In our life with science, we trust experts; we form judgements by inference from past evidence. We conduct ourselves very differently in the aesthetic domain. We avoid deferring to aesthetic experts. We form our judgements through direct perception of particulars rather than through inference. Why the difference? I suggest that we avoid aesthetic testimony and aesthetic inference, not because they’re unusable, but because we have adopted social norms to avoid them. Aesthetic appreciation turns out to be something like a game. (...) We have laid down certain rules and restrictions in order to shape a kind of activity we cherish. And aesthetic properties turn out to be a kind of social construct. Much like the goal of a game, they are constituted in part by our obedience to certain rules. The norms of aesthetic life are different from those of science because our purposes are different. We engage in science to get the right answers; we engage in aesthetic appreciation to be absorbed in the activity of the sensuous perception of particulars. Our aesthetic practices are a constructed shelter from science; they restore to us a small domain where we may once again engage in our own sensuous perception of particulars. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that (...) set our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

The concept of “critical science literacy” advanced by Susanna Priest is significant to how citizens approach scientific knowledge, but the concept is also relevant to undergraduate students majoring in the sciences, who are not necessarily becoming “critically literate” in their own disciplines. That is, future scientists are not learning how arguments are structured, meaning is made, and facts are agreed upon—specifically through communicative practices—both within and outside of the scientific community. This gap in the curriculum can be addressed through (...) collaborative efforts between rhetoricians and sociologists of science. Drawing from three major disciplinary traditions—writing studies, the rhetoric of science, and science communication—this article posits that a pedagogical intervention is necessary to improve science communication with nonexpert publics. A science writing and communication course that is grounded in the rhetoric of science and that also has sociological, philosophical, and historical components can provide science students with a critical awareness of how their discipline operates in society and teach them how to become more responsible and effective communicators. (shrink)

Historians of economic thought have long recognized the possibility that the "science" of economics owes more to cultural influences than we are usually prepare to admit. Econ Art offers the first detailed study of this contradiction, highlighting the cultural and aesthetic influences of surrealism, cubism and abstract art on both economic theory and method in the twentieth century.Arguing that economics has developed more as an art form than as a science, the author looks not only at what economists have produced (...) but how they have produced it, uncovering the cultural preconceptions which have shaped economic theory and method in the last one hundred years. At a time of increasing dissatisfaction with the discipline and the practice of economics, Szostak argues that the time is now ripe —- and right —- to embarrass the profession into a whole-sale reconsideration of what economics is for, how it should be done and what might make it better and more useful to the academy and to the world at large. (shrink)

This contribution includes three selected works from an exhibition on _Cyborg Encounters_. These works deal with hybrid connections of human and non-human species that (might) emerge as a result of enhancement technologies and bio-technological developments. They offer not only an artistic exploration of contemporary but also futuristic aspects of the subject. Followed by an introduction by Melike Şahinol, _Critically Endangered Artwork_ (by Ayşe Melis Okay) highlights Turkey’s ongoing problems of food poverty and the amount of decreasing agricultural lands. It displays (...) seeds of a promising endemic plant to mitigate these problems using the seeds of the _Thermopsis Turcica_, a herbaceous perennial endemic plant. _Ecomasculinist Pregnancy_ (by Burak Taşdizen and Charles John McKinnon Bell) follows the design fiction methodology and illustrates a future scenario through a patient’s diary and the medical letters he receives during his pregnancy with an extinct sea-lion. _Polluted Homes_ (by Beyza Dilem Topdal) is a fictional art installation consisting of polychaete species evolved in time under the ecological circumstances prevalent in the Bosphorus and the Sea of Marmara today. These works show, that manufacturing life has consequences, not only for the human body and its physical appearance, but also, for example, for gender orders, the social structure of society, and even the environment, and thus for (re)shaping (non)living matter and their environments. This Art-Science Collection intends to provide an impetus for debate about the extent to which cyborg encounters should be taken seriously. (shrink)

