Experimental Art Quotes

Most reckless things are beautiful in some way, and recklessness is what makes experimental art beautiful, just as religions are beautiful because of the strong possibilities that they are founded on nothing.

Absurdity is the ecstasy of intellectualism.

The San Francisco therapist kept telling me I shouldn’t be terrified of creative experimentation. “I don’t know what’s going to come out of me,” I told her. “It has to be perfect. It has to be irreproachable in every way.” “Why?” she said. “To make up for it,” I said. “To make up for the fact that it’s me.

Art is sort of an experimental station in which one tries out living

The TV scientist who mutters sadly, "The experiment is a failure; we have failed to achieve what we had hoped for," is suffering mainly from a bad script writer. An experiment is never a failure solely because it fails to achieve predicted results. An experiment is a failure only when it also fails adequately to test the hypothesis in question, when the data it produces don't prove anything one way or another.

76. David Hume – Treatise on Human Nature; Essays Moral and Political; An Enquiry Concerning Human Understanding 77. Jean-Jacques Rousseau – On the Origin of Inequality; On the Political Economy; Emile – or, On Education, The Social Contract 78. Laurence Sterne – Tristram Shandy; A Sentimental Journey through France and Italy 79. Adam Smith – The Theory of Moral Sentiments; The Wealth of Nations 80. Immanuel Kant – Critique of Pure Reason; Fundamental Principles of the Metaphysics of Morals; Critique of Practical Reason; The Science of Right; Critique of Judgment; Perpetual Peace 81. Edward Gibbon – The Decline and Fall of the Roman Empire; Autobiography 82. James Boswell – Journal; Life of Samuel Johnson, Ll.D. 83. Antoine Laurent Lavoisier – Traité Élémentaire de Chimie (Elements of Chemistry) 84. Alexander Hamilton, John Jay, and James Madison – Federalist Papers 85. Jeremy Bentham – Introduction to the Principles of Morals and Legislation; Theory of Fictions 86. Johann Wolfgang von Goethe – Faust; Poetry and Truth 87. Jean Baptiste Joseph Fourier – Analytical Theory of Heat 88. Georg Wilhelm Friedrich Hegel – Phenomenology of Spirit; Philosophy of Right; Lectures on the Philosophy of History 89. William Wordsworth – Poems 90. Samuel Taylor Coleridge – Poems; Biographia Literaria 91. Jane Austen – Pride and Prejudice; Emma 92. Carl von Clausewitz – On War 93. Stendhal – The Red and the Black; The Charterhouse of Parma; On Love 94. Lord Byron – Don Juan 95. Arthur Schopenhauer – Studies in Pessimism 96. Michael Faraday – Chemical History of a Candle; Experimental Researches in Electricity 97. Charles Lyell – Principles of Geology 98. Auguste Comte – The Positive Philosophy 99. Honoré de Balzac – Père Goriot; Eugenie Grandet 100. Ralph Waldo Emerson – Representative Men; Essays; Journal 101. Nathaniel Hawthorne – The Scarlet Letter 102. Alexis de Tocqueville – Democracy in America 103. John Stuart Mill – A System of Logic; On Liberty; Representative Government; Utilitarianism; The Subjection of Women; Autobiography 104. Charles Darwin – The Origin of Species; The Descent of Man; Autobiography 105. Charles Dickens – Pickwick Papers; David Copperfield; Hard Times 106. Claude Bernard – Introduction to the Study of Experimental Medicine 107. Henry David Thoreau – Civil Disobedience; Walden 108. Karl Marx – Capital; Communist Manifesto 109. George Eliot – Adam Bede; Middlemarch 110. Herman Melville – Moby-Dick; Billy Budd 111. Fyodor Dostoevsky – Crime and Punishment; The Idiot; The Brothers Karamazov 112. Gustave Flaubert – Madame Bovary; Three Stories 113. Henrik Ibsen – Plays 114. Leo Tolstoy – War and Peace; Anna Karenina; What is Art?; Twenty-Three Tales 115. Mark Twain – The Adventures of Huckleberry Finn; The Mysterious Stranger 116. William James – The Principles of Psychology; The Varieties of Religious Experience; Pragmatism; Essays in Radical Empiricism 117. Henry James – The American; The Ambassadors 118. Friedrich Wilhelm Nietzsche – Thus Spoke Zarathustra; Beyond Good and Evil; The Genealogy of Morals;The Will to Power 119. Jules Henri Poincaré – Science and Hypothesis; Science and Method 120. Sigmund Freud – The Interpretation of Dreams; Introductory Lectures on Psychoanalysis; Civilization and Its Discontents; New Introductory Lectures on Psychoanalysis 121. George Bernard Shaw – Plays and Prefaces

Every brilliant experiment, like every great work of art, starts with an act of imagination. Unfortunately, our current culture subscribes to a very narrow definition of truth. If something can’t be quantified and calculated, then it can’t be true. Because this strict scientific approach has explained so much, we assume that it can explain everything. But every method, even the experimental method, has limits. Take the human mind. Scientists describe our brain in terms of its physical details; they say we are nothing but a loom of electrical cells and synaptic spaces. What science forgets is that this isn’t how we experience the world. (We feel like the ghost, not like the machine.) It is ironic but true: the one reality science cannot reduce is the only reality we will ever know. This is why we need art. By expressing our actual experience, the artist reminds us that our science is incomplete, that no map of matter will ever explain the immateriality of our consciousness.

I cared nothing; my point of view in that instance, as in all others like it, was, that if the paper chose to send an outsider and an ignoramus to criticise works of art - especially the works of a new and tentative and experimental school - then, on the head of the paper let the just doom fall.

What any experimental art is trying to get you to do is move beyond your preconceptions and your expectations regarding what should be happening, what's going to happen, what kinds of effects it should have, and enter a liminal state in which those things can be redefined in the way that the particular artist or piece of art is proposing.

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

One of the most brilliant Russian writers of the twentieth century, Yevgeny Zamyatin belongs to the tradition in Russian literature represented by Gogol, Leskov, Bely, Remizov, and, in certain aspects of their work, also by Babel and Bulgakov. It is a tradition, paradoxically, of experimenters and innovators. Perhaps the principal quality that unites them is their approach to reality and its uses in art - the refusal to be bound by literal fact, the interweaving of reality and fantasy, the transmutation of fact into poetry, often grotesque, oblique, playful, but always expressive of the writer's unique vision of life in his own, unique terms.

When I was a child, my artist mom told me that there was no such thing as bad art. I know now that this was a complete lie. Yet it was a lie I needed to hear. It informed me that the goal of art was the creative process of discovery, experimentation, and fun. To this day, I cling to this lie as truth—especially when my pictures don’t turn out right.

Creativity is always a leap of faith. Writers sit down in front of empty pages. Painters stare before blank easels. Thespians rehearse looking toward empty stages. Creativity is experimental by nature.

A thought expressed is a falsehood." In poetry what is not said and yet gleams through the beauty of the symbol, works more powerfully on the heart than that which is expressed in words. Symbolism makes the very style, the very artistic substance of poetry inspired, transparent, illuminated throughout like the delicate walls of an alabaster amphora in which a flame is ignited. Characters can also serve as symbols. Sancho Panza and Faust, Don Quixote and Hamlet, Don Juan and Falstaff, according to the words of Goethe, are "schwankende Gestalten." Apparitions which haunt mankind, sometimes repeatedly from age to age, accompany mankind from generation to generation. It is impossible to communicate in any words whatsoever the idea of such symbolic characters, for words only define and restrict thought, but symbols express the unrestricted aspect of truth. Moreover we cannot be satisfied with a vulgar, photographic exactness of experimental photoqraphv. We demand and have premonition of, according to the allusions of Flaubert, Maupassant, Turgenev, Ibsen, new and as yet undisclosed worlds of impressionability. This thirst for the unexperienced, in pursuit of elusive nuances, of the dark and unconscious in our sensibility, is the characteristic feature of the coming ideal poetry. Earlier Baudelaire and Edgar Allan Poe said that the beautiful must somewhat amaze, must seem unexpected and extraordinary. French critics more or less successfully named this feature - impressionism. Such are the three major elements of the new art: a mystical content, symbols, and the expansion of artistic impressionability. No positivistic conclusions, no utilitarian computation, but only a creative faith in something infinite and immortal can ignite the soul of man, create heroes, martyrs and prophets... People have need of faith, they need inspiration, they crave a holy madness in their heroes and martyrs. ("On The Reasons For The Decline And On The New Tendencies In Contemporary Literature")

