This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

BackgroundCORE (Clarity and Openness in Reporting: E3-based) Reference (released May 2016 by the European Medical Writers Association [EMWA] and the American Medical Writers Association [AMWA]) is a complete and authoritative open-access user’s guide to support the authoring of clinical study reports (CSRs) for current industry-standard-design interventional studies. CORE Reference is a content guidance resource and is not a CSR Template.TransCelerate Biopharma Inc., an alliance of biopharmaceutical companies, released a CSR Template in November 2018 and recognised CORE Reference as one (...) of two principal sources used in its development.MethodsThe regulatory medical writing and statistical professionals who developed CORE Reference conducted a critical review of the TransCelerate CSR Template. We summarise our major findings and recommendations in this communication. We also re-examined and edited the Version 1 CORE Reference Terminology Table that we first published in 2016, and we present this as Version 2 in this communication.ResultsOur major critical review findings indicate that opportunities remain to refine the CSR Template structure and instructional text, enhance content clarity, add web links to referenced guidance documents, improve transparency to support the broad readership of CSRs, and develop supporting resources.The CORE Reference ‘Terminology Table’ Version 2 includes estimand as a defined term and an adaptation of the original ‘worked study example’ to incorporate the recently evolved concept of ‘estimands’.ConclusionsAs TransCelerate’s CSR Template represents an important milestone in authoring CSRs, we offer CSR authors advice and recommendations on its use, similarities, and differences with CORE Reference and advise them to consider shared interpretations between the two.RegistrationCORE Reference is registered with the EQUATOR Network. The TransCelerate CSR Template is not registered with any external organisation to the knowledge of the authors of this paper. (shrink)

My aim in this paper is to address some difficulties related to the development of an emerging research program called world art studies. While it originates as a European discipline in the German scholarly tradition around 1900, this program comes to the fore only recently, with recent advances in natural and cognitive sciences which hold promise for providing more inclusive categories that could serve the study of art as a worldwide phenomenon. I focus more specifically on the strengths and (...) weaknesses of psychology as explanatory framework for world art studies. Unlike the romantic art historiographers of the late 19th century, contemporary scholars no longer dwell on collective mentalities or spirits of an age but the problem of postulating mysterious faculties in relation to art behavior and aesthetic response is still present when adopting as an entry point the universality of human nature. (shrink)

In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution.

Purpose. The article is devoted to the analysis of corporality as an attribute of plastic art in the Ancient art, the Middle Ages, the Renaissance, the modernism and the postmodernism. Theoretical basis. The authors consider historical development of the art as a change of paradigms. Within each paradigm a special understanding of art is created, which is characterized both by the act of creativity itself and by the evaluation of its results. Particularly urgent is the task to identify the origins (...) of these changes, to indicate their stages, the direction of the evolution of artistic creativity. In this context, corporality as a paradigm of European plastic art is considered in the article in the concrete historical dimension from the classics to the postmodernism. Originality. Postmodern experiments stimulate blurring the borders between the traditional forms and genres of art. Review of canonical ideas about the creation and destruction, order and chaos in art illustrates conscious reorientation from the classical understanding of artistic creativity to the construction of artifacts-simulacra, which is a characteristic feature in the oeuvre of contemporary artists, ranging from the pop art to the present day. Conclusions. The ideas of postmodern philosophers found their visual embodiment in modern artistic practices. Reconstruction of the body, re-switching of its elements according to the principle of chaotic collage, the interpretation of the human body as a separate substance isolated from the individual him/herself, which is presented as a phenomenon of mass culture, became the basis of the creative method of contemporary plastic art. The ideas of postmodern philosophers have found their visual embodiment in the contemporary artistic practices. (shrink)