Adults spend most of their conscious life speaking, comprehending, writing, and reading discourse. It is entirely appropriate for cognitive science to investigate discourse especially as transmitted texts or printed media, such as books, newspapers, magazines, and computers. However, there is another reason why text understanding has been one of the prototypical areas of study in cognitive science: Interdisciplinary work is absolutely essential. As cognitive scientists have unraveled the puzzles of text comprehension, they have embraced the insights and methodologies from several (...) disciplines. (shrink)

NOT SAUSSURE: A CRITIQUE OF POST?SAUSSUREAN LITERARY THEORY by Raymond Tallis London: Macmillan, 1988. 273 pp., £33 (£10.95 paper).

One of the biggest challenges of contemporary science is to develop innovative approach to excite society about science and scientific topics. One of the attempts to find new ways to communicate with the public has been to use artistic language to explore scientific topics. Specifically, theatre, allows to explore emotions and raise awareness of ethical and social issues. This type of art can have the power to excite people about certain topics, including scientific ones. Based on these premises, a (...) project, titled _Social sciences on stage_ is presented that create a creative link between social science and theater. The aim is to encourage the participation of scientists in the creation and expression of theater and to reflect on the social context of science. It will generate a reflection on the social context of science. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Mimesis: Culture, Art, SocietyGene FendtMimesis: Culture, Art, Society, by Gunter Gebauer and Christoph Wulf; translated by Don Reneau; 400 pp. Berkeley: University of California Press, 1995, $45.00 cloth, $18.00 paper.The purpose of this book is to develop “a historical reconstruction of important phases in the development of mimesis” (p. 1) from a brief discussion of its pre-Platonic Greek significance through contemporary thinkers. It is, then, not strictly (...) a philosophical text, as are most of the texts and authors the book takes up. It is, however, a significant effort in the history of ideas, and as such it is shot through with traces of the traditional tropes, shaping power, ideology, and even social relations of that discipline, particularly as it is practiced in the venerable school of German scholarship. That is, the structure, tone, and argument of the book are shaped mimetically. This book’s problematic is, then, not simply historical, as Republic’s problem with the poets is not simply philosophical. Rather, both books partake of mimesis, even while each one aims to criticize or set forth the concept’s historical development.Let this stand as notice of a deep philosophical problem with the method of historical criticism. In fairness we should note that the authors are not unconscious of their difficulty here: “The fact that mimesis cannot be represented without the use of mimetic processes poses the fundamental problem of theory formation in reference to our object. What is the relation between the representational and the represented world? Is the representation of representation structurally equivalent to simple representation?” (p. 21). The authors hope to moot the power of those questions, if not the questions themselves, by attending “first of all to representations of mimesis found in texts best selected for that purpose and only afterward begin to offer considerations of a more generalizing nature” (p. 21). Their reasoning and choice of texts here is the traditional trope of the discipline: a mimema. Among other things, this methodos requires that the authors treat Girard as developing a “literary critical examination of [mimesis in] nineteenth and twentieth century novels” (p. 359n1) and a “new ordering of nineteenth century social relations” (p. 235), rather than, as he claims, a comprehensive anthropological thesis. At least, this method requires treating the former as essential, and the latter as less justifiable, for if Girard’s anthropological thesis about mimesis were justifiable a history of the idea of mimesis would be merely a heresiology. This problem can be restated mutatis mutandis for such thinkers as Plato and Augustine, whose theses—if they have theses—about mimesis are deeply anthropological.Two further questions arise early on and remain at the end. If, as the authors hold (and show), “the concept of mimesis necessarily loses its intellectual centrality with the rise of rational thought,” so much so that “the field of art, which comes to be regarded in the process as autonomous, undergoes a complete and fundamental restructuring” (p. 3), must we not begin to [End Page 199] suspect—as recent philosophers like Derrida attempt to show—that there is a dialectical relationship between the intentional, truth-functional relations of modern rational thought and the mimetic, unformalizable and “ambivalent” (pp. 2–3) processes of mimesis? Rather than conclude that “the question what is mimesis? is one which demonstratively leads to error” (p. 309), does it not begin to seem that intentional representation, as most visible in science, and mimetic assimilations, as most obviously effective in art, are together the necessary dialectical elements of culture, art and science? While it seems that the rise of rational scientific thought pushes mimesis to the social fringes of the arts, isn’t scientific activity and writing still just as much subject, and just as much a product, of the power of mimesis as art? Similarly art is just as bound as science to “probability” or “the convincing impossibility,” to recall Aristotle. This idea is not entirely foreign to the book; it appears subliminally as a plausible explication of the work of theorists like Benjamin and Adorno (pp. 267–93).The third difficulty is a question about selection. As in Auerbach’s renowned precursor, Wulf... (shrink)

