Composing Einstein: exploring the kinship of art and science

Abstract

The work Albert Einstein published in 1905 led to a revolution in physics and the way nature is explained. At the same time, his physics touches on profound existential questions which are also dwelt upon in the arts. This article addresses the relatedness of music and physics, art and science. The point of departure is my composition The Einstein Resoundings, and how writing it refined my sensitivity to the deeper layers of creative effort. I discuss points of contact between the spheres of music and physics: the phenomenon of quantum leaps, continuous and discontinuous structures in tone and atom, and the role of continuity and discontinuity in the act of creation. My reflection on the kinship of art and science is based on the notion of complementarities. This allows a double perspective on art and science as different in regard to activity and language, but similar in regard to their mutually complementing characters.     

Tom Stoppard’s Big Picture: The Chaos that is Our World

Abstract

Issues arising from discussions regarding the ‘two cultures’ of science and art are many and varied. Tom Stoppard’s very active utilization of science in many of his plays has resulted in his work — especially the quantum mechanics-informed Hapgood and the chaotics-informed Arcadia — being held up as paradigmatic of one science/art position or another. Often, critical approaches to these plays involve a checklist of scientific facts, implying that the goal of such art is to serve as a delivery device for scientific breakthroughs. While plays, novels, and movies of various sorts may have such goals in mind, Stoppard’s plays do not comfortably fill that agenda, critical arguments to the contrary notwithstanding. Neither do Stoppard’s plays show particular interest in engaging any debate about the superiority of one ‘culture’ over the other. In his two ‘science plays’ in particular, what Stoppard offers is an enrichment of both science and art through metaphorical intertwinings that suggest experience is best served when both camps collaborate. The bigger picture that results argues an overlap in epistemology, namely revealing the uncanny similarity in which artist and scientist approach the material that is our universe.     

Evaluating the Relationship between Ceramic Wall Thickness and Heating Effectiveness,Fuel Efficiency,and Thermal Shock Resistance

ABSTRACT

In 1983, David Braun proposed that a shift from thicker- to thinner-walled cooking vessels in the midwestern United States was triggered by an increased dietary reliance on starchy grains (Braun 1983). Drawing on well-established principles of materials science (Van Vlack 1964), he suggested that, compared to thicker-walled vessels, thinner-walled ones would have been more thermally efficient and less likely to break from thermal shock. These attributes, he suggested, would have been advantageous for preparing seeds and grains that require lengthy cooking periods. Although consistent with materials science principles, Braun’s proposition has never been tested. In this paper, we present results of experiments undertaken to evaluate the relative cooking efficiency of thin- versus thick-walled vessels and consider the implications of these findings for understanding traditional ceramic technologies.     

The Limits of Science and Trans-Science

Abstract

Many different limits to science have been identified, the most common being those between science and religion, or more generally between fact and value; between science and art; as well as the sociological limits imposed on science because it is becoming too large and unwieldy to be encompassed by a single mind. Here another realm is explored, lying beyond science: we call trans-science those questions which epistemologically are matters of fact, yet are beyond the proficiency of science. Trans-scientific questions consist of very rare occurrences and 'catastrophes' in the Thomian sense. It has been pointed out that unanswerable, trans-scientific questions are usually asked of science by policy makers. Consequently the scientist must concede that his proficiency is limited by this trans-scientific limit to science.     

Photius and Poetry

Abstract

‘No art or science, except poetry, was foreign to this universal scholar’. Thus Edward Gibbon. It has long been notorious that poets are excluded from the Bibliotheca. Why? The question persists. Hence the present paper.     

Trench art between memory and oblivion: a report from Poland (and Syria)

ABSTRACT

This paper summarises some of the results of archaeological research on twentieth century military heritage in the Polish woodlands, namely the discovery of artefacts made, remade, and personalised by soldiers, prisoners of war, and civilians during military conflicts. Such objects are examples of so-called ‘trench art’. I draw attention to the universality of trench art, a phenomenon that is usually associated with the past conflicts such as the Napoleonic Wars and the First and Second World Wars. Nonetheless, trench art is, in its complexity, diversity and affectivity, an integral part of modern warfare, including the recent tragic conflict in Syria. After presenting the project and some examples of trench art documented during the research, I discuss a unique artistic intervention entitled Painting on Death to illustrate the affective, aesthetic, and political value of modern trench art.     

Modelling Folksong Melodies

Abstract

In the second half of the twentieth century, ethnomusicologists assembled a collection of more than 7000 field recordings of Dutch ballads. Collectively known as Onder de groene linde, these recordings are preserved at the Meertens Institute in Amsterdam. Because of its size, composition and quality of metadata, Onder de groene linde is a unique resource for studying the musical properties of folksongs. For such study, it would be essential to search and order the songs automatically, not just using the metadata, but especially their musical content. It is the aim of the WITCHCRAFT project to design and implement methods for processing the musical content of the songs. Such a project involves two disciplines, musicology and computer science, that have different goals and methodologies. Such differences can lead to unproductive tensions, but can also be exploited in order to attain new insights that could not have been attained by the separate disciplines.     

