La collecte, le détournement et l’hybridation sont au coeur de la pratique de la jeune artiste Florence Bernard. Graveuse de formation, elle mêle les techniques traditionnelles (gaufrage, xylogravure…), la vidéo, la photographie à des processus issus de l’imagerie médicale et sci ...
“In each of us two powers preside, one male, one female… The androgynous mind is resonant and porous… naturally creative, incandescent and undivided.”
In addition to being one of the greatest writers and most expansive minds humanity ever produced, Virginia Woolf (January 25, 1882–March 28, 1941) was also a woman of exceptional wisdom on such complexities of living as consciousness and creativity, the consolations of aging, how one should read a book, and the artist’s eternal dance with self-doubt.
So incisive was her insight into the human experience that, many decades before scientists demonstrated why “psychological androgyny” is essential to creativity, Woolf articulated this idea in a beautiful passage from her classic 1929 book-length essay A Room of One’s Own (public library).
Artists and scientists throughout history have remarked on the bliss that accompanies a sudden creative insight. Einstein described his realization of the general theory of relativity as the happiest moment of his life. More poetically, Virginia Woolf once observed, “Odd how the creative power brings the whole universe at once to order.”
But what about before such moments of creative insight? What emotions actually fuel creativity?
The long-standing view in psychology is that positive emotions are conducive to creativity because they broaden the mind, whereas negative emotions are detrimental to creativity because they narrow one’s focus. But this view is too simplistic for a number of reasons.
It’s true that attentional focus does have important effects on creative thinking: a broad scope of attention is associated with the free-floating colliding of ideas, and a narrow scope of attention is more conducive to linear, step-by-step goal attainment. However, emerging research suggests that the positive vs. negative emotions distinction may not be the most important contrast for understanding attentional focus. Over the past seven years, research conducted by psychologist Eddie Harmon-Jones and his colleagues suggests that the critical variable influencing one’s scope of attention is not emotional valence (positive vs. negative emotions) but motivational intensity, or how strongly you feel compelled to either approach or avoid something. For example, pleasant is a positive emotion, but it has low motivational intensity. In contrast, desire is a positive emotion with high motivational intensity.
Nicholas Carr vient de pubier son troisième livre : "«What the Internet is doing to our brains: the shallows. Il y analyse les impacts d'Internet sur notre cerveau ; c'est passionnant, mais aussi très inquiétant !
Before the ethnographer can enter the field of research, indeed, before the researcher can interpret data from the field, he or she must first be aware of how knowledge and meaning are made. The epistemological lens the ethnographer uses will have...
I’m pleased to be able to welcome readers to this Living Book titled Biosemiotics: Nature/Culture/Science/Semiosis. Biosemiotics – as its name suggests – is committed to science-humanities interdisciplinarity. As readers of these Living Books will doubtless know, this kind of interdisciplinarity is no mean task, but we have come a long way since C. P. Snow complained that humanities scholars knew nothing of the Second Law of Thermodynamics (Snow, 1998: 15). The sciences of modernity developed their methodological strengths and practical successes on the basis of ‘objective’1 observation and measurement, drawing on forms of description (preferentially mathematical models) as far removed as possible (which may not be that far (Pimm, 1981: 47-50; Manin, 2007; Lakoff & Núñez, 2000)) from the poetic, metaphor-rich and intersubjective language and the hermeneutical assumptions of the humanities. Although natural and cultural evolution (and, in the latter, the arts and humanities and the sciences) equally depend on continuities as well as what Thomas Kuhn called ‘revolutionary’ alterations,2 in the end both the practice of science and judgments concerning radical revisions of theory belong (as Kuhn noted in his 1969 ‘Postscript’) to the relevant scientific community (Kuhn, 1996). (more...)
Think your deliberate, guiding, conscious thoughts are in charge of your actions?
In a provocative new paper in Behavioral and Brain Sciences, a team led by Dr. Ezequiel Morsella at San Francisco State University came to a startling conclusion: consciousness is no more than a passive machine running one simple algorithm — to serve up what’s already been decided, and take credit for the decision.
Rather than a sage conductor, it’s just a tiny part of what happens in the brain that makes us “aware.” All the real work goes on under the hood — in our unconscious minds.
The Passive Frame Theory, as Morsella calls it, is based on decades of experimental data observing how people perceive and generate motor responses to odors. It’s not about perception (“I smell a skunk”), but about response (running from a skunk). The key to cracking what consciousness does in the brain is to work backwards from an observable physical action, explains Morsella in his paper.
