This article examines the relationship between reflecting and making in the context of the new institutional connection between research and art/design. The article argues that while this new dispensation offers exciting possibilities for fruitful cross- and interdisciplinary development, caution is necessary to ensure that the artistic domain retains a level of autonomy within the broader university. For elucidation, the article initially looks to the early history of education in our fields and to Pierre Bourdieu's account of the "early moments (...) of the autonomization of the artistic field," in his critique of the "scholastic disposition." Bourdieu recognises "a repression of the material determinations of symbolic practices" within those early developments: in effect, a repression of those embodied, situated, and practical aspects of art and design production. He regards such repression as a trait of the broader academy, both then and in subsequent and recent periods. The article argues that this attitude still provides the impetus for what James Elkins refers to as "the incommensurability of studio art production and university life." The article further argues that a parity of esteem between reflecting and making is vital not only for the sake of the stability of the fields of art and design but for the ongoing development of the broader university. In this argument the article looks to the work of John Dewey, Martin Heidegger, and Hans-Georg Gadamer. (shrink)

Experiential knowledge is not often associated with research and organized inquiry, and even less often with the rigour of debating and honing research methods and methodology. However, many researchers in art and design and related fields perceive experiential knowledge or tacit knowledge as an integral part of their practice. The editorial article for the special issue on "Research Practice in Art and Design: Experiential Knowledge and Organised Inquiry" explores how research can recognise the relationship between creative practice, experience, (...) and knowledge generation in art and design in order to develop relevant approaches to organised inquiry. This discussion provides the backdrop against which the different articles of this special issue are introduced. The first section, "Experiential Knowledge and Organised Inquiry" addresses issues of integration and communication of experiential and tacit knowledge within the context of organised inquiry. The second section, "Experiential Knowledge in Doctoral Research" examines research practice options within doctoral research in art and design. (shrink)

This paper presents an emerging aspect of intentionality through recent Artificial Intelligence (AI) developments in art and design. Our main thesis is that, if we focus just on the outcome of the artistic process, the intentionality of the artist does not have any relevance. Intention is measured as a result of actions regardless of whether they are human-based or not as long as there is an esthetical value intersubjectively acknowledged. In other words, what matters is the ‘intentio’ embedded in (...) the work of art (the output) rather than the ‘intendere’ (the process). By considering the former aspect, intentionality becomes free of human intervention, therefore 'unintentional'. This thesis is supported through a range of examples related to AI in general and AI art in particular. However, in the case of a self-driving vehicle, the macro-goal of the system is fixed by humans, even though the AI system itself will take care of decomposing the macro-goal into a set of micro-goals and take the corresponding decisions. In the case of art, the system does not need to have any exterior goal to the extent that art is pure freedom of expression, as many philosophers have acknowledged. In this sense, the decisions of any AI system generating art or design are independent of humans and must be judged only on the ground of the final outcome. A work of art will be judged ‘artistic’ to the extent that humans will recognize an artistic intent in the work itself. In particular, the introduction of random processes makes an AI-generated artwork fully independent of human creativity. (shrink)

A collection of William Morris' letters and lectures on his home furnishings firm, stained glass, textiles, furnishing and decorating a house, printing, and art and society.

In 1984 the renowned biologist Edward O. Wilson wrote that we are human in good part because of the particular way we affiliate with other organisms. They are the matrix in which the human mind originated and is permanently rooted, and they offer the challenge and freedom innately sought. To the extent that each person can feel like a naturalist, the old excitement of the untrammeled world will be regained. I offer this as a formula of reenchantment to invigorate poetry (...) and myth: mysterious and little known organisms live within walking distance of where you sit. Splendor awaits in minute proportions.1 This poetical quote nicely captures the essence of Wilson’s biophilia hypothesis. While the notion .. (shrink)

IN/Search RE/Search' offers a unique insight into the wide range of appearances of the intersection between art, design and research. The book is organized into twelve substantive chapters: The Anthropocene Epoch; The Climate Crisis; The Coexerced Existence, The Limitations of Language; Facts and Fictions; The Fragile Human; The Instrumentalised Identity; Gender and Violence; The Question of Race; Politics of Public Space; Naked Capitalism; The Morality of a Cyborg. These themes are analysed through art and design projects. The projects (...) are further contextualised by journalistic explorations and academic reflections on similar matters, grappled by varied research outlooks. 00By bringing together various practices (arts, design and writing practices and academic research), 'IN/Search RE/Search' shows how artistic research processes are designed and performed. The kaleidoscopic convergence of the featured approaches promises an exciting shift in thinking about how knowledge within the arts comes about, and how this knowledge nurtures daily practice, and vice versa. In this way, this publication discloses methods of thinking and working through which a new generation of artists/designers/researchers is shaping scenarios for the near future.00The core of this publication is formed by various art and design projects by students of the Rietveld Academie and the Sandberg Instituut. Many of these projects confuse, blur and confront what is traditionally relevant in research practices. These young artists demonstrate what happens when ideas and practices that seem to be miles apart within the traditional domain of research, are suddenly allowed touch upon and influence each other. (shrink)

