Results for 'Art and biology. '

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  1.  12
    Aesthetics, Art, and Biology.Noël Carroll - 2014 - Philosophy and Literature 38 (2):578-586.
  2.  70
    Mario Bunge: A Centenary Festschrift.Mario Augusto Bunge, Michael R. Matthews, Guillermo M. Denegri, Eduardo L. Ortiz, Heinz W. Droste, Alberto Cordero, Pierre Deleporte, María Manzano, Manuel Crescencio Moreno, Dominique Raynaud, Íñigo Ongay de Felipe, Nicholas Rescher, Richard T. W. Arthur, Rögnvaldur D. Ingthorsson, Evandro Agazzi, Ingvar Johansson, Joseph Agassi, Nimrod Bar-Am, Alberto Cupani, Gustavo E. Romero, Andrés Rivadulla, Art Hobson, Olival Freire Junior, Peter Slezak, Ignacio Morgado-Bernal, Marta Crivos, Leonardo Ivarola, Andreas Pickel, Russell Blackford, Michael Kary, A. Z. Obiedat, Carolina I. García Curilaf, Rafael González del Solar, Luis Marone, Javier Lopez de Casenave, Francisco Yannarella, Mauro A. E. Chaparro, José Geiser Villavicencio- Pulido, Martín Orensanz, Jean-Pierre Marquis, Reinhard Kahle, Ibrahim A. Halloun, José María Gil, Omar Ahmad, Byron Kaldis, Marc Silberstein, Carolina I. García Curilaf, Rafael González del Solar, Javier Lopez de Casenave, Íñigo Ongay de Felipe & Villavicencio-Pulid (eds.) - 2019 - Springer Verlag.
    This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social and political (...)
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  3.  69
    Art and Aesthetic Behaviors as Possible Expressions of our Biologically Evolved Human Nature.Stephen Davies - 2014 - Philosophy Compass 9 (6):361-367.
    In this paper, I review arguments that have been offered in favor of the view that humans' art and/or aesthetic behaviors are (in part) a product of our biologically evolved human nature, either as adaptations in their own right or as incidental byproducts of adaptations with non-art and non-aesthetic functions. I present an overview of the main positions and options, critically evaluate their strengths and weaknesses, and outline their presuppositions.
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  4.  32
    Art and embodiment: Biological and phenomenological contributions to understanding beauty and the aesthetic.Adrienne Dengerink Chaplin - 2005 - Contemporary Aesthetics 3.
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  5.  27
    Modern Art and Scientific ThoughtThe Poem as Plant: A Biological View of Goethe's Faust.Horst S. Daemmrich, John Adkins Richardson & Peter Salm - 1972 - Journal of Aesthetics and Art Criticism 30 (3):407.
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  6.  9
    Consciousness reframed: Art and consciousness in the post-biological era.Christina Mamakos & Petros Stefaneas - 2016 - Technoetic Arts 14 (3):169-176.
    The senses convey impressions, perceptions and ultimately feelings, from which meaning emerges, revealing a platform where perception and thinking are actually very closely involved. From this perspective, the distance between descriptive, mental (cognitive) meaning and emotive, affective (non-cognitive) meaning shrinks, creating a platform to investigate how meaning is generated by posing the question ‘how does meaning actually make sense?’. This project investigates meaning as derived from the physical nature of our brains, our bodies and our physical experiences. We construct a (...)
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  7. Of Travel.Francis Bacon & Central School of Arts and Crafts - 1912 - L.C.C. Central School of Arts & Crafts.
     
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  8.  11
    Philosophical Questions and Biological Findings, Part II: Play, Art, Ritual, and Ritual Sacrifice.Marcia Pally - 2020 - Zygon 55 (4):1090-1106.
    This Part II of a two‐part article illustrates how research in evolutionary biology, anthropology, archeology, and psychology illuminates questions arising in philosophy—specifically questions about René Girard's theory of aggression. Part I looked at: (i) how old the systemic practice of severe aggression is; (ii) how much of it results from humanity's mimetic/social and competitive nature and how much from ecological, resource, and cultural conditions; and (iii) if ecological, resource, and cultural conditions are important, might we adapt this information toward greater (...)
