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In the current economic crisis, financial pressure has forced arts organizations to increasingly to reduce budgets, lay off workers, and in the most extreme and appalling situations, sell off their collections to the few titans of industry with no financial woes. I thought I would use this entry as an opportunity to address those that don’t see the arts as relevant as other industries and are fine to see famed institutions collapse is this depressed climate. I also thought one way to do this would be to revisit the relationship between art and science, a field that receives far less criticism. Although in The Great Improbability, author David Sayre’s focuses specifically on entropy and beauty, this generalist entry will have to suffice as a starting point.
Some of you might be familiar with Keats’s famous line, “Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know.” Although scholars interpret the ending of Keats’s “Ode to a Grecian Urn” in different ways, I read this and feel Keats imparting the important lesson that beauty is truth, and that is all we, as humans, need to know. But, having been involved with The Great Improbability project that deals with concepts in science and beauty. I find Keats’s phrase can also help illuminate a philosophical link between the two fields. From the arts: beauty is truth, and from the sciences: the field as a search for truth. Therefore, is the search for truth a search for beauty? In other words, is science a search for beauty?
I am not saying that science and beauty are one and the same, but their relationship is both inseparable and necessary for the forwarding of each field. As Rober Eskridge stated in his lecture Exploration and the Cosmos: The Consilience of Science and Art, “There has long been a connection between art and science, one that can be traced back to the Egyptian pyramids. History proves that the two disciplines cannot exist without each other, enduring in constantly changing and evolving relationships.”
To many, Eskridge’s claim might be difficult to accept, and they would not be alone. Author David Sayre even states this very point in The Great Improbability: “Beauty is the hardest thing for us rationalize (p. 195).” Likewise, in his essay Art and Entropy: an Essay on Order and Disorder, Rudolph Arnheim writes the, “prospect of applying information theory to the arts and thereby reducing aesthetic form to quantitative measurement has remained largely unrewarding.” I would add the caveat of “until now”.
Sayre states that just like you don’t have to be an expert in quantum theory to appreciate the elegance, significance, or power of Einstein’s theories, “You don’t have to retrace Monet’s brushstrokes or analyze Beethoven’s composition or reconstruct a blossom or describe a child’s laugh or a mocking bird’s song to experience its beauty” (196).
The beauty in science or in art does not have to be expressed in order to be experienced. In The Great Improbability, we see how art and science are not only related, but strive towards the same goal: to be human and to connect. In both instances, the experiences provided by both fields can help reduce ignorance, disorder, or confusion, all of which are at the heart of “entropy” (and my next blog entry). Some closing words, “If we think of ‘beauty’ as a mystery out of reach, we can’t see that it’s a window on life, a way to order and freedom, a way to communicate universally, a way to being whole” (197).
Do you feel the arts and sciences relate? Do you think one is more important the another? You can comment here or on Facebook here.