Periods of accelerated societal change in European history have disrupted gradual alteration in the landscape, creating breaks with the past. This has led to, what we refer to as, the contemporary landscape identity complex in the Netherlands. Composed of dissonant narratives surrounding the landscape that play out on the societal level, the contemporary landscape identity complex may create tensions that can obstruct conservation efforts. In this article, we map out this complex. Three narrative clusters, distilled from literature and supplemented (...) by interviews, aid in understanding the tension regarding the future of the Dutch contemporary rural landscape, namely: ‘the utilitarian narrative’, ‘the romantic narrative’, and ‘the eco-scientific narrative’. The contemporary landscape identity complex is fed by these narratives, specifically through how rural landscapes are imagined and discussed, as opposed to how they are lived and acted upon. The way such narratives play out in practice is further investigated through a case study on the ‘Bommelerwaard’, an area in the south-central of the Netherlands. From our results, we propose a pathway to reconcile the contemporary landscape identity complex towards a landscape conservation ethic that allows for a co-existence of a diversity of images and ideas about (semi-) natural landscapes. (shrink)

This study examines the changing role of art and artist during the turn-of-the-century period, offering a consideration of the multiple dichotomies of art and life, aesthetics and economics, production and consumption, and centre and periphery.

This book examines the role of the EU in ensuring privacy and data protection on the internet. It describes and demonstrates the importance of privacy and data protection for our democracies and how the enjoyment of these rights is challenged by, particularly, big data and mass surveillance. The book takes the perspective of the EU mandate under Article 16 TFEU. It analyses the contributions of the specific actors and roles within the EU framework: the judiciary, the EU legislator, the independent (...) supervisory authorities, the cooperation mechanisms of these authorities, as well as the EU as actor in the external domain. Article 16 TFEU enables the Court of the Justice of the EU to play its role as constitutional court and to set high standards for fundamental rights protection. It obliges the European Parliament and the Council to lay down legislation that encompasses all processing of personal data. It confirms control by independent supervisory authorities as an essential element of data protection and it gives the EU a strong mandate to act in the global arena. The analysis shows that EU powers can be successfully used in a legitimate and effective manner and that this subject could be a success story for the EU, in times of widespread euroskepsis. It demonstrates that the Member States remain important players in ensuring privacy and data protection. In order to be a success story, the key stakeholders should be prepared to go the extra mile, so it is argued in the book. The book is based on academic research for which the author received a double doctorate at the University of Amsterdam and the Vrije Universiteit Brussels. It builds on a long inside experience within the European institutions, as well as within the community of data protection and data protection authorities. It is a must read in a time where the setting of EU privacy and data protection is changing dramatically, not only as a result of the rapidly evolving information society, but also because of important legal developments such as the entry into force of the General Data Protection Regulation. This book will appeal to all those who are in some way involved in making this regulation work. It will also appeal to people interested in the institutional framework of the European Union and in the role of the Union of promoting fundamental rights, also in the wider world.. (shrink)

_A bold revision of the history of European art, told through the lens of neuroscience_ Ambitious and much anticipated, this book celebrates the value of recent neuroscientific discoveries as tools for art-historical analysis. Case studies ranging across the whole history of European art demonstrate the relationships between forms of visual expression and the objects of visual attention, emotional connection, and intellectual interest in daily life, thus illuminating the previously hidden meanings of many artistic styles and conventions. Art historians (...) have until now concentrated on the conscious intentions of artists and patrons, but neuroscience provides insights into the role of non-conscious mental processes in the production and consumption of works of art. As John Onians powerfully argues, these insights have the potential to revolutionize cultural history. For the first time, an authority renowned for a more traditional approach has applied new neuroscientific knowledge to a wide range of art-historical problems, both familiar and fresh. The result is a provocative, original, and persuasive case for neuroscience as an aid to research in the humanities. (shrink)

"Discusses the European interpretation of the Pacific in the late eighteenth and early nineteenth centuries. It considers the work of artists attached to scientific voyages of discovery and exploration from the time of Cook to the time of Dumont d'Urville and elucidates the ways in which their work is related to the scientific interestes and prevailing ideas of their eras."--Book jacket.

