Karl popur Abstract: social science, art, and Evolution

 

Active Evolution

All living things are seeking for a better world, actively trying and making mistakes. The result of trial and error is evolution.

Evolution is a conscious choice of life, not a passive choice.

Pessimistic natural choices mean freedom to compete. An optimistic and active choice means freedom to be expanded: Understanding the power of the world to make it a whole.

 

Social Science

Using the same method as natural science, popur mentioned the methods of objective understanding in the field of economics, or situational logic, and suggested applying situational logic as a general method of sociology.

This is what Soros, who claims to be a philosopher, does not agree,
Because of the research objects of sociology or economics, people will have irrational behaviors in the context logic, and will constantly report to each other with the situation.

As in all other sciences, we are either successful or unsuccessful in Social Sciences, or interesting or boring, or productive or futile, it is proportional to the meaning or taste of the problem we are dealing with. Of course, it is also proportional to the honesty, directness, and simplicity of the problem we are dealing.

 

Artistic non-Expressiveness

Oral or written sentences are the manifestation of subjective thoughts. This superficial, misleading theory has disastrous consequences: it has led to formalism. Even today, a piece of work of art shows the artist's personality and emotion, which is almost universally accepted. Many writers and artists believe in this theory. This belief degrades and almost destroys art.
There is no doubt that everything people do, including brushing their teeth or yawning, is a manifestation of their personality and emotions. This makes the expressiveness theory less valuable and meaningless.

I should start from criticizing an art theory that is widely accepted by people. This theory advocates that art is a manifestation of self-expression, artist personality, or his or her emotions. However, my own anti-essential viewpoint holds that the question of "what is it", such as the question of "what is art", is by no means a real question. My primary criticism of this theory is simple: the artistic theory of the manifestation is empty. Because what a person or an animal can do (except for others) is a manifestation of an internal state, emotion, and personality. All human and animal languages are like this. This is true for a person or a lion walking, a person coughing or rubbing his nose, a person or a lion watching you or ignoring your posture. This is also true for bird nesting, spider woven networks, and man-made houses. In other words, this is not an artistic feature. For the same reason, the theories about language expressiveness or emotion are meaningless and are useless because they do not provide any information.

Of course, I am not going to answer "what is art ?" What is this type ?" . However, I do think that it is not self-expression to make an artistic work interesting or meaningful. From a psychological perspective, an artist needs to possess certain abilities, which we can call as creative imagination, or a sense of humor, interest, and (rather important) the spirit of dedication to work. Work is everything to him, and work must surpass his own personality. However, this is only a psychological aspect of the problem. For this reason, it is not the main aspect. The most important thing is work of art. Here I want to explain some negative things first.

Some great works of art do not have great originality. If an artist's intention is primarily to make his work Original or "extraordinary" (unless in a funny way), such an artistic work is almost impossible to be great. The main goal of a real artist is to make the work perfect. Originality is a kind of God-provided thing. Just like being naive, it is not something you want to do, or something you want to do. The so-called "integrity" [integrity] of works of art is bound to be influenced by the pursuit of originality or extraordinary personality 〕. In a masterpiece of art, an artist does not want to impose his personal little ambitions on his work, but uses these ambitions to serve his work. In this way, he can grow through the interaction with his work. Through a feedback, he may gain the skills and other abilities required to become an artist.

 

Art and Criticism

Art is not an embodiment of the artist's individual character. Great works are repeatedly produced in criticism.

I guess these artists started to work with a question or a task, such as writing a violin, a piece of music, or an opera task. They have an idea in advance about the length, characteristics, structure (for example, whether the form of a sonar is used), and the subject of the work. The formal plan is of course more detailed, especially when it is intended to create an opera or an opera.

However, in the implementation process, that is, in actual work, when the idea is realized and the idea is written on paper, even the artist's formal plan will change under the influence of the creative activity. The "activity" mentioned here includes the modification and debugging of the artist's self-criticism nature. Through these activities, the plan becomes more specific and clear. The artist must determine whether each part and detail of the work conforms to the ideal overall layout. On the contrary, the artist must constantly modify the overall layout while gradually determining the details of the work. There is a feedback effect, that is, the interaction between a clearer plan or ideal layout and a specific work gradually formed by correcting errors.

We can clearly see this feedback effect from the painter's portrait, that is, his attempt to establish an interpretation of a natural object. He conceived, painted the sketch, and then began to modify. He adds a paint on the screen and goes back several steps to check the effect. The effect of the new paint mainly depends on the painting environment, that is, everything on the screen. On the contrary, the newly added pigment will also affect the entire screen, so that all tone relationships (whether good or bad) will change. Because the newly added paint affects the entire screen, the ideal screen he tries to achieve, but not fixed in his mind will also change. For a portrait painter, the fidelity he tries to achieve and his interpretation of the character of the object will change.

What is important here is that the action of painting, that is, the attempt to turn ideas into actual works, must be prior to the comparison or modification of critical ideas (kambrich once said: "First make and then match "). The artist must first have an idea that is close to the ideal image, and then he can compare the work he has created to a certain extent with the ideal image. Only through this comparison can the artist make modifications. If the portrait painter reproduce the objects in front of him, the problem may be slightly better handled. Similar situations may also exist in music. When composing lyrics, self-criticism and correction are easier. All in all, correcting errors is like comparing them. We can compare what we have achieved and what we are aiming at, that is, the ideal picture, this kind of ideal image will also change constantly under the influence of the actual works created. Works that have been created will have an increasing influence on the creation process. Even more so, the creator can hardly recognize the work he has done. It has become even greater than the original conception of the Creator, such as the one not completed by hupton's Qing opera "Genesis" [greation "and Shu Bert.
Qu "[unfinished sympyony] is an instance, but the latter is displayed in a completely different way.

According to my objective theory (it does not deny self-expression, but emphasizes that it is not odd), the true and meaningful function of the composite's emotions is not that they are to be expressed, the difference is that they can be used to test (objectively) the success, appropriateness, or influence of a Work: A composite can take himself as a test object. When he is dissatisfied with the response of the work, he can modify and rewrite (as Beethoven often does); he can even discard it as a whole. (Whether or not the original music he created is emotional or not, he will use his own reaction as his "good taste" [goodtaste]: this is another application of the trial and error method .)