Irrungen und Wirrungen

2012 ◽  
Vol 57 (2) ◽  
pp. 112-125
Author(s):  
Anne Hamker
Keyword(s):  
Empirical Research ◽  
Aesthetic Experience ◽  
Natural Sciences ◽  
Aesthetic Perception ◽  
Scientific Methods ◽  
Experimental Aesthetics ◽  
Theoretical Claim ◽  
Retrospective View ◽  
Unexpected Findings

Die Analyse ästhetischer Phänomene mit naturwissenschaftlichen Methoden verschleiert in ihrem Resultat zuweilen die Problematik einer experimentellen Ästhetik. In der Studie zu Bill Violas Videoinstallation The Greeting konkretisiert sich exemplarisch die Diskrepanz von theoretischem Anspruch und experimenteller Wirklichkeit. Das hochgesteckte Ziel einer Aufschlüsselung der (emotional-ästhetischen) Rezeption von The Greeting folgt den Standards experimenteller/empirischer Forschung. Die entsprechende Datenlage aber bietet nicht nur bestätigende Korrelationen, sie überrascht und zugleich ernüchtert auch mit interpretativen Sackgassen und nötigt zur Revision der These. Mit geklärtem Rückblick auf das abgeschlossene Experiment und gezieltem Seitenblick auf verwandte Untersuchungen bestätigt sich der Verdacht, dass die Erprobung ästhetischer Erfahrung mit den Mitteln der Naturwissenschaft zwar aufschlussreich, aber ebenso limitiert ist.<br><br>The analysis of aesthetic phenomena using scientific methods sometimes conceals the difficulties of experimental aesthetics. In the study with Bill Viola’s videoinstallation The Greeting, the discrepancy of theoretical claim and experimental reality takes shape exemplarily. The ambitious aim of dissecting the (emotional-aesthetic) perception of The Greeting follows the standards of experimental/empirical research. The data, however, offers not only confirming correlations, but also unexpected findings and interpretive impasses that force a revision of the thesis. With a retrospective view on the completed experiment, the suspicion is confirmed that proving aesthetic experience with the means of the natural sciences is informative, but also limited.

Hysteria in science and life

1901 ◽  
Vol IX (3) ◽  
Author(s):  
B. I. Vorotynsky
Keyword(s):  
Natural Sciences ◽  
Human Organism ◽  
Scientific Methods ◽  
Medical Observation

Medicine, as a science that studies a healthy and sick human organism, together with the rapidly advancing development of our knowledge in the field of natural sciences, begins to gradually expand the circle of its observations and studies. Along with this, the connection between medicine and such important branches of knowledge as criminal anthropology, sociology and psychology is becoming closer and closer and closer; Many provisions of these sciences are still based on data borrowed from the field of medical observation or obtained with the help of natural scientific methods of research.

scholarly journals Phenomenology and Experimental Psychology: On the Prospects and Limitations of Experimental Research for a Phenomenological Epistemology

2020 ◽  
Vol 1 (1) ◽  
pp. 85-108 ◽  
Author(s):  
Philipp Berghofer
Keyword(s):  
Perceptual Learning ◽  
Empirical Evidence ◽  
Empirical Research ◽  
Experimental Research ◽  
Experimental Psychology ◽  
A Priori ◽  
Transcendental Phenomenology ◽  
Natural Sciences ◽  
Shed Light ◽  
Phenomenological Conception

AbstractHusserl’s transcendental phenomenology is first and foremost a science of the structures of consciousness. Since it is intended to yield eidetic, i. e., a priori insights, it is often assumed that transcendental phenomenology and the natural sciences are totally detached from each other such that phenomenological investigations cannot possibly benefit from empirical evidence. The aim of this paper is to show that a beneficial relationship is possible. To be more precise, I will show how Husserl’s a priori investigations on consciousness can be supplemented by research in experimental psychology in order to tackle fundamental questions in epistemology. Our result will be a phenomenological conception of experiential justification that is in accordance with and supported by empirical phenomena such as perceptual learning and the phenomenon of blindsight. Finally, I shall shed light on the systematic limits of empirical research.

scholarly journals Neurobiologia na tropach uniwersalizmu percepcji sztuki. Prawa estetyki V.S. Ramachandrana i W. Hirsteina w kontekście dzieła sztuki filmowej. Studium przypadku: Nadja Michaela Almereydy