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  9.  4
    Speculative Life: Art, Synthetic Biology and Blueprints for the Unknown.Jennifer Johung - 2016 - Theory, Culture and Society 33 (3):175-188.
    Answering a call for a 2013 exhibition at Ars Electronica bridging art and synthetic biology, a group of artists and designers offer ‘Blueprints for the Unknown’. Their fictional scenarios offer possible futures already embedded in and ready to become our present. By imagining potential events and soon-to-be organisms and bodies, these blueprints perform the untenable relationship between predictable bioengineered living forms and the unpredictable contexts within which such life subsists over time. While synthetic biology focuses on the particularities of each (...)
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  10. Adoption, ART, and a Re‐Conception of the Maternal Body: Toward Embodied Maternity.Sarah-Vaughan Brakman & Sally J. Scholz - 2006 - Hypatia 21 (1):54-73.
    We criticize a view of maternity that equates the natural with the genetic and biological and show how such a practice overdetermines the maternal body and the maternal experience for women who are mothers through adoption and ART . As an alternative, we propose a new framework designed to rethink maternal bodies through the lens of feminist embodiment. Feminist embodied maternity, as we call it, stresses the particularity of experience through subjective embodiment. A feminist embodied maternity emphasizes the physical relations (...)
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  11. Adoption, ART, and a re-conception of the maternal body: Toward embodied maternity.Sarah-Vaughan Brakman & Sally J. Scholz - 2006 - Hypatia 21 (1):54-73.
    : We criticize a view of maternity that equates the natural with the genetic and biological and show how such a practice overdetermines the maternal body and the maternal experience for women who are mothers through adoption and ART (Assisted Reproductive Technologies). As an alternative, we propose a new framework designed to rethink maternal bodies through the lens of feminist embodiment. Feminist embodied maternity, as we call it, stresses the particularity of experience through subjective embodiment. A feminist embodied maternity emphasizes (...)
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  12. Arts and minds.Gregory Currie - 2004 - New York: Oxford University Press.
    Philosophical questions about the arts go naturally with other kinds of questions about them. Art is sometimes said to be an historical concept. But where in our cultural and biological history did art begin? If art is related to play and imagination, do we find any signs of these things in our nonhuman relatives? Sometimes the other questions look like ones the philosopher of art has to answer. Anyone who thinks that interpretation in the arts is an activity that leaves (...)
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  13.  93
    The Artful Species: Aesthetics, Art, and Evolution.Stephen Davies - 2012 - Oxford, GB: Oxford University Press.
    Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?
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  14.  6
    The art and craft of political theory.Leslie Paul Thiele - 2018 - New York, NY: Routledge.
    The Art and Craft of Political Theory provides a critical overview of the discipline's core concepts and concerns and its development of critical thinking and practical judgment. The field's interdisciplinary strengths are deployed to grapple with emerging issues and engage afresh enduring ideals and quandaries. While conventional definitions of key concepts are provided, original and controversial perspectives are also explored, revealing continuity in a tradition of thought while emphasizing its diversity and innovations. The Art and Craft of Political Theory illustrates (...)
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  15. Metaphors in arts and science.Walter Veit & Ney Milan - 2021 - European Journal for Philosophy of Science 11 (2):1-24.
    Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...)
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  16.  8
    Art and Signaling in a Cultural Species.Jan Verpooten - 2015 - Dissertation, Ku Leuven
    In recent years, the research field of the evolution of art has witnessed contributions from a wide range of disciplines across the "three cultures". In this thesis, I make both a critical review of existing explanations, and try to do elucidate the evolution of art by employing insights, methods and concepts from different disciplines. First, I critically evaluate the evidentiary criteria from standard evolutionary psychology some accounts employ to demonstrate that art qualifies as a human biological adaptation. I argue that (...)