For over a decade, practice-based research degrees in art and design have formed part of the United Kingdom research degree education portfolio, with a relatively rapid expansion in recent years. This route to the PhD still constitutes an innovative, and on occasion a disputed, form of research study and students embarking upon the practice-based doctorate find themselves in many ways undertaking pioneering work. To date there has been a dearth of empirical studies of the actual experiences of such students. (...) This article, based upon qualitative interviews with 50 students based at 25 institutions, represents an attempt to begin to fill this lacuna. The article charts the biographical change which students undergo as they pursue their doctorates. It examines the ways in which they construct, maintain, and modify their identities whilst in the role of ‘creator/maker’, and seek to manage and combine the different modes of being required of a ‘creator’ and a researcher. (shrink)

In the first half of the twentieth century there was a remarkable convergence of art and design in De Stijl, Constructivism and the Bauhaus. But in the second half of the twentieth century fine art relinquished its liaison with design due to the influence of Dada and Surrealism's postromantic antagonism to practical-functionalism. Dada and Surrealism and postmodern fine art are characterized by a critique of the dominant social discourse of functionalism and the demand for a sublime poetics to (...) be brought into everyday life. This article argues that the apparent antipathy between postmodern fine art and design can be ameliorated if we critically analyse interpretations of evolutionary theory by postromantic philosophers such as Nietzsche, Bergson, and Deleuze and Guattari. When Bergson notes that practical-functional reasoning was created by evolution he reveals a flaw in the pursuit of an aesthetics that is totally opposed to commonsense and practical-functionalism. And when we turn to Deleuze and Guattari we find another valuable concept in the form of their notion of the machinic, which assists further in reconciling the postromantic emphasis on the sublime with the practicality of mechanism. Moreover, Deleuze and Guattari's notion of the machinic is informed by chaos theory, which allows further elaboration in terms of complexity theory. Complexity theory can be understood as a process philosophy that has no need to figure the sublime in terms of a mysterious force of nature because the mystery is located within complex interactions among a manifold of components, what one might refer to as a cosmic, machinic, combinatoire that arises out of what Christopher Langton has called the edge of chaos. This makes it possible to replace the emphasis on desire as the fundamental force of nature evident in Nietzsche, Bergson, Deleuze and Guattari with a complexity-theoretical concept of a cosmicmachinic combinatoire. It is then possible to formulate a machinic, evolutionary aesthetics that can reconcile the postromantic demand for sublimity with the demand for practical-functionalism that lies at the heart of the discipline of design. In place of the modernist machine aesthetic that informed De Stijl, Constructivism and the Bauhaus we would have a postmodernist machinic aesthetic. (shrink)

Danish Modern explores the development of mid-century modernist design in Denmark from historical, analytical and theoretical perspectives. Mark Mussari explores the relationship between Danish design aesthetics and the theoretical and cultural impact of Modernism, particularly between 1930 and 1960. He considers how Danish designers responded to early Modernist currents: the Stockholm Exhibition of 1930, their rejection of Bauhaus aesthetic demands, their early fealty to wood and materials, and the tension between cabinetmaker craft and industrial production as it challenged (...) and altered their aesthetic approach. Tracing the theoretical foundations for these developments, Mussari discusses the writings and works of such figures as Poul Henningsen, Arne Jacobsen, Hans Wegner, Nanna Ditzel, and Finn Juhl. (shrink)

The book concludes that it is a mistake to think of Art as something subjective, or as an arbitrary social representation, and of Technology as an instrumental ..

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature and (...) to assert that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

Art world talk of “blurred boundaries” and “hybrids” between art and craft, suggests that the philosophy of art needs to rethink the concept of craft. This can best be done by adopting four strategies: first, distinguish between craft as a set of disciplines, and craft as a process and practice; second, keep in mind the differences among craft practices such as studio, trade, ethnic, amateur, and DIY; third, recognize that craft’s relationship with design is as important as its relationship (...) to art; fourth, attend to the role digital design and fabrication are playing in craft and art today. At the core of the craft process are three contested characteristics found in most craft practices: hand, material, and skill, although these are better understood as body, medium, and mastery. After discussing a fourth contested characteristic of many craft and design practices, function, I show that none of the four characteristics is a requisite condition for artistic practice today, yet none are excluded from contemporary art, despite its current “post‐studio” or “post‐disciplinary” tendencies. I conclude that the boundary between art and craft conceived as a set of disciplines defined by materials and techniques has not become blurred, it has all but disappeared. On the other hand, I show through an analysis of some references to “mere craft” by Stephen Davies and Arthur Danto, that craft conceived as a process and practice can be understood as distinct from art, but in a non‐invidious sense. (shrink)

An innovative new history of how the migration of designers in the 20th century shaped modernist art and architecture.

