Poems of Science

Abstract

Poems of Science is an anthology which has been edited by Mr J. Heath-Stubbs and Professor P. Salman. Its first edition will be published by Penguin Books Ltd in Spring 1984, and by the kind permission of the two editors and tbe publishers extracts from their Introduction to the anthology as well as a selection of the poems contained in it are reproduced here. These extracts from the Introduction, as well as the choice of poems here printed, were made by the Editor of Interdisciplinary Science Reviews. He would like to thank Mr Heath- Stubbs and Professor Salman and Mr MacFarlan of Penguin Books Ltd for the opportunity to present such a wide range of poetry from this remarkable interdisciplinary collection.     

On Martinus Crusius's collection of Greek vernacular and religious books

Abstract

The importance of Martinus Crusius's collection of Greek chapbooks for our knowledge of 16th century vernacular Greek literature can hardly be over-emphasised. Most copies of his collection are either extremely rare or even unique. Valuable and often unique is also the information about the texts and their authors, which Crusius collected and published in his Turcograecia (Basel 1584) or elsewhere.     

Oil in the Arctic 2. The Outer Continental Shelf Environmental Assessment Program

Abstract

Organic chemists are qualified by their knowledge of reaction mechanisms to attempt to predict outlines of biosynthetic sequences leading to natural molecules. The subject is an art, rather than a science, involving several interwoven strands of creative thinking. The evolutions of ideas, distinct from the discovery of facts, are difficult to elucidate from the published literature, and are explored in connection with alkaloids, flavonoids polyketides, and some terpenoids. The advantages and limitations of the chemists' type of thinking are examined with some of the reasons why biochemists have tended to ignore their hypotheses.     

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.     

Some intertexts of the Vita Stephani Junioris

Abstract

In the introduction to her newly published edition of the Life of St. Stephen the Younger, M.-F. Auzépy spares no effort in her attempt to uncover the original motives and intentions underlying this fascinating hagiographic work.! Her results, though not the first or only word on this matter, are nonetheless provocative and original. This brief note will raise some questions about those findings and offer an additional point of view on the VSJ in connection with the contemporary writings of Theodore of Stoudios.     

A Greek Lexicon of the middle Byzantine period

Abstract

Greek lexicography of the Byzantine period is a thorny subject, indeed an almost thankless task, if efforts end merely in a collection of inaccessible and unpublished handwritten' material. I would like to call to mind the case of Emmanuel Miller in the last century, who showed a continuous interest in lexicography, pouring out new Greek words in the notes to his editions on every occasion. However, those notes are nothing but feeble shadows of his vast collection left to the Bibliotheque Nationale de Paris about ninety years ago. When I inspected this mass of more than 40,000 small slips, I was considerably taken aback, in view of the fact that this collection as well as every other similar to it (for instance the 10,000 Athesaurista gathered by Pezopoulos) are practically of no use for Byzantine studies, since they have never been published.     

Music and the Aesthetic Copernican Revolution of the Eighteenth Century

ABSTRACT

In the mid-eighteenth century music underwent a sudden and drastic revolution when composers “discovered” a new dimension to their art. This had immense repercussions on the philosophy of art, for the music created before and after this divide represents two different species of aesthetic experience, which in due course affected our understanding of the meaning and import of the other arts as well. Despite the immense aesthetic repercussions of this Copernican revolution in music, philosophers of art seem not to have taken much notice of it. This essay details the emergence of the relevant musical criteria during the eighteenth century and dwells on their long-term impacts on the philosophy of art.     

Quantification and the Scientific Study of History

Abstract

A survey of the illustrations in art history textbooks reveals that the most important Modern American painters, including Pollock, Johns, and Warhol, failed to produce individual paintings as famous as the masterpieces of a number of major French artists, such as Picasso, Manet, and Seurat. Analysis of the textbooks reveals that art historians do not consider the American artists to be less important than their French predecessors or judge the Americans' innovations to be less important. The absence of American masterpieces instead appears to be a consequence of market conditions. as changes over time in the primary methods of showing and selling fine art reduced the incentive for artists to produce important individual works. This study demonstrates that the study of markets is essential to a full understanding of the development of Modern art.     

