ABSTRACT
This chapter explores the interactions between art and science. With the critique of positivism and the recognition of the pluralistic character of scientific endeavour, a new dialogue between science and the creative arts seems possible. Arts practice, while it may encourage to think in interesting ways about the world, does not seek to provide a systematic account of things as science does. Thus, artistic research is inextricably bound up in the mechanics of creative practice. Darren Newbury sketches a loose version of what philosophers of science refer to as the hypothetico-deductive model. The very notion that we can establish technical control over nature by drawing on the predictive power of science constitutes the basis of modern scientific activity and its centrality to processes of societal modernization. The modernist avant-garde even chose to invoke the idea of a “science of painting” and of visual art.
