Science and art: biology and psychology of creativity
Identifieur interne : 002294 ( Istex/Corpus ); précédent : 002293; suivant : 002295Science and art: biology and psychology of creativity
Auteurs : Ernesto CarafoliSource :
- RENDICONTI LINCEI [ 1120-6349 ] ; 2009-09-01.
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Abstract
Abstract: Charles Percy Snow first talked of two cultures in a Rede Lecture he delivered in Cambridge 50 years ago (Snow in The two cultures and the scientific revolution, Cambridge University Press, Cambridge, 1959). In the lecture he had only spoken of scientific and literary cultures, but the concept has gradually become extended beyond the literary culture, to encompass the broader world of arts. Thus, the expression is now routinely used to define the scientific and the artistic cultures. Which have important intrinsic differences: the scientific culture is objective and generates products that require verification [The term verification is used here in a general sense. It would perhaps be more appropriate to use the term falsification. In Popper’s (The Logic of Scientific Discovery, Basic Books, New York, 1959; Conjectures and Refutations, Rutledge, London, 1963) lexicon, a theory or, more generally, an assertion, is only scientific if it is falsifiable: which, however, does not mean that it is false]. The artistic culture is subjective, and, as a rule, does not demand verification. Science progresses, art changes, but the notion of progress is alien to it. These undisputable differences have been frequently underlined, however, the two cultures also have important points of contact. This contribution will discuss the most important, i.e., the commonality of their general aims, and the structure of the creativity process.
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DOI: 10.1007/s12210-009-0041-0
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ISTEX:2055C9B06C0FEA9454EB8B3CA11ABA7CEE96DFDFLe document en format XML
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Lincei</title><idno type="ISSN">1120-6349</idno><idno type="eISSN">1720-0776</idno><imprint><publisher>Springer Milan</publisher><pubPlace>Milan</pubPlace><date type="published" when="2009-09-01">2009-09-01</date><biblScope unit="volume">20</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="177">177</biblScope><biblScope unit="page" to="197">197</biblScope></imprint><idno type="ISSN">1120-6349</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">1120-6349</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Creativity</term><term>Equations</term><term>Intuition</term><term>Painting</term><term>Poetry</term><term>Symmetry and asymmetry</term><term>The Golden Ratio</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Abstract: Charles Percy Snow first talked of two cultures in a Rede Lecture he delivered in Cambridge 50 years ago (Snow in The two cultures and the scientific revolution, Cambridge University Press, Cambridge, 1959). In the lecture he had only spoken of scientific and literary cultures, but the concept has gradually become extended beyond the literary culture, to encompass the broader world of arts. Thus, the expression is now routinely used to define the scientific and the artistic cultures. Which have important intrinsic differences: the scientific culture is objective and generates products that require verification [The term verification is used here in a general sense. It would perhaps be more appropriate to use the term falsification. In Popper’s (The Logic of Scientific Discovery, Basic Books, New York, 1959; Conjectures and Refutations, Rutledge, London, 1963) lexicon, a theory or, more generally, an assertion, is only scientific if it is falsifiable: which, however, does not mean that it is false]. The artistic culture is subjective, and, as a rule, does not demand verification. Science progresses, art changes, but the notion of progress is alien to it. 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In the lecture he had only spoken of scientific and literary cultures, but the concept has gradually become extended beyond the literary culture, to encompass the broader world of arts. Thus, the expression is now routinely used to define the scientific and the artistic cultures. Which have important intrinsic differences: the scientific culture is objective and generates products that require verification [The term verification is used here in a general sense. It would perhaps be more appropriate to use the term falsification. In Popper’s (The Logic of Scientific Discovery, Basic Books, New York, 1959; Conjectures and Refutations, Rutledge, London, 1963) lexicon, a theory or, more generally, an assertion, is only scientific if it is falsifiable: which, however, does not mean that it is false]. The artistic culture is subjective, and, as a rule, does not demand verification. Science progresses, art changes, but the notion of progress is alien to it. 