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1
Lacoste, Jean. ""Goethe : art, science, poésie"." Paris, EPHE, 2006. http://www.theses.fr/2006EPHE4060.
Повний текст джерелаАнотація:
Les études qui composent cette thèse, hétérogènes sans doute par leur objet, leurs méthodes et leurs ambitions, ont toutes en commun de chercher à éclairer l'oeuvre littéraire de Goethe à partir des notions élaborées dans les "écrits scientifiques". Si ces études sont fragmentaires, à dessein, et par nécessité, elles renvoient toutes à une certaine unité de la pensée de Goethe, elles la postulent même. C'est dans les écrits consacrés à la géologie, à la "théorie des couleurs", à la biologie et à la botanique, etc - écrits auxquels Goethe lui-même accordait une importance qui surprenait ses interlocuteurs -, que l'on trouve exprimée dans la prose la plus ample, ou sous une forme fragmentaire, mais au plus près de son origine, "la pensée la plus profonde" de Goethe, celle qui trouve, ailleurs, dans la poésie, sa forme la plus condensée. Non que la poésie soit la traduction versifiée d'une pensée "scientifique", dogmatique, qui chercherait à se vulgariser post festum par un poème didactique; elle est au contraire la condensation la plus authentique - la quintessence, au gré des circonstances biographiques - d'une approche du monde, d'une vision de l'homme, d'une philosophie de la nature, qui trouve dans les écrits scientifiques (surtout dans la Farbenlehre) sa manifestation la plus explicite. Comme la feuille du gingko biloba dans le Divan, on pourrait dire que la pensée de Goethe, simultanément poétique et rationnelle, est à la fois "une et double", eins und doppelt. Il s'agit de mieux comprendre les relations entre Dichtung et Science<br>Even if they are heteregeneous in their scope, their methods and their object, these studies on Goethe have a common purpose: they intent to elucidate Goethe's literary work thanks to the notions that the German poet has elaborated in his scientific works. If, therefore, these studies are, of necessity, fragmentary, all, of them put in evidence a certain unity in Goethe's thought, and even postulate it. Goethe's writing on geology, on theory of colours, on biology and botany - writings which, for Goethe himself, were of paramount importance, to the great surprise of his admirers - give expression, either by the medium of an ample prosa or in aphorisms, to Goethe's deepest thought, the world-view that finds in Goethe's poetry its condensed translation. Of course, poetry in this case, is not the translation in verse of a "scientific" and dogmatic thought that would be explained to a larger audience by way of a didactic poem. It is, on the contrary, the most genuine condensation, the quintessence, hidden in the biographical data - of a Weltaanschauung, that is to say of a conception of man and a vision of Nature which find in the scientific writings (in particular the Theory of colours) its clearest expression. It could be said that Goethe's thought, at the same time rational and poetic, is simultaneously one and double, eins and doppelt, like the celebrated ginko biloba at the West-östlicher Divan
2
King, Barbara Amelia. "Space Art + Space Science a polymathic paradigm shift in the art/science dialogue." Master's thesis, Faculty of Engineering and the Built Environment, 2021. http://hdl.handle.net/11427/32739.
Повний текст джерелаАнотація:
Perhaps no other field of scientific endeavor has been more influenced by the arts than space exploration. The artistic visions of yesteryear are the technological realities of today. These realities in turn create new possibilities for artistic expression. However, Space Art and Space Science have shared a convoluted history. Their forerunner disciplines of the Humanities and Natural Sciences and their practitioners were entrenched as polar opposites for centuries. Recent research, however, has revealed the reverse; that the psychological profile and the creative processes of artists and scientists are actually similar, often to the point of the practitioners being polymathic. Moreover, it has been discovered that polymathic ability nurtures two qualities essential for the survival of both Space Art and Space Science: that of creativity and innovation. Current literature has taken note of the commonality of polymathic ability between the practitioners of the arts and sciences. Academic and industry think tanks have examined the virtues of artists as space researchers, and conversely, scientists developing an artistic approach as a design strategy. Thought leaders have expressed faith in trans-disciplinary collaboration as the way forward in the global affairs of space. Yet, therein lies the problem. These various studies individually lack a cohesive strategy to leverage their findings and transform the Art/Sci dialogue into a disruptive force that sustains a paradigm shift in the arts, space and society agendas going forward. The impetus for this dissertation is the unique opportunity to amalgamate those disparate studies by utilizing the momentum of New Space culture, and its focus on societal inclusion and environmental concerns to serve as anchors for space research and sustainability. Further, we argue that the next logical step is to inculcate a fundamental Art/Sci paradigm shift within the space community to exploit the unprecedented global drive towards space exploration and colonization, thereby solidifying the influence of the space art and space science agendas in the service of the global commons on Earth and in space.
3
McKay, Caroline Mary. "Kandinsky : the sciences of man and the science of art." Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241112.
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4
Schooley, Kathryne Balch. "Shaping: From art to science." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4803/.
Повний текст джерелаАнотація:
This study evaluated the effectiveness of a procedure for teaching a caregiver to shape vocal language in a young child with autism. A multiple baseline design was employed to assess caregiver use of shaping procedures, child vocal language progress, and the social validity of the procedures. Following baseline and introductory sessions, the coach and caregiver reviewed video from the previous session and the coach gave descriptive feedback to the caregiver about her performance. Following the review of the videotaped segment, procedures to increase skills were selected and practiced. Rates of responsive opportunity arrangement, model presentation, responsive model delivery, and responsive event delivery, as well as the child's rate of requests, vocalizations, diversity of vocalizations, and social validity were measured. Data suggested that the procedures effectively taught the skill of shaping to a caregiver, which in turn seemed to produce increases in the child's vocal responding.
5
Lewis, Roger. "The art and science of biography." Thesis, University of Hertfordshire, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494570.
Повний текст джерелаАнотація:
Most bibiographes list the external facts and yet quite miss the mystery and uniqueness of the person under investigation. Why? The aim of this thesis is, first, to evaluate the principal contemporary methodologies for constructing 'literary biographies' (i.e. life histories of writers, actors, musicians, and so forth, based on empirical study of factual data, and offering interpretations of the life and of its cultural reputation) and. secondly, to propose a specific approach to the genre that can produce more instructive and informative literary lives. The thesis is a practice-based study, consisting of a written submission which reflects on, and is supported by, examples of the biographical craft being considered - specifically, The Life and Death of Peter Sellers (1994 ), The Real Life of Laurence Olivier (1996), The Man Who Was Private Widdle: Charles Hawtrey ( 2001) and Anthony Burgess ( 2002). These experimental works were written partly to explore the problems and procedures of biographical methodologies, and to extend the field of knowledge within which literary biographies operate.
6
Wade, Kenneth R. "Recipes for investment : art or science." Thesis, University of Manchester, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.625127.
Повний текст джерелаАнотація:
This thesis investigates the inconsistency in modelling financial markets between the sophisticated analytic models based in efficient market theory and persistence in the practical finance world of relatively simplistic approaches to investment, supported by the views of wealthy investors which seem to provide evidence of superior ex-ante performance inconsistent with even simple efficiency concepts. What is often termed 'value' investing is typical of such an approach. Although the term originally implied determining an intrinsic value for the common stock based upon a comprehensive fundamental analysis of a firm, it has more recently become associated with selecting stocks based upon relative values of common publicly available price-related accounting ratios. So-called 'value' stocks are frequently contrasted with 'growth' stocks, being those where higher growth rates are regarded as compensation for low current yields. Despite a general presumption of market efficiency, naive value strategies are supported by numerous academic studies reporting superior returns even after adjusting for risk using the mean-variance capital asset pricing model, arbitrage pricing theory, or in relation to volatility. However, the findings of many of these studies have been challenged on various grounds. The composition of and returns to portfolios of stocks selected from a representative sample of United Kingdom listed companies between 1979 and 1999 by four common price denominated accounting ratios, are examined. The study finds significant differences in returns between portfolios selected on four valuation ratios using a methodology that is robust to many of the criticisms levelled against previous studies, thus supporting the claims that value stocks tend to show superior returns over long holding periods without attracting any obvious element of additional risk. The study also finds that observed differences in returns predicted by one ratio as against another arise because each ratio tends to select different types of firm. It is argued that the observed persistence of certain firms and sectors in high value, high return portfolios, especially those based on cashflow, is evidence that investors do not regard stocks as homogenous, and that theories of investor over or under-reaction do not fully explain the differences in portfolio returns. This study challenges the view that higher returns to value strategies are compensation for higher systematic risks. The findings suggest that multifactor models, in which size and book to market ratio are proxies for unobserved risk, may be miss-specified and that weak or negative cashflow is a more direct indicator of vulnerability to exogenous stress. The evidence reviews securities that are inconsistently classified and the incidence offailure and takeover and concludes that it is simplistic to regard value and growth stocks as representing the extremes of an accounting ratio scale.
