Interrelation Of Arts Research Articles

The Interrelation of Art, Science, and Technology from a Cognitive Dimension: Art as a Way of Knowledge and the STEAM Methodology as the Answer

The interrelation between art and science can be understood as a dialogue that emerges from the process of knowledge construction, and consequently, it also defines the human being. The idea may be legitimated from a cognitive perspective. What if we consider this dialogue on the art/science split not as a model of knowing in itself, but as a constructed concept? Thinking as a construct, the advent of technology could have supposed an element to accentuate the divide in this dialogue, as an emerging techno-society may have deepened this separation. However, there is a need to explore the arts -and humanities- trying to find some answers to the challenges posed by the digital paradigm. For this reason, the inclusion of the letter “A” of Arts in the STEM dialogue, resulting in STEAM, is not accidental. From this approach, the entrance of the STEAM methodology into educational models is going to be addressed from the cognitive dimension of art, as a consequence of the conceptual, social, and cultural changes that give it meaning. For that purpose, the issue is addressed through the art cognitive dimension as the theoretical and conceptual foundation supporting it and that leads to the analysis of the named methodology and its contemporary necessity.

Revealing the Hydrocene: Reflections on Watery Research

This reflective paper shares considerations of curatorial research of art and water during the current climate crises as part of both contemporary art and Blue Humanities fields. This paper shares water-based methods utilised to develop the Hydrocene, the water-based curatorial theory I have named and defined as an act of curatorial planetary caretaking. In my doctoral thesis, Ingesting the Hydrocene, I argue that water, this most vital of materials, is the central figure of the climate crisis and that a zeitgeist of groundbreaking artists cultivate critical and collaborative methods of relating with water from which we must learn. The Hydrocene as a curatorial theory reveals hitherto unexamined curatorial perspectives on the interrelation of art and water in acts of planetary climate care. The act of naming and defining this artistic tide as the Hydrocene, is a curatorial act of caretaking returning to the epistemological origins of the curator as caretaker. The flow-on effect of the art of the Hydrocene is the potential for more radical ways of relating to water ethically. Sharing the Hydrocene and the complexities of a sustained dedication to learning from and with water in the field of art, this paper aims to illuminate the way water offers intellectual, emotional, physical and metaphorical sustenance to myself and the artists I work with. In return for this wealth of knowledge from water, I aim to recognize waters own agency, power and adaptability, and to enter into principled collaborations with it.

Narcissus in a mirror image. Aesthetics of André Gide’s symbolism

The subject of this research is the fundamental aesthetic problematic in the symbolist philosophy of art of André Gide. The author examines such mainstream themes as the concept of artistic symbol, categories of the beautiful, tragic and heroic, interrelation of art and nature, specificity of theatrical aesthetics. In his works, Gide brings to life the ideas of subjective, solipsistic symbolism, when symbol ingratiates with a hieroglyph that depicts inner world of the artist in a creative form, his subjective experiences, dreams and reverie, while the external sensible world is interpreted as illusory, appears as combination of senses, or is left as side as nonexistent. The main conclusion of the conducted study consists in a statements that in the period of symbolism André Gide was sure that illusory character was extraneous to art. Disregarding the external, art must refer to the profound truth, heroic beginning of human personality. Emphasis is made on infiltration into the spheres of esoteric, mystical and spiritual. The article analyses André Gide’s “Treatise on Narcissus (The Theory of Symbol”), in which such worldview found its programmatic expression.

СУЩНОСТЬ И ВЗАИМОСВЯЗЬ ИСКУССТВА И ДИЗАЙНА КАК ФОРМ ХУДОЖЕСТВЕННОГО ТВОРЧЕСТВА

The article provides the art criticism analysis of artistic creation, examines its forms in their interaction. The authors focus on identifying the essence and interrelation of art and design as forms of artistic creation. The paper tackles the following issues: the essence of artistic creation, specificity of art and design as forms of artistic creation; interrelation of art and design, design and industrial design. Research methodology is based on the traditionally adopted symbolic and pragmatic approaches to interpreting such phenomena as culture, art and artistic activity, on the conceptions of the metaphysical foundations of aesthetic activity and humanistic and artistic importance of design for the modern culture. Artistic creation is considered in the article as human’s practical activity aimed to form the images representing modern reality. The basic forms of this activity are art and design, which have their own peculiarities.

Cartoons for the Cause? Walter Crane'sThe Anarchists of Chicago

This essay explores how and why the English socialist artist and Arts and Crafts designer Walter Crane came to produce an icon of anarchist martyrdom, his cartoon entitled The Anarchists of Chicago, from 1894. In doing so it situates the ‘Haymarket Affair’ of 1886 as a crucial moment in the interplay between socialists and anarchists, one that would have a profound effect on Crane's view of the interrelation of art and politics. The Anarchists of Chicago can be considered a means of political expression rather than an end. In his artistic response to the ‘martyrdom’ of the Chicago anarchists, Crane struggled to assimilate anarchist politics with his socialist art. In this regard, the only cartoon to declare his sympathy with anarchism actually marks the limits of his engagement with anarchism as a viable political philosophy.