Personalized medicine plays an important role in the development of current medicine. Among the numerous statements regarding the future of personalized medicine, some can be found that accord medicine a new scientific status. Medicine will be transformed from an art to a science due to personalized medicine. This prognosis is supported by references to models of historical developments. The article examines what is meant by this prognosis, what consequences it entails, and how feasible it is. It refers to the long (...) tradition of epistemological thinking in medicine and the use of historical models for the development of medicine. The possible answers to the question “art or science” are systematized with respect to the core question about the relationship between knowledge and action. The prediction for medicine to develop from an ‘empirical healing art’ to a ‘rational, molecular science’ is nonsensical from an epistemological point of view. The historical models employed to substantiate the development of personalized medicine are questionable. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

Elwyn Richardson’s work at Oruaiti School from 1949 to 1962 has been almost exclusively interpreted as a unique experiment in art and craft education, partially as a result of impact of his book, In The Early World. The book is viewed as evidence of innovative departmental policies that allowed teachers wide latitude for experimentation, access to ample high-quality art materials and professional support. This interpretation of his work is, however, limiting as it obscures the scientific basis of Richardson’s approach. The (...) art and craft work at Oruaiti arose directly out of a scientific foundation that was shaped more by Richardson’s interest in environmental study than by the dominant ideas about child art. (shrink)

This article will argue that there is a science of scenario planning; or at least a logos, a logic, a scenariology. Scenario planning is not predictive. But a good set of scenarios, scientifically developed, can reliably and predictably change minds. Scenario planning is both art and science. In joining the club of the sciences, scenario planning calls for a new kind of membership, or a new kind of science, one that, following Stuart Kauffman, relies on the importance of story. (...) Hegel tells us that all stories, all narratives include a conflict between desire and the law, intention, and necessity. Scenarios provide a way for communities to frame their intentions. They thereby effect "downward causality" on the present in order to project the present toward a preferred future. In fulfilling the promise of this new kind of science, scenario planning breaks with positivistic science, but without falling into a postmodern nihilism. Without setting out to do so, the discipline of scenario planning introduces us to a new epistemology, a new way of knowing the truth. Drawing on pragmatism, Wittgenstein, and Richard Rorty, this article reaches the conclusion that, for scenario planners, the future replaces objectivity as the horizon for justification. What is true? We'll see. (shrink)

The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualize their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories, such as Darwin's theory of evolution and sexual selection, deliberately drawing on concepts (...) in ways that allowed them to refute popular claims or disrupt conventional knowledges. Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science - and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media, from photography to oil painting. This volume reminds us that science and art are not tightly compartmentalized, separate influences, but rather fields that shared forms - manifest as waves, layers, lines, or geometries - and invest in the idea of the evolution of form. (shrink)

Claims that science should be more democratic than it is frequently arouse opposition. In this essay, I distinguish my own views about the democratization of science from the more ambitious theses defended by Paul Feyerabend. I argue that it is unlikely that the complexity of some scientific debates will allow for resolution according to the methodological principles of any formal confirmation theory, suggesting instead that major revolutions rest on conflicts of values. Yet these conflicts should not be dismissed as irresoluble.