Westminster in 1712: A Description by Samuel Molyneux

Between 21 June and 3 July 1712 the Spectator published 11 thematically-linked essays entitled ‘the Pleasures of the Imagination’. ¹ For the middle classes such irresistible prose reinforced the case for a moral, philosophical and ideological approach towards art, architecture, history, literature and nature – attitudes that we today would regard as enlightened. However, amongst the well-educated elite such thoughts had long existed. Bonding high-art with power, wealthy connoisseurs forged an obsessive passion for collecting artworks and antiquities and, as a consequence, became duty bound to display their collections to interested third parties. One such connoisseur was Charles Montagu (1661–1715), later earl of Halifax, ² whose celebrated collection was kept in his grace-and-favour apartments in the Palace of Westminster. Of those who saw his collection only one published account was thought to have survived, that of William Nicolson, bishop of Carlisle. ³ Yet, the recent discovery of a copybook of letters originally written by the 23-year-old antiquarian, Samuel Molyneux, later secretary to the prince of Wales, describes not only a rare and privileged visit to Lord Halifax's apartments but also a first-hand account of his tour around the Palace of Westminster in December 1712.     

Reading back from Experimental Painting

ABSTRACT

My book, Experimental Painting (1970), was the product of a decade of coming to terms with the history of modern art and with contemporary manifestations of the avantgarde. While at Cambridge from 1960 to 1967, I published art criticism, initially in locally published magazines, and then went on to review art exhibitions both nationally and internationally. This led to being co-editor of Form, which produced further opportunities. The term ‘experimental’ that I adopted in 1970 was intended to suggest the paradigm of scientific discovery which suited some, if not all, of the artists I studied. This article considers concepts directly imported from contemporary scientific enquiry that seemed relevant to me at the time, notably those from experimental psychology, psychoanalysis and structural linguistics. I relate them to the character of intellectual life at Cambridge in a period which saw much debate about the relationship between Sciences and Humanities as ‘Two Cultures’.     

Spinoza on art and the cultivation of a disposition toward joyful living

ABSTRACT

This paper forms part of a larger project which seeks to derive a theory of art from a close reading of Spinoza's work. It focuses on the importance of the aligned terms of ingenium and dispositio, which are both used to discuss the central importance of “dispostion” to our capacity to live well. While it is not possible to avoid affects, it is possible to order them in such a way that their negative impacts are lessened and their positive impacts are enhanced. We begin by underlining the importance of disposition to opening the way to understanding. We connect this to Spinoza's acknowledgement of the importance of art in helping to provide a plan for living. We turn to readings of ingenium in the work of Moreau and Balibar to further explore how the concept of disposition helps us to recognise the capacities of works of art to affect their audiences.     

Cropsey on Plato and the Unity of Philosophy

Abstract

Cropsey's book, Plato's World, contains his longest and most sustained reflections on a set of Platonic dialogues, but it is not the first work he published on Plato or the last he intended to write. His last collection of essays, On Humanity's Intensive Introspection, shows that in his writings on Plato Cropsey was attempting to answer a broader question: What is philosophy?     

A Critical Reappraisal of Eustathios Makrembolites’ Hysmine and Hysminias

Abstract

Despite the massive amount of scholarly literature on Iconoclasm and its aftermath, there are really only two major publications that deal specifically and synthetically with ninth-century art. One of these is André Grabar's magisterial L'iconoclasme byzantin, a chronological analysis of monuments and texts; the other is Robin Cormack's short but insightful essay in Iconoclasm, the collection of papers originally presented at Birmingham in 1975, which asks ‘whether the discussion of religious images stimulated by Iconoclasm changed the nature of Byzantine Art’. My aim is rather different. Rather than presenting an encyclopedic overview, this article attempts to crawl into the fabric of Byzantine culture: to see and understand Byzantine art of the ninth century as the Byzantines saw and understood it. It follows that the material presented has not been segregated into the familiar (and often useful) categories of style, iconography, and context, for, to the Byzantines, the three were neither exclusive nor separable. For similar reasons, I have deemphasized any linear progression that might imposed with art historical hindsight on the distant past, and have thereby underplayed the flashes of innovation, novelty and erudition that such detachment allows. These sparks are probably more visible (and certainly more appealing) to twentieth-century art historians than they were to the ninth-century Byzantines, for whom, as we shall see, the power of tradition militated against individual creativity, and artists on the whole remained anonymous artisans. In my attempt to look at Byzantine art from the inside rather than from the outside I have, in other words, concentrated on the fluid interface between objects, and the shifting dialogue between objects and context. This is because what interests me here is how Byzantine ideas about art (their theories), Byzantine perception (how the Byzantines saw), and the artifacts themselves (the practice) come together in the ninth century: how art, that preeminent social construct, worked in the years after Iconoclasm.     

