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Table Of Contents

Philosophy and History of Arts
The Latin “Artes” and the Origin of Modern “Arts”
2.2 Meaning and Etymology of the Word “Art”
2.3 “Artes”—Fields of Knowledge
2.3.1 “Liberales Artes” as Basis of Education
2.3.2 The “Mechanical Arts”—Artes Mechanicae
2.8 Scientific Motifs in the Fine Arts
Science and Art: A Philosophical Perspective
3.2 Origin of “Science”
3.3 Origin of “Art”
4.2.1 From Art History to World Art Studies
4.2.2 From the Conscious to the Unconscious
4.2.3 Advantages of a Scientific Approach
4.4.4 Neuroscience Applied: China and Europe
5.4 Publications on Science and Art
5.4.2 Journals
5.4.3 Research Papers
5.5 Problems in Developing Science and Art in China
Appendix 5.1: Science-and-Art Theses in China
The Development of Science Theater
6.1 What Is Science Theater?
6.3 Science Theater in German Speaking Countries
6.3.1 Brecht’s Life of Galileo
6.3.2 Dürrenmatt’s The Physicists
6.4.1 Frayn’s Copenhagen
6.4.2 Barrow and Ranconi’s Infinities
6.5 France as an Example
6.7 Conclusion
Silence in Art
7.1 Introduction
7.2 Development of Sculpture Work
7.3 Creativity Stages
7.4 Conclusion
Linsen’s Art
8.1 My Background
8.2 Early Period
8.3 Later Period
8.4 Conclusion
From Curiosity to Creation: The Art of Holly Lane
9.1 Introduction
9.2 Science and Art
9.3 Origins of Art
9.3.1 Archeological Evidence of Art
9.3.2 Tool Use and Aesthetic Awareness
9.4 Definitions of Art
9.4.1 Philosophical Definitions of Art
9.4.2 Art as a Cluster Concept
9.5 On Thinking about Art
9.6 The Art of Holly Lane
9.7 Conclusion
Making Movies and Making Physics
10.1 Introduction
10.2 Our Background
10.3 What Are Movies? What Is Physics?
10.4 Picking a Project
10.5 Executing the Project
10.6 Creativity and Innovation
10.7 The Joy of Making Movies and Making Physics
10.8 Conclusion
11.1 Introduction
11.2 Integrating the Two Cultures
11.2.1 “Duchamp-Land” and “Turing-Land”
11.2.2 The Borderland of Critical Computing
11.3.3 Benefits and Challenges
11.4 Memory, Reverie Machine
11.4.1 Literary Antecedents
11.5 Conclusion
ChemArt and BioArt: Art-Science Interactions
12.1 Introduction
12.2 Science and Art
12.3 ChemArt: A Case Study
12.3.1 Artistic Science
12.3.2 Scientific Art
12.6 Discussion and Conclusion
13.1 On Literature and Adaptation
13.1.1 Principles of Evolutionary Explanation
13.1.2 Evolution and Complex Practices
13.2.1 Literary Universals
13.2.2 Imagination and Literature
13.2.3 Literature and Emotion
13.2.4 Explaining Aversive Imagination
13.2.5 Explaining Literary Emotion
13.3 Literary Narrative and Ancillary Adaptation
13.5 Conclusion
14.1 Reading Love and Anger
14.1.1 Imagination and Emotion
14.2 Laws of Emotion, Appraisal and Imagination
14.3 Othello and Omkara: The Main Storyline
14.4.3 Malevolence: Stealing the Gift of Love
14.5 Appraisal and the Law of Apparent Reality
14.6 The Law of Closure: Putting out the Light
15.1 Introduction
15.5 New Young Women in China and Their Desire
15.6 Fatherly Love in the New Romance
16.2 Mimesis in Science
16.3 Time and Language
16.4 Science Questions
16.5 Science and Truth
16.6 Science Networks
17.2.2 Su’s Art View
17.2.3 Su’s Bamboo Painting
17.3 Paul Cézanne and His Apple
17.3.1 Cézanne’s Life and Career
17.3.2 Cézanne’s Art View
17.3.3 Cézanne’s Apple Painting
17.4 Neurological Basis of Their Artworks
17.5 Discussion and Conclusion
Appendix 17.1: Dong-Po Pork
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Arts a Science Matter

Arts a Science Matter

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Published by Utgi Garcia

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Published by: Utgi Garcia on Oct 29, 2013
Copyright:Attribution Non-commercial


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