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Common grounds to art and logic

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Maira Froes

on 7 April 2016

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Transcript of Common grounds to art and logic

BACKGROUND For the first decade since reaching a final position at Federal University of Rio de Janeiro during conclusion of my PhD, by the end of the nineties, my investigative fronts concentrated in intercellular communication and developmental neuroscience. Ahead of a mounting developmental neuroscience laboratory, formal training, formal thoughts lead to a period of intense battle for low cost and creative methodologies to address experimentally the hypothesis that low resistance pathways between neural cell types, including neurons and glial cells, were co-players in neural circuit formation and early brain development in model rodents. Papers in specialized journals, invited reviews, lectures in scientific meetings, organization and coordination of national and international courses, graduate students formation in traditional Master and PhD Programs, all marked this period, as expected from regular choices in the scientific scenario.
THE EMERGENCE OF AN ARTSCI PROPOSAL The last five years, nevertheless, were marked by the expression and consolidation of a turning point in my intellectual and research interests. What one would arguably classify as a new sight to science has its roots on strong personal experiences in my private life, together with remarkable lessons extracted from mine and lab colleagues joint efforts in reductionist science. My direct involvement with undergraduate teaching of the human functional anatomy of the ear and speech systems to students in Phonoaudiology, since the early 2000s, was marked by two apparently non-related, albeit worthnoting, evidences: the great difficulties imposed by complex technical, descriptive scientific objects and the conflicting (usually hidden) existential link between the individual and scientific objects, specially those experienced in the day-by-day of a Laboratory of Anatomy, where practical classes are developed onto human pieces, in this case including preserved faces.
It became more and more appealing to me the idea that both cognitive and non-cognitive brain processes, the latest in the category of rejected experiences in the scientific methodological foreground, were in fact indelibly linked for the benefit of science creation and scientific findings. These undergraduate laboratory tours became metaphors of the human condition I recognized in science, in that not only cognitive, but also affective-emotional processes might have much more to do with conceptual creation, apprehension and theoretical/experimental evaluation in science than ever assumed. I did not fully realize, in these early years, I was enthrapped into a new critical platform for consideration of epistemological and ontological basis that presumably anchors science. From a field of truth findings to a field of argued consensual creations, science was re-meant for me. A point of no return.
Boosted by the reconceptualization of the meaningfulness of scientific knowledge, by the end of 2007, I decided to create an inter- (I would risk 'trans') disciplinary team, called Anatomy of Passion, a poetic reference to the human nature of science (http://anatomiadaspaixoes.blogspot.com/), and the corresponding Laboratory of Experimental Epistemology. The hypothesis claimed by my group, including neuroscientists, a team of academic and independent contemporaneous artists, researchers from humanities, engineers and philosophers, is that aesthetical valorization in science paradigms would lead to optimization of its cognitive handling, as expressed as scientific conception and intellectual insight. We have began to address this possibility both theoretically as well as experimentally, by electing one of our biological sensory apparatus as model system, in a convenient attempt to explore the filters that mediate our perception of the objective world and of the objective science, while revealing an undeniable individual, subjective character of sensorial experience.

Rejected, non-logical, components 'd affect cognitive skills in science
Boosted by the reconceptualization of the meaningfulness of scientific knowledge, by the end of 2007, I decided to create an inter- (I would risk 'trans') disciplinary team, called Anatomy of Passion, a poetic reference to the human nature of science (http://anatomiadaspaixoes.blogspot.com/), and the corresponding Laboratory of Experimental Epistemology. The hypothesis claimed by my group, including neuroscientists, a team of academic and independent contemporaneous artists, researchers from humanities, engineers and philosophers, is that aesthetical valorization in science paradigms would lead to optimization of its cognitive handling, as expressed as scientific conception and intellectual insight. We have began to address this possibility both theoretically as well as experimentally, by electing one of our biological sensory apparatus as model system, in a convenient attempt to explore the filters that mediate our perception of the objective world and of the objective science, while revealing an undeniable individual, subjective character of sensorial experience.