Introduction: recent approaches to pottery and society in the Southeast

ABSTRACT

This article discusses the themes of this special edition of Southeastern Archaeology on modern pottery studies and summarizes the articles included in this edition. Southeastern archaeologists increasingly are applying new theoretical constructs and techniques to ceramic studies. These new techniques, in conjunction with traditional typological analysis, allow archaeologists to approach the study of past peoples from a broader perspective.     

A TREASURE TROVE OF CHRONOLOGICAL LEARNING

The recent facsimile edition of Henricus Glareanus's Chronology of Livy, prepared by Anthony T. Grafton and Urs B. Leu, provides access to a primary source that is unique from the point of view of the history of science and scholarship and of the book and reading. The basis of the edition, a copy of Chronologia annotated by Glareanus's disciple Gabriel Hummelberg II, now preserved at the Princeton University Library, serves scholars both as a point of departure for outlining hypotheses on the teaching methods of early modern humanists as well as the role of chronology in the humanist curriculum. My reading of their edition is based on three points. First, I put the primary source of their choice in a context that includes provincial early modern educational centers as I believe that their enterprise could clear the way for future narratives on forgotten scholars who dealt with the issues of technical chronology. Second, I show the importance of Grafton and Leu's thesis on the procedures of transmission of teachers’ commentary, which, according to them, is documented by the Princeton copy of Chronologia. Third, I argue that the seemingly conservative decision to publish a paper edition of an annotated volume at the moment when state‐of‐the‐art digital tools for such editions are being tailored through the alliance of scholars and IT specialists should open a discussion among historians of the book and reading, science, and education that would lead to the determination of standards for scholarly editions of libri annotati.     

The World under the Stars: Astrological Geography and the Bologna 1477 Edition of Ptolemy’s Cosmographia

ABSTRACT

This article is a re-examination of the first complete printed edition of Ptolemy’s Cosmographia (Bologna, de Lapis, 1477), hitherto considered flawed and defective. An investigation of the status and priorities of the team of court astrologers responsible for this edition, and an examination of the alterations they made to Ptolemy’s maps, suggests that their aim was a redaction intentionally different from existing versions of the Geography. It is suggested that the editors sought to adjust the arrangement of provinces from that recommended in Ptolemy’s Geography (book VIII) to the astrological arrangement detailed in his Tetrabiblos (book II) and that they modified the content of the key regional maps accordingly. In this light, the Bologna 1477 edition underlines the importance of assessing the reception of Ptolemy’s geographical work against a cultural background in which astrology prevailed as an integrated system of knowledge, practices and beliefs.     

Creation in Art and Science

Abstract

The proposition that the creations of art are unique (in the sense tbat we would not have had Timon of Athens had Shakespeare not lived), whereas the creations of science are inevitable or commonplace (in the sense that we would have had the DNA double helix even if Watson and Crick had not lived), has little philosophical or historical merit. For, this proposition conflates works of art and science (the texts of the play Timon and of the paper A structure for Deoxyribose Nucleic Acid), both of which are unique, and their semantic content (the insights into human affects provided by Timon and the concept of the DNA double helix), both of which are commonplace as well as unique.     

An Ojibway Artifact Unraveled. The Case of the Bag with the Snake Skin Strap

Abstract

It is rare to come across a work of Native American textile art that is as intriguing for its aesthetic attributes as for the history with which it is associated. Sadly, the reason for this infrequency is not for lack of historical interest, but rather the deplorable deficiency of documentation for most Native American museum artifacts. It was fortuitous then, when I encountered a bag in the collection of the Royal Ontario Museum (ROM), Toronto, whose striking appearance is matched with documentation of its extraordinary history with Ojibway Chiefs Maungwudaus and John Tecumseh Henry. Recovering the bag's history required detective work. What follows is the story of emerging clues, surprising discoveries and the insights that they facilitated for the artifact 'detective'.