To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that (...) art and science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

In this article, I am using the example of the introduction of osteosynthesis into surgical routine practice to analyze the use of the notions of art and science in medical innovation. The examination of the renegotiations of power and responsibility associated with the introduction of this new technique shows that proponents and critics actively linked their arguments to more fundamental epistemological and social issues. The proponents claimed to manage the uncertainties of innovation through making surgery more scientific, drawing on (...) the ideals of control, rationality, objectivity, and predictability. The critics mobilized another discursive pattern. They considered surgery an art and emphasized the individuality, contingency, and situatedness of medical practice. I investigate the discursive function of these argumentative patterns and how they played out in the concrete example of this surgical technique. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and Science, Facts and KnowledgeBengt Brülde (bio)Keywordsart, definitions, epistemology, facts and values, mental disorder, metaphysical realism, nominalism, physical disorder, social constructivismThe main purpose of my original article was to find out how the evaluative content of the concept of mental disorder, i.e. its "value component," should be characterized. Both Tyreman and Ross are focusing on other things, however. Tyreman seems to agree with my analysis, and his (...) primary objective is to find out whether my general analytical approach can be extended to other areas, e.g. whether it can be used to analyze the concept of physical disorder or the concept of art. It is hard to tell whether Ross agrees with my view, since her entire commentary is focused on a few assumptions I made in the beginning of the paper, mainly in passing, to make my evaluative investigation more manageable. In short, the main content of my original paper is never really challenged, and I do not think I have to revise my view on the evaluative content of the concept of mental disorder. Both commentaries give rise to questions that are interesting in their own right, however, e.g. questions about art and science, and about facts and knowledge. This gives me the opportunity to develop my views on a number of topics that I never touched upon in the original article, e.g. the purpose of defining "mental disorder," the factual component of the concept, the connection between ontological and epistemological issues, and the value-neutrality of science. I am very grateful to the editors for allowing me to give such an extensive reply.My Reply to TyremanTyreman wants to know whether the same kind of analysis given in my original paper can be applied just as usefully to other areas of health care. That is, the question is whether the same type of analytical approach can be extended to other areas where evaluative considerations seem to play a crucial part. In his commentary, Tyreman has mainly four areas in mind, namely physical disorder, art, good art, and good (competent) clinical practice. Or more specifically, the question is whether the kind of evaluative analysis I used in my original paper can help us answer the following four questions: (a) How should we define the concept of physical disorder, i.e. according to what criteria should we draw the line between physical disorders and other physical conditions? (b) How should we define the concept of art, i.e. according to what criteria should we draw the line between art and other artifacts and performances? (c) What is good art, i.e. according to what criteria should we evaluate those artifacts (etc.) that we have decided to categorize as works of art? (d) What makes a clinical performance or practice good or competent, according to what criteria should we evaluate such practices?The first two questions are conceptual, i.e. the question is how certain concepts should be [End Page 111] defined, and in what way or ways values enter the picture. The last two questions are straightforwardly evaluative, however, and it goes without saying that we have to rely on value judgments to answer these questions. This difference suggests that the conceptual analyses needed in the first two cases are somewhat different from the evaluative analyses needed in the last two cases. It is also far more likely that my analysis of mental disorder can be extended to the first two cases. After all, my approach is designed to capture the evaluative content of concepts that are not purely evaluative. (We will return to this below.)To see whether my analysis can be of any help in any of Tyreman's four cases, we need to recapitulate what it is all about. The analysis in question is specifically concerned with how the evaluative content of the concept of mental disorder should be characterized, i.e. how and to what extent we have to rely on value judgments to distinguish mental disorders from other conditions. The first part of the analysis consists in the formulation of four questions that any reasonably complete account needs to answer. These questions are: (0... (shrink)

This volume brings together a distinguished collection of thinkers to consider the complex relation and divergence between art and science. How art and science relate to technology, why they should be thought relevant to morality, and what their study can possibly contribute to the understanding of the nature of the mind are only a few of the subjects explored in these pages.

