International relations (IR) is both a science and an art, i.e. the unity of object and subject. Traditional international relations theories (IRT) have probed the laws of IR, in an attempt to become the universal science. IRT have developed into a class doctrine that defends the legitimacy of the western international system as a result of proceeding from the reality of IR, while neglecting its evolving process, and overlooking the meaning of art and the presence of multi-international systems. (...) In other words, IRT have turned into what Karl Marx might have deemed as the vulgar international relations theories (VIRT). For this reason, we declare the end of international relations theories. This phenomenon can only be negated by the so-called Chinese School, which will set the sustainable and harmonious relations among nations, between state and non-state actors, and within states and non-state actors (in one word ) in five life-forces of economy, politics, military, culture, and religion. Consequently, this will bring about a real regression of nationality and compatible development of various international systems. (shrink)

(1994). Science and art in perspective: Reflections in a socio‐historical key. World Futures: Vol. 40, Art and Science: Studies from the World Academy of Art and Science, pp. 45-48.

My object in these lectures is to show that Science is a form of Art, though not of fine art; in other words, that it is one example of a process of which fine art is the most obvious example, the process of making out of certain materials a result into which the mind itself enters. Clearly enough the material of the artist, whatever it be, marble or paints or tones or words, is moulded by the artist into a (...) shape which it would not possess unless something in the artist’s mind found expression in it. Science also is a product of the mind’s interference and is artificial. But it differs from fine art, I shall try to show, in this respect: in fine art the material is controlled from the mind, or at least it is principally controlled from the mind. In science the material is the facts of nature ; but while science would not be except for the mind of the scientist, the work is controlled from the side of the material itself, and his mind is instrumental to the product rather than in some sense intrinsic to it as in fine art. (shrink)

What do Albert Einstein and Pablo Picasso have in common? Can we learn about science by studying art? There are many connections just waiting to be discovered between the natural world and artistic techniques that have been used for centuries. Author and retired science educator Mary Kirsch Boehm systematically guides readers through a look at science with an artistic eye, introducing an integrated and often overlooked view of the two disciplines. By exploring the materials and techniques of (...) art and the science behind them, Boehm reveals just how interconnected our world really is. (shrink)

In this chapter, the author considers a line of thought in Arthur Danto in that regard about the bearing of cognitive science on our construal of changes in art. For Danto, a key to the issue of how to understand change in art forms and artistic identities is found in his fundamental notion that both the meaning and the style of a work of art are historically indexed; that is, they depend on historical conditions. Danto's skepticism about facile changes (...) in world views is born out of his theory that the history of such changes has certain logic, defined over basic or fundamental forms of action and thought; a view that applies as much to science as it does to art. The author's claim has been that recent research shows that, logical deductions aside, advances in cognitive science suggest that the language of art criticism will have to change. (shrink)

Philosophy After Lacan: Politics, Science and Art brings together reflections on contemporary philosophy inspired by and in dialogue with Lacanian theory. Rather than focus on the thinkers who came before Lacan, the editors maintain attention on innovations in contemporary philosophy that owe their emergence to complimentary, critical, direct, or tangential engagement with Lacan. This collection makes one of the first concerted efforts to expand discussions between psychoanalysis and more recent philosophical thinkers while gathering chapters by some of the leading (...) philosophical voices of the present moment. With contributors from around the world, this book has international appeal and is unique in its emphasis on contemporary philosophies inspired or influenced by Lacan. Philosophy After Lacan will not only appeal to psychotherapists and psychoanalysts, but also to students and professors of philosophy, critical theory, psychology, politics, history, and literature. (shrink)

It has been explained how science, with the freedom which makes it an art, uses ideas of its own construction, and that they are verified by nature shows them to be, directly or indirectly, at differing degrees of remoteness, congenial to and so far inherent in the material which is the subject-matter of the science. Take, for an instance, velocity. It is expressed by the ratio of two integers which measure distance and time respectively. Now a ratio is (...) a construction of the mind, and it does not exist in external things in the sense in which universals must be said to belong to them and have in one way or another been held to belong to them since the time of Socrates, or at least Plato. Even if we agree that the integers themselves are given to mind and not created by mind, their ratio implies the intervention of mind, and does not inhere in the integers themselves. But though velocity does not inhere in things, it corresponds to and stands for something which is found alike in all moving things and varies in the moving tram and the sea-plane in a Schneider race. (shrink)

The reflection on the preconditions and evolution of science has played a decisive role in the development of Ernst Cassirer's philosophy, contributing to its functional and thus inherently pluralistic and holistic view of knowledge. To present Cassirer's conception of physics as an open symbolic formation enables us to reveal and study the radical features of his epistemological model: (1) the fundamental process of generating sense-units and meaning in its constitutive character for each attempt of objectification, (2) its driving and (...) structuring dynamics that touches and transforms all elements of knowledge, the a priori included, (3) the strategies of justification that allow maintaining the claim of truthfulness in spite the fact that Cassirer's open model integrates contingency and transitoriness as an inherent part of knowledge. It thus becomes clear that Cassirer's term 'symbol' cannot be reduced to its habitual representational acceptation, for its key theoretical function is to overcome the inconsistencies of dualistic epistemological models. It is this re-orientation, a kind of 'second Copernican revolution', that allows Cassirer to go beyond traditional dichotomies and to propose a larger frame in which to appreciate the diversity of human understanding. (shrink)

It is to an over-all situation based upon the complex play of political, social, economic and scientific factors, along with technological and mass media factors unique to our own era, that we owe the general trend toward multi-pluri-inter-trans-disciplinary questions so generally prevalent in our world today.