Presently, Australian art histories do not adequately account for the existence of Aboriginal art. They tend to re-present and accentuate European constructions of difference, otherness and isolation, rather than explore sites of intersection or look for similarities. A radical readjustment of perspective is needed in order to address this imbalance. This article suggests that although Smith’s writing on Aboriginal art does not provide a suitable basis for this revision, his evaluation of European visual culture during the early exploration (...) of the Pacific might form a useful starting point for an art historical reassessment of the relationship between Aboriginal and Australian art. (shrink)

In this first of two articles, I look at the project for the “Encyclopedia of Artistic Terminology” in connection with the idea of a synthesis of the “artistic sciences” as the principal task of the State Academy of Artistic Sciences (GAKhN, 1921–1930) in Moscow. The most important feature of the Academy was the unity of its epistemological conception (the system of artistic sciences) and the institutional structure of the Academy (its “departments,” “sections,” and “laboratories”), which embodied the interdisciplinary intention of (...) uniting the philosophy of art, the artistic sciences, and artistic experimentation. I analyze the connection of the project with the task of “concept formation” in the artistic sciences, which was recognized in European philosophy at the beginning of the twentieth century as the main criterion for scientificity in the human sciences. I also investigate how the Encyclopedia project, developed by Gustav Shpet, took into account previous attempts to systematize aesthetic terminology (in nineteenth-century dictionaries). I show that the project of the “Encyclopedia of Artistic Terminology” was not the sole attempt to create a new dictionary of aesthetic concepts and of the cultural sciences. Similar projects were being developed in the 1920s and 30s in Germany (Erich Rothacker planned to produce Handwörterbuch der gesamten gemeingeisteswissenschaftlichen und kulturphilosophischen Grundbegriffe) and in France (Étienne Souriau published Vocabulaire d’esthétique; see Souriau 2010). (shrink)

An illustrated study of the early twentieth-century transformation from Expressionism to Constructivism and beyond in the Central European arts. Central European Avant-Gardes presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity literally to construct a new world through their work. (...) The borders between the visual arts, photography, film, architecture, poetry, and typography were obliterated, as artists sought to transcend the forces of traditionalism to forge an elemental visual language that would overcome national and linguistic boundaries. Yet at the same time that these artists advocated pluralism and unity, their work engaged issues such as nationalism and tradition that still resonate in artistic circles today. The book, which accompanies a major exhibition organized by the Los Angeles County Museum of Art and curated by Timothy Benson, assisted by Monika Krol, is arranged around events and situations rather than by linear, art historical categories. It features hundreds of color plates and reproductions of documents; discussions of movements from Artificialism to Zenitism; essays on figures, publications, and exhibitions; and shorter "city views" of Belgrade, Berlin, Bucharest, Budapest, Cracow, Dessau, Ljubljana, £ódz, Poznañ, Prague, Vienna, Warsaw, Weimar, and Zagreb. (shrink)

This book constitutes the strictly refereed post-workshop proceedings of the 11th International Workshop on Computer Science Logic, CSL '97, held as the 1997 Annual Conference of the European Association on Computer Science Logic, EACSL, in Aarhus, Denmark, in August 1997. The volume presents 26 revised full papers selected after two rounds of refereeing from initially 92 submissions; also included are four invited papers. The book addresses all current aspects of computer science logics and its applications and thus presents the (...) state of the art in the area. (shrink)

How have the theories of aesthetics which were worked out in europe evolved in america? are there widely differing standpoints between european and american aestheticians? what herrmann tried to do, to shed light on these questions, was to look over the issues of "the journal of aesthetics and art criticism" since 1941. thomas munro, a pupil of john dewey and founder of the journal tried to provide in the united states a broader and more open-ended and undogmatic platform for (...) aesthetics including such separate disciplines as philosophy, psychology, and cultural history. this interdisciplinary approach was an important part of his campaign against an a priori aesthetics. once this encyclopedic view concerning art and its theoretical understanding is adopted, one is in a position to go beyond the one-sided, partial, and dogmatic attitude in aesthetics that often dominates in european journals. the author concludes by considering an example that is closely related to contemporary aesthetics as well as to the present american scene. what is the reason that there have been so few articles on these contemporary art movements? (shrink)

The body at close range: volume and the unlistenable in Catherine Breillat's Anatomy of Hell -- Sonic subjection: Gaspar Noé's Irreversible and the dystopian limits of the resonant body -- A stranger everywhere: the écho-monde of Tony Gatlif's Exiles -- Feedback, asynchronicity, and sonic sociabilities: Arnaud des Pallière's Adieu -- Listening at the limit: non-human noise in Lars von Trier's Antichrist -- Listening to things: Foley as "alien phenomenology" and Peter Strickland's Berberian sound studio.