L'anthropologie de l'art est une discipline relativement récente, qui naît au carrefour de plusieurs sciences humaines à la fin du XIXe siècle et qui se développe au XXe siècle jusqu'à connaître sa floraison actuelle. On entend par ce terme les études qui traitent de l'art par le prisme de la diversité des cultures, donc constamment tourné vers d'autres formes telles que le langage, le rituel, la technique et la science avec lesquelles il interagit. Cet ouvrage aborde des œuvres qui (...) ont un caractère esthétique, mais également une signification culturelle et des fonctions techniques, cognitives, sociales et politiques diverses. Au travers d'un panorama qui ne se prétend pas exhaustif, ce sont les conditions de son émergence que nous voudrions analyser ici avec les figures pionnières qui ont accompagné son avènement et le déploiement qu'en offrent quelques-unes des principales figures plus contemporaines pour mieux en saisir la diversité et la richesse"--Page 4 of cover. (shrink)

Have you ever gotten chills while listening to a particularly gorgeous piece of music? Or felt a sense of calm while gazing at a painting of a serene landscape? We have experiences like those every day, but rarely stop to consider what's happening internally to cause them. In Your Brain on Art, founder of the International Arts + Mind Lab at Johns Hopkins University School of Medicine Susan Magsamen and Google designer Ivy Ross explain how, by understanding how we (...) biologically react to aesthetic experiences, we can not only heal as individuals but thrive as communities. Using the new science of neuroaesthetics, which explores our physiological reactions to art, Magsamen and Ross show us how, for instance, gardening can help a person heal from trauma or listening to a major fifth interval can snap the body out of a fight-or-flight response. Beyond enjoyment and abstraction, art can change the way we operate on a daily, practical level. And, in addition to helping each of us heal from stress, anxiety, burnout, and other malaises of modern life, neuroaesthetics can effect major change in society writ large, whether through public art murals in high-crime areas or music and dance therapy for patients experiencing neurodegenerative disorders. (shrink)

‘ANY state of mind in which anyone takes a great interest is very likely to be called “knowledge”, because no other word in psychology has such emotive virtue’, wrote Ogden and Richards apropos of those who claim that art affords us a kind of knowledge uniquely its own. While one may agree with the implications of this remark, and it is a salutary warning to anyone tempted to make extravagant claims for art, it does less than justice to the intentions (...) of those who make these claims. They are at least facing up to a real problem—a problem which has troubled philosophers since the time of Plato. For, beyond doubt, the arts have been held in high regard in every society with a well developed culture. To dismiss art as mere entertainment or pleasant deception or fantasy gratification or play only raises the question why intelligent and educated people take such trivial stuff seriously, why they consider it important and often find it profound. One way of meeting this problem is to say that art gives us a special kind of knowledge or insight which other branches of human learning—history, science and even philosophy—do not and cannot give us. This may not be a solution to the problem, but it is a view that deserves to be taken seriously, and I propose in this article to consider one aspect of it. (shrink)

En hommage à la longévité universitaire du sociologue et philosophe Jacques Leenhardt - professeur à l'École des hautes études en sciences sociales depuis 1966, fondateur des Archives de la critique d'art, créateur et directeur du Centre d'art contemporain de Crestet -, cet ouvrage réunit des contributions de sociologues, philosophes, artistes et écrivains qui retracent plusieurs débats marquants liés aux sciences humaines, à la littérature et aux arts, en France et aux Amériques à partir des années 1970. Le (...) riche parcours du chercheur français, né à Genève, se dessine à travers autant de rencontres intellectuelles et de sensibilités artistiques en partage--Page 4 of cover. (shrink)