This article provides a cross-case analysis of four art and design research centres operating within UK universities. Findings from autobiographical and semi-structured interviews with researchers, research managers, and research leaders indicate that they encounter similar issues in trying to establish internal legitimacy within the university alongside the need to gain external support and recognition. In dealing with these challenges, art and design research centres tend to pass through four broadly identifiable phases: (i) Origination (utilising credentials and leadership capacity), (...) (ii) Establishment (securing resources and embedding dedicated systems and processes), (iii) Development (furthering profile, diversifying, and retaining autonomy), and (iv) Sustainability (enhancing research culture, networks, and influence). Many interesting parallels are evident with the way small businesses strive to establish themselves within competitive market environments. Lessons for research managers and directors are explored to consider such similarities in key areas of responsibility that cover leadership, managing people and processes, developing organisational capacity, and building external networks. The research suggests research centre directors must demonstrate many intrapreneurial qualities to overcome obstacles in the development of a successful research team and that university departments can make substantial organisational interventions to help them succeed. (shrink)

Daniel Samoilovich. Estéticas del error. Apuntes sobre arte y poesía. Buenos Aires: Fondo de Cultura Económica, 2024, 315 páginas. Tiago Martins, Nereida Rodríguez-Fernández y Sérgio M. Rebelo (eds.). Artificial Intelligence in Music, Sound, Art and Design. Cham: Springer, 2022, 416 páginas.

This paper juxtaposes biosemiotic and anthropological perspectives to consider the issue of dwelling and living, with particular reference to nonhuman agency and design. The author discusses the fundamental issues and theoretical concepts associated with this issue before making comparisons with reference to a case study and defining a stance on the agency of animate and inanimate nature, with particular regard paid to dwelling. The Zoepolis project is an artistic one, on the borderline of the humanities, the natural sciences and (...) art, thus it combines three seemingly irreconcilable spheres to address issues associated with the subjectivity of living entities, and with the processes of their inhabiting and designing. (shrink)

This paper first elaborates ‘Art’ and the aesthetic as these concepts emerged in the eighteenth century, and uncovers the conflict between the resulting ideal of ‘art for art’s sake’ and the increasing use ‘art therapy’ for personal and social purposes. Taking this conflict to be a reason for the rejection of ‘Art’, it considers two accounts of ‘the end of Art’, one by Arthur Danto and the other by Nicholas Wolterstorff. The paper argues that both accounts fall short of adequately (...) recognizing the presence of the aesthetic in everyday life, and that once we do acknowledge the properly aesthetic character of ‘Design’, a way of thinking is opened up that can make better sense of art therapy. The paper concludes with a brief indication of where the next philosophical question about art therapy lies. (shrink)

David Berry and Michael Dieter: Introduction -- Florian Cramer: What is post-digital? -- Malcolm Levy and Christine Paul: Genealogies of the new aesthetic -- David Berry: The post-digital constellation -- Lukacs Mirocha: Communication models, aesthetics and ontology of the computational age revealed -- Katja Kwastek: How to be theorized: a f*** academic essay on the new aesthetic -- Daniel Pinkas: A hyperbolic new aesthetic -- Stamatia Portanova: The genius and the algorithm: reflections on the new aesthetic as a computer's vision (...) -- Lev Manovich and Alise Tifentale: Selfiecity: exploring photography and self-fashioning in social media -- David Golumbia: Judging like a machine -- Caroline bassett: Not now? : feminism, technology, postdigital -- Geoff Cox: Postscript on the problem of temporality in the post-digital -- Michael Dieterdark: Patterns: interface design, augmentation and crisis -- Sean Cubitt: Data visualisation and the subject of political aesthetics -- Mercedes Bunz: School will never end: on infantilization in digital environments: amplifying empowerment or propagating stupidity? -- Jussi Parikkathe : City and the city: London 2012 visual (un)commons -- Shintaro Miyazaki: Going beyond the visible: new aesthetic as an aesthetic of blindness? -- Thomas Apperley: Glitch sorting: minecraft, curation and the postdigital -- Marc Tuters: Through glass darkly: Google's gnostic governance -- Vito Campanelli: New aesthetic in the perspective of social photography -- Søren Bro Pold and Christian Ulrik Andersen: Aesthetics of the banal: "new aesthetics" in an era of diverted digital revolutions -- Wendy Chunnet: Works now: belated too early. (shrink)