This essay centralizes and explores Ernst Cassirer’s concept of style. Although it does not emerge as much as the concept of form or symbol in Cassirer’s corpus, style plays a major—if intrinsic—role throughout the Philosophy of Symbolic Forms. I shall examine how Cassirer’s conception of style is derived from Goethe’s theory of art and why it is fundamental to Cassirer’s theory of knowledge. Style is considered the defining feature of the cultural sciences, as well as the sign of the anthropological (...) character of the natural sciences, and, more generally, as the creative principle underlying all objectivity. I argue that it is therefore justified to read style as the fundamental yet variable expression of our symbolic relation to reality. Indeed, style refers neither to an abstract principle nor to a predetermined truth: it is a formative force actualizing itself in the incessant diversification of its forms. In so doing, Cassirer’s underexamined concept of style proves highly relevant in our times of epistemic and cultural pluralism. (shrink)

The thesis which I wish to recommend to you is that science is a form of art though not of fine art: that like art, it is a human invention, not less real for that, and having value, or being valuable, partly if not mainly because of that. I mean to indicate by this statement that for me at least a better insight can be got into the nature of science by considering it as a form of art, (...) and asking how it differs from and how it resembles fine art. (shrink)

Early in the 1240s the University of Paris hired a recent graduate from Oxford, Roger Bacon by name, to teach the arts and introduce Aristotle to its curriculum. Along with eight sets of questions on Aristotle's natural works and the Metaphysics he claims to have authored another eight books before he returned to Oxford around 1247. Within the prodigious output of this period we find a treatise on logic titled Summulae dialectices, and it is this that is here annotated and (...) presented in translation. The book is unique in several respects. First, there is the breadth of its sources. Not only do we find explicit reference to the usual authors such as Aristotle, Plato, Boethius, Porphyry, Cicero, and Priscian, we also find unexpected reference to Augustine, Bernardus Silvestris, Donatus, Terence, and Themistius, along with mention of the Muslim philosophers Algazel and Ibn Rushd. Second, it is clear that Bacon is drawing on or reacting to an extraordinarily wide variety of medieval sources: Garland the Computist, Hugh of St. Victor, Master Hugo, Hugutius of Pisa, Isidore of Seville, Nicholas of Damas, Nicholas of Paris, Richard of Cornwall, Robert Kilwardby, Robert of Lincoln, and Robert the Englishman. Third, it unexpectedly presents a full-blown treatment of Aristotle's theory of demonstration. And finally, Bacon reveals a highly unorthodox view of the signification of common terms. Bacon, here, takes his students and us deeper into medieval sources and controversy than any of his rivals do. (shrink)

This introduction to logic, which aims to reflect recent advances in the field, focuses on natural language, analyzing the structure of arguments conducted in English. The text includes problems with which students can test their skills.

I was surprised to note the critical tone of the discussion which my friend Leonard B. Meyer recently devoted in these pages to an article on the relation of art and science that I wrote for a popular scientific magazine. For I had believed all the while that in my article I was merely presenting to a general scientific audience a watered-down version of what I thought were Meyer's own views. Evidently I was mistaken in that belief, though I (...) have been unable to fathom just where I went wrong in interpreting Meyer's earlier writings, which, more than any other source, are the provenance of my ideas about the nature of art. Gunther S. Stent, professor of molecular biology at the University of California, Berkeley, is the author of Molecular Biology of Bacterial Viruses, Phage and the Origin of Molecular Biology, Molecular Genetics: An Introductory Narrative, The Coming of the Golden Age: A View of the End of Progress, and many important scientific papers. In Concerning the Sciences, the Arts—AND the Humanities" , Leonard B. Meyer took issue with views expressed by Professor Stent in "Prematurity and Uniqueness in Scientific Discovery," published in Scientific American. (shrink)

