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Artisits And Scientists Essay, Research Paper
Popular stereotypes frequently present the scientist and the
artist as extreme opposites in theirpursuit of understanding- the scientist as
being objective, disciplined and rational, and artist as being subjective,
impulsive and imaginative. Yet are they really so different in the ways they
look at the world? To what extent do you consider these stereotypes accurate,
and to what extent do you consider them distortions of the ways in which the
sciences and the arts give us their knowledge?
Living in this world, we have many opportunities to appreciate both fields of
science andart. This includes various activities like exhibitions or, in
science, we are also notice its usefulness from the fact that many synthesized
fibres are made into our clothes and so on. Further, we are clearly aware that
within these fields there are experts; scientists and artists. In an effort to
know what they both work on and what they are we have created stereotypes, which
remain persistentlyon our mind and sometimes are extremely useful for us to
categorize things . On the other hand, it could create problems since it
has the potential of conjuring up some wrong ideas on them and thus, prevent us
from seeing what they truly are. And within the stereotype, the scientists and
artists aredescribed as polar opposites. Stereotype, though, really depends on
how you define the word and how it is categorized. Then, to what extent does
this stereotype work and what is wrong about it?
Science is a field of knowledge, which tries to explain the natural phenomena
occurring on the earth, and look for the laws of nature. Scientists can carry
out investigations (what is called the empirical method) in order to broaden the
area and explore for better reasons to explain. From this definition, it is
convincing that scientists should be objective, disciplined and rational. What
they are doing does not need their values as human beings (necessarily), but
their intellects to execute the task. In fact, in experimental science, when a
scientist finds himself with a set of results, he must be so. Being rational and
disciplined helps him to find out the laws by making him think in an ordered
manner, in a logical way, and when needed, this rationality is vital for him to
link the new data together with his obtained knowledge to establish a new theory
or to decode what is implied in the data. Objectivity also is an indispensable
point. It is essential to find bias-free theories and to carefully observe the
truth, which is out there . So, we assume that well-known
facts which we learn in school were all found by rational and objective
scientists, but it often happens that it is not the case.
First of all, what is scientific objectivity? Does such a thing really exist?
Let s have a look at an example. In physics, we firstly learn that light behaves
as a wave. When we imagine it, we tend to have an image of transverse wave of
short wavelength emitted on us from the light on the ceiling. But, later, when
we learn that light also behaves as particle, we say Hang on. How can it
be both a wave and a particle? But that is it; in 1905, Albert Einstein
proposed that light could also exist in the form of a particle, a small piece of
electron called a photon. Until then, for over two hundred years light had been
experimentally proven to be a wave. When Bohr boldly stated in his 1926 theory
of complementarity that light could be both a wave and a particle. Knowledge of
both these very different aspects was necessary for a complete description of
light; choosing one without the other was inadequate. From then,
scientific subjectivity was introduced. Whenever a scientist set up
an experiment to measure the wavelike aspect of light, the subjective act of
deciding whichmeasuring device to use in some mysterious way affected the
outcome, and light responded by acting as a wave and vice versa.
An other situation when scientists are not really being objective is when
they are so certain of their theory that they try to make the obtained results
fit to their theory. When this happens we can see that scientists are not trying
to discover the laws of nature from the data as we think. The opposite way
around. A good example might be Mendel s green pea experiment. In this effort,
he looked for seven different alleles and observed it for 15 years (!). After
this long period of time, he successfully found the famous laws on
genetics including the principle of segregation and so on. But biological
experiments often have more difficulties than physics or chemistry also due to
the fact that the object being tested are alive and it cannot be in a universal
way during all the investigation continues. They are less mechanical than
chemicals, which we use in chemistry, or electrical circuits in physics. We know
that biology experiment do not always work. Variables cannot be controlled and
the modern biologists expect a percentage of exceptions . Therefore, he
must have selected relevant data only to show that his theory works universally.
This, too, cannot be said as being objective- rather, he sort of knew what
should happen and manipulated the results to have the exact number as in the
ratios, which are stated in his laws.
But both revolutionary art and visionary physics are investigations into the
nature of reality, both experts sharing the desire to investigate the ways in
the interlocking pieces of reality fit together. In fact, great scientists have
always relied on intuition and imagination. That is why new ideas sprung from
looking at old facts in a new way. This means that there is no way to look at
facts objectively- in a new way- because there is only one objective way .