The oral eye is a metaphor for the dominance of global designer capitalism. It refers to the consumerism of a designer aesthetic by the 'I' of the neoliberalist subject, as well as the aural soundscapes that accompany the hegemony of the capturing attention through screen cultures. An attempt is made to articulate the historical emergence of such a synoptic machinic regime drawing on Badiou, Bellmer, Deleuze, Guattari, Lacan, Rancir̈e, Virilio, Ziarek, and Zizek to explore contemporary art (post-Situationism) and visual cultural (...) education. Jagodzinski develops the concept of an 'avant-garde without authority,' 'self-refleXion' and 'in(design)' to further the questions surrounding the posthuman as advanced by theorists such as Hansen, Stiegler and Ziarek's 'force' of art. (shrink)

Creativity is an essential factor in ensuring the sustainable development of a society. Improving students’ creativity has gained much attention in education, especially in Science, Technology, Engineering, Arts, and Mathematics education. In a quasi-experimental design, this study examines the effectiveness of a project-based STEAM program on the development of creativity in Chinese elementary school science education. We selected two fourth-graders classes. One received a project-based STEAM program, and the other received a conventional science teaching over 6 weeks. Students’ creativity (...) was assessed before and after the intervention using a multi-method approach, including a test of divergent thinking, a story completion through the Consensus Assessment Technique, a creative self-efficacy measure, and a group-based creative project. Moreover, all students received a test of their science knowledge after the intervention. The results showed that compared with the control group, the creativity of the experimental group students improved significantly for 6 weeks at both individual and group level, even though their knowledge in science were comparable. This result confirmed the effectiveness of a project-based STEAM educational program improving elementary school students’ creativity. Implications are discussed. (shrink)

From Pier Paolo Pasolini’s Decameron and Canterbury Tales to Monty Python’s televisual riffs on Arthurian legend in the 1970s and role-playing games like Pendragon or Hidden Kingdom, a fascination...

Arts and Humanities in Higher Education, Volume 21, Issue 2, Page 176-197, April 2022. Successful induction has been evidenced to strengthen students’ learning, engagement and feelings of belonging. Technology offers opportunities for enhancing the student induction experience, especially pre-arrival, but has been under-utilised. This article provides an evaluation of an online induction learning resource for pre-arrival students in the Faculty of Arts at the University of Warwick in 2019. There will be particular focus on the method of co-designing the resource (...) with a group of current students. The article will demonstrate how online learning resources for pre-arrival students can support successful induction. It argues that co-designing digital student experience resources in collaboration with students aids the development of materials that students find engaging and that co-design has a range of benefits for staff and students who are involved in the process. (shrink)

This paper discusses exhibition installation as an aesthetic medium. Drawing on Germano Celant’s writing on installation, we advance an interpretation of artists’ engagement with installation resulting in room-size works in the first half of the 20th century, as part of the evolution of exhibition installation towards the convergence of art and design. The paper also address the problem of intermediality as discussed by Juliane Rebentisch, and its implications for installation and attempts to tests Rosalind Krauss’s reconception of the medium (...) against Rebentisch’s criticism, while analyzing Krauss’s disapproval of installation art, including the room-size works of the avant-garde. (shrink)

This book introduces the idea of sustainability and its aesthetic dimension, suggesting that the role of the aesthetic is an active one in developing an ecologically, economically and culturally healthy society. With an introduction by Christopher Crouch and an afterword by John Thackara, the book gathers together a range of essays that address the issue of the aesthetics of sustainability from a multitude of disciplinary and cultural perspectives.

Black Art and Aesthetics comprises essays, poems, interviews, and over 50 images from artists and writers: GerShun Avilez, Angela Y. Davis, Thomas F. DeFrantz, Theaster Gates, Aracelis Girmay, Jeremy Matthew Glick, Deborah Goffe, James B. Haile III, Vijay Iyer, Isaac Julien, Benjamin Krusling, Daphne Lamothe, George E. Lewis, Sarah Elizabeth Lewis, Meleko Mokgosi, Wangechi Mutu, Fumi Okiji, Nell Painter, Mickaella Perina, Kevin Quashie, Claudia Rankine, Claudia Schmuckli, Evie Shockley, Paul C. Taylor, Kara Walker, Simone White, and Mabel O. Wilson. The (...) stellar contributors practice Black aesthetics by engaging intersectionally with class, queer sexuality, female embodiment, dance vocabularies, coloniality, Afrodiasporic music, Black post-soul art, Afropessimism, and more. Black aesthetics thus restores aesthetics to its full potential by encompassing all forms of sensation and imagination in art, culture, design, everyday life, and nature and by creating new ways of reckoning with experience, identity, and resistance. Highlighting wide-ranging forms of Black aesthetics across the arts, culture, and theory, Black Art and Aesthetics: Relationalities, Interiorities, Reckonings provides an unprecedented view of a field enjoying a global resurgence. Black aesthetics materializes in communities of artists, activists, theorists, and others who critique racial inequities, create new forms of interiority and relationality, uncover affective histories, and develop strategies for social justice. (shrink)

This volume provides the reader with an integrated overview of state-of-the-art research in philosophy and ethics of design in engineering and architecture.