7
Barker, Bernard Christopher. "Transforming schools : art, science or illusion?" Thesis, University of Leicester, 2003. http://hdl.handle.net/2381/30838.
Повний текст джерелаАнотація:
This ethnographic case study of Hillside School's two years in special measures investigates a number of theoretical perspectives derived from a substantial review of the literature on effectiveness, improvement and leadership. The claim that appropriately trained heads can motivate teachers and students to achieve ever more challenging targets, and transform the education and prospects of the next generation, is tested against the experience of two headteachers in the field. Repeated participant interviews, a contemporary diary and extensive documentation are used to examine how the heads built the school's capacity and raised its effectiveness in terms of OFSTED inspection criteria. Using authoritative and coaching styles appropriately, the new leaders enhanced the performance of their colleagues and created a resilient culture for continued improvement, despite adverse circumstances that included social disadvantage, the school's proposed closure and an ineffective local authority. But closer enquiry reveals that governors, parents, teachers and students were also motivated by beliefs, values, perceptions of interest and micro-political concerns that are inadequately explained by recommended models of school effectiveness and improvement. At Hillside, the heads mobilised all the available sources of moral, political and professional authority to resolve conflicts and dilemmas at micro, meso and macro levels. There are no neat, transferable lessons because variations in the combination of context, leaders and followers seem more significant than the common elements emphasised in popular models. Although high levels of effectiveness were achieved, examination and test results appeared unchanged, suggesting that student intake mix may have shaped performance more than the organizational characteristics influenced by the headteachers. As few schools achieve a step change in performance, the policy conclusion is drawn that new, qualitative measures of improvement are required as a framework for understanding change. A modified theoretical viewpoint is developed that acknowledges and explains the 'messy reality' of school life.
8
Puhachova, Anna, and L. V. Roienko. "Is graphic design art or science?" Thesis, Наукова платформа Open Science Laboratory, 2020. https://er.knutd.edu.ua/handle/123456789/16302.
Повний текст джерелаАнотація:
У статті розглядаються основні аспекти та сфери застосування графічного дизайну.<br>Graphic design is described as the process of visual communication and problem-solving through the use of typography, photography, iconography and illustration.
9
Hagemeier, Nicholas E. "The Art and Science of Thriving." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/7747.
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10
Garubba, Keith. "Art/Science and a Blended Inquiry." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405436323.
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11
Graham, John. "Stendhal and physiognomy : science into art /." Charlottesville : Graley, 1990. http://catalogue.bnf.fr/ark:/12148/cb376953217.
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Daita, Ananda Rohit. "The Art and Science of Data Analysis." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157624/.
Повний текст джерелаАнотація:
This thesis aims to utilize data analysis and predictive modeling techniques and apply them in different domains for gaining insights. The topics were chosen keeping the same in mind. Analysis of customer interests is a crucial factor in present marketing trends and hence we worked on twitter data which is a significant part of digital marketing. Neuroscience, especially psychological behavior, is an important research area. We chose eye tracking data based on which we differentiated human concentration while watching controllable (video game) videos and uncontrollable (sports) videos. Currently, cities are using data analysis for becoming smart cities. We worked on the City of Lewisville emergency services data and predicted the vehicle-accident-prone areas for development of precautionary measures in those areas.
13
Vishnevsky, Nathania Anne. "Selected species: experiments in art and science." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382710786.
Повний текст джерела
14
Imhoff, Joshua L. "W. H. Hudson between art and science /." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1260651357.
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15
Hicks, Scotia J. "The art and science of criminal profiling." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/290111.
Повний текст джерелаАнотація:
In recent years, the American public has become increasingly fascinated by criminal profiling. Despite the popularity of criminal profiling, however, evidence of its accuracy and utility in serving the various phases of the criminal justice process has not been scientifically demonstrated. Historically portrayed as an art, profiling has increasingly been represented as a science by profiling practitioners, even in the absence of a body of scientific literature to support such a representation. The purpose of this book is twofold: First, the state of criminal profiling today will be critically examined. This examination will include a discussion of the scientific and practical limits of existing approaches and the scientific and practice implications of these limitations for the field of profiling. Next, given the limits of the extant profiling models, this book will discuss the steps necessary for building a science of profiling. It is hoped that collectively these chapters will enable profiling to emerge as a credible and respected field that ultimately will significantly advance law enforcement investigations.
16
Field, Rhian. "Public engagement with climate change through visual art : an experiential with Art-Science." Thesis, Aberystwyth University, 2017. http://hdl.handle.net/2160/e909d884-dd1d-49b6-9567-96e2e1cd983e.
Повний текст джерелаАнотація:
Art has a potentially influential part to play in science communication, assisting in the process of making information more accessible and more effective. It supports education, serves as a universal language and can help us imagine and hypothesize. However, beyond the practical application of art as visual illustrator, there is something more mysterious and the possibility of a potential yet un-tapped. Art has a reputation for influencing human emotions and behaviour, although the exact mechanics of this process is presently unknown. An effective collaboration between artists and scientists might depend upon a more prescriptive approach and a meeting of minds towards clear objectives. Artists might be inclined to take up such a challenge but to what degree would scientists share their conviction? This research explores whether art and science can collaborate effectively to influence behaviour in the environment towards climate change adaptation and how this might be approached. As part of an empirical mixed method approach to field research, an experimental test-kit was developed by science-trained practicing artist Rhian Field. Experiments were set up in a selection of locations in Wales during 2014 and 2015, to explore the opportunities for the role of visual art in the face of climate change impacts and the need for adaptation. This field research, underpinned by knowledge from a broad range of disciplines, examines the factors that potentially influence public engagement with visual art within a context of climate change, and considers the opportunity for art-science within climate change adaptation.
17
Sears, Todd Richard. "War as Art or Science: A Humanist Vision." Thesis, Monterey, California. Naval Postgraduate School, 1991. http://hdl.handle.net/10945/43543.
Повний текст джерелаАнотація:
Approved for public release; distribution is unlimited<br>This thesis attempts to answer the question, Is War art of science? In doing so it draws heavily upon Thomas Kuhn's humanistic philosophy of science. If War can be separated theoretically into two distinct analytical units, preparation for war, and conduct of war, then the answer to the question becomes more accessible. The war preparation process is notably similar to the Kuhnian dynamic of scientific process, i.e., the evolution of a paradigm through inter-disciplinary criticism and rearticulation. A case study of post-WWII US nuclear strategy is offered to substantiate the claim that war preparation operates in a way that is remarkably similar to Kuhnian science. So, if war preparation is scientific, then the conduct of war, a fundamentally different activity, may be seen as artistic. This case is made by drawing heavily upon the writings of General Carl von Clausewitz, and the 18th century German idealist Immanuel Kant. The end result of the work is to posit the existence of two types of men necessary for the execution of War, those who demonstrate ability in the sublime genius of science, and those who are more suited to develop the heroic genius of battle. The question then arises as pertains to the US military educational system's ability to identify these men and intensify their development within each's specific forte.
18
Webster, Stephen. "Encounters : contemporary art-science collaborations in the UK." Thesis, Open University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446105.
