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2024-03-19T09:28:32Z
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The words love, lust and other emotions: The makeup to biochemistry to make it look beautiful
tag:kkartlab.in,2022-05-26:2816864:BlogPost:242110
2022-05-26T06:00:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<div class="Ar Au Ao" id=":42o"><div class="Am Al editable LW-avf tS-tW tS-tY" id=":42k">The words love, lust and other emotions: The makeup to biochemistry to make it look beautiful </div>
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<div>Recently one person asked me this Q: You say you are drunk on science. This is a bit unusual for a woman. Why is science so important to you? What is the difference between science and other fields…</div>
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<div id=":42o" class="Ar Au Ao"><div id=":42k" class="Am Al editable LW-avf tS-tW tS-tY">The words love, lust and other emotions: The makeup to biochemistry to make it look beautiful </div>
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<div>Recently one person asked me this Q: You say you are drunk on science. This is a bit unusual for a woman. Why is science so important to you? What is the difference between science and other fields that makes science so special?</div>
<p></p>
<div><span>My biochemistry is giving me a signal (1). Dopamine and oxytocin! Yes, their concentration is increasing in my system now because I heard the word 'Science'. </span></div>
<p></p>
<div>LOVE. They say this changes everything including the perspective with which you see the world. I am in love with science. Just the way science wants it. </div>
<div>So it gives me great pleasure to answer this Q.</div>
<p></p>
<div> What is the difference between science and other fields that makes science so special? </div>
<div>I have already answered this Q several times (3). Let me give one more reason now.</div>
<div>Sometime back a story writer of movies and TV serials wrote about science in one of her stories. It was a mixture of misrepresentation of science and glorifying pseudo-science. It 's not even science fiction to tolerate it. Naturally when I come across such things, I get annoyed. Most scientists do! What do these writers want to convey to the general public with such distortions of science? </div>
<div>So I said two lines criticizing it on a social media site. </div>
<div>This serial story is very popular among the public. People worship the hero and heroine of the story like a God and a Goddess. That screws their minds and makes them blind and mindless. </div>
<div>So they didn't see the difference between criticizing the handling of science in the story and onslaught on their 'Gods'. They thought I was attacking their hero.</div>
<div>So these people started rebuking me. It was just a cool me against about 10 very emotionally charged people. But I knew I was right. Factually right. So this 30 minute war of words (between science knowledge vs ignorance) was leading towards a science's triumph. </div>
<div>Then one of the fighters used their last weapon. She said, " You seem to have a lot of knowledge about science. But do you know who URK ( one of the people who was fighting with me) is? She is the writer of this story!"</div>
<div>I didn't know I unintentionally attracted her attention and pulled even the famous writer of the story with my genuine facts into this war of words. </div>
<div>But what made me smile at that moment was these factors </div>
<div>1. The writer of the story accepted she didn't know much about science - although she argued with me that she was right - by saying she had no time to 'argue' even though she wanted to continue with it despite continuing the fight!</div>
<div>2. The moment people use their 'do you know who we are?' weapon, I know they lost the war.</div>
<div>3. When people are fighting with genuine science, they don't stand a chance of winning provided the person who is using this weapon knows how to handle it perfectly. </div>
<div>So I said calmly, 'No, I didn't know that. So what? That doesn't make any difference to me. I don't care who is on the other side. Even if I had known who she was in the beginning itself, I would have said the same things". </div>
<div>This enraged the writer. Did you say 'So what?" , she asked. </div>
<div>"Yes, I did", I said, again gently, despite knowing fully well that most writers, artists, actors, singers, sports persons, politicians and several other celebrities expect automatic worship, admiration, dedication, praise and mostly a "yes, sir" when they say or do something from the general public. I also know that if they don't get it, they get very annoyed. </div>
<div>So this writer (and her followers) expected me to apologize and accept that she was right despite being wrong just because she's a popular person (and they didn't know who I was because I don't use weak weapons).</div>
<div>But science doesn't allow such things. Even if Einstein says Astrology is genuine science, we will attack him in the scientific world mercilessly and bring him back to his senses. That is the difference between the scientific world and the other ones. We give importance to evidence based facts here, not people. </div>
<div>Just because Trump says global warming is not happening, we will not say, "Yes , sir". </div>
<div>We will say, "Trump, the US president, said that? So what? He is wrong. Here is our evidence."</div>
<div>Just because your handsome hero says something wrong about science or the writer of the story promotes pseudo-science we will not accept it in the world of science, sorry folks.</div>
<p></p>
<div>Also, writers, poets, artists and actors ( a part of the general public too) say love and other emotions are beyond science. They think Science cannot understand them. If you write stories strictly following science that doesn't appeal to the general public. Physics, Chemistry and Biology cannot be depicted correctly while dealing with emotions and love. There will be twisting and spinning. So they usually<span> sacrifice science for sensationalism, and their work is riddled with errors. And they say s</span>cientists shouldn't object to it. </div>
<p></p>
<div>If I say this is said by people who don't understand science properly and - most importantly - by those who don't know how to sculpt science in an attractive way to engage people's attention?</div>
<div>These people don't know how to depict reality as it is and therefore create a pseudo-world. That is misleading people very badly and as a result the general public is failing to differentiate between genuine science and pseudo-science .</div>
<div>Some writers also think raw science is 'unsightly' and cannot captivate curiosity, consideration and concentration of the layman.</div>
<div>So they try to cover the biochemistry of emotions with a makeup called 'love'. Or lust, <span>admiration, adoration, aesthetic appreciation, amusement, anger, anxiety, awe, awkwardness, boredom, calmness, confusion, craving, disgust, empathy, pain, entrancement, excitement, fear, horror, interest, joy, nostalgia, relief, romance, sadness, satisfaction, desire, surprise, </span><span>contempt, contentment, disappointment, distress, jealousy, ecstasy, elation, irrationality, embarrassment, interest,</span> <span>realization. </span></div>
<div><span>Okay, one can twist the science a bit or give it a spin in the arts arena but not so much as to completely mislead the public that these emotions are absolutely beyond science or have nothing to do with science. </span></div>
<div><span>Because these emotions are entirely based on science and depend on the biochemistry of organisms. </span></div>
<p></p>
<div><span>One of my colleagues who was watching all this silently told me yesterday, "Krishna, now prove these people wrong. Write a story with raw science as its theme and show people how that can be carved charmingly without using any cosmetics. It is a challenge from the art world to the scientific world. Do you accept it?"</span></div>
<div><span>I got orders from our Field Marshal. </span></div>
<div><span>Now I know I will have to save my first love. A true soldier cannot say no to the </span><span>OPORD* and refuse to follow the orders.</span></div>
<div><span> Won't I accept it? </span></div>
<div><span>It takes time because of my busy life. But it will be done! My brain has already entered a creative mode. I am putting on my uniform. </span></div>
<p></p>
<div><span>***************</span></div>
<p></p>
<div><span> </span></div>
<div><span>* </span><span>OPORDs are published for a specific mission, typically some type of operational mission. They are in a five paragraph format, to include the task organization, situation, mission, execution, service & support, and command/signal. An OPORD always specify a date and time for execution. They are typically written, but can also be done verbally or even handwritten. The more complex the mission, the more complex the OPORD. Most OPORDs are published by the commander, but created by the S3 section (2).</span></div>
<blockquote><div>An <span>Operations Order</span>, often abbreviated to <span>OPORD</span>, is a plan format meant to assist subordinate units with the conduct of <span>military</span> operations.</div>
<p>An operation order (<span>OPORD</span>) <span>is</span> a directive issued by the leader to his subordinate leaders in order to effect the coordinated execution of a specific operation. A five-paragraph format <span>is</span> used to organize the briefing, to ensure completeness, and to help subordinate leaders understand and follow the order.</p>
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<div><span>Footnotes: </span></div>
<div><span>1. </span><a href="https://kkartlab.in/group/some-science/forum/topics/how-science-explains-love">https://kkartlab.in/group/some-science/forum/topics/how-science-explains-love</a></div>
<div>2. <a href="https://www.part-time-commander.com/types-of-army-orders/">https://www.part-time-commander.com/types-of-army-orders/</a></div>
<div>3. <a href="https://kkartlab.in/group/some-science/forum">https://kkartlab.in/group/some-science/forum</a></div>
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Science should dominate science-art, not art!
tag:kkartlab.in,2022-05-16:2816864:BlogPost:241879
2022-05-16T05:30:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p>Q: Without learning anything how could you paint pictures? How can we paint pictures?</p>
<p>Krishna: I think most children would paint something in their schools. They learn the basics when they are children.</p>
<p>After this initial training, if you want to pursue art, you can go for more advanced courses.</p>
<p>If you don't want to go after art, I think that basic knowledge is enough.</p>
<p>Then for a scientist, it is not necessary to paint pictures extraordinarily. My main aim is…</p>
<p>Q: Without learning anything how could you paint pictures? How can we paint pictures?</p>
<p>Krishna: I think most children would paint something in their schools. They learn the basics when they are children.</p>
<p>After this initial training, if you want to pursue art, you can go for more advanced courses.</p>
<p>If you don't want to go after art, I think that basic knowledge is enough.</p>
<p>Then for a scientist, it is not necessary to paint pictures extraordinarily. My main aim is science communication. Science is more important than art in my paintings. </p>
<p>So I never bothered about shades, colours or composition. Only the themes 're important to me. </p>
<p>Artists might not agree my paintings are great but scientists think they are! :)</p>
<p>Once I organized a show. Several artists too came along with scientists to see my work. </p>
<p>One artist critically analysed all my paintings. "This item should be painted here, not there".</p>
<p>"You should have used a lighter shade there". "You have used more brush strokes here".</p>
<p>"You should have done this"; "You should have done that" .... blah, blah, blah, blah.</p>
<p>After half-an-hour of his lecture, I told him, "So you agree my science beat your art? Because common people are seeing science in these pictures, not art. Had art dominated, my science themes would have lost their relevance and importance. I achieved my aim. Thank you for confirming this".</p>
<p>The artist was speechless.</p>
<p>If art dominates science themes, people don't get the exact message we want to convey. Just enough art is sufficient to communicate science effectively. There is no need for a 'master'.</p>
<p>While painting science, think about only science, not art, and this attitude makes science communication through art easy and simple.</p>
READING PARALLEL ARTS: SCIENCE INSPIRED ART IN CONTEMPORARY ERA
tag:kkartlab.in,2020-03-14:2816864:BlogPost:160379
2020-03-14T05:08:20.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p></p>
<div><h1>READING PARALLEL ARTS: SCIENCE INSPIRED ART IN CONTEMPORARY ERA</h1>
<ul>
<li><a>Posted by<span> </span></a><a href="http://kkartlab.in/profile/TanujaKMunakala" rel="noopener" target="_blank"><span class="il">Tanuja</span><span> </span>K.<span> </span><span class="il">Munakala</span></a><a><span> </span>on January 6, 2016 at 2:30pm…</a></li>
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<p></p>
<div><h1>READING PARALLEL ARTS: SCIENCE INSPIRED ART IN CONTEMPORARY ERA</h1>
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<li><a>Posted by<span> </span></a><a href="http://kkartlab.in/profile/TanujaKMunakala" target="_blank" rel="noopener"><span class="il">Tanuja</span><span> </span>K.<span> </span><span class="il">Munakala</span></a><a><span> </span>on January 6, 2016 at 2:30pm</a></li>
<li><a href="http://kkartlab.in/profiles/message/newFromProfile?screenName=2jax3yjv44rbo&target=http%3A%2F%2Fkkartlab.in%2Fprofiles%2Fblogs%2Freading-parallel-arts-science-inspired-art-in-contemporary-era-2%3FcommentId%3D2816864%253AComment%253A135482%26xg_source%3Dmsg_com_blogpost" target="_blank" rel="noopener">Send Message</a><a><span> </span> <span> </span></a><a href="http://kkartlab.in/profiles/blog/list?user=2jax3yjv44rbo" target="_blank" rel="noopener">View Blog</a></li>
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<p>I am<span> </span><span class="il">Tanuja</span><span> </span>K.<span> </span><span class="il">Munakala</span>, I recently completed my BFA in painting, and as part of the dissertation, I chose the topic: ‘Reading Parallel Arts: Science Inspired Art In Contemporary Era’. It's based on Dr. Krishna Kumari Challa's science-art work.</p>
<p>I would like to thank Dr. Krishna Kumari Challa for sharing her views on this subject and also for permitting me to include her observations in this dissertation. She took time out in spite of her busy schedule and answered all my questions on this topic. Her articles assisted me in writing my thesis.</p>
<p>My dissertation is a broad insight into ‘Science inspired art’. I covered aspects such as – The History of ‘Science inspired art’, Contemporary Scene of ‘Science inspired art’ around the world and with a detailed section on the ‘science inspired art’ scenario in India with Dr. Challa's work as the main aspect.</p>
<p> I have posted the preface to the dissertation along with the interview of Dr. Krishna Kumari for your reading.</p>
<p>You may contact me at<span> </span><a rel="nofollow noopener" href="mailto:tmunakala@yahoo.com" target="_blank">tmunakala@yahoo.com</a><span> </span>if you wish to view the complete text or any other of my other art work.</p>
<p><b> </b></p>
<p align="center"><b>READING PARALLEL ARTS:</b></p>
<p align="center"><b>SCIENCE INSPIRED ART IN CONTEMPORARY ERA</b></p>
<p align="center"><strong>BY</strong></p>
<p align="center"> <b><span class="il">TANUJA</span><span> </span>K.<span> </span><span class="il">MUNAKALA</span></b></p>