Leibniz on Diplomacy and Discernible Art

Abstract

This article discusses Leibniz’s unique blend of aesthetics and diplomacy. While his art extended diplomacy beyond the bounds of political realism, his diplomacy gave occasion to his art. His identity of indiscernibles (objects with the same properties are identical) inspired philosopher Arthur Danto to define contemporary art in terms of a qualitative perceptual division between the world and the Artworld (objects with the same properties may or may not be art). Although Leibniz would have disputed Danto’s bifurcated artistic perspective, Danto vindicates Leibniz’s major contribution to contemporary aesthetic philosophy by defending his belief in the moral foundation of art. Leibniz was not only one of the pre-eminent men of German letters of his time, he also excelled in diplomacy on behalf of the Hanoverian court. His international relations (IR) theory of peace through grand global alliances is only just beginning to be understood, though his aesthetics and correct diplomacy continue to validate individual creativity, liberal freedoms, and universal enlightenment up to this very day.     

Not new but novel. Notes on the historiography of Byzantine law

Abstract

It is some time since the late Alexander Kazhdan undertook a private crusade under the title ‘Do we need a new history of Byzantine law?’ Of course his answer was in the affirmative. In one sense one would be unable to disagree; in another sense, however, one ought to answer that the history Kazhdan was asking for would not so much be new; rather it would be a novelty, as it had not been written before.     

Gregor Mendel: the genius of genetics

Abstract

'The Genius of Genetics', an exhibition celebrating the work of Gregor Mendel through science and art, opened in Brno on 21 May 2002 at the Abbey of St Thomas, where Mendel lived from 1843, becoming its Abbot in 1867. The exhibition is intended to be the first step in a larger programme to reestablish the abbey as a centre for life sciences, and its opening was accompanied by a major international conference on 'Genetics after the Genome'. This essay traces Mendel's intellectual development through his education in Vienna, his meteorological and astronomical studies, and his seminal experiments in plant breeding which at the time went unnoticed but fifty years later formed the foundations of classical genetics. The question is asked how it was that Mendel, an Augustinian friar in an out of the way abbey in Moravia, was able to make his momentous discovery. It is suggested that his was the most singular career of any of the great scientific innovators, and that his genius derived from his commitment to natural philosophy in the old sense, from his application of experimental techniques from the mathematical sciences to subject matter situated firmly in the natural sciences.     

The Conservation Programme of the Côa Valley Archaeological Park: Philosophy,Objectives and Action

Abstract

This paper outlines the methodology for the conservation of Côa Valley rock art, as carried out by the Côa Valley Archaeological Park Conservation Programme. It examines the overall conservation environment that has determined this approach, which aims at an understanding of all the factors affecting the survival of the Côa Valley heritage. We stress that although the Programme sets precise guidelines for the examination and testing of conservation work to mitigate the effects of complex weathering dynamics in action, there are no miraculous solutions to ensure the complete longterm in situ preservation of this World Heritage Site. Despite this geological impossibility, we also emphasize that in a human time scale it makes sense to try to conserve significant heritage (such as the Côa Valley rock art) that expounds and explains our history and ourselves.     

The potential of destruction in art and science

ABSTRACT

Artist and researcher Neal White argues for the potential role of radical engagements in science by drawing on the work of pioneers of conceptual art: John Latham (1921–2006), Gustav Metzger (1926–2017) in the UK, and György Kepes (1906–2001) and Robert Smithson (1938–1973) in the US. Starting with destruction as a positive force in artistic practice, White examines the ideas developed by these artists as a conceptual framework for thinking through time, chemical process and event structures within the context of the Cold War. In further examining the social context and contemporary landscape of cultural forms servicing science in terms of the communication of ideas, or underpinning further a knowledge economy, he argues for artists to engage science on their own terms, through a renewal of radical practices. This would in turn create new and critically framed work of benefit to culture and society more generally.     

Mapping the audit traces of interdisciplinary collaboration: bridging and blending between choreography and cognitive science

ABSTRACT

Two long-term sci–art research projects are described and positioned in the broader conceptual landscape of interdisciplinary collaboration. Both projects were aimed at understanding and augmenting choreographic decision-making and both were grounded in research conducted within a leading contemporary dance company. In each case, the work drew upon methods and theory from the cognitive sciences, and both had a direct impact on the way in which the company made new work. In the synthesis presented here the concept of an audit trace is introduced. Audit traces identify how specific classes of knowledge are used and transformed not only within the arts or sciences but also when arts practice is informed by science or when arts practice informs science.     