Examines how the modern city is portrayed in art and literature, discusses modernism, futurism, and expressionism, and looks at the work of Rilke, Eliot, Pound, Joyce, and Brecht.

During the sixteenth and early seventeenth centuries, physics was regularly taught as part of instruction in philosophy and the arts at Central European schools and universities. However, physics did not have a special or privileged status within that instruction. Three general indicators of this lack of special status are suggested in this article. First, teachers of physics usually were paid less than teachers of most other university-level subject-matters. Second, very few Central European academics during this period appear to (...) have made a career out of teaching physics. And third, Reformation Era schools and universities in Central Europe emphasized language instruction; such instruction not only was instrumental in promoting the confessional-i.e., Calvinist, Lutheran, and Roman Catholic-agendas of those same schools and universities, but also helped to prepare students for service in nascent but growing state governments. (shrink)

The following paper suggests a connection between recent developments in the justification of the capitalist system and contemporary European Liberal Arts programs. By looking at Luc Boltanski’s and Eve Chiapello’s study on The New Spirit Of Capitalism and Gilles Deleuze’s term of societies of control we highlight a pivot within Western societies towards flexibility, creativity and self-fulfillment as essential requirements on the job market. We then link this observation to European Liberal Arts programs and ask to what extent (...) the Liberal Arts’ self-understanding, as it appears at European universities, conforms to this new capitalist imperative. Furthermore, we examine how we experienced these claims during our time as Liberal Arts students. (shrink)

The European Legacy, Volume 17, Issue 4, Page 517-523, July 2012.

By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...) the myth of economic rationality, street art can change people’s experience of finance, while opening up a space for imagining alternative economic scenarios. (shrink)

Throughout the world, Eastern European critical theory is enjoying a moderate, yet exciting, resurgence. From its oppositional roots in praxis philosophy and critical sociology, this diffuse and dynamic tradition has expanded its field of concern to encompass, among other problems, the aporias of democracy, the Holocaust and legacies of totalitarianism, the vicissitudes of modern culture and the ethical imperatives of living after the grand narrative. In the process, Eastern European thought has come to figure as a vital alternative (...) to the dominant tendencies emanating from Frankfurt and Paris. This essay surveys and introduces a collection of papers delivered at The International Conference of Marxist Critical Theory in Eastern Europe held in Chengdu, P.R.C., in November 2018. It both highlights the thematic range of contemporary scholarship on Eastern European critical theory and signals potential directions in future research. (shrink)

Starting from the position of the ancient Stoa, these two interdisciplinary collections examine the influence of Stoic thinkers from late antiquity to modernity. Following an introductory overview, the 42 essays examine central Stoic themes and consider their cultural significance.

The scope of David Roberts’ book on the Total Work of Art is daunting. It stretches from the French Revolution through to the modernist avant-garde and its dissolution in totalitarianism. If Wagner is its chief leader and artistic animator, it also echoes back to Robespierre, Napoleon and Saint-Simon, and through at least to Bolshevism and Futurism, Stalinism and Italian Fascism. The total work of art totalizes the world of the artwork, but it also adds in the politics of the sublime, (...) turns politics into art and negates both as independent spheres of existence at the same time. In this piece I offer some observations on the thinking of a key switchman in this story: Leon Trotsky. (shrink)

Europeans seeking to understand tribal arts face obvious problems of comprehending the histories, values, and ideas of vastly remote cultures. In this respect the issues faced in understanding tribal art (or folk art, primitive art, traditional art, third or fourth-world art — none of these designations is ideal) are not much different from those encountered in trying to comprehend the distant art of “our own” culture, for instance, the art of medieval Europe. But in the case of tribal or so-called (...) primitive art, there are special complications. First, objects of tribal art are sometimes so strange to us that we cannot tell immediately whether they are intended to be works of art (or some local analogue of what we would call art) at all.1An African head-rest I once came across had an odd, extravagant extrusion which made the whole piece reminiscent of Arp. It seemed to my baffled, ignorant eyes to be much more than a mere head-rest, but I couldn’t tell what more it was supposed to be. Maybe that extension on the side of the object had some purely utilitarian function, acting as a handle, or perhaps it was a natural part of the original block of wood, left there merely because it looked nice to the eye of the carver. Though the head-rest seemed beautiful, I still don’t know if I was admiring as an essentially expressive object some simple item of practical use, or something that combined expression and utility. (shrink)

