STS AND THE POSSIBLE FUTURE OF THE SCIENCE MUSEUM: TOWARDS A NEW KUNSTKAMMER

В статье обсуждается репрезентация науки в музеях и центрах науки и техники и очерчивается возможная концепция музея технонауки, который бы восполнял ограничения и умолчания этой реперзентации. В отличие от этих институций музей технонауки посвящен не тому, что ученые знают о природе, а тому, как они получают это знание, как оно существует и применяется, то есть, метанаучным вопросам. Для решения этой задачи новый музей должен опираться на идеи и результаты исследований науки и техники (STS), а также истории и философии науки. Вполне возможно, что сегодня путь разума к совершеннолетию должен проходить не только через научное просвещение, но и через критическое метанаучное просвещение. В первой части статьи описывается общая логика и контекст репрезентации науки и техники в современных музеях и центрах науки и техники. Их основные задачи — способствовать повышению понимания науки обществом и привлекательности профессий научно-технической области. Обычно это достигается за счет акцента на чистой науке в ущерб прикладной: ядром музеев и центров являются экспозиции, представляющие результаты научного познания, систематизированные в научную картину мира. О технике говорится скорее как о непроблематичном «применении» знания или комплексе утилитарных функций: мало внимания уделяется сложному устройству инженерии и создаваемому техникой социальному порядку. Об устройстве самой науки говорится мало, в основном о научном методе. Этот подход подвергается критическому анализу. Помимо прочего критикуется акцент на чистой науке в ущерб прикладной, натурализация и идеализация знания за счет устранения контекстов его производства, существования и применения. В силу двойной невидимости авторства (науки — по отношению к знанию, музея — по отношению к экспозиции) и трансляции знания в режиме безальтернативности и полноты («парадигма Псафона», П. Бурдье) музеи науки функционируют как музеи-храмы (Д. Кэмерон). Приводятся доводы в пользу обращения к обсуждению устройства науки и техники с опорой на результаты исследований науки и техники. Оно предполагает создание музея или экспозиции, которые дополняли бы существующие музеи и центры. Его рабочее название — музей технонауки. Во второй части обсуждается его возможная концепция. Приводятся примеры тематики, раскрываются некоторые принципы организации: двойное видение, пересборка предмета, собственной позиции и аудитории, музей-бриколер, музей-форум. Эти принципы сближают музей технонауки с кунсткамерой в противовес модерным музеям науки. В качестве одного из возможных подходов построения экспозиции обсуждается историзация существующих форм науки и техники. Ориентирами из истории выставок могут служить Les Immatériaux (1985) под кураторством Ж.-Ф. Лиотара и Iconoclash: Beyond the Image Wars in Science, Religion and Art (2002) под кураторством Б. Латура. В заключение концепция музея технонауки резюмируются в своде ценностей: продуктивное незнание, критика, разнообразие, дискуссионность. The article analyzes the representation of science in science and technology museums and centers, and outlines the possible concept of a museum of technoscience that would compensate their limitations and omissions. In contrast, the museum of technoscience is not dedicated to what scientists know about nature, but to how they get this knowledge, how it exists and is applied, that is, to metascientific issues. To meet this challenge, the new museum should be based on the ideas of Science and Technology Studies (STS), and of the History and Philosophy of Science. It is likely that today the path of reason to maturity should pass not only through scientific education, but also through metascientific education, that is, through STS and the History and Philosophy of Science. The first part of the article describes the general logic and context of the representation of science and technology in actual science and technology museums and centers. The main aims of such museums and centers are to contribute to increasing the public understanding of science and the attractiveness of professions in the STEM field. These aims are usually achieved by focusing on pure science at the expense of applied science and engineering. Technology is represented as an unproblematized “application” of knowledge. There is also little talk about the structure of scientific production of knowledge, mainly the scientific method is communicated. This approach is being critically analyzed. Among other issues, the naturalization and idealization of knowledge, double invisibility of authorship (science in relation to knowledge, museum in relation to the exhibition) are criticized. Arguments are given in favor of the desirability of addressing the discussion of the structure of science and technology based on the results of science and technology studies. It involves the creation of a museum or exhibition that would complement existing museums and science centers. Its working name is the museum of technoscience. The second part of the article describes the possible conception of the technoscience museum. Examples of topics are given, some principles of the organization are revealed: double vision, reassembling of the subject, museum position and audience, museum as a bricoleur, museum as a forum. These principles bring the museum of technoscience closer to the kunstkammer in contrast to modern museums of science. The historization of existing forms of science and technology is discussed as one of the possible approaches to the construction of the exposition. Les Immatériaux (1985) by J.-F. Lyotard and Iconoclash: Beyond the Image Wars in Science, Religion and Art (2002) by B. Latour can serve as landmarks from the history of exhibitions. In conclusion, the conception of the museum of technoscience is summarized in a set of values: productive ignorance, criticism, diversity, controversiality.

