11:25 AM - 11:40 AM
[O02-03] The Contemporary Relationship between the Arts and Natural Sciences Research ”An Attempt at Dialogic Co-Generation”
Keywords:Art, Humanities, Interdisciplinary, Dialogue
It has been a long time since the promotion of interdisciplinary fusion has been advocated in the field of research. Natural science research and the arts seem to be a good match for interdisciplinary studies. This is because the creativity of the arts can be flexibly combined with the findings of the natural sciences to realize a variety of outputs.
However, many "interdisciplinary-ish" examples are only superficially novel due to the techniques and materials provided by the findings of natural science. One reason for this can be imagined. One reason, however, seems to be that the image of art generally assumed in Japan is still based on the modern stereotypes of "a specific person creating a work," "subjective expression of the artist's thoughts," and "the work as an object is the essence of art.
The history of art is a transition of human senses, consciousness, and values. Today, we are entering the end of an era in which people see illusions communally, and the relationship between the individual and the world is changing.
There are today's attitudes of art that are tied together from these factors. From the richness of this attitude, we hope to show what natural science research and the arts can do together.
While working on so-called orthodox paintings, or paintings that are generally recognized, we have been exploring and practicing the interdisciplinary nature of art. In relation to natural science, as a painter, he has continued to collaborate with scientists, from the creation of scientific illustrations to the management of interdisciplinary research groups. In this process, I have come to see the ideal form of art interdisciplinary, which is not a superficial fusion, as being sensitive to what emerges from the bare response by both art and natural science.
In addition, in the course of this meta examination, I began to question whether the role of the painter is really only to engage in painting. In contemporary art, paint is not only used to color the screen, but it is also necessary to examine the history of the material and its human and global significance. Being attentive to the story that leads to the visual is a factor (medium) that enhances the discourse of the work.
I have come to believe that collaborating with natural science research to experiment with art with a truth-seeking attitude will lead to a return to the core positioning of art and science when they were close to each other in ancient times.
He is currently working on creating an auto-ethnography of painters through an "exchange of words" with management scholars. This is an experiment in art, using the method of narrative analysis, which has recently been attracting attention in fields such as qualitative psychology, for business administration. By advancing the analysis and exchange of knowledge, it is possible to change the system of participant language from the narrative of things.
As a result, it was found that an important point for the academic utilization of the cultural resources possessed by painters is to increase the sensitivity of their words through repeated dialogue. Dialogue has the effect of sensitizing the thinking itself. This method of reading back one's own professional context in the language of different fields has proven to be a rich knowledge production in itself.
I feel that "co-generation" in narrative research has a character similar to that of the "trajectivité" described by Watsuji Tetsuro in "Fudo". This time, artists, philosophy, anthropology, history, and religious studies will come together to meet the contemporary knowledge of art with natural science. We expect that sensitivity to questioning will reveal the qualities of each natural science field.
In this presentation, we will bring in the goodness of dialogue and plan to present something that has never been done before. We would like to show that a contemporary artistic approach can be a new companion to the natural sciences.
However, many "interdisciplinary-ish" examples are only superficially novel due to the techniques and materials provided by the findings of natural science. One reason for this can be imagined. One reason, however, seems to be that the image of art generally assumed in Japan is still based on the modern stereotypes of "a specific person creating a work," "subjective expression of the artist's thoughts," and "the work as an object is the essence of art.
The history of art is a transition of human senses, consciousness, and values. Today, we are entering the end of an era in which people see illusions communally, and the relationship between the individual and the world is changing.
There are today's attitudes of art that are tied together from these factors. From the richness of this attitude, we hope to show what natural science research and the arts can do together.
While working on so-called orthodox paintings, or paintings that are generally recognized, we have been exploring and practicing the interdisciplinary nature of art. In relation to natural science, as a painter, he has continued to collaborate with scientists, from the creation of scientific illustrations to the management of interdisciplinary research groups. In this process, I have come to see the ideal form of art interdisciplinary, which is not a superficial fusion, as being sensitive to what emerges from the bare response by both art and natural science.
In addition, in the course of this meta examination, I began to question whether the role of the painter is really only to engage in painting. In contemporary art, paint is not only used to color the screen, but it is also necessary to examine the history of the material and its human and global significance. Being attentive to the story that leads to the visual is a factor (medium) that enhances the discourse of the work.
I have come to believe that collaborating with natural science research to experiment with art with a truth-seeking attitude will lead to a return to the core positioning of art and science when they were close to each other in ancient times.
He is currently working on creating an auto-ethnography of painters through an "exchange of words" with management scholars. This is an experiment in art, using the method of narrative analysis, which has recently been attracting attention in fields such as qualitative psychology, for business administration. By advancing the analysis and exchange of knowledge, it is possible to change the system of participant language from the narrative of things.
As a result, it was found that an important point for the academic utilization of the cultural resources possessed by painters is to increase the sensitivity of their words through repeated dialogue. Dialogue has the effect of sensitizing the thinking itself. This method of reading back one's own professional context in the language of different fields has proven to be a rich knowledge production in itself.
I feel that "co-generation" in narrative research has a character similar to that of the "trajectivité" described by Watsuji Tetsuro in "Fudo". This time, artists, philosophy, anthropology, history, and religious studies will come together to meet the contemporary knowledge of art with natural science. We expect that sensitivity to questioning will reveal the qualities of each natural science field.
In this presentation, we will bring in the goodness of dialogue and plan to present something that has never been done before. We would like to show that a contemporary artistic approach can be a new companion to the natural sciences.