The author has collaborated in research teams to visualize supercomputer simulations and real-time data. She describes these collaborative projects that employ advanced-technology graphics and novel digital displays that include large-format IMAX film, high-definition television productions, and a museum digital dome at the American Museum of Natural History. The popularity of these images and the function that they provide in popular culture are discussed. She also describes two key technologies that she was part of designing: IntelliBadge(tm), a real-time visualization and ‘smart’ (...) tracking system; and Virtual Director(tm), a virtual camera choreography and remote collaboration system. The process of data-visualization involves the mapping of data from numerical form into an iconic representational form in the attempt to provide humans with insight and understanding of a phenomenon. This is discussed in the context of metaphor, cognition, and postcolonial theory. Because data-visualizations carry the ‘weight of scientific accuracy and advanced technology’, most general audiences confuse these visualizations as ‘real’; however, it is argued that data-visualizations are models and metaphors, not reality. In metaphor theory, the mapping of attributes from one domain of information into another is how humans understand, create, and engender new meaning. Data mapping is correlated with this theory. The author explores how the use of mapping information is culturally contingent. In the spirit of scientific inquiry, she deconstructs the very professional activity for which she is most famous. (shrink)

There may be a common root from which art and science stem: the creativity which distinguishes the human being from the animal due to the element of intentionality in the creative act. Two kinds of creativities lead to completely different results: artistic activity is totally gratuitous, while science aims at attaining a specific end.

The paper addresses the problem whether arts, sciences and humanities can be regarded as useful. First it examines the means-ends relation and argues that some means are not causally but rather constitutively connected to ends. Second, it specifies two dimensions along which the problem of values will be addressed. One is the issue about the relation between values and desirability, the other is the active and affective conceptions of valuation. Third the paper offers a concise reconstruction of the answers to (...) the question of usefulness formulated during the enlightenment. It will be argued that traditionally usefulness was understood causally and not on the individual, but rather on the social level. In the final section the paper contends that values should be understood in terms of activities rather than in terms ofdesire satisfaction and that this interpretation can bring us closer to answering the question whether and why arts and sciences are useful. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:An Encounter with the Art and Science of MedicineAnonymous Five“Let Nothing Upset YouLet Nothing Frighten YouEverything is ChangingOnly God is Changeless”—St. Theresa of AvilaSt. Teresa’s prayer is on the front cover of each of four binders dedicated to storing insurance authorizations, studies, references, and reports about our daughter’s brain tumor treatment. They represent our experience, what we learned, the information we were given, and the information we sought (...) out. I kept them in case our daughter ever wanted to understand how my husband and I arrived at a decision for her treatment that was in direct opposition to the strong recommendation of her primary treatment team of physicians.On December 10, 2003, I received an urgent call from our daughter’s neurologist requesting that we meet with the doctor late that afternoon. For six months prior to that appointment, our daughter had been telling us about odd sensations with breathing, nausea, and balance. Sometimes she would seem extremely distressed for a short period of time or report that her friends told her about doing or saying things that didn’t make sense and that she didn’t remember. We consulted a series of physicians as her symptoms became steadily more intense and more prevalent. Our family practice physician referred us to an allergy specialist and a pulmonologist. There were a number of tests for allergies and lung problems. As the tests and treatments did not help, our daughter became increasingly unwilling to go to doctor’s appointments. My husband and I were confused and deeply concerned about the lack of progress. The next series of referrals included a gastroenterologist and a neurologist. The gastroenterologist suggested our daughter had partial–complex epilepsy, concurred with our plan to see a neurologist, and mentioned she should have an MRI.I remember the neurologist putting the MRI scans up, pointing to the large dark spot which he called a “large mass” (5 cm), that could be either a cluster of blood vessels or a neoplasm. He said his office had arranged for us to meet a neurosurgeon the following day. We all remember the same thing about that visit—the image of the large dark mass on the scan—and the neurologists flat, brisk tone. We met with the neuro-surgeon the next day. Her team was kind and sympathetic—she was positive, up beat and direct. She did not think this mass was blood vessels. She thought it was a large tumor that needed to be removed right away. Our daughters surgery was scheduled for the following Friday—December 19, 2003. She had turned 15 on November 5.Four and a half hours after our daughter was wheeled into the operating room, her surgeon told us they had removed 98% of the tumor. She said there was no cure, but there was a good prognosis based on the surgical outcome. Several days later, she called us and said she had more data, and it looked like the resection was closer to 90%. The first pathology report, a “first impression” directly after surgery, described our daughter’s tumor as an astrocytoma, probably high grade. Three weeks after surgery, we met with a panel of doctors—two oncologists and radiologist—who explained that based on the final pathology report, our daughter’s tumor was classified as an ependymoma, grade 2. We were dismayed. First, there had been the change in the estimated success of the resection and now a complete shift in both grade and tumor type.The team recommended radiation to follow her surgery, which they said was standard treatment. We began to try to inform ourselves about her tumor. Her father, an agronomist, did an extensive search in PubMed to evaluate and sort through the literature on low–grade gliomas and radiation. What he could find was inconclusive and grim. Most reports in the literature suggested at best delayed mortality at five years after radiation. [End Page E7] Meanwhile, our daughter went through a spinal MRI and the preparatory “fitting” of the mask to immobilize her head during radiation.E7I consulted with a friend who had worked as an EKG tech. She urged... (shrink)