The importance of imagination and subjective knowledge: The evolution of art and religion as symbolic representations of feelings, experiences, and beliefs

Religion and art have been incredibly important in human evolution but, we argue, are often not taken seriously as an important source of knowledge. In this article, we propose that the arts and religions are symbolic systems that capture subjective knowledge, or knowledge about the world that is specific to human experience or the human condition, both concerning the self (existential subjective knowledge) and others (social subjective knowledge). Forms of this knowledge comprise feelings, experiences, and beliefs, which can arise from naturally occurring experiences or can be induced through religious rituals and artistic performances. Subjective knowledge is processed through subjective cognition – experiential or intuitive thinking, narrative processing, and meaning-making. Individual differences in subjective cognition are proposed to lie in absorption, or the propensity of individuals to allow for a state of the experiential, more porous self, through reduced boundaries of the rational, bounded self. This in turn allows for an immersive focus on sensory inputs, and becoming connected to something bigger than oneself, a state that is especially conducive to providing meaning and new perspectives with regards to the human condition. Together, forms of subjective knowledge make up symbolic systems that feed into overarching subjective knowledge systems, or cultures and worldviews. Thus, religion and art has allowed for subjective knowledge to become represented in symbols and artefacts, which renders the subjective knowledge concrete, memorable and shareable.

Organic Archetypal Patterns in Literature: Origin, Meanings, Interpretations

The article studies the role and functions of organic archetypal patterns based on the concept of the Tree in literary texts, to which it brings a rich variety of emotive and cultural associations. Being ontologically and epistemologically grounded in the surrounding ecosystems, organic archetypal patterns as a mode of figural modeling run through genres of different epochs and inform their content with a naturalized view of themes, motifs, and situations, which make up the fabric of a work of fiction. Literary figures of this type have their roots in mythological consciousness that at a certain level of human development was instrumental in the categorization of the world and construction of cultural codes as objectivized forms of sensory perception, as pre-discursive human cognitive activity; they have retained till today the symbolic potency of those mythic structures and religious conceptions, often hidden from an uneducated mind. We hypothesize that archetypal patterns forming meaningful connections of language with myth, religion, and art, are used by authors to ensure an integrated understanding of a particular literary piece or its part. Keywords: archetypal pattern, mythological consciousness, ecosystem, cultural code

‘Ilm: Science, Religion and Art in Islam

A review of the following English Edited book: Akkach, Samer (2019). 'Ilm, Science, Religion and Art in Islam. Adelaide: University of Adelaide Press. 238 pp. ISBN: 978-1-925261-75-2.

CULTURAL ENTOMOLOGY AND THE INSECT FORM IN EGYPTION ART

This research paper aims to explain Cultural Entmology, which is a branch not mostly researched in neither biology nor fine arts, over insect forms in Egyptian Art. In the paper firstly insect, Entomology and Cultural Entomology consepts are explained and the place of the insects in the ecosystem is mentioned. Cultural Entomology’s occuring process as an academic research zone and Dr. Charles Hogue’s works on this area are expressed. After that, the corpus of the insects used in Egyptian Art, religious and Daily objects are searched. By using different insect types in these areas, Egyptian art is a rich example in order to understand Cultural Entomology. The insects’s deification,symbolizing the immortality and usage on the Daily objects, are examined over Wall paintings and seals. while doing this,the insects’ formational and ecological feratures are explained and the relationship between them explicated by both religion and art. So, the area of Cultural Entomology is examplified over Egyptian art. Keywords: art, insect, entomology, cultural entomology, egyptian art