If this isn’t your idea of “consciousness,” you’re not alone.
Where is philosophy? This is not a typo. What is philosophy is a common question. But rarely do we wonder where it is, physically speaking. Imagine a philosopher at work. Where does this scene take place?
Philosophy is typically depicted as a solitary activity conducted in remote natural settings — a hut next to a fjord, a clearing in the middle of a forest, a cave on the slope of a mountain, or, these days, a rocking chair on a porch in a quaint college town. Certainly, some great thinkers (Wittgenstein, Heidegger and Nietzsche among them) were responsible for promoting this bucolic ethos. But even a superficial familiarity with the history of Western philosophy reveals that the city is virtually a necessary condition for the possibility of doing theoretical work, which may then be carried on in other, less hectic places.
Marc Williams DEBONO (Plasticities Sciences Arts)'s insight:
Jean Giraud, allas Moebius voit en l'art contemporain le meilleur moyen de "contourner l'obstacle" d'une science parfois percluse dans son formalisme (à propos des mathématiques, Exposition IHES, Mars 2012)
Après Analogues, Jean-Paul Gavard Perret présente cette fois le onzième titre de la collection que les éditions Notes de Nuit consacrent à Jean-Pierre Faye. Jean-Pierre Faye, Couleurs pliées, Notes de Nuit, Paris, été 2015, 162 pages, 19 €, ISBN : 979-10-93176-07-9.. Dire le corps c’est pour Faye encore ne rien dire, c’est poser des taches de postiches sur de l’obscur. Dire le corps, c’est juste le glisser sur la rétine. Pour le faire éprouver et qu’il soit « entaillé par la voix » comme l’é
The elusive octopus genome has finally been untangled, which should allow scientists to discover answers to long-mysterious questions about the animal's alienlike physiology: How does it camouflage itself so expertly? How does it control—and regenerate—those eight flexible arms and thousands of suckers? And, most vexing: How did a relative of the snail get to be so incredibly smart—able to learn quickly, solve puzzles and even use tools?
The findings, published today in Nature, reveal a vast, unexplored landscape full of novel genes, unlikely rearrangements—and some evolutionary solutions that look remarkably similar to those found in humans. (Scientific American is part of Nature Publishing Group.)
With the largest-known genome in the invertebrate world—similar in size to that of a house cat (2.7 billion base pairs) and with more genes (33,000) than humans (20,000 to 25,000)—the octopus sequence has long been known to be large and confusing. Even without a genetic map, these animals and their cephalopod cousins (squids, cuttlefishes and nautiluses) have been common subjects for neurobiology and pharmacology research. But a sequence for this group of mollusks has been "sorely needed," says Annie Lindgren, a cephalopod researcher at Portland State University who was not involved in the new research. "Think about trying to assemble a puzzle, picture side down," she says of octopus research to date. "A genome gives us a picture to work with."
Since I first read it in a high school Spanish class, I’ve been fascinated by the theory of language implicit in Borges’s “The Library of Babel.” The story describes a universal library containing, in 410-page volumes, every possible permutation of twenty-two letters, spaces, commas, and periods—every book that’s ever been written and every book that ever could be, drowned out by endless pages of gibberish. Its librarians are addicted to the search for certain master texts, the complete catalog of the library, or the future history of one’s own life, but their quest inevitably ends in failure, despair, even suicide.
Perhaps I was obsessed by the same desire for revelation, or haunted by the same subversion of all rational pursuit. In either case, fifteen years later the idea came to me one night of using the vast calculative capacities of a computer to re-create the Library of Babel as a Web site. For those interested in experiencing the futile hope of Borges’s bibliotecarios, I’ve made libraryofbabel.info, which now contains anything we ever have written or ever will write, including these sentences I struggle to compose now.
Site officiel du groupe de recherche Plasticités Sciences Art
Marc Williams DEBONO (Plasticities Sciences Arts)'s insight:
Au sommaire du numéro 39 qui vient de paraître : L'esthétique de l'ineffable à propos de l'oeuvre du peintre Yoel Tordjman (Nathalie Roudil-Paolucci); La philosophie du bonheur chez Wittgenstein à la lumière du Tao (Claude Berniolles); Rencontres et performances : ouverture et opiniâtreté des imaginaires du duo Hantu & S'engager avec le sentiment d'un ordre supérieur par Anthony Judge
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