scholarly journals El poder reunificador de la biotecnología. Reflexiones en torno a la conformación de un espacio colaborativo entre arte y ciencia

2015 ◽  
Vol 12 (2) ◽  
pp. 150
Author(s):  
Lucía Stubrin
Keyword(s):  
Biological Sciences ◽  
Contemporary Art ◽  
Artistic Practice ◽  
Feasibility Condition ◽  
Palabras Clave ◽  
History Of ◽  
Scientific Task ◽  
The Mind ◽  
Political Economic ◽  
Science Epistemology

ResumenEn este artículo se buscan desplegar los replanteos epistemológicos dentro de la historia de las ciencias biológicas que prepararon el  terreno para la apertura mental de los científicos y la apertura física de los laboratorios, dando lugar a la consolidación del bioarte. De esta manera, intentamos analizar el surgimiento de la biotecnología dentro de un entramado político, económico y social complejo donde los conocimientos se complementan dentro del ámbito científico, generando asimismo un  margen de conciencia sobre la falibilidad del método y la ciega especialización. El reconocimiento de las debilidades sirve como condición de posibilidad para la incorporación de actores artísticos que trabajan con los mismos materiales, desafiando las lógicas, preguntas y objetivos tradicionales de la tarea científica. El artículo, asimismo, se inscribe dentro de la investigación interdisciplinaria realizada en el marco de la tesis doctoral de quien escribe, titulada “Arte y ciencia: la práctica bioartística argentina en su relación con la escena internacional”.  Palabras clave: Biotecnología, bioarte, ciencia, epistemología, arte contemporáneo, técnica, Argentina.***************************************************Re-unifying power of technology. Reflections about the creation of a collaborative space between science and artAbstractThis article aims at displaying the epistemological statements within the history of biological sciences which prepared the terrain for the mind opening of the scientists and physical opening of laboratories,giving place to the consolidation of bio-art. In this manner, we intend to analyze the surge of biotechnology inside a complex interwoven political, economic and social context, where knowledge is complemented in the scientific field, generating a light of consciousness about the method fertility and blind specialization. Acknowledging weaknesses serves as a feasibility condition for the involvement of artistic actors who work with the same materials, challenging the traditional logics, questions and goals of the scientific task. The article in itself belongs to the inter-disciplinary research carried out within the framework of the doctoral thesis of the undersigning, entitled “Art and Science: the Argentinean bio-artistic practice in its relation with the international scene”. Key words: bio-technology, bio-art, science, epistemology, contemporary art, technique, Argentina.***************************************************O poder reunificador da biotecnologia. Reflexões em torno à confirmação de um espaço colaborativo entre arte e ciênciaResumoNeste artigo se buscam expandir os delineamentos epistemológicos dentro da história das ciências biológicas que prepararam o terreno para a abertura mental dos cientistas e à abertura física dos laboratórios, dando lugar à consolidação da bioarte. Desta maneira, tentamos analisar o surgimento da biotecnologia dentro de um entrançado político, econômico e social complexo no qual  os conhecimentos se complementam dentro do âmbito cientifico, gerando assim mesmo uma margem de consciência sobre a fiabilidade do método e a cega especialização. O reconhecimento das fraquezas  serve como condição de possibilidade para a incorporação de atores artísticos que trabalhem com os mesmos materiais, desafiando as lógicas perguntas e objetivos tradicionais da tarefa científica. O artigo também se inscreve dentro da investigação interdisciplinar realizada no marco da tese doutoral de quem escreve, titulada “Arte e ciência: a prática bioartística argentina na sua relação com a cena internacional”.Palavras chave: biotecnologia, bioarte, ciência, epistemologia, arte contemporânea, técnica, Argentina.

