On Paradigms and Revolutions in Science and Art: The Challenge of Interpretation

Root‐Bernstein, Robert

doi:10.1080/00043249.1984.10792532

Cited by 13 publications

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“…Accordingly, when the varieties of science and art are juxtaposed, the "kinship" (Nisbet, 1976, p. 9) between them is revealed. Although certainly different as means and ends of knowing, science is more of an art and art is more of a science than is usually recognized (Eisner, 1991;Root-Bernstein, 1984). Both artistic and scientific products are in the realm of human fabrication oriented to understanding and creating harmony and order.…”

Section: Art In Science and Science As Artmentioning

confidence: 99%

“…Its artistry can, therefore, more easily be denied. Yet, "works of science are ... also works of art" (Eisner, 1985, p. 35) in that both involve aesthetic considerations and sensibilities (Root-Bernstein, 1984). Like the products of art, the products of science are made.…”

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“…According to Eisner (1985, p. 27), "the aesthetic is both a subject matter and a criterion for appraising the processes used to create works of science as well as art." I suggest that attention to the aesthetic-to such features as modes of expression, sense-making, and stimulation of experience, in addition to style, originality, and beauty (Root-Bernstein, 1984)-provides additional criteria by which to understand qualitative work. Attention to the aesthetic properties of qualitative research also illuminates how technology, especially computer technology, may be altering how that work is done and how we make judgments about which works are done well.…”

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On the Aesthetics of Qualitative Research

Sandelowski

1995

Image: the Journal of Nursing Scholarship

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The longstanding debate concerning the credibility of qualitative work and the increasing interest in computerized systems for qualitative data are, arguably, manifestations of efforts to make qualitative research more closely resemble conventional science. Computer technology, in particular, is transforming the look and feel of qualitative work. Yet, qualitative research continues to convey the feeling tone of art. Although the sciences and the arts involve different aesthetics, they share common aesthetic criteria for evaluation, such as beauty and style. Recognition of the aesthetic in works of science and art suggests that both artistic and scientific canons of criticism be used for evaluating qualitative work.

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On the Aesthetics of Qualitative Research

Sandelowski

1995

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On artistic property and a esthetic propriety

Clignet¹

1990

Int J Polit Cult Soc

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The quarrels generated by the coloration of black and white films, the strifes about the policies of acquisition followed by major museums, the turmoil caused by nontraditional casting, or the scandal surrounding the lockout of the musical director of the new French opera house represent as many signs of a worldwide cultural malaise.The paper seeks to show that the malaise and the underlying conflicts in and about art worlds are caused by crises in the current definitions of aesthetic propriety and artistic property. Such crises occur because of time lags between changes in the material basis of the production or the distribution of cultural goods and in their ideological superstructures. Contrasts among disciplines in this regard are paralleled by differences in their responses to the crisis.The subsequent analysis involves the examination of two major transitions in the development of cultural systems in the Western world. The first transition which spans the period ranging from the end of the eighteenth century to the end of the nineteenth century, concerns the cultural impact of the initial dynamics of industrialization. Artists have sought to capitalize on the gains of status already achieved by scientists and inventors. They have emphasized analogies between scientific and artistic creativity in order to assert their right to define aesthetic canons and evaluate individual works in the name of the community at large. But they have also claimed similarities between their roles and those of inventors to affirm their rights to retain economic fights over their individual creations after the latter's entry in the public domain.However, divergences in the modes of division of labor prevailing in the visual, the literary, and the performing fields have been paralleled by divergences in the interaction styles of their respective practitioners. Ensuing divergences in their commitments toward any orthodoxy have also been paralleled by differences in the legal status they have achieved (Williams, 1973;Goodman, 1968). 229 9 1990 Human Sciences Prt~s, hlc.

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The aesthetic dimension of scientific discovery: finding the inter-maxillary bone in humans

Garcia

2020

HPLS

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On Paradigms and Revolutions in Science and Art: The Challenge of Interpretation

Cited by 13 publications

References 13 publications

On the Aesthetics of Qualitative Research

On the Aesthetics of Qualitative Research

On artistic property and a esthetic propriety

The aesthetic dimension of scientific discovery: finding the inter-maxillary bone in humans

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