2020 ◽  
Vol 27 (36) ◽  
Author(s):  
Hanna Przybysz
Keyword(s):  
Visual Arts ◽  
Real World ◽  
Creative Process ◽  
Aesthetic Experience ◽  
Natural Sciences ◽  
Strong Reaction ◽  
Aesthetic Experiences ◽  
The Real ◽  
Characteristic Features

Vilayanur S. Ramachandran and William Hirstein are the authors of the concept of a work of art understood as an exaggerated stimulus in the creative process. The aim of art, according to them, is (a) to show the essence of something in a perceptually accessible way, and (b) to evoke a strong reaction from the recipient. Scientists say that the aim of art is not to perfectly reproduce reality, but to present the very essence of an object, scene or event by exaggerating its most characteristic features, while ignoring non-essential features. The effect of this treatment is a super stimulus, which is a supernatural stimulus that does not exist in the real world. Researchers have proposed seven universal – evolutionarily and culturally – neurological laws of aesthetic experience in relation to the visual arts (painting and sculpture). I propose to extend the tool apparatus of neuroaesthetics from the area of unimodal arts to a work of film art. It is an interesting tool for research into film aesthetics and masterpieces. In this paper, I will discuss these laws and make a representative analysis of them in a visual case study of Michael Almereyda’s film Nadja (1994). The main goal of my work is to show the stricto naturalistic position. Man is not aware that the first stages of cognitive perception have a significant impact on his interest in art, what he pays attention to, and on aesthetic experiences on a sensual, unconscious level. It is an interdisciplinary attempt to provide consistency of research approaches in the humanities with the naturalistic one in the area of natural sciences, which shows that on some levels we are very similar to each other and only in the process of ontogenesis do we acquire individuality – that we are governed by universal laws, not only those related to ourindividual interests and tastes.

scholarly journals The Artistic Status of Bio-art

2021 ◽  
Vol 13 (1) ◽  
Author(s):  
Eleni Gemtou ◽  
Keyword(s):  
Scientific Research ◽  
Direct Connection ◽  
Pure Science ◽  
Scientific Methods ◽  
Retrospective View ◽  
Methods And Techniques ◽  
Distinct Features ◽  
The Way ◽  
Historical Theory

Abstract This paper aims to define Bio-art by strengthening its artistic status through two distinct approaches. The first is based on the acceptance that the concept of Bio-art includes both the term “art” and the term “bio” that could stand for Biology, Biotechnology, and Bioethics. It is argued that despite its direct connection to scientific research, Bio-art is only partly linked to the methods of the pure science of Biology, while it stands closer to the technoscience of Biotechnology. However, while bio-artists often use scientific methods and techniques, they eventually focus on bioethical questions. To amplify the artistic status of bio-artworks, we claim that they are kinds of visual “enthymemes”, a term used by Aristotle to define incomplete rhetoric syllogisms linking all recipients to common questions. Our second approach is developed around Levinson’s intentional-historical theory, showing that Bio-art belongs to the evolutionary narrative of art and artistic intentions. We allege interconnections of distinct features of bio-artworks with artworks of different eras that in the context of a retrospective view are to be understood as having paved the way for the emergence of Bio-art.

scholarly journals A retrospective view on the history of natural sciences in XX-XXI

2010 ◽  
Vol 02 (03) ◽  
pp. 228-245
Author(s):  
Vladislav Sergeyevich Olkhovsky
Keyword(s):  
Natural Sciences ◽  
Retrospective View ◽  
History Of

scholarly journals Music Listening in Classical Concerts: Theory, Literature Review, and Research Program

2021 ◽  
Vol 12 ◽  
Author(s):  
Melanie Wald-Fuhrmann ◽  
Hauke Egermann ◽  
Anna Czepiel ◽  
Katherine O’Neill ◽  
Christian Weining ◽  
...  
Keyword(s):  
Literature Review ◽  
Empirical Evidence ◽  
Empirical Research ◽  
Research Program ◽  
Aesthetic Experience ◽  
Theoretical Framework ◽  
Musical Experience ◽  
Specific Situation ◽  
Music Listening ◽  
Listening Experience

Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical (concert) studies, we unfold this theory for one such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert.