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19
Macedo-Lamb, Silvana Barbosa. "From fine art to natural science through allegory." Thesis, Northumbria University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410383.
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20
Дядечко, Алла Миколаївна, Алла Николаевна Дядечко, Alla Mykolaivna Diadechko, and L. Sigida. "The art and science of connecting with consumers." Thesis, Вид-во СумДУ, 2009. http://essuir.sumdu.edu.ua/handle/123456789/16809.
Повний текст джерелаАнотація:
Too often people jump right to the outbound marketing. As a result they often end up trying to push products into people who really don't want the products at all. Effective inbound marketing often results in much more effective - and less difficult - outbound marketing and sales. Marketing is science of future and it will help to sale products more effective.
When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/16809
21
Nichol, Richard C. "The art and science of Messianic Jewish preaching." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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22
Hopkins, Noel Paul. "Abradable coatings : from black art, to materials science." Thesis, Swansea University, 2007. https://cronfa.swan.ac.uk/Record/cronfa42844.
Повний текст джерелаАнотація:
Suck, squeeze, bang, blow! The efficiency and performance of a gas turbine engine relies on the ability to maintain high gas pressure ratios, throughout each stage of the compressor. To do this, engine manufacturers must minimise gas leakage over compressor blade and seal fin tips. Increasing the efficiency of the gas turbine engine is an area of enormous importance to engine manufacturers worldwide. The rewards are obvious when it is considered that a modest improvement of 0.5 to 1% to the Specific Fuel Consumption (SFC) can translate to huge savings on fuel costs. One way in which engine manufacturers are looking to do this is through the use of abradable seals, which are used to help seal the engine and reduce air leakage over blade tips. In an attempt to gain a fundamental understanding of abradable materials, this thesis discusses research carried out as part of an Engineering Doctorate. The research focuses on three key topic areas, identified as necessary for generating a robust understanding of the complete coating life. The research carried out within this EngD programme has helped to generate a fundamental understanding of abradable materials by focusing on three key topic areas: i) Development of Test Methodology ii) Definition of Performance Drivers iii) Implementation of Technology Within these topic areas programmes of work have been carried out, which aim to fill gaps in current knowledge and provide the knowledge and techniques for future coating development. Significant advances have been made in all aspects of abradable understanding and the knowledge generated is now being successfully implemented within the Rolls-Royce Abradable Strategy. As the demands from regulators and airlines for greater aero engine performance increase, the need for reliable and effective compressor sealing will become evermore critical. The knowledge and techniques developed within this EngD programme will enable further detailed understanding of the science of abradable materials.
23
Billick, Nicole J. "M.C. Escher: a bridge between art and science." Thesis, Boston University, 2000. https://hdl.handle.net/2144/27596.
Повний текст джерелаАнотація:
Boston University. University Professors Program Senior theses.<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>2031-01-02
24
Amorena, Maria Florencia. "Science, art, fiction : l'image chez Juan José Saer." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080143.
Повний текст джерелаАнотація:
Cette recherche se donne pour objectif d’analyser les images verbales dans l’œuvre de l’écrivain argentin Juan José Saer (Serodino 1937- Paris 2005). Elle s’appuie sur une étude du corpus littéraire ainsi que sur le scénario inédit Las nubes de Magallanes. Elle vise à comprendre dans quelle mesure les images verbales et mentales sont pertinentes dans la construction d’une esthétique et d’une épistémologie saeriennes. A partir d’une analyse des images verbales et mentales dans l’œuvre de Saer, cette étude veut non seulement montrer que description et narration sont intimement liées, mais que leur relation constitue une possibilité pour penser la présence des arts et des sciences dans l’œuvre de Saer autrement que de manière dichotomique. En tant qu'éléments de son programme d’écriture, les arts et les sciences sont insérés dans un ensemble plus vaste. En conséquence, la structure narrative configurée à partir des images vise davantage à la complémentarité des contraires. Elle implique donc également une possibilité pour penser le lien entre l’homme et le monde, ainsi qu’entre les sciences et les arts, à partir d’un système holistique et non dualiste. La clé de cette nouvelle forme narrative sera, non l’opposition, mais au contraire une esthétique de l’empathie<br>The objective of this thesis is to analyze verbal images in the work of the Argentinian writer Juan José Saer. By analyzing his novels, shorts stories and the unpublished film script Las nubes de Magallanes, we wish to understand the implications of the verbal images in the construction of a specific aesthetics and epistemology.Throughout the analysis of verbal and mental images in the work of Saer, this study has two fundamental aims: first, to show that description and narration are intimately linked; second, that this link enables us to think arts and sciences in the work of Saer in a non-dualistic way. The narrative structure by which we analyze the images seeks the complementarity of the opposites. This allows us to think the connection that man has with the world as well as the link between art and sciences as elements of a holistic system, instead of dualistic. The key to this new form of narration will be an aesthetic of empathy
25
Amorena, Maria Florencia. "Science, art, fiction : l'image chez Juan José Saer." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080143.
Повний текст джерелаАнотація:
Cette recherche se donne pour objectif d’analyser les images verbales dans l’œuvre de l’écrivain argentin Juan José Saer (Serodino 1937- Paris 2005). Elle s’appuie sur une étude du corpus littéraire ainsi que sur le scénario inédit Las nubes de Magallanes. Elle vise à comprendre dans quelle mesure les images verbales et mentales sont pertinentes dans la construction d’une esthétique et d’une épistémologie saeriennes. A partir d’une analyse des images verbales et mentales dans l’œuvre de Saer, cette étude veut non seulement montrer que description et narration sont intimement liées, mais que leur relation constitue une possibilité pour penser la présence des arts et des sciences dans l’œuvre de Saer autrement que de manière dichotomique. En tant qu'éléments de son programme d’écriture, les arts et les sciences sont insérés dans un ensemble plus vaste. En conséquence, la structure narrative configurée à partir des images vise davantage à la complémentarité des contraires. Elle implique donc également une possibilité pour penser le lien entre l’homme et le monde, ainsi qu’entre les sciences et les arts, à partir d’un système holistique et non dualiste. La clé de cette nouvelle forme narrative sera, non l’opposition, mais au contraire une esthétique de l’empathie<br>The objective of this thesis is to analyze verbal images in the work of the Argentinian writer Juan José Saer. By analyzing his novels, shorts stories and the unpublished film script Las nubes de Magallanes, we wish to understand the implications of the verbal images in the construction of a specific aesthetics and epistemology.Throughout the analysis of verbal and mental images in the work of Saer, this study has two fundamental aims: first, to show that description and narration are intimately linked; second, that this link enables us to think arts and sciences in the work of Saer in a non-dualistic way. The narrative structure by which we analyze the images seeks the complementarity of the opposites. This allows us to think the connection that man has with the world as well as the link between art and sciences as elements of a holistic system, instead of dualistic. The key to this new form of narration will be an aesthetic of empathy
26
Henschke, Chris, and chris henschke@rmit edu au. "Broken Symmetries: tensions and connections between art and science." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080110.121930.
Повний текст джерелаАнотація:
In respect to the nature and development of scientific knowledge and issues of abstraction and irrationality in science, there is evidence that the fundamental forms of inspiration and origins of methodology are common to both scientific and artistic research. Also, the results of artistic practice, although far more culturally specific and subjective, are arguably complementary to those of scientific research. What are then the methods used and results obtained when one makes art about scientific theories, using technologies derived from the results of scientific research? Furthermore, how does this 'art about science' affect our understanding of the relationship between art and science? These are some of the issues and ideas which I explored in my MA research project works between 2000 and 2005, and which I discuss in this exegesis. Through my research, I constructed a series of works which focused increasingly upon theories in physics and mathematics not only in an attempt to understand and communicate the theories to a wider audience, but also to communicate the historical and philosophical frameworks such theories were based upon. Through this I developed a working methodology which took inspiration from, but also subverted and critiqued the scientific theories and methodologies I was examining. The digital media tools I used, such as video, audio and programmed interactivity, opened up a line of communication between the disparate fields of artistic and scientific inquiry. The result was a series of interactive digital media and installation art pieces that explored various aspects of science, which were exhibited in both art and science spaces, and drew a wide range of responses from the scientific and general community.