Artworks are seen here as presenting themselves as a means by which to navigate and plot the city for a writing interlocutor; The examples discussed reveat a plethora of emergent forms which are concentrated into three key modalities of urban arts practice in the twenty-first century walking play and cultural memory walking includes the talked walks of artist such as Richard Wentworth, the generative street incursions of Francis Alys, and the walking spectator at a site-based event, including works by Gustv (...) Metzger, Mark Wallinger and Pavel Althamer. Play embraces popular instances of mass public mobilisation in the form of flash mobs and mobile clubbing as well as ̀creative interventions such as free ranning, graffin writing and video sniffing, which reveal themselves to be engaged increasingly in a dialogue with the ̀high art' of artists like Antony Gomely, Mark Quinn and Carsten Holler. Cultural memory is considered via the burgeoning cases of holocaust installations, interrogating two of the best-known- and controversial-European urban sites from the point of view of the physical encounters that they implicity invite Peter Eisenman's memorial in Bertin and Rachel Whitereads' in Vienna. --Book Jacket. (shrink)

The essays in this collection, which were written by European and North American specialists, position intermediality as a praxis of interpretative analysis in order to show how intermediality challenges our notion of art. The writers examine the various intermedial relations between the arts, which may take the form of reference to another form of art, a combination of two or more forms of art or a generic transformation from one form of art to another. In such cases, an intermedial (...) approach helps us to grasp the changing relationship between the arts, which affects our reception of experience. Intermediality has profoundly changed our understanding of interdisciplinary relations, formerly examined in the field of interart studies. By introducing a medial aspect, intermediality has succeeded in making a "leap" from past practices of artistic interrelatedness to our contemporary medial age, in which literature along with other arts may be understood as a medium. This ambitious undertaking has contributed to the liberation of literature and other arts from an isolated position in the established scholarly landscape with its clear-cut borderlines between disciplines. The essays in this collection are a valuable contribution to this on-going discussion about the relationships between the arts. The variety of essays published in this collection makes it an excellent introduction to academics and university students in such disciplines as literature, music, theatre, art history and media studies. Due to its clarity - which does not sacrifice philosophical depth concerning the role of intermedial studies for several forms of art - this book will also be of interest to academics and students who are currently working at advanced level art schools. (shrink)

The 1948 Universal Declaration of Human Rights recognized that “everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits”. As a result, cultural rights have been understood as inseparable from human rights and require protection mechanisms within particular international legal systems. The European continent is proud to have developed one of the most effective mechanisms of the human rights protection by establishing the (...) Council of Europe and adopting the European Court of Human Rights. The recent outbreak of the COVID-19 reformulated many concepts of access to human rights and possibilities to enjoy freedoms. Even if access to culture has been available online for many years, it is the time of globally occurring lockdowns that forced people to stay home and found themselves in a situation when all of a sudden online access to culture became the only way of access to culture. The article aims to analyze the current situation in Europe by asking questions if and how online access to culture is recognized and protected under the Council of Europe’s mechanisms with special emphasis on the case-law of the European Court of Human Rights in this field. (shrink)

This book is an introduction to the history of art as an institution, from its development in Central Europe to its global expansion through colonialism and diaspora. It considers how the class, gender, and race of artists function to challenge highbrow notions of art and develops the concept of nobrow as a way to democratize art in the future.