Max Weber’s contribution to cultural sociology has received insufficient attention, due to the unfinished character of his work and its reception. This paper investigates aspects of his contribution in relation to the field of art, broadly conceived, and in terms of the uses of his ideas by historians of art and design, such as T. J. Clark. Weber’s social theory considers art from two perspectives: the relative autonomy of cultural and artistic forms and modes of expression, and the social (...) construction of works of art and culture. From the latter point of view technics and the technical become important factors in a double sense: The technologies of modern civilization external to art shape the “spirit” of art and its contents, and development in art proceeds as an effort to solve technical problems internal to the art form itself. Examples from painting, architecture and music illustrate the relationships. It is these perspectives that characterize the Weberian approach to art and invite further investigation as contributions to cultural sociology and social theory. (shrink)

This chapter navigates the confluence of immersive design, critical mapping, urban heritage, and socio-environmental justice. It elucidates the potential of these intersecting domains to engender inclusivity, bolster urban resilience, and challenge prevailing power dynamics within urban spaces. Initially, the chapter illuminates the nuances of critical mapping, emphasizing its pivotal role in understanding and advocating for socio-environmental justice within the tapestry of urban heritage. By taking Amsterdam and Houston as primary case studies, the exploration accentuates the power of immersive art (...) and design in forging embodied experiences. These experiences, intrinsically holistic, seamlessly meld the cognitive and affective realms of design-centered embodiment. The showcased city narratives unravel the myriad ways immersive art interventions can stimulate critical reflections on core issues interlinking urban heritage, socio-environmental justice, and the nuances of public space occupation. -/- Situating itself within the broader discourse of the book on digital interventions in cultural heritage, this chapter carves a distinct narrative niche. It accentuates the transformative potential of immersive art and design in envisaging and actualizing vibrant, inclusive, and adaptive urban transition zones. By interlacing threads of critical mapping and socio-environmental justice, the chapter augments the discourse on urban heritage, offering a profound dive into its manifestations in both North American and European landscapes. (shrink)

In the UK, Art and Design Higher Education currently faces multiple challenges regarding its validity, efficacy and cultural value. These challenges are tractable against a complex historical background of successive governmental agendas aimed at both widening social participation and increasing professionalization/standardization. A specific problematic in this context is the teaching of 'critical', 'theoretical', or 'cultural' studies components on undergraduate degrees especially where written outputs are viewed as separate to visual work. The complexity of equitable and effective instruction is increased (...) by the high proportion of neurodiverse, as opposed to neurotypical, learners engaging with this sector of education. In this paper, the pedagogic potential of re-interpreting the problematics of traditional academic writing for Arts students through a neurodiversity framework will be assessed through case studies of the two primary dynamics evidenced in literature, both of which are at play in the teaching of non-visual concepts to art and design students. Adopting a neurodiverse framework, so I will argue, undermines the most pernicious aspects of neoliberal management routed through competitive differences, and empowers students to access truly emancipatory forms of learning. (shrink)

Against transmission -- For attention -- Education in the minor key -- Anthropology, art and the university.

In this paper, to solve the problem of slow design of arts and crafts and to improve design efficiency and aesthetics, the existing big data and 3D technology are used to conduct an in-depth analysis of the optimization of the rapid design system of arts and crafts machine salt baking. In the system requirement analysis, the functional modules of this system are identified as nine functional modules such as design terminology management system and external information import (...) function according to the actual usage requirements. In the system design, the overall structure design, database design, and functional module design of the system are comprehensively elaborated, and the key issues such as 3D display and home layout generation algorithm based on reinforcement learning are analyzed and designed. In the implementation part of the system, the overall construction of the system and the composition of functional modules are introduced in detail and the main functional modules of the system are presented with interface diagrams. In the system implementation part, the overall system construction and functional module composition are introduced in detail, the main functional modules of the system are shown with interface diagrams, codes, and algorithms, and the specific implementation process of 3D display and soft layout algorithms are also explained in detail. The process of Surface Mount Technology big data processing and analysis is designed, and the design of SMT production line data collection scheme and real-time data processing architecture is completed. Based on the characteristics of SMT production line data, the K-means algorithm is used to detect data outliers and verify the accuracy of the method; also, the Spark-based association rule printing parameter recommendation model is designed, and the efficiency of the Apriori algorithm is significantly improved by parallelization. (shrink)