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Taylor, Grant D. "The machine that made science art : the troubled history of computer art 1963-1989." University of Western Australia. Visual Arts Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0114.
Повний текст джерелаАнотація:
[Truncated abstract] This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science paradigms for inspiration and insight. While recourse to science was a major impediment to computer art’s acceptance by the artworld orthodoxy, it was the sustained hostility towards the computer that persistently wore away at the computer art enterprise. The anticomputer response came from several sources, both humanist and anti-humanist. The first originated with mainstream critics whose strong humanist tendencies led them to reproach computerised art for its mechanical sterility. A comparison with aesthetically and theoretically similar art forms of the era reveals that the criticism of computer art is motivated by the romantic fear that a computerised surrogate had replaced the artist. Such usurpation undermined some of the keystones of modern Western art, such as notions of artistic “genius” and “creativity”. Any attempt to rationalise the human creative faculty, as many of the scientists and technologists were claiming to do, would for the humanist critics have transgressed what they considered the primordial mystique of art. Criticism of computer art also came from other quarters. Dystopianism gained popularity in the 1970s within the reactive counter-culture and avant-garde movements. Influenced by the pessimistic and cynical sentiment of anti-humanist writings, many within the arts viewed the computer as an emblem of rationalisation, a powerful instrument in the overall subordination of the individual to the emerging technocracy
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Chernetska, Alla. "Art et science : nouveau langage dans l'exploration du monde." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H001.
Повний текст джерелаАнотація:
L’art et la science sont des voies parallèles de connaissance du monde, même si chacun utilise ses propres moyens. Ayant des approches différentes, les deux sont en quête de l’invisible, de ce qui se trouve au-delà de la première perception de la réalité, pour aboutir à la découverte de nouveaux phénomènes dans le réel. Les collaborations actuelles entre les artistes et les scientifiques m’ont conduite à la recherche de nouvelles approches de la réalité que ces projets communs puissent apporter à l’Humanité. En découvrant le domaine Art & Science, je me suis interrogée sur des démarches et des méthodes considérées depuis longtemps comme incompatibles, qui sont en train de converger en un langage commun se créant à la frontière de l’art et la science. Notre recherche se fonde sur plusieurs témoignages, comme des artistes, ainsi des scientifiques qui ont participé à des projets communs. A travers les différentes collaborations nous avons analysées, d’une part, les points de vue communs des artistes et des scientifiques, et d’autre part, les difficultés qu’ils ont dû surmonter pour aboutir au résultat voulu. Étant un domaine assez récent, Art & Science suscite beaucoup d’interrogations. Cette thèse se focalise sur l’essence et les buts des collaborations entre les artistes et les scientifiques afin de comprendre la spécificité des projets Art & Science et voir quel impact ces projets peuvent avoir sur la société<br>Art and science are parallel ways to know the world, even if each one uses its own means. Having different approaches, these two ways are in search of the invisible, of what is beyond the first perception of reality, in order to discover new real phenomena. The current collaborations between artists and scientists have led me to investigate new approaches to reality, which these collaborative projects can bring to Humanity. Discovering the Art & Science field, I asked myself if the approaches and the methods that have been considered as incompatible for a long time are now converging into a common language being created at the frontier of art and science. Our research is based on several testimonials from artists and from scientists who participated in collaborative projects. Through the various collaborations, we analysed, on one hand, the shared viewpoints of artists and scientists, and, on the other hand, the difficulties they had to overcome to achieve the desired result. Art & Science being a recent field, many questions are raised. This thesis focuses on the essence and the aims of collaborations between artists and scientists in order to understand the specificity of Art & Science projects and to see how these projects may impact society
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Schlaepfer-Miller, Juanita. "Defining new knowledge produced by collaborative art-science research." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/6500.
Повний текст джерелаАнотація:
This thesis takes a theoretical framework constructed for transdisciplinary research within different natural science disciplines and investigates what kind of new knowledge is produced when this framework is applied to projects at the interface of art and natural science. The main case study is “Sauti ya Wakulima – The Voice of the Farmers”, which involves collaboration with another intervention artist, and with natural scientists and farmers. This is a collaborative knowledge project with small-scale urban as well as rural farmers in Tanzania who have created an online community archive of their farming practices by using mobile phones to upload images and sounds onto a website. The research uses an open-ended participatory methodology that gives the participants as much creative agency as possible within the given power structures and practical and technical parameters. A second work examined is the Climate Hope Garden, an installation by the author in collaboration with ecologists and climate scientists at the Swiss Federal Institute of Technology, Zürich (ETHZ). The installation consisted of a garden grown in climate-controlled chambers based on the climatic conditions proposed by IPCC climate scenarios. The project aimed to enact these scenarios on a spatial and temporal scale to which visitors could relate. Transdisciplinary research has become a key reference point in funding proposals. Despite many references in the literature, and calls for research involving both the natural sciences and humanities to solve complex world problems such as adaptation to climate change, there seems to be little consensus about exactly what kind of knowledge might be produced from such projects, and how transdisciplinary research proposals might be evaluated, especially those at the interface of art and the natural sciences. Several theoretical frameworks have been suggested for designing transdisciplinary research between and within scientific disciplines, or between the natural and social sciences and humanities. The present study applies the framework proposed by Christian Pohl and Gertrude Hirsch Hadorn (2007) to a real-world transdisciplinary art-science project in a development context in order to examine the balance between the collective, locally embodied experience and the nomothetic knowledge that arises from it. This thesis found that transdisciplinarity is a different question from that of types of knowledge on the nomothetic-idiographic scale. Transdisciplinarity is a pragmatic question of definitions and inherited boundaries of disciplines. The framework categories do not differentiate between nomothetic and idiographic, just to which part of the problem-solving puzzle they fit. This is perfectly valid for goal-oriented, problem-solving research and can be applied to art-science research, but there are other ways of describing this work, such as using a philosophical description of the knowing process which comes closer to encompassing the richness of the knowledge produced. It is in this sense that the new type of knowledge generated by the transdisciplinary projects required an expansion of the given theoretical framework.
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Cutting, Bruce A., University of Western Sydney, College of Law and Business, and School of Management. "Refounding governance : transforming the science to master the art." THESIS_CLAB_MAN_Cutting_B.xml, 2002. http://handle.uws.edu.au:8081/1959.7/79.
Повний текст джерелаАнотація:
Since Montesquie's incisive differentiation of the principal forms of governance and their components, the rate at which theories of governance have been proposed has exponenetially grown now when we have a plethora of different theories on the best way to govern, lead and /or manage. Anyone interested in this topic is confronted with many conflicting schools of thought, from Weber's theory of the 'iron cage' to Wheatley's new-age concept of leadership. This seeming maze of different theories can be seen merely as different perspectives on the overall embracing concept of governance which is essentially the holistic conception and explanation of differentiated purposive human systems - about paradigms and systems that have their inception in and are limited by, human mind. The core challenge, then, is to put some order and rationale into the understanding of this 'many-headed ' concept of governance. This thesis meets this challenge by mapping out a cognitive framework that is capable of embracing and ordering all the multitudinous differentiated conceptions of human governance experienced at the different levels of society. In essence, this thesis reformulates the concept of organizational governance in terms of the metaphor of the human mind. The cognitive model of governance are embraced by the different organizations in different circumstances and why this is appropriate and necessary, how and why governance changes over time, and how it is important to institute processes of inquiry, dialogue and reflection in order to know and choose more consciously. As a consequence of using the mind metaphor to analyse governance in Western society, the key conclusion is that there has been a substantial shift or evolution in thinking from a mangerialist mindset to the more abstract politicist mindset. This fundamental shift in mindset is pervasive and influences the perspectives taken at many levels in the human governance systems.<br>Doctor of Philosophy (Management)
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Reynolds, James Michael. "Secondary science students' responses to two SAMPLE, art projects." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0008/MQ30021.pdf.
