Search results for 'Art and biology' (try it on Scholar)

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  1. Johan Redin (2001). Adventures in Bioaesthetics - Art, Biology and Aesthetic Experience in Early German Romanticism and the Art of Sturm Und Drang. Nordic Journal of Aesthetics 13 (24).score: 150.0
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  2. Alex Comfort (2008). Darwin and the Naked Lady: Discursive Essays on Biology and Art. Routledge.score: 126.0
    Originally published in 1961. The essays in this volume focus on the awareness of science and art, evolution and Freudian psychology. Besides the chapter on Darwin and Freud, the author discusses criticism, the fantasy element in drama and popular literature, the history of the novel, the motivation of science and the function of erotic art.
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  3. J. Hamburger (1987). The Art of Reasoning in Biology and Medicine. Diogenes 35 (138):26-40.score: 120.0
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  4. W. Weidle & E. P. Halperin (1957). Biology of Art: Initial Formulation and Primary Orientation. Diogenes 5 (17):1-15.score: 120.0
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  5. B. J. Baars (1999). Art Must Move: Emotion and the Biology of Beauty. Journal of Consciousness Studies 6 (6-7):6-7.score: 120.0
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  6. B. M. Foss (1962). Biology and Art. British Journal of Aesthetics 2 (3):195-199.score: 120.0
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  7. J. K. Heiberg, P. Gardner, R. Blomfield & Charles Singer (1923). Mathematics and Physical Science in Classical AntiquityGreek Art and Architecture: Their Legacy to UsGreek Biology and Greek Medicine. Journal of Hellenic Studies 43:217.score: 120.0
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  8. George Gessert (2010). Green Light: Toward an Art of Evolution. Mit Press.score: 84.0
    Ch. 1. Divine plants and magical animals -- Ch. 2. Aesthetic effects of domestication -- Ch. 3. The rainforests of domestication -- Ch. 4. The rise of ornamental plants -- Ch. 5. Darwin's sublime -- Ch. 6. Playing God -- Ch. 7. Standards of excellence -- Ch. 8. Doubles -- Ch. 9. Kitsch plants -- Ch. 10. Bastard flowers -- Ch. 11. Biotechnology in the garden -- Ch. 12. Recent art involving DNA -- Ch. 13. Naming life -- Ch. 14. (...)
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  9. Denis Dutton (2009). The Art Instinct: Beauty, Pleasure, & Human Evolution. Bloomsbury Press.score: 84.0
    Introduction -- Landscape and longing -- Art and human nature -- What is art? -- But they don't have our concept of art -- Art and natural selection -- The uses of fiction -- Art and human self-domestication -- Intention, forgery, dada : three aesthetic problems -- The contingency of aesthetic values -- Greatness in the arts.
     
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  10. Christy Mag Uidhir & P. D. Magnus (2011). Art Concept Pluralism. Metaphilosophy 42 (1-2):83-97.score: 66.0
    Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that (...)
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  11. Phillip Prodger (2009). Darwin's Camera: Art and Photography in the Theory of Evolution. Oxford University Press.score: 66.0
    Darwin's art collection : the prints, drawings, and photographs Darwin collected in the 1860s and 70s -- Illustrations and illusion : strategies Darwin used in illustrating his books -- Art, experience, and observation : Darwin's knowledge of art history and use of illustration in his books -- Darwin and the passions : how passion manuals informed Darwin's research -- Photography and evolution meet : connections between photography and biology in the 1860s -- Method to their madness : how photography (...)
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  12. Lynda Birke (2006). Meddling with Medusa: On Genetic Manipulation, Art and Animals. [REVIEW] AI and Society 20 (1):103-117.score: 66.0
    Turning animals into art through genetic manipulation poses many questions for how we think about our relationship with other species. Here, I explore three rather disparate sets of issues. First, I ask to what extent the production of such living “artforms” really is as transgressive as advocates claim. Whether or not it counts as radical in terms of art I cannot say: but it is not at all radical, I argue, in terms of how we think about our human place (...)
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  13. Eric R. Kandel (2011). The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain: From Vienna 1900 to the Present. Random House.score: 66.0
    A psychoanalytic psychology and art of unconscious emotion -- An inward turn : Vienna 1900 -- Exploring the truths hidden beneath the surface : origins of a scientific medicine -- Viennese artists, writers, and scientists meet in the Zuckerkandl Salon -- Exploring the brain beneath the skull : origins of a scientific psychiatry -- Exploring mind together with the brain : the development of a brain-based psychology -- Exploring mind apart from the brain : origins of a dynamic psychology -- (...)
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  14. Steven P. R. Rose (1998). Lifelines: Biology Beyond Determinism. Oxford University Press.score: 66.0
    Reductionism--understanding complex processes by breaking them into simpler elements--dominates scientific thinking around the world and has certainly proved a powerful tool, leading to major discoveries in every field of science. But reductionism can be taken too far, especially in the life sciences, where sociobiological thinking has bordered on biological determinism. Thus popular science writers such as Richard Dawkins, author of the highly influential The Selfish Gene, can write that human beings are just "robot vehicles blindly programmed to preserve the selfish (...)
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  15. Niklas Luhmann (2000). Art as a Social System. Stanford University Press.score: 66.0
    Germany's leading contemporary social theorist provides a definitive analysis of art as a social and perceptual system which not only represents an important intellectual step in discussions of art but also an important advance in systems theory. Luhmann insists on the radical incommensurability between psychic systems (perception) and social systems (communication). Art is a special kind of communication that operates at the boundary between the social system and consciousness in ways that profoundly irritate communication while remaining strictly internal to the (...)
     