<div><p>Apart from being passionate about art, I am interested in life sciences as well and keep an eye on any new discoveries or inventions taking place in this field. If scientists discover a new insect or find a cure for some disease, it excites me.</p>
<p>The main objective of this dissertation is to understand how I can integrate science into art to create a visually effective expression of societal issues with a purpose of bringing in a rational perspective. The objective is also to bring in awareness about this amazing art form which is practiced and respected very well in countries other than India. This dissertation gives an insight into how this parallel art has influenced artists in the past, and the exciting work being done in this contemporary era around the world. This dissertation also looks into the purpose of choosing this genre by the contemporary artists. A brief analysis of the artists, their work, along with reasons and measures for improving the state of ‘science inspired art’ in India, are also included.</p>
<p> In order to complete the dissertation, I had searched for the information available on the internet as information in the form of books was hard to find. Information about India was provided by the artist working in this field in addition to the articles available on the internet.</p>
<p>As this field is vast, this dissertation gives only an insight into the activities happening in this field, which gives an understanding to the artists interested in pursuing this genre and does not go deep into the scientific explanations.</p>
<p> </p>
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<p><b> </b></p>
<p><b>CHAPTER III </b><span> </span> <b>CONTEMPORARY SCENE OF ‘SCIENCE INSPIRED ART’ IN INDIA</b></p>
<p>In India, ‘science inspired art’ activities are miniscule. The interactions between art and science were very poor till recently but a little activity is being observed presently. Majority of the art fraternity is aware of Kinetic art, optical art and Art created using Technology such as digital art, video or botanical illustrations which are mainly for academic purposes, but the genre of ‘science inspired art’ is still new to India.</p>
<p>Some of the artists who are working in this field and activities going on in India are given below.</p>
<p><b>1</b><b>1.1 </b><span> </span><b>CONTEMPORARY SCIENCE ARTISTS IN INDIA</b></p>
<p><b> </b><b>Dr. KRISHNA KUMARI CHALLA</b></p>
<p><b><a href="http://storage.ning.com/topology/rest/1.0/file/get/4495714774?profile=original" target="_blank" rel="noopener"><img src="https://ci6.googleusercontent.com/proxy/o7XzNthAyKHUHadogCstimcDSKBh6pIjmpEAogzWwrMHQO-_zZKXUR-NdvQHDFV9w0QNPGFK8gwS7BMIE9ZHffPsafy_CbW3seQ1FMOmHV2rN3xTvLvfVfqnvayQQ6iTQ5AVdsmtwmKe4i2wGLrkAx04jMkdjfbv97MMgMSYmJbgqLx9k_8DV1uqMS1ztnZrqlwRsZZAQqV1YblMJg5gHuRVETriX4eBw62HsTlm=s0-d-e1-ft#http://storage.ning.com/topology/rest/1.0/file/get/4495714774?profile=original" width="184" class="CToWUd"/></a></b></p>
<p>Dr. Krishna Kumari Challa is a scientist, artist, writer, poet, activist and a network creator. She explores the relationship between Art, Literature and Science on her network, Sci-Art Lab. She communicates science through art and literature. She did one solo exhibition, “Cosmic Show of Science”, in Hyderabad, India in 2008, group shows in Hyderabad, Kolkata, Jodhpur, Goa and Jaipur in India in 2009, and a group show in Copenhagen (Denmark) in 2010. She participated in Izmir Biennial in May 2011 (Turkey) and in a group show in Italy along with Italian artists in the first week of March, 2011. She also participated in the first international science-art conference in Moscow in 2012 and exhibited her works. </p>
<p>Dr. Challa writes stories and poems too, she mainly writes on science, science-art-literature relationships, science-literature and science-art for her network. She is running a Science Art Blog, where you can watch videos and read some of her articles, blogs, poems and discussions on her network <a rel="nofollow noopener" href="http://www.kkartlab.in/" target="_blank">http://www.kkartlab.in</a>.</p>
<p>She founded a network called SCI –ART LAB, which is an abode of science, art, literature interactions. Science communication through art and literature and other innovative methods, creative technologies, science – art collaborations, science based art, projects based on art – science/technology relationships, art-literature, science literature and the interplays at the confluence of science, art and literature.</p>
<p>There are more than 1200 members who chose different groups as per their interest. There is a dedicated group for science based art with members from all over the world sharing and interacting with each other.</p>
<p>Some of Dr. Krishna Kumari Challa’s Artwork. (Credit:<span> </span><a href="http://kkartfromscience.com/" target="_blank" rel="noopener">kkartfromscience.com</a>)</p>
<p align="center">Cosmic show of science</p>
<p align="center"><a href="http://storage.ning.com/topology/rest/1.0/file/get/4495714860?profile=original" target="_blank" rel="noopener"><img src="https://ci6.googleusercontent.com/proxy/aev3pw0hHpNunJ7oawbis4DiEUB8_g3IGoeWp-gmOLGVaP0tND2Jj2E1KhgfCGU06yhQBqy50jzG-tC0ZuNZdTn-EoDUT0rg_izDwV8hg4UopGwKoYL3DU8zRabZKBe60cWdPGpWZED6eDYFiHWF8GsSb6kqE3YLSwwN5Dem_kiLPf_eTVeUhOt8vAxIF7cXOuUkzB49E8aegddzmjI7Qf0=s0-d-e1-ft#http://storage.ning.com/topology/rest/1.0/file/get/4495714860?profile=original" width="500" class="CToWUd"/></a></p>
<p align="center">29x19.6’’, oil & acrylic on canvas, 2008</p>
<p align="center"><a href="http://storage.ning.com/topology/rest/1.0/file/get/4495714879?profile=original" target="_blank" rel="noopener"><img src="https://ci3.googleusercontent.com/proxy/msqmnyvatuE2sdMO3Keq7-B9-TDyLuu4s7viVqA5NxyeONKPTsGAzAvJfF60gssKSvyplldhoN-cZu67J7-acq5mOszFAaqj8EWiGYlUN3V6NxoySH3HWGZABpl-UspvsAYQGLmawTY9gwM9tzsWfNEIsfmqCa87egci2ujhDJLpR_MBu7r0xC4LVGNbfxkXDnqzyRxGpQS0YlRS4CikZHs=s0-d-e1-ft#http://storage.ning.com/topology/rest/1.0/file/get/4495714879?profile=original" width="542" class="CToWUd"/></a></p>
<p align="center">31’’x20’’, oil & Acrylic on canvas, 2008</p>
<p align="center"><a href="http://storage.ning.com/topology/rest/1.0/file/get/4495714891?profile=original" target="_blank" rel="noopener"><img src="https://ci3.googleusercontent.com/proxy/iixoClwFhLJYF4zGnmMHF7K-PXFYyeoBuKc3HY0MuCqzNpaTI0ZjmpcNTEvn12als9rhQjQoNeeWFoCfPKUGhZ635lz9IlKXga2RaDh2RU2L5oz23gTe8ZjCIPrDFeHIP_IKs34AWQfei_cyGZpOKCEH2_7J1eitoZMsQiCPQ_lEf9IKLwqCD3x8hmS7D0W-38om0lhw84Id59UFUD_KFZCugUVfMw=s0-d-e1-ft#http://storage.ning.com/topology/rest/1.0/file/get/4495714891?profile=original" width="337" class="CToWUd"/></a></p>
<p align="center">Universal Science, 18x23”, acrylic on canvas, 2011</p>
<p><b>Interview of Dr. Krishna Kumari Challa (K.C): </b></p>
<p>Dr. Krishna Kumari Challa had been too gracious to answer all my questions regarding ‘science inspired art’, her journey as scientist and artist and her analysis and suggestions.</p>
<p><b>1</b>.<span> </span><b>Even today, there are a very few artists who are doing science based/inspired artwork in India. What made you to choose this field?</b></p>
<p><b>K.C:</b><span> </span>Well, I wanted to communicate science. What better way can even a child or an illiterate person understand it other than through art? </p>
<p>Another reason is when you are from a particular field, when you eat, sleep, breathe, think, defend, write, communicate and live it, you naturally paint it too!</p>
<p><b>2. What is the main objective of creating this kind of Artwork</b>? </p>
<p><b>K.C:</b><span> </span>Science communication pure and simple.</p>
<p><b>3. What medium do you choose and is there any particular reason for choosing the same?</b></p>
<p><b>K.C:</b><span> </span>In the beginning I used oil paints, because they are easy to handle for untrained artists like me. Later on I experimented with several other media too. </p>
<p><b>4. You have also looked towards philosophy and mythology in relation to science in your work. How do you approach your work? Do you first pick up any scientific theory and try to find similarities in mythology and philosophy, or is it the other way round?</b></p>
<p><b>K.C:</b><span> </span>How to deal with the roles of religion and cultural conditioning of minds while communicating science is what is bothering people of science like us. Educating whole families, groups, educationists themselves can get the desired results rather than targeting isolated individuals. This is because psychologists found that simply preaching the message of evidence doesn’t persuade people. The strongest opposition to climate change theory comes from people who have a good general understanding of science, but also a cultural antipathy to modern climate theory. And that the issue wasn’t knowledge, but culture. If people belong to a group — such as a religious group whose members reject evolution — then members of the group will value that sense of belonging more highly than scientific evidence. The key to success is not to disentangle the science message from the cultural baggage, from their feeling of who and what they are as individuals. In other words, finding neutral language is a key, and so is a common context.</p>
<p>By affirming rather than denigrating countries' cultural identities, we can achieve more success. In this context I want to tell how I am dealing with this problem. Please look at my art work <u>"Sacred Life"</u>. I used both traditional art that denotes our culture and religious beliefs to spread the message of conservation. Everybody who saw my work here approved it whole-heartedly and embraced the idea. And not even one person criticized my work till now!</p>
<p>First I choose a science theme. Then I try to connect it with religion and culture I was born into for the message to hit the bull's eye.</p>
<p><b>5. Any project that you start as a scientist, do you simultaneously create artwork based on that?</b></p>
<p><b>K.C:</b><span> </span>‘Culturizing Science’ is an extremely difficult thing to do. Connecting two – five different subjects (science, art, literature, theology, philosophy) using a single theme eats your brain like a termite eats wood. You will face hundreds of deaths! Because science is mainly based on facts and other subjects on fiction, beliefs, personal views, metaphors and intuitions that science finds difficult to accept.</p>
<p>If you are just creating works to show aesthetics of science like most people who deal with science around the world are doing right now, it is very easy.</p>
<p>But while communicating science, balancing science and art is extremely important. It is like a tight rope walk over a deep valley! You cannot just pick a science theme and create ‘real art work’ based on it.</p>
<p>So, ‘no’ is my answer to your question. Only if I can connect a science theme with art in a proper manner, I will go ahead with my work.</p>
<p><b>6. Have you done any collaborative work with other scientists and artists?</b></p>
<p><b>K.C:</b><span> </span>No. Mainly because of the difficulties involved. My goals are different from the ones of others. Although several people have shown interest in collaborating with me, I couldn't get time to go ahead with the projects.</p>
<p>I am an extremely busy person and work according to my convenience.</p>
<p><b>7. There is exciting work being done outside of India. Why do you think there is hardly any science-based art scene in India? I did read the article you wrote about Asian and Indian scenario. I would like to know if you see any change today from the time you wrote that article.</b></p>
<p><b>K.C:</b><span> </span>No, absolutely none whatsoever! People here still find it difficult to connect science with art.</p>
<p><b>8. Could you suggest a few Indian and overseas artists and scientists who are</b><span> </span><b>working in the genre?</b></p>
<p><b>K.C:</b><span> </span>You will find several of them in the group "Science based art" on Sci-Art Lab. You have to join it to read the articles. This group is closed as I am writing a book on the subject now.</p>
<p><b>9. What do you think about the art scene for this genre in Hyderabad?</b></p>
<p><b>K.C:</b><span> </span>Apart from me there is another artist - a dancer - who collaborates with a neuro- surgeon. She gave programs based on 'neural mechanics' but when I contacted her and asked her how she approaches science, like what dance mudras and steps she uses to convey science messages, she couldn't give me a reply. I found this strange. When you are using science themes, I think there should be clarity both in thought and presentation. Otherwise how would people understand the messages you are conveying?</p>
<p><b>10. How is the response for your Work both in India and overseas?</b></p>
<p><b>K.C:</b><span> </span>There is tremendous response for my science based art from people all over the world. However, I must add that in India people still don't understand it in the way it should be understood. </p>
<p><b>11. What are your on-going and future projects?</b><b> </b></p>
<p><b>K.C:</b><span> </span>There are many plans but I will go ahead with them only when I find time and if and when I get some sponsors.</p>
<p><b>12. What is your opinion about the future for Science-based Art in India? What suggestions can you give to the aspirants who would like to choose this genre?</b></p>
<p><b>K.C:</b><span> </span>Our country is a bit slow in accepting things that are 'novel', 'major' and 'futuristic' - especially if they are associated with a subject that depends a lot on grey matter.</p>
<p>One should have tremendous patience, will-power and courage to withstand a slow and difficult process. One should also have deep love and understanding for a subject like science. Only if an artist thinks she/he has these qualities, she/he should enter the arena.</p>
<p> </p>
<p><strong>CONCLUSION</strong></p>
<p>I have been enlightened with the fact that art itself is a powerful medium and when science and art merge, it creates wonders and has a bigger impact on society at large.</p>
<p>Art can do something that is much harder to achieve through science alone. In a culturally diverse country with a majority of young people like India, inculcating scientific temperament is the key to bringing rational thinking, tolerance, understanding and peace. Art is a very strong and effective medium to bring in that change.</p>
<p><b>MY ART WORK </b></p>
<p>One of my ‘science inspired art’ works.</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/4495714957?profile=original" target="_blank" rel="noopener"><img width="750" src="https://ci6.googleusercontent.com/proxy/mP8Jmo7ak_U3oGQYzs0WJ0HFmD-thaD0dEX37H447i1WfuMTQ0rJH9IrmjQsdqVAIde92XA_OdJym-ZE3jrH0A0Sm2K4Vh-5tqz0UBDG4BV6WNsE2U16drUFT-fLGUnMbYM85UpPE2-2m37ZUCe2Yi1UrFM_BFUxUFsqxfBBSTedSo1FTuFzoTtXoqxaJT9cBFleegIyLf1w85s1yi046fCaAcgA6y1T=s0-d-e1-ft#http://storage.ning.com/topology/rest/1.0/file/get/4495714957?profile=RESIZE_1024x1024" height="617" width="480" class="CToWUd"/></a>This is us! Drypoint Etching</p>
<p> Through this work, I am trying to say that in our society everybody is busy to outsmart each other to prove their superiority which is so superficial. In reality, whether it is a unicellular organism or a multicellular human, nature, (read God) created us to play our part. Nothing is big, nothing is small. Everything, if broken down, is made of cells, and DNA is life.</p>
call for artists: exhibit in Budapest in 2020
tag:kkartlab.in,2020-01-08:2816864:BlogPost:159457
2020-01-08T13:08:30.000Z
beata szechy
https://kkartlab.in/profile/beataszechy
<p class="p1"></p>
<p class="p1"><a href="https://storage.ning.com/topology/rest/1.0/file/get/3806954184?profile=original" rel="noopener" target="_blank"><img class="align-full" src="https://storage.ning.com/topology/rest/1.0/file/get/3806954184?profile=RESIZE_710x"></img></a></p>
<p class="p1"></p>
<p class="p1"></p>