Повний текст джерела
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Swirski, Peter. "Poe, Lem, and the art and science of literature." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40004.
Повний текст джерелаАнотація:
Transcending the boundaries of literature, the works of Edgar Allan Poe and Stanislaw Lem contribute to a dialogue between literary, philosophical, and scientific cultures. A critical approach to these writers that ignores the epistemic dimension in their works opens itself to the charge of misunderstanding their artistic goals and aspirations. In my dissertation I thus define, justify, and conduct an interdisciplinary study of Poe and Lem's works.<br>My project is underwritten by the epistemological assumption that literary works, and notably works of fiction, can make a contribution to knowledge that can be assessed in terms of interdisciplinary criteria. In the first chapter, where I discuss literature and knowledge within the interdisciplinary context, I examine various epistemological arguments in light of my central assertion. Next I examine the concepts involved in the discussion of literary works. Following the pragmatic re-orientation in literary and philosophical aesthetics, many fundamental concepts we take for granted--artworks, fictions, and texts among them--require exact re-examination and definition. Consequently, in Chapters Two and Three I review and refine the recent theories concerning the nature of works of art, the specificity of literary fictions, and the problem of literary interpretations.<br>My subsequent discussion of Poe and Lem is built on the theoretical base of (literary) epistemology and analytical aesthetics. I study Poe and Lem's literary fictions and theoretical essays, and the contributions they make to various fields of inquiry. In the process I critique, and sometimes refine, the explicit and implicit hypotheses articulated in their works. Specifically In Chapters Four and Five I discuss strategic and game theoretic models in the interpretation of fiction, including the concepts of communication and rationality. In Chapter Six, completing the epistemological circle inaugurated in Chapter One, I discuss the epistemological and cosmological theories proposed in Poe's "Eureka".
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Terzic, Marilyn. "Understanding television: the art and science of aesthetic response." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104508.
Повний текст джерелаАнотація:
This dissertation examines the processes of perception and cognition and demonstrates their application to the creation of aesthetically and artistically significant television content. By reexamining past understandings and assumptions, the ways in which artists and media producers have manipulated the information search and processing faculties of their audiences, and thus guided the meanings they ascribed to still and moving images, are explored. To reflect the multidisciplinary nature of television aesthetics, this research is not limited to a particular academic discipline. Instead, it draws on several streams of research and scholarship (media studies, marketing, psychology, neuroscience, and the fine arts) to bridge the gap between scientific theory and artistic practice and, in turn, develop effective guidelines for the construction of audiovisual materials that fulfill all three functions of the arts: the intensification, clarification, and interpretation of experience.<br>Cette thèse étudie les processus de perception et de cognition et démontre leurs applications à la création de contenu télévisuel ayant une valeur artistique et esthétique. En réexaminant les connaissances et hypothèses antérieures, les façons dont les artistes et les producteurs de médias ont manipulé les facultés de traitement des informations de leurs auditoires, et donc la signification qu'ils attribuaient à des images fixes et animées, sont explorées. Pour refléter la nature multidisciplinaire de l'esthétique de la télévision, cette recherche ne se limite pas à une discipline académique particulière. Au lieu de cela, elle s'appuie sur divers courants de recherche et domaines d'érudition (études sur les médias, le marketing, la psychologie, les neurosciences, et les beaux-arts) pour combler le fossé entre la théorie scientifique et la pratique artistique, afin de formuler des recommandations visant à la création de matériel audiovisuel qui remplit les trois fonctions de l'art: l'intensification, la clarification, et l'interprétation de l'expérience.
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Puentes, Kalid. "Introducing neo-surrealism : the social science of performance art." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/17144.
Повний текст джерелаАнотація:
This study is concerned with the obscurity surrounding the boundaries of a socio-political context and a metaphysical context, especially as it correlates to Contemporary Performance Art. This dichotomy seemingly results in symbolic conflation and therefore necessitates the inclusion of social science as part of Performance Studies discourse. The intersection of these disciplines aligns with respect to the significance of context: the role of communication when considering the phenomenon of interpreting the perspective of other individuals. In this study, the various layers appropriated to the contextualisation of Performance art are explored: how it pertains to the theatrical framework, audience, art, social order, and the sublime. To this end, the influence of the socio-political construct of reality on the theatrical framework of a performance is examined. The premise is that a socio-political context both precedes and follows a performance and likely affects 5 how a performance is experienced. This investigation relies upon the methodological approach of Grounded Theory that allows the freedom of exploring this phenomenon in conjunction to the development of a communicative model. To delimit the scope of this study, I primarily focus on the symbolic, insofar as it affects the context of a performance. The analysis of this study supports the development of a theorisation that introduces an approach to the theatrical framework, defined as Neo-Surrealism. Drawing upon Immanuel Kant's philosophical work on judgement, a precept is introduced for a theatrical framework: Neo- Surrealism is a platform that constitutes the demarcation of sacred space, where the signification of the aesthetic has symbolic authority over the signification of the socio-political construct. In the present study, the term transgression as situated in a metaphysical context of sacred space, changes its symbolic signification from a complicit act against the socio-political construct to a complicit act against the limitations of perception, positioning this semiotic sign to constitute an aesthetic infinitude. This theorisation serves to support a philosophical dialectic that incorporates performative methods from Ritual Studies. This aspect of the dissertation acts as a counterpart to the documented artwork aimed at reinforcing the specific purposes as outlined through the research. The practical portion of this study consists of three performances that rely upon the platform of Neo-Surrealism. Each performance strategically responds to the influence of the socio-political construct in separate ways. Neo-Surrealism: What is Performance art? (2015) contains a fictitious narrative that is integrated in an academic context. I portray several different archetypes; this theoretically makes my identity impalpable to an audience comprised mostly of students that are unfamiliar with my work. Neo-Surrealism: The Audition (2016) is centred on the site specificity of the performance, challenging the application of the communicative model in an unfamiliar socio-political context, Anchorage, Alaska. Neo-Surrealism: The Rehearsal (2017) is aimed at asserting the relevance of the platform of Neo-Surrealism by expanding the symbolic boundaries of Performance Art.
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Hassan, Nurul Izzaty. "Revealing the art and science of self-replicating rotaxanes." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3128.