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  16. Spyros Papapetros (2012). On the Animation of the Inorganic: Art, Architecture, and the Extension of Life. University of Chicago Press.score: 66.0
    Animation victims: an abridged history of animated response -- Animated history -- The movement of accessories -- Fabric extensions and textual supplements from modern and antique fragments -- The movement of snakes -- Pneumatic impulses and bygone appendages from Philo to Warburg -- The afterlife of crystals -- Art historical biology and the animation of the inorganic -- Inorganic culture -- Nudes in the forest -- Models, sciences, and legends in a landscape by Léger -- Malicious houses -- Animism (...)
     
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  17. Paavo Pylkkanen & Tere Vaden (eds.) (2001). Dimensions of Conscious Experience. John Benjamins.score: 60.0
  18. Justine Kingsbury (2011). (R)Evolutionary Aesthetics: Denis Dutton's The Art Instinct: Beauty, Pleasure and Human Evolution. Biology and Philosophy 26 (1):141-150.score: 60.0
    Denis Dutton’s The Art Instinct succeeds admirably in showing that it is possible to think about art from a biological point of view, and this is a significant achievement, given that resistance to the idea that cultural phenomena have biological underpinnings remains widespread in many academic disciplines. However, his account of the origins of our artistic impulses and the far-reaching conclusions he draws from that account are not persuasive. This article points out a number of problems: in particular, problems with (...)
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  19. Robert Fink (1974). Continuum: The Evolution of Matter Into Humankind: A Case for the Arts, Ecology, & Revolution. Greenwich-Meridian.score: 58.0
    It is not good that nren should be alone. ^ - — Plekhanov Human beings are so divided, are becoming more and more divided, and more subdivided in themselves ...
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  20. Attila Grandpierre (2003). On the Fundamental Worldview of the Integral Culture: Integrating Science, Religion, and Art: Part One. World Futures 59 (6):463 – 483.score: 54.0
    In the present essay the author suggests that the main reason why history failed to develop societies in harmony with Nature, including our internal nature as well, is that we failed to evaluate the exact basis of the factor ultimately governing our thoughts. We failed to realize that it is the worldview that ultimately governs our thoughts and through our thoughts, our actions. In this work we consider the ultimate foundations of philosophy, science, religion, and art, pointing out that they (...)
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  21. J. Dupre (1996). Review of Sober's "Philosophy of Biology". [REVIEW] British Journal for the Philosophy of Science 63:143-145.score: 54.0
    Elliott Sober is among the leading contemporary contributors to the philosophy of biology. He also has an exceptional ability to explain difficult ideas clearly. He is therefore very well equipped to provide an accessible yet state-of-the-art introduction to the philosophy of biology, and in most respects this optimistic prognosis is justified by the present volume. Focussing on evolutionary biology, Sober provides a general overview of evolutionary theory; a chapter on creationism that serves as a vehicle for the (...)
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  22. Andreas Deutsch (2010). From Cells to Organisms: Current Topics in Mathematical and Theoretical Biology. Acta Biotheoretica 58 (4):307-313.score: 54.0
    At the beginning of this special issue of Acta Biotheoretica carrying the above title, we present a brief overview on currently important topics that have been brought up during the last “European Conference on Mathematical and Theoretical Biology” in Edinburgh. After emphasizing the need for a “synthetic biology” also from the side of theory, model building and analysis, we survey most plenary talks of this Conference and a selected series of eigth review articles, which are mainly related to (...)
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  23. Robert C. Trundle (2013). Art as Certifiably Good or Bad. Cultura 8 (2):39-50.score: 54.0
    Connections of beauty to science, whereby scientific truth informs truth about art, is denied by a Humean-Kantian-positivist tradition. Its denial of even scientifictheories being known to be true proceeds pari passu with denying any known truth in the less rigorous sciences such as aesthetics that, for Aristotle, studiesbeauty’s cause. Related to causation is a modern problem of “knowing we know”: knowledge in science presupposes a causal principle whose truth is not known when expressed as a truth-functional conditional. But by conditionals (...)
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  24. Sean O. Nuallain (2014). Symbolic and Cognitive Theory in Biology. Cosmos and History: The Journal of Natural and Social Philosophy 10 (1):183-210.score: 54.0
    In previous work, I have looked in detail at the capacity and the limits of the linguistics model as applied to gene expression. The recent use of a primitive applied linguistic model in Apple's SIRI system allows further analysis. In particular, the failings of this system resemble those of the HGP; the model used also helps point out the shortcomings of the concept of the "gene". This is particularly urgent as we are entering an era of applied biology in (...)
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  25. Farokh Erach Udwadia (2009). The Forgotten Art of Healing and Other Essays. Oxford University Press.score: 54.0
    These essays bring medical discoveries from ancient times to landmarks in modern medicine, and take the reader to twenty-first century biogenetics and molecular biology. This unique volume focuses on medical science as an art of healing, where modern medicine is not just restricted to science and technology.
     
