Fine Art and Pure Science: The Coincidence of the Sublime and the Rational In Computer Art Education Tessa Elliott Centre for Electronic Arts Middlesex University, England In the late twentieth century, it could be argued that the categories of art and science have, once again, become blurred in the pictorial representation of reality. That, after the subjective/objective schism emanating from the Enlightenment, we are returning t o a Renaissance of form. However, image-making within the Western tradition has always been pursued as a science. As Gombrich chronicles [I], the art and artifacts that we see in the museums, galleries, on the billboards and on our screens are a result of 'ceaseless experimentation' with visual representation. Indeed, John Constable proclaimed in 1836, "Painting is a science and should be pursued as an enquiry into the laws of nature. Why, then, may not landscape painting be considered as a branch of natural philosophy [physics], of which pictures are but the experiments?" [2] We may choose to accept his plea, but we cannot ignore the fact that no matter how scientific his method, how rigorous his studies, Constable's medium, of oil and canvas, differed considerably from that of the 'conventional' physicists
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Fine art and pure science: the coincidence of the sublime and the rational in computer art education
Elliott, Tessa
Follow ACM SIGGRAPH Computer Graphics
, Volume 29 (3)
Association for Computing Machinery – Aug 1, 1995
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