This paper explores the relationship between the development of art and sport in the Arabian Peninsula. In particular, it will be argued that both sport and art can be understood in terms of a trajectory from the ‘modern’ to the ‘contemporary’. Modernity and modernism are introduced through an interpretation of Paul Delaunay’s series of paintings ‘The Cardiff Team’ (1912–22) which may be read as an expression of modernity. The content of the paintings documents core elements of European modernist culture, (...) including technology and science, leisure, consumerism and advertising, and crucially (international) sport. Delaunay’s work provides a background from which to reflect upon the development of sport into something like its contemporary form, in early 20th Europe. By drawing on Terry Smith’s analysis of the difference between modern and contemporary art, and applying this to sport, in order to suggest that there is a distinctive contemporary form of sport, the core tensions within both artistic and sporting practices are argued to lie in the movement from a conception of sport as an expression of modernity, where this is conceived as a universal movement, exemplified by Western humanism, towards a conception of sport as something particularised, expressive of local cultures. The promotion of art institutions and sports events within the Arabian Peninsula highlights the resultant tensions between the neo-colonial influence of Western culture and the reinterpretation of that culture, locally, in order to reflect upon and articulate communal identity within the contexts of globalism and transnationalism. (shrink)

The encounter of amateur science with synthetic biology has led to the formation of several amateur/do‐it‐yourself biology (DIYBio) groups worldwide. Although media outlets covered DIYBio events, most seemed only to highlight the hope, hype, and horror of what DIYBio would do in the future. Here, we analyze the European amateur biology movement to find out who they are, what they aim for and how they differ from US groups. We found that all groups are driven by a core leadership (...) of (semi‐)professional people who struggle with finding lab space and equipment. Regulations on genetic modification limit what groups can do. Differences between Europe and the US are found in the distinct regulatory environments and the European emphasis on bio‐art. We conclude that DIYBio Europe has so far been a responsible and transparent citizen science movement with a solid user base that will continue to grow irrespective of media attention. (shrink)

Tribal art , also termed ethnographic art or, in an expression seldom used today, primitive art , is the art of small-scale nonliterate societies. Some of the traditional artifacts to which the term refers may not be art in any obvious European sense, and many of the cultures where they occur may not strictly-speaking be tribal in social structure. The rubric nevertheless persists because the arts produced by small-scale cultures share significant elements in common. The tribal arts which have (...) gained the greatest attention in the West come from the Americas (such as the Inuit, Southwest and Plains Indians, and isolated areas of Central and South America), Oceania (including Melanesia and Australia, Polynesia and New Zealand), and Subsaharan Africa. The characteristics which define a small-scale, traditional society are (1) isolation, politically and economically, from civilizations of Europe, North Africa, or Asia, (2) oral traditions in the absence of literacy, (3) small, independent population groupings, usually in villages of no more than a few hundred souls who live a life of face-to-face social interaction and informal social control, (4) a low level of labor/craft specialization, (5) subsistence by hunting, fishing, and gathering and/or small-scale agriculture, (6) little technology beyond hand tools, and that often of stone rather than metal, and (7) slow rates of cultural change prior to European contact. Of this list, small size, lack of written language, and isolation from large civilizations are the essential features of societies whose art is discussed here. (shrink)

Patterns in Twentieth-Century European Thought contains interpretive essays in the history of the century's Marxism, psychoanalysis, quantum physics, logic, language theory, philosophy, art, literature, and theology. A concluding essay argues that the philosophy and social theory - not to mention the physics and theology - constitute a twentieth-century Counter-Enlightenment that has replaced the Cartesian- and Newtonian-based Enlightenment of the eighteenth century.

This essay attempts a restatement of the relationship between art and science in terms of “making” and “knowing.” It first surveys the various ways art and science were related in the early modern period, arguing that one result of the new naturalistic representation was the emergence of a new visual culture that reinforced appeals to eyewitness and firsthand experience and in some cases fostered a new examination of European culture. At the same time, art, understood as the work of (...) the human hand in imitating nature, came to be viewed as one of the central characteristics that distinguished European society from the past. Moreover, artist/artisans helped constitute the aims and methods of the study of nature during the fifteenth and sixteenth centuries, articulating a new kind of authority for nature and providing the artworks that engendered a culture of nature study and collection. Thus art and artisans were fundamental motors of the Scientific Revolution. More attention to the visual culture of early modern Europe, including religious and devotional imagery, and seeking out intersections between making and knowing, as some art historians studying techniques have begun to do, will add to our understanding of the relationship between art and science in the early modern period. (shrink)