The Arts and the Knowledge of Religion

The seriousness and sheer quantity of attention given by the Encyclopedia of Religion to the arts, music, literature, and aesthetics of all the world's religious and cultural areas is testimony that the arts are not merely marginal places in the study of religion. Or, as is the fashion now, we might say that they are indeed among the most marginal, if religion is understood to entail limit and liminality. The Encyclopedia treats the various literary, plastic, and performing arts as primary sources of religious knowledge and modes of religious experience-along with histories of communities, mythic traditions and ritual practices, sacred writings and doctrinal thought. Likewise, varieties of art and literary criticism are not ancillary but primary methods for the study of religious knowledge, beside the human, social, and natural sciences and other hermeneutical disciplines intrinsic to religious traditions themselves. All this, of course, is to be expected of a work nurtured by the imagination of Mircea Eliade, whose own researches required as much of the disciplines of fiction and mythmaking as of historical method. This extraordinary tool gives the reader access to a vast body of authoritative description, comparison, theory, and bibliography. Ease of crossreferencing is enhanced by the synoptic outline of contents (in vol. 16), which effectively transforms the Encyclopedia into a circuitous gyre of religions and religious ideas-a meander as rich as might be imagined in stories of encyclopedias, libraries, and labyrinths by Jorge Borges or by Eliade himself. I sampled articles on architecture, plastic arts (premodern and modern), drama and performance, dance, music, cinema, poetry and novel, biography and autobiography, and calligraphy and on the interrelation of art and religion discussed in entries on language, aesthetics, hermeneutics, imagination, performance and ritual, iconography, sacred

Difference in Translation (review)

346Philosophy and Literature essay, also on Kant, which focuses on die doctrine ofthe schemata and die function of imagination (and creativity) tiiat is related to them. Bossart here points toward a unitary function such that a difference of degree rather than of kind is entailed by an application of the Kantian notions to die arts and the sciences. Finally there is Milic Capek's wonderfuUy compressed essay discussing creativity witii respect to theses of microphysics where, on this basis, he argues for die philosophic meaningfulness of die term 'creativity,' relating diereby die problems of determinism and creativity. In general The Languages of Creativity contains material which ought to be of more than merely local disciplinary interest. There is, however, one thing of particular interest to me: namely, that it is not at all apparent why, after twentyfive years, Thomas Kuhn's properly notable The Structure ofScientific Revolutions should still be given the sort of credence it is. I do not intend any diminution of the work's historical import, but radier want to imply diat it is clearly no longer to be taken as an adequate statement of the nature of science or of scientific change. More particularly, it is not inteUigible why people looking in particular at science and art do not pay more heed to Paul Feyerabend who, for all of his idiosyncratic crankiness, nevertheless has a greater sensitivity toward the interrelation of art and science man most philosophers of science. In short, for interdisciplinary studies there is more of value dian Kuhn's youdifully fertile work. Furthermore it was perplexing that no one should discuss the idea that the notion of"what science is" changes, just as the notion of"what art is" changes. This "fact" itself might have been of genuine consequence for die discussion of the similarities and differences between art and science. Nonedieless, The Languages of Creativity is worth the read on a cross-country flight. Whitman CollegeJosephJ. Maier Difference in Translation, edited by Joseph F. Graham; 253 pp. CorneU: Cornell University Press, 1985, $32.50 cloth, $9.95 paper. As Joseph F. Graham writes in his introduction to Difference in Translation: "The contributors to diis volume are convinced diat somediing has indeed happened to change our dunking about language radically, and diey are determined to elaborate some of these specific and strategic consequences for translation " (p. 20). The foUowing essays by Philip E. Lewis, Cynthia Chase, Richard Rand, Alan Bass, BarbaraJohnson, RobertJ. Matmews, andJacques Derrida explore the possibilities which are presented for literary studies once the conven- Reviews347 tional logocentric concept of translation, as die undisturbed passage of meaning from one language to anodier, has been deconstructed. While many readers will, I imagine, turn first to read Derrida's contribution, it is Alan Bass's excellent essay "On the History of a Mistranslation and die Psychoanalytic Movement" diat is most worthy of praise and attention. Bass — who is the translator ofDerrida's WritingandDifference— has written a clear, weUresearched essay on Freud's mistranslation, in his monograph Leonardo da Vinci and a Memory ofHis Childhood, of the Italian nibio as vulture, instead of kite. Bass investigates die link between Freud's mistranslation and the theory of sexuality and concludes that Freud's mistranslation is itself a fetish. Freud mistranslates nibio as vulture because it "fits in too well with die related theories of the infantile sexual theories and of 'Egyptian' language formation" (p. 137). The mistranslation is too precious for Freud to translate correcdy, as it aUows him to connect Leonardo's dream with the Egyptian myth of the vulture-headed mother goddess Mut, a mydiological figure which for Freud was symbolic of die maternal phaUus. For diose who are more familiar widi Derrida's work in English than in its original (or given the deconstructive critique of die original, perhaps I should say die non-original original) French, the contribution by Philip E. Lewis, "The Measure ofTranslation Effects," provides a useful, though somewhat meandering , account of important differences encountered in translation. By comparing die English translation of "White Mydiology" to die original French text, Lewis demonstrates how Derrida's essay has been mistranslated by the translator ignoring what "White Mydiology" has to say...