Titlebook: On Art and Science; Tango of an Eternall Shyam Wuppuluri,Dali Wu Book 2019 Springer Nature Switzerland AG 2019 Art and Science.Art Educatio

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Art and Science in the Thinking of Rudolf Arnheim,s of Art, he wrote: “science employs and consumes sensory data in order to arrive at the principles governing the operations of physical and mental forces. In art, the sensory data themselves are the ultimate statement because what we are made to see and hear lets us experience the play of forces th

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Complexity and Chaos Theory in Art,ovided the means to create totally realistic models of natural forms.Artists and musicians have gained their inspiration from both the simplicity and complexity of the world, and through their art have added their own contributions.This paper will explore how mathematics and the arts complement each

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The View Through Glass, painting but the act of embracing by means of art the surface of the pool?” Indeed, the view through the surface of the pool, or through the (looking) glass? gives evidence of a theory of knowledge entailed by artificial perspective which mathematics and the philosophy of nature were not ready to a

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Finally Fresh Air: Towards a Quantum Paradigm for Artists and Other Observers,but has long remained mysterious as a description of reality. What has been obstructing our understanding are deeply ingrained presuppositions about the nature of reality. Freed from these presuppositions, a new world view is emerging in which connectedness and consciousness play a fundamental role.

agnostic

Of Barrels and Pipes: Representation-as in Art and Science, exemplification, keying up, and imputation. Originally formulated as an account of scientific representation, it is here used to account for representation in the arts and to highlight the commonalities between scientific and artistic representation. Our approach is premised on the proposition that

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A Psychohistorical Philosophy for the Science of the Arts, As a background claim, I begin with the .-., which states that dependence relations have tied arts and sciences together in the past and continue to interlink them in the current historical context. The co-dependence thesis is contested in the debate about the foundations of the science of art. Rec

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Popular Art, Bad Art, and the Data of Philosophical Aesthetics,n which aestheticians should be attentive to some empirical data. In particular, it is commonly presupposed that a careful observation of the nature of various works of art often plays a role within aesthetics which is somewhat parallel to the role which experimental data plays in certain sciences.