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  17. Art and Neuroscience.John Hyman - unknown
    1. I want to discuss a new area of scientific research called neuro-aesthetics, which is the study of art by neuroscientists. The most prominent champions of neuroaesthetics are V.S. Ramachandran and Semir Zeki, both of whom have both made ambitious claims about their work. Ramachandran says boldly that he has discovered “the key to understanding what art really is”, and that his theory of art can be tested by brain imaging experiments, although he does not describe these experiments, or explain (...)
     
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  18. Art and Artificial Intelligence - Challenges and Dangers.Andrej Démuth - 2020 - Espes 9 (1):26-35.
    The ability to create and perceive art has long been understood as an exceptional human trait, which should differentiate us from the rest of the organisms or robots. However, with the uprising of cognitive sciences and information stemming from them, as well as the evolutionary biology, even the human being began to be understood as an organism following the evolutionarily and culturally obtained algorithms and evaluation processes. Even fragile and multidimensional phenomena like beauty, aesthetic experience or the good have lately (...)
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  19. The Routledge Companion to Biology in Art and Architecture.Sara Franceschelli (ed.) - 2016 - New York: Routledge.
     
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  20. The arts and human nature: evolutionary aesthetics and the evolutionary status of art behaviours: Stephen Davies: The artful species: aesthetics, art, and evolution. Oxford University Press, Oxford, 2012.Anton Killin - 2013 - Biology and Philosophy 28 (4):703-718.
    This essay reviews one of the most recent books in a trend of new publications proffering evolutionary theorising about aesthetics and the arts—themes within an increasing literature on aspects of human life and human nature in terms of evolutionary theory. Stephen Davies’ The Artful Species links some of our aesthetic sensibilities with our evolved human nature and critically surveys the interdisciplinary debate regarding the evolutionary status of the arts. Davies’ engaging and accessible writing succeeds in demonstrating the maturity and scope (...)
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  21.  27
    Complexism: Art+architecture+biology+computation, a new axis in critical theory?Charissa N. Terranova - 2016 - Technoetic Arts 14 (1-2):3-7.
    This article is about the power of critical thinking through embryos and embryology in bioart. In this instance, critical thinking does not promise revolution or a takedown of bioengineering, but basic empowerment through scientific knowledge. I argue that the use of embryos in Jill Scott’s Somabook (2011) and Adam Zaretsky’s DIY Embryology (2015) constitutes an instance of what Philip Galanter identifies as complexism. In turn, the complexism of embryology reveals two modes of critical thinking. First, embryology distils the awe and (...)
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  22.  6
    Transformative arts: biological, digital, and everyday aesthetics.Gary A. Berg - 2024 - Lanham: Rowman & Littlefield.
    Drawing on an extensive yet concise review of the history of cross-cultural aesthetics, the volume presents the scientists and artists working in the new world of transformative arts.
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  23.  44
    Art and evolution: Spiegelman's the narrative corpse.Brian Boyd - 2008 - Philosophy and Literature 32 (1):pp. 31-57.
    In lieu of an abstract, here is a brief excerpt of the content:Art and Evolution:Spiegelman's The Narrative CorpseBrian BoydIHas art evolved, like opposable thumbs and the whites of our eyes? If it has, will knowing so help us understand better not just art in general but particular works, even works of avant-garde art? Over recent decades many have come to accept that not only have humans evolved from other animals but that many features of their minds and behavior can be (...)
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  24.  35
    Logic, art and transdisciplinarity: A new logic for the new reality.Joseph E. Brenner - 2003 - Technoetic Arts 1 (3):169-180.
    The philosophical logic of Stéphane Lupasco, based on the principles of dynamic opposition and a law of the included middle, offers a needed alternative to the still quasi-exclusive application of classical, binary logic to post-classical natural and social sciences, art theory and political and social action. The system of Lupasco, extended by Basarab Nicolescu by the principle of levels of reality, is grounded in the major discoveries in quantum physics, biology, mathematics and systems science of the twentieth century. It leads (...)
