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Scientists and artists explore links between current developments in molecular science and the visual arts. Thanks to advances in molecular science and microscopy, we can visualize matter on a nanoscale, and structures not visible to the naked eye can be visualized and characterized. The fact that technology allows us to transcend the limits of natural perception and see what was previously unseeable creates a new dimension of aesthetic experience and practice: molecular aesthetics. This book, drawing on an exhibit and symposium at ZKM | Center for Art and Media Karlsruhe, documents aesthetic developments in what Félix Guattari called the “molecular revolution.” Just as artists in the Bauhaus movement began to use such industrial materials as metal, Plexiglas, and alloys as raw materials, artists today have access to new realms of the molecular and nano. The industrial aesthetic of machinery and material has been transformed into an aesthetic of media and molecules. Molecular Aesthetics suggests ways in which art can draw inspiration from the molecular sciences—and ways in which science can use art to make experimental results more intelligible and comprehensible. The authors of the essays collected in the book discuss the creation of molecules of remarkable beauty and the functional properties that stem from a few geometrical principles of molecular design; address the history of molecular structure representation; examine the meaning of molecular aesthetics for scientists; and compare chemical structures to artworks.
The Beauty of Chemistry in the Words of Writers and in the Hands of Scientists, by Margherita Venturi, Enrico Marchi und Vincenzo Balzani Living in a Cage Is a Restricted Privilege, by Luigi Fabbrizzi Inner and Outer Beauty, by Kenneth N. Raymond und Casey J. Brown The Mechanical Bond: A Work of Art, by Carson J. Bruns und J. Fraser Stoddart The Beauty of Knots at the Molecular Level, by Jean-Pierre Sauvage und David B. Amabilino
And they suggest the ways in which DNA representations relate to archetypal images that have appeared throughout the history of art."--BOOK JACKET.
Nobel laureate Roald Hoffmann's contributions to chemistry are well known. Less well known, however, is that over a career that spans nearly fifty years, Hoffmann has thought and written extensively about a wide variety of other topics, such as chemistry's relationship to philosophy, literature, and the arts, including the nature of chemical reasoning, the role of symbolism and writing in science, and the relationship between art and craft and science. In Roald Hoffmann on the Philosophy, Art, and Science of Chemistry, Jeffrey Kovac and Michael Weisberg bring together twenty-eight of Hoffmann's most important essays. Gathered here are Hoffmann's most philosophically significant and interesting essays and lectures, many of which are not widely accessible. In essays such as "Why Buy That Theory," "Nearly Circular Reasoning," "How Should Chemists Think," "The Metaphor, Unchained," "Art in Science," and "Molecular Beauty," we find the mature reflections of one of America's leading scientists. Organized under the general headings of Chemical Reasoning and Explanation, Writing and Communicating, Art and Science, Education, and Ethics, these stimulating essays provide invaluable insight into the teaching and practice of science.
The Taste of Art offers a sample of scholarly essays that examine the role of food in Western contemporary art practices. The contributors are scholars from a range of disciplines, including art history, philosophy, film studies, and history. As a whole, the volume illustrates how artists engage with food as matter and process in order to explore alternative aesthetic strategies and indicate countercultural shifts in society. The collection opens by exploring the theoretical intersections of art and food, food art’s historical root in Futurism, and the ways in which food carries gendered meaning in popular film. Subsequent sections analyze the ways in which artists challenge mainstream ideas through food in a variety of scenarios. Beginning from a focus on the body and subjectivity, the authors zoom out to look at the domestic sphere, and finally the public sphere. Here are essays that study a range of artists including, among others, Filippo Tommaso Marinetti, Daniel Spoerri, Dieter Roth, Joseph Beuys, Al Ruppersberg, Alison Knowles, Martha Rosler, Robin Weltsch, Vicki Hodgetts, Paul McCarthy, Luciano Fabro, Carries Mae Weems, Peter Fischli and David Weiss, Janine Antoni, Elżbieta Jabłońska, Liza Lou, Tom Marioni, Rirkrit Tiravanija, Michael Rakowitz, and Natalie Jeremijenko.