Повний текст джерелаАнотація:
This Thesis reveals the strategies for the construction and replication of mechanically interlocked molecules, particularly rotaxanes, which consist of a macrocyclic ring that encircles a linear component terminated with bulky groups. The work highlights our recent research activities in exploring the recognition-mediated synthesis of this class of interlocked molecule and its amplification by replication. Our starting point is the minimal model of self-replication. The introductory chapters (Chapter 1 and 2) provide some background and significance to the study, which presents comprehensive review of the published work carried out in the area of self-replication with existing examples from biomimetic and discrete synthetic assemblies. In Chapter 1, we mainly discuss the do and the donʼts in designing successful self-replicating systems based on our own experience in previous work. Our chief concerns in Chapter 2 are the understanding of the chemistry of the mechanical bond and the synthesis of rotaxanes by three means of approaches (clipping, threading and stoppering, and slippage). Attractive and useful examples are illustrated for each mechanism. Moreover, the definition and the roles of templated-synthesis of interlocked molecules are described. Recent advances in the understanding of the nature of the mechanical bond have also been introduced into molecular electronic devices. Emphasis is placed in Chapter 3 upon the essential requirements for the design of self-replicating rotaxanes, namely a recognition site, a reactive site and a binding site. These aspects are explained in the designed minimal model chosen in the past (Replication model 1) and the alternate proposed models (Replication model 2 and Replication model 3). The importance of high association constant to provide substantial amount of pseudorotaxane [L•M] precursors is exemplify in the simple kinetic model of rotaxane formation. The advantages and disadvantages of each independent minimal replication model are also summarized. In the self-replicating rotaxane frameworks, the principal strategy involves a selection of an efficient macrocycle to accommodate the guest unit. Thus, Chapter 4 exclusively describes the design, synthesis and binding properties of a series of macrocycle incorporating the hydrogen bond donors and/or hydrogen bond acceptors motif. In particular, the guests were designed and synthesised based on the mutual interactions with the macrocycle framework and the binding experiments is described in details. An account is provided of the problems faced in the synthetic attempts towards the formation of these macrocycles. The novel macrocycle MEU demonstrated a deficient binding performance with amide and urea compounds, and thus abandoned in later stages. The developed macrocycle MDG and MP have been selected as our workhorse macrocycles, which successfully increase the binding strength in the pseudorotaxanes formation. We have learnt that the association constant, Kₐ can be manipulated by the changing the binding site of the guest or redesign the framework of the macrocycle itself. An exhaustive investigation of the performance of self-replicating rotaxanes focuses on Replication model 1 is demonstrated in Chapter 5. It was evident now that as a consequence of low Kₐ, a substantial amount of thread is present over rotaxane. The implementation of the simple kinetic model of rotaxane formation is prevailed through out this chapter. The position of the central reversible equilibrium in this model effectively resulted in a different reactivity of thread and rotaxane. Therefore, it is concluded that the ratio of rotaxane and thread is sensitive to both the association constant for the [L•M] complex and to the ratio of k[subscript(rotaxane)]/k[subscript(thread)]. The key marker for the efficiency of the rotaxane-forming protocol is the ratio of rotaxane, R to thread, T. In previous chapter, the Kₐ for the [L•M] complex was around 100 M⁻¹ and k[subscript(T)] = 3 k[subscript(R)], which led to an unacceptably small [R]/[T] ratio. We demonstrated for the first time in Chapter 6, that it is possible to manipulate the Kₐ for the [L•M] complex by means of a change in temperature. Yields of a rotaxane can be improved by employing a two-step capture protocol. Cooling a solution of the linear and macrocyclic components required for the rotaxane increases the population of the target pseudorotaxane, which is then captured by a rapid capping reaction between an azide and PPh₃. The resulting iminophosphorane rotaxane can then be manipulated synthetically at elevated temperatures. Following this, these imines could be reduced readily to afford the stable amine rotaxane. Replication model 2 is subsequently proposed as alternate replication framework in Chapter 7, which realised significant advantages over the first model. A number of designs of a potential self-replicating rotaxane have been fabricated in order to integrate self-replication with the formation of rotaxanes. An account is provided of the problems faced with the unanticipated larger cavity of the newly prepared acid recognition macrocycles, and hence, force us to search for a new scaffold of the nitrone structures. Pleasingly, a substantial amount of rotaxane was present, mostly as trans diastereoisomer. It is concluded that the resulting rotaxane structures may be self-replicating through the recognition-mediated pathways from the preliminary kinetic experiments. Nonetheless, the remainder of the full kinetic analysis are prevented given a small quantity of the necessary building block. Chapter 8 reveals our recent efforts to demonstrate the notions behind the final replication scheme, Replication model 3. We have become aware that the reactive site must be placed sufficiently far away from the binding site to inhibit the remote steric effect through the proximity of the macrocyclic component. The design of novel nitrone structures is described in details. We bring together conclusions that can be drawn from three designated replication models in Chapter 9. Experimental and synthetic procedures of the target compounds and appropriate spectroscopic analysis of the products are elaborated in Chapter 10.
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Cutting, Bruce A. "Refounding governance : transforming the science to master the art." Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/79.
Повний текст джерелаАнотація:
Since Montesquie's incisive differentiation of the principal forms of governance and their components, the rate at which theories of governance have been proposed has exponenetially grown now when we have a plethora of different theories on the best way to govern, lead and /or manage. Anyone interested in this topic is confronted with many conflicting schools of thought, from Weber's theory of the 'iron cage' to Wheatley's new-age concept of leadership. This seeming maze of different theories can be seen merely as different perspectives on the overall embracing concept of governance which is essentially the holistic conception and explanation of differentiated purposive human systems - about paradigms and systems that have their inception in and are limited by, human mind. The core challenge, then, is to put some order and rationale into the understanding of this 'many-headed ' concept of governance. This thesis meets this challenge by mapping out a cognitive framework that is capable of embracing and ordering all the multitudinous differentiated conceptions of human governance experienced at the different levels of society. In essence, this thesis reformulates the concept of organizational governance in terms of the metaphor of the human mind. The cognitive model of governance are embraced by the different organizations in different circumstances and why this is appropriate and necessary, how and why governance changes over time, and how it is important to institute processes of inquiry, dialogue and reflection in order to know and choose more consciously. As a consequence of using the mind metaphor to analyse governance in Western society, the key conclusion is that there has been a substantial shift or evolution in thinking from a mangerialist mindset to the more abstract politicist mindset. This fundamental shift in mindset is pervasive and influences the perspectives taken at many levels in the human governance systems.
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Cutting, Bruce A. "Refounding governance : transforming the science to master the art /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030729.112516/index.html.
Повний текст джерелаАнотація:
Thesis (Ph.D.) -- University of Western Sydney, 2002.<br>"A thesis ... for the degree of Doctor of Philosophy (Management) at the University of Western Sydney, Australia" Bibliography : leaves 550-564.
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Depew, Michael Lee. "The Tension between Art and Science in Historical Writing." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1057.
Повний текст джерелаАнотація:
A perennial question in the philosophy of history is whether history is a science or an art. This thesis contests that this question constitutes a false dichotomy, limiting the discussion in such a way as to exclude other possibilities of understanding the nature of the historical task.
The speculative philosophies of Augustine, Kant, and Marx; the critical philosophies of Ranke, Comte along with the later positivist, and the historical idealist such as Collingwood will be surveyed. History is then examined along side art to discuss not only the similarities but, the differences.
Major similarities—narrative presentation, emplotation, and the selective nature of historical evidence—between history and fiction are critiqued. A word study of the Greek word ίστοριά will show the essential difference between history and literature. The essential nature of the historical task can best be revealed in the differences between history and art.
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Whitman, Jacquelyn Dale (JD). "Confronting ecophobia: increasing ecoliteracy through art and marine science." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6881.
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Brown, Natalie. "Art and consciousness in light of Maharishi Vedic science." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/378.
Повний текст джерелаАнотація:
This research examines the field of art and consciousness in light of Maharishi Vedic Science. Maharishi Vedic Science is a complete science of consciousness and its expressions, based on ancient Vedic knowledge, as elucidated by His Holiness Maharishi Mahesh Yogi, the foremost scholar in the field of consciousness. The research explores the practical application of Maharishi‘s technologies of consciousness― the Transcendental Meditation program and TM-Sidhi program, and simultaneously the theoretical understanding of consciousness through the study of Maharishi Vedic Science. The research examines this knowledge by considering two questions- Question 1―What is the benefit of the practical technologies and theoretical knowledge of Maharishi Vedic Science for the arts and the artist? Question 2―Through my own subjective research into consciousness, how has this knowledge affected the outcome of my creative practice? This research is both an intellectual objective analysis and simultaneously a subjective investigation through my own personal experience in the development of consciousness. The research elucidates Maharishi Vedic Science and verifies it through modern scientific research, art and its foundation in creative intelligence, the history of art and its future potential, and my own personal artwork and creative process that has grown through the understanding and practical application of Maharishi Vedic Science in my daily life.
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Harrison, Paul Liam. "Desiqns for Life : Art Science and Collaboration A practice-led study in fine art printmaking." Thesis, University of Dundee, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521694.
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Bisulca, Christina. "Case Studies in Conservation Science." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/332904.
Повний текст джерелаАнотація:
The research presented in this dissertation covers three separate topics of conservation as defined by the National Science Foundation: 1) Materials Stabilization, Strengthening, Monitoring, and Repair; 2. Understanding Material Degradation and Aging; and 3) Materials and Structural Characterization of Cultural Heritage Objects (the `technical study'). The first topic is addressed through a study to assess the consolidant tetraethoxysilane for the stabilization of alum treated wood. Falling under materials degradation studies is a study published in American Museum Novitates to understand how environmental conditions affect the aging of fossil resins from five different deposits. Two separate studies are included in technical study of cultural heritage objects which comprises the third research area of materials characterization. The first is a survey of red dyes used in Chinese paintings from the Ming Dynasty to the Early Republic (1364-1911). The second is a study of the pigments, dyes and binders used in Hawaiian barkcloth (kapa) from the 19th century.