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  25.  66
    On Art and Science: A Reply to Leonard B. Meyer.Gunther S. Stent & Leonard B. Meyer - 1975 - Critical Inquiry 1 (3):683-698.
    I was surprised to note the critical tone of the discussion which my friend Leonard B. Meyer recently devoted in these pages to an article on the relation of art and science that I wrote for a popular scientific magazine. For I had believed all the while that in my article I was merely presenting to a general scientific audience a watered-down version of what I thought were Meyer's own views. Evidently I was mistaken in that belief, though I have (...)
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  26.  48
    Making sense: cognition, computing, art, and embodiment.Simon Penny - 2017 - Cambridge, Massachusetts: The MIT Press.
    Minds, Brains and Biology -- A Body of Knowledge -- Towards an Aesthetics of Behavior.
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  27.  37
    Darwin's camera: art and photography in the theory of evolution.Phillip Prodger - 2009 - New York: Oxford University Press.
    Darwin's art collection : the prints, drawings, and photographs Darwin collected in the 1860s and 70s -- Illustrations and illusion : strategies Darwin used in illustrating his books -- Art, experience, and observation : Darwin's knowledge of art history and use of illustration in his books -- Darwin and the passions : how passion manuals informed Darwin's research -- Photography and evolution meet : connections between photography and biology in the 1860s -- Method to their madness : how photography in (...)
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  28.  29
    Art must move: Emotion and the biology of beauty.B. J. Baars - 1999 - Journal of Consciousness Studies 6 (6-7):6-7.
    [opening paragraph]: Ramachandran and Hirstein claim that ‘peak shift', or exaggeration of salient features, ‘explains not only caricatures but all art.’ I would like to test the peak shift hypothesis in a case that at first glance seems to support it. Edmond Rostand's play Cyrano de Bergerac is the tragicomic tale of a grand poetic wit of Paris in the 17th. century, a noble fighter and master of fencing who loves with all his heart, but feels he is unlovable for (...)
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  29.  37
    Creativity, brain, and art: biological and neurological considerations.Dahlia W. Zaidel - 2014 - Frontiers in Human Neuroscience 8:87615.
    Creativity is commonly thought of as a positive advance for society that transcends the status quo knowledge. Humans display an inordinate capacity for it in a broad range of activities, with art being only one. Most work on creativity’s neural substrates measures general creativity, and that is done with laboratory tasks, whereas specific creativity in art is gleaned from acquired brain damage, largely in observing established visual artists, and some in visual de novo artists (became artists after the damage). The (...)
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  30.  36
    Bibliography David Bearman and John T. Edsall , Archival sources for the history of biochemistry and molecular biology: a reference guide and report. Boston: American Academy of Arts and Sciences; Philadelphia: American Philosophical Society, 1980. Pp. xii + 338. [REVIEW]Robert Olby - 1982 - British Journal for the History of Science 15 (1):85-86.
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  31.  7
    Darwin and the Naked Lady: Discursive Essays on Biology and Art.Alex Comfort - 1961 - Routledge.
    Originally published in 1961. The essays in this volume focus on the awareness of science and art, evolution and Freudian psychology. Besides the chapter on Darwin and Freud, the author discusses criticism, the fantasy element in drama and popular literature, the history of the novel, the motivation of science and the function of erotic art.
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  32.  6
    Darwin and the Naked Lady: Discursive Essays on Biology and Art.Alex Comfort - 1961 - Routledge.
    Originally published in 1961. The essays in this volume focus on the awareness of science and art, evolution and Freudian psychology. Besides the chapter on Darwin and Freud, the author discusses criticism, the fantasy element in drama and popular literature, the history of the novel, the motivation of science and the function of erotic art.
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  33.  3
    Art and Experience,Art as Experience. [REVIEW]Stephen C. Pepper - 1958 - Review of Metaphysics 12 (2):294-299.