This volume explores the roles and uses of abstraction in scientific and artistic practice. Conceived as an interdisciplinary dialogue between experts across histories and philosophies of art and science, this collection of essays draws on the shared premise that abstraction is a rich and generative process, not reducible to the mere omission of details in a representation. When scientists attempt to make sense of complex natural phenomena, they often produce highly abstract models of them. In the history and philosophy (...) of art, there is a long tradition of debate on the function of abstraction, and - more recently - its relation with theories of depiction. Adopting a process-oriented perspective, the chapters in this volume explore the epistemic potential of a diversity of practices of abstracting. The systematic analysis of a wide range of historical cases, from early twentieth-century abstractionist painting to contemporary abstract photography, and from nineteenth-century physics to recent research in biology and neurosciences, invites the reader to reflect on the material lives of abstraction through concrete artefacts, experimental practices and theoretical and aesthetic achievements. Abstraction in Science and Art: Philosophical Perspectives will be of interest to scholars and advanced students working in aesthetics, philosophy of science, and epistemology, as well as to historians of science and art, and to practicing artists and scientists interested in exploring foundational questions at the heart of the creative practice of abstracting. (shrink)

In the twentieth century, science and art had a grand paradigmatic shift each other. This study aims at comparing the epistemologies of surrealism and quantum mechanics that emerged in the 1930s and interpreting the paintings from a physical viewpoint, with a focus on the Copenhagen interpretation. In terms of epistemologies, the arbitrary relationship between an object and an image advocated by Magritte may correspond to the indeterminacy between physical entities and measurement. This study analysed the paintings of Magritte from (...) the point of view of the features of the Copenhagen interpretation categories of wave–particle duality, indeterminacy, probabilistic interpretation and quantum hypothesis. Based on such discussions, this study gives some implications for enhancing creativity through an interdisciplinary approach. (shrink)

The debates now in progress about the interactions of science and art compel one involuntarily to recall that such discussions have been held more than once and were, a long time ago, perhaps no less heated. It suffices to cite virtually at random certain statements of Pisarev, for example , for us to see, as in a cloudy mirror, both today's advocates of scientism and the romantics of art. Does this mean that all we need is to bear in (...) mind the wise words of the past in order to advance, as is believed by Iu. I. Kagarlitskii ? Obviously, that is not the case. The problem of the interactions of science and art is a philosophical one, not one of natural science; and the results achieved in debates of the past do not eliminate the questions of world view that constantly arise anew. Philosophy has no axioms such as exist in mathematics. It is therefore difficult to imagine that subsequent history has added nothing whatever to the understanding of past debates. Yet reference to these debates would appear to be essential today to clarify at least one of the factors of the problem we have posed. It might appear that this factor has been pointed to, but it has constantly been beclouded by the explanations of how science influences artists, and how art influences scientists who are at the same time artists, by references to the unity of the creative character of science and art, and so forth. In my opinion, it is essential, however, to emphasize that the very problematics of the interactions between science and art depend on the social and cultural environment within which they exist and are discussed. Turning to the past, we can see that science and art are not realms of activity handed down to humankind "since the creation of the world." They develop in the "body," if one may put it thus, of a specific socium, a specific culture. It would, of course, be absurd to conceive of any direct contact between science and art without the mediation of human beings, of society, of culture. Moreover, the debates themselves are determined by the level at which science and art are found within a given sociocultural space, by virtue of which analysis of these debates may provide data to the researcher for an understanding of the direction of social development. The RST influences all spheres of human activity, including the esthetic. Today, however, particularly in the West, there is a tendency to elevate the significance of the RST to an absolute, to explain many processes by its direct influence on social consciousness independently of the social conditions in which it occurs. Therefore, it would seem to be methodologically important for today's debates to demonstrate, on the basis of some concrete historical material, the connection between those shifts in social consciousness that sometimes explain the direct influence of progress in science and technology, on the one hand, and certain sociocultural conditions, on the other. (shrink)

The need for a holistic alliance is outlined to link new and progressive currents in science and art to face the common challenges that confront mankind at the turn of the century. Effort must be made to motivate scientists and artists to cultivate their social consciousness and create flexible teaching?learning?researching institutions where specialists can integrate emerging insights into usable foresights and communicate them to people in all fields of activity.

