In teaching and research of artistic phenomena now have to consider two ways: on one hand the lyrical flow of these phenomena, as an expression of outrage that will let lock up and structure patterns in arid and fixed laws, and secondly we must set out to study them in their formal regularity, to discover the rhythm that is, their paths, or intended as the Sophists, in their rhytmos.
The rhytmos is the succession rules and proportions of the artistic process as well as their distinctive shape, the figure in proportion to their constraints, their arrangement in space environmental effects of the dominant concepts. The rhytmos is, therefore, what today we give a model, structure and regularity, now known as the Anglo-Saxon world 'peace', ie the formal organization of creative possibilities.arrythmiston The concept is the opposite, this concept in contrast to what many think was not made by Aristotle but by Antiphon the Sophist, the arrhytmiston is "free to structure" of Heidegger and the fund, "grund "Schelling. And it is in the understanding of both forms that we can see a pattern. In this sense rhytmos / arrythmiston may be compared to the figure / ground gestalt.
Gestalt psychology is first and foremost a theory of sensation, and its thesis is that sensory and cognitive processes are organized on the basis of uniform configurations and structured, according to the holistic principle that the whole is something more and than the sum of its parts, as in the emerging pincipi. Why is everything in the "game" between figure and background that creates an emergency. A melody is more than the sum of sounds, so much so that it can be performed in a different key or tone remained the same at the end of the same melody, but its purely acoustic components have changed. For the same reasons that we perceive, that the creative thinking process is the result of a system of components internally divided into infinite number of parts in dynamic relationship with each other and with the whole.This creates a restructuring of the information coming from reality, a balance sensory reorganization also known as 'sensory ratio'. In this sense, the sensory image is a force field (resonant), because the elements present in it, although separated in space, influence and interact with each other, just as electrical or electromagnetic forces.
It follows that every creative process is always a choice, ie an allocation within a field of possibilities, of particular importance to certain stimuli considered beneficial to the mental process and a neglect of others, is not relevant the mental process. The object is always grasped by the mind but in different configurations.The word that emerges from these considerations is to insight, intuition, which literally means the "see inside" and refers to any phenomenon by which a mental content is still an idea as sudden and unexpected.
The concept of insight has been used by T. Khun to explain the revolutionary change of scientific paradigms, namely that historical phenomenon to which the whole of nature gives rise suddenly to a different reality, such that it gives meaning to the first elements insignificant, and vice versa.rhytmos and arrythmiston So the game takes place in the design. Both views have useful cognitive and can be reported in two cultures, the arrythmiston lyrical and artistic culture, the structured rhytmos is science.
Today the question of the two cultures and overcome in the concept of 'reconciliation', the tendency to join the major scientific disciplines and the humanities. Today, the teaching and research must address the work both from an artistic point of view from both the scientific as in the game between the two points of view will have the chance to have a sensory experience of the work.Today, the systematization of their knowledge is shared between disciplines such as mathematics, epistemology, phenomenology, mediology, semiotics, information theory, linguistics, cybernetics, psychology. This approach is not new in the cultural tradition of the West, since Aristotle's Poetics and the canons of Greek proportions of fine arts the aesthetic phenomena were analyzed rationally: the philosophy and science technology for the Greeks as well as SophistiKate techno, but science is also imaginative interpretation.
However the themes of the opposition between the two approaches, theorized by the romantic and idealistic philosophies of Schelling and Cross have become cliches of our culture: the artist free creator, the divine creator, genius who acts unruly responding only to itself. While the scientist responds to the cultural community with a public method to do this, look describable patterns of reality, and then somehow impoverishes to study it.But it is not hard to find moments of solidarity that has never ceased to connect the two areas together. The scientific method has its moments and crucial assumption in the experiment and also the modern and contemporary art is built as an experiment and whether this peculiarity is declared only for some decades in fact it is present from the Renaissance.
foundation and motivation to push the art form and science are the means of production and relations of production, namely the economic and social structure. So the basic question of how the activities of the science and art is useful, the social interest.The current technology is the product of the realization of the means of production within a specific system of relations of production and it is defined its limits and its lines of development in building a real model of a process of reality on which to operate the scientific process. The lyricism is artistic research and anarchic drive where man is free, finally, from himself. Today the art is a science to reach its ultimate potential, and who knows what will become.
For everything
Teaching tries to go deep to look for analogies, homologies of structure between the artistic method and scientific method. So arrythmiston rhytmos and are both planning, allocation of meaning, mediation of reality, and ultimately in their meeting, which reveals the dynamic beauty of nature, art and science are times when the same function that gives meaning to the world, the practice of cognitive function, work, and work.Francesco Monico http://www.thelightbrigade.org 02/03/2004
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