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In the lecture he had only spoken of scientific and literary cultures, but the concept has gradually become extended beyond the literary culture, to encompass the broader world of arts. Thus, the expression is now routinely used to define the scientific and the artistic cultures. Which have important intrinsic differences: the scientific culture is objective and generates products that require verification [The term verification is used here in a general sense. It would perhaps be more appropriate to use the term falsification. In Popper’s (The Logic of Scientific Discovery, Basic Books, New York, 1959; Conjectures and Refutations, Rutledge, London, 1963) lexicon, a theory or, more generally, an assertion, is only scientific if it is falsifiable: which, however, does not mean that it is false]. The artistic culture is subjective, and, as a rule, does not demand verification. Science progresses, art changes, but the notion of progress is alien to it. 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In the lecture he had only spoken of scientific and literary cultures, but the concept has gradually become extended beyond the literary culture, to encompass the broader world of arts. Thus, the expression is now routinely used to define the scientific and the artistic cultures. Which have important intrinsic differences: the scientific culture is objective and generates products that require verification [The term verification is used here in a general sense. It would perhaps be more appropriate to use the term falsification. In Popper’s (The Logic of Scientific Discovery, Basic Books, New York, 1959; Conjectures and Refutations, Rutledge, London, 1963) lexicon, a theory or, more generally, an assertion, is only scientific if it is falsifiable: which, however, does not mean that it is false]. The artistic culture is subjective, and, as a rule, does not demand verification. Science progresses, art changes, but the notion of progress is alien to it. These undisputable differences have been frequently underlined, however, the two cultures also have important points of contact. This contribution will discuss the most important, i.e., the commonality of their general aims, and the structure of the creativity process.</Para></Abstract><KeywordGroup Language="En" OutputMedium="All"><Heading>Keywords</Heading><Keyword>Creativity</Keyword><Keyword>Intuition</Keyword><Keyword>Symmetry and asymmetry</Keyword><Keyword>Painting</Keyword><Keyword>Poetry</Keyword><Keyword>Equations</Keyword><Keyword>The Golden Ratio</Keyword></KeywordGroup></ArticleHeader><NoBody></NoBody></Article></Issue></Volume></Journal></Publisher></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Science and art: biology and psychology of creativity</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>Science and art: biology and psychology of creativity</title></titleInfo><name type="personal" displayLabel="corresp"><namePart type="given">Ernesto</namePart><namePart type="family">Carafoli</namePart><affiliation>Venetian Institute of Molecular Medicine, Via Orus, 2, 35129, Padua, Italy</affiliation><affiliation>E-mail: ernesto.carafoli@unipd.it</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="ReviewPaper" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>Springer Milan</publisher><place><placeTerm type="text">Milan</placeTerm></place><dateCreated encoding="w3cdtf">2009-01-25</dateCreated><dateIssued encoding="w3cdtf">2009-09-01</dateIssued><dateIssued encoding="w3cdtf">2009</dateIssued><copyrightDate encoding="w3cdtf">2009</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><abstract lang="en">Abstract: Charles Percy Snow first talked of two cultures in a Rede Lecture he delivered in Cambridge 50 years ago (Snow in The two cultures and the scientific revolution, Cambridge University Press, Cambridge, 1959). In the lecture he had only spoken of scientific and literary cultures, but the concept has gradually become extended beyond the literary culture, to encompass the broader world of arts. Thus, the expression is now routinely used to define the scientific and the artistic cultures. Which have important intrinsic differences: the scientific culture is objective and generates products that require verification [The term verification is used here in a general sense. It would perhaps be more appropriate to use the term falsification. In Popper’s (The Logic of Scientific Discovery, Basic Books, New York, 1959; Conjectures and Refutations, Rutledge, London, 1963) lexicon, a theory or, more generally, an assertion, is only scientific if it is falsifiable: which, however, does not mean that it is false]. The artistic culture is subjective, and, as a rule, does not demand verification. Science progresses, art changes, but the notion of progress is alien to it. 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