLBT Historical Society Archives and History Museum in San Francisco, this article claims that new museums that grow out of community-based archives might provide the opportunity for the kinds of critical engagements with objects that national-scale museums that attempt to address social problems often do not have. Specifically addressing the GLBT History Museum’s inaugural exhibit, “Our Vast Queer Past,” this article argues that the organization of objects on display, greatly influenced by their archival roots, gives viewers the opportunity for chance encounters with histories that come to matter to them.


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