This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional definitions (...) of "Art." Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty. (shrink)

This essay investigates the linguistic, artistic, and typographical dimensions of Anne Carson’s H of H Playbook and Trojan Women by Euripides: A Comedy. I argue that graphic design and design-thinking principles provide a useful and unexplored theoretical framework for deciphering these books, given the often-complex relationship in them between image and words, and sometimes even words presented in different typeface and handwriting. Carson worked in graphic design for a time, and as a poet, words – and metaphor, (...) specifically – are her primary design tool. Language works in tandem with image and form to create broader artistic meaning. (shrink)

Contents Acknowledgements vii Illustrations ix Preface xi Further Bibliography of A.C. Crombie xiii 1 Designed in the Mind: Western visions of Science, Nature and Humankind 1 2 The Western Experience of Scientific Objectivity 13 3 Historical Perceptions of Medieval Science 31 4 Robert Grosseteste 39 5 Roger Bacon [with J.D. North] 51 6 Infinite Power and the Laws of Nature: A Medieval Speculation 67 7 Experimental Science and the Rational Artist in Early Modern Europe 89 8 Mathematics and Platonism in (...) the Sixteenth-Century Italian Universities and in Jesuit Educational Policy 115 9 Sources of Galileo Galilei’s Early Natural Philosophy 149 10 The Jesuits and Galileo’s Ideas of Science and of Nature [with A. Carugo] 165 11 Galileo and the Art of Rhetoric [with A. Carugo] 231 12 Galileo Galilei: A Philosophical Symbol 257 13 Alexandre Koyré and Great Britain: Galileo and Mersenne 263 14 Marin Mersenne and the Origins of Language 275 15 Le Corps à la Renaissance: Theories of Perceiver and Perceived in Hearing 291 16 Expectation, Modelling and Assent in the History of Optics: i, Alhazen and the Medieval Tradition; ii, Kepler and Descartes 301 17 Contingent Expectation and Uncertain Choice: Historical Contexts of Arguments from Probabilities 357 18 P.-L. Moreau de Maupertuis, F.R.S. : Précurseur du Transformisme 407 19 The Public and Private Faces of Charles Darwin 429 20 The Language of Science 439 21 Some Historical Questions about Disease 443 22 Historians and the Scientific Revolution 451 23 The Origins of Western Science 465 Appendix to Chapter 10: 479 Sources and Dates of Galileos Writings [with A. Carugo] Pietro Redondi, Galileo eretico [with A. Carugo] Mario Biagioli, Galileo, Courtier Corrections to Science, Optics and Music in Medieval and Early Modern Thought 495 Index 497. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and Evolution:Spiegelman's The Narrative CorpseBrian BoydIHas art evolved, like opposable thumbs and the whites of our eyes? If it has, will knowing so help us understand better not just art in general but particular works, even works of avant-garde art? Over recent decades many have come to accept that not only have humans evolved from other animals but that many features of their minds and behavior can be (...) explained by the deep past of evolution.1 Yet art remains a puzzle for biocultural analysis. How can we explain art in the hard-nosed terms of biological advantage, especially if it lacks analogies or precursors in other species and seems so pleasurably part of being distinctly human?2Nevertheless we have good reasons to examine whether art might be an adaptation. All cognitively normal individuals in all known societies engage in some form of art, actively or at least passively: music and dance, story, visual art. No one has to be pressured into listening to music on a radio or an iPod. And like language but unlike reading and writing, art develops reliably to a basic level without special training.Art could be what evolutionary biologists call a byproduct, a mere side-effect of our bigger brains or of culture. Yet that seems unlikely. Byproducts by definition do not offer advantages in terms of survival and reproduction: a bodily or behavioral feature whose design offers such advantages we classify as an adaptation. But if art were a byproduct, if it offered on average no advantage in terms of survival and reproduction, many generations of intense evolutionary competition would have eliminated it. If art offered no benefits but exacted the costs it does in time, [End Page 31] energy and resources, it would over many generations have been selected against through the superior fitness of those less inclined to pay such costs, those who preferred to devote their time and energy to securing material or social advantage or simply to save energy by resting.We can understand art in all its varieties, I suggest, as cognitive play with pattern, with multiple, high-intensity patterns. Play exists throughout much of the animal kingdom: in all mammals in which it has been looked for, in birds, and even in invertebrates like octopi. Play, like sleep and dreaming, puzzles and fascinates biologists because it is so widespread and so highly conserved (evolutionary lineages in which play has arisen do not lose it as they continue to evolve) that it must fulfill some function, because it has high costs in energy and risk, and because its functions are not as evident as those of "serious" behavior.3The amount of play in a species correlates highly with the flexibility of its behavior. In all species in which it occurs, play seems remarkably self-rewarding. Animals like pigs and rats play compulsively. In fact this seems the core of play: the self-rewarding nature of play makes animals engage in exuberant, intense behaviors that, under conditions of relative security, allow them to extend their capacities and improve their competence in situations of minimal risk. The skills honed will prove of advantage in real world situations where it is too late to learn on the job, in situations like fight or flight. Because play is compulsive, animals engage in it again and again, incrementally altering their neural wiring, strengthening and speeding up synaptic pathways, improving their capacity and performance.Humans uniquely inhabit what has been called "the cognitive niche":4 we gain most of our advantages from intelligence. We have an appetite for information, and especially for pattern, for information that falls into meaningful arrays from which we can make rich inferences. We therefore like bright, distinct colors, crisp outlines, complex shape or surface design: think of our special fondness for butterflies and flowers. And we have an appetite for open-ended pattern, new kinds of patterns, not only the patterns we have evolved to detect automatically. Vervet monkeys signal to one another in different ways when they see snakes, or leopards, or eagles, because they need to react in different ways to different threats, but they never learn to associate... (shrink)

