“The idea of objectivity in the evaluation of pictures introduces the concept of rational and scientific assessment. There are some sciences involved in the making and in the study of pictures, but the art itself is finally not a science and will not submit to scientific regimentation because its life depends on the degree to which it is inhabited by mystery, speaks to us of the unknown. It is simply an avoidance of the interesting difficulty to subject the inexplicable to the process of rational explanation. For since the real pleasures of painting and the reality of its meaning exist in the part of its structure which cannot be explained, all suggestions and pretensions at explanation must lead us away from the area of greatest interest. This is to say that such analysis as purports to lay bare the machinery which makes a painting work — makes it a good painting — not only leaves out the most important factor, the element of mystery, but actively denies the reality which is the justification for the art at all.”

X magazine (1959-62)

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British artist 1927–1983

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“Its life depends on the degree to which it is inhabited by mystery, speaks to us of the unknown.”

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"The Painter in the Press", 'X magazine, Vol. I, No.4 (October 1960).

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Context: Scientific pictures are often not just about science. They may... have an undeniable aesthetic quality. They may even have been primarily works of art that possess a scientific message.

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“At different stages in the educational process different changes are required. In schools the chief need is for a general change in the attitude towards science, which should be from the beginning an integral part and not a mere addition, often an optional addition, to the curriculum. Science should be taught not merely as a subject but should come into all subjects. Its importance in history and in modern life should be pointed out and illustrated. The old contrast, often amounting to hostility, between scientific and humane subjects need to be broken down and replaced by a scientific humanism. At the same time, the teaching of science proper requires to be humanized. The dry and factual presentation requires to be transformed, not by any appeal to mystical theory, but by emphasizing the living and dramatic character of scientific advance itself. Here the teaching of the history of science, not isolated as at present, but in close relation to general history teaching, would serve to correct the existing atmosphere of scientific dogmatism. It would show at the same time how secure are the conquests of science in the control they give over natural processes and how insecure and provisional, however necessary, are the rational interpretations, the theories and hypotheses put forward at each stage. Past history by itself is not enough, the latest developments of science should not be excluded because they have not yet passed the test of time. It is absolutely necessary to emphasize the fact that science not only has changed but is continually changing, that it is an activity and not merely a body of facts. Throughout, the social implications of science, the powers that it puts into men's hands, the uses they could make of them and those which they in fact do, should be brought out and made real by a reference to immediate experience of ordinary life.”

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“Systems science is that field of scientific inquiry whose objects of study are systems.
Without further explanation, these definitions are clearly of little use.”

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“Though science makes no use for poetry, poetry is enriched by science. Poetry “takes up” the scientific vision and re-expresses its truths, but always in forms which compel us to look beyond them to the total object which is telling its own story and standing in its own rights.”

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Context: Though science makes no use for poetry, poetry is enriched by science. Poetry “takes up” the scientific vision and re-expresses its truths, but always in forms which compel us to look beyond them to the total object which is telling its own story and standing in its own rights. In this the poet and the philosopher are one. Using language as the lever, they lift thought above the levels where words perplex and retard its flight, and leave it, at last, standing face to face with the object which reveals itself.

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