Mind Cure

2019 ◽  
Author(s):  
Wakoh Shannon Hickey
Keyword(s):  
White Male ◽  
Late Nineteenth Century ◽  
Scientific Psychology ◽  
Race And Gender ◽  
History Of ◽  
And Performance ◽  
And Gender ◽  
First Americans ◽  
The Mind ◽  
Political Economic

Mindfulness is widely claimed to improve health and performance, and historians typically say that efforts to promote meditation and yoga therapeutically began in the 1970s. In fact, they began much earlier, and that early history offers important lessons for the present and future. This book traces the history of mind-body medicine from eighteenth-century Mesmerism to the current Mindfulness boom and reveals how religion, race, and gender have shaped events. Many of the first Americans to advocate meditation for healing were women leaders of the Mind Cure movement, which emerged in the late nineteenth century. They believed that by transforming their consciousness, they could also transform oppressive circumstances in which they lived, and some were activists for social reform. Trained by Buddhist and Hindu missionaries, these women promoted meditation through personal networks, religious communities, and publications. Some influenced important African American religious movements, as well. For women and black men, Mind Cure meant not just happiness but liberation in concrete political, economic, and legal terms. The Mind Cure movement exerted enormous pressure on mainstream American religion and medicine, and in response, white, male doctors and clergy with elite academic credentials appropriated some of its methods and channeled them into scientific psychology and medicine. As mental therapeutics became medicalized, individualized, and then commodified, the religious roots of meditation, like the social justice agendas of early Mind Curers, fell away. After tracing how we got from Mind Cure to Mindfulness, this book reveals what got lost in the process.

Disintegrating Progress: Bolshevism, National Modernism, and the Emergence of Contemporary Art Practices in Armenia

ARTMargins ◽  
2012 ◽  
Vol 1 (1) ◽  
pp. 62-87 ◽  
Author(s):  
Vardan Azatyan
Keyword(s):  
Contemporary Art ◽  
Socialist Realism ◽  
Artistic Practice ◽  
Complex Process ◽  
Art Practices ◽  
History Of ◽  
Political Project

This article provides a genealogy of the emergence of contemporary art practices in Armenia, arguing that the very history of emersion of these practices can be seen as a complex process of disintegration of the Bolshevik political project, particularly its agenda to base art on a subtle dialectical reconciliation between the nation and the class. After this dialectic was brutally instrumentalized by Stalinist Socialist Realism, it was attacked by the National Modernists during Khrushchev's Thaw. Later, in 1970s, from within the National Modernism itself, the first tendencies of contemporary art practices emerged. They began to challenge the conventional notions of artistic practice along the lines of a conception of art as a performative practice of liberatory subjectivization. This marked the point of the ultimate disintegration of both triumphant and tragic Bolshevik project that became a haunting specter of post-Soviet contexts.

Why Work?

2016 ◽  
Author(s):  
Liam Gillick
Keyword(s):  
Contemporary Art ◽  
History Of ◽  
The Mind

Art is a place where the rules of engagement are open to question. Art is a history of doing nothing and a long tale ​of useful action. It is always a fetishization of decision and indecision—with each mark, structure and, engagement. This book’s challenge to contemporary practitioners, or current artists, is that “contemporary art” no longer accounts for what is being made; it no longer is connected to what we have all become rather than what we might propose, represent, or fail to achieve. The challenge made is that artists today, whether they like it or not, have fallen into a trap predetermined by their existence within a regime that is centered on a rampant capitalization of the mind.

scholarly journals «Ein Spielen der Liebe mit sich selbst». Hegel e la teoria spinoziana dell’amor Dei intellectualis

2017 ◽  
Author(s):  
Salvatore Carannante
Keyword(s):  
History Of Philosophy ◽  
Phenomenology Of Spirit ◽  
Science Of Logic ◽  
Palabras Clave ◽  
Philosophical Account ◽  
History Of ◽  
The Absolute ◽  
The Mind ◽  
Different Levels

