Related Papers
Transpositions : Aesthetico-Epistemic Operators in Artistic Research
Tor-Finn Fitje
Transpositions: Aesthetico-Epistemic Operators in Artistic Research
Abandoning art in the name of art
2018 •
Esa Kirkkopelto
Transpositions : Aesthetico-Epistemic Operators in Artistic Research
Abandoning Art in the Name of Art: Transpositional Logic in Artistic Research
2017 •
Esa Kirkkopelto
The aim of this essay is to imagine how transposition could be conceived of as a method of artistic research practice. The topic is speculative. It models processes before they are explicitly tried out. In other words, I consider transposition here to be a methodological hypothesis. Given that the intended use of the model is as both a heuristic and an analytical tool for planning and assessing concrete research projects, it is based not on practical examples but on descriptions of certain generally recognisable features in different kinds of practices, insofar as they coincide with artistic practices. As in speculative realism, the aim is to understand the logic of the real regardless of a human viewpoint. In my previous writings, I have analysed how artistic research can be seen as a continuation of institutional critique (Kirkkopelto 2015). Here I will consider how research in the arts relates to its avant-gardist legacy, and especially to the tendencies that today are considered “anti-art” (McEvilley 2005) or “nonart” (Kaprow 2003).
International Studies in the Philosophy of Science
Creation as reconfiguration: Art in the advancement of science
2002 •
Catherine Elgin
Transpositions: Aesthetico-Epistemic Operators in Artistic Research
Transduction and ensembles of tranducers
2018 •
Paulo de Assis
Routledge eBooks
Mistranslation as Method in Artistic Research
2023 •
Alys Longley
This chapter discusses the labor of balancing elements in forging a research question. There’s this artistic balancing of abstract and pragmatic concerns moved by the momentum of a work’s idiosyncratic logic.The abstract side of my work as a performance researcher-maker desires getting lost in experiment after experiment, letting the momentum of material unfold in improvisation, writing, collaboration, and the possibilities that emerge as concepts are translated between technical disciplines—choreography, theatre, poetic writing, film making, visual art, philosophy, sound composition. Our work folds and unfolds through the possibilities and constraints presented by specific practices, tipping the artistic language of a project into articulation. Pragmatic procedures also generate the shapes of performance research—funding proposals, audiences, the availability of collaborators, the value systems and languages imposed by academic journals or producers. The desire to tour work and make it available to audiences beyond an immediate artistic community. The desire to reach out to international collaborators and move ideas out of a comfort zone of practice and into something else, to stretch and challenge. These forces limit and expand the shape of a devising process. Then, we have the unruly materiality of all the procedures—the weather, the textures of objects, the limitations, and the desire paths that cannot be envisaged in advance. We have the knowledge of certain failure. The blooming creative shapes of a new project open a sense of potentiality that will most likely be derailed (most likely many times, in many ways). We know the remains will be a detritus of surviving ideas, the best that could be done under the circ*mstances through the entanglement of the unruly, the pragmatic, and the abstract. The way one frames unexpected occurrences and failures could be considered central to a creative methodology. If methodology emerges out of a precarious equation of balancing, the way a performance researcher deals with unexpected shifts in materials and conceptual flows is telling of how research will progress. This chapter goes on to discuss interdisciplinary practice underpinning the work Mistranslation Laboratory - a miniature world with its own highly specific logic. The demand that our work be useful was an agential force, as was the demand of undoing the instrumental imperative of use. Different work contexts generate tension and flow, carrying value systems that push in contradictory directions.
Gestalt Theory
What is What? Focus on Transdisciplinary Concepts and Terminology in Neuroaesthetics, Cognition and Poetics
Elisabetta Vinci
Aisthesis From the aesthetic mind to the symbolic mind
From Aesthetic to Epistemic Structures and back: Complex Dynamics between Art and Science
2019 •
Fausto Fraisopi
We often forget that art and science are not dissociated, nor indeed antagonistic , but rather allow a creative interplay to emerge from which arises the generation of new forms of knowledge (Miller [1995]: 190). According to Parkinson, "the analogy between the new painting and the new physics consists in that elements formerly held as cognitive or conceptual a-prioris enter as constitutive factors in the very structure of the edifices of art and science" (Parkinson [2008]: 161). How exactly does it work? If for us nowadays it's relatively easy to think of the mimetic moment of art as a prelude to geometry, it is not so trivial to claim how higher-order representational symbolic epistemic structures (h.o.r.s.e.s.) arise from the lifeworld, or simply how both interact together. The aim of this paper is to stake out the complexity of processes going from the lifeworld and, before that, from the life of pictorial language, to h.o.r.s.e.s., in order to apply this model to further enquiries. In the first part, we will reactivate the Kantian interdependence between aesthetics and epistemology via the intersubjective dimension , in order to understand how the shaping of forms and the figuring-out patterns remain an essential component of any epistemic structure as such. In the second part, moving from Hacking, Husserl and Foucault, we will look into the way in which the evidence of symbolic structures can be maintained even alongside a genetic conception of science. Art plays an essential role in such a conception, in that it opens new horizons of figurativity in which new shapes can arise and new kinds of objectivities (Gegenständlichkeiten) can be accepted as belonging to our epistemic experience of the world.
Transdisciplinary Journal of Engineering & Science
Vision and Experience: The Contribution of Art to Transdisciplinary Knowledge
Danielle Boutet
Immanence and Its Distortions: Metaphysics of an Art/Science Collaboration
Ashley M Holmes
Continental philosophers Gilles Deleuze and Felix Guattari wrote about a cosmic kind of creativity that exists in all things, the recognition of which demands of us a special kind of responsibility and action. Deleuze describes a pure existence founded in this truth as the plane or plan of immanence, and he thinks that immanence can be distorted in different, but related ways, by both religion and by science. He was influenced in part by Henri Bergson who proposed the term Élan Vital, which is often translated as " vital force. " Bergson thought that this force was behind biological and inorganic evolution. However, this line of thinking is criticised by some philosophers and scientific positivists as naive " panvitalism " or " hylozoism. " The meaning of these terms is: in the case of the former, that all things are part of a living universe; and, in the case of the latter, that material things may possess life, and life is inseparable from matter. In the face of the quandary caused by the discoveries of quantum physics, Alfred North Whitehead, an English metaphysician from early C20th is gaining renewed interest with his process theory that places emphasis on events, modes of becoming, and types of occurrences. Interestingly he is also claimed to have coined the term " creativity " with respect to cosmology, and, not necessarily attributed to human endeavour. Presented by an artist who is also a research academic specialising in creative practice, this is a reflective account of the thinking behind an art-science collaborative digital media artwork about coral spawning on the Great Barrier Reef. Referring to the aforementioned authors, it is speculated how axiology in art can counter the positivism of science and address the relativism of postmodern attitudes, without didacticism. Rather, through allusion, pathos and sublimity.
