The Holon/Parton Theory of the Unit of Culture (or the Meme, and Narreme)

2016 ◽  
pp. 208-246 ◽  
Author(s):  
J. T. Velikovsky
Keyword(s):  
Cultural Studies ◽  
Systems Theory ◽  
Information Science ◽  
Theory Model ◽  
Communication Media ◽  
Evolutionary Systems ◽  
Arts And Sciences ◽  
The Arts ◽  
Definition Of

A universal problem in the disciplines of communication, creativity, philosophy, biology, psychology, sociology, anthropology, archaeology, history, linguistics, information science, cultural studies, literature, media and other domains of knowledge in both the arts and sciences has been the definition of ‘culture' (see Kroeber & Kluckhohn, 1952; Baldwin et al., 2006), including the specification of ‘the unit of culture', and, mechanisms of culture. This chapter proposes a theory of the unit of culture, or, the ‘meme' (Dawkins, 1976; Dennett, 1995; Blackmore, 1999), a unit which is also the narreme (Barthes, 1966), or ‘unit of story', or ‘unit of narrative'. The holon/parton theory of the unit of culture (Velikovsky, 2014) is a consilient (Wilson, 1998) synthesis of (Koestler, 1964, 1967, 1978) and Feynman (1975, 2005) and also the Evolutionary Systems Theory model of creativity (Csikszentmihalyi, 1988-2014; Simonton, 1984-2014). This theory of the unit of culture potentially has applications across all creative cultural domains and disciplines in the sciences, arts and communication media.

The Holon/Parton Theory of the Unit of Culture (or the Meme, and Narreme)

2018 ◽  
pp. 1590-1627
Author(s):  
J. T. Velikovsky
Keyword(s):  
Cultural Studies ◽  
Systems Theory ◽  
Information Science ◽  
Theory Model ◽  
Communication Media ◽  
Evolutionary Systems ◽  
Arts And Sciences ◽  
The Arts ◽  
Definition Of

A universal problem in the disciplines of communication, creativity, philosophy, biology, psychology, sociology, anthropology, archaeology, history, linguistics, information science, cultural studies, literature, media and other domains of knowledge in both the arts and sciences has been the definition of ‘culture' (see Kroeber & Kluckhohn, 1952; Baldwin et al., 2006), including the specification of ‘the unit of culture', and, mechanisms of culture. This chapter proposes a theory of the unit of culture, or, the ‘meme' (Dawkins, 1976; Dennett, 1995; Blackmore, 1999), a unit which is also the narreme (Barthes, 1966), or ‘unit of story', or ‘unit of narrative'. The holon/parton theory of the unit of culture (Velikovsky, 2014) is a consilient (Wilson, 1998) synthesis of (Koestler, 1964, 1967, 1978) and Feynman (1975, 2005) and also the Evolutionary Systems Theory model of creativity (Csikszentmihalyi, 1988-2014; Simonton, 1984-2014). This theory of the unit of culture potentially has applications across all creative cultural domains and disciplines in the sciences, arts and communication media.

scholarly journals Introducing the new culture section of BJPsych Bulletin

2021 ◽  
Vol 45 (1) ◽  
pp. 1-3
Author(s):  
David Foreman
Keyword(s):  
Cultural Studies ◽  
Service Delivery ◽  
Peer Review ◽  
Cultural Context ◽  
Psychiatric Service ◽  
Arts And Humanities ◽  
The Arts ◽  
Article Type ◽  
Definition Of ◽  
Regulatory Culture

SummaryThis editorial launches the new culture section in the journal. Without any unchallengeable definition of ‘culture’, potential contributors may consider submissions under four headings: the arts and humanities relating to practice; regulatory culture; becoming a cultured practitioner; and psychiatry's cultural context. A new article type, ‘Cultural reflections’, has been created, and submissions may reflect any appropriate methodology, including those from the arts. Peer review (from methodologies outside psychiatry if appropriate) will assure quality. Our objectives are to establish BJPsych Bulletin as the ‘journal of record’ for cultural studies relevant to psychiatric service delivery and demonstrate equivalent quality between them and scientific studies.

scholarly journals Parametricism, Heuristics and Co-Creation in the Arts of Design

2021 ◽  
pp. 26-35
Author(s):  
Bernardo Uribe Mendoza
Keyword(s):  
Systems Theory ◽  
21St Century ◽  
Design Theory ◽  
Human Factor ◽  
Digital Technologies ◽  
General Systems Theory ◽  
Artistic Activity ◽  
The Arts ◽  
General Systems ◽  
Definition Of

In 2008, architect Patrick Schuhmacher, from Zaha Hadid Architects, proposed an architectural manifesto for the 21st century, extendable to other arts of design and even to other areas of technological and artistic activity in which the human factor is associated with creation: Parametricism. In the subsequent debate, problems such as those of a new style as produce of digital technologies, and the totalizing claims of a design theory based on Niklas Luhmann’s postulates on his General Systems theory, have been repeatedly discussed. In this article, the topics of the Parametricism manifesto associated with the human factor and creation in design in the current technological environments, have been extrapolated to its plausible revision from the heuristics discipline perspective and to a possible re-definition of the co-creation concept in the arts developed by the Informal Art Movement of the mid-XX Century.

