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1	SQUARING THE CIRCLE: The Regulating Lines of Claude Bragdon's Theosophic Architecture Ellis, Eugenia Victoria 29 April 2005 (has links) Traditionally, squaring the circle has been about bringing the incommensurable work of the gods within the realm of the commensurate by using infinite cosmic principles to regulate the finite world. The American architect Claude Bragdon (1866-1946) squared the circle using his Theosophic architectural theory that was based on a neo-Pythagorean emphasis on Number, which he believed to have contained the secret of the universe. America at the turn of the 20th century was interested in Eastern spirituality at the beginning of an age of scientific relativity when the world and universe were being questioned due to new scientific discoveries based on higher-dimensional mathematical speculations that challenged relationships between humankind and the cosmos. Paralleling this scientific search was the Western conquest of the world on earth, which brought back speculations about the Near and Far East, including translations of their ancient scriptures and encyclopedias of their architecture. The fourth dimension was an imaginary mathematical (re)creation of great interest to Bragdon and common to scientific relativity and Eastern spirituality; two cultural constructs that altered the perception of time and space to affect the American imagination and architectural production. Within this context, Squaring the Circle investigates the relationship of theory to practice by considering Bragdon's architecture as the material manifestation of his Theosophic architectural theory. / Ph. D. Vastu Shastra Theosophy Spiritualism Architecture Relativity Functionalism Geomancy Magic Squares Organic Architecture Feng Shui Fourth Dimension Divination Claude Bragdon
2	Neuroscience and Hindu Aesthetics: A Critical Analysis of V.S. Ramachandran’s “Science of Art” Beitmen, Logan R 01 January 2014 (has links) Neuroaesthetics is the study of the brain’s response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily “caricature” or “exaggeration.” Exaggerated forms hyperactivate neurons in viewers’ brains, which in turn produce specific, “universal” responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally “juice”) from classical Hindu aesthetics, which he associates with “exaggeration.” The canonical Sanskrit texts of Bharata Muni’s Natya Shastra and Abhinavagupta’s Abhinavabharati, however, do not support Ramachandran’s conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research. Hinduism neuroscience aesthetics Kashmir Shaivism rasa Abhinavagupta Bharata Muni Natya Shastra Indian religion art Acting Ancient Philosophy Art Practice Asian Art and Architecture Asian Studies Cognition and Perception History of Religions of Eastern Origins Other Languages, Societies, and Cultures Performance Studies Philosophy of Mind Philosophy of Science Social and Cultural Anthropology Theory and Criticism

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SQUARING THE CIRCLE: The Regulating Lines of Claude Bragdon's Theosophic Architecture

Neuroscience and Hindu Aesthetics: A Critical Analysis of V.S. Ramachandran’s “Science of Art”