pursue a secondary intention, namely that of representing ‹the› truth or ‹the› reality. However, artistic styles are closely connected with styles of thought.

That which a specific form of thought understands concepts such as truth or reality to mean is what this form of thought asserts as truth. When one decides in favor of a style, a reality, or a form of truth, then one always chooses a human-made construction. In other words, Feyerabend negates the possibility of absolute rationality and logic in regard to that which is created by the human mind. He asserts that this relativist, and in a certain sense irrational, factor inherent in every branch of science places science in the proximity of art. According to Feyerabend, the sciences are not an institution of objective truth, but are arts along the lines of a progressive understanding of art. [5]

Feyerabend’s line of argument reflects the skepticism that deeply influenced occidental culture and science well into the twentieth century. The aforementioned questions of truth, reality and reason are central components of the contest between rationalism and relativism affecting art no less directly

than science. If the nature of science were to be considered a research method under the premises of reality, plausibility, and dialectics, then whoever attempted to identify these three principles by strictly observing the complexity of the objects would, according to the Spanish scientist Jorge Wagensberg, reach the conclusion that the object resisted the method. The only manner of proceeding would be to «soften up» the method, with the result that «science is transformed into ideology.» «At its core ideology means not research, but faith. It follows from this consideration that one must stop with ideology all the holes which science has itself failed to stop. […] If the knowledge towards which we aspire is ruled not by laws but by world-views, then it would seem expedient to take our leave of scientific methods, and perhaps even adopt principles radically opposed to the latter. Precisely that is the case in art, in a kind of knowledge whose creators have not the least interest in distancing themselves from their creation.» [6]

Of particular relevance to the understanding of a new interpenetration of art and science is the generative nature of either area, which brings forth