<p class="p2">OPEN CALL: <span class="s1"><b>Environment & BookArt</b></span> exhibition (9 X 12)</p>
<p class="p2">Bartok1 Gallery, Budapest 2020</p>
<p class="p3"><span class="s2"><b>Deadline: March 1, 2020</b></span></p>
<p class="p2">Artworks on or of paper may be any size, but…</p>
<p class="p1"></p>
<p class="p1"><a href="https://storage.ning.com/topology/rest/1.0/file/get/3806954184?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/3806954184?profile=RESIZE_710x" class="align-full"/></a></p>
<p class="p1"></p>
<p class="p1"></p>
<p class="p2">OPEN CALL: <span class="s1"><b>Environment & BookArt</b></span> exhibition (9 X 12)</p>
<p class="p2">Bartok1 Gallery, Budapest 2020</p>
<p class="p3"><span class="s2"><b>Deadline: March 1, 2020</b></span></p>
<p class="p2">Artworks on or of paper may be any size, but MUST fit in a 9 X 12 (22.9X30.5cm) envelope or box.<span class="Apple-converted-space"> </span> Unmatted, unframed photography, drawing, painting, printmaking, collage, mixed media, cast or folded paper, multimedia or digital prints. </p>
<p class="p2">For more information and Application Form please email to: bszechy@yahoo.com</p>
<p class="p2"><a href="http://www.hungarian-multicultural-center.com/id85.html">http://www.hungarian-multicultural-center.com</a></p>
Residence Program and exhibition in 2020 at AIR-HMC, Budapest-Hungary
tag:kkartlab.in,2019-12-13:2816864:BlogPost:159216
2019-12-13T17:56:26.000Z
beata szechy
https://kkartlab.in/profile/beataszechy
<p class="p1"></p>
<p class="p1"></p>
<p class="p2"><span class="s1">HMC is now accepting submissions for</span></p>
<p class="p3"><span class="s2">the Artists-in-</span><span class="s1">Residence Program and exhibition in 2020 at AIR-HMC, Budapest-Hungary.</span></p>
<p class="p3"><span class="s2"><a href="https://storage.ning.com/topology/rest/1.0/file/get/3417273408?profile=original" rel="noopener" target="_blank"><img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/3417273408?profile=RESIZE_710x"></img></a></span> <span class="s2">For applying, please write us for more…</span></p>
<p class="p1"></p>
<p class="p1"></p>
<p class="p2"><span class="s1">HMC is now accepting submissions for</span></p>
<p class="p3"><span class="s2">the Artists-in-</span><span class="s1">Residence Program and exhibition in 2020 at AIR-HMC, Budapest-Hungary.</span></p>
<p class="p3"><span class="s2"><a href="https://storage.ning.com/topology/rest/1.0/file/get/3417273408?profile=original" target="_blank" rel="noopener"><img src="https://storage.ning.com/topology/rest/1.0/file/get/3417273408?profile=RESIZE_710x" class="align-center"/></a></span><span class="s2">For applying, please write us for more info and application form to</span><span class="s1"> </span></p>
<p class="p3"><span class="s1">bszechy@yahoo.com .</span></p>
<p class="p3"><span class="s1">Extended Deadline: December 30, 2019</span></p>
<p class="p3"><span class="s2">We are looking forward to receiving applications of artists who have interest in our program.</span><span class="s1"> </span></p>
<p class="p4"></p>
<p class="p3"><span class="s2">Beata Szechy</span><span class="s1">,</span> <span class="s2">HungarianMulticulturalCenter</span></p>
<p class="p3"><span class="s2">(HMC)</span></p>
<p class="p5"></p>
<p class="p6"><a href="https://www.facebook.com/Residencies-in-Budapest-Hungary-218959226890/">https://www.facebook.com/Residencies-in-Budapest-Hungary-218959226890/</a></p>
Climate Change Science Fiction Story
tag:kkartlab.in,2019-06-27:2816864:BlogPost:157137
2019-06-27T16:16:50.000Z
Steven Faivus
https://kkartlab.in/profile/StevenFaivus
<div dir="ltr">Please Check out and share my climate change science fiction story at link below. I look forward to your possible comments!</div>
<div dir="ltr"></div>
<div dir="ltr">Abridged without curse words:</div>
<div dir="ltr"><a href="http://www.singingscientific.com/#/story/" rel="noopener" target="_blank">http://www.singingscientific.com/#/story/</a></div>
<div dir="ltr"></div>
<div dir="ltr">Unabridged with curse words…</div>
<div dir="ltr"></div>
<div dir="ltr">Please Check out and share my climate change science fiction story at link below. I look forward to your possible comments!</div>
<div dir="ltr"></div>
<div dir="ltr">Abridged without curse words:</div>
<div dir="ltr"><a href="http://www.singingscientific.com/#/story/" target="_blank" rel="noopener">http://www.singingscientific.com/#/story/</a></div>
<div dir="ltr"></div>
<div dir="ltr">Unabridged with curse words</div>
<div dir="ltr"><a href="http://www.singingscientific.com/stories-1" target="_blank" rel="noopener">http://www.singingscientific.com/stories-1</a></div>
<div dir="ltr"></div>
<div dir="ltr">Thank you!</div>
<div dir="ltr">Steven Faivus</div>
<div dir="ltr"><a href="mailto:stfaivus@yahoo.com">stfaivus@yahoo.com</a></div>
<div dir="ltr"><a href="http://www.singingscientific.com">www.singingscientific.com</a></div>
<div dir="ltr"></div>
The Continuum Encyclopedia of British Philosophy (intersection)
tag:kkartlab.in,2017-02-01:2816864:BlogPost:144315
2017-02-01T05:00:00.000Z
Liviu Iliescu
https://kkartlab.in/profile/LiviuIliescu
<p></p>
<p><span class="font-size-3"><a href="http://www.oxfordreference.com/view/10.1093/acref/9780199754694.001.0001/acref-9780199754694"> </a></span><span class="font-size-3"> </span><a href="http://www.oxfordreference.com/view/10.1093/acref/9780199754694.001.0001/acref-9780199754694" style="font-size: 12pt;">The Continuum Encyclopedia of British Philosophy </a></p>
<p><span class="font-size-3"><b>Edited by A.C. Grayling, Naomi Goulder, and Andrew Pyle…</b></span></p>
<p></p>
<p></p>
<p><span class="font-size-3"><a href="http://www.oxfordreference.com/view/10.1093/acref/9780199754694.001.0001/acref-9780199754694"> </a></span><span class="font-size-3"> </span><a href="http://www.oxfordreference.com/view/10.1093/acref/9780199754694.001.0001/acref-9780199754694" style="font-size: 12pt;">The Continuum Encyclopedia of British Philosophy </a></p>
<p><span class="font-size-3"><b>Edited by A.C. Grayling, Naomi Goulder, and Andrew Pyle</b></span></p>
<p><span class="font-size-3">This is the first comprehensive reference work devoted to philosophy in</span> Britain<span class="font-size-3">. In addition to biographical entries on the lives and works of individual thinkers, it incorporates major historical surveys of the core philosophical topics, mini factual entries to facilitate reference, and detailed entries on themes, movements, institutions, journals, influences and theories through the ages. The Encyclopedia brings together 2,500 entries contributed by over 500 international experts. It is a unique resource for students and specialists to tap into the development and transmission of philosophical ideas over time, across disciplines, and to and from other countries.</span></p>
<p><span class="font-size-3"><b>The Encyclopedia employs a broad construal of “philosophy” in line with historical usage, making it a source of continuities, connections and paths for future inquiry. It is a highly important database for teaching and research in philosophy, as well as in history, science, literature, religion, politics, psychology, sociology and economic.</b></span></p>
<p><span class="font-size-3"><b>.......................</b></span></p>
<p><span class="font-size-3"><b><i>I established techniques and criteria for applying the concept of Continuum in fine art</i></b></span></p>
<p><span class="font-size-3"><b><i> </i></b></span></p>
<p><span class="font-size-3"><b><i>Link</i></b></span></p>
<p><span class="font-size-3"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/bi-optical-di-optical-art-a-continuum-in-fine-art" title="blocked::http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/bi-optical-di-optical-art-a-continuum-in-fine-art">Bi-optical (Di-optical) Art; a continuum in fine art</a></span></p>
<p><span class="font-size-3">Started by Liviu Iliescu.</span></p>
<p><span class="font-size-3"> </span><span style="font-size: 12pt;"> I consider a continuum in fine art the fact that</span></p>
<p><span class="font-size-3">any bi-optic composition contains almost entirety a</span></p>
<p><span class="font-size-3">conventional composition, whatever the style in which the latter is obtained.</span></p>
<p><span class="font-size-3"> </span><span style="font-size: 12pt;"> In set theory it is believed that two sets is a continuum</span></p>
<p><span class="font-size-3">if they have at least one common element.</span></p>
<p><span class="font-size-3"> </span><span style="font-size: 12pt;"> It is not conceivable types of developments in fine art available if they are not recognized</span></p>
<p><span class="font-size-3">by professional artists and experts, that they are holders of accumulation of knowledge of millennia.</span></p>
<p><span class="font-size-3"> </span><span style="font-size: 12pt;">In fine art assessments need arises Googel consultation, who shows huge files automatically</span></p>
<p><span class="font-size-3"> in order of value, applying to each title hundreds of criteria.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Thus consulting field:</span></p>
<p><span class="font-size-3"><b> </b></span><b style="font-size: 12pt;">fine art visual sense images.</b></p>
<p><span class="font-size-3"> </span></p>
Binocular Rivalry applied into visual-psychotherapy
tag:kkartlab.in,2016-11-20:2816864:BlogPost:142844
2016-11-20T07:00:00.000Z
Liviu Iliescu
https://kkartlab.in/profile/LiviuIliescu
<p></p>
<p></p>
<p>In recent decades there were many studies of binocular rivalry tests that belong to the neuroimaging.</p>
<p> See</p>
<p><a href="https://www.google.ro/url?url=https://sites.google.com/site/oshearobertp/publications/binocular-rivalry-bibliography&rct=j&frm=1&q=&esrc=s&sa=U&ved=0ahUKEwjSqryfy7bQAhXiJMAKHWuHCywQFggTMAA&usg=AFQjCNGsbUgo-kllxiJZthYBuR7W9pWNwg"><b>Binocular rivalry</b> bibliography - <b>Robert</b> P <b>O'Shea</b> - Sites -…</a></p>
<p></p>
<p></p>
<p>In recent decades there were many studies of binocular rivalry tests that belong to the neuroimaging.</p>
<p> See</p>
<p><a href="https://www.google.ro/url?url=https://sites.google.com/site/oshearobertp/publications/binocular-rivalry-bibliography&rct=j&frm=1&q=&esrc=s&sa=U&ved=0ahUKEwjSqryfy7bQAhXiJMAKHWuHCywQFggTMAA&usg=AFQjCNGsbUgo-kllxiJZthYBuR7W9pWNwg"><b>Binocular rivalry</b> bibliography - <b>Robert</b> P <b>O'Shea</b> - Sites - Google</a></p>
<p> Post</p>
<p><b>fine art binocular rivalry</b></p>
<p> to see and fine art applications into Binocular Rivalry</p>
<p> <a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/selection-of-images-and-shapes-using-a-laboratory-complex-for"> VISUAL ROOM PSYCHOTHERAPY patent no. (free) 00123477 (OSIM Romania ROU).</a></p>
<p></p>
<p>With additions of patents (free) Iliescu Liviu inventor (OSIM) no. 123 477 METODA PENTRU REDARI CINETICE DE TIP STEREOSCOPIC & (OSIM) no. 112 061 METODA PENTRU REALIZAREA MACHETELOR </p>
<p> </p>
<p>Known criteria, which experts apply for approval of patents: originality and effectiveness</p>
<p> </p>
<p>Summary of</p>
<p>VISUAL ROOM PSYIHOTHERAPY patent (free) no. 00123477</p>
<p>(OSIM Romania ROU) Liviu Iliescu inventor</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2866691711?profile=original" target="_self"><img width="580" src="http://storage.ning.com/topology/rest/1.0/file/get/2866691711?profile=RESIZE_1024x1024" width="580" class="align-center"/></a></p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2866691883?profile=original" target="_self"><img width="380" src="http://storage.ning.com/topology/rest/1.0/file/get/2866691883?profile=RESIZE_480x480" width="380" class="align-center"/></a></p>
<p></p>
<p><b>Comments and replays of texts relative to:</b></p>
<p><b> </b>VISUAL ROOM PSYIHOTHERAPY patent no. 00123477 (OSIM Romania) Liviu Iliescu inventor</p>
<p> <b>Extracted from:</b></p>
<p> The Paired Off Visual Signal 2007, Monitorul Oficial, Bucharest, 95 pages ISBN 978-973-0-05187-2.</p>
<p>Chapter 5<br/> See link; <a rel="nofollow" href="http://www.binocular-rivalry.ro/c5.html">5. Laboratory hall for visual therapy</a></p>
<p align="center"><b> </b></p>
<p align="center"><b> </b></p>
<p align="center"><b>5. Laboratory hall for visual therapy</b></p>
<p align="center">(Cabinet for visual psychotherapy)</p>
<p></p>
<p><b> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866678566?profile=original" target="_self"><img width="250" src="http://storage.ning.com/topology/rest/1.0/file/get/2866678566?profile=RESIZE_320x320" width="250" class="align-center"/></a></b></p>
<p><b> </b><b>Fig. 5.1</b></p>
<p> </p>
<p><b> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866678635?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866678635?profile=original" width="421" class="align-center"/></a></b></p>
<p align="center"><b>Fig. 5.2</b></p>
<p><b> </b></p>
<p><b> </b></p>
<p>Figure 5.1 show the hall for psychotherapy. Shows a section of the hall.</p>
<p>1 <b>–</b> Circular wall of the rotonde; 2 – Cupboard; <b>3 –</b> <b>Set of bioptical paintings;</b> 4 – Bioptical painting (every painting of the set may be electro-mechanically driven to window <b>A</b>); <b>5 – Bioptical sculpture; 6 – Frame of a bioptical painting;</b> (The observer, seated in armchair 7 looks through the bioptical device 8 towards B and sees how the forms and colours of the sculpture and painting are floating in space. Some forms are viewed beyond the wall (see the description of figure 4.8); 9 – <b>Monitor (connected to a computer where kinetic forms and colours of a bioptical type are programmed, as described in Patent RO 112061 [13]).</b> The patient may interfere, to modify lines and colours; 10 – Frame for photographic reproductions of the Joey Fischer-type; 11 – niches (with installations for long electrical discharges with thunder – of the lightning type – as well as for corona-type discharges); 12 – revolving platform (where several sculptures 5 and reproductions 10 may revolve in angles up to 360<sup>0</sup>); C – indirect adjustable lighting, correlated to a spotlight B,with coloured filtres, for lighting up painting 4, which is being seen in window A; 14 – set of devices for objective measurements largely performed by telemetry.</p>
<p></p>
<p> <b>Laboratory for visual therapy, enables the association of numerous stimuli to highlight the favorable factors for the patient.</b></p>
<p><b> Among them are those that result from synergetic application in fine art techniques for binocular rivalry, color fusion, images, streoscopy, applying:</b></p>
<p><b>METHODa PENTRU REALIZAREA MACHETELOR</b></p>
<p><b> no. 112 061 (OSIM- ROU) Liviu Iliecu inventor.</b></p>
<p><b>Highlight recent discovery relative to the effective implementation of binocular rivalry, which describe:</b></p>
<p><b><a rel="nofollow" href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/subcortical-discrimination-binocular-rivalry-magnetic-resonance" title="blocked::http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/subcortical-discrimination-binocular-rivalry-magnetic-resonance">Subcortical discrimination; binocular rivalry; magnetic resonance</a></b></p>
<p><b> </b></p>
<p><b><a rel="nofollow" href="http://www.binocular-rivalry.ro/c3.html">3. Bioptical effects, definitions</a> </b></p>
<p><b><a rel="nofollow" href="http://www.binocular-rivalry.ro/c2.html">. Binocular rivalry and stereoscopy in bioptical art</a> </b></p>
<p><b> </b></p>
<p><b> ( see <a rel="nofollow" href="http://www.binocular-rivalry.ro/">www.binocular-rivalry.ro</a> )</b></p>
<p><b>citez deasemeni (links)</b></p>
<p><b> </b><b><a rel="nofollow" href="http://kkartlab.in/profiles/blogs/compositions-of-fine-art-in-which-it-would-be-possible-observe" title="blocked::http://kkartlab.in/profiles/blogs/compositions-of-fine-art-in-which-it-would-be-possible-observe">Compositions of fine art in which it would be possible to observe t...</a></b></p>
<p> </p>
