Vera John-Steiner
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780195307702
- eISBN:
- 9780199847587
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195307702.003.0004
- Subject:
- Psychology, Social Psychology
Most artists mentioned in this chapter worked with struggles between connectedness and personal ego—they were ideally committed to collectivity but also hungered for personal recognition. Partnership ...
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Most artists mentioned in this chapter worked with struggles between connectedness and personal ego—they were ideally committed to collectivity but also hungered for personal recognition. Partnership in this sense must not only comprise of a shared vision. For it to truly become a transformative collaboration, partners must also consider a mutual understanding in various perspectives—must be complementary in skills and training and have a fascination with the partner's contributions. This acts as a critical socio-emotional support to the complex demands of creativity and intense connections as artists often struggle on poverty, loneliness, and doubt in their own creative work, especially during the early stages of their careers, thus, forming a deep and usually long-term artistic interdependence among collaborators. This chapter highlights integrative collaborations, unions that transform both artistic work and personal life of several artists— Picasso and Braque, Stravinsky and Balachine, Georgia O'Keeffe and Alfred Steiglitz, and several others—into creative syntheses.Less
Most artists mentioned in this chapter worked with struggles between connectedness and personal ego—they were ideally committed to collectivity but also hungered for personal recognition. Partnership in this sense must not only comprise of a shared vision. For it to truly become a transformative collaboration, partners must also consider a mutual understanding in various perspectives—must be complementary in skills and training and have a fascination with the partner's contributions. This acts as a critical socio-emotional support to the complex demands of creativity and intense connections as artists often struggle on poverty, loneliness, and doubt in their own creative work, especially during the early stages of their careers, thus, forming a deep and usually long-term artistic interdependence among collaborators. This chapter highlights integrative collaborations, unions that transform both artistic work and personal life of several artists— Picasso and Braque, Stravinsky and Balachine, Georgia O'Keeffe and Alfred Steiglitz, and several others—into creative syntheses.
Paul A. Harris
- Published in print:
- 2014
- Published Online:
- September 2015
- ISBN:
- 9780823257966
- eISBN:
- 9780823268924
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823257966.003.0003
- Subject:
- Society and Culture, Cultural Studies
This chapter offers a conceptual and creative interpretation of Rodia's work, replacing critical analysis with a form of “creative synthesis” that answers the question: “How can an architectural work ...
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This chapter offers a conceptual and creative interpretation of Rodia's work, replacing critical analysis with a form of “creative synthesis” that answers the question: “How can an architectural work like Rodia's Watts Towers dictate structural constraints for a written work?” To emulate the Watts Towers, which integrates heterogeneous materials into a coherent structure, the chapter is composed of six discrete sections that merge into a continuous whole. As tribute to Rodia's masterpiece, a poem entitled “Sam's Ark: An LA Landmark” is also presented. The poem is written under the constraint that A is the only vowel used to correspond to the structural frame of Rodia's Towers.Less
This chapter offers a conceptual and creative interpretation of Rodia's work, replacing critical analysis with a form of “creative synthesis” that answers the question: “How can an architectural work like Rodia's Watts Towers dictate structural constraints for a written work?” To emulate the Watts Towers, which integrates heterogeneous materials into a coherent structure, the chapter is composed of six discrete sections that merge into a continuous whole. As tribute to Rodia's masterpiece, a poem entitled “Sam's Ark: An LA Landmark” is also presented. The poem is written under the constraint that A is the only vowel used to correspond to the structural frame of Rodia's Towers.
Kostas Gavroglu and Ana Simões
- Published in print:
- 2011
- Published Online:
- August 2013
- ISBN:
- 9780262016186
- eISBN:
- 9780262298759
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262016186.001.0001
- Subject:
- History, History of Science, Technology, and Medicine
Quantum chemistry—a discipline that is not quite physics, not quite chemistry, and not quite applied mathematics—emerged as a field of study in the 1920s. It was referred to by such terms as ...
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Quantum chemistry—a discipline that is not quite physics, not quite chemistry, and not quite applied mathematics—emerged as a field of study in the 1920s. It was referred to by such terms as mathematical chemistry, subatomic theoretical chemistry, molecular quantum mechanics, and chemical physics until the community agreed on the designation of quantum chemistry. This book examines the evolution of quantum chemistry into an autonomous discipline, tracing its development from the publication of early papers in the 1920s to the dramatic changes brought about by the use of computers in the 1970s. The book focuses on the culture that emerged from the creative synthesis of the various traditions of chemistry, physics, and mathematics. It examines the concepts, practices, languages, and institutions of this new culture as well as the people who established it, from such pioneers as Walter Heitler and Fritz London, Linus Pauling, and Robert Sanderson Mulliken, to later figures including Charles Alfred Coulson, Raymond Daudel, and Per-Olov Löwdin. Throughout, the book emphasizes six themes: epistemic aspects and the dilemmas caused by multiple approaches; social issues, including academic politics, the impact of textbooks, and the forging of alliances; the contingencies that arose at every stage of the developments in quantum chemistry; the changes in the field when computers were available to perform the extraordinarily cumbersome calculations required; issues in the philosophy of science; and different styles of reasoning.Less
Quantum chemistry—a discipline that is not quite physics, not quite chemistry, and not quite applied mathematics—emerged as a field of study in the 1920s. It was referred to by such terms as mathematical chemistry, subatomic theoretical chemistry, molecular quantum mechanics, and chemical physics until the community agreed on the designation of quantum chemistry. This book examines the evolution of quantum chemistry into an autonomous discipline, tracing its development from the publication of early papers in the 1920s to the dramatic changes brought about by the use of computers in the 1970s. The book focuses on the culture that emerged from the creative synthesis of the various traditions of chemistry, physics, and mathematics. It examines the concepts, practices, languages, and institutions of this new culture as well as the people who established it, from such pioneers as Walter Heitler and Fritz London, Linus Pauling, and Robert Sanderson Mulliken, to later figures including Charles Alfred Coulson, Raymond Daudel, and Per-Olov Löwdin. Throughout, the book emphasizes six themes: epistemic aspects and the dilemmas caused by multiple approaches; social issues, including academic politics, the impact of textbooks, and the forging of alliances; the contingencies that arose at every stage of the developments in quantum chemistry; the changes in the field when computers were available to perform the extraordinarily cumbersome calculations required; issues in the philosophy of science; and different styles of reasoning.
