While demonstrating how science is affecting the creation and interpretation of contemporary art, this book proposes that artistic insights are as important on their own terms as those in science and that we can and should accommodate both forms of knowledge. Featuring the work of artists such as Damien Hirst, Christine Borland, Bill Viola and Helen Chadwick, and art-science collaborative ventures involving Dorothy Cross, Eduardo Kac and Stelarc, it looks at the way new scientific explanations for the nature of human consciousness can influence our interpretation of art, at the squeamish interventions being produced by artists relishing in new technologies and at art which takes on the dangers facing the fragile environment. Seeing the world from the other point of view can inform the practice of both sides--this book will provide new insights to artists, scientists and the wider public.
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'Teachers and lecturers will find sources of insight and inspiration to enliven and enhance interest in lessons and lectures.' - School Science ReviewTLS
About the Author
Siân Ede is Arts Director for the UK branch of the Gulbenkian Foundation and is editor and author of Strange and Charmed: Science and the Contemporary Visual Arts.
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First Sentence:
When I first became interested in science and found myself in the company of scientists, 1 was regularly struck by their frequent use of a word that is scarcely ever heard in the arts. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
structural intuition, consciousness studies Key Phrases - Capitalized Phrases (CAPs): (learn more)
Mark Dion, Mark Lythgoe, Damien Hirst, New York, Richard Deacon, Richard Wentworth, Antonio Damasio, Bobby Baker, Complexity Theory, Helen Chadwick, Richard Dawkins, Richard Gregory, Andrea Duncan, British Museum, David Bohm, Giles Revell, Golden Section, Magnetic Resonance Imaging, Marcus Coates, Mona Hatoum, Red Sea Crossing, Stefan Gec, Steven Pinker New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
When I first became interested in science and found myself in the company of scientists, 1 was regularly struck by their frequent use of a word that is scarcely ever heard in the arts. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
structural intuition, consciousness studies Key Phrases - Capitalized Phrases (CAPs): (learn more)
Mark Dion, Mark Lythgoe, Damien Hirst, New York, Richard Deacon, Richard Wentworth, Antonio Damasio, Bobby Baker, Complexity Theory, Helen Chadwick, Richard Dawkins, Richard Gregory, Andrea Duncan, British Museum, David Bohm, Giles Revell, Golden Section, Magnetic Resonance Imaging, Marcus Coates, Mona Hatoum, Red Sea Crossing, Stefan Gec, Steven Pinker New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
books:
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3
books
cite this book:
- A Box of Matches: A Novel (Baker, Nicholson) by Nicholson Baker on 4 pages
- Strange & Charmed by Sian (ed) Ede on 4 pages
- Art and Illusion: A Study in the Psychology of Pictorial Representation (v. 6) by E.H. Gombrich in Back Matter (1), Back Matter (2), and Back Matter (3)
- The Language Instinct: How the Mind Creates Language (Perennial Classics) by Steven Pinker on page 77, Back Matter (1), and Back Matter (2)
- The Merchant of Venice (Folger Shakespeare Library) by William Shakespeare on page 66, Back Matter (1), and Back Matter (2)
See all 100 books this book cites
- Seen | Unseen: Art, Science, and Intuition from Leonardo to the Hubble Telescope by Martin Kemp in Back Matter (1), and Back Matter (2)
- Art and Advertising by Joan Gibbons in Front Matter
- Corporate Entrepreneurship (Advances in Entrepreneurship Series) (Advances in Entrepreneurship, Firm Emergence and Growth) by Jerome A. Katz on page 197
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