This paper presents a critical reflection on insights into the ongoing endeavours for community engagement by Ayara and MAL; two urban grassroot organisations in Bogota, Colombia, where a long history of internal conflicts has resulted in diverse human right violations. The paper presents examples of the grassroots organisations’ unique methods of engagement that promotes building collective intelligence from the bottom–up through creative collaboration and design processes, leading to rebuilding social fabrics that support the common good for the people of (...) Bogota. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 71-80 [Access article in PDF] The Arts and the Creation of Mind: Eisner's Contributions to the Arts in Education Arthur Efland Professor Emeritus, Department of Art Education The Ohio State University In the last four years at least three books in arts education have dealt with the subject of cognition in relation to the arts. I refer to Charles Dorn's Mind in (...) Art, my book Art and Cognition, and Elliot Eisner's The Arts and the Creation of Mind, with the publication of the latter providing the occasion for this article.1 Each of these texts makes its case for the arts in education on somewhat similar grounds. All three share the view that the creation and understanding of works of art, though endowed with feeling and emotion, are nevertheless cognitive endeavors. But why have so many books appeared on the topic of cognition at this time? To answer this question it becomes necessary to describe the changes in our understanding of cognition and the problems these have created for the arts in education.Once cognition was the term used to designate propositional thinking with verbal and numerical symbols, whereas the current sense of the term embraces all forms of thought including mental images obtained through perception. In short it includes all forms of sentience by which the human organism comes to know itself and its environment. This change was to have a major impact upon curriculum reform initiatives in all studies but it was to have a revolutionary impact upon education in the arts for reasons explained later in this essay. However, an adequate story of cognition in the arts cannot be told without a discussion of Eisner's contributions to this discourse. The Waning of Behaviorism For the first half of the twentieth century the psychology that dominated educational practice was behaviorism. Its proponents included psychologists like Edward L. Thorndike, James B. Watson, and B.F. Skinner.2 Each strove to create a science of psychology that would match the rigor of physics or chemistry, where causes in relation to effects would be carefully observed and measured, making the explanation, prediction, and control of phenomena possible, especially those behaviors that fall under the control of the classroom teacher. The formation of connections called stimulus-response (S-R) bonds had become the molar unit to explain learning, much [End Page 71] like the way that differences in the structure of the atom was used to explain the behavior of the chemical elements of the Periodic Table. This bond between environmental stimuli and the organism's response was seen as the elementary unit of behavior while the IQ had become its measure. Invisible notions like mind and imagination were banished to metaphysical philosophy, outside the legitimate bounds of science.Though behaviorists never denied the existence of higher order thinking that is, abstract, sense-free thinking as found in pure mathematics, they were unable to explain how these human capacities emerge through the accumulation of such rudimentary stimulus-response events. Nevertheless, they recognized that humans do have a capacity for thinking that relies heavily upon symbols like words, numbers and the like. Moreover, certain subjects that require reason and logic, like math and theoretical physics, would be inconceivable without such symbols and the rules by which these are manipulated. By contrast it was assumed that the arts, which relied on sensory images, either did not employ this type of propositional thought, or did so to a far lesser degree. Thus the arts could be dispatched to the noncognitive or affective domains with little or no reduction in the learner's cognitive capacities. Indeed, these noncognitive realms, which gave play to feelings and emotions, were often seen as inimical to the acquisition of rational powers of thought. Intellectual power as it was then understood, required that feelings and emotions be brought under the control of reason.As long as behaviorism served as the dominant paradigm, the school curriculum could be divided into two or three broad divisions... (shrink)

We develop a series of theses on the philosophical aesthetics of design art. A sketch of an outline of a theory of objects is drawn from within a naturalistic worldview, that of abstract materialism and the general, still ongoing, quest to build a comprehensive philosophy of nature encompassing not only the physical world, but also culture, art, and politics.