ABSTRACT LOCAL CULTURAL ARTS IN THE GLOBAL ERA

The art of Local culture will be more meaningful because of being able to push the spirit of love with the pluralism toward human's life and universe. Meanwhile, media technology as the physical result of culture that lacks spiritual values ??if compared to custom, religion and art will lose its function to increase human's life quality. Values, norms and ethics contained in customary rules that are reflected in art of culture are indeed useful references in the globalization era. This research used qualitative data that were then analyzed descriptively. According to Alvin Boskoff's thought, it shows that factors becoming challenges for local culture are the change of cultural value systems in society and the death of traditional art forms in several areas in Nusantara caused by technology in the global era. The art of Local culture is one of components that gives Indonesian identity as a special community that exists among nations in this world. Therefore it is necessary to grow awareness particularly in young generations in order to comprehend more about their culture by empowering local wisdom growing in the cultural areas of whole Nusantara. Keywords: Art of Culture, local, the change of value, global

Literasi Pancasila Dalam Seni Pertunjukan Reak Di Kampung Jati, Kelurahan Pasir Biru, Kecamatan Cibiru

Kebudayaan adalah salah satu komponen yang menunjukkan jati diri kita sebagai sebuah bangsa. Nilai kearifan lokal yang terkandung dalam seni budaya seyogyanya mampu mendorong semangat kecintaan pada kehidupan manusia dan bangsa. Kearifan lokal yang terkandung dalam seni dan budaya merupakan referensi yang bermanfaat, terutama dalam rangka edukasi generasi muda. Sementara di sisi lain, teknologi sebagai hasil kebudayaan yang bersifat fisik dianggap mereduksi nilai-nilai yang terkandung dalam adat istiadat, agama, dan kesenian. Faktor-faktor yang menjadi tantangan bagi budaya lokal adalah perubahan tata nilai-nilai budaya dalam masyarakat serta matinya bentuk-bentuk seni tradisi di Indonesia, khususnya Jawa Barat, yang disebabkan oleh ideologi digital dan acuhnya generasi muda akan pentingnya nilai seni dan budaya lokal. Maka, dipandang perlu menumbuhkan kesadaran bagi generasi muda untuk lebih memahami budaya yang dimilikinya melalui edukasi seni pertunjukkan reak. Merujuk pada fenomena-fenomena di atas, kegiatan pengabdian ini menggunakan pendekatan kualitatif yang dianalisis secara deskriptif. Pencarian atau pengumpulan data dilakukan melalui observasi, wawancara, dan studi pustaka guna mendalami seni Reak sebagai ritual, hiburan, dan memperkokoh integritas kebangsaan berdasarkan semangat Pancasila.Kata Kunci : Nilai, Kebudayaan, Kearifan Lokal, Reak, Pancasila, Disrupsi Culture is one component that shows our identity as a nation. The value of local wisdom contained in cultural arts should be able to encourage a spirit of love for human life and the nation. Local wisdom contained in art and culture is a useful reference, especially in the context of educating the younger generation. While on the other hand, technology as a physical cultural product is considered to reduce the values contained in customs, religion and art. Factors that challenge local culture are changes in cultural values in society and the death of traditional art forms in Indonesia, especially West Java, which is caused by digital ideology and the youth's indifference to the importance of local artistic and cultural values. Thus, it is deemed necessary to raise awareness for the younger generation to better understand their culture through education on reak performing arts. Referring to the above phenomena, this service activity uses a qualitative approach which is analyzed descriptively. Search or data collection is carried out through observation, interviews, and literature study in order to explore the art of Reak as a ritual, entertainment, and strengthen national integrity based on the spirit of Pancasila..Keywords: Values, Culture, Local Wisdom, Reak, Pancasila, Disruption

Islam and Art: An Overview

Modern terms like “religion” and “art” offer limited access to the ways in which nonverbal human creativity in the Islamic world engages the “way of life” indicated by the Arabic word din, often translated as religion. Islam emerged within existing paradigms of creativity and perception in the late antique world. Part of this inheritance was a Platonic and Judaic concern with the potentially misleading power to make images, often misinterpreted in the modern world as an “image prohibition.” Rather, the image function extended beyond replication of visual reality, including direct recognition of the Divine as manifest in the material and cultural world. Music, geometry, writing, poetry, painting, devotional space, gardens and intermedial practices engage people with the “way of life” imbued with awareness of the Divine. Rather than externally representing religious ideas, creativity fosters the subjective capacity to recognize the Divine. Flexible enough to transcend the conventions of time and place over the millennium and a half since the inception of Islam, these modes of engagement persist in forms that also communicate through the expressive practices of contemporary art. To consider religion and art in Islam means to think about how each of these categories perpetually embodies, resists, and recreates the others.