ISSN 1612-3352

Editors in Chief

Prof. Dr. Claus F. Claussen, Neurootological Research Institute of the Research Society for Smell, Taste, Hearing and Equilibrium Disorders at Bad Kissingen (4-G-F). Bad Kissingen, Germany.
Dr. med. Julia M. Bergmann,
Dr. med. Guillermo O. Bertora,
Otoneuroophthalmological Neurophysiology,
Buenos Aires, Argentina.

Production Managers

Dr. med. Julia M. Bergmann,
Dr. med. Guillermo O. Bertora,
Otoneuroophthalmological Neurophysiology,
Buenos Aires, Argentina.


Associated Editors


The editors welcome authors to submit articles for publications in the ASN.

Read the Information for Authors.


Kurhausstraße 12
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Email asn@neurootology.org

 

Sensology at the border between neurootology and fine arts

Abstract

Introduction:

The human mainly regards himself within and together with his surrounding world straight forward through the windows of his senses. Thus he will not directly detect, that there are very complicated, but still existing elements in his surrounding, as well as within himself. The most obvious things, which he detects, are the world of pictures and sounds around him, the taste and the smell of the food and the drinks he is uptaking, the touch and the pain to his body when being in contact to mechanical forces etc.
Vertigo, nausea, tinnitus and hearing loss are some of the principal manifestations of sensory pathway dysfunctions. Over the years Neurootology has developed from a fledging science, principally concerned with the ear, to encompass ophthalmology, neurology and otology within its scope. Today, state of the art investigation protocols permit an objective, quantifiable analysis of the patient’s hearing and orientation mechanisms, as well as of their taste and smell abilities. The modern neurootometry can be applied not only for diagnostic but also for therapeutic purposes and for measuring the ability and qualifications of applicants in the labour process of employment.

Science is not only a side activity for a physician in the field of neurootology, diagnosing and treating patients, suffering from vertigo, nausea, tinnitus, hearing loss, smell and taste deficiencies etc. In every individual case the neurootologist has to realize an idea about the disease and the neurosensorial failures in the background of the disorders. Besides, however, physical measurements, mathematical models of evaluation and models of systematisation have helped us to improve our knowledge and ability in the profession.

The point of view of Fine Arts in this primarily scientific approach comes with the fundamental philosophical of sensorial empirism since Seneca, Hume, Locke, Berkely, Kant and other famous philosophers. The famous sentence of Seneca, 2000 years back, “nihil in intellectu, quod non erat ante in sensu!” is valid for the science of any physiological neurosensology, as well as for the Fine Arts, especially also in the field, which artistically I understand rather well i.e.sculptures. The Fine Arts and the sciences are not two different worlds of the truth seeking human, but the two sides of the same coin “idea”. They are conditioning each other. They are stimulating each other. They are fields of analogous activities for each other.

In the beginning of my career, together with Prof. Henriksson in Lund, Sweden, we have moulded our understanding of the neurophysiological regulation of equilibrium and disequilibrium into neurootometric functional experimental networks and investigations by means of physically defined and coloured models. What we derived in our laboratories from the world of function by our neurootometric measurements in our everyday laboratory work are curves and numbers. They have, however, to be transferred into our human understanding, which was not easy to perform always.

This activity then also was extended by the artistical momentum of my parallel world with making minor or major steel sculptures, which in the beginning I called “spatial graphics”.There I also graphed mymind by just looking from my point on my “idea products”. Within these sculptures I tried to express my understanding of the human regulation of equilibrium and disequilibrium within a segment of Fine Arts, which nowadays I call “Narrative Sensology”. Since my early work in 1973 my steel sculptures have grown into 3 categories, which I call: Small sculptures, middle sized sculptures and big sculptures. The big sculptures are exposed in open air at various places in Switzerland and Germany. The middle sized sculptures and the small sculptures are mainly kept in house.

A combination of science and Fine Arts philosophically was worked out within my concept of narrative sensology “NARSOLG”. There I have defined the restrictions of perceiving and understanding of the world around the humans limited within their “sensorial tunnel”, as well as their restless and innovative searches and researches. The continuous search for an extension of knowledge, understanding and truth is performed by a special group of humans, whom I call “errantes”. They try to find a glance through the walls of the cage of our senses, fencing us in.

Nowadays we know from huge amounts of data, from studying the humans scientifically with various methods, that the human only can perceive, evaluate and later understand, what is transposed from the world in dimensions of the human senses. Even though the natural sciences try to make us believe that there is a complete systematics, which can be worked out with physics, mathematics, biology and so on, explaining the world, the human and the human being within the world. We know understand, that this only holds for a perceivable section of the world.

In mathematics, for instance, the development of Goedel has passed out of the system of Hilbert, who described an effective completeness in the mathematical axiomatic up to then thinkable math-system. According, however, to Goedel, who bypassed the knowledge of the mathematics of Hilbert we know already,some people already can grasp for the holes in the sensorial tunnel, where the ununderstandable extends beyond our imagination and behind the walls of the sensorial cage.

By means of some of my pieces of Fine Art I moulded steel sculptures of about 3 meters of height, who try to grasp a look beyond a piece of the wall of the sensorial tunnel. I call these very curious and active humans “errantes”. I try to express, that we have to admit that all the toiling of our thoughtsad hands and all our creations is in vane, when we try to leave our cage from within of the sensorial tunnel into the mist of unwhere.

Seemingly the human is restricted to his living within his sensorial tunnel. As long as he behaves main stream he will not be irritated by this fact. However, when his drive brings him into the sphere of a genius, an artist, a scientist, a philosopher, then he puts questions about the so called last things. There he mentally tries to depict other scenes, territories or worlds for himself, where he probably speculates to go or where he at least could look into.

For the understanding of a short single human life or even i.e. of ourselfves a long collective human society life this sphere, due to the construction of the human, probaly, must remain in a stage of speculations, dreams and most ever be unsolved.

It is well understood within our concept of “narrative sensology”, that an analysis of an existing human projects several different traits up on his surface. These are for instance: his body, his functioning, his soul, his complimentary principle etc. When differentiating the basic aspects of the human, of course his limited time duration of being here within our perceivable world also has to be agreed upon.

The human life does not only have an end point, but also a starting point. Many scientific investigations recently having been performed by researchers around the world make us understand, that initially there are scripts about our unique appearance within the set of our chromosomes, the genes, the cells, which are building up the structures of our body. This is a regular changing, but nearly virtual basis of our functions. Besides we are undergoing a regular cycle of destruction and restruction for remaining alive, which Goethe earlier called “metamorphosis”.

Until now, however, we do not know how the self, our will, our soul, our memory and our emotions are entering our body. A human, living together with us in our society according to our understanding only is complete, when he binds together body function and soul.

Expressively, as artists we mould for instance our understanding into summarizing sculptures, which we place in front of us into the space of our world. Impressively we try to understand how and why we perceive the world. Here is a great task for the work of Neurootology also, when seeking the spirit of science.

Nowadays modern science, including neurootology, has to question what is the “metaphysics” we are driving against. As humans we should not only be lost in physics, technical assemblies, IT and media. Now we should be stimulated for searching the spiritual aspects of science again.

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