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Modelos e Metáforas: Arte e Ciência

Modelos e Metáforas: Arte e Ciência

Modelos e Metáforas: Arte e Ciência
Organizadores: Álvaro Balsas; Yolanda Espiña
2019, Volume 75, Fasc. 4
DOI 10.17990/RPF/2019_75_4_0000

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Models and Metaphors: Art and Science

Modelos e Metafóras: Arte e Ciência 

 Editor Álvaro Balsas
Editor Yolanda Espiña
Rights © 2019 Aletheia - Associação Científica e Cultural | © 2019 Revista Portuguesa de Filosofia
Publication Revista Portuguesa de Filosofia
Volume 75
Issue 4
Place Braga
Publisher Axioma - Publicacções da Faculdade de Filosofia


9789726973157 (Paperback) ; 9789726973164 (eBook)


0870-5283; 2183-461X

Date 2019
DOI 10.17990/RPF/2019_75_4_0000
Language Portuguese, English, Spanish, French
# of Pages 562
Date Added 29/01/2020
Modified 29/01/2020
Presentation Rooted in Modernity, it is often considered that the realms of science and art are disjointed worlds, the former being associated with the domains of the universal, the rational, the cognitive, the observation and the discovery; and the second to the scopes of the particular, the emotional, the affective, the imagination and the creation. Recently, several authors, such as Thomas Kuhn, pointed out the parallelisms, intersections, and junctions that can be established between them. In fact, these two worlds enable the human mind to modes of access, representation and reference to reality, where they intersect, with objective experiences and “thought experiments”, paths of innovation and creation, canons of beauty and truth, criteria of symmetry and simplicity, analogies between modes of being and of thinking, models and metaphors, which empower representations of real worlds and imagined worlds, complementary modes of reason and action. But when reason and human action are compartmentalized and atomized, it is the integral human being that is diminished in its unity and possibilities and vocation of imaginative articulation (imagination being an instrument both common to science and art) between necessity and freedom, between matter and spirit, between Nature and culture. It is therefore imperative to preserve and strengthen this unity, exploring convergences and complementarities between these two worlds, which safeguard their essential differences. The encounter between art (painting, sculpture, architecture, music and sound arts, literature, poetry, performing arts, digital arts, ...) and science (mathematics, physics, chemistry, biology, psychology, ...) in a world such as the present, in which its interaction with Nature is particularly enriched by the exponential development of technology, forms a singularly innovative relation between art, science and human action. Philosophy is certainly the common ground – and the first beneficiary – that allows us to think of convergences, in unity and multiplicity, bringing together various disciplines – aesthetics, philosophy of art, philosophy of science, philosophy of nature, phenomenology, hermeneutics, epistemology, logic, metaphysics – but elaborating from the prime mater offered by art and science. There are several contemporary and twentieth-century philosophers and scientists who have ventured to think of such convergences, such as (in no particular order) P. Ricoeur, P. Feyerabend, H-G. Gadamer, I. Lakatos, J. Habermas, G. Deleuze, F. Guattari, A.N. Whitehead, among others. And several are the problems that are investigated in this issue from a variety of perspectives: from the relations that can be established, in general, between art and science, between artistic and scientific practices, or between the particular sciences and the specific forms of artistic expression, to the relationships that can be established between human “faculties”, between reason and emotion, in these practices. Furthermore, other questions are also summarized, such as the concepts, models, metaphors and types of rationality that art (s) and science (s) use to access the real, through (s) human experience (s) of the world.

Álvaro Balsas and Yolanda Espiña, “Presentation – Models and Metaphors: Art and Science,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2043–48,


Susan Haack, “The Art of Scientific Metaphors,” Revista Portuguesa de Filosofia75, no. 4 (2019): 2049–66,


Graham Harman, “On Progressive and Degenerating Research Programs With Respect to Philosophy,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2067–2102,


Donald Spector, “If Physics Be the Framework of Music, Play On,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2103–36,


Alfredo Marcos, “La creatividad humana: una indagación antropológica,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2137–54,


Olga Pombo, “Modelos. Um lugar quase imperceptível da relação ciência e arte,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2155–70,


Alexander Matthias Gerner, “Towards the Techno-Social Uncanny,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2171–2206,


Christian Hamm, “Sobre o juízo de gosto e sua fundamentação a priori,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2207–28,


Petros Beimanavis, “Drawing Parallels: Bas van Fraassen on Representation in Science and in the Arts,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2229–46,


Jakub Mácha, “Metaphor in Analytic Philosophy and Cognitive Science,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2247–86,


Alexandra de Jesus Costa Beleza Moreira, “Entre a Deteção e Descrição: a Estrutura de Visualidade na Imagem,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2287–2302,


Arthur Grupillo, “‘O’ problema da estética: uma reflexão a partir do problema do conhecimento,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2303–28,


Vinicius Oliveira Sanfelice, “L’œuvre de la métaphoricité chez Paul Ricœur : entre « esthétique » et « figurabilité » psychanalytique,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2329–44,


Rui Sampaio da Silva, “Arte, Conhecimento e Ciências Humanas na Hermenêutica de Gadamer,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2345–74,


Susana Viegas, “The Philosophical Machine: Vertov, Deleuze and Guattari on the Interchanging Movement from Art to Philosophy,” Revista Portuguesa de Filosofia75, no. 4 (2019): 2375–92,


Georgios Sarantopoulos, “‘Have We Not Seen How Disbelief Can Move Mountains?’: Brecht’s Theory for a Theatre of the Scientific Age,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2393–2414,


Catarina Pombo Nabais, “O pensamento como criação: Filosofia, Arte e Ciência. O desafio de Deleuze e Guattari,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2415–38,


Juergen H. Maar and Alexander Maar, “Os Sonetos Químicos de Max von Pettenkofer (1818-1901),” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2439–78,


Rubén Sampieri Cábal, “Desmitificando la metáfora: postulación y plausibilidad en la construcción de teorías científicas,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2479–2508,


Álvaro Balsas, “A Teologia e as Ciências: Caminhos de Diálogo e Interdisciplinaridade,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2511–36,


Carlos José Lopes Balsas, “A Collaborative Geophilosophical Perspective on Creative Territories: The Massachusetts-New York Case,” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2537–66,


Álvaro Balsas, “In Memoriam. Prof. António Luciano Leite Videira (1935-2018),” Revista Portuguesa de Filosofia 75, no. 4 (2019): 2569–76,



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