In What Is Philosophy? we find philosophy devised as that power of thinking and creating which, in a division of labour with science and art, creates the concept. This division of labour points to the free interplay of Reason, Understanding and Imagination in Kant's Critique of Judgement and enables us to affirm, without obliterating the differences in kind, the non-hierarchical relationship between the three forms of thought that is asserted by Deleuze and Guattari. However, as powers of thinking and (...) creating, philosophy, science and art do not inscribe themselves in a transcendental subject. Rather, Deleuze and Guattari conceive of them, following Spinoza's ‘creating nature’, as powers that express themselves in an attribute in which every thinking subject participates. (shrink)

In his landmark article for this journal, Francis Mechner (2018) presents a novel analysis of the confluence of unique combinations of variables accounting for aesthetic experiences, a phenomenon he calls synergetics. He proposes that artists, musicians, and writers use novel devices to capitalize on those effects. In my response to Mechner's fascinating article, I question the generality of such synergetic experiences to a wide array of audience members. I also question whether the evolutionary basis for aesthetic creativity accounts for the (...) ubiquity of aesthetic activity, as Mechner suggests. I do share Mechner’s emphasis on the importance of culturally nesting aesthetic contributions. But I suggest understanding aesthetic activities across cultures and subcultures requires additional mechanisms serving important bridging functions. I explore dispositional analysis, drawing on both Wittgenstein’s aesthetic language games and derived stimulus relationships. The behavioral functions of aesthetic experiences are those playing roles in cultural contingencies: motivational events, antecedent stimulus events, and consequences of aesthetic activities. Two kinds of aesthetic responses are discussed: 1) aesthetic creative responses by artists, writers or musicians, and 2) responses of audience members to those creations. These resulting aesthetic stimuli may play critical roles in cultural metacontingencies. (shrink)

More than a decade ago, Edward Wilson investigated how to link the sciences and arts in Consilience (1998),1 in which he argues that consilience—the unification of facts—is possible between every subject across the intellectual spectrum. Wilson claims that the sciences, humanities, and arts are linked by reduction from the fine arts, down to the humanities, down, finally, to the natural sciences. For example, René Magritte’s Reckless Sleeper can be understood to be composed of the paints on the (...) canvas, their physical construction, and the feelings the work induces when one looks at the painting. Consilience induced some courses taught on the subject worldwide immediately after its publication; but, most notably .. (shrink)

Micrographs obtained using different instrumental techniques are presented with the purpose of demonstrating their artistic qualities. The quality of uniformity currently dominates the aesthetic assessment in scientific practice and is discussed in relation to the classical appreciation of the interplay between symmetry and asymmetry in arts. It is argued that scientific and artistic qualities have converged and inspired each other throughout millennia. With scientific discoveries and inventions enriching the world of communication, broadening the space for artistic creativity and making (...) artistic products more accessible than ever, science inevitably influences artistic creativity. On the other hand, the importance of aesthetic principles in guiding scientific conduct has been appreciated by some of the most creative scientific minds. Science and arts can be thus considered as parallel rails of a single railroad track. Only when precisely coordinated is the passing of the train of human knowledge enabled. The presented micrographs, occupying the central part of this discourse, are displayed with the purpose of showing the rich aesthetic character of even the most ordinary scientific images. The inherent aesthetic nature of scientific imagery and the artistic nature of scientific conduct have thus been offered as the conclusion. (shrink)

With the findings of microbiome studies, many artists have begun to focus on environments where microbe-human interactions take place. Beyond the sharp boundaries that separate human and microbe as distinct entities, they give an artistic expression to the complex symbiotic modes between them. Güneş-Helen Isitan’s work _Hybridities_: _Almost Other_ creates images of human-microbe symbiosis by mobilizing certain scientific tools and discourses and the possibilities of photographic medium. A “microbe-image” emerges as a result of multi-species interaction and is produced by traversing (...) multi-sites. Its apparatus contains its own production process as a problematic knot to be posed. This requires approaching the work with a certain ethnographic sensibility. As a result, manufacturing life through microbe-images becomes inseparable from technical, scientific, social, methodological, and philosophical issues that are weaved in _Hybridities_: _Almost Other_’s “biophotographic” apparatus. (shrink)

What do you do when you're not asleep and not eating? You're most likely waiting - to finish work, to get home, to finish your duties. This book aims to describe how many people experience waiting and how important this is, in popular and highbrow culture and in real life and how we cope with it.

With so much attention on the issue of voice in democratic theory, the inverse question of how people come to listen remains a marginal one. Recent scholarship in affect and neuroscience reveals that cognitive and verbal strategies, while privileged in democratic politics, are often insufficient to cultivate the receptivity that constitutes the most basic premise of democratic encounters. This article draws on this scholarship and a recent case of forum theatre to examine the conditions of receptivity and responsiveness, and identify (...) specific strategies that foster such conditions. It argues that the forms of encounter most effective in cultivating receptivity are those that move us via affective intensity within pointedly mediated contexts. It is this constellation of strategies—this strange marriage of immersion and mediation—that enabled this performance to surface latent memory, affect and bias, unsettle entrenched patterns of thought and behaviour, and provide the conditions for revisability. This case makes clear that to lie beyond the domain of cognitive and verbal processes is not to lie beyond potential intervention, and offers insight to how such receptivity might be achieved in political processes more broadly. (shrink)