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Phillips, Perdita. "Fieldwork/fieldwalking: Art, sauntering and science in the "walking country"." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/257.
Повний текст джерелаАнотація:
fieldwork/fieldwalking is a contemporary art project exploring practices of walking and science in the field. 11 explores the themes of walking and-fieldwork in art, and as art. Whilst the. sociology of science in the laboratory has been well theorised, less has been said about the field in the natural sciences. And, equally, the most recent and provocative walking art is found in urban areas, in a fabric dominated by the patterns of human settlement. How could new walking art be made in non-urban places? The project set out to investigate how these two, fieldwork and walking, could be combined in artwork. The research question was: in the common ground shared between art and science, what are the connections between fieldwork and walking in the field? The project explored this and five sub-questions through photography, video, and the creation of installations and sound art walks. Much of the research revolved around one field location, the walkingcountry in the Kimberley of Western Australia that was visited six times over different seasons from 2004 to 2006. Activities included walking and general immersion in the place, scientific and artistic 'fieldwork' and the observation and documentation of the work of scientists at the site and in the Kimberley. Non-urban areas can offer intense and specific experiences with heightened materiality and direct engagement with nonhuman agents. This was borne out in the fieldwork undertaken in the project. However the artworks created are also set in contrast to the work of other walking artists such as Hamish Fulton and Richard Long that are often based on sublime wilderness experiences. Based on my experiences I formulated and applied the concept of 'ordinary wilderness': much of one's time in the field is involved in pragmatic and bodily encounters. Some of the aesthetic experiences are local and ephemeral. Wildness and the delight of wonder are more appropriate than the fear and awe of the sublime. fieldwork/fieldwalking draws together threads from sources as diverse as recent scientific ecology, Ric Spencer's (2004) conversational aesthetics and nonrepresentational theory in human geography to make art that questioned representational strategies and explored an expanded model of artworks where the relationships between the artist, the audience, the environment and the material art object are of equal importance. A significant issue was how to creatively transform the experience of elsewhere (the field) into artworks in a gallery. In the sound art walk To Meander and back (strange strolls, Moores Building Contemporary Art Gallery (MBCAG), 2005} the strategy was to fold and imbricate the walkingcountry, the gallery in Fremantle, and the space in-between together. This artwork also sought to reconcile the 'emptiness' of Euro-Australian belonging by encouraging via sound and silence an understanding of place that is more living, changing and performative. Other artworks included Zoo for the Species at the National Review of Life Art (Midland, 2003) , and works in the solo exhibitions Four Tales from Natural History (Perth Institute of Contemporary Art, 2004), Semi (Spectrum Project Space/Kurb Gallery, 2004} and fieldwork/fieldwalking (MBCAG, 2006).
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Lapelletrie, Fabrice. "Frank Malina : le lumino-cinétisme dans l’ombre de la science." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040107.
Повний текст джерелаАнотація:
Frank Malina (1912-1981) doit d’abord être reconnu comme un des artisans majeurs de la conquête spatiale. Entre 1934 et 1947, en Californie, aidé par un groupe de passionnés, il supervisa plusieurs programmes consacrés à la propulsion des fusées. En 1945, sa carrière est couronnée par le lancement de la WAC Corporal, une fusée-sonde qui atteignit l’altitude de 72 km. En 1944, il co-fonda avec Théodore Von Karman le Jet Propulsion Laboratory, un laboratoire aujourd’hui rattaché à la NASA. Après un passage de six ans à L’UNESCO, il débuta en 1953 une carrière d’artiste. Ses premières œuvres rassemblent des matériaux très divers comme la corde, le grillage ou le fil de fer qu’il manipule pour traduire un monde structuré, laissant transparaître un dynamisme sous-jacent. Très rapidement, il orienta ses recherches vers l’expression du mouvement réel à l’aide la lumière électrique. En 1956, il inventa le système lumidyne, un tableau cinétique fermé par un écran sur lequel une composition colorée est animée de mouvements lents produits par un électro-mécanisme dissimulé dans le tableau. Les motifs abstraits et figuratifs font souvent références au monde des sciences et à l’astronomie. Placé dans un état de relaxation provoqué par le jeu des lumières, le spectateur est ainsi incité à méditer sur les sujets proposés par les œuvres. S’inscrivant dans la tradition de la musique des couleurs, l’œuvre de Malina nous invite non seulement à considérer le mariage entre l’art, la technologie et la science, à s’interroger sur la place de l’homme dans la nature à l’ère de la conquête spatiale, mais aussi à stimuler les régions cérébrales de l’activité créatrice<br>Frank Malina (1912-1981) has first to be considering as a pioneer in the conquest of space. Under his leadership, he supervised several research programs on rocket propulsion between 1934 and 1947, in California. His research led Malina to the launching in 1945 of the sounding-rocket WAC Corporal to a height of 240,000 feet. With Theodore Von Karman, he founded the Jet Propulsion Laboratory, now a NASA’s leading facility for planetary exploration. In 1953 he resigned from UNESCO to be full time an artist. He started working with string, wire mesh and wire to suggest the structures of the world and the underlying dynamism. He quickly leaned his research toward the expression of real movement using electric light. In 1956, he created the Lumidyne system, a kind of kinetic painting closed by a screen on which the composition moved slowly. Most of the abstract and figurative patterns refer to the world of sciences and astronomy. Malina’s kinetic paintings lead the spectators to relaxation and meditation on the subject of the paintings. In the tradition of color music, his artwork tries to marry art, science and technology. It’s not only an invitation to musing on the position of mankind in the cosmos at the space age, but also to stimulate the creative areas of brain activity
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Nolan, Lucille Marie. "Vision science and the visual arts : an enquiry into the science of perception and the art of immersion." Thesis, Northumbria University, 2009. http://nrl.northumbria.ac.uk/312/.
Повний текст джерелаАнотація:
This research addresses questions surrounding two currently prominent visual art topics. The first revolves around the concept of immersion and perceptions of immersive art, the second concerns current interests in art and science and the practice of art and science collaboration. Current debates and theories of immersion revolve around technologically informed virtual models and interactive virtual art environments, however, the history of immersion as a creative medium has been traced to pre-technological, even pre-historical beginnings. In this study, a pre- technological concept of immersion per se is explored, and a new perceptual model of immersion is developed based on the scientific laws and principles of vision. This model is shown to encompass and a long history of immersive traditions and a type of contemporary art practice that until now was not recognised as an immersive art genre. Working at the interstices of visual immersive art and visual science disciplines, collaborative experimental environments are developed that embody both the concepts and definitions proposed in the thesis, and the scientific laws and principles on which they are founded. Pre-technological/visual and contemporary/virtual concepts are further distinguished by their respective scientific and technological alignments and by the types of perceptual phenomena they engender. It is shown that as a creative medium, immersion comprises scientifically informed visual and technologically informed virtual immersive sub-genres, which together provide a broader and more comprehensive account of historical and contemporary immersive art practice.
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Lookman, Mariah. "Looking to draw : picturing the molecular body in art and science." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:58d026b1-457c-412a-a339-ca25eaa9ab19.