This special issue of Janus Head explores a number of disciplinary and interdisciplinary dimensions of the theme, the situated body. The body, of course, is always situated in so far as it is a living and experiencing body. Being situated in this sense is different from simply being located someplace in the way a non-living, non-experiencing object is located. That the body is always situated involves certain kinds of physical and social interactions, and it means that experience is always both (...) physically and socially situated. The interesting question is not only how this works (what precisely it means to be situated), but whether and how the answer to that question changes from one situation to another. It seems reasonable to say that the body is situated differently in different situations, and that this difference may not be simply a difference in the situational content but a difference in how the body processes being situated precisely because the circumstances are so different. The question is not just about differences in situations, but differences in situatedness. Is it possible that the body is X-situated (in terms of its situatedness) in the task of solving a mathematical problem, but is Y-situated when it is engaged in dancing with another person? And if, as seems obvious, there are significant physiological and experiential differences involved in being in these different situations, are some of these differences due to being X-situated, for example, rather than Y-situated? This collection of essays gathers together investigations of the situated body that address such variations in what it means to be situated. These investigations cross theory and practice, expression and performance and interweave disciplines and practices such as philosophical anthropology, cognitive science, phenomenology, architecture and painting, and artistic performances like dance and music. They describe the body as an experiencing enactive agent embedded in various pragmatic and social circumstances, the body as rigidly circumscribed in art and science, and the body as extended into its environment through the high technology that is more and more defining our experiences and our relationships.. (shrink)

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science (...) as they do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

This article is focused on the concept of logic in Avicenna’s Isagoge, a text which had great impact both on Arabic and Western thought. Its main section is devoted to an investigation of Avicenna’s clarification of the nature of logic, its proper subject matter as well as its place within the canon of the philosophical sciences. In this connection, special attention is given to Avicenna’s use of the concepts ‘art’ and ‘science’. Significantly, he regards logic as both a (...) class='Hi'>science and an art, and argues that in the latter sense, logic is an instrument for the philosophical sciences. Because Avicenna’s Isagoge was read in the Latin West for several centuries, his ideas on the nature of logic played a prominent role in the debates at medieval universities and hence were a likely source of the distinction between ‘logica utens’ and ‘logica docens’. (shrink)

Calls for incorporating social science into patient care typically have accounted for neither the logistic constraints of medical training nor the methodological fallacies of utilizing aggregate “social facts” in clinical practice. By elucidating the different epistemic approaches of artistic and scientific practices, this paper illustrates an integrative artistic pedagogy that allows clinical practitioners to generate social scientific insights from actual patient encounters. Although there is no shortage of calls to bring social science into medicine, the more fundamental processes (...) of thinking by which art and science proceed have not been addressed to this end. As such, the art of medical practice is conceptualized as an innate gift, and thus little is done to cultivate it. Yet doing so is more important than ever because uncertainty in diagnosing and treating chronic illnesses, the most significant contemporary mortality risks, suggests a re-expanding role for clinical judgment. (shrink)