At first he found it amusing. He coined a law intended to have the humor of a Parkinson’s law that "The number of rational hypotheses that can explain any given phenomenon is infinite." It pleased him never to run out of hypotheses. Even when his experimental work seemed dead-end in every conceivable way, he knew that if he just sat down and muddled about it long enough, sure enough, another hypothesis would come along. And it always did. It was only months after he had coined the law that he began to have some doubts about the humor or benefits of it. If true, that law is not a minor flaw in scientific reasoning. The law is completely nihilistic. It is a catastrophic logical disproof of the general validity of all scientific method! If the purpose of scientific method is to select from among a multitude of hypotheses, and if the number of hypotheses grows faster than experimental method can handle, then it is clear that all hypotheses can never be tested. If all hypotheses cannot be tested, then the results of any experiment are inconclusive and the entire scientific method falls short of its goal of establishing proven knowledge

The psychoanalyst and social philosopher Erich Fromm claimed that humankind’s most basic fear is the threat of being separated from other humans. He believed that the experience of separateness, first encountered in infancy, is the source of all anxiety in human life. John Bowlby agreed, citing a good deal of experimental evidence and research to support the idea that separation from one’s caregivers – usually the mother or father – during the latter part of the first year of life inevitably creates fear and sadness in babies. He feels that separation and interpersonal loss are at the very roots of the human experiences of fear, sadness, and sorrow.

We constantly rewrite the past to form a narrative which cuts out the non-critical points – and which replaces luck and random experimentation with conscious intent.

the basic metaphor of prototypes still seems apt to me. There are no answers or magic pills. There is no alternative to learning through experimentation. Benchmarking and studying “best practices” will not suffice—because the prototyping process does not involve just incremental changes in established ways of doing things, but radical new ideas and practices that together create a new way of managing.

The most effective experimenters are usually those who give much thought to the problem beforehand and resolve it into crucial questions and then give much thought to designing experiments to answer the questions.

As a student I thought there was a formula of some kind that I would get hold of somewhere, and thereby become and artist. There is a formula, but it has not been in books. It is really plain old courage, standing on one's own feet, and forever seeking enlightenment; courage to develop your way, but learning from the other fellow; experimentation with your own ideas, observing for yourself, a rigid discipline of doing over that which you can improve.

If you ditch the rulebook, you lose the grace. Even the wacky, avant-garde, convention-defying arts—experimental film, expressionist painting, professional wrestling—draw their power from playing against the limitations of the chosen medium.

Mrs. Watanabe loved hand painting, quilting, and the discipline of woven textiles, but she worried these techniques were a dying art. “Computers make everything too easy,” she said with a sigh. “People design very quickly on a monitor, and they print on some enormous industrial printer in a warehouse in a distant country, and the designer hasn’t touched a piece of fabric at any point in the process or gotten her hands dirty with ink. Computers are great for experimentation, but they’re bad for deep thinking.

In other words, the more differentiated, relatively developed societies have cultivated a comparatively high tolerance for highly individualised ways of further developing the existing art canon; this facilitates experimentation and the breaching of stale conventions and can thus help to enrich the artistic pleasures available through seeing and hearing.

Making a great first impression is not an accident, and with a little planning, experimentation, and application, you can transform your style, substance, and impact.

By experimenting with sympathetic joy, we break from the constricted world of individual struggle and see that joy exists in more places than we have yet imagined.

We didn't, after all, sing "Another One Bites The Dust" as the coffin was carried out; Hazel and the vicar had settled instead on the more traditional "How Great Thou Art". And Aunty Rose's old adversary the mayor was pressed into service as a coffin bearer to replace Matt. Rose Adele Thornton, born in Bath, England, died in Waimanu, New Zealand, a mere fifty-three years later. Adept and compassionate nurse, fervent advocate of animal welfare, champion of correct diction and tireless crusader against the misuse of apostrophes. Experimental chef, peerless aunt, brave sufferer and true friend. She had the grace and courage to thoroughly enjoy a life which denied her everything she most wanted. The bravest woman I ever knew.

A disdain for the practical swept the ancient world. Plato urged astronomers to think about the heavens, but not to waste their time observing them. Aristotle believed that: “The lower sort are by nature slaves, and it is better for them as for all inferiors that they should be under the rule of a master.… The slave shares in his master’s life; the artisan is less closely connected with him, and only attains excellence in proportion as he becomes a slave. The meaner sort of mechanic has a special and separate slavery.” Plutarch wrote: “It does not of necessity follow that, if the work delight you with its grace, the one who wrought it is worthy of esteem.” Xenophon’s opinion was: “What are called the mechanical arts carry a social stigma and are rightly dishonoured in our cities.” As a result of such attitudes, the brilliant and promising Ionian experimental method was largely abandoned for two thousand years. Without experiment, there is no way to choose among contending hypotheses, no way for science to advance. The anti-empirical taint of the Pythagoreans survives to this day. But why? Where did this distaste for experiment come from? An explanation for the decline of ancient science has been put forward by the historian of science, Benjamin Farrington: The mercantile tradition, which led to Ionian science, also led to a slave economy. The owning of slaves was the road to wealth and power. Polycrates’ fortifications were built by slaves. Athens in the time of Pericles, Plato and Aristotle had a vast slave population. All the brave Athenian talk about democracy applied only to a privileged few. What slaves characteristically perform is manual labor. But scientific experimentation is manual labor, from which the slaveholders are preferentially distanced; while it is only the slaveholders—politely called “gentle-men” in some societies—who have the leisure to do science. Accordingly, almost no one did science. The Ionians were perfectly able to make machines of some elegance. But the availability of slaves undermined the economic motive for the development of technology. Thus the mercantile tradition contributed to the great Ionian awakening around 600 B.C., and, through slavery, may have been the cause of its decline some two centuries later. There are great ironies here.

Philosophy, as defined by Fichte, is the "science of sciences." Its aim was to solve the problems of the world. In the past, when all exact sciences were in their infancy, philosophy had to be purely speculative, with little or no regard to realities. But if we regard philosophy as a Mother science, divided into many branches, we find that those branches have grown so large and various, that the Mother science looks like a hen with her little ducklings paddling in a pond, far beyond her reach; she is unable to follow her growing hatchlings. In the meantime, the progress of life and science goes on, irrespective of the cackling of metaphysics. Philosophy does not fulfill her initial aim to bring the results of experimental and exact sciences together and to solve world problems. Through endless, scientific specialization scientific branches multiply, and for want of coordination the great world-problems suffer. This failure of philosophy to fulfill her boasted mission of scientific coordination is responsible for the chaos in the world of general thought. The world has no collective or organized higher ideals and aims, nor even fixed general purposes. Life is an accidental game of private or collective ambitions and greeds.

Part Three, that part of formal scientific method called experimentation, is sometimes thought of by romantics as all of science itself because that’s the only part with much visual surface. They see lots of test tubes and bizarre equipment and people running around making discoveries. They do not see the experiment as part of a larger intellectual process and so they often confuse experiments with demonstrations, which look the same. A man conducting a gee-whiz science show with fifty thousand dollars’ worth of Frankenstein equipment is not doing anything scientific if he knows beforehand what the results of his efforts are going to be. A motorcycle mechanic, on the other hand, who honks the horn to see if the battery works is informally conducting a true scientific experiment. He is testing a hypothesis by putting the question to nature. The TV scientist who mutters sadly, “The experiment is a failure; we have failed to achieve what we had hoped for,” is suffering mainly from a bad scriptwriter. An experiment is never a failure solely because it fails to achieve predicted results. An experiment is a failure only when it also fails adequately to test the hypothesis in question, when the data it produces don’t prove anything one way or another.

We shall never know what Rubens' children "really looked like," but this need not mean we are forever barred from examining the influence which acquired patterns or schema have on the organization of our perception. It would be interesting to examine this question in an experimental setting. but every student of art who has intensely occupied himself with a family of forms has experienced examples of such influence. In fact I vividly remember the shock I had while I was studying these formulas for chubby children: I never thought they could exist, but all of a sudden I saw such children everywhere.

