Experientia, Experimentum and Perception of Objects in Space: Roger Bacon

Hackett, Jeremiah

doi:10.1515/9783110802054.101

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“…Francis Bacon, however, obviously elucidated something that had been implied in the use of the terms since at least the thirteenth century. Thomas Aquinas seems to use the two terms in something close to Bacon's sense here and there (Lutz-Bachmann 2007, 157); and in the thirteenth-century scientia experimentalis of Roger Bacon, experientia is the perception of singulars in the Aristotelian sense and experimentum is a scientific procedure based on experientia, including also directed "experimental" operations using laboratories and instruments (Hackett 1998;2013, 4.2;Mensching 2009, 52-58). However, Bacon, a Franciscan friar, differed from later writers on experimental sciences by embedding his experiments and his concept of empiricism in a larger metaphysical context.…”

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Testing Respect(fully): An Interview with Frederic Rzewski

Vaes¹

2015

Experimental Affinities in Music

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In the 1990s Daniel Wolf talked about a "post-experimental" phase, meaning that "'experimental' refers to a type of music of a particular historical era, essentially, if not quite exclusively, the music of the fifties, sixties, and seventies stemming from Cage's 'hard' definition" (Gilmore 2014, 27). This era implies the operating and maintenance of a complex "experimental scene" that supports itself from within and that includes "the composers themselves, [and] mediating factors compris[ing] a complex network of festivals, foundations, academic institutions, venues, private patrons, performers, publishers, publicists, critics, musicologists, and so on" (ibid.). ( 5)"'Experimental' is all the interesting new music that isn't avant-garde" (Gilmore 2014, 28). [Michael Nyman's definition.] 9This typology, succinctly but rigorously proposed by Bob Gilmore, situates itself in an "experimental world," which is inspired by the thought of the sociologist Howard S. Becker (see Becker 1982), but crucially remains musically (and not sociologically) oriented. Even if limited to music from the twentieth century, it is a most useful typology both from the viewpoint of historical musicology as well as from the perspective of composers, providing a common framework of reference to diverse practices. Two complementary questions become inescapable: (1) Was there no experimentation in music before the twentieth century? and (2) Are there no political implications when one advocates and puts into action an "experimental attitude"? Or, formulated differently, Does experimental music (or experimentation in music) remain in a beautifully encapsulated limbo, independent of the world "out there," as suggested by Daniel Wolf 's definition, which seems based on an ivory-tower "experimental scene"? At the very end of his essay, Bob Gilmore (2014: 29) refers to the first question, stating, "As regards the work of older composers, I'm of the opinion that some music is inherently, not temporarily, experimental."What, then, is music that is "inherently experimental"? Reflecting on this question triggers many other related questions: Is there an experimental attitude recognisable in different times, styles, and places? Are there any detectable "experimental affinities" throughout music history? How do new artistic paths emerge through experimental performance or compositional practices? What is the character, function, and potential of experimentation in musical practice? How does experimentation shape artistic identity and expertise? These were the fundamental questions discussed at the International Orpheus Academy for Music and Theory in the

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confidence: 99%

Testing Respect(fully): An Interview with Frederic Rzewski

Vaes¹

2015

Experimental Affinities in Music

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A short history of the rainbow

Corradi

2016

Lett Mat Int

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The history of the rainbow is as old as that of science. The ancient Greek philosophers tried to describe the rainbow, and Aristotle was the first to fully include it among the phenomena studied by physicists. Sunlight reflected in the clouds, the incidence of light rays, the reason for the rainbow’s circular shape, the optical effect of an infinite depth are aspects that have for centuries intrigued scholars, who studied the rainbow with a mixture science and alchemy, sense and sensibility. In the 17th century the rainbow became a strictly physical phenomenon, the object of rigorous investigations according to the law of reflection and refraction. Here we survey this often forgotten history, from ancient Greeks to modern scientists, the rainbow’s colours belonging to the world of physics but also—as Thomas Young wrote in 1803—to the world of speculation and imagination

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Experientia, Experimentum and Perception of Objects in Space: Roger Bacon

Cited by 2 publications

References 0 publications

Testing Respect(fully): An Interview with Frederic Rzewski

Testing Respect(fully): An Interview with Frederic Rzewski

A short history of the rainbow

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