9 Searching for the Grid at the Turn of the Nineteenth Century: When Art and Science Shared their Fragments

2021 ◽  
pp. 127-142
Author(s):  
Francesca Orestano
Keyword(s):  
Nineteenth Century ◽  
Art And Science

scholarly journals Sztuka w poszukiwaniu tożsamości. Wstęp do rozważań na temat związków sztuki, nauki i technologii.

2018 ◽  
Vol 15 (2) ◽  
pp. 9
Author(s):  
Ryszard W. Kluszczyński
Keyword(s):  
Nineteenth Century ◽  
Science And Technology ◽  
Cognitive Activity ◽  
Art And Science ◽  
Avant Garde ◽  
The Third

<p>W tekście zostały podjęte rozważania na temat relacji między sztuką a nauką i technologią. Uwaga została skierowana zarówno na teoretyczne aspekty rozważanych zagadnień, jak i na ich początki, na praktyki i koncepcje, na których zostały ufundowane współczesne rozwiązania.</p><p> </p><strong> Art in Search of Identity. An Introduction to Considerations on Relationships between Arts, Science, and Technology </strong><p>SUMMARY</p><p>The text discusses relations between art and science with technology, which, the author believes, are one of the major consequences of problematization of the boundaries of art. This process, begun already in the nineteenth century, gained momentum owing to the development of avant-garde trends, having ultimately upset the identity of art. The institutional conception of art became a method of work in the Post-Identity art. Another response to this situation was the development of interaction between art and science, based on technological foundations, and the consequent emergence of the hybrid, transdisciplinary vision of art. The author presents and analyzes his proposed typology of artistic trends focused on cognitive activity, emerging from the dialogue with science. He focuses in particular on the third of the foregoing trends: art@science, which he regards as the most signifi cant for the recent manifestations of the analyzed phenomenon. At the same time he emphasized the specifi city and dissimilarity of contemporary relationships between art and science as compared with its earlier, historical manifestations.</p>

Eye-Conographs

2014 ◽  
Vol 2 (1-2) ◽  
pp. 3-10
Author(s):  
Nicholas Wade
Keyword(s):  
Nineteenth Century ◽  
Facial Features ◽  
Visual Artists ◽  
Art And Science

Icons are pictorial images that are eye-cons: they provide distillations of objects or ideas into simple pictorial shapes. They create the impression of representing that what cannot be presented. Iconography can refer to representations of people, and it has been applied to visual artists and scientists: their portraits are often reproduced in histories of art and science. Until the nineteenth century, artists were mostly represented in pigment (paintings) and scientists on paper (engravings). After the birth of photography, both have been captured by the camera and more recently manipulated by computer. Eye-conographs are ‘perceptual portraits’ of artists and scientists; they combine facial features with the styles and phenomena with which the artists and scientists are associated.

scholarly journals Anthropocentrism and Taxidermy in Santiago Nazarian's Neve negra

2019 ◽  
Vol 4 (1) ◽  
Author(s):  
Fernando Varela
Keyword(s):  
Nineteenth Century ◽  
Primary Sources ◽  
Close Reading ◽  
The Novel ◽  
Art And Science ◽  
Present Essay ◽  
The Relationship ◽  
Do So

In the present essay, I argue that taxidermy is a fundamental element in Brazilian novelist Santiago Nazarian’s Neve negra (2017). To do so, I frame my argument by using studies on anthropocentrism and the relationship between the human and the non-human through taxidermy. The first part of the essay examines recent studies on taxidermy and primary sources from the nineteenth century that center on the art and science of skinning, preparing, and mounting dead specimens. The second part focuses on a close reading of Nazarian’s novel by studying the narrator’s patriarchal and masculine anxieties in conjunction with taxidermy and the non-human characters that appear in the novel.

The Art of Science: Nineteenth-Century Theory and the Logic of Practice

2018 ◽  
pp. 17-46
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Charles Darwin ◽  
Natural Theology ◽  
Logical Form ◽  
The Other ◽  
Art And Science ◽  
William Paley ◽  
The One ◽  
William Whewell

This chapter examines how nineteenth-century philosophers from William Paley and Charles Darwin to John S. Mill and William Whewell described and debated the relations between art and science as well as practice and theory. Offering close readings of Paley’s Natural Theology and of various passages from Charles Darwin’s work on breeding and gardening, the chapter distinguishes between two conceptions of art in the sense of skilful practice: art as guided by knowledge and different from nature on the one hand and art as productive of knowledge as well as continuous with an evolving nature on the other. As the chapter argues, these two notions of art played a key role in a controversy between John S. Mill and William Whewell that was carried out, between 1840 and 1872, through successive editions of their published works. Engaging closely with the style and spirit in which this debate was conducted, the chapter shows that Mill and Whewell argued from radically different conceptions of what ‘science’ means. As a result, they disagreed, for instance, about the very question of what constitutes a logical form of argument or proof.

‘Writing back’: literary satire and Oskar Panizza’s Psichopatia criminalis (1898)

2017 ◽  
Author(s):  
Birgit Lang
Keyword(s):  
Nineteenth Century ◽  
Human Case ◽  
Late Nineteenth Century ◽  
Art And Science ◽  
Two Cultures ◽  
Medical Case ◽  
The Two Cultures ◽  
Late Nineteenth ◽  
Central Form

Late nineteenth-century and fin-de-siècle writers first engaged with the case study genre in its psychiatric and psychoanalytic manifestations by means of satire, as recounted in Chapter 3. This chapter contrasts the interpretative powers of modern sexual publics and professional elites with the agency of the writer. It does so through enquiry into Panizza’s satirical and delusional negotiation of the boundaries between the two ‘cultures’ of art and science (pace C. P. Snow). Panizza’s first exposure to the case study genre was in the context of his training as a psychiatrist. More than a decade before Freud’s elaborations on the psychoanalytic case, Panizza made the human case study a central form in his literary oeuvre. Panizza anti-psychiatric dystopian work Psichopatia criminalis, represents the only persiflage of a medical case study compilation in European literature. Yet his engagement with the case study genre remains haunted by his own unruly psyche.

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