CYTUVA

GIR - Science and art in philosophy

Download PDF

Contact Information

Jose Manuel Chillón Lorenzo
Plaza del Campus, S/N
Valladolid, Valladolid (47011) - Filosofía y Letras
Send email
983186547
983423007
www.fyl.uva.es/~wfilosof/webMarcos/

Basic Information

UniversityUniversidad de Valladolid
Center
DepartmentPhilosophy (Philosophy, Logic and Philosophy of Science, Theory and History of Education, Moral Philosophy, Aesthetics and Theory of Arts)
Investigation GroupScience and art in philosophy

Description

The main objective of the "SCIENCE AND ART IN PHILOSOPHY" Group is to create a critical discussion forum whose efforts converge in the design of a philosophical paradigm that accounts for the deep structure that underlies both scientific and artistic doing. This is an unpublished and original work that would suppose, once completed, a reference for further research in both philosophy of science and art theory. Our intention is to end polar or pure type stereotypes that generate the idea that art and science are completely opposite activities.

The "SCIENCE AND ART IN PHILOSOPHY" Group breaks down its research into the following points.

PROBLEM OF THE DEMARCATION: In the field of empirical sciences there is the problem of determining what is science and what is not. The same occurs in the field of art theory, where the criteria for deciding what is or what is not a work of art are discussed. This problem, in the field of formal sciences, manifests itself as the problem of the demarcation of the analytical and the synthetic.
THE DIMANIC OF THE THEORIES: In the field of empirical sciences, what has been called “styles” and, more recently, “fashions” is manifested in art. In the field of formal sciences there are also "styles". The similarity in these dynamic modes of both fields, scientific and artistic, is greater than what is considered by those who determine “regional ontologies” absolutely separate and alien to each other.
SPECIFIC IDENTITY OF SCIENCE AND ART: Scientific doing (empirical and formal) raises the question of whether your identity is given by the results or rather by the same doing (scientific). In the field of art, traditionally considered a poiesis, the problem of praxis has arisen at the same time, namely, if what defines artistic doing is not precisely gesture, pure artistic doing without results that can be made independent of the action itself (happenings, performance, action painting).
THE AXIOLOGICAL DIMENSION: Both in the scientific (empirical and formal) and in the artistic sphere, there is an inescapable axiological dimension. There are epistemic (truth), moral (goodness) and aesthetic (beauty) values. In line with what Dewey defended, the exclusive aesthetic values of art cannot be considered, but are present in science in the same measure. Likewise, epistemic values are as genuinely artistic as they are scientific. The moral question fully enters both areas, and it is especially this last dimension that is most current.
THE RATIONAL AND EMOTIONAL COMPONENTS: Both in the field of scientific doing and artistic doing there is a kind of double constitution: the rational and the emotional, despite the fact that in the common understanding the emotional is outside of scientific doing. This matter deserves to be the object of rigorous analysis, since neither science is pure objectivity, nor is art simple emotion.
THE PROBLEM OF UNIVERSALITY / INDIVIDUALITY: Traditionally it has been considered that what belongs to science is the universal, while what belongs to art is the individual. The question is much more complex, and our intention is to show that science is also concerned with the individual and the art with the universal. Certain Aristotelian insights can help us at this point.
THE PROBLEM OF METAPHOR: In the field of empirical sciences, metaphor is a powerful conceptual and representative tool that discovers hidden similarities at first. This metaphor, in the field of formal sciences, is what is known as "model". Undoubtedly, there is an inescapable metaphorical element in art, as Goodman, Genette, etc., hint at, among others. The analysis of the intimate structure of the metaphor will be useful to find the links between these areas.
THE PROBLEM OF SOCIAL IMPACT ON SCIENCE AND ART: Are they individual or social results, that is, are they the product of creative geniuses or rather are they inserted in the context of a tradition of doing? It is the problem of "genius", originally applied to artists, but in common use among scientists. It is necessary to investigate the question of “ingenium” from a hermeneutical point of view.
THE PROBLEM OF FACULTIES: What are the characteristics of science and art? Are they really different, or is there a coincidence? Imagination, memory, calculation are not exclusive to any discipline.
SYNTHESIS: Finally, what are the differences between science and art? Once the possible common elements have been analyzed, it is necessary to see what differentiates both regions of human praxis. The comparative study proposed in the subsequent sections will undoubtedly illuminate this question, offering the possibility of rigorously answering it, reviewing prejudices to arrive at an authentic understanding.

Other information

Number of researchers:

Technological Line(s):

- Arts and Humanities

Development status:

In research and development phase

Applicability of technology:

Yes

Additional Information:

RESEARCH:

Philosophy of science
Theory of the Arts

UNESCO Code:

5101 - Cultural anthropology

Other members:

Sixto José Castro Rodríguez
María Jesús Hermoso Félix
See more

Miguel Grijalba Uche
Javier de Lorenzo Martínez
Alfredo Marcos
Adrián Pradier Sebastian

Photos

Videos

Other resources

Related projects

GIR - Identity and Artistic Exchanges. From the Middle Ages to the Contemporary World (IDINTAR)

OBJECTIVES:With the constitution of the group it is intended to achieve the following general objectives:The consolidation of lines of study that, without neglecting the local, regional or individual framework (artists, constituents, social groups), ... Read more >

Cathedra - CATHEDRA OF HISTORY AND AESTHETICS OF CINEMATOGRAPHY

On February 28, 1962, the Chair of History and Aesthetics of Cinematography was created at the University of Valladolid, attached to the Faculty of Philosophy and Letters by an Order of the then Ministry of National Education (BOE. of June 9, 1962). ... Read more >

GIR - Art, Power asd Society in the Modern Ages

This GIR aims to study the history of art during the Modern Age, attending to the artistic relationships that developed between Spain and the different peoples of Europe from the time of the Catholic Monarchs to the French Revolution, with special em... Read more >

GIR - Spatial Categories in Architecture and other Artistic Discipline (ESPACIAR)

According to its name, the Group has, among others, the following objectives:Continue the work already undertaken on topics in which the members have experience, such as: Corbusian spatiality, Jorge Oteiza's sculpture, ephemeral architectures, the wo... Read more >

Generating PDF document