<p><b><a rel="nofollow" href="https://www.google.ro/url?url=https://www.amazon.co.uk/Visual-sense-storming-Bioptical-Art-ebook/dp/B0156SJVEQ&rct=j&frm=1&q=&esrc=s&sa=U&ved=0ahUKEwia7oP8_KLQAhUsLsAKHSzeB48QFggfMAM&usg=AFQjCNF6k-6UPCxMN1iclrRjkpYNQJgTbg">Visual sense storming: Bioptical Art eBook: Iliescu Liviu: Amazon.c...</a></b></p>
<p><cite><b><a rel="nofollow" href="https://www.amazon.co.uk/Visual-sense-storming.../B0156SJVEQ">https://www.amazon.co.uk/Visual-sense-storming.../B0156SJVEQ</a></b></cite></p>
<p><b></b></p>
<p><b><a rel="nofollow" href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/sculpture-containing-flat-shapes-to-increase-virtual-depths" title="blocked::http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/sculpture-containing-flat-shapes-to-increase-virtual-depths">Sculpture containing flat shapes to increase virtual depths</a></b></p>
<p><b>Started by Liviu Iliescu</b></p>
<p><b> </b><b> In</b> <b>this way they can establish hundreds of programs (recipes)</b></p>
<p><b>Concept offices are specialized groups of stimuli, equipped with specific means, so that means simplified, offices to</b></p>
<p><b>applying therapies allow a larger number of patients.</b></p>
<p><b> </b></p>
<p> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866692119?profile=original" target="_self"><img width="330" src="http://storage.ning.com/topology/rest/1.0/file/get/2866692119?profile=RESIZE_480x480" width="330" class="align-center"/></a></p>
<p> </p>
<p> The cylindrical wall <b>(1)</b> can be installed in a room with normal prismatic shape.</p>
<p> </p>
<p> Above descends several mobile panels <b>(P)</b> to form a cylindrical wall inside (total or partial) for testing under conditions of protection (isolation) sound and the ability to create openings that occur gradually (by in each case) means for testing.</p>
<p> </p>
<p> Since the case in the position <b>(T)</b> can sit therapist.</p>
<p> </p>
Another story: Difference between an artist and a scientist
tag:kkartlab.in,2016-11-01:2816864:BlogPost:142689
2016-11-01T05:00:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p class="qtext_para">People say there is no difference in thinking between artists and scientists. But recently I read an interesting story that confirms the different thinking ways between a scientist and an artist ... It is about Einstein and his wife who was a poet...</p>
<p class="qtext_para">Frau Einstein was Albert Einstein’s wife. She was a poet, and Albert Einstein was perhaps one of the greatest scientific thinker of all the ages. Naturally Frau Einstein wanted her husband to know…</p>
<p class="qtext_para">People say there is no difference in thinking between artists and scientists. But recently I read an interesting story that confirms the different thinking ways between a scientist and an artist ... It is about Einstein and his wife who was a poet...</p>
<p class="qtext_para">Frau Einstein was Albert Einstein’s wife. She was a poet, and Albert Einstein was perhaps one of the greatest scientific thinker of all the ages. Naturally Frau Einstein wanted her husband to know about her poetry. Einstein tried to avoid the subject as much as he could, but finally one night, the full moon in the sky, Frau Einstein could not resist the temptation. She had composed a beautiful poem about the full moon, and she recited the poem.</p>
<p class="qtext_para">Albert Einstein looked at her with great surprise, almost shocked. She could not understand, “Why is he looking at me in this weird manner? At the most he can say that the poetry is not great, but he is looking at me as if I am insane!” After the recital of the poem she asked Albert Einstein, “What do you think?”</p>
<p class="qtext_para">He said, “I had never thought that you are so crazy. You talk about the moon as beautiful, you talk about the moon reminding you of your beloved. It is sheer nonsense! The moon is too big, it cannot be substituted for your beloved. And the moon is not at all beautiful! It is just as ordinary as the earth, even more ordinary because there is no greenery, no water, just barren land. And the light that you see reflected from the moon is not its own. That light is borrowed from the sun, it is not coming from the moon. The sunlight falls on the moon and the rays are reflected back, and those reflected rays are coming to your eyes; the moon is not the source of them. I had always thought that you are well educated, but you don't know even the <i>ABC</i> of physics!”</p>
<p class="qtext_para">Now was the chance for Frau Einstein to look at him as if he is insane, because for centuries poets have sung songs about the moon – its beauty, its tremendous magnetic force, its cool light. It has a certain hypnotic spell on the heart…and it is now also proved by facts that it has a certain hypnotic spell.</p>
<p class="qtext_para">But a physicist, a mathematician will not be able to understand it – and Frau Einstein never again mentioned poetry to Albert Einstein in her whole life. Although she went on composing, she was not publishing them. It was decided on the first recital that that kind of dialogue was not possible with her husband – but it is not any exceptional case.</p>
<p class="qtext_para">She said: He listened to my poems as if he were a stone statue and not a human being. There were no emotions at all. He dealt with reason and I with emotions. There is lot of difference in our dealings. So I decided I would never recite my poems again to him in my life ( Ref. 1).</p>
<p class="qtext_para">SO?</p>
<p class="qtext_para"><span>Although the story says something about the thinking ways of artists and scientists, it may not be wholly true, because Einstein loved poems, he had all volumes of Goethe’s comprehensive work in his study room, and he liked to write little poems himself all his life!</span></p>
<p class="qtext_para"><span>But as scientists really differ in their thinking and cannot relate themselves very well to fiction, metaphors and dreaming, t</span>hey prefer to deal with facts.</p>
<p class="qtext_para"><span>Here are a few poems attributed to Einstein (Ref. 2):</span></p>
<p class="qtext_para"><span><em><strong>Relativity and the "Physics" of Love</strong></em><br/> <br/> <span>Sit next to a pretty girl for an hour, </span><br/> <span>it seems like a minute. </span><br/> <span>Sit on a red-hot stove for a minute, </span><br/> <span>it seems like an hour. </span><br/> <span>That's relativity!</span><br/> <br/> <span>Oh, it should be possible </span><br/> <span>to explain the laws of physics </span><br/> <span>to a barmaid! . . .</span><br/> <span>but how could she ever,</span><br/> <span>in a million years,</span><br/> <span>explain love to an Einstein?</span><br/> <br/> <span>All these primary impulses, </span><br/> <span>not easily described in words, </span><br/> <span>are the springboards </span><br/> <span>of man's actions—because</span><br/> <span>any man who can drive safely </span><br/> <span>while kissing a pretty girl </span><br/> <span>is simply not giving the kiss </span><br/> <span>the attention it deserves!</span><br/></span></p>
<p class="qtext_para"><span><em><strong>Research</strong></em><br/> <br/> <span>I used to go away for weeks in a state of confusion.</span><br/> <span>Now I think and think for months and years. </span><br/> <span>Ninety-nine times, the conclusion is false. </span><br/> <span>The hundredth time I am right.</span><br/> <span>But I never think of the future—</span><br/> <span>that comes soon enough.</span><br/> <br/> <span>Learn from yesterday,</span><br/> <span>live for today,</span><br/> <span>hope for tomorrow.</span><br/> <span>The important thing is never</span><br/> <span>to stop questioning.</span><br/> <em>Never lose a holy curiosity.</em><br/> <br/> <span>It is a miracle that curiosity</span><br/> <span>survives formal education</span><br/> <span>and yet it is the supreme art</span><br/> <span>of the teacher to awaken joy</span><br/> <span>in creative expression </span><br/> <span>and knowledge.</span><br/> <br/> <span>Still, it sometimes seems</span><br/> <span>that "education" is what remains</span><br/> <span>after one has forgotten</span><br/> <span>everything he learned in school,</span><br/> <span>and the only thing that interferes </span><br/> <span>with my learning is my education.</span><br/> <br/> <span>But always remember that all that is valuable in human society </span><br/> <span>depends upon the opportunity for development accorded the individual!</span><br/> <br/> <span>If you are out to describe the truth, </span><br/> <span>leave elegance to the tailor . . .</span><br/> <span>and yet</span><br/> <span>if you can't explain it simply, </span><br/> <span>you don't understand it.</span><br/> <span>Still, if we knew what it was we were doing, </span><br/> <span>it wouldn't be called "research,"</span><br/> <span>would it?</span></span></p>
<p class="qtext_para"></p>
<p class="qtext_para"><em><strong>New Math</strong></em><br/> <br/> <span>Concern for man and his fate </span><br/> <span>must always form the chief interest </span><br/> <span>of all technical endeavors. </span><br/> <span>Never forget this </span><br/> <span>in the midst of your diagrams </span><br/> <span>and equations.</span><br/> <span>Yet never over-worry </span><br/> <span>about your difficulties </span><br/> <span>in Mathematics. </span><br/> <span>I can assure you mine are still greater!</span></p>
<p class="qtext_para"><span><br/> <em><strong>Solitude</strong></em><br/> <br/> <span>Solitude is painful </span><br/> <span>when one is young, </span><br/> <span>but delightful </span><br/> <span>when one is more mature.</span><br/> <span>I live in that solitude </span><br/> <span>which was painful in my youth, </span><br/> <span>but seems delicious now,</span><br/> <span>in the years of my maturity.</span><br/> <br/> <span>Now it gives me great pleasure, indeed,</span><br/> <span>to see the stubbornness </span><br/> <span>of an incorrigible nonconformist </span><br/> <span>so warmly acclaimed . . .</span><br/> <span>and yet it seems vastly strange </span><br/> <span>to be known so universally </span><br/> <span>and yet be so lonely.</span><br/> <br/> <em><strong>Morality</strong></em><br/> <br/> <span>Still, as far as I'm concerned, </span><br/> <span>I prefer silent vice </span><br/> <span>to ostentatious virtue:</span><br/> <span>I don't know, </span><br/> <span>I don't care, </span><br/> <span>and it doesn't make any difference!</span><br/> <br/> <em><strong>Against Hubris</strong></em><br/> <br/> <span>Science without religion is lame,</span><br/> <span>religion without science is blind,</span><br/> <span>and whoever undertakes to establish himself</span><br/> <span>as the judge of Truth and Knowledge </span><br/> <span>is shipwrecked by the laughter of the gods.</span><br/> <br/> <em><strong>War and Peace</strong></em><br/> <br/> <span>But heroism on command, </span><br/> <span>senseless violence, </span><br/> <span>and all the loathsome nonsense </span><br/> <span>that goes by the name of patriotism:</span><br/> <span>how passionately I hate them!</span><br/> <span>Perfection of means </span><br/> <span>and confusion of ends </span><br/> <span>seem to characterize our age</span><br/> <span>and it has become appallingly obvious </span><br/> <span>that our technology </span><br/> <span>has exceeded our humanity,</span><br/> <span>that technological progress </span><br/> <span>is like an axe in the hands of a pathological criminal,</span><br/> <span>and that the attempt to combine wisdom and power </span><br/> <span>has only rarely been successful </span><br/> <span>and then only for a short while.</span><br/> <br/> <span>It is my conviction </span><br/> <span>that killing under the cloak of war </span><br/> <span>is nothing but an act of murder.</span><br/> <span>(I do not know what weapons </span><br/> <span>World War III will be fought with, </span><br/> <span>but World War IV will be fought </span><br/> <span>with sticks and stones.)</span><br/> <br/> <i>Oh, how I wish that somewhere </i><br/> <i>there existed an island </i><br/> <i>for those who are wise </i><br/> <i>and of goodwill! . . .</i><br/> <br/> <span>In such a place even I </span><br/> <span>would be an ardent patriot,</span><br/> <span>for I am not only a pacifist,</span><br/> <span>but a militant pacifist. </span><br/> <span>I am willing to fight for peace,</span><br/> <span>for nothing will end war </span><br/> <span>unless the people themselves </span><br/> <span>refuse to go to war.</span><br/> <br/> <span>Our task must be to free ourselves </span><br/> <span>by widening our circle of compassion </span><br/> <span>to embrace all living creatures </span><br/> <span>and the whole of nature and its beauty.</span><br/> <span>And peace cannot be kept by force; </span><br/> <span>it can only be achieved by understanding.</span><br/> <br/> <strong><em>Mystery</em></strong><br/> <br/> <span>There are two ways to live your life—</span><br/> <span>one is as though nothing is a miracle, </span><br/> <span>the other is as though everything is a miracle.</span><br/> <span>The most beautiful thing we can experience is the mysterious: </span><br/> <span>it is the source of all true art and all science.</span><br/> <span>He to whom this emotion is a stranger, </span><br/> <span>who can no longer pause to wonder and stand rapt in awe, </span><br/> <span>is as good as dead: his eyes are closed.</span><br/> <br/> <strong><em>Curiosity</em></strong><em><br/></em> <br/> <span>The important thing is not to stop questioning. </span><br/> <span>Curiosity has its own reason for existing. </span><br/> <span>One cannot help but be in awe when he contemplates the mysteries of eternity, </span><br/> <span>of life, of the marvelous structure of reality. </span><br/> <span>It is enough if one tries merely to comprehend a little of this mystery every day. </span><em><br/> Never lose a holy curiosity.</em><br/> <br/> <span>People do not grow old no matter how long we live. </span><br/> <span>We never cease to stand like curious children </span><br/> <span>before the great Mystery into which we were born.</span><br/> <br/> <strong><em>Character</em></strong><br/> <br/> <span>Great spirits have often encountered violent opposition from weak minds</span><br/> <span>because anger dwells only in the bosom of fools</span><br/> <span>and weakness of attitude soon becomes weakness of character.</span><br/> <span>Only two things are infinite: the universe and human stupidity (and I'm not sure about the former);</span><br/> <span>furthermore, we can't solve problems by using the same kind of thinking we used when we created them.</span><br/> <span>The world is a dangerous place: not just because of the people who are evil, </span><br/> <span>but also because of the good people who don't do anything about it.</span><br/> <span>He who joyfully marches to music rank and file has already earned my contempt:</span><br/> <span>he has been given a large brain by mistake, since for him the spinal cord would surely suffice.</span></span></p>
<p class="qtext_para"><span><span>References:</span></span></p>
<p class="qtext_para"><span><span>1. <a href="https://books.google.co.in/books?id=CQ4NP-LLL30C&pg=PA23&lpg=PA23&dq=Who+was+Frau+Einstein&source=bl&ots=kOUZiohhm9&sig=hjVDbJRGdJQlGINIS4ehejxNBCE&hl=en&sa=X&ved=0ahUKEwitu7bU9ojQAhXDu48KHR95C0EQ6AEITzAJ#v=onepage&q=Who%20was%20Frau%20Einstein&f=false">https://books.google.co.in/books?id=CQ4NP-LLL30C&pg=PA23&lpg=PA23&dq=Who+was+Frau+Einstein&source=bl&ots=kOUZiohhm9&sig=hjVDbJRGdJQlGINIS4ehejxNBCE&hl=en&sa=X&ved=0ahUKEwitu7bU9ojQAhXDu48KHR95C0EQ6AEITzAJ#v=onepage&q=Who%20was%20Frau%20Einstein&f=false</a></span></span></p>
<p class="qtext_para"><span><span>2. <span><a href="http://www.thehypertexts.com/">http://www.thehypertexts.com/</a></span><span>Albert%20Einstein%20Poet%</span><span>20Poetry%20Poems%20Pictures%</span><span>20Bio.htm</span></span></span></p>
Some aspects of the contributions in art and science.
