Hello all,
As a coincidence, i found this text in a blog about Newton Vs Leibniz well
know confrontation (sorry, only in spanish).
http://scientiablog.com/2011/05/19/la-guerra-del-calculo-matematico-newton-contra-leibniz/
This is just the thinks that would help to the student to be part of the
context (even you can understand why to use the integral symbol (large s
from "summa"). May be, in a sencond step, with the help of the arts student
can go deeply to the representation proceses, as for example in this
derivatives context with ths exhibition:
http://www.imaginary-exhibition.com/
For sure this would be an amazing kind of education,
G.
,
2013/10/14 Ernest Edmonds <ernest@ernestedmonds.com>
> Along Simon's line, I normally quote Lawrence Alloway in his introduction
> to Nine Abstract Artists (1954): "I propose to use abstract meaning to draw
> out of or draw away from. Figurative paintings and landscapes will be said
> to have been abstracted from figures and landscapes. The word concrete will
> be used for works of art in which a process of abstraction is not
> perceptible….."
>
> Ernest
>
> On 13 Oct 2013, at 09:29, Simon Biggs <simon@littlepig.org.uk> wrote:
>
> > Abstraction in art is when you have a work that is abstracted from
> something. It doesn't need to be figurative - it can be
> non-representational in the sense that it doesn't resemble what it is
> abstracted from. However, the work still has it's roots in something other
> than itself.
> >
> > The concrete in art is when you have a work that makes no reference to
> anything outside itself. It's only subject is itself. Such works are purely
> formalist.
> >
> > I would argue that purely formalist art is an impossibility, just as
> work that is indistinguishable from what it represents is impossible. Pure
> formalism isn't possible as everything is linked to something, if not most
> things, in some way. Even purist minimal formalism, such as the work of Max
> Bill, makes reference to something. In Bill's case he makes reference to
> the Modernist reductivist ethic and mathematics. A work like Malevich's
> White Square on White, which many consider a precursor to purist formalism,
> makes reference to theosophy and notions of the sublime. Beyond these
> issues there is the problem that a work exists as received by the reader,
> not as intended by the writer. The writer cannot control what the reader
> will bring to the work - and the reader will always bring something,
> contextualising and grounding the work in some kind of referential
> relationship.
> >
> > Realism and formalism are the ever receding impossible targets that some
> artists have pursued in their desire for perfection. I'm no Buddhist - but
> a middle (perhaps messy) way seems wise in this context. That's why I still
> think post-modernism has wings - it is premised on the messy way.
> >
> > best
> >
> > Simon
> >
> >
> > Sent from a mobile device, thus the brevity.
> >
> > Simon Biggs
> > simon@littlepig.org.uk
> > s.biggs@ed.ac.uk
> > http://www.littlepig.org.uk
> >
> > On 12 Oct 2013, at 18:27, Paul Fishwick <metaphorz@gmail.com> wrote:
> >
> > Paul
> > I would like to better understand how artists use the word "abstract"
> since it
> > might be at odds with the non-art definition. From my understanding of
> your
> > argument, concrete art is a type of abstract art and concrete art
> presumably has
> > no representation whereas abstract art can be representational of some
> external
> > phenomenon (or "figurative")? So that I can educate myself on how
> artists use
> > the word "abstract," can you provide an artistic example of something
> that is considered
> > abstract by art historians but that is in fact figurative? I would hope
> also that art
> > historians have definitions of "concrete" vs. "abstract" by virtue of
> formal characteristics
> > of a work, rather than as a function of when it was produced or by whom.
> In other words, we
> > should be able to apply your definitions of abstract and concrete to
> arbitrary creations.
> > -p
> >
> >
> >
> >
> >
> > On Oct 11, 2013, at 2:58 PM, Paul Brown <paul@paul-brown.com> wrote:
> >
> >> Hi Roger
> >>
> >> My comments were certainly not meant to undermine the value of
> art/science/engineering collaboration/education but just intended to
> comment on the misuse of the word 'abstract' in an earlier post.
> >>
> >> In the UK (and possibly elsewhere in the English language users world)
> the word abstract is often confused with 'non figurative'. As someone who
> studied with the British system's artists in the 1960's and 70's I believe
> that the genre which we can roughly describe with the term art concret is
> one that is closest to science in it's basic remit (about discovering
> things) although the abstractionist Bierdermann believed the same.
> >>
> >> Well, anyway, I'm sorry if my comments were not clear.
> >>
> >> All the best
> >> Paul
> >>
> >>
> >> On 11 Oct 2013, at 04:40, roger malina <rmalina@alum.mit.edu> wrote:
> >>
> >>> yasminers
> >>>
> >>> I never imagine that my referring to the web site
> >>> on the need to contextual mathematics would launch
> >>> this discussion on the root of all evil but paul and simon's
> >>> responses have focused the discussion on the basic argument
> >>> that the root bernstein's are making about the evidence that
> >
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