Visual and aural intellectual histories: an introduction

ABSTRACT

If the subject matter of intellectual history is the study of past thoughts, the intellectual history of the visual arts and music may be characterised as the study of past thoughts as they were expressed visually and aurally. Yet this is not always how an intellectual history of art and music has been practiced. More attention is often paid to verbal texts about art or music, rather than to the visual or the aural per se. If we accept that ideas can have visual and aural, as much as verbal form, then the histories of art and music are significant repositories of thoughts of individuals and networks of individuals (creative artists, patrons, institutions) within a given culture and period. But the ways in which those thoughts are articulated as aural or visual “texts”, and the ways in which they can be accessed by those who seek to understand them, will be specific to each art form, and represent a distinctive kind of intellectual activity in each field.     

Albert Einstein,Physicist (1879–1955)

Abstract

Einstein's ideas changed man's thoughts about the totality of physics. These ideas were so fundamental for human thought that Einstein belongs to all the sciences and to all cultures. If ever there was a scientist whose centenary ought to be commemorated in an interdisciplinary journal, Einstein would be that one. This is because of the all-pervading influence of the revolution in physics in which Einstein played so paramount a part. Here we look back to what one man was able to contribute to transforming everyman's thought about the physical world. For the most part the lasting consequences are evident and well-known. Nevertheless, we have to observe that in some respect – not necessarily those emphasized by Einstein – the implications are still scarcely apprehended.     

Minerva Scientifica: the owl that flies at dawn - women scientists,women composers

ABSTRACT

Under the leadership of soprano Frances M Lynch, Minerva Scientifica deploys sung theatrical performances to encourage, celebrate and demonstrate the achievements of women in science and music. Based on collaborative discussions between practising female scientists and contemporary classical composers, the events staged by Minerva Scientifica are receiving high acclaim not only as educational and musical experiences for general audiences, but also for enhancing scientists’ appreciation of their own work. Adopting a historical approach, this article first explores the relationships between three pairs – women and science, music and science, women and music – before giving a more detailed account of the project’s evolution since 2011.     

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.     

Symmetry Its Significance in Science and Art

Abstract

Five types of symmetry are discussed: isometry, homoeometry, antisymmetry, colour symmetry, and symmetry of the most general kind. Examples are drawn from many different fields of science and art, including music and poetry. The inclusion of dissymmetry, or perturbed symmetry, is especially important in providing access to some of the most profound aspects of nature and art. Finally, the question of why symmetry plays such an important part in so many fields is raised.     

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.     

Revolutions in music and physics, 1900–30

Abstract

The period 1900 to 1930 saw fundamental changes in the basic laws of physics. The discoveries of the special and general theories of relativity and those of quanta and quantum mechanics transformed profoundly physicists' understanding of the nature of space and time, as well as the fundamentals of physics at the atomic level, which have no counterpart in classical physics. Almost coincidentally, major changes took place in the processes of musical composition – that same period seeing the development of atonality, the liberation of rhythm, and twelve-tone music. This essay reviews in non-technical terms the profound changes in the thinking of physicists and compares the intellectual struggles involved with the extraordinary parallel changes in the approaches of composers to musical composition. No causal connection is suggested, but the common theme of the processes of innovation and creativity within very strict sets of rules in both physics and music is emphasised.     

Towards a trickster science/fiction: complexifying boundaries with Neal Stephenson and Michel Serres

ABSTRACT

This article highlights an intersection between the science fiction of Neal Stephenson and the science philosophy of Michel Serres. As two of the most prolific contemporary advocates of the communication between literature and science, Serres and Stephenson employ permutations of the trickster figure as a potent lens on the epistemological transformations that occur when boundaries are crossed and static systems perturbed. Allegorizing the birth of science and rational consciousness as the intervention of a trickster, Stephenson finds in hackers and couriers the same generative force that Serres associates with the Greek god Hermes and the figure of the parasite. With particular attention to Stephenson’s postcyberpunk novel Snow Crash (Stephenson, Neal. 1992. Snow Crash. London: Penguin Books) and Serres’ Hermes series (1969–1980), the concept of the trickster will be explored as both a personification of the kinship between creation mythologies, information theory, anthropology, and modern physics, and as the template for a productive transdisciplinary mode of cultural inquiry.     

The End of Art: A Philosophical Defense

This essay constructs philosophical defenses against criticisms of my theory of the end of art. These have to do with the definition of art; the concept of artistic quality; the role of aesthetics; the relationship between philosophy and art; how to answer the question “But is it art?”; the difference between the end of art and “the death of painting”; historical imagination and the future; the method of using indiscernible counterparts, like Warhol's Brillo Box and the Brillo cartons it resembles; the logic of imitation—and the differences between Hegel's views on the end of art and mine. These defenses amplify and fortify the thesis of the end of art as set forth in my After the End of Art: Contemporary Art and the Pale of History (1997).     