    Jenkins' view is of the contextualistic order. Aesthetic experience is concerned with the vivid perception of the quality of a situation or thing. The novel feature in Jenkins' view is the stress he gives to the biological importance of this sort of experience to man. He refers to the biological account of man's adaptive success in the course of evolution, due to his highly developed intelligence --to his capacities for learning in the face of problematic situations. Jenkins then notes the (...)
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  34.  5
    Biomimicry and Art: Transductions with Biology.Rosangella Leote - 2021 - Revista de Humanidades de Valparaíso 18:225-243.
    This article discusses the concept of Biomimicry, which has been applying in many fields, from nanotechnology to robotics. It is appearing in smart materials and machinic intelligence, for diverse purposes, being inspired by natural processes and organisms. The main application of Biomimicry has been to produce artifacts and ideas from what we can know about what nature has already done. While the mimesis has been removed from the vocabulary of Art, the works of some artists are still full of possibilities (...)
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  35.  94
    The Art of Reasoning in Biology and Medicine.Jean Hamburger - 1987 - Diogenes 35 (138):26-40.
    The Swiss psychologist Jean Piaget devoted his life to following, step by step and lovingly, the development in children of the art of reasoning. In the course of the successive stages of this development, the child's view of the world changes in nature. Similarly, from its earliest infancy, medicine has viewed living things in successively different manners. For medicine, it is true, the stages overlap; one may still be using an ancient discourse from which another has daringly freed itself. Nevertheless, (...)
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  36. Biology of Art: Initial Formulation and Primary Orientation.Wladimir Weidlé & Elaine P. Halperin - 1957 - Diogenes 5 (17):1-15.
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  37.  7
    Bridging Divides: art and religion in the early AIDS pandemic.Matthew Kelly - 2023 - Perspectives in Biology and Medicine 66 (3):398-419.
    ABSTRACT:Throughout the 1980s and 1990s, visual artists created a canon of work examining the illness experience of people living with AIDS. Largely forgotten today is a subset of this canon that simultaneously engaged AIDS narratives and religion, thereby dialoguing across political, cultural, and ideological divides. The artists who crafted these works created spaces of sanctioned discourse, drawing together sexual and religious histories in a manner reminiscent of the confessional as analyzed in Michel Foucault’s work. This article rediscovers an archive rich (...)
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  38.  16
    Biology as a new media for art: An art research endeavour.Marta de Menezes - 2015 - Technoetic Arts 13 (1-2):115-123.
    Throughout art history, numerous artists have explored connections to science. In the society of today, the relationship between art and biology has been acquiring special visibility. Moreover, the current importance given to science and technology by today’s public opinion directly drives an increased awareness about the relationship between art and science. The public has been eagerly following breakthroughs in scientific research, albeit with mixed feelings: simultaneously awe, hope and fear for its potential misuse. Such awareness about biological sciences and biotechnology (...)
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  39. Je est un autre. Mimicries in nature, art and society.Filippo Fimiani, Paolo Conte & Michel Weemans - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):3-6.
    Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...)
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  40.  27
    The Biology of Art.Richard A. Richards - 2019 - Cambridge University Press.
    Biological accounts of art typically start with evolutionary, psychological or neurobiological theories. These approaches might be able to explain many of the similarities we see in art behaviors within and across human populations, but they don't obviously explain the differences we also see. Nor do they give us guidance on how we should engage with art, or the conceptual basis for art. A more comprehensive framework, based also on the ecology of art and how art behaviors get expressed in engineered (...)
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  41. Psychoanalysis and psychopharmacology: art and science of combining paradigms.Marcia Kaplan - 2004 - In Jaak Panksepp (ed.), Textbook of Biological Psychiatry. Wiley-Liss. pp. 549.
     
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  42.  32
    Transforming Traditions in American Biology, 1880-1915.Jane Maienschein & Regents' Professor President'S. Professor and Parents Association Professor at the School of Life Sciences and Director Center for Biology and Society Jane Maienschein - 1991
  43.  60
    O Organism, Where Art Thou? Old and New Challenges for Organism-Centered Biology.Jan Baedke - 2018 - Journal of the History of Biology 52 (2):293-324.