Introduction: From Comparative Arts to Interart Studies

Paragrana ◽  
2016 ◽  
Vol 25 (2) ◽  
pp. 12-26 ◽  
Author(s):  
Erika Fischer-Lichte
Keyword(s):  
New York ◽  
Cultural Studies ◽  
Graduate School ◽  
Research Council ◽  
Columbia University ◽  
Arts And Sciences ◽  
The Arts ◽  
German Research

AbstractThe essays assembled in this volume were initially presented at the concluding conference of the International Doctoral School “InterArt Studies” held at the Freie Universität Berlin from June 25-27, 2015. The school bore the label “international” not just because its students hailed from five different continents. Rather, it was called that because it was born out of the collaboration with the Copenhagen Doctoral School in Cultural Studies, Literature and the Arts, later joined by the Doctoral School of Goldsmiths College, London, and the Graduate School of Arts and Sciences at Columbia University, New York. During these nine years (2006-2015) of research, it was generously funded by the German Research Council.

Introducing the Robo–Raconteur Artificial Writer Or

2017 ◽  
Vol 6 (2) ◽  
pp. 28-54 ◽  
Author(s):  
J. T. Velikovsky
Keyword(s):  
Computer Program ◽  
Systems Theory ◽  
Online Survey ◽  
Computational Creativity ◽  
Evolutionary Systems ◽  
Standard Definition ◽  
Human Creativity ◽  
Definition Of

This article invites readers to participate in a survey on computational creativity. It asks: (a) Can computers be creative? and (b) Can algorithmic computational creativity teach us about human creativity? The standard definition of creativity is adopted. The article is in two parts. Part One introduces a new interactive artificial–writer computer program, an Excel workbook containing six functional sub–modules, namely: 1) A Top 20 RoI Movie Pitch Combiner; 2) A Bottom 20 RoI Movie Pitch Element Combiner; 3) A Random Movie Pitcher; 4) A Movie Pitch Selector which judges, scores, and ranks generated pitches in evolutionary survival tournaments; 5) An Ironic Character Generator; and finally, 6) A Random Transmedia Story Universe Pitch Generator. Readers are invited to play–test The Robo–Raconteur and complete a short (5–minute) online survey: Was the artificial writer creative? Part Two explains the Evolutionary Systems Theory of Creativity that underpins the software.

Derrida on Pornography: Putting (It) Up for Sale

Derrida Today ◽  
2013 ◽  
Vol 6 (1) ◽  
pp. 97-114 ◽  
Author(s):  
Christopher Morris
Keyword(s):  
Cultural Studies ◽  
English Translation ◽  
The Body ◽  
The Past ◽  
French Original ◽  
Definition Of ◽  
Critical Discourses ◽  
Academic Debate

Over the past thirty years, academic debate over pornography in the discourses of feminism and cultural studies has foundered on questions of the performative and of the word's definition. In the polylogue of Droit de regards, pornography is defined as la mise en vente that is taking place in the act of exegesis in progress. (Wills's idiomatic English translation includes an ‘it’ that is absent in the French original). The definition in Droit de regards alludes to the word's etymology (writing by or about prostitutes) but leaves the referent of the ‘sale’ suspended. Pornography as la mise en vente boldly restates the necessary iterability of the sign and anticipates two of Derrida's late arguments: that there is no ‘the’ body and that performatives may be powerless. Deriving a definition of pornography from a truncated etymology exemplifies the prosthesis of origin and challenges other critical discourses to explain how pornography can be understood as anything more than ‘putting (it) up for sale’.

The Poetry and Music of Science

2019 ◽  
Author(s):  
Tom McLeish
Keyword(s):  
School Leaver ◽  
Creative People ◽  
Creative Processes ◽  
Arts And Sciences ◽  
The Past ◽  
The Arts ◽  
The Two Cultures ◽  
Personal Accounts ◽  
Poetry And Music

‘I could not see any place in science for my creativity or imagination’, was the explanation, of a bright school leaver to the author, of why she had abandoned all study of science. Yet as any scientist knows, the imagination is essential to the immense task of re-creating a shared model of nature from the scale of the cosmos, through biological complexity, to the smallest subatomic structures. Encounters like that one inspired this book, which takes a journey through the creative process in the arts as well as sciences. Visiting great creative people of the past, it also draws on personal accounts of scientists, artists, mathematicians, writers, and musicians today to explore the commonalities and differences in creation. Tom McLeish finds that the ‘Two Cultures’ division between the arts and the sciences is not after all, the best classification of creative processes, for all creation calls on the power of the imagination within the constraints of form. Instead, the three modes of visual, textual, and abstract imagination have woven the stories of the arts and sciences together, but using different tools. As well as panoramic assessments of creativity, calling on ideas from the ancient world, medieval thought, and twentieth-century philosophy and theology, The Poetry and Music of Science illustrates its emerging story by specific close-up explorations of musical (Schumann), literary (James, Woolf, Goethe) mathematical (Wiles), and scientific (Humboldt, Einstein) creation. The book concludes by asking how creativity contributes to what it means to be human.

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