In 1997, I introduced the concept and the phrase “bio art”, originally in relation to my artwork “Time Capsule”. This work approached the problem of wet interfaces and human hosting of digital memory through the implantation of a microchip. The work consisted of a microchip implant, seven sepia-toned photographs, a live television broadcast, a webcast, interactive telerobotic webscanning of the implant, a remote database intervention, and additional display elements, including an X-ray of the implant. While “bio art” is applicable to (...) a large gamut of in vivo works that employ biological media, made by myself and others, in 1998, I started to employ the more focused term “transgenic art”. Republished in Ars Electronica ‘99—Life Science, ed. Gerfried Stocker and Christine Schopf, 289–296.) to describe a new art form based on the use of genetic engineering to create unique living beings. Art that manipulates or creates life must be pursued with great care, with acknowledgment of the complex issues it raises and, above all, with a commitment to respect, nurture, and love the life created. I have been creating and exhibiting a series of transgenic artworks since 1999. I have also been creating bio art that is not transgenic. The implications of this ongoing body of work have particular esthetic and social ramifications, crossing several disciplines and providing material for further reflection and dialog. What follows is an overview of theses works, the issues they evoke, and the debates they have elicited. (shrink)

Genetically engineered organisms have been at the center of ethical debates among the public and regulators over their potential risks and benefits to the environment and society. Unlike the currently commercial GE crops that express resistance or tolerance to pesticides or herbicides, a new GE crop produces two bioactive nutrients and docosahexaenoic acid ) that heretofore have largely been produced only in aquatic environments. This represents a novel category of risk to ecosystem functioning. The present paper describes why growing (...) oilseed crops engineered to produce EPA and DHA means introducing into a terrestrial ecosystem a pair of highly bioactive nutrients that are novel to terrestrial ecosystems and why that may have ecological and physiological consequences. More importantly perhaps, this paper argues that discussion of this novel risk represents an opportunity to examine the way the debate over genetically modified crops is being conducted. (shrink)

No study in the philosophy of science created such controversy in the seventies as Paul Feyerabend's Against Method. In this work, Feyerabend reviews that controversy, and extends his critique beyond the problem of scientific rules and methods, to the social function and direction of science today. In the first part of the book, he launches a sustained and irreverent attack on the prestige of science in the West. The lofty authority of the "expert" claimed by scientists is, he argues, incompatible (...) with any genuine democracy, and often merely serves to conceal entrenched prejudices and divided opinions with the scientific community itself. Feyerabend insists that these can and should be subjected to the arbitration of the lay population, whose closes interests they constantly affect—as struggles over atomic energy programs so powerfully attest. Calling for far greater diversity in the content of education to facilitate democratic decisions over such issues, Feyerabend recounts the origin and development of his own ideas—successively engaged by Brecht, Ehrenhaft, Popper, Mill and Lakatos—in a spirited intellectual self-portrait. Science in a Free Society is a striking intervention into one of the most topical debates in contemporary culture and politics. (shrink)

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize (...) the world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

Claims that science should be more democratic than it is frequently arouse opposition. In this essay, I distinguish my own views about the democratization of science from the more ambitious theses defended by Paul Feyerabend. I argue that it is unlikely that the complexity of some scientific debates will allow for resolution according to the methodological principles of any formal confirmation theory, suggesting instead that major revolutions rest on conflicts of values. Yet these conflicts should not be dismissed as irresoluble.

These days, science is everywhere. It pervades our whole society. Sometimes it is just a clutter of commonplace frivolities, like new fashion fabrics. Sometimes it miraculously preserves our life, like penicillin. Sometimes, like climate change, it looms over us as a portent of doom: sometimes it promises a way of escape from such a fate. Sometimes, like a nuclear warhead, it enshrouds us in political terror: sometimes, like a verification technology, it offers an antidote to such evils. How should (...) we respond to this ambiguous and ubiquitous thing called science? (shrink)

Finding avenues for collaboration and engagement between the arts and the sciences (natural and social) was a central theme of investigation for the Responsible Research and Innovation (RRI) and Public Engagement programme at BrisSynBio, a BBSRC/EPSRC Synthetic Biology Research Centre that is now part of the Bristol BioDesign Institute at University of Bristol (UK). The reflections and experiments that appear in this dossier are a sample of these investigations and are contributed by Maria Fannin, Katy Connor and David (...) Roden. Darian Meacham coordinated and introduces the dossier. (shrink)