    This paper addresses theoretical challenges, still relevant today, that arose in the first decades of the twentieth century related to the concept of the organism. During this period, new insights into the plasticity and robustness of organisms as well as their complex interactions fueled calls, especially in the UK and in the German-speaking world, for grounding biological theory on the concept of the organism. This new organism-centered biology understood organisms as the most important explanatory and methodological unit in biological investigations. (...)
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  44.  13
    Cell and Molecular Biological Challenges of ICSI: ART Before Science?Gerald Schatten, Laura Hewitson, Calvin Simerly, Peter Sutovsky & Gabor Huszar - 1998 - Journal of Law, Medicine and Ethics 26 (1):29-37.
    The general perception of how innovative assisted reproductive technologies are introduced is through a carefully controlled series of experiments in an animal model, such as the mouse. Only after the technique has been proven can one consider confirmatory studies on mammals closely related to humans, such as rhesus monkeys or other nonhuman primates. With this background of a peer-reviewed body of well-established published data, there is sufficient foundation and rationale to propose a clinical investigation to a responsible human subjects institutional (...)
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  45.  12
    Cell and Molecular Biological Challenges of ICSI: ART before Science?Gerald Schatten, Laura Hewitson, Calvin Simerly, Peter Sutovsky & Gabor Huszar - 1998 - Journal of Law, Medicine and Ethics 26 (1):29-37.
    The general perception of how innovative assisted reproductive technologies are introduced is through a carefully controlled series of experiments in an animal model, such as the mouse. Only after the technique has been proven can one consider confirmatory studies on mammals closely related to humans, such as rhesus monkeys or other nonhuman primates. With this background of a peer-reviewed body of well-established published data, there is sufficient foundation and rationale to propose a clinical investigation to a responsible human subjects institutional (...)
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  46.  63
    Biology and art.B. M. Foss - 1962 - British Journal of Aesthetics 2 (3):195-199.
  47.  13
    Καθάπερ ἄνθρωπος φρόνιμος: Prudence in Aristotle’s Ethics and Biology.Khafiz Kerimov - 2021 - Apeiron 54 (4):519-543.
    It is a well-known feature of Aristotle’s biology that he resorts to the analogy with human art to explain the concept of final causality operative in living things. In this Aristotle’s theory of biology is explicitly anti-Empedoclean: whereas for Empedocles a randomly generated animal part is preserved if it happens to suit an expedient function, for Aristotle the formal nature produces an animal part with a useful function in view. In this article, by contrast, I focus on those cases in (...)
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  48.  33
    George Kubler and the Biological Metaphor of Art.Bence Nanay - 2018 - British Journal of Aesthetics 58 (4):423-434.
    George Kubler was one of the most important art historians of the twentieth century who is especially relevant today mainly for shifting the emphasis from high art to what is now known as ‘visual culture’ and for being the first genuinely global art historian. But what he has been most widely known for is the rejection of the biological metaphor of art—the general idea that artistic styles and movements grow, flower and then wither away. I argue that Kubler did not (...)
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  49.  9
    Person Skilled in the Art in Synthetic Biology from Iraqi and Malaysian Perspectives.Zinatul Ashiqin Zainol & Nabeel Mahdi Althabhawi - 2018 - NanoEthics 12 (1):55-60.
    This article presents the problem of a person skilled in the field of synthetic biology. The person skilled in the art is one of the notions which have to be revisited due to the multidisciplinary nature of synthetic biology which involves numerous fields. The article studies this problem from the perspectives of Iraqi and Malaysian patent laws. First, it conceptualizes synthetic biology and person skilled in the art. The Iraqi and Malaysian attitudes regarding person skilled in the art are then (...)
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  50.  14
    Ecologies: Mark Dion, Peter Fend, Dan Peterman.Mark Dion, Peter Fend, Dan Peterman, Stephanie Smith & David and Alfred Smart Museum of Art - 2001 - University of Chicago David & Alfred.
    Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...)
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