Resumen: Nella parte quinta dell’Etica, Spinoza descrive l’«amore intellettuale verso Dio» - che nasce nella mente che ha raggiunto la scientia intuitiva - come una «parte dell’amore infinito con il quale Dio ama se stesso». Scopo del saggio è gettare luce sui rilevanti, ma scarsamente considerati, riferimenti di Hegel alla teoria dell’amor dei intellectualis, tentando di ricostruirne il significato a due livelli differenti: anzitutto, esaminando le Lezioni sulla storia della filosofia, dove la descrizione dell’amore intellettuale è inserito in una disamina storico-filosofica del pensiero spinoziano; in secondo luogo, analizzando alcuni passaggi della Fenomenologia dello spirito e della Scienza della logica, opere in cui Hegel richiama l’amor dei intellectualis per esprimere metaforicamente la convinzione che l’Assoluto va concepito in termini dialettici, come soggetto e spirito.  Palabras clave: Hegel - Spinoza - Amor dei intellectualisAbstract: In the fifth part of the Ethica Spinoza describes the «intellectual love toward God» – arising in the mind that has achieved the scientia intuitiva – as a «part of the infinite love wherewith God loves himself». The aim of the essay is to cast light, at two different levels, on the interesting but rarely studied Hegel’s references to the theory of amor dei intellectualis: firstly, focusing on the Lectures on the History of Philosophy, where the description of intellectual love is included in an historico-philosophical account of Spinoza’s thought; secondly, dealing with the Phenomenology of Spirit and in the Science of Logic, works in which Hegel mentions the amor dei intellectualis in order to express the idea that the Absolute has to be conceived in dialectical terms, as subject and spirit.Key words: Hegel - Spinoza - Amor dei intellectualis

How Homo economicus lost her mind and how we can revive her

2018 ◽  
Vol 41 ◽  
Author(s):  
Peter DeScioli
Keyword(s):  
Economic Thought ◽  
History Of Economic Thought ◽  
Homo Economicus ◽  
Economic Theories ◽  
Target Article ◽  
History Of ◽  
The Mind ◽  
And Behavior

AbstractThe target article by Boyer & Petersen (B&P) contributes a vital message: that people have folk economic theories that shape their thoughts and behavior in the marketplace. This message is all the more important because, in the history of economic thought, Homo economicus was increasingly stripped of mental capacities. Intuitive theories can help restore the mind of Homo economicus.

Screen Presence

2016 ◽  
Author(s):  
Stephen Monteiro
Keyword(s):  
Contemporary Art ◽  
Social Contexts ◽  
Popular Media ◽  
Andy Warhol ◽  
Film Culture ◽  
Artistic Practice ◽  
Popular Film ◽  
Robert Rauschenberg ◽  
Mona Hatoum ◽  
Source Materials

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Working from a media and cultural studies perspective, Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures – Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through analysis of a range of examples and source materials, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema’s shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.

Screening Statues

2017 ◽  
Author(s):  
Steven Jacobs ◽  
Susan Felleman ◽  
Vito Adriaensens ◽  
Lisa Colpaert
Keyword(s):  
Contemporary Art ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Film History ◽  
Two Dimensional ◽  
Artistic Practice ◽  
Experimental Art ◽  
Broad Scope ◽  
Art Practices ◽  
Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

Beérkezett könyvek

2005 ◽  
Vol 60 (3) ◽  
pp. 425-427
Author(s):  
Csaba Pléh
Keyword(s):  
Social Interaction ◽  
Cognitive Science ◽  
Evolutionary Psychology ◽  
Well Being ◽  
General Intelligence ◽  
Human Thought ◽  
Number Of Genes ◽  
History Of ◽  
Origin Of Mind ◽  
The Mind

Ádám György: A rejtozködo elme. Egy fiziológus széljegyzetei Carpendale, J. I. M. és Müller, U. (eds): Social interaction and the development of knowledge Cloninger, R. C.: Feeling good. The science of well being Dunbar, Robin, Barrett, Louise, Lycett, John: Evolutionary psychology Dunbar, Robin: The human story. A new history of makind's evolution Geary, D. C.: The origin of mind. Evolution of brain, cognition and general intelligence Gedeon Péter, Pál Eszter, Sárkány Mihály, Somlai Péter: Az evolúció elméletei és metaforái a társadalomtudományokban Harré, Rom: Cognitive science: A philosophical introduction Horváth György: Pedagógiai pszichológia Marcus, G.: The birth of the mind. How a tiny number of genes creates the complexities of human thought Solso, R. D.: The psychology of art and the evolution of the conscious brain Wray, A. (ed.): The transition to language

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