Pavel Florensky’s works are presented, especially under their mathematical and artistic aspects. His notion of “reverse perspective” is introduced as opposed to the “Euclidian” perspective of the Renaissance Italian paintings. This is used to highlight the value and profoundness of traditional Russian paintings of icons and also of Egyptian graves. Moreover the non-Euclidian geometries are invoked to interpret the Dante’s journey through Inferno.
If I refuse to abandon aesthetics as a discipline as well as an experience, it is because of at least three arguments. The first is that contemporary art, even when it is most overtly conceptual and intellectualized, does not entirely contravene the aesthetic, that is, the sensitive and affective, dimension of its experience. A second argument determines that even the contemporary philosophy that is most concerned with desesthetising art –that of Arthur Danto– is not inherently anaesthetic. The last argument, definitely the main one since it rests on the theory of art I am defending, maintains that the latter – the enactive sense-making aesthetics– operates from Alexander Baumgarten’s seminal aesthetics and extends it on a crucial point, by making it a constitutively embodied cognitive aesthetics.
This publication aims to update the complicated history regarding the acquisitions of the works of Leonardo da Vinci by French royalty. We try to clarify this story using available sources, by highlighting errors in the inventories, more specifically, concerning the painting “Leda and the swan” by Leonardo da Vinci, considered lost, but we show that it being maintained at the Wilton House in England. The study of this painting of great finesse is characteristic of da Vinci’s scientific spirit, his attachment to Greek antiquity and his faithful Neoplato
A system of proportions and measures is highlighted that can be found in all of Leonardo da Vinci’s painted work, especially the portraits. This system relies on the golden ratio and is inspired by Greek antiquity. The rules observed by the Master are very specific and different from the measures used by his disciples. This very visible difference provides excellent clues for attribution.
Since its conception, the computer has found applications to accompany human creativity. Today, the debate about computers and creativity involves several challenges, such as understanding human creativity, modeling the creative process, and programming the computer to exhibit behavior that appears to be creative to some extent. In this paper, we are interested in how the computer can be used as a tool to promote creativity in a musical composition. We automatically extracted the brightness curve from a silent movie and then used it to compose a piece of music to accompany the movie. We extracted several parameters from the brightness curve, and applied compositional rules from these parameters to write the instrumental music for the film. The final composition has a synchronicity and aesthetic fit with the film that are surprising. This compositional process also allowed for a degree of aesthetic freedom that would otherwise have been impossible.
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