Molecular Aesthetics: Race, Form, and Matter in Contemporary Asian American Literature examines posthumanist aesthetics in post-1965 Asian American literature to trace racial formation at the molecular scale. In the wake of current ecological disaster and biotechnological fragmentation, a growing number of Asian American novelists, poets, and artists view the scientification of the world as a creative catalyst for imagining smaller and smaller dimensions of human existence. Yet a diametrically opposite inclination can be said to characterize Asian American literary critics, who have largely eschewed engaging with science due to the dark legacy of Enlightenment racial science that cast Asian Americans as fundamentally alien or inhuman. This project argues that fully grasping how these creative works denaturalize sedimented structures of racial knowledge and thinking requirescounterintuitively, perhapsredoubling critical engagement with scientific discourse. I term these literary experiments, which attenuate the boundaries of the human conceptually and formally, a molecular aesthetics. In conversation with Asian American literary studies, posthumanism, and science studies, Molecular Aesthetics considers works of speculative and science fiction, which explicitly engage with science and technology, as well as more traditional texts of Asian American literature where the import of a molecular reading practice is less self-evident. Focusing on texts that make visible microstructures of race shifts theoretical emphasis away from the individual subject to the persistence of racial forms and logics in the absence of recognizably raced bodies. Molecular Aesthetics foregrounds how the formal and aesthetic qualities of texts by authors such as Ruth Ozeki, Larissa Lai, Bhanu Kapil, Mei-mei Berssenbrugge, Perry Miyake, Julie Otsuka, John Yau, and Jeffrey Yang revise fundamental critical terms in Ethnic American literary analysis such as identity, agency, and race itself. Further, by deploying Asian American literary criticism as a powerful investigative tool for tracking evolving forms of racialization, this project is also an argument for the continuing value of Ethnic American literary studies in a so-called postracial era.
Quantum tunnelling is one of the strangest phenomena in chemistry, where we see the wave nature of atoms acting in “impossible” ways. By letting molecules pass through the kinetic barrier instead of over it, this effect can lead to chemical reactions even close to the absolute zero, to atypical spectroscopic observations, to bizarre selectivity, or to colossal isotopic effects. Quantum mechanical tunnelling observations might be infrequent in chemistry, but it permeates through all its disciplines producing remarkable chemical outcomes. For that reason, the 21st century has seen a great increase in theoretical and experimental findings involving molecular tunnelling effects, as well as in novel techniques that permit their accurate predictions and analysis. Including experimental, computational and theoretical chapters, from the physical and organic to the biochemistry fields, from the applied to the academic arenas, this new book provides a broad and conceptual perspective on tunnelling reactions and how to study them. Quantum Tunnelling in Molecules is the obligatory stop for both the specialist and those new to this world.
Ambitious, controversial and absorbing, God and the Universe tackles the highly-charged issue of God's relevance in the light of new scientific thinking on cosmology. Engaging with poststructuralism, ethics, mathematics, and philosophy through the ages, this persuasively argued book reinvigorates religious debate for the new millennium.
This book constitutes the refereed proceedings of the 5th International Conference on Evolutionary and Biologically Inspired Music, Sound, Art and Design, EvoMUSART 2016, held in Porto, Portugal, in March/April 2016, co-located with the Evo*2016 events EuroGP, EvoCOP and EvoApplications. The 17 revised full papers presented were carefully reviewed and selected from 25 submissions. The papers cover a wide range of topics and application areas, including generative approaches to music, graphics, game content, and narrative; music information retrieval; computational aesthetics; the mechanics of interactive evolutionary computation; and the art theory of evolutionary computation.
Inspired by the ecosophical writings of Felix Guattari, this book explores the many ways that aesthetics – in the forms of visual art, film, sculpture, painting, literature, and the screenplay – can act as catalysts, allowing us to see the world differently, beyond traditional modes of representation. This is in direct parallel to Guattari's own attempt to break down the 19th century Kantian dialectic between man, art, and world, in favour of a non-hierarchical, transversal approach, to produce a more ethical and ecologically sensitive world view. Each chapter author analyses artworks which critique capitalism's industrial devastation of the environment, while at the same time offering affirmative, imaginative futures suggested by art. Including contributions from philosophers, film theorists and artists, this book asks: How can we interact with the world in a non-dominant and non-destructive way? How can art catalyze new ethical relations with non-human entities and the environment? And, crucially, what part can philosophy play in rethinking these structures of interaction?