Abstract The first several chapters of the Bhagavad Git? set themselves a daunting task: to explain how a life of action can be rendered compatible with a life of renunciation of desire. The situation, in fact, is designed to raise the issue in an excruciatingly intense form. As Krsna and Arjuna pause on the verge of the great battle, Arjuna asks how killing people?including his own teachers and members of his own family?in order to secure power and fame, can be (...) squared with his religious and ethical convictions. This paper is an attempt to explicate Krsna's solution of the paradox, not from the point of view of Hindu tradition (in which it has, of course, driven whole movements of thought), but simply as a philosophical problem in its own right. I will argue that the paradox of the Git? suggests a reconstrual of the way we conceive the relation of means and ends in our activities, a reconstrual that can be profitably elucidated through the concept of art. And I will argue that this reconstrual has the potential to change our relations to our world and to one another in a way that is deeply life?affirming. (shrink)

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

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)

An active engagement with arts in general and visual arts in particular has been hypothesized to yield beneficial effects beyond arts itself. So-called cognitive and socio-emotional “transfer” effects into other domains have been claimed. However, the empirical basis of these hopes is limited. This is partly due to a lack of experimental comparisons, theory-based designs, and objective measurements in the literature on transfer effects of arts education. Therefore, the aim of the present study was to design and experimentally investigate (...) a theory-based visual-arts education program for adolescents aged between 12 and 19 years. The program was delivered in a museum context in three sessions and was expected to yield specific and objectively measurable transfer effects. To conduct a randomized field trial, three strictly parallelized and standardized art courses were developed, all of which addressed the topic of portrait drawing. The courses mainly differed regarding their instructional focus, which was either on periods of art history, on the facial expression of emotions, or on the self-perception of a person in the context of different social roles. In the first and more “traditional” course portrait drawing was used to better understand how portraits looked like in former centuries. The two other courses were designed in a way that the artistic engagement in portrait drawing was interwoven with practicing socio-emotional skills, namely empathy and emotion recognition in one course and understanding complex self-concept structures in the other. We expected positive socio-emotional transfer effects in the two “psychological” courses. We used an animated morph task to measure emotion recognition performance and a self-concept task to measure the self-complexity of participants before and after all three courses. Results indicate that an instructional focus on drawing the facial expressions of emotions yields specific improvements in emotion recognition, whereas drawing persons in different social roles yields a higher level of self-complexity in the self-concept task. In contrast, no significant effects on socio-emotional skills were found in the course focussing on art history. Therefore, our study provides causal evidence that visual-arts programs situated in an art-museum context can advance socio-emotional skills, when designed properly. (shrink)

Cultivation: Art and Aesthetics in Everyday Life is an inquiry into everyday practices with an aesthetic dimension such as collecting, walking and domestic life. I examine the implications of a critical engagement with these practices for philosophical aesthetics and cultural studies. Traditional aesthetic theory has been informed by a fine arts model of creativity and aesthetic experience and, thus, has not adequately treated everyday aesthetic life. The rapidly expanding field of contemporary cultural studies, on the other hand, has been marked (...) by a dramatic shift in attention toward non-fine art objects like film and television. However, the attention of cultural studies remains, for the most part, limited to mass produced commodities, thereby presenting a narrow picture of aesthetic life outside the fine arts. Cultivation presents an alternative to both approaches. Following John Dewey, I develop a model of cultivation that allows me to locate and describe creativity and aesthetic experience in everyday life. Seen within the framework of everyday life, cultivation becomes more than the development of aesthetic sensibility, as in traditional connoisseurship. Instead, it includes as well the ongoing development of the capacity to satisfy this sensibility through the creative manipulation of one's actions and the world. This Pragmatist version of cultivation emphasizes the importance of creating occasions for aesthetic experience, that is, of refining and developing experience through the design of aesthetically motivated endeavors like walking, interior decoration and collecting. Cultivation is essentially a process: we do or make things in order to have experiences which then, internalized through habit and re-organized and redirected upon reflection, serve as the basis for further doing or making and still more refined experiences. This model of cultivation is then deployed in extended analyses of everyday practices. In these analyses, I develop a critical approach that seeks to understand practice as a creative process whose possibilities are intrinsically open to development. (shrink)