We don’t know that we don’t know what a body can do … , or Spinoza and some social lives of sonic material

ABSTRACT

This essay is about how artists, listeners and critics claim to hear life in a sound and how this suggestive, but hazily defined, provocation connects vast cultural circuits of production, technology and capital. I argue that claims to life in a sound also belie an anachronistic return to an early modern understanding of sound as particulate matter and suggest a technoscientific discourse in which sound and data are described in terms of one another. With a close engagement with microsounds – from Gilles Deleuze to computer music specialist Curtis Roads – this essay queries what sonic particulates are presumed to be when they are mapped onto Spinoza’s corpora simplicissima but processed through analogy synthesis or digital tools. In part, this essay tries to speak to a persistent separation of sonic materiality and auditory culture, in music and sound studies in which life in a sound cannot be thought apart from how life is subject to different kinds of extractions. With a return to Spinoza’s physics, this essay also retakes the often sloganized “no one knows what a body can do” to emphasize an ethical recomposition of the text in which to “know” must be as open-ended as “body” is typically emphasized to be.     

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.     

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.     

Aquaculture A Critical Assessment of its Potential and Future

Abstract

Atonal compositions based on the 12-tone method devised by Arnold Schoenberg remain, in some cases a century after they were written, largely unpopular with music audiences. Research on the science of music cogni- tion may now offer some clues to why this is. Schoenberg’s method of atonal composition actively undermines some of the basic cognitive princi- ples that allow our brains to turn notes into music. Unless 12-tone music is granted other aids to cognition, it may thus fail to create a cognitively coherent auditory experience, but becomes a mere collection of sounds.     

Seeds: Contracting the Audience in a Play about Science

Abstract

In pursuing the question ‘what can scientists learn from theatre?’ Particularly, ‘what can scientists, as scientists, learn from theatre?’ this paper argues that science lacks a normative framework that theatre is capable of providing. Despite science’s well-earned epistemic reputation, there is adequate reason to question its ethical reputation, particularly at the point where cutting edge scientific technology impacts society. I consider science as operating in four categories: the scientific method; the scientific hypothesis; the scientific experiment; and the scientist’s personal character. The realms of the scientist’s hypothesis and personal character are those where social pressures are reciprocally exerted, where imaginative play mentality and epistemic values are most in evidence. Theatre can examine these realms effectively because it is able to use narratives that appeal not only to logical and social moral judgements but to emotional and visceral responses, so as to situate science in the social context in which the pressures of law, funding, experimentation, society, and personal ambition converge in ‘the game of life’.

This can be seen in the theatrical process known as ‘contracting with the audience’. I point out a spectrum of traditional narrative tropes by which science makes “contracts with” audiences. The paper draws on theories of entrainment and theatrical game-play from Peter Stromberg and Philippe Gaulier, as well as my own practice and research into the process of contracting with the audience, to propose how to reach beyond tradition and to shift normalising contracts “outside the box”. To illustrate my proposition, I examine the play Seeds by Annabel Soutar as directed by Chris Abraham for Crow’s Theatre and Theatre Porte Parole. Seeds follows the controversial court battles of Saskatchewan farmer Percy Schmeiser against agricultural-biotech corporation Monsanto, which sued him for patent infringement of its Genetically Modified Organism Roundup Ready Canola. Seeds helps its audience define a public arena for discourse even as it brings to our attention the factors that make this difficult to do, while making an excellent contribution to the genre of ‘Documentary Theatre’. It is a successful contract with the audience that creates a public forum for discussion about contemporary ethical debates in science, thereby merging artistic ambiguity and scientific theory.     

J.S. Bach’s St. Matthew Passion and intellectual history

ABSTRACT

Recent thinking about Intellectual History has moved beyond studying only verbal texts, to encompass other kinds of visual and aural texts that can be vehicles for generative thought. Where might music fit into this expanded conception? If ideas are defined purely as concepts that can be expressed in words, music can be no more than an “epiphenomenon”, a consequence or representation of ideas that lie behind it, but not capable of embodying those ideas in itself. Yet to many musicians, it seems obvious that music can function as a way in which ideas are developed and worked out. What kinds of knowledge might be embodied in music, then, and how do its meanings change over time? In this paper, I examine some of these issues through consideration of one of the key texts of Western art music, J.S. Bach’s St. Matthew Passion, exploring how it was conceived in a liturgical context in Bach’s time, how its meaning changed when transposed to the very different milieus of concert performance in nineteenth-century Berlin and colonial Sydney, and as it has been re-imagined in a variety of recent staged and recorded versions.     

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.     

Images of Uncertainty: some thoughts on the meaning of form in in the art of Late Antiquity

Abstract

My concern is with the change in style in the visual arts which occurred with the emergence of Late Antiquity. The discussion is intended to fall into three parts; in the first part I review how art historians have approached Late Antique art and examine some of the theoretical positions that have arisen through attempts to explain style in art; in the second part I shall endeavour to formulate my own theoretical explanation and I shall go on, in the third part, using some examples, to consider how this theoretical formulation is particularly valuable in the analysis of the art of the Late Antique period.     

National stereotypes and music

Music became a marker of national identity in nineteenth‐century Europe. Western art music consists of tonal systems that are universally intelligible, but certain rhythms and musical idioms have been associated with national styles. How, when, and why does a musical phrase or piece become national? What political and cultural circumstances contributed to the development of national styles and facilitated the emergence of resonant topographies? What was the relationship between music as cultural practice and nineteenth‐century national thought as discursive space? These questions are addressed with a particular focus on verbunkos, which came to be characteristic of Hungarian national style, and on the Rákóczy March which became famous thanks to Berlioz's Faust. This essay traces the complex process of cultural transfer through which these martial tunes of mixed ethnic origins have become emblematic of Hungarian music.     

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.