Повний текст джерелаАнотація:
As a practice-led thesis comprised of drawing, sculpture, video, notebooks, and a written dissertation, this study by way of art making argues against the provocation that life sciences aided by the advances in visualizing techniques will hegemonise much of what there is to see and know about biological life. Historian James Elkins argued that non-art informational images were historically relevant considering the strategies scientists use for visualizing phenomena and W. J. T. Mitchell noted the impact of proliferation in image production together with computer technology as the epistemological shift from word to image and coined the phrase pictorial turn. Concurrently philosopher Gottfried Boehm deployed the term iconic turn to discuss the problematics associated with the power of images. I incorporate these insights to examine the affects of biomedical imaging as seen in artworks formed out of biologically sourced organic materials and techniques. Especially once grouped as Bio Art (Kac 1997) or organic media art (Hauser 2006) these artworks further accentuate the problem of representation and its relationship to knowledge and power underscored by the phenomena that biotechnology is changing perceptions of what the body is and can become. The written component of the thesis addresses these problems. It does this by critiquing visualization through the example fluorescent tagging as this technique exemplifies the most innovative and transgressive procedure for imaging biology in-vivo. I argue the following: the visualization of biology, like the mathematization of the surface of reflection pioneered by Ibn al-Haytham is not a problem because it shows Man’s technological prowess but rather because mathematization brings with it the legacy of ontological uneasiness with images in Western philosophical tradition. This tension persists and gets exacerbated especially in contexts where molecular scale visualizing aids the invention of novel life forms as art or laboratory creatures. To reconcile the paradoxes that emerge from critical analysis of the effects of biotechnology that have been discussed in binary terms such as natural or artificial, mimetic or real, I introduce to the lexicon of new media art and theory the concept of non-duality from Arabic philosophy formalized by Ibn ‘Arabi through the analogy of barzakh. In Ibn ‘Arabi’s scheme images are a part of the imaginal sphere and are not perceived as mimetic. Neither is the image given primacy in the formation of knowledge nor is the image given an absolute position of certainty. Instead, images are the intermediary and dynamic part of cognitive process that brings with reason knowledge and with knowledge, responsibility. Thus theorized, imaginal are able to facilitate the possibility to actualise the fullest comprehension of wujud that in translation is also the pursuit for knowledge that guides action. In this way informed by practice, this thesis dissolves the distrust of vision and proposes that scientific images are like art that can embolden the intellectual capacity for creativity and abstract thought.
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NASCIMENTO, ELEN CRISTINA CARVALHO. "ELECTRONIC ART: THE MISSING LINK BETWEEN DESIGN, SCIENCE AND TECHNOLOGY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30067@1.
Повний текст джерелаАнотація:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>Este trabalho propõe a reflexão sobre a relevância da Arte Eletrônica no processo de formação e produção para o conhecimento contemporâneo, bem como suas afinidades com o campo do Design, desde os princípios históricos até as práticas de produção e experimentação transdisciplinares que ampliam os limites entre Arte, Ciência e Tecnologia. Os capítulos refletem os problemas epistemológicos encontrados e trazem à análise, conceitos e exemplos de obras de Arte Eletrônica, desde estágios iniciais de experimentação até modelos publicamente apresentados. Foram também realizadas entrevistas com professores, alunos, especialistas e pesquisadores de áreas relacionadas para auxiliar em análises comparativas de interpretação.<br>This work proposes to reflect on the relevance of Electronic Art in the process of formation and production of the contemporary knowledge, as well as its affinities with the field of Design, from historical principles to practices of transdisciplinary production and experimentation that expands the boundaries between Art, Science, and Technology. The chapters reflect the epistemological problems encountered, and bring the analysis, concepts, and examples of works of Electronic Art, from initial stages of experimentation, to publicly presented models. In addition, interviews were conducted with teachers, students, specialists, and researchers from related areas to assist in comparative analysis of interpretation.
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Stones, A. "What art and science want : disciplines and cultures in contention." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1336529/.
Повний текст джерелаАнотація:
Art and science cannot 'want' anything, but artists can be interested in disciplinary outcomes other than those authenticated within their own field, and scientists can want a greater sense of cultural agency than is allowed within a strictly-ruled discipline. The pursuit of such aspirations puts into contention the integrity of arts and sciences as disciplines (for knowing and making a world), and the effectiveness of their cultures in transmitting their selectivist disciplinary gains, or opening them to participation and scrutiny. This inquiry uses Pierre Bourdieu's formulation of the social fields of art and science critically within a self-reflexive (artist's) discourse. It asks whether aspirations to extend art and science in the ways summarized above are mutually-enhancing, or part of a struggle for disciplinary dominance and the control of normative culture. The aim is a better understanding of what is at stake for an ambiguously-defined contemporary art when artists and scientists extend their interests to each other's fields – given that their aspirations ('wants') can be disciplinary or cultural, and either intrinsic or extrinsic, conventionally speaking, to their home fields. Conventionally, art as a discipline modulates between the aesthetic and the intellectual, the wild and the rational, remaining ambiguous about its precise gains. Within the extended field of art, this ambiguity is resolved opportunistically, among mutuallydependent agents: artists, curators, academics, collectors (etc.). Explicitly scienceengaged art is a special case within this art world, and, conversely, art-world conventions are rejected by some prominent art-science practitioners. Such selective authentications and disavowals raise the stakes around science-engaged art. On the one hand it seems, at best, to be merely indexical of the ongoing scientification of everything; on the other, it particularizes the idea of art as a vector of rational agency, inviting a new necessity and progressivity in art.
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Debout, Christophe. "Construction des savoirs infirmiers en France : entre art et science." Paris 7, 2009. http://www.theses.fr/2009PA070062.
Повний текст джерелаАнотація:
Les sciences infirmières ont été instituées aux Etats-Unis depuis plus de cinquante ans. Elles ont pour finalité de procurer des savoirs scientifiques utiles au raisonnement clinique de l'Infirmière et ainsi accroître la qualité des soins. Leur objet les conduit à étudier les comportements humains en matière de santé, leurs déterminants afin d'en décliner des interventions de soins infirmiers pertinentes. Cet objet les amène à devoir composer avec l’intentionnalité, le symbolisme, la normativité et l'historicité inhérents à l'être humain. Les tensions épistémologiques que cette complexité suscite sont nombreuses. La diversité épistémologique qui caractérise les sciences infirmières tend à juxtaposer méthodes et savoirs rendant plus difficile l'articulation entre les lieux de production des savoirs et les milieux cliniques où ces savoirs sont utilisés. Une approche dialectique pourrait permettre de dépasser cette difficulté<br>Nursing science appeared in the USA fifty years ago. The aim of this science is to provide scientific knowledge to nurses in their clinical decisions and interventions to improve quality of care. Nursing science develop knowledge about health behaviors aetiologies of these behaviors but their aim is also to adequate selection of intervention. This highly complex field of study generates epistemological tensions in the scientific community. Nursing science is characterized by its epistemological diversity. This diversity can hinder research utilisation. A dialectical approach seems necessary to better articulate knowledge and practice
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Lapworth, Andrew Colin. "Thinking in the middle of art-science : emergence, experience, encounter." Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683908.
Повний текст джерелаАнотація:
This thesis explores the implications for the social sciences of a thought that would loosen its ties to foundational beginnings or determinate ends, and instead seek to grasp things through the middle. Following in the wake of the philosophy of Gilles Deleuze, the thesis argues that to 'see things in the middle' requires the elaboration of a new image of thought, one that asserts the primacy of forces and processes of ontogenesis (or, a thought of the 'becoming of being') over the static abstractions of 'subject' and ' object' that define classical ontology. More specifically, the thesis explores the way in which theories of ontogenesis allow us to rethink a particular kind of middle gaining increasing visibility within social science and public discourse - the field of art-science collaborations - as a sites of encounter that generates new material relations of thought and bodies. To think art-science ontogenetically, I argue, is to foster a sharper orientation in thinking to the novel emergences, immanent experiences, and transversal encounters that play out prior to the bifurcation of 'Art' and 'Science' into the institutional forms that capture their creative energies and judge them according to criteria of the already-existing. Empirically, this argument is made through engagement with two contemporary examples of art-science encounter: the bioartistic practice of the SymbioticA artistic research laboratory and the Bristol-based nanoart collective danceroom Spectroscopy. This thesis is therefore an experiment in how thinking might inhabit the middle of art-science differently, and seeks to valorise those singular practices and encounters today that open potentials to exceed the ready-made channellings of disciplinary thought and practice in ways that activate other creative possibilities of life.