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2009-06-30Teil eines Buches DOI: 10.18452/13470
Colour Spectral Counterpoints
dc.contributor.authorMüller, Olaf L.
dc.contributor.editorNussbaumer, Ingo
dc.contributor.editorWinter, Galerie Hubert
dc.date.accessioned2017-06-17T15:30:30Z
dc.date.available2017-06-17T15:30:30Z
dc.date.created2011-02-10
dc.date.issued2009-06-30
dc.date.submitted2009-09-08
dc.identifier.isbn978-3-86984-046-8
dc.identifier.urihttp://edoc.hu-berlin.de/18452/14122
dc.descriptionThis essay appeared in Ingo Nussbaumer's book Restraint versus Intervention: Painting as Alignment. (Nürnberg 2010).
dc.description.abstractWhen it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and the many colourful syntheses done by Viennese painter Ingo Nussbaumer exemplify even greater beauty. Here are some criteria (which, of course, do not implement a decision procedure concerning beauty in experiments): cleanliness, simplicity, intellectual clarity, symmetry. Similar criteria are relevant to our aesthetical judgements about some pieces of music. So we can assume that our notion of beauty conserning art is related to the one conserning scientific experiments.eng
dc.language.isoeng
dc.publisherHumboldt-Universität zu Berlin, Philosophische Fakultät I
dc.rights.urihttp://rightsstatements.org/vocab/InC/1.0/
dc.subjectSchönheitger
dc.subjectÄsthetikger
dc.subjectExperimentger
dc.subjectOptikger
dc.subjectLichtger
dc.subjectFarbeger
dc.subjectHeterogenität des Lichtsger
dc.subjectFarbsyntheseger
dc.subjectFarbmischungger
dc.subjectIsaac NEWTONger
dc.subjectJohann Wolfgang GOETHEger
dc.subjectIngo NUSSBAUMERger
dc.subjectBeautyeng
dc.subjectAestheticseng
dc.subjectExperimenteng
dc.subjectOpticseng
dc.subjectLighteng
dc.subjectColoreng
dc.subjectHeterogeneity of Lighteng
dc.subjectColour Synthesiseng
dc.subjectColour Mixtureeng
dc.subjectIsaac NEWTONeng
dc.subjectJohann Wolfgang GOETHEeng
dc.subjectIngo NUSSBAUMEReng
dc.subject.ddc700 Künste
dc.subject.ddc780 Musik
dc.subject.ddc500 Naturwissenschaften und Mathematik
dc.subject.ddc100 Philosophie, Parapsychologie und Okkultismus, Psychologie
dc.subject.ddc530 Physik
dc.subject.ddc150 Psychologie
dc.titleColour Spectral Counterpoints
dc.typebookPart
dc.identifier.urnurn:nbn:de:kobv:11-100180762
dc.identifier.doihttp://dx.doi.org/10.18452/13470
dc.contributor.lecturerNussbaumer, Ingo
dc.contributor.lecturerWinter, Galerie Hubert
local.edoc.type-nameTeil eines Buches
local.edoc.container-typebook
local.edoc.container-type-nameBuch
dc.description.versionNot Reviewed
dc.title.subtitleCase Study on Aestetic Judgement in the Experimental Sciences
dcterms.bibliographicCitation.booktitleRestraint versus Intervention: Painting as Alignment.
dcterms.bibliographicCitation.originalpublishernameVerlag für moderne Kunst
dcterms.bibliographicCitation.originalpublisherplaceNürnberg
dcterms.bibliographicCitation.pagestart150
dcterms.bibliographicCitation.pageend171
bua.departmentPhilosophische Fakultät I

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