Second Laws,Two Cultures,and the Emergence of an Ecosystem Aesthetics

Abstract

The appropriation of scientific concepts by the humanities and the visual arts exemplifies what many feel are both the pitfalls and possibilities of interdisciplinary engagement. The principle of entropy, which C. P. Snow claimed could serve as a litmus test of the ‘two cultures’ divide, provides an excellent starting point for exploring how artists have employed scientific concepts far beyond their original contexts. As a case study in interdisciplinarity, the use of entropy in the visual arts is also a lens to consider the evolution of an artistic proposal from the 1960s known as ‘system aesthetics’. As an early challenge to the clean demarcation of art and science, system aesthetics was a precedent for what might be described as the emergence of an ecosystem aesthetics within contemporary art and design today.     

Public archaeology and political dynamics in Portugal

Abstract

The two hardest-fought rock art conservation battles in the history of the International Federation of Rock Art Organizations have been the campaigns to save the petroglyph sites in the lower Côa valley of northeastern Portugal and in the Guadiana valley in southeastern Portugal. They have become test cases of rock art conservation and site management issues. This paper summarizes the history of these campaigns and the effects they had on rock art management practices in Portugal. Specific attention is given to the responses of the public archaeologists in this controversy, and to some specific and generic aspects of the issue that are in a general sense relevant to the sociology of state-funded agencies charged with the protection of archaeological resources.     

Traditional oral theatre meets popular middle-class melodrama: the Greek shadow-theatre puppeteer Vasilaros

Abstract

Vasilaros (1899–1979), a moderately educated Greek shadow-theatre puppeteer, adapted popular melodramas and novels with strong bourgeois morality, such as Οι δ?ο λοχ?αι in 1931, Η ?γνωστο? in 1937, Αι δ?ο ορφανα? in 1944, and Οι ?θλιοι in 1955. The adaptations indicate that by the mid-1930s, the borderline between the traditional oral art of shadow theatre and mainstream culture had become considerably blurred. This article explores the convergence of these two cultures in terms of dramatic structure and ideology.     

The original spaciality of the body itself: phenomenology and neurosciences

The phenomenological tradition stands opposed to contemporary cognitive science in this, that so far from being a mere thing in the physical world, a thing whose mind would contain some mental representation, the lived body is constituted in its sense of being for the subject by being used and actively appropriated by this self-same subject, as agent. Though not already generally acknowledged, there are important similarities between this conception and one, which emerges from the literature of brain cartography over the last twenty years, that of a functional morphogenetic neurodynamics, induced and modulated by experience in a relatively autonomous way, in relation both to the anatomic structures of the body, as well as the cytoarchitectonic frontiers of brain tissue. Taking advantage of the latter similarities, neuroscientific data can be employed to confirm the Husserlian theory of constitution against the attempts on the part of cognitive science to discredit it, and this whether we are talking about its later modification at the hands of Merleau-Ponty or the original version, which is that of a subjective (transcendental) auto-constitution of the lived body on the basis of the practico-kinaesthetic experience of .     

Representing Science that Isn’t: Harvest as Science Fiction Theatre

Abstract

Engaging with the difficulty of plausibly staging scientific developments that have not yet been realized (or even those which might never occur), Manjula Padmanabhan’s 1997 play Harvest relies upon science fictional developments in two technologies, communications and medicine. Rather than merely working around them, Padmanabhan’s play makes use of the challenges inherent in staging a fictional future, calling both representation and power into question. In so doing the play exemplifies the increasing openness of science drama to science fictional ideas.     

Der Ort des rhetorischen Wissens Kunst und Natur bei Isokrates

This paper poses the question of the place of rhetoric as a discipline. It addresses the topical demand that nature, art, and exercise have to be combined by way of an analysis of Isocrates' Against the Sophists. Its thesis is that the call for a “combination” of art and nature solves the disciplinary problems of rhetoric, even though such a synthesis is in fact inconceivable. Rhetoric is not a science, and does not have access to a methodical correlation of rhetorical strategies and their effects upon the audience. Isocrates' criticism of those rhetoricians who assume that their art could be taught in much the same way as the art of writing is of paramount importance here. The case of Isocrates is instructive because it shows how rhetorical success depends on re-designing the institutional structure of rhetoric and on the capacity to cope with its lack of methodical knowledge. As a result of its para-scientific nature, rhetoric refers to various models and metaphors to present itself as a discipline. Of these the orator perfectus, the orator imperfectus, and the sophist model of the art of writing as criticized by Isocrates are discussed. This paper attempts a rhetorical reading of the discourse of rhetoric by exploring the implications of these metaphors. At the same time it argues for a history of science which does not shrink away from an analysis of such para-sciences as rhetoric. It is precisely the lacking scientificity of rhetoric as a discipline which warrants increased attention from the point of view of the history of science.     

The Calderstones,Near Liverpool

Abstract

This article is a contribution to the revisionist literature on the monastic orders in late medieval England and their art and architecture. It discusses the visual and material cultures of the Cistercians in northern England in the period immediately before the Dissolution of the Monasteries, demonstrating the enduring popularity of the Order in the late Middle Ages and that patronage of art and architecture continued until the very moment of the Suppression. Evidence is also discussed showing that monks and nuns salvaged property from their houses in the hope that their monasteries would be restored.