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  26. D. W. Zaidel & M. Nadal (2011). Brain Intersections of Aesthetics and Morals Perspectives From Biology, Neuroscience, and Evolution. Perspectives in Biology and Medicine 54 (3):367-380.score: 48.0
    Human aesthetic experiences are pervasive; they are triggered by faces, art, natural scenery, foods, ideas, theories, and decision-making situations, among many sources, and seem to be a distinctive trait of our species. Our moral sense, understood as our capacity to judge events, actions, or people as good or bad, appropriate or inappropriate, also seems to be an exclusively human endowment (Ayala 2010). As part of the scientific efforts to characterize the biological foundations of our human uniqueness, recently there has been (...)
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  27. Stephen Davies, I. Is Art Purely Cultural or Does It Centrally Involve a Biological Component?score: 48.0
    Dissanayake is an ethologist. She is interested in human behavioral predispositions that are universal and innate because they have proved to enhance survival, which is defined as reproductive success (1995:36, 2000:21), and, hence, became selected for at the genetic level. Such behaviors must date back at least to the late Pleistocene (20,000 years ago) since it is then that human biological evolution reached its present condition. Subsequent changes involved cultural evolution, a predisposition that is itself based on evolutionary characteristics of (...)
     
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  28. Stephen Davies (2014). Art and Aesthetic Behaviors as Possible Expressions of Our Biologically Evolved Human Nature. Philosophy Compass 9 (6):361-367.score: 48.0
    In this paper, I review arguments that have been offered in favor of the view that humans' art and/or aesthetic behaviors are (in part) a product of our biologically evolved human nature, either as adaptations in their own right or as incidental byproducts of adaptations with non-art and non-aesthetic functions. I present an overview of the main positions and options, critically evaluate their strengths and weaknesses, and outline their presuppositions.
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  29. Sanjay K. Nigam (2012). The Storytelling Brain. Science and Engineering Ethics 18 (3):567-571.score: 48.0
    The well-established techniques of the professional storyteller not only have the potential to model complex “truth” but also to dig deeply into that complexity, thereby perhaps getting closer to that truth. This applies not only to fiction, but also to medicine and even science. Compelling storytelling ability may have conferred an evolutionary survival advantage and, if so, is likely represented in the neural circuitry of the human brain. Functional imaging will likely point to a neuroanatomical basis for compelling storytelling ability; (...)
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  30. Carol Gigliotti (2006). Genetic Technologies and Animals. AI and Society 20 (1):3-5.score: 48.0
  31. Deborah J. Haynes (1995). Bakhtin and the Visual Arts. Cambridge University Press.score: 46.0
    Bakhtin and the Visual Arts is the first book to assess the relevance of Mikhail Bakhtin's ideas as they relate to painting and sculpture. First published in the 1960s, Bakhtin's writings introduced the concepts of carnival and dialogue or dialogism, which have had significant impact in such diverse fields as literature and literary theory, philosophy, theology, biology, and psychology. In his four early aesthetic essays, written between 1919 and 1926, and before he began to focus on linguistic and literary (...)
     