The intricate anatomical organization of the human auditory system, from its peripheral stations to central nervous system associative areas, was the scientific object of choice in many theoretical and all experimental fronts held by the group during these first four years. The emerging hypothesis was that subjective access, qualification and signification of the perceptual experience would be fostered or emphasized by direct artistic interference on anatomical aesthetics. Moreover, that morphofunctional appreciation and problematization would be favored this way. With such a hypothetical ground in question, I was faced with the challenge of re-creating a referential collection of artsci pieces concerning the human ear anatomy, comprised of both concrete objects and conceptual figures strongly framed and/or conceived with artistic impregnation, as to establish a model system. This enabled us to test our claims concerning the putative benefits of artsci combination in the cognitive handling achieved on a scientific model system of choice, as herein consisting of the human auditory functional anatomy, could be addressed experimentally.
Aesthetic valorization of sci paradigms 'd lead to cognitive gain
An odd and autoscopic investigative paradigm:
science as a creative process,
a metaphor of higher human cognitive functions
What about if objects of science emerged as awesome, appealing, enthralling artworks?
When joining feelings and beauty to Method,
what about science?
Would aesthetics immersion drive cognitive gain?
Would art be a catalyst for scientific
creative conception?
Object of sci interest

Innovative questions

Methodological procedure

Innovative readings

Consensual findings

Breakthrough
Human cognition: judgments of relevance and rationale, decision making involve constitutively mental transits associated with pleasure, reward, emotion, affection.
Cognitive neurobiology investigations reveal unpredictable emotional-affective roots recognized in art
Our old cartesian scientific paradigm, our techné, is now challenged by the very science it forged
In consequence, our technological inventions would, ultimately, represent correlational artefacts of human feelings,
formalizations/materializations framed by rationalization and/or empirical criteria
Knowledge might be better understood as a multimodal spectrum of rationalizations.
Logic gains other colors.
Art, science, technology, all emerge from pre-symbolic, pre-formalistic sensations;
feelings and pulsions of human existentialistic desire.

Each, and all of them, human inventions, abstractions of the only available truth,
an unspeakable intelligence: our 'inroot' feelings
It is tempting to speculate logic as one of a repertoire of possibilities of formal reductions or abstractions of feelings
In artistic expression, creative works are less susceptible to reduction, as less restrained by resources of logical abstractionism

Although objectified by formal transduction resources - the artistic techné -

the primary, sensed character, the innefable coherence present in its original inspiration, is relatively preserved
Sentido
Sentido
In science, creations are displaced to codified systems, framed by logic and objective predictions
In art, aesthetical-subjective roots tend to be better preserved, even at the expression level
Sensation/Sentiment*
*emotional pulsion, feelings, desire
Scientific (r-)evolution
Technological (r-)evolution
(R-) Engineering

Pre-formal domain,
pre-symbolic
no abstraction

Artistic techné
Intuition is valid
Scientific/Technol techné
Method validates
Formal symbolic domain
+ abstraction
Logical pervasive grounds
Formal iconic domain
++ abstraction
Logical cognitive statements
Formal imaginative flows
Favorable validation paradigm
Unfavorable validation paradigm
creation
sensitive awareness
Embodied cognitive
perception-action plans
Perception-action rudiments comprised of feelings
Creative objects/objectivations
sci. formal training, formal thoughts
A preservação da coerência pré-simbólica, pré-formalística, de inteligência na arte, aqui defendida, aliada ao favorecimento que hoje reconhecemos, dentro das neurociências, da coexistência e da implicação de trânsitos identificados em vivências de ordem estética nas expressões de comportamento racional e na criatividade humana, colocam a arte em situação privilegiada no circuito de criação das ciências experimentais, e teórico-investigativas, de um lado, e no desenvolvimento tecnológico, de outro.
É desejável, e recomendável que a ciência e a tecnologia se abram à validação da arte como paradigma de inspiração e sensibilização intuitiva e como pista intelectual dentro do método científico. Outras culturas estão chegando aí, sem grandes problematizações, mas simplesmente por saber empírico. Não podemos perder o momento de fazê-lo como uma real reengenharia de nossos sentidos, como uma revolução paradigmática.
:)
Abstraction/Signification/Analysis/Epistemology
Feeling/Aesthetics/Synthesis/Episteme
Conveyed human imagination: an existential imposition
Logic and logical behavior receive, ultimately and necessarily, the undissociable contribution of feelings and emotive sensations. The axial claim here is that logic-based technologies and artworks share common creational, germinal roots in human cognitive resources.
For reasons anchored on contemporaneous neurobiology findings, logic is proposed at the extreme of a repertoire of possibilities of formal reductions or abstractions due to pre-formal, pre-symbolic transits.
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