By Eliane Strosberg
This present day, artwork and technological know-how are frequently outlined against one another: one includes the production of person aesthetic items, and the opposite the invention of basic legislation of nature. all through human historical past, even though, the bounds were much less in actual fact drawn: wisdom and artifacts have frequently issued from a similar resource, the top and arms of the artisan. And artists and scientists have regularly been associated, on a basic point, through their reliance on artistic thinking.
Art and Science is the one ebook to survey the very important dating among those fields of undertaking in its complete scope, from prehistory to the current day. person chapters discover how technology has formed structure in each tradition and civilization; how mathematical rules and fabrics technology have underpinned the ornamental arts; how the psychology of conception has spurred the improvement of portray; how picture layout and representation have advanced in tandem with tools of clinical study; and the way breakthroughs within the actual sciences have remodeled the acting arts. a few 265 illustrations, starting from masterworks via Dürer and Leonardo to the remarkable vistas printed via fractal geometry, supplement the wide-ranging text.
This new version of Art and Science has been up to date to hide the continued convergence of paintings and expertise within the electronic age, a convergence that has resulted in the emergence of a brand new kind of author, the “cultural explorer” whose hybrid artistic endeavors defy all conventional categorization. it'll make thought-provoking interpreting for college students and lecturers, staff in inventive and technical fields, and someone who's eager about the heritage of human success.
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Extra info for Art and Science (2nd Edition)
On the one hand, it is as pervasive as everyday speech: intimate, simple, potential in any utterance. It can happen at any time; it can embody any matter and make it significant. On the other, ‘‘epic’’ – like the plural epea and especially its most famous occurrence, in the formulaic phrase describing speech as epea pteroenta ‘‘winged words’’ – is a mode of total communication, undertaking nothing less than the ideal expression of a culture. If the usefulness of ‘‘genre’’ is to provide a heuristic tool for honing inter-cultural communication, the good of ‘‘epic’’ lies in its power to craft, through generations of performers and audiences, larger harmonies, in which the discrete pieces of the individual’s life fit and make sense.
Other Greek epics: Huxley 1969. rhapsodes, text fixation: Nagy 1996b, 1996c, 2002. ˆ thos and epos: Martin 1989. semantics of mu shamanism: Dodds 1951. 3 ‘‘Epic’’ cross-culturally African traditions: Stone 1988; Belcher 1999. Egyptian epic: Slyomovics 1987; Reynolds 1995, 1999. epic and myth: Dume´zil 1968, 1971, 1973. genres of discourse: Martin 1984; Todorov 1990. genres within epic: Martin 1984, 1989; Davidson 1998a. Indic performance: Flueckiger 1989, 1999. Irish bardic poetry: Bergin 1970.
As it turns out, we may have an interesting reference to such a broader sweep in the work of the historian Herodotus, who flourished a century before Aristotle. On one hand, Herodotus seems to share Aristotle’s view that epopoiieˆ (‘‘epic-verse-making,’’ in his Ionic dialect form) demands a certain selectivity and seriousness. Significantly, Herodotus retrojects this view onto Homer himself (whom he believes lived around the ninth century B C E ). 1): ‘‘And, in my opinion, Homer knew this story, too; but seeing that it was not so well suited (euprepeˆs) to epic poetry (epopoiieˆ ) as the tale of which he made use, he rejected it, showing that he knew it’’ (trans.
Art and Science (2nd Edition) by Eliane Strosberg