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  32. Anton Killin (2013). The Arts and Human Nature: Evolutionary Aesthetics and the Evolutionary Status of Art Behaviours. Biology and Philosophy 28 (4):703-718.score: 42.0
    This essay reviews one of the most recent books in a trend of new publications proffering evolutionary theorising about aesthetics and the arts—themes within an increasing literature on aspects of human life and human nature in terms of evolutionary theory. Stephen Davies’ The Artful Species links some of our aesthetic sensibilities with our evolved human nature and critically surveys the interdisciplinary debate regarding the evolutionary status of the arts. Davies’ engaging and accessible writing succeeds in demonstrating the maturity and scope (...)
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  33. Steve Garlick (2009). Given Time: Biology, Nature and Photographic Vision. History of the Human Sciences 22 (5):81-101.score: 42.0
    The invention of photography in the early 19th century changed the way that we see the world, and has played an important role in the development of western science. Notably, photographic vision is implicated in the definition of a new temporal relation to the natural world at the same time as modern biological science emerges as a disciplinary formation. It is this coincidence in birth that is central to this study. I suggest that by examining the relationship of early photography (...)
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  34. Živa Ljubec (2012). Art of Peripheral Permeability: Revisiting Interfaces in Biological Media for Post-Biological Culture. Technoetic Arts 10 (2):301-307.score: 42.0
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  35. Sandro Matosevic (2012). Synthesizing Artificial Cells From Giant Unilamellar Vesicles: State‐of‐the Art in the Development of Microfluidic Technology. Bioessays 34 (11):992-1001.score: 42.0
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  36. Georges Chapouthier (2009). Kant Et le Chimpanzé: Essai Sur l'Être Humain, la Morale Et L'Art. Belin-Pour la Science.score: 42.0
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  37. Matthias Bruhn (2011). Life Lines: An Art History of Biological Research Around 1800. Studies in History and Philosophy of Science Part C 42 (4):368-380.score: 40.0
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  38. Gerald Schatten, Laura Hewitson, Calvin Simerly, Peter Sutovsky & Gabor Huszar (1998). Cell and Molecular Biological Challenges of ICSI: ART Before Science? Journal of Law, Medicine and Ethics 26 (1):29-37.score: 40.0
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  39. Adrian Friday (1994). Unifying Diversity. Biological Systematics: The State of the Art (1993). By Alessandro Minelli. Chapman & Hall, London, Pp. XVI + 387. Isbn 0 412 36440 9. £45. [REVIEW] Bioessays 16 (4):297-297.score: 40.0
  40. Adrienne Dengerink Chaplin (2005). Art and Embodiment: Biological and Phenomenological Contributions to Understanding Beauty and the Aesthetic. Contemporary Aesthetics 3.score: 40.0
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  41. Grant Hannan (1982). Peter Fuller and the Biological of Art (Or: Erik Von Daaniken Would Understand). Thesis Eleven 5 (1):255-258.score: 40.0
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  42. Oliver Lowenstein (1998). Consciousness Reframed: Art, Technology and Consciousness in the Post Biological Era. Journal of Consciousness Studies 5 (5-6):5-6.score: 40.0
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  43. Samuel B. McDowell (1994). Advances in the World of Classification Biological Systematics: The State of the Art Alessandro Minelli. Bioscience 44 (6):426-428.score: 40.0
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  44. A. O. Hear (2000). The Biological Origins of Art: Nancy E. Aiken. British Journal of Aesthetics 40 (3):390-390.score: 40.0
     
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  45. Mohan Matthen (forthcoming). Play, Skill, and the Origins of Perceptual Art. British Journal of Aesthetics.score: 38.0
    Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...)
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  46. Stephen Davies (2012). The Artful Species: Aesthetics, Art, and Evolution. Oup Oxford.score: 38.0
    Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?
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  47. Valerie Gray Hardcastle & C. Matthew Stewart (2004). Neuroscience and the Art of Single-Cell Recordings. Biology and Philosophy 18 (1):195-208.score: 36.0
    This article examines how scientists move from physical measurementsto actual observation of single-cell recordings in the brain. We highlight how easy it is to change the fundamental nature of ourobservations using accepted methodological techniques for manipulatingraw data. Collecting single-cell data is thoroughly pragmatic. Weconclude that there is no deep or interesting difference betweenaccounting for observations by measurements and accounting forobservations by theories.
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  48. Miriam Solomon (2008). Epistemological Reflections on the Art of Medicine and Narrative Medicine. Perspectives in Biology and Medicine 51 (3):406-417.score: 36.0
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  49. Y. Michael Barilan (2007). Contemporary Art and the Ethics of Anatomy. Perspectives in Biology and Medicine 50 (1):104-123.score: 36.0
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  50. Alice Domurat Dreger (2004). Special Section: "The Visible Skeleton Series": The Art of Laura Ferguson. Perspectives in Biology and Medicine 47 (2):159-159.score: 36.0
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