Feeling’s Art Took A Part in Logical Thought of Science and Technology
Generally, art was defined as thinking process by feeling and imagination. Fenomenology of Hussrelian enabled us to see that the only life was the life that experienced in its pre-reflective and pre-theoretic stage. The human’s atribute that could touched this really life was feeling: passion, desire, emotion. In other words, feeling had more capability than science and technology to bring human into a deep understanding about the really life.
In science-modern worldview, feeling was suspected for long time, and was discredited too, as an irrational faculty that disturbed the objectivity and logical thought. But Michael Polanyi claimed that there was always passion, desire, and emotion in the logical thought of science and its process. In this logical thought and process, feeling emerged selectively, heuristically, and persuasively. Selectively, because feeling could gave an alarm or signal on the selection data procces. Heuristically, because the fear, as a part of feeling, was needed to start new discoveries. Persuasively, because every new discoveries might be communicated to be approved by scientists community. Here, feeling was needed as the "communicator" of this new discoveries. In other words, it was all about the feeling and imagination or the art to “strategify” the reality that was unthinkable before.
Technology, as a desain, needed feeling and imagination too. Design activity always needed artistic imagination because it much related with creation of form and meaning. Firstly, art was needed because technology was a medium of messages. This was found, for example, in computer and television technology where its substance (game, internet, television program, etc) was not arranged only by its quality of tehnic, but by artistic imagination too. Above of that, the meaning of technology was in its praxis consequences, that was to change society’s value, way of life, and human’s sensitiveness.

