/ text adunat de Răzvan Supuran
The set of principles, or rational method, involved in the production of an object or the accomplishment of an end; the knowledge of such principles or method; art. Techné resembles epistêmê in implying knowledge of principles, but differs in that its aim is making or doing, not disinterested understanding.
(http://www.ditext.com/runes/t.html)
Techne, or techné, as distinguished from epistêmê, is etymologically derived from the Greek word τέχνη (Ancient Greek: [tékʰnɛː], Modern Greek [ˈtexni] ) which is often translated as craftsmanship, craft, or art. It is the rational method involved in producing an object or accomplishing a goal or objective. The means of this method is through art. Techné resembles epistêmê in the implication of knowledge of principles, although techné differs in that its intent is making or doing, as opposed to "disinterested understanding."
As one observer has argued, techné "was not concerned with the necessity and eternal a priori truths of the cosmos, nor with the a posteriori contingencies and exigencies of ethics and politics. [...] Moreover, this was a kind of knowledge associated with people who were bound to necessity. That is, techné was chiefly operative in the domestic sphere, in farming and slavery, and not in the free realm of the Greek polis."
Aristotle saw it as representative of the imperfection of human imitation of nature. For the ancient Greeks, it signified all the Mechanical Arts including medicine and music. The English aphorism, ‘gentlemen don’t work with their hands,’ is said to have originated in ancient Greece in relation to their cynical view on the arts. Due to this view, it was only fitted for the lower class while the upper class practiced the Liberal Arts of ‘free’ men (Dorter 1973).
Socrates also compliments techné only when it was used in the context of epistêmê. Epistêmê sometimes means knowing how to do something in a craft-like way. The craft-like knowledge is called a ‘technê’. It is most useful when the knowledge is practically applied, rather than theoretically or aesthetically applied. For the ancient Greeks, when techné appears as art, it is most often viewed negatively, whereas when used as a craftit is viewed positively: because a craft is the practical application of an art, rather than art as an end in itself. In The Republic, written by Plato, the knowledge of forms "is the indispensable basis for the philosophers' craft of ruling in the city" (Stanford 2003).
Techné is often used in philosophical discourse to distinguish from art (or poiesis). This use of the word also occurs in The Digital Humanities to differentiate between linear narrativepresentation of knowledge and dynamic presentation of knowledge, wherein techné represents the former and poiesis represents the latter.
(http://en.wikipedia.org/wiki/Techné)
(text apărut în MEŢERIAŞII I/07)
The set of principles, or rational method, involved in the production of an object or the accomplishment of an end; the knowledge of such principles or method; art. Techné resembles epistêmê in implying knowledge of principles, but differs in that its aim is making or doing, not disinterested understanding.
(http://www.ditext.com/runes/t.html)
Techne, or techné, as distinguished from epistêmê, is etymologically derived from the Greek word τέχνη (Ancient Greek: [tékʰnɛː], Modern Greek [ˈtexni] ) which is often translated as craftsmanship, craft, or art. It is the rational method involved in producing an object or accomplishing a goal or objective. The means of this method is through art. Techné resembles epistêmê in the implication of knowledge of principles, although techné differs in that its intent is making or doing, as opposed to "disinterested understanding."
As one observer has argued, techné "was not concerned with the necessity and eternal a priori truths of the cosmos, nor with the a posteriori contingencies and exigencies of ethics and politics. [...] Moreover, this was a kind of knowledge associated with people who were bound to necessity. That is, techné was chiefly operative in the domestic sphere, in farming and slavery, and not in the free realm of the Greek polis."
Aristotle saw it as representative of the imperfection of human imitation of nature. For the ancient Greeks, it signified all the Mechanical Arts including medicine and music. The English aphorism, ‘gentlemen don’t work with their hands,’ is said to have originated in ancient Greece in relation to their cynical view on the arts. Due to this view, it was only fitted for the lower class while the upper class practiced the Liberal Arts of ‘free’ men (Dorter 1973).
Socrates also compliments techné only when it was used in the context of epistêmê. Epistêmê sometimes means knowing how to do something in a craft-like way. The craft-like knowledge is called a ‘technê’. It is most useful when the knowledge is practically applied, rather than theoretically or aesthetically applied. For the ancient Greeks, when techné appears as art, it is most often viewed negatively, whereas when used as a craftit is viewed positively: because a craft is the practical application of an art, rather than art as an end in itself. In The Republic, written by Plato, the knowledge of forms "is the indispensable basis for the philosophers' craft of ruling in the city" (Stanford 2003).
Techné is often used in philosophical discourse to distinguish from art (or poiesis). This use of the word also occurs in The Digital Humanities to differentiate between linear narrativepresentation of knowledge and dynamic presentation of knowledge, wherein techné represents the former and poiesis represents the latter.
(http://en.wikipedia.org/wiki/Techné)
(text apărut în MEŢERIAŞII I/07)
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