Those who earn their living by puppetry must satisfy the public demand, and so are to a large extent compelled to be conservative. As so often in other branches of the performing arts, it is only the amateur who can safely afford to experiment, to explore new forms and techniques, and to run the risk of failure.

the disappearance of an audience that had supported experimentation and made such works financial, as well as critical, successes. The decline of liberal-arts teaching in schools and colleges meant that the new audience was less cultured and intellectually oriented; wedded to television and movies, it wanted to be entertained rather than challenged.

Before he died in 2013, the great sociologist Robert Bellah said that his view of everything he’d studied across his life was tilted on its axis by this late recognition: when mammals began to bring forth offspring from the center of their bodies, spiritual life became possible. With apes and far more with humans, the period of necessary parental care—care in order for the offspring to survive—became longer and longer. The long helplessness of the child generated a sphere of softening, experimentation, and creativity in self-understanding and shared life. This is the biological groundwork for the axial move—stepping out of fear and into care beyond one’s self. The religions apprehended this long ago and wove it into language; compassion in both Hebrew and Arabic derives from the word for womb.

From Bacon, Diderot learned that science need not bow down before a Bible-based view of the world; it should be based on induction and experimentation, and, ideally, used to further humankind’s mastery of nature. Locke delivered two related concepts. The first was a theory of mind that rejected the long-standing belief that humans were born with innate ideas (and, therefore, with an inborn understanding of the divine). In Locke’s view, the mind is a blank slate at birth, and our understanding of the exterior world comes about solely through sensation and reflection. This entirely nonspiritual view of cognition set up a second critical lesson. Since, according to the English philosopher, true knowledge is limited to what we can learn through our senses, anyone involved in seeking out nature’s secrets must rely on observation and experiment — on a so-called empirical approach — and avoid building huge systems based on fantasy.

Literature is the extant body of written art. All novels belong to it. The value judgement concealed in distinguishing one novel as literature and another as genre vanishes with the distinction. Every readable novel can give true pleasure. Every novel read by choice is read because it gives true pleasure. Literature consists of many genres, including mystery, science fiction, fantasy, naturalism, realism, magical realism, graphic, erotic, experimental, psychological, social, political, historical, bildungsroman, romance, western, army life, young adult, thriller, etc., etc…. and the proliferating cross-species and subgenres such as erotic Regency, noir police procedural, or historical thriller with zombies. Some of these categories are descriptive, some are maintained largely as marketing devices. Some are old, some new, some ephemeral. Genres exist, forms and types and kinds of fiction exist and need to be understood: but no genre is inherently, categorically superior or inferior. (Hypothesis on Literature vs. Genre)

What has happened is that aesthetic production today has become integrated into commodity production generally: the frantic economic urgency of producing fresh waves of ever more novel-seeming goods (from clothing to airplanes), at ever greater rates of turnover, now assigns an increasingly essential structural function and position to aesthetic innovation and experimentation. Such economic necessities then find recognition in the varied kinds of institutional support available for the newer art, from foundations and grants to museums and other forms of patronage.

At the present time, political power is everywhere constituted on insufficient foundations. On the one hand it emanates from the so-called divine right of kings, which is none other than military force; on the other from universal suffrage, which is merely the instinct of the masses, or mere average intelligence. A nation is not a number of uniform values or ciphers; it is a living being composed of organs. So long as national representation is not the image of this organization, right from its working to its teaching classes, there will be no organic or intelligent national representation. So long as the delegates of all scientific bodies, and the whole of the Christian churches do not sit together in one upper council, our societies will be governed by instinct, by passion, and by might, and there will be no social temple. ...We are beginning to understand that Jesus, at the very height of his consciousness, the transfigured Christ, is opening his loving arms to his brothers, the other Messiahs who preceded him, beams of the Living Word as he was, that he is opening them wide to Science in its entirety, Art in its divinity, and Life in its completeness. But his promise cannot be fulfilled without the help of all the living forces of humanity. Two main things are necessary nowadays for the continuation of the mighty work: on the one hand, the progressive unfolding of experimental science and intuitive philosophy to facts of psychic order, intellectual principles, and spiritual proofs; on the other, the expansion of Christian dogma in the direction of tradition and esoteric science, and subsequently a reorganization of the Church according to a graduated initiation; this by a free and irresistible movement of all Christian churches, which are also equally daughters of the Christ. Science must become religious and religion scientific. This double evolution, already in preparation, would finally and forcibly bring about a reconciliation of Science and Religion on esoteric grounds. The work will not progress without considerable difficulty at first, but the future of European Society depends on it. The transformation of Christianity, in its esoteric sense would bring with it that of Judaism and Islam, as well as a regeneration of Brahmanism and Buddhism in the same fashion, it would accordingly furnish a religious basis for the reconciliation of Asia and Europe.

Some arts move in time, like music; others are presented in space, like painting. In both cases the organizing principle is recurrence, which is called rhythm when it is temporal and pattern when it is spatial. Thus we speak of the rhythm of music and the pattern of painting; but later, to show off our sophistication, we may begin to speak of the rhythm of painting and the pattern of music. In other words, all arts may be conceived both temporally and spatially. The score of a musical composition may be studied all at once; a picture may be seen as the track of an intricate dance of the eye. Literature seems to be intermediate between music and painting: its words form rhythms which approach a musical sequence of sounds at one of its boundaries and form patterns which approach the hieroglyphic or pictorial image atthe other. The attempts to get as near to these boundaries as possible form the main body of what is called experimental writing. We may call the rhythm of literature the narrative, and the pattern, the simultaneous mental grasp of the verbal structure, the meaning or significance. We hear or listen to a narrative, but when we grasp a writer’s total pattern we “see” what he means.

Total available Calories divided by Population equals Artistic-Technological Style. When the ratio Calories-to-Population is large—say, five thousand or more, five thousand daily calories for every living person—then the Artistic-Technological Style is big. People carve Mount Rushmore; they build great foundries; they manufacture enormous automobiles to carry one housewife half a mile for the purchase of one lipstick. Life is coarse and rich where C:P is large. At the other extreme, where C:P is too small, life does not exist at all. It has starved out. Experimentally, add little increments to C:P and it will be some time before the right-hand side of the equation becomes significant. But at last, in the 1,000 to 1,500 calorie range, Artistic-Technological Style firmly appears in self-perpetuating form. C:P in that range produces the small arts, the appreciations, the peaceful arrangements of necessities into subtle relationships of traditionally agreed-upon virtue. Think of Japan, locked into its Shogunate prison, with a hungry population scrabbling food out of mountainsides and beauty out of arrangements of lichens. The small, inexpensive sub-sub-arts are characteristic of the 1,000 to 1,500 calorie range.

The floor was full of crepe streamer seaweed and decomposing pirates. Or at least so it seemed. Half of the male population of Willing was out srutting its stuff in frilly shirts, head scarves, and gruesome makeup. Although, to be fair, some of the contorted faces had more to do with exertion than costume-store goop. Some boys need to concentrate really hard if they want to get their limbs to work with the music. It looked like "Thriller" meets Titanic. Of course,the other half was blinding. As predicted, sequins reigned. Also as predicted, the costume of choice was some sort of skirt(the smaller the better) paired with a bikini top (ditto). As I watched from my seat at the edge of the gym,a mousy physics teacher dressed in a rotuned foam sea-horse suit had a brief, finger-waggling argument with a mermaid over the size ofher shells. I couldn't hear what they were saying, but the hand gestures said plenty. The teacher won; Shell Girl stalked off in a huff. She stopped halfway off the floor to do an angry, hokey-pokey leg shake to disentangle a length of paper seaweed from around her ankle. A group of mathletes watched her curiously. One,wearing what looked like a real antique diving suit, even tried an experimental shake of his own leg before another elbowed him into stillness.

It’s a point well illustrated by Michel Siffre, a French chronobiologist (he studies the relationship between time and living organisms) who conducted one of the most extraordinary acts of self-experimentation in the history of science. In 1962, Siffre spent two months living in total isolation in a subterranean cave, without access to clock, calendar, or sun. Sleeping and eating only when his body told him to, he sought to discover how the natural rhythms of human life would be affected by living “beyond time.” Very quickly Siffre’s memory deteriorated. In the dreary darkness, his days melded into one another and became one continuous, indistinguishable blob. Since there was nobody to talk to, and not much to do, there was nothing novel to impress itself upon his memory.