scholarly journals Scientific method as the foundation of scientific research

2021 ◽  
pp. 13-17
Author(s):  
Anita Kovačić-Popović
Keyword(s):  
Data Collection ◽  
Empirical Research ◽  
Scientific Knowledge ◽  
Scientific Method ◽  
Scientific Research ◽  
Theoretical Research ◽  
Collection Method ◽  
Scientific Methods ◽  
Data Collection Method ◽  
General Scientific

The methodology deals with the methods of acquiring scientific knowledge, i.e. all aspects of scientific research as a method of gaining scientific knowledge about phenomena and processes. Scientific method enables gaining scientific knowledge by applying a series of principles, rules and procedures. Every research includes several general scientific methods. Hypothetical-deductive scientific method of acquiring knowledge and modeling method characterize empirical research, while comparative and analytical-deductive methods are applied in theoretical research. It is impossible to carry out research without a data collection method. Therefore, it is necessary to precisely define the methods, techniques and instruments that will be applied in research to gain new scientific knowledge.

scholarly journals Cybernetyczny model systemu politycznego Eastona i problemy związane z jego aplikacją .

2020 ◽  
Vol 28 ◽  
pp. 7-19
Author(s):  
Maciej Herbut ◽  
Ryszard Herbut
Keyword(s):  
Political Science ◽  
Systems Theory ◽  
Empirical Research ◽  
Natural Sciences

David Easton is one of the most prominent scholars who focuses on systems theory in political science. The objective of Easton’s work, based on the experience of the natural sciences, was to devise a systematic model that could be applied to the whole field of political science. Although the author’s contribution to the development of systematic studies in social and political science is unquestionable, Easton’s model has not been adopted in the conduct of empirical research. The main objective of the article is to explore the reasons why political scientists do not use Easton’s model.

scholarly journals La fenomenología de la razón y la experiencia estética. Edmund Husserl y Vasily SesemanNN

2021 ◽  
pp. 129
Author(s):  
Dalius Yonkus
Keyword(s):  
Aesthetic Experience ◽  
Edmund Husserl ◽  
Necessary Conditions ◽  
Intentional Object ◽  
Phenomenological Reduction ◽  
Phenomenological Method ◽  
Aesthetic Perception ◽  
Aesthetic Object ◽  
The Aesthetic ◽  
Do So

La estética fenomenológica debería ser capaz de revelar cómo la estructura de cualquier objeto estético dado está conectada con la experiencia de ese objeto, así como demostrar las condiciones necesarias para la propia experiencia estética. Para hacerlo, hay que argumentar en contra de los supuestos unilaterales, como por ejemplo la suposición del objetivismo estético que postula la belleza como rasgo exclusivo de la realidad independiente del sujeto; o la creencia opuesta, que la belleza es esencial y únicamente la proyección del gusto subjetivo sobre las cosas en el mundo. Sesemann analiza el objeto estético y el acto estético, enfatizando su conexión. Esta conexión se refiere a lo que se describe en la fenomenología de Husserl como la correlación entre el objeto intencional y el acto intencional. Esta conexión puede ser descubierta sólo mediante el método fenomenológico: realizando la reducción fenomenológica. En este documento se explicará en primer lugar la percepción estética en la estética de Sesemann. Más adelante, se examina la concepción de la estructura del objeto estético en el contexto de la estética de Sesemann: la composición de los elementos, las sensaciones en relación con el significado, etc. Por último, el artículo sugiere que la estética de Sesemann se basa fundamentalmente en el método de la reducción fenomenológica.Phenomenological aesthetics should also be able to show how the structure of any given aesthetic object is connected with the experience of that object, as well as to demonstrate the necessary conditions for the aesthetic experience itself. In order to do so, one must argue against one-sided assumptions, such as the aesthetic objectivism’s supposition that beauty is exclusively the trait of reality not at all dependent on the subject’s experience of it; or its opposite belief that beauty is essentially and solely the projection of the subjective taste onto the things in the world. Sesemann analizes the aesthetic object and aesthetic act by emphasizing their connection. This connection relates to what is described in Husserls phenomenology as the correlation between the intentional object and the intentional act. This connection can be discovered only by using the phenomenological method: by doing phenomenological reduction. This paper will first explain the aesthetic perception in Sesemann‘s aesthetics. Later, it examine the conception of the aesthetic object‘s structure in Sesemann‘s aesthetic: composition of elements, sensations in connection with meaning; etc. Finally, the paper will argue that Sesemann‘s aesthetics is essentially based on the method of phenomenological reduction.

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