In The Shock of Recognition, Lewis Pyenson uses a method called Historical Complementarity to identify the motif of non-figurative abstraction in modern art and science. He identifies the motif in Picasso's and Einstein's educational environments. He shows how this motif in domestic furnishing and in urban lighting set the stage for Picasso's and Einstein's professional success before 1914. He applies his method to intellectual life in Argentina, using it to address that nation's focus on an inventory of the natural (...) world until the 1940s, its adoption of non-figurative art and nuclear physics in the middle of the twentieth century, and attention to landscape painting and the wonder of nature at the end of the century. (shrink)

We often forget that art and science are not dissociated, nor indeed antagonistic, but rather allow a creative interplay to emerge from which arises the generation of new forms of knowledge. According to Parkinson, “the analogy between the new painting and the new physics consists in that elements formerly held as cognitive or conceptual a-prioris enter as constitutive factors in the very structure of the edifices of art and science”. How exactly does it work? If for us nowadays (...) it’s relatively easy to think of the mimetic moment of art as a prelude to geometry, it is not so trivial to claim how higher-order representational symbolic epistemic structures arise from the lifeworld, or simply how both interact together. The aim of this paper is to stake out the complexity of processes going from the lifeworld and, before that, from the life of pictorial language, to h.o.r.s.e.s., in order to apply this model to further enquiries. In the first part, we will reactivate the Kantian interdependence between aesthetics and epistemology via the intersubjective dimension, in order to understand how the shaping of forms and the figuring-out patterns remain an essential component of any epistemic structure as such. In the second part, moving from Hacking, Husserl and Foucault, we will look into the way in which the evidence of symbolic structures can be maintained even alongside a genetic conception of science. Art plays an essential role in such a conception, in that it opens new horizons of figurativity in which new shapes can arise and new kinds of objectivities can be accepted as belonging to our epistemic experience of the world. (shrink)

If one attempts to examine the role of a concept in the writings of a man of letters, it seems appropriate to begin with some linguistic observations pertinent to the discussion: aesthetics. To what extent and in what particular way does the metaphorical field associated with the concept of organism determine or at least reach into descriptions of the creative process as such? Such an initial step of modest pragmatics suggests itself especially in view of the fact that Goethe never (...) developed a system of aesthetics, classical or otherwise, in which a theoretical analysis would be possible. In fact, we will see that he had a fundamental distrust of theoretical systems for art or nature. In what terms, then, does Goethe describe the process of artistic creation? As might be expected, there are indeed expressions of "conceiving," of "nurturing" a theme, of "bearing" a poem for years until its final "birth." Many of those poems that strike the reader with their convincing immediacy, which seem to have been nothing but impulse and instantaneous expression of feeling, came into the world after a considerable period of incubation. And Goethe emphasizes that the length of pregnancy poetic was not determined by the poet, but by an internal process of maturing and usually by an external, catalytic occasion. (shrink)

In the first collection of his essays to be published, Jeremy Holmes discusses the wider application of psychotherapy within psychiatry and suggests that psychoanalysis needs to escape from its esotericism by taking into account contemporary advances in cognitive science, family therapy and the realities of psychiatric work in a public health setting. Illustrating his arguments with literary as well as clinical examples, he emphasizes the importance of creativity in psychotherapy and the connections between the artistic and psychotherapeutic impulse.

adiant Cool" has the makings of a gripping noir thriller: a missing body, a tough-talking female sleuth and a mustachioed Russian agent mixed up in a shadowy plot to take over the world. But the novel, by Dan Lloyd, a neurophilosopher at Trinity College in Hartford, is also a serious work of scholarship, the unlikely vehicle for an abstruse new theory of consciousness.

This book conveys 12 case studies about projects taking place in a School/University/Community Partnership Network in southwest Ohio. Participants partner to better the education experiences and the lives of community members in the region. This book shows how educational and community partnerships take shape and how they look in practice.

Featuring contributions from leading experts, this book represents the first collection of essays on the topic of art and science in the analytic tradition of ...

The situation in motion picture industry is characterized by the fact that, on the one hand, we have ever more astounding inventions, and on the other, a flood of garbage TV and movies. If art is in crisis, it is hardly the fault of science. Perhaps it is the arts, especially cinema, that have not learned to harness the power of the media.