tag:kkartlab.in,2016-07-26:2816864:BlogPost:140962
2016-07-26T04:00:00.000Z
Liviu Iliescu
https://kkartlab.in/profile/LiviuIliescu
<p></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Some aspects of the contributions in art and science.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">It appears as he added more redundancy trying something</span></p>
<p><span class="font-size-3">this much discussed theme that. to provoke interest</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">There exist…</span></p>
<p></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Some aspects of the contributions in art and science.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">It appears as he added more redundancy trying something</span></p>
<p><span class="font-size-3">this much discussed theme that. to provoke interest</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">There exist can sense that even misses in discussions peripherals</span></p>
<p><span class="font-size-3">it could be part of a virtual chain to have a useful result.</span></p>
<p><span class="font-size-3"> Of course I refer to those chains where they can discern how to act early.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> This chain includes more explicit presentation replays, however routine, but without them</span></p>
<p><span class="font-size-3"> (hindsight) would not have been possible to obtain a useful result.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> I quote from my attempts.</span></p>
<p><span class="font-size-3"><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/psychical-satiety-in-affectivity" title="blocked::http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/psychical-satiety-in-affectivity">Psychical satiety in affectivity</a></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Art is crowned by subtle emotions (J.P. Sartre) that it causes the artistic object,</span></p>
<p><span class="font-size-3"> which is considered and Readymade discovered by Marcel Duchamp.</span></p>
<p><span class="font-size-3"> We know that fine art has an important technological backgroung (scientific)</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">A readymade could be the section with a photographic camera lens,</span></p>
<p><span class="font-size-3">presented by the production company for commercial</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866691347?profile=original" target="_self"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/2866691347?profile=RESIZE_320x320" width="300" class="align-center"/></a></span></p>
<p></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Might hold an observation</span></p>
<p><span class="font-size-3">at composition Optical glass ( lumini in spatiu-lights in space)</span></p>
<p><span class="font-size-3"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2998247732?profile=original" target="_self"><img width="350" src="http://storage.ning.com/topology/rest/1.0/file/get/2998247732?profile=RESIZE_480x480" width="350" class="align-center"/></a></span></p>
<p><span class="font-size-3"> 12 x 17 x10 cm</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">I have designed this form using elementary formulas of geometrical optics.</span></p>
<p><span class="font-size-3"> I thought that the light will go through reflections, a large number of cycles, the wave front</span></p>
<p><span class="font-size-3"> decreasing in intensity by diffuse reflections at each cycle.</span></p>
<p><span class="font-size-3"> It can be assumed that after interrupting light, wave energy will persist in it as a time that tends</span></p>
<p><span class="font-size-3"> by infinitesimally, time that could be determined using sensitive means.</span></p>
<p><span class="font-size-3"> My hypothesis, to an eventual verification, it belongs to the realm pre-axiomatic</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">See link:</span></p>
<p><span class="font-size-3"><a href="http://www.google.ro/url?url=http://kkartlab.in/group/some-science/forum/topics/science-criteria&rct=j&frm=1&q=&esrc=s&sa=U&ved=0ahUKEwit07altIzOAhXIchQKHTa_Aq8QFggjMAE&usg=AFQjCNE6jIfgbR4OLZ7DhrNkMaUPsOGaAg"><b>Science criteria</b> - <b>SCI</b>-<b>ART LAB</b></a></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> I present below the method that I set for a computer program,</span></p>
<p><span class="font-size-3">designed by me in the '80s that I used to automatic correction of optical systems.</span></p>
<p><span class="font-size-3">I did an adaptation which I designed as ZOOM optics and mechanical cam profile</span></p>
<p><span class="font-size-3">Of course in recent decades have been achieved automated programs developed by specialized institutes (marketed programs), which resulted in designing high efficiency optics, but are used and help programs, especially in the</span></p>
<p><span class="font-size-3">preliminary stages, to determine the form.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">In my program I applied the method bending recognized as efficiency in the past when the correction optical systems are operated using mechanical calculators.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">I have used this program for calculating aberrations another program designed by my colleague in the company in which we work,</span></p>
<p><span class="font-size-3"> Niculae Dumitrescu mathematician, but may be to use any program; the method is not dependent on a particular program.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Relative to this program</span></p>
<p><span class="font-size-3">see link;</span></p>
<p><span class="font-size-3"><a href="http://kkartlab.in/profiles/blogs/science-art-and-psychic-life" title="blocked::http://kkartlab.in/profiles/blogs/science-art-and-psychic-life">Science-Art and psychic life</a></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">I recently published this method in ResearchGate, wich resulted from my experience, method that could be used in a chain with useful purpose.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Inviting the evaluation and eventually use the method that I present (which is free) is the following publications in decades, describing the beneficial effects of applying bending combinations</span></p>
<p><span class="font-size-3">See</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"><a href="http://www.google.ro/url?url=http://www.iap.uni-jena.de/iapmedia/de/Lecture/Design%2Band%2Bcorrection%2Bof%2Boptical%2Bsystems1351638000/DaCOS12_Lecture_Part_12_Correction_of_aberrations_1_112.pdf&rct=j&frm=1&q=&esrc=s&sa=U&ved=0ahUKEwjtz5KBi_fNAhXIK8AKHQssCekQFggYMAA&usg=AFQjCNG8ilPThOF71Uc2VGqwXn1qVeF8nA">Design and <b>Correc tion</b> of <b>optical</b> Systems</a> part</span></p>
<p><span class="font-size-3">Institute of Applied Physics Friedriech Schiller-Universitat </span>Jena</p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">A copy of the method:</span></p>
<p><span class="font-size-3">Bending method for automatic optical aberations correction</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">With about 40 years ago I designed a software solution for automatic correction</span></p>
<p><span class="font-size-3">aberrations of optical systems using the bending.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">An important issue in an automatic correction of optical systems is the reference point, respectively</span></p>
<p><span class="font-size-3">in a change in shape the system to be able to determine optical aberrations relative to paraxial system (ideal) system during cycles remain congruet.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">It is known that applying a modified form of the system (eg a radius of curvature)</span></p>
<p><span class="font-size-3">axially status change or focal length. Operating with a ratio of scale can be achieved with precision</span></p>
<p><span class="font-size-3"> the initial length.</span></p>
<p><span class="font-size-3">But the vicious circle in that change and the values established for the changing shape.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Applying a lens optic system shape change by bending method were obtained relationship, to maintain</span></p>
<p><span class="font-size-3"> congruency paraxial state of the system, in the automatic cycle (of course implicitly state paraxial chromatic)</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> I have not yet met this method, but there may be, otherwise described</span></p>
<p><span class="font-size-3">3</span></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2998247856?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2998247856?profile=original" width="487" class="align-center"/></a></span></p>
<p><span class="font-size-3"> </span><span>So I programmed distances initial Cm and Cn to remain constant during the cycles,</span></p>
<p><span class="font-size-3">as reference distances.</span></p>
<p><span class="font-size-3"> In each cycle change distances from the principal planes to vertex.</span></p>
<p><span class="font-size-3">Adjustments are made on distances dmi; dni or Shi; Shi' such as Cm and Cn</span></p>
<p><span class="font-size-3">remain constant. Thus in paraxial system, including paraxial chromatism (important)</span></p>
<p><span class="font-size-3"> remain congruent during the execution of cycles.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"><b>Deviations from congruency and the state colors, at cemented lens thicknesses,</b></span></p>
<p><span class="font-size-3"><b> conditioning imposed by Cm and Cn values as a remain constant, prove negligible</b></span></p>
<p><span class="font-size-3"><b>in the optimization process, but of course they can limit this process to some optic systems </b></span><strong><span class="font-size-3">(change of geometric distances </span></strong><strong><span class="font-size-3">without changing the focal length).</span></strong></p>
<p></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b><a href="http://storage.ning.com/topology/rest/1.0/file/get/2998247791?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/2998247791?profile=RESIZE_1024x1024" width="600" class="align-center"/></a></b></span></p>
<p></p>
<p><span class="font-size-3">A page from the program (Turbo Basic version 1.0); instructions from 6320-6350 containing relationships that relate</span></p>
<p><span class="font-size-3">the achievement of obtaining Cm and Cn distances that must remain constant during the execution cycles. With relation to 6360 I calculate bending radius R (k + 1) for bending a lens; changing shape, but applying relations, for keeping focal length (if this program all lenses, lens glued including , calculations are considered to be in the air)</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">4</span></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2998247880?profile=original" target="_self"><img width="600" src="http://storage.ning.com/topology/rest/1.0/file/get/2998247880?profile=RESIZE_1024x1024" width="600" class="align-full"/></a></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span><span>5</span></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2998248002?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/2998248002?profile=RESIZE_480x480" width="400" class="align-center"/></a></span></p>
<p><span class="font-size-3"> </span><span>The program has two stages. In the example I chose STAGE 1 application,</span></p>
<p><span class="font-size-3">Bending 1 on a group of three lenses cemented (2 + 3 + 4) STAGE 1 is targeted spherical aberration correction.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">6</span></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2998247950?profile=original" target="_self"><img width="620" src="http://storage.ning.com/topology/rest/1.0/file/get/2998247950?profile=RESIZE_1024x1024" width="620" class="align-full"/></a></p>
<p><span class="font-size-3"> </span><span>tep 2 program, implementation Bending 2 lenses cemented (6 + 7)</span></p>
<p><span class="font-size-3">to correct aberration in the field. Can usually choose the groups for bending noting</span></p>
<p><span class="font-size-3">Y quotas, incidence bundles on the surface diopter</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> This optimization program designed by me, of course necessitated the development of several sub-programs</span></p>
<p><span class="font-size-3"> how and adaptation program (sub-program) to calculate aberrations within each cycle.</span></p>
<p><span class="font-size-3"> For its calculation of aberrations I used the program mathematician Nicolae Dumitrescu, that I write down PDN.</span></p>
<p><span class="font-size-3"> I noted with spherical aberration Sfi value in a cycle as absolute value (recurrent) T = ABS (SFI) and the constant target Tf with, tolerance TFε.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">For recurrent aberration field I noted TT absolute value and the target TTf, with, tolerance TTε.</span></p>
<p><span class="font-size-3"> The value aberrations (spot diagram) obtained by,</span></p>
<p><span class="font-size-3">PDN program., they are geometric, with no term implication inferred from wave.</span></p>
<p><span class="font-size-3"> Of course program that I propose can be coupled, to calculate aberrations,</span></p>
<p><span class="font-size-3"> with a program that complete lack term</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Δbi value of recurrence he added the first radius of curvature of the lens group Bendung1 group or Bending 2</span></p>
<p><span class="font-size-3"> for the halving method (to a half the interval Δbi with change the sign) - see equations). The optimization process is stopped when the value reaches halved Δbi limit value (minimum) scheduled Δbε</span></p>
<p><span class="font-size-3"> </span></p>
<p align="center"><span class="font-size-3"> Halving method</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> The first curvature radius</span></p>
<p><span class="font-size-3">in group or first ray lens isolated Value of halving The absolute value of recurrence </span></p>
<p><span class="font-size-3"> (spot diagram ) </span></p>
<p><span class="font-size-3">R k1 + Δbi TT2 < TT1</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Rk1 + Δbi TT3< TT2 </span></p>
<p><span class="font-size-3">……. …… ……</span></p>
<p><span class="font-size-3">Rk1 + Δbi TT(s+1) >TT(s)</span></p>
<p><span class="font-size-3">…………. ……….. …………..</span></p>
<p><span class="font-size-3">Rk1 - Δbi /(2<sup>n</sup> ) TT(n+1)< TT(n)</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Note: Given that the base R (k1) bends automatically group all the lenses, the lenses remain cemented,</span></p>
<p><span class="font-size-3"> resulting in a curved lens group, bending group. In each cycle is computed by case aberration T or TT</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">After executing Bending Step 1 is automatically switch execution Bending Stage 2, which involves placing</span></p>
<p><span class="font-size-3">the first ray of optical doublet (6 + 7) the value of R61 + Δb, following the sequences of the scheme.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Every change in the form of the system (in the cycle) be checked by sub-routines</span></p>