The fifteenth century of Leonardo and Columbus and Gutenberg was a time of invention, exploration, and the spread of knowledge by new technologies. In short, it was a time like our own. That is why we have much to learn from Leonardo. His ability to combine art, science, technology, the humanities, and imagination remains an enduring recipe for creativity. So, too, was his ease at being a bit of a misfit: illegitimate, gay, vegetarian, left-handed, easily distracted, and at times heretical. Florence flourished in the fifteenth century because it was comfortable with such people. Above all, Leonardo’s relentless curiosity and experimentation should remind us of the importance of instilling, in both ourselves and our children, not just received knowledge but a willingness to question it—to be imaginative and, like talented misfits and rebels in any era, to think different.

Today, the 4-billion-year-old regime of natural selection is facing a completely different challenge. In laboratories throughout the world, scientists are engineering living beings. They break the laws of natural selection with impunity, unbridled even by an organism’s original characteristics. Eduardo Kac, a Brazilian bio-artist, decided in 2000 to create a new work of art: a fluorescent green rabbit. Kac contacted a French laboratory and offered it a fee to engineer a radiant bunny according to his specifications. The French scientists took a run-of-the-mill white rabbit embryo, implanted in its DNA a gene taken from a green fluorescent jellyfish, and voilà! One green fluorescent rabbit for le monsieur. Kac named the rabbit Alba. It is impossible to explain the existence of Alba through the laws of natural selection. She is the product of intelligent design. She is also a harbinger of things to come. If the potential Alba signifies is realised in full – and if humankind doesn’t annihilate itself meanwhile – the Scientific Revolution might prove itself far greater than a mere historical revolution. It may turn out to be the most important biological revolution since the appearance of life on earth. After 4 billion years of natural selection, Alba stands at the dawn of a new cosmic era, in which life will be ruled by intelligent design. If this happens, the whole of human history up to that point might, with hindsight, be reinterpreted as a process of experimentation and apprenticeship that revolutionised the game of life. Such a process should be understood from a cosmic perspective of billions of years, rather than from a human perspective of millennia. Biologists the world over are locked in battle with the intelligent-design movement, which opposes the teaching of Darwinian evolution in schools and claims that biological complexity proves there must be a creator who thought out all biological details in advance. The biologists are right about the past, but the proponents of intelligent design might, ironically, be right about the future. At the time of writing, the replacement of natural selection by intelligent design could happen in any of three ways: through biological engineering, cyborg engineering (cyborgs are beings that combine organic with non-organic parts) or the engineering of in-organic life.

The poetical term fête galante refers to a new genre of paintings and drawings that blossomed in the early 18th century during the [French] Regency period (1715-1723) and whose central figure was Jean-Antoine Watteau (1684-1721). Inspired by images of bucolic merrymaking in the Flemish tradition, Watteau and his followers created a new form, with a certain timelessness, characterised by greater subtlety and nuance. These depict amorous scenes in settings garlanded with luxuriant vegetation, real or imaginary: idealised dancers, women and shepherds are shown engaged in frivolous pursuits or exchanging confidences. The poetical and fantastical atmospheres that are a mark of his work are accompanied by a quest for elegance and sophistication characteristic of the Rococo movement, which flourished during the Age of Enlightenment, evidenced in his flair for curved lines and light colours. The flexibility of the fête galante theme proved to be an invitation to experimentation and innovation, and the genre was to inspire several generations of artists, occupying a central place in French art throughout the 18th century. Works by other highly creative painters, such as François Boucher (1703-1770) and Jean-Honoré Fragonard (1732-1806), illustrate their very personal visions of the joys of the fête galante as first imagined by Watteau.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

The cessation of art is something that can only be accomplished when art disappears into its own excess. And that occasion, according to Baudrillard, has already happened. In fact, "art" disappeared a while back (When? Sometimes in the 70's, probably, when information technologies were electrified and became the dominant way in which Western cultures mediated its self-expressions), and its sublimations into the everyday order of simulation was overlooked. Too busy watching reruns of I dream of Jeannie or betwitched I suppose. What is called "art" now is itself a continuous rerun, a rerun of the image of its own disappearance. But said another way, which I'm sure some would rather it be said (though it makes no difference) art is everywhere one and the same with the image of the everyday, if not actually, then potentially. Under these circumstances, because art and the reality that is supposed to set off aesthetic properties have lost their operational difference, unmusic is everywhere Music is not. However, according to the logic of simulation, Music is everywhere so unmusic is nowhere. Yet being everywhere is the same as being nowhere, therefore Music is nowhere, which makes unmusic everywhere. But this is hyperreality and hyperreality trucks no difference between the real and the unreal (artifice), the musical and the unmusical. Thus unmusic eschews Adorno's dialectical impasse to the extent that it is total nonsense, a byproduct of the hyperreal that supervenes a discourse of contradictions and paradoxes where everything is coming up signs.

Yoel Goldenberg makes exhibitions, photographs, models and media craftsmanship. His works are an examination of ideas, for example, validness and objectivity by utilizing an exhaustive methodology and semi exploratory exactness and by referencing documentaries, 'actuality fiction' and prominent experimental reciprocals. Yoel Goldenberg as of now lives and works in Brooklyn. By challenging the division between the domain of memory and the domain of experience, Goldenberg formalizes the circumstantial and underlines the procedure of synthesis that is behind the apparently arbitrary works. The manners of thinking, which are probably private, profoundly subjective and unfiltered in their references to dream universes, are much of the time uncovered as collections. His practice gives a valuable arrangement of metaphorical instruments for moving with a pseudo-moderate approach in the realm of execution: these fastidiously arranged works reverberate and resound with pictures winnowed from the fantastical domain of creative energy. By trying different things with aleatoric procedures, Yoel Goldenberg makes work in which an interest with the clarity of substance and an uncompromising demeanor towards calculated and insignificant workmanship can be found. The work is detached and deliberate and a cool and unbiased symbolism is utilized. His works are highlighting unplanned, unintentional and sudden associations which make it conceivable to overhaul craftsmanship history and, far and away superior, to supplement it. Consolidating random viewpoints lead to astounding analogies. With a theoretical methodology, he ponders the firmly related subjects of file and memory. This regularly brings about an examination of both the human requirement for "definitive" stories and the inquiry whether tales "fictionalize" history. His gathered, changed and own exhibitions are being faced as stylishly versatile, specifically interrelated material for memory and projection. The conceivable appears to be genuine and reality exists, yet it has numerous countenances, as Hanna Arendt refers to from Franz Kafka. By exploring dialect on a meta-level, he tries to approach a wide size of subjects in a multi-layered route, likes to include the viewer in a way that is here and there physical and has faith in the thought of capacity taking after structure in a work. Goldenberg’s works are straightforwardly a reaction to the encompassing environment and uses regular encounters from the craftsman as a beginning stage. Regularly these are confined occasions that would go unnoticed in their unique connection. By utilizing a regularly developing file of discovered archives to make self-ruling works of art, he retains the convention of recognition workmanship into every day hone. This individual subsequent and recovery of a past custom is vital as a demonstration of reflection. Yoel’s works concentrate on the powerlessness of correspondence which is utilized to picture reality, the endeavor of dialog, the disharmony in the middle of structure and content and the dysfunctions of dialect. To put it plainly, the absence of clear references is key components in the work. With an unobtrusive moderate methodology, he tries to handle dialect. Changed into craftsmanship, dialect turns into an adornment. Right then and there, loads of ambiguities and indistinctnesses, which are intrinsic to the sensation, rise up to the top

The Way of Bayes is also an imprecise art, at least the way I'm holding forth upon it. These blog posts are still fumbling attempts to put into words lessons that would be better taught by experience. But at least there's underlying math, plus experimental evidence from cognitive psychology on how humans actually think. Maybe that will be enough to cross the stratospherically high threshold required for a discipline that lets you actually get it right, instead of just constraining you into interesting new mistakes.

CONFUSION 5: HOW TO DEAL WITH CUSTOMER DISSATISFACTION If you have hit each step to this point, customer dissatisfaction will be rare. But dissatisfactions will happen. Here’s what to do about them: 1. Always listen to what your Customers are saying. And never interrupt while they’re saying it! 2. After you’re sure you’ve heard all of your Customer’s complaint, make absolutely certain you understand what he or she said. You could ask, “Can I repeat what you’ve just told me, Mrs. Jones, to make absolutely certain I understand you?” 3. Secure your Customer’s acknowledgment that you have heard his or her complaint accurately. 4. Apologize for whatever your Customer thinks you did that dissatisfied him or her even if you didn’t do it! 5. After your Customer has acknowledged your apology, ask exactly what would make him or her happy. 6. Repeat what your Customer told you would make him or her happy, and get his or her acknowledgment that you heard it correctly. 7. If at all possible, give your Customer exactly what he or she asked for! But what if your Customer wants something completely unreasonable? If you’ve followed my recommendations to the letter, what your Customer asks will seldom seem unreasonable. That’s assuming you’ve got the right Customer. CONFUSION 6: WHO TO CALL A CUSTOMER At this stage, it’s important to ask some questions: Which types of Customers would you most like to do business with? Where do you see your real market opportunities? Who would you like to work with, provide service for, and position your business for? A Tactile Customer for whom people is most important? A Neutral Customer for whom the mechanics of how you do business is most important? An Experimental Customer for whom cutting-edge innovation is important? A Traditional Customer for whom low cost and certainty of delivery are absolutely essential? In short, it’s all up to you. No mystery. No magic. Just a systematic process for shaping your business’s future. But you must have the passion to pursue the process. And you must be absolutely clear about every aspect of it. Until you know your Customers as well as you know yourself. Until all your complaints about Customers are a thing of the past. Until you accept the undeniable fact that Customer Acquisition and Customer Satisfaction are more science than art. But unless you’re willing to grow your business, you better not follow any of the above recommendations. Because it will definitely grow.

CONFUSION 6: WHO TO CALL A CUSTOMER At this stage, it’s important to ask some questions: Which types of Customers would you most like to do business with? Where do you see your real market opportunities? Who would you like to work with, provide service for, and position your business for? A Tactile Customer for whom people is most important? A Neutral Customer for whom the mechanics of how you do business is most important? An Experimental Customer for whom cutting-edge innovation is important? A Traditional Customer for whom low cost and certainty of delivery are absolutely essential? In short, it’s all up to you. No mystery. No magic. Just a systematic process for shaping your business’s future. But you must have the passion to pursue the process. And you must be absolutely clear about every aspect of it. Until you know your Customers as well as you know yourself. Until all your complaints about Customers are a thing of the past. Until you accept the undeniable fact that Customer Acquisition and Customer Satisfaction are more science than art. But unless you’re willing to grow your business, you better not follow any of the above recommendations. Because it will definitely grow.

Play and experimentation loosens our grip on life and allows for more chance luck to surprise us.

...it is one thing for experimentation to take place: it is another for it to acquire critical mass – or, to use a different metaphor, for ripples to become a wave. ... One sign was the emergence or re-emergence of an international audience that actually sought out artistically challenging films.

En la psicología experimental se estudia cómo normalmente nuestro cerebro escoge hechos y recuerdos para fabricar un relato y borra los que no son coherentes con él.

Hunter?” She grasped his shoulders for support, digging her nails into his flesh. “Hunter?” “I am here. Be easy.” He slid a hand to the nape of her neck and turned her face back to him. “Be easy.” Loretta’s legs felt like wet clay. As his mouth again claimed hers, a hundred possibilities ran through her mind, all frightening. Then sensation wiped out everything. There was only Hunter, solid and warm and gentle, holding her in rock-hard arms, his body bracing hers. Even in her inexperience, she sensed that kissing was new to him, that he was doing it only to please her. But after a few experimental nibbles, he mastered the art, claiming her mouth with a shattering thoroughness, his tongue thrusting deep, the sensuous rhythm he struck as old as time. Loretta leaned into him, sliding her hands into his hair, forgetting for a moment to be afraid. Looping an arm under her bottom, he lifted her against him. She could feel his heart slamming. Or was it hers? It didn’t matter. All that mattered were the feelings sweeping through her. When at last Hunter drew back for air, his dark eyes were cloudy with tenderness. He smiled a slow, thoughtful smile and, sliding her down his thighs, let her feet touch the floor. With infinite slowness he grasped the tails of her overblouse and skimmed the leather lightly up her ribs, grazing her sensitized breasts. Loretta glued her gaze to his, bracing herself. “I’m frightened,” she said shakily. “I am frightened beside you,” he murmured. “You? But why are you--” “Because you are sunshine. Because you make a glad song inside me. I have great fear that you will go away from me.” He drew the blouse over her head and tossed it aside. Smiling, he smoothed her hair, then lifted its heavy length to resettle it around her white shoulders so it covered her breasts. Skimming his palms down her slender arms, he found the drawstring that held up her skirt and made fast work of untying the knot. “Nei com-mar-pe ein.” She clutched her skirt. “What does that mean?” “I love you.” “Oh, Hunter.

Sometimes we tackle art with the preconceived notion that, in the end, we are creating a finished work. This idea can be intimidating for an artist, especially as a mark maker. By devoting yourself to the experimentation in art, you will find yourself focusing less on the end result and more on the concept of creation.

Shared vision fosters risk taking and experimentation. When people are immersed in a vision, they often don’t know how to do it. They run an experiment. They change direction and run another experiment. Everything is an experiment, but there is no ambiguity.

[F]ew places are home to both the most experimental and the most professional. Brooklyn drag is at once amateurish and world-class, and in this way it serves as a microcosm of the art form.

In academia, the model that we are taught; that we are told in most fields - not the arts, and not the experimental sciences either - but many, many fields, [the model] is: - You have an idea, - You accumulate everything that anyone has ever written about that idea, - You become familiar with what everyone has already said about it, - And from there, you cobble together the pieces: the evidence either for or against your [idea], or you just review what they've done and you create something that's a little bit new. Over in science space I call this "Brick in the Wall Science". It's valuable that some people are doing Brick in the Wall Science but you will always have the same foundation of the house that you started with with Brick in the Wall Science, and it's possible the foundation of the house you started with is not the foundation that you want or that is true. [...] [With Brick in the Wall Science] you can't have revolutionary ideas. You can't have paradigm shifts.

The experimental courtroom in Red Hook was created along very different lines. Setup in an abandon parochial school in the heart of the neighborhood, the Cortex Windows to let the sun in, light colored wood and an unusual judge's bench. The planners chose to build the bench at eye level, so that the judge could have these personal interactions with litigants coming before him, invite them up to the bench... so people could see that people could see that he's not looking down on them, both literately and figuratively.

Irony is a matter of interpretation, of recognizing something as ironic, and there is little guarantee that the views of people producing and reading the texts meet. Indeed, irony involves moments of misunderstanding and messy meaning and it may well function as a kind of boomerang if ironic distance is erased and things are read literally. Saying one thing and meaning another is a means of joining contradictory views but it also has the effect of creating distance. In the case of cyberfeminism, this may mean distance toward cyber/technoculture and feminism alike. It may also be that irony functions more efficiently in the context of experimental media art projects than in the genre of academic writing.

...an astonishing blend of cultural history, multi-arts criticism, and memoir, moving with dazzling fluency across the hybrid worlds of visual and performance art, dance and music-theater, and experimental just-about-everything... Coe celebrates the mad pioneers of America’s most surreal cultural era in a gorgeous, insightful prose that matches their marvels.”        - Todd London, This Is Not My Memoir (with Andre Gregory, FSG) “...Compiled from published and unpublished writings, this volume reflects Coe’s extraordinary ability to craft smart journalistic profiles of epochal theater and dance artists with the Olympian sweep of an academic researcher and more than a streak of gonzo memoirist.”       - Don Shewey, Critic and Writer “...a truly personal opus and one that captivates as well as inspires... brimming with imagery and rich pathos that never seem over-indulgent or forced... Coe's book is certain to delight anyone who picks it up."        - Robert Buccellato, the US Review of Books "...a bit of Norman Mailer with a splash of Joan Didion, but all in all, the book has an eclectic style all its own. It’s postmodernism with a smirk and a twinkle. If you were there, you’ll be glad to go back again. If you weren’t there, you’re going to feel as if you were."        - Des McAnuff, Playwright, Songwriter, Director

2. They were endowed abundantly with the natural gifts of intellect and foresight, and with the faculties of the arts, sciences and culture. " 'Hearing and seeing' refer to the experimental faculties. And the word 'heart' in Arabic includes intellect, or the rational faculties as well as the instruments of feeling and emotion, the aesthetic faculties."144

As her writing developed, Jane Austen recognised that there were different ways of creating original works of art and that the skills acquired from experience and experimentation were ultimately as important as the initial sparks of inspiration.

In my adult life I have proved time and time again that I can keep more or less in mind details of some five hundred books on the topics to which I have dedicated myself. I take no notes but do list on the inside back cover of certain books page numbers to which I know I will want to refer, later followed by one word to indicate subject matter, but even without this aid I can and do go quickly to the right book and the correct page, more or less, for the data I need. When I fail, I fail completely and can think of no clue that would lead me to the page I want; this would mean I had not implanted it firmly enough in my mind. I am not talking theoretically. I have done this at least a dozen times with my long novels, keeping a hundred characters in mind, controlling a tangle of different story lines, and remembering many individualized locations. I doubt that I am remarkable in possessing such a skill. I suspect that many clergymen can do the same with the Bible and it’s obvious that some lawyers can maintain control over a huge volume of case law just as scientists can master a jungle of relevant experimentation in their fields. But I have done it in a score of different fields: astrophysics, geography, ancient religions, art, politics, contemporary revolutionary movements, and popular music.” —Chapter IX, “Intellectual Equipment”, page 301

The influence of the mid-to-late-Sixties English counterculture is clearer in The Beatles’ music than in that of any of their rivals. This arose from a conflux of links, beginning with their introduction by Brian Epstein to the film director Richard Lester, continuing with McCartney’s friendships with Miles and John Dunbar, and culminating in the meeting of Lennon and Yoko Ono. Through Lester and his associates - who included The Beatles’ comedy heroes Spike Milligan and Peter Sellers - the group’s consciousness around the time of Sgt. Pepper was permeated by the anarchic English fringe theatre, with its penchant for Empire burlesque (e.g., The Alberts, Ivor Cutler, Milligan and Antrobus’s The Bed Sitting Room). This atmosphere mingled with contemporary strains from English Pop Art and Beat poetry; the ‘happenings’ and experimental drama of The People Show, Peter Brook’s company, and Julian Beck’s Living Theatre; the improvised performances of AMM and what later became the Scratch Orchestra; the avant-garde Euro-cinema of Fellini and Antonioni; and the satire at Peter Cook’s Establishment club and in his TV show with Dudley Moore, Not Only . . . But Also (in which Lennon twice appeared). From the cultural watershed of 1965-6 onwards, The Beatles’ American heroes of the rock-and-roll Fifties gave way to a kaleidoscopic mélange of local influences from the English fringe arts and the Anglo-European counterculture as well as from English folk music and music-hall.

Preamble The Klassik Era was a cultural and musical revolution that swept through Kenya and East Africa in the early 2010s. It was a time of bold experimentation, fearless expression, and unapologetic individuality that challenged the norms of mainstream music and culture. For the first time, young people from the ghettos and slums of Nairobi, Mombasa, and Kisumu could see themselves represented and celebrated in the music and arts scene, and their voices and stories were given a platform like never before. The Klassik Era was characterized by a fusion of different musical genres and styles, from hip-hop and reggae to dancehall and afro-pop, to create a sound that was uniquely Kenyan and African. It was a time when young artists and producers like Blame It On Don (DON SANTO), Kingpheezle, Jilly Beatz, Tonnie Tosh, Kenny Rush, and many others came together under Klassik Nation, a record label that would change the face of Kenyan music forever. The Klassik Era was also marked by a sense of community and camaraderie, with young people from all walks of life coming together to support each other's art and creativity. It was a time when collaborations and features were the norm, and when artists and producers worked together to create something new and exciting. But the Klassik Era was not without its challenges and controversies. It was a time when the Kenyan music industry was dominated by a few powerful players who controlled the airwaves and the mainstream narrative, and who were resistant to change and innovation. It was a time when artists and producers had to fight tooth and nail to get their music played on the radio and to gain recognition and respect from their peers. Despite these challenges, the Klassik Era left an indelible mark on the Kenyan music industry and on the cultural landscape of Africa. It was a time of creativity, passion, and rebellion that inspired a generation of young people to dream big and to believe that anything was possible. This book is a tribute to that era and to the artists and producers who made it all possible.

Playing jazz is an art that is absorbed through intense listening, focused imitation, and fearless experimentation. The jazz masters learned on the bandstand. Literally.

Look for instance at the notorious Dan Savage, the gay advice columnist whose work is featured in arts newspapers across the country. His language is habitually violent and obscene. He seems to be filled with hatred against anybody who believes in anything less than what the furthest advanced of the sexual revolutionaries demand. It’s a mark of our madness and irresponsibility that this fellow, who is deeply unbalanced, is invited to public schools to advise the students that being homosexual “gets better,” thus encouraging them in the kinds of sexual experimentation that would land some of them at the same horrible place where he himself is standing. When, at one school, he began to rail against Jesus, some of the Christian students quietly got up and left the hall, whereupon he subjected them to a volley of ridicule, to the applause of some of their fellows in the audience. I cannot imagine for any reason subjecting young people to ridicule. But the self-contradiction seems to have escaped the notice of the promoters of Savage, who is pretending to go about fighting the bullies, when he himself is a bully, spoiled, hurt, angry, and vindictive, as even a passing acquaintance with his advice would show. Porn’s all right for him, mutually agreed-upon cruelty, multiple partners, prostitution, whatever; everything is all right except what really is all right. Yet for all his wealth and fame, he hasn’t gotten better at all.

Some ideas lend themselves to being tested through quantifiable and experimental means, but some do not. Yet both kinds of ideas can be equally true. Some ideas touch on the physical—and we have science to test them. Some ideas touch on the metaphysical—and we have philosophy, psychology, the arts, theology and experience to test them. To cast off entire academic and professional disciplines is to be rather close-minded.

For experimental artists, the goal is often quite different. While the process of creating still ends with a finished work of some sort, the end result is generally unknown. It’s often more about exploring a specific concept, technique, or tool, as opposed to constructing something the artist has envisioned. There are exceptions, of course; this is experimental art, after all.

Jeannette Mirsky, his biographer, explains: ‘Dandan-uilik was the classroom where Stein learned the grammar of the ancient sand-buried shrines and houses: their typical ground plans, construction, and ornamentation, their art, and something of their cultic practices. He also used it as a laboratory in which to find the techniques best suited to excavating ruins covered by sands as fluid as water, which, like water trickled in almost as fast as the diggers bailed it out. He had no precedents to guide him, no labour force already trained in the cautions, objectives and methods of archaeology.… He felt his way from what was easy to what was difficult, from what he knew he would find to discoveries he had not dared to anticipate. His approach was both cautious and experimental.

And he said, Thus saith the Lord, Make this valley full of ditches. For thus saith the Lord, Ye shall not see wind, neither shall ye see rain; yet that valley shall be filled with water, that ye may drink, both ye and your cattle, and your beasts." 2 Kings 3:16,17 The armies of the three kings were famishing for want of water: God was about to send it, and in these words the prophet announced the coming blessing. Here was a case of human helplessness: not a drop of water could all the valiant men procure from the skies or find in the wells of earth. Thus often the people of the Lord are at their wits' end; they see the vanity of the creature, and learn experimentally where their help is to be found. Still the people were to make a believing preparation for the divine blessing; they were to dig the trenches in which the precious liquid would be held. The church must by her varied agencies, efforts, and prayers, make herself ready to be blessed; she must make the pools, and the Lord will fill them. This must be done in faith, in the full assurance that the blessing is about to descend. By-and-by there was a singular bestowal of the needed boon. Not as in Elijah's case did the shower pour from the clouds, but in a silent and mysterious manner the pools were filled. The Lord has his own sovereign modes of action: he is not tied to manner and time as we are, but doeth as he pleases among the sons of men. It is ours thankfully to receive from him, and not to dictate to him. We must also notice the remarkable abundance of the supply--there was enough for the need of all. And so it is in the gospel blessing; all the wants of the congregation and of the entire church shall be met by the divine power in answer to prayer; and above all this, victory shall be speedily given to the armies of the Lord. What am I doing for Jesus? What trenches am I digging? O Lord, make me ready to receive the blessing which thou art so willing to bestow.

Peg and I are in the trenches of social media, not in a "war room" back at headquarters. We acquired our knowledge though experimentation and diligence, not pontification, sophistry, and conference attendance.

Some guidelines for a successful ‘Grand Tour’ of Europe: 1.  Energy! Never be ‘too tired’ or ‘not in the mood’. 2.  Avoid conflict with Albie. Accept light-hearted joshing and do not retaliate with malice or bitter recriminations. Good humour at all times. 3.  It is not necessary to be seen to be right about everything, even when that is the case. 4.  Be open-minded and willing to try new things. For example, unusual foods from unhygienic kitchens, experimental art, unusual points of view, etc. 5.  Be fun. Enjoy light-hearted banter with C and A. 6.  Try to relax. Don’t dwell on the future for

Magic is something as personal as love. Love exists. But there are many kinds of love, and none of them are wrong. So, ultimately what I'm saying is that you, as a mage, must be free of dogma. It's hard work to be open to all outside advice and still avoid new dogmas. Strike a balance between blind belief and willing experimentation and you'll find that just as love exists, so do the truths of magic. You can find them the way you find love, by going out into the world and seeing for yourself.

Experimental ideas are very often born by chance as a result of fortuitous observations.

One of the methods that he and Bowie used on Low was the “Oblique Strategies” he’d created with artist Peter Schmidt the year before. It was a deck of cards, and each card was inscribed with a command or an observation. When you got into a creative impasse, you were to turn up one of the cards and act upon it. The commands went from the sweetly banal (“Do the washing up”) to the more technical (“Feedback recordings into an acoustic situation”; “The tape is now the music”). Some cards contradict each other (“Remove specifics and convert to ambiguities”; “Remove ambiguities and convert to specifics”). Some use Wildean substitution (“Don’t be afraid of things because they’re easy to do”). And several veer towards the Freudian (“Your mistake was a hidden intention”; “Emphasise the flaws”). The stress is on capitalising on error as a way of drawing in randomness, tricking yourself into an interesting situation, and crucially leaving room for the thing that can’t be explained—an element that every work of art needs. Did the Oblique Strategy cards actually work? They were probably more important symbolically than practically. A cerebral theoretician like Eno had more need of a mental circuit-breaker than someone like Bowie, who was a natural improviser, collagiste, artistic gadfly. Anyone involved in the creative arts knows that chance events in the process play an important role, but to my mind there’s something slightly self-defeating about the idea of “planned accidents.” Oblique Strategies certainly created tensions, as Carlos Alomar explained to Bowie biographer David Buckley: “Brian Eno had come in with all these cards that he had made and they were supposed to eliminate a block. Now, you’ve got to understand something. I’m a musician. I’ve studied music theory, I’ve studied counterpoint and I’m used to working with musicians who can read music. Here comes Brian Eno and he goes to a blackboard. He says: ‘Here’s the beat, and when I point to a chord, you play the chord.’ So we get a random picking of chords. I finally had to say, ‘This is bullshit, this sucks, this sounds stupid.’ I totally, totally resisted it. David and Brian were two intellectual guys and they had a very different camaraderie, a heavier conversation, a Europeanness. It was too heavy for me. He and Brian would get off on talking about music in terms of history and I’d think, ‘Well that’s stupid—history isn’t going to give you a hook for the song!’ I’m interested in what’s commercial, what’s funky and what’s going to make people dance!” It may well have been the creative tension between that kind of traditionalist approach and Eno’s experimentalism that was more productive than the “planned accidents” themselves. As Eno himself has said: “The interesting place is not chaos, and it’s not total coherence. It’s somewhere on the cusp of those two.

When the world one loves is seen to be dying, the viewer dies a little with it. A great American painter, Reginald Marsh, exemplifies this truism. Every day until his death at the age of 56, he sketched and painted the most earthy, sweaty and lusty examples of humanity he could lay his eyes upon. His productive voyeurism led him through the entire spectrum of cheap cafes, carnivals, amusement parks, skid rows, exclusive clubs, opera openings, coming-out parties and everything in-between. His super-realistic canvases were jammed with the kind of people he loved to watch in the environments he loved to haunt. As his closing years approached, Reginald Marsh grew depressed at the changing scene. New styles were emerging and it now became more difficult to immerse himself in the vistas from which he had so long drawn, both in his paintings and life itself. His canvases of lumpy women and pot-bellied men were too unappealing for the “think thin” era of the 1950s, and his floozies violated the then-current Grace Kelly/Ivory Soap look. His disdain for modern masters (“Matisse draws like a three-year-old, “Picasso ... a false front”) became exemplified as he summed up modern art as “high and pure and sterile — no sex, no drink, no muscles.” Marsh’s “out of date” feeling reached its zenith when he was asked to take part in an art symposium. The first speaker, who was a then-popular New York painter, enthusiastically championed current trends. Then followed a professor who advocated new and dynamic experimentation in visual appeal. At last it was Reginald Marsh’s turn to speak. He stood on the platform for a moment, as if trying to collect his thoughts. A sad look of resignation appeared in his eyes as he gazed down at the audience. The talented watcher of his innermost secret lusts and life-giving scintillations declared softly, “I am not a man of this century,” and sat down. He died shortly thereafter.

Judgment rested with the patron, in the age of the artisan. In the age of the professional, it rested with the critic, a professionalized aesthete or intellectual. In the age of the genius, which was also the age of avant-gardes, of tremendous experimental energy across the arts, it largely rested with artists themselves. “Every great and original writer,” Wordsworth said, “must himself create the taste by which he is to be relished.” But now we have come to the age of the customer, who perforce is always right. Or as a certain legendary entertainer is supposed to have put it, “There’s a sucker born every minute.

Writing is a subtle art that is reached mostly by self-discovery and experimentation.

Some thirty miles east of the statue, with much less fanfare, another monument was nearing completion. At Cold Spring Harbor on Long Island, construction was almost finished on a new, state-of-the-art laboratory. Built with a hefty donation from Andrew Carnegie, the Station for Experimental Evolution was one of the first American institutions to study genetics. Heralded as the future of biological science, the laboratory would become the headquarters for the eugenics movement. A campaign to classify races by means of a hierarchy, eugenics would provide scientific justification for segregation, mass sterilizations, and the exclusion of an entire immigrant population. It would grow to influence all levels of society, from public policy to children’s books. A sanctioned form of racism, eugenics served as the scientific articulation of white supremacy and the politician’s strongest weapon against immigrants.

Artistic "style" that does not evolve as a result of a natural process is the embodiment of "fake it till you make it," referring to the way something APPEARS, not the way that it IS. It's a veneer, a hollow afterthought technique hung on the artwork to dress it up... I prefer to think in terms of the artist's VOICE. Voice is deeper, manifested from the very core of your being. You earn it through research, experimentation, and discovery. It is a synthesis of the experiences, intellectual concepts, and aesthetic interests you possess, executed in your distinctive way, in the formal, emotional and intellectual language of your chosen medium. When successful, the realization of your voice follows the gestalt principle. The combination of your ideas and the work's physical embodiment is greater than the sum of its parts and distinguishes your outcome from everyone else's.

Ars longa, vita brevis is a Latin translation of an aphorism coming originally from Greek. It roughly translates to "skillfulness takes time and life is short". The aphorism quotes the first two lines of the Aphorisms by the ancient Greek physician Hippocrates: "Ὁ βίος βραχύς, ἡ δὲ τέχνη μακρή". The familiar Latin translation ars longa, vita brevis reverses the order of the original lines, but can express the same principle. Translations The original text, a standard Latin translation, and an English translation from the Greek follow. Greek: Ho bíos brakhús, hē dè tékhnē makrḗ, ho dè kairòs oxús, hē dè peîra sphalerḗ, hē dè krísis khalepḗ. Latin: Vīta brevis, ars longa, occāsiō praeceps, experīmentum perīculōsum, iūdicium difficile. English: Life is short, and craft long, opportunity fleeting, experimentations perilous, and judgment difficult. Interpretation Despite the common usage of the Latin version, Ars longa, vita brevis, the usage caveat is about the Greek original that contains the word tékhnē (technique and craft ) that is translated as the Latin ars (art) as in the usage The Art of War. The authorship of the aphorism is ascribed to the physician Hippocrates, as the preface of his medical text: “The physician must not only be prepared to do what is right himself, but also to make the patient, the attendants, and externals cooperate”. Similar sayings The late-medieval author Chaucer (c. 1343–1400) observed "The lyf so short, the craft so long to lerne" ("The life so short, the craft so long to learn", the first line of the Parlement of Foules). The first-century CE rabbi Tarfon is quoted as saying "The day is short, the labor vast, the workers are lazy, the reward great, the Master urgent." (Avot 2:15)

Using this as a metaphor, I would like to see the improvement we have enjoyed in food over the last three decades applied to other fields. It is only when we abandon a narrow logic and embrace an appreciation of psycho-logical value, that we can truly improve things. Once we are honest about the existence of unconscious motivations, we can broaden our possible solutions. It will free us to open up previously untried spaces for experimentation in resolving practical problems if we are able to discover what people really, really want,* rather than a) what they say they want or b) what we think they should want.

Try using brushes of different sizes and paints of different colors, and let your marks merge together on the canvas. The first few times you try action painting should be purely experimental. The important thing to remember is that unpredictability is what you are after, so you can revel in the pure enjoyment of playing with the paint. Begin to experiment with different approaches: Try flinging paint off the brush to create explosive spatters, dripping paint from different heights or pouring paint of different thicknesses (diluted with various amounts of water) onto the canvas at the same time.

There was once a time when most students in college whose parents could afford it, or who qualified for scholarships or assistance, received a stipend. It was considered a good thing that there might be a few years in a young man’s or woman’s life where money was not the primary motivation; where he or she could thus be free to pursue other forms of value: say, philosophy, poetry, athletics, sexual experimentation, altered states of consciousness, politics, or the history of Western art. Nowadays it is considered important they should work. However, it is not considered important they should work at anything useful.

but it is precisely Van Meegeren’s badness that gives his story its sting. Van Meegeren was a tireless experimenter, a savvy tactician and dealmaker, and a brilliant psychologist. What he was not especially good at was painting. He found a way to make that not matter.

Neo-fluxus, neo-dada, stuckism, experimental art, are noncontinuous, usable concepts.

Ahora bien, sólo sabrás que has perdonado a alguien cuando lo veas y ya no sientas nada, cuando escuches su nombre y no experimentes ninguna reacción emocional. Por lo tanto, cuando seas capaz de tocar una herida emocional y ya no sientas dolor, entonces sabrás que verdaderamente has perdonado. Evidentemente, en ese lugar te quedará una cicatriz, del mismo modo que te queda en la piel. Recordarás lo que sucedió, cómo eras antes, pero una vez que la herida se haya curado, dejará de doler para siempre.

To make a discovery, to invent something that connects with the public, to fashion a work of art that is meaningful, inevitably requires time and effort. This often entails years of experimentation, various setbacks and failures, and the need to maintain a high level of focus. You must have patience and faith that what you are doing will yield something important.

With more and more governments, however crude and experimental, dedicated to industrial democracy and universal brotherhood, the era of peace and joy in living will come on earth.

As he was testing hypothesis number one by experimental method a flood of other hypotheses would come to mind, as he was testing these, still more came to mind until it became painfully evident that as he continued testing hypotheses and eliminating them or confirming them their number did not decrease. It actually increased as he went along.

Science is not only laboratory experimentation, spiritualism, society, field work, politics, arts, history, engineering and management, medicine everything is science. Star gazing is a science, sun gazing is a science, understanding animals and insects is science, understanding static and dynamic mechanisms of humans, living and non living things on universe and beyond is science. Understanding a women is science, understanding a men is science. Everything under umbrella of universal science. Who said christianity or islam is not related India and who said Vedas were written only by hindus? Who said himalayan monks are Indians? See Understanding myself is very simple if you are good I will be good, if you are bad I will be bad, If you play I will also play but personally I will not accept because you have so good, bad plays so I can not trust on you. And without trust I may consider you as a human being, if little care is there then friend or sister or brother not close friend or love because you already lost the trust when I gave a chance. I give chances to find purity and loyalty and I will not care afterwards and you will get hurt after sometime and you will miss after sometime, but I will not be there

The individual that had killed two women in the span of three days worked nine hours every weekday in an Advanced Learning school. Once, in a time that seemed like a lifetime ago, she had worked as a teacher in an elementary school, third and fourth graders, with an experimental year as an art teacher that had gone bust. She’d always had a passion for kids, even now.

The definition of art is problematic, but, simplistically, it is the application of skills to the creation of aesthetic values. Science can be defined as the methodical pursuit of knowledge about the phenomena of the physical world on the basis of unbiased observation and systematic experimentation. Roughly speaking, the objects of art and science are beauty and truth, respectively. Yoga is an art because it evidently does not have the mathematical exactitude of the natural sciences. The British-American mathematician-philosopher Alfred North Whitehead once remarked: “Art flourishes when there is a sense of adventure, a sense of nothing having been done before, of complete freedom to experiment; but when caution comes in you get repetition, and repetition is the death of art.”2 These comments apply to Yoga quite well. It is an incredible adventure of the spirit, which seeks to create an altogether new destiny. Each time the practitioner applies the wisdom of Yoga to life’s many situations, he or she must engage the process as if it were the first time. Thus Yoga is continuous self-application but not merely repetition. The Sanskrit term abhyāsa, which literally means “repetition,” has the primary meaning of “practice” in the context of Yoga, and practice calls for what the Zen masters call “beginner’s mind.” Any efforts to squeeze Yoga into the much-celebrated scientific method is doomed to failure, which is not to say that Yoga cannot or should not be studied rigorously from a scientific perspective. In fact, since the 1920s various research organizations and individual researchers have conducted such research, especially medical investigations, with varying degrees of success, and their findings have definitely been helpful in appraising Yoga’s effectiveness.3 Yet, Yoga is not completely subjective and inexact either. It proceeds according to careful rules established over a long period of (repeatable) personal experimentation.

Coorie camping gives life to experimentation. Recipes cobbled together with what's left in our packs are part of the fun. Have you ever eaten a griddled cheese toastie in the woods for breakfast? The excitement is in the preparation; someone firing up the kettle for a round of coffees, someone else getting the table (an upturned log) ready while the chef eases the sandwiches over, molten goo seeping from the sides and filling the air with the smell of roasted cheese. The radio might be on low, but more likely everyone is waking up slowly, listening to the sounds of the woods and working together to create a greater good. It's not what you'd eat at home. Any sense of a schedule is left behind and the experience is richer for it. Told you a griddle pan was the key to happiness.

The art of sentence making comes down to experimentation, skill, and variety. Just because you can do the three-and-a-half-somersault tuck off the high board doesn’t mean you must ditch the gorgeous swan dive. Good sentences can be short and muscular, and they can be long and graceful.

As her writing developed, Jane Austen recognised that there were different ways of creating original works of art and that the skills acquired from experience and experimentation were ultimately as important as the initial sparks of inspiration.

She seemed sad and wise beyond her years. All the giddy experimentation with sex, recreational drugs, and revolutionary politics that was still approaching its zenith in countercultural America was ancient, unhappy history to her. Actually, her mother was still in the midst of it—her main boyfriend at the time was a Black Panther on the run from the law—but Caryn, at sixteen, was over it. She was living in West Los Angeles with her mother and little sister, in modest circumstances, going to a public high school. She collected ceramic pigs and loved Laura Nyro, the rapturous singer-songwriter. She was deeply interested in literature and art, but couldn’t be bothered with bullshit like school exams. Unlike me, she wasn’t hedging her bets, wasn’t keeping up her grades to keep her college options open. She was the smartest person I knew—worldly, funny, unspeakably beautiful. She didn’t seem to have any plans. So I picked her up and took her with me, very much on my headstrong terms. I overheard, early on, a remark by one of her old Free School friends. They still considered themselves the hippest, most wised-up kids in L.A., and the question was what had become of their foxy, foulmouthed comrade Caryn Davidson. She had run off, it was reported, “with some surfer.” To them, this was a fate so unlikely and inane, there was nothing else to say. Caryn did have one motive that was her own for agreeing to come to Maui. Her father was reportedly there. Sam had been an aerospace engineer before LSD came into his life. He had left his job and family and, with no explanation beyond his own spiritual search, stopped calling or writing. But the word on the coconut wireless was that he was dividing his time between a Zen Buddhist monastery on the north coast of Maui and a state mental hospital nearby. I was not above mentioning the possibility that Caryn might find him if we moved to the island.

El cine militante y el experimental aspiraban a una transformación del mundo. No actuaban juntos, pero tampoco estaban completamente separados. Los lenguajes cinematográficos compartían estrategias (el collage, el montaje). En el cine, como en las artes visuales, la escisión entre la vanguardia política y la artística es un proceso que toma clara visibilidad después de 1968, pero durante el período anterior se cruzaban continuamente, y coexistían de diversas formas.