Total objectivity must be something sterile and uncreative (thus not
stimulating!). We saw that science was not absolutelyobjective as we thought.
Then can the same thing be referred to stereotype of artist as well? What
exactly makes us to have the impression of artists as impulsive, imaginative and
subjective?
Yet, scientists are concerned with the external world whereas the artists are
not only concerned with external reality but with inner realm of emotions,
myths, dreams and the spirit as well. There they need to be imaginative and
subjective. Still, within their work of art, artists coincidentally or not
conjure up images and metaphors that are strikingly appropriate when
superimposed upon the conceptual framework of the physicists later
revisions of our ideas about physical reality. So, not only artists need
imagination but scientists, too! Objective world exists untouched,
but we can see it only through the filter of each person s temperament-
perception. Then we are using our imagination continually to understand
everything in this world. So, then, even if we talk about such a thing as
objectivity it cannot exist.
In researching this question I came across the work of ____who tries to show
how both artists and physicists are similar in the ways of discovering the new
facts and thinking the world. I found this line of argument very convincing.
Within the conventions of any period, artists can choose both their subject and
the manner in which they depict their subject; their particular interpretations
embrace the ways they see the world. Many art historians mark the point where
Manet exhibited his large composition Luncheon on the grass in 1863
as the beginning of modern art. This painting had no logical consistency. This
was only the beginning of everything, though. He went onintroducing his own
techniques as if he were challenging the old tradition. Yet, the most important
work that he did and to be introduced here is the fact that he was the first
artist in Western history to curve the hallowed horizon line. The horizon we see
appears straight but in fact, we know that it is curved (since the earth is not
only a flat surface). Each visible straight segment is an exceedingly small arc
of a circle twenty-four thousand miles in circumference. Manet knew that the
flat space of Euclidean appearance had to be reviewed. At that time,
mathematicians felt, too, that it was the time to review Euclidean mathematics
because non-Euclidean mathematics is more of an importance to us as we live in
the three-dimension world. Then, there came Monet. In 1891 he began to paint the
same scene repeatedly viewed from the identical position in space, but at
different times of day.He drew the entrance of the cathedral in Rouen in forty
separate works because he had seized upon a great truth about time that an
object must have duration besides three extensions in space; thus
theintroduction of four-dimensions in art. Clearly, any real thing must have
extension in four directions: length, breadth, thickness and duration. Later, in
his water lilies painting series, he has blurred all the possible lines
and made the distinction between things (e.g. between water lilies and water,
and the reflection in itself) difficult. In fact, it is so diffuse that it could
accidentally be hung upside down. This was the challenge to the veracity of
Euclid s vectors which consisted of plain words like top , bottom
, right and left . Monet s concern for the fourth dimension
was somewhat similar to those investigated by physicists and mathematicians of
later times. Paul C?zanne, instead, wanted to investigate the relationship of
space, light and matter. So, this time, he made an opposite approachfrom that of
Monet, finding it by eliminating the variable of time. (It sounds like a
scientific experiment where we keep variables and change one at a time!) In
previous times, when expressing light, artists always had it travelling in the
straightest lines. Instead, his form exists in a universal light in the sense of
directed rays from a single source. Light which is uniform and enduring, steady,
strong and clear. Cezanne challenged Western culture s assumptions regarding the
nature of light by eliminating the angle of declination that had prevailed in
previous arts. In doing so, he also called into question the assumptions about
the other two constructs, space and time. This idea, indeed, fitin exactly with
the new conceptions of space, time and light that were to be elaborated by a
physicist in the early years of the twentieth century.
Looking through these facts, the surprising thing is that in order to have
new knowledge, we should look at the world in different way than before and to
do this, both artists and scientists actually need to be imaginative. That is
why revolutionary artists like the three mentioned above and revolutionary
physicists managed to investigate so far as we know. Further, the fact that
revolutionary artists had these ideas before anyone else tells us that if
anything new is to be discovered, then it could be no one but them. Therefore,
we see that the widely prevailing stereotypes prevent us from seeing what
exactly scientists and artists are like. Although to some extent the stereotype
may be even helpful to categorize them and especially living through our daily
life, it could also provide us the danger of not seeing the true aspects of
these two types of people.