<p><span class="font-size-3"> if such change does not exceed the limits mentioned, including any intersections, curve radii.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Note: Given that the base R (k1) bends automatically group all the lenses, the lenses remain cemented,</span></p>
<p><span class="font-size-3"> resulting in a curved lens group, bending group. In each cycle is computed by case aberration T or TT</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">After executing Bending Step 1 is automatically switch execution Bending Stage 2, which involves placing</span></p>
<p><span class="font-size-3">the first ray of optical doublet (6 + 7) the value of R61 + Δb, following the sequences of the scheme.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Every change in the form of the system (in the cycle) be checked by sub-routines</span></p>
<p><span class="font-size-3"> if such change does not exceed the limits mentioned, including any intersections, curve radii.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">7</span></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2998247986?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2998247986?profile=original" width="375" class="align-center"/></a></span></p>
<p><span class="font-size-3"> </span></p>
<p></p>
<p><span class="font-size-3"> </span></p>
Call for Papers for English Literature Last Date of Submission 25 July 2016
tag:kkartlab.in,2016-06-12:2816864:BlogPost:139982
2016-06-12T16:43:14.000Z
Dr. Jitendra Arolia
https://kkartlab.in/profile/jitendraarolia
<p>Publish your research articles, essays, short story, poetry, book review, interviews of English Literature.</p>
<p><b>Last Date of Submission 25 July 2016</b></p>
<p>Please Visit <a href="http://www.researchscholar.co.in">www.researchscholar.co.in</a></p>
<p>With regards </p>
<p>Dr. Jitendra Arolia</p>
<p>Publish your research articles, essays, short story, poetry, book review, interviews of English Literature.</p>
<p><b>Last Date of Submission 25 July 2016</b></p>
<p>Please Visit <a href="http://www.researchscholar.co.in">www.researchscholar.co.in</a></p>
<p>With regards </p>
<p>Dr. Jitendra Arolia</p>
How Picasso was wrong
tag:kkartlab.in,2016-04-11:2816864:BlogPost:137882
2016-04-11T08:30:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p>Just now I read a Picasso Quote. It goes like this: The genius of Einstein leads to Hiroshimas.</p>
<p>What a misconception! And most of the time artists who cannot understand the importance of science and how it works say such silly things.</p>
<p>Einstein himself didn't approve Hiroshima and criticized it severely (1).</p>
<p><span>In 1905 Einstein had published his revolutionary equation showing that matter and energy were equivalent and interconvertible. There was much speculation by…</span></p>
<p>Just now I read a Picasso Quote. It goes like this: The genius of Einstein leads to Hiroshimas.</p>
<p>What a misconception! And most of the time artists who cannot understand the importance of science and how it works say such silly things.</p>
<p>Einstein himself didn't approve Hiroshima and criticized it severely (1).</p>
<p><span>In 1905 Einstein had published his revolutionary equation showing that matter and energy were equivalent and interconvertible. There was much speculation by scientists on how that atomic power might be released, and, once released, sustained (by what is called a 'chain reaction', on which ordinary fuels and explosives rely). During the 1920s and 1930s many physicists struggled with the problem. Einstein was right: science was international. American, Australian, British, Danish, Dutch, French, German, Hungarian, Italian, New Zealand, Russian, Swiss and Yugoslav scientists between them made the various research breakthroughs needed to show that an atom of uranium could be split by a neutron beam and would readily produce a chain reaction - thus releasing enormous amounts of energy. It only remained to put it to the test. <span>The Hungarian physicist Leo Szilard tried hard to stop publication of the news (which broke in January 1939) that atomic fission was possible: he was afraid that Germany might try to make an atomic bomb if it knew. But the principle that scientific information should be shared was a matter of pride; it was released. </span></span></p>
<p><span><span>Then<span> Einstein, sent a letter to the then American president, Franklin Roosevelt. </span><br/> <br/> <span>In his letter Einstein wrote: 'Some recent work leads me to expect that the element uranium may be turned into a new and important source of energy in the immediate future. Certain aspects of the situation seem to call for watchfulness and, if necessary quick action....This new phenomenon would also lead to the production of bombs, and it is conceivable that extremely powerful bombs of a new type may be constructed....Some of the American work on uranium is now being repeated in the Kaiser Wilhelm Institute in Berlin.</span></span></span></p>
<p><span>Apart from a second letter written when the advisory board seemed to be dragging their feet, Einstein took no other part in the UK/US study of uranium fission or in the USA's Manhattan Project which created the first atomic bombs. </span></p>
<p><span><span>Einstein also believed that the USA would treat the discovery with respect and would resist actually using the bomb. </span></span></p>
<p></p>
<p><span>In April 1945 Leo Szilard, Physicist and inventor, came to Einstein again, this time to share his deep fear that the USA would start an atomic arms race. Once again Einstein wrote to the President, enclosing a strong warning (written by Szilard) against using the atomic bomb. But the </span><a href="http://www.ppu.org.uk/learn/infodocs/people/pp-einstein3.html#">letter</a><span> was still unopened on Roosevelt's desk when he died. The new president, Harry Truman, was too busy taking office to be accessible, though the scientists tried hard to get through.</span></p>
<p><span><span>The first atomic bomb was dropped on Hiroshima (not on its military installations but on the civilian center of the city) on August 6 1945. Up to 140,000 people were killed. Thousands were to die much later, of radiation-related diseases: the death toll had reached 192,000 in 1995. When Einstein heard the news, he uttered a cry of anguish. On August 9 a second bomb was dropped on Nagasaki. It killed 73,884 people outright, and injured 76,769 more; these figures do not include those who died later from radiation.</span></span></p>
<p></p>
<p><span>Einstein said then, 'Just as we use our reason to build a dam to hold a river in check, we must now build institutions to restrain the fears and suspicions and greeds which move people and their rulers....We do not have to wait a million years to use our ability to reason. We can and must use it now, or human society will sink into a new and terrible dark age.'</span><br/> <br/> <span>From then until his death, and despite poor health, Einstein gave all the energies not spent on his scientific work to campaigns for peace.</span></p>
<p><span><span>He opposed the development of atomic weapons and the US military's intention to develop the much more powerful hydrogen bomb. He was chairman of the Emergency Committee of Atomic Scientists, set up in 1946; its aims were to educate the public about the dangers of atomic warfare, to promote the benign use of atomic energy, and to work for the abolition of war as the only answer to weapons of mass destruction. (The ECAS disbanded in 1949, but continued to publish its Bulletin of the Atomic Scientists.) Einstein also continued his public opposition to militarism.</span></span></p>
<p><span><span>Einstein knew <span>that there was no way to stop scientists from pursuing knowledge. 'We must not condemn man because his inventiveness and patient conquest of the forces of nature are exploited for false and destructive purposes.' </span><br/> <br/> <span>'The line of demarcation,' he said, 'doesn't lie between scientists and non-scientists; it lies between responsible, honest people, and the others.' That didn't let off scientists from thinking about the consequences of what they do. 'In our time, scientists and engineers carry a particularly heavy burden of moral responsibility, because the development of military means of mass destruction is dependent on their work.' </span></span></span></p>
<p><span><span><span><span>"I have always condemned the use of the atomic bomb against Japan but I could not do anything at all to prevent that fateful decision," Einstein wrote in German to Shinohara, a Japanese woman in a letter dated June 23, 1953.</span></span></span></span></p>
<p>So? How can artists blame scientists for the political decisions taken despite their severe opposition to them?</p>
<p>I created an art work based on this very theme ... THE CHOICE IS YOURS</p>
<p></p>
<p><img src="http://www.kkartfromscience.com/images/art/as10_big.jpg"/></p>
<p></p>
<p align="justify">Some people complain that science also brings with it a few bad things like commercial GM crops, nuclear bombs etc. along with the good it does to the mankind. But according to the scientific community – science is like a knife. A knife can be used to cut throats and spill blood. It can also be used for good purposes like cutting fruits and vegetables. It depends on the person who uses it. Likewise science (represented by a test tube in the painting) can also be used for the benefit of living beings as well as for their destruction. Which way it goes is in the hands of the person who uses it. The choice is definitely yours, Homo sapiens.</p>
<p>Artists, and non-scientists get this right: Don't blame the scientists for the bad happening in the world. If you don't know how to use the scientific inventions and discoveries correctly, you have to blame only yourself! </p>
<p>The genius of Einstein didn't cause Hiroshima. A stupid political decision did.</p>
<p>References: </p>
<p><span><span><span>1. <a href="http://www.ppu.org.uk/learn/infodocs/people/pp-einstein4.html">http://www.ppu.org.uk/learn/infodocs/people/pp-einstein4.html</a></span></span></span></p>
<p></p>
Presentation of Bioptical Studies at the "Ion Mincu" Institute of Architecture, Bucharest
tag:kkartlab.in,2016-02-01:2816864:BlogPost:135851
2016-02-01T06:30:00.000Z
Liviu Iliescu
https://kkartlab.in/profile/LiviuIliescu
<h1><span class="font-size-3"><strong> </strong></span></h1>
<p><strong><span class="font-size-3">Note. Added by L.Iliescu</span></strong></p>
<p><span class="font-size-3">This text was written by Prof. dr. Sorin Vasilescu in 1998 and published in</span></p>
<p><span class="font-size-3">Arta bioptica; Bioptical Art - training of bioptical vision, Crater,</span> Bucharest<span class="font-size-3">, 1998,</span></p>
<p><span class="font-size-3"> 148 pages. ISBN 973-9029-37-X see …</span></p>
<h1><span class="font-size-3"><strong> </strong></span></h1>
<p><strong><span class="font-size-3">Note. Added by L.Iliescu</span></strong></p>
<p><span class="font-size-3">This text was written by Prof. dr. Sorin Vasilescu in 1998 and published in</span></p>
<p><span class="font-size-3">Arta bioptica; Bioptical Art - training of bioptical vision, Crater,</span> Bucharest<span class="font-size-3">, 1998,</span></p>
<p><span class="font-size-3"> 148 pages. ISBN 973-9029-37-X see <a href="http://www.artabioptica.ro%C2%A0">www.artabioptica.ro </a><br/></span></p>
<p><span class="font-size-3"><b>and get the link:</b></span></p>
<p><span class="font-size-3"><b> <a href="http://www.artabioptica.ro/cap4.htm" target="main">Presentation of bioptical studies at the "Ion Mincu" Institute of Architecture, Bucharest</a></b></span></p>
<p></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2998247646?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2998247646?profile=original" width="240" class="align-center"/></a></p>
<p style="text-align: center;"><span class="font-size-3">"Ion Mincu" Institute of Architecture, Bucharest</span></p>
<p align="right"><i><a href="http://www.artabioptica.ro/art4.htm"><br/>see all chapter in romanian</a></i></p>
<p align="right" style="text-align: left;"><strong><span class="font-size-4">Abstract</span></strong></p>
<p><span class="font-size-3">The "Ion Mincu"</span> Institute of Architecture <span class="font-size-3">hosts a course of lectures on "Visual Communications" for fourth-year students (7th and 8th semesters). Several problems are dealt with, in order to thoroughly study the aspects of visual communication, the perception of light, colour and forms, as well as the questions of language in architecture.</span></p>
<p><span class="font-size-3">This course of lectures is aimed at:</span></p>
<p><span class="font-size-3">–The detailed description and definition of "the instrument of visual communications", as related to visual arts in general and to architecture in particular.</span></p>
<p><span class="font-size-3">–The defining of terms: composition, point, counterpoint, rhythm, symmetry, harmony, visual field, kinetism, ratios, proportions, cadence, optical corrections, relations between the real and the virtual image, static-dynamic image, formal invariants, organic forms.</span></p>
<p><span class="font-size-3">The courses of lectures given in 1995-1997 by Liviu Iliescu on the subject-matter of "Visual Communications" at the "Ion Mincu" Institute of Architecture of Bucharest ("Study of Form and Design" Chair–professor Sorin Vasilescu) were attended by a great number of students and professors. The lecturer succeeded in convincing his audience that the new means of investigating the universe of the visual are permanently changing and that their acquisition opens new ways in mastering space and colour.</span></p>
<p><span class="font-size-3">Prof. dr. Sorin Vasilescu </span><br/> <span class="font-size-3">Teacher at Arhitectura Institute "Ion Mincu" Bucuharest</span></p>
<p><strong><span class="font-size-3"> </span></strong></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"><b>Prezentarea studiilor bioptice la Institutul de Arhitectura "Ion Mincu", Bucuresti</b></span></p>
<p><span class="font-size-3"><b><a href="http://www.artabioptica.ro/" target="_top">Bioptical Art</a> - Liviu Iliescu</b></span></p>
<p><span class="font-size-3">La Institutul de Arhitectura "Ion Mincu", in cadrul cursului "Comunicari vizuale" (an IV, semestrele 7 si 8) sunt tratate o serie de teme menite sa duca la aprofundarea problemelor de comunicare vizuala, a percepþiei luminii, culorii, formelor si a limbajului in arhi- tectura.</span></p>
<p><span class="font-size-3">Continutul cursului:</span></p>
<p><span class="font-size-3">–Detalierea si definirea "instrumentului de comunicari vizuale" – in contextul artelor vizuale in general si al arhitecturii in special.</span></p>
<p><span class="font-size-3">–Definirea termenilor: compozitie, punct, contrapunct, ritm, simetrie, armonie,</span> camp vizual<span class="font-size-3">, cinetism, rapoarte, proportii, cadenta, corectiuni optice, relatii dintre imaginea reala si cea virtuala, imagine statica-dinamica, invarianti formali, forme organice.</span></p>
<p><span class="font-size-3">Una dintre problemele de interes in procesul de definire a "comunicarii vizuale" consta in definirea modului in care comunicarea vizuala isi constituie un propriu mod de limbaj.</span></p>
<p><span class="font-size-3">"Comunicarea vizuala", mai ales în cadrul unei societati informale pare usor de definit, ambii termeni avand, separat, definitii bine statutate; dar impreuna cei doi termeni genereaza o sintagma care face dificila definitia, deoarece pentru a "comunica" este necesar sa existe un limbaj decodificabil de partile ce dialogheaza. Iar un limbaj al vizua- litatii, care nu poate fi definit în sine, trebuie definit în comparatie cu limbajul verbal si scris, facand unele paralele intre hieroglife, ideograme, logotipuri si litere, cuvinte, propozitii, fraze si compozitii. Intr-o mare masura pot fi stabilite relatii de similitudine intre semnele limbajului scris si cele ale limbajului vizual, dupã cum pot fi gasite si legitati comune (fara ca similitudinea sa insemne identitate) intre modul in care semnele limbajului scris pot comunica mesaje (atat în mod individual cat si în grup) si modul în care <i>semnele-imagine </i>pot fi purtatoare de diferite forme de informatie.</span></p>
<p><span class="font-size-3">Trebuie remarcat ca in cadrul comunicarilor vizuale mesajul nu se adreseaza "receptorului" in mod direct–ca in cadrul comunicarii scrise–ci in mod uneori aluziv, abstract sau concret, cu codaje multiple, decodificabile in functie de "conditiile de mediu" si de nivelul cultural al receptorului. Incercãrile de "convertire" a limbajului vizual în alte forme de limbaj sunt sortite doar unui succes partial, deoarece in limbaje diferite convertibilitatea nu este niciodata totala.</span></p>
<p><span class="font-size-3">Semnele esentiale ale limbajului vizual, similare literelor, pot exista individual, sau pot fi intercondiþionate intre ele dupa reguli fixe sau variabile, similare cu cele ortografice, gramaticale, lexicale si compozitionale. Ele reprezinta unele dintre instrumentele de lucru ale celor ce lucreaza în domeniul vizualitatii in general si ale arhitectului in special.</span></p>
<p><span class="font-size-3">Arhitectura, "arta de a construi" (dupa o definitie simplificatorie si tehnicista), sau "joc savant al volumelor in lumina si umbra" (dupa o definitie cu exagerata incarcatura poetica) foloseste limbajul comunicarilor vizuale atat în procesul efectiv de creatie cat si in cel de prezentare a operei; opera, o data realizata, parasind pe autor si pe utilizator, isi incepe apoi propria-i viata, o aventura, in care isi exprima vizual forma purtatoare de functiune si aspiranta la perenitate.</span></p>
<p><span class="font-size-3">Arhitectura, arta eminamente abstracta, precum muzica, ca arta a vizualitatii este legata</span></p>
<p><span class="font-size-3">indisolubil de diverse procedee de expresie grafica, fiind una dintre cele mai pertinente expresii ale "comunicarilor vizuale". In afara mijloacelor traditionale de creatie si de prezentare, arhitectura, in care <i>mana mintii </i>se supune, foloseste permanent mijloace de expresie plastica care devin elemente de comunicare vizuala ce se "fazeaza", ce corespund permanent cu nuantele si cu schimbarile capacitatii de receptie si "digerare" a informatiei vizuale, ce corespunde ciclicelor mutatii de gust si permanentei deveniri a universurilor culturale.</span></p>
<p><span class="font-size-3">Generatia neoclasica si cea a modernismului au folosit–in cadrul "universului Gutenberg" in care tiparul, desenul si fotografia erau elementele principale)–reprezentari ortogonale si perspective de o virtuozitate exceptionala. Generatia postmoderna (in sensul etimologic si nu neaparat stilistic al termenului), nascuta intr-un univers al comunicatiilor in "masa", foloseste ca mijloace de comunicare vizuala si imagini cinetice, de simulare si de sinteza.</span></p>
<p><span class="font-size-3">In acest nou context, de gasire a unor noi mijloace de comunicare vizuala se situeaza si demersurile inginerului Liviu lliescu, care a studiat indelung, ajungand la rezultate de o surprinzatoare originalitate, probleme ridicate de viziunea <i>bi-oculara</i>. Se stie ca în limbajul reprezentarilor atat traditionale cat si moderne, toate problemele de vizualitate se pun si sunt tratate pornind de la premisa unei vederi <i>mono- oculare</i>, premisa care, daca nu falsa este macar simplificatorie. Trebuie mentionat ca aceste demersuri nu au nimic in comun cu stereoscopia.</span></p>
<p><span class="font-size-3">L. Iliescu, cu suportul stiintific de inginer de sisteme optice, a încercat si a reusit a gasi, dupa indelungate cercetari, mijloace optice care sa permita o introspectiune de maxima originalitate în domeniul vizualitatii, în care prezentarea "spatiala" a geometriei constructiilor lineare sa fie dublata de obtinerea unor noi calitati a campurilor cromatice. Cu instrumente optice nu excesiv de complicate imaginile bidimensionale capata virtuti spatiale, ochiul nemaifiind "inselat" de conventiile reprezentarilor perspective, ci conformandu-se unor noi legitati, care in mod intuitiv l-au interesat si pe Salvador Dali.</span></p>
<p><span class="font-size-3">Interesul arhitectului pentru acest nou mod de prezentare a imaginilor bidimensionale (ce capata incredibile virtuti tridimensionale) este real. Azi, cand realitatea "reala" este amendata permanent de realitatea "virtuala", orice demers, orice inovatie (mai ales cele cu suport stiintific logico-formal) devine mijloc de posedare si expresie a spatiului interior si exterior, obsesii permanente ale arhitectului.) Cursurile þinute in anii universitari 1995-1997 de catre L. Iliescu la disciplina "Comunicari vizuale" la Institutul de Arhitectura "Ion Micu" din Bucuresti, la Catedra Studiul Formei & Design, s-au bucurat de o remarcabila audienta, convingand atat pe profesori cat si pe studenti de faptul ca noile mijloace de investigare ale universului vizualitatii sunt intr-o permanenta devenire si cunoasterea lor deschide cai noi de stapanire a spatiului si a culorii.</span></p>
<p><span class="font-size-3">Prof. dr. Sorin Vasilescu </span><br/> <span class="font-size-3">profesor la Institutul de Arhitectura "Ion Mincu" Bucuresti</span></p>
<p><span class="font-size-3">Nota . adaogata de L.Iliescu</span></p>
<p><span class="font-size-3">Acst text a fost scris de Prof. dr. Sorin Vasilescu in anul 1998 si publicata in</span></p>
<p><span class="font-size-3">Arta bioptica; Bioptical Art - training of bioptical vision, Crater,</span> Bucharest<span class="font-size-3">, 1998,</span></p>
<p><span class="font-size-3"> 148 pages. ISBN 973-9029-37-X</span></p>
<p><span class="font-size-3">si se obine cu link:</span></p>
<p><span class="font-size-3"> <b><a href="http://www.artabioptica.ro/art4.htm" target="main">Institutul de Arhitectura "Ion Mincu", Bucuresti</a> </b></span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
Artists, don't try to mislead the world for your personal gains!
tag:kkartlab.in,2016-01-27:2816864:BlogPost:135615
2016-01-27T04:00:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p>This week, the news that is making the cyber world go mad is how an artist with his baseless beliefs trying to mislead the world!</p>
<p>With the headlines like these...</p>
<p></p>
<p>Neil de Grasse Tyson Corrects the Science of … a Rapper’s Flat Earth Theories No art form is safe from scientific critique.<br></br> People stopped believing the Earth was flat 200 years ago. But some artists are still propagating the old theories and their beliefs! Rapper B.o.B took to Twitter on 25th June to…</p>
<p>This week, the news that is making the cyber world go mad is how an artist with his baseless beliefs trying to mislead the world!</p>
<p>With the headlines like these...</p>
<p></p>
<p>Neil de Grasse Tyson Corrects the Science of … a Rapper’s Flat Earth Theories No art form is safe from scientific critique.<br/> People stopped believing the Earth was flat 200 years ago. But some artists are still propagating the old theories and their beliefs! Rapper B.o.B took to Twitter on 25th June to explain why we’re all sheeple who need to wake up (paraphrasing) and realize that the Earth isn’t round—closely following the release of his latest album, FIRE, on the 18th of January. In case you needed a conspiracy theory of your own involving a rapper saying absurd things to draw attention to his music. And his followers started actually believing and supporting him!</p>
<p><br/> Where are we heading?! Backward?!! Toward the 10 the century BC?!!!</p>
<p></p>
<p>And famed astrophysicist Neil de Grasse Tyson took a break from his busy schedule to drop some knowledge on absurd misconceptions. He painstakingly explained things on twitter. <span>Tyson also criticized the “anti-intellectual strain” in society, and finished with a demonstration of gravity by, literally, dropping the mic during a speech on the issue.</span></p>
<p>One of my scientist friends, who is not interested in sci-art and criticizes me all the while for promoting science-art interactions, said this to me after reading the story: I don't understand this. Don't artists have anything else to do better? While we are trying to increase knowledge, bring some sense and harmony and trying to help the world, these artists are trying to undo all that we do. They are wasting our time for their personal gains. And you are working with them. You don't belong here. Go to the art world and live there forever in darkness, ignorance, selfishness and absurdity.</p>
<p>I can understand the scientist's frustration. But still I told him, 'I am into the art world to remove all that negativeness - not to promote it. How can we do it without interacting with artists? It takes time for these people to understand things in the way they should be understood. No doubt, we have to stop our all important work for some time to confront people like this rapper. To stop them spreading misinformation. But it has to be done. And I am trying to do exactly that.</p>
<p>I am fighting a battle in my own way. This is a necessary evil. Science-art has to put science in the right perspective. I am going to make sure it does. Sci-Art Lab has a specific purpose. It is not like other art-science entities. Sci-Art Lab was created to bring some sense into the sci-art movement. To take it in the right direction'.</p>
<p>Here is proof that the Earth isn't flat:</p>
<p><br/><span>1. The sun sets below the horizon, maintaining its size and shape.</span><br/><br/><span>According to most flat-earthers, the sun is a spotlight, rotating in a plane 3000 miles above the earth. Let's make some predictions based on this model:</span></p>
<ul class="bbc_list">
<li>The sun should decrease in size as it rotates away from us in the afternoon.</li>
</ul>
<p><em>Doesn't happen. The sun stays approximately the same size. </em></p>
<ul class="bbc_list">
<li>The sun should not go below 20 degrees from the horizon (based on 3000 miles distance from earth, and 8000 mile diameter of the equator).</li>
</ul>
<p><em>It definitely goes below 20 degrees. In fact, it sinks all the way below 0 degrees. In fact, it is possible to see the sun halfway below the horizon, halfway above the horizon, which should absolutely never be possible.</em></p>
<ul class="bbc_list">
<li>The sun should appear to always curve north as it travels across the sky. (The point about which it rotates)</li>
</ul>
<p><em>This generally happens in the northern hemisphere! Horray! Unfortunately, near the equator, the sun travels in a straight line due west. Bummer. Significantly south of the equator, the sun even curves to the south. Double bummer. </em></p>
<ul class="bbc_list">
<li>If the sun is a flat disc, it should appear elliptical as it travels away from us.</li>
</ul>
<p><em>Doesn't happen. The sun stays perfectly round. </em></p>
<p><br/><span>2. The existence of the South Celestial Pole</span><br/><br/><span>When we are in the Northern Hemisphere, the stars appear to rotate around some point in the North. This is consistent with both a flat earth and spherical earth. Excellent. </span><br/><br/><span>When we are near the Equator, the stars appear to travel due west. Again, this is completely consistent with a spherical earth, but on a flat earth, we would expect the stars to still curve north. What gives?</span><br/><br/><span>As we continue moving into the Southern Hemisphere, the point in the North about which the stars rotate sets below the horizon, and another point about which the stars rotate rises in the South. The farther south we go, the higher this "South Celestial Pole" rises in the sky. Again, this is completely consistent with a spherical earth, but completely unexplainable on a flat earth. </span><br/><br/><span>Some people mention "Celestial Gears" as an explanation for this phenomenon, but I have never seen it actually described. Until there is at least a slightly plausible model explaining the existence of this phenomenon, it is solid evidence against the flat earth model.</span></p>
<p><br/><span>Both of these proofs are easy to verify for yourself. The first requires simple observation of the sun on a clear day, preferably near the ocean so that mountains don't obstruct your view. The second only requires travelling to the Southern Hemisphere (unless you already live there) and observing the stars.</span></p>
<p><span>Read more here:</span></p>
<p><span><a href="http://nerdist.com/8-reasons-we-know-the-earth-isnt-flat/">http://nerdist.com/8-reasons-we-know-the-earth-isnt-flat/</a></span></p>
<p><span>and here: <a href="http://www.smarterthanthat.com/astronomy/top-10-ways-to-know-the-earth-is-not-flat/">http://www.smarterthanthat.com/astronomy/top-10-ways-to-know-the-earth-is-not-flat/</a></span></p>
Different ways scientists and artists view a thing
tag:kkartlab.in,2015-10-28:2816864:BlogPost:132203
2015-10-28T02:00:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p>Recently I was told about some "Geology based Art". 'Wonderful', I thought immediately after hearing about it and before viewing the art, 'How artists are contributing to understanding the world of science is really laudable'. Laudable? Only until I saw the actual art work. The moment I saw it my view changed!</p>
<p>Because I was expecting to see a work of art that makes science easy and more interesting. But all that I saw was an artist's point of view. Aesthetics and only beauty of Earth…</p>
<p>Recently I was told about some "Geology based Art". 'Wonderful', I thought immediately after hearing about it and before viewing the art, 'How artists are contributing to understanding the world of science is really laudable'. Laudable? Only until I saw the actual art work. The moment I saw it my view changed!</p>
<p>Because I was expecting to see a work of art that makes science easy and more interesting. But all that I saw was an artist's point of view. Aesthetics and only beauty of Earth contours and nothing else! And how can this be 'a work of science based art'? How can it make people more informative? It just looked like a landscape painting! Geology? Forget it!</p>
<p>If only artists can see more than aesthetics and go beyond the normal. Like how the minerals are contributing to various colours we encounter in the soils and rocks on Earth. How the chemical configurations and orientations are making things unique. You are treading upon years of geological and biological history when you are dealing with these things. When you ignore or leave more than two-thirds of the mystery, what is the point in doing such a story?</p>
<p>Modern microscope technology explores how different environments shape grains of sand into nature's tiny works of art. These grains include shell fragments, a glassy sponge spicule, a green sea urchin spine, a foraminiferan, microscopic shells and various minerals.</p>
<p>Mineral sands originate from the erosion of rock into tiny grains. When granite rock erodes by the forces of wind, rain, ice and multiple freeze-thaw cycles, the angular grains of feldspar, quartz, mica and other minerals are liberated. They are transported to lakes via streams, rivers and glaciers, and on their journey, their original crystal shapes begin become more rounded by the forces of erosion. Many continental beaches have a high percentage of quartz sand grains because quartz survives the forces of erosion longer than other minerals. The pounding surf is responsible for rounding and polishing the rugged quartz grains.</p>
<p>Biological sands tell the story of the living beings that inhabit along the shore lines. Fragments of coral, tube worms, barnacles and sea urchin spines get washed up onto the beach, along with the amazing shells made of calcium minerals.</p>
<p>Green olivine, feldspar, quartz, mica , green epidote are some of the minerals you find.</p>
<div class="partner_series"></div>
<div style="float: left; width: 0px; height: 0px; overflow: hidden;"><img class="ggnoads" src="http://www.livescience.com/52615-stunning-sand-grains-under-the-microscope.html" id="popped_image"/></div>
<table style="width: 1px; border-spacing: 0;" border="0">
<tbody><tr><td><img src="http://i.livescience.com/images/i/000/079/258/iFF/sandgrains-5-minerals.jpg?1446053540" alt="mineral grains, microscope photography, sand" style="width: 270px;"/></td>
</tr>
<tr><td style="border: 1px solid lightgray; padding: 10px; font-size: 12px; line-height: 16px;"><span style="width: auto; float: right; padding: 2px 25px 0px 5px;"> </span> Mineral sands originate from the erosion of rock into tiny grains. Minerals here include pink quartz and green epidote.<br/> <span style="margin-top: 5px; float: left; padding-right: 5px;">Credit: Gary Greenberg</span></td>
</tr>
</tbody>
</table>
<div class="article_img_i02"><div style="float: left; width: 100%;"><a style="cursor: pointer;" rel="#custom71122" class="make_big"><img style="width: 540px;" src="http://i.livescience.com/images/i/000/071/122/i02/Moore_26349_1.jpg?1413528222" alt="Dryhead agate, nikon small world photo"/></a></div>
</div>
<p>Dryhead agate found in Montana is prized for its richly colored bands. Credit: Douglas Moore</p>
<p>Modern spectral analyses tell us what chemicals the geological formations are made of. These scientific tools are Nature's story tellers. Don't ignore them.</p>
<p>Undoubtedly artists and scientists see things differently. But science artists should be able to go to the level of people of science when they want to tread the paths of science. Don't you agree?</p>
<p></p>
My interview in Interalia Magazine
tag:kkartlab.in,2015-10-15:2816864:BlogPost:131873
2015-10-15T04:07:24.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p>My interview in the October issue of Interalia Magazine<br></br> An online magazine dedicated to the interactions between the arts, sciences and consciousness.</p>
<p>“Anything I do should be able to facilitate real progress of the human kind…That is why I consider following science and communicating it as the top most priorities in my life”. Artist, poet, scientist and writer, Krishna Kumari Challa, communicates science through art and literature. In this exclusive interview she discusses her…</p>
<p>My interview in the October issue of Interalia Magazine<br/> An online magazine dedicated to the interactions between the arts, sciences and consciousness.</p>
<p>“Anything I do should be able to facilitate real progress of the human kind…That is why I consider following science and communicating it as the top most priorities in my life”. Artist, poet, scientist and writer, Krishna Kumari Challa, communicates science through art and literature. In this exclusive interview she discusses her art and work.</p>
<p>But it is behind a pay wall.</p>
<p>You can read a part of it here: <a href="http://www.interaliamag.org/">http://www.interaliamag.org/</a></p>
<p>Full interview: <a href="http://www.interaliamag.org/interviews/krishna-kumari-challa/">http://www.interaliamag.org/interviews/krishna-kumari-challa/</a></p>
Você é minha eu sou teu_Texto_Sidnei Piedade
tag:kkartlab.in,2015-09-02:2816864:BlogPost:130351
2015-09-02T20:29:09.000Z
Sidnei Piedade
https://kkartlab.in/profile/SidneiPiedade
<div class="almost_half_cell" id="gt-res-content"><div dir="ltr"><span id="result_box" lang="en" xml:lang="en"><span class="hps"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2998247598?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2998247598?profile=RESIZE_1024x1024" width="750"></img></a> You are my</span> <span class="hps">I am your</span> <span class="hps">brilliance is</span> <span class="hps">like</span> <span class="hps">the sun</span> <span class="hps">....</span> <span class="hps">I am your…</span></span></div>
</div>
<div id="gt-res-content" class="almost_half_cell"><div dir="ltr"><span id="result_box" lang="en"><span class="hps"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2998247598?profile=original" target="_self"><img width="750" src="http://storage.ning.com/topology/rest/1.0/file/get/2998247598?profile=RESIZE_1024x1024" width="750" class="align-full"/></a>You are my</span> <span class="hps">I am your</span> <span class="hps">brilliance is</span> <span class="hps">like</span> <span class="hps">the sun</span> <span class="hps">....</span> <span class="hps">I am your</span> <span class="hps">boat</span> <span class="hps">to sail</span> <span class="hps">in calm</span> <span class="hps">and</span> <span class="hps">rough waters</span> <span class="hps">no matter</span> <span class="hps">the weather</span> <span class="hps">...</span> <span class="hps">for I am</span> <span class="hps">your</span> <span class="hps">angel to</span> <span class="hps">guide you.</span> <span class="hps">I am</span> <span class="hps">the target</span><span>, hunted</span> <span class="hps">and</span> <span class="hps">hunter, his</span> <span class="hps">second skin</span> <span class="hps">engaging and</span> <span class="hps">seductive,</span> <span class="hps">the infinite</span> <span class="hps">half</span> <span class="hps">of</span> <span class="hps">which</span> <span class="hps">you</span> <span class="hps">are</span> <span class="hps">one.</span> <span class="hps">We are</span> <span class="hps">body and</span> <span class="hps">alma..você</span> <span class="hps">is</span> <span class="hps">mine I</span> <span class="hps">am yours</span> <span class="hps">where I live</span> <span class="hps">stuck</span> <span class="hps">your password</span> <span class="hps">feeding</span> <span class="hps">nectar</span> <span class="hps">and</span> <span class="hps">sap</span> <span class="hps">...</span> <span class="hps">because</span> <span class="hps">before you ever</span> <span class="hps">existed</span>. <span class="hps">Bless</span> <span class="hps">God you</span> <span class="hps">came</span> <span class="hps">where he was</span> <span class="hps">the first</span> <span class="hps">...</span> <span class="hps">I</span> <span class="hps">also</span> <span class="hps">love</span> <span class="hps">coming into</span> <span class="hps">my life.</span> <span class="hps">Piece</span> <span class="hps">mi</span> <span class="hps">nha</span> <span class="hps">life</span> <span class="hps">will always be</span> <span class="hps">yours ...</span> <span class="hps">come with me</span>, <span class="hps">it is not a sin</span>, I want <span class="hps">you to touch me</span> <span class="hps">and feel</span> <span class="hps">wha t I feel for</span> <span class="hps">you</span> <span class="hps">...</span> <span class="hps">because you never</span> <span class="hps">loved</span> <span class="hps">like that.</span> <span class="hps">Take care of</span> <span class="hps">me as</span> <span class="hps">I care for</span> <span class="hps">you</span> <span class="hps">...</span> <span class="hps">because</span> <span class="hps">you are my</span> <span class="hps">I</span> <span class="hps">am yours</span>. </span></div>
</div>
A new and powerful vision at the confluence of science and art
tag:kkartlab.in,2015-08-31:2816864:BlogPost:130215
2015-08-31T08:00:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<div class="boxyPaddingBig"></div>
<div class="boxyPaddingBig"><div class="boxyPaddingBig">The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as poetry - Bertrand Russell</div>
<div class="boxyPaddingBig"></div>
<div class="boxyPaddingBig">And I would like to rewrite the quote : The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone…</div>
</div>
<div class="boxyPaddingBig"></div>
<div class="boxyPaddingBig"><div class="boxyPaddingBig">The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as poetry - Bertrand Russell</div>
<div class="boxyPaddingBig"></div>
<div class="boxyPaddingBig">And I would like to rewrite the quote : The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in science as surely as poetry or any other form of art. And it reaches its zenith at the confluence of science and art.</div>
<div class="boxyPaddingBig"></div>
<p>Are you ready for it? And do you have it?</p>
<p>It seems in his poem Lamia, 18th century romantic poet John Keats takes Isaac Newton to task for extending a scientific explanation to the existence of a rainbow.</p>
<p>Keats is known to have bluntly stated that the scientist had “destroyed all poetry of the rainbow by reducing it into a prism”.</p>
<p><span>Poet Edgar Allen Poe continued this condemnation, with his 1829 poem </span><em>Sonnet to Science (1)</em></p>
<p>But Roberts, head of professional development at the Winchester School in Dubai, disagrees with the notion of viewing science independently of the arts. “In my opinion, Newton didn’t do any such thing,” he says. “He just added to our sense of wonder of the rainbow. Understanding the rainbow is refracted light in no way takes away from its beauty and majesty.”</p>
<p>Dr. Sam Illingworth, a lecturer, poet and science communicator says... the more we find out about science, the more we realise what a beautiful and incredible world we live in. The fact that the <a href="http://jwilson.coe.uga.edu/emat6680/parveen/fib_nature.htm">patterns on a pinecone match those of the Fibonacci sequence</a>, or that we can stare back into the void a few seconds after the creation of our Universe is, to me, a beautiful thing.</p>
<p>Yes, and in fact science increases the beauty of anything by contributing more to our understanding. Isn't it wonderful to know how Nature takes the help of science and disperses sun light into seven beautiful colours using the prism of water vapour in the atmosphere? How rainbows come into existence?</p>
<p>Science isn't cold and impersonal and dry and dull. It doesn't delete the mystery out of life. Knowing how something works doesn't make it boring. Quite the contrary! Things are far more fascinating to me since I entered the field of science and started understanding things in a very detailed manner. Nothing seems like it's been torn down. Well, maybe temporarily, while we reduce big bits to easier-to-understand-bits, but we don't leave the pieces lying around after. We put it all back together, and with this new understanding, the thing we're studying becomes far more fascinating than it was before. The truth is more complicated, far stranger, more wonderful than anything our paltry imaginations could come up with. The world without science becomes a substandard one. And science makes me wonder all the while and crave for more and more! Science is a magnet! And art and creativity increase its power and richness more and more!</p>
<p><span>This is the view of scientists: Science is very interesting and extremely exciting! The enchanting charms of this sublime science reveal only to those who have the courage to go deeply into it. And its beauty is revealed to those who have special vision to capture it! </span></p>
<p><span>This inspires you to write poems and create art works too. </span></p>
<div><div>But a<span>rtistic creativity is fundamentally different from scientific creativity. Artist's depend mostly on "their thoughts, ideas, beliefs and personal views" for their work whereas scientists' base their work on natural laws and facts and how to fit their informed ideas into these laws to creatively invent or discover something. The imagination of a scientist is based on reality. A scientist has to get his imagination right to succeed where as the artist need not do it right to move forward. In fact, the inadequacies of artists' imagination are what moves the art world forward! They are not the same like several people think and say. At the basic level some overlapping occurs but as you go deep into the subjects, the differences become very clear and I always wonder why people say both artists and scientists do things in similar ways. I think, people who are experts in only one field try to analyse things in other fields too such illusionary perceptions arise. I will give an example here. When artists, writers and poets look at the moon they see it as a silver ball in the sky and describe it or paint it in this manner. I even read some stories where the crescent moon was described as a jewel in the hair of a God! This thinking reflects in their creativity ( metaphor and fiction). Now scientists think in terms of a rocky, dusty satellite that moves in space around the earth trapped in its gravity field when they think about the moon and they use their creativity to take the help of the gravity of the moon to accelerate space ships or change their course to send them to other planets to save fuel and time - the mechanism is called "gravity assist " ( fact). Artists and poets even blamed scientists for disrupting their romantic ideas about moon by landing on it!</span></div>
<div><span> </span></div>
<div><span>(taken from one of my blogs posted on Sci-Art Lab)</span></div>
</div>
<div>So when a scientist writes a poem about science, he or she writes it based on reality and facts if science communication is the aim in writing a poem (my way of doing things). If s/he wants to write like an artist with artistic creativity as the reason to go about it, it will be based on metaphor/fiction. There lies the difference!</div>
<div>Of course you can mix both and write a hybrid too! I wrote one or two hybrid poems. </div>
<div>We have to be very clear about our objective and why we are going for it. </div>
<p></p>
<p>And Keats didn't know how to write poems on prisms! Because he didn't know how it works! Artists and poets who don't know how to create art works with a new vision that delves deeply into the basics of this scientifically created universe will complain and blame scientists.</p>
<p>Here is how you can write poems on the topic:</p>
<div class="tb"><h1 class="nolink">Science-art melody</h1>
</div>
<div class="discussion"><div class="description"><div class="xg_user_generated"><p><strong>Follow</strong> Science only in the way a Scientist's mind would <strong>allow</strong></p>
<p><strong>Create</strong> art with an artist's <strong>heart</strong></p>
<p><strong>Balance</strong> art and science to touch everybody's <strong>senses</strong></p>
<p><strong>Culturize</strong> science like the specialists <strong>advise</strong></p>
<p> With</p>
<p><strong>Music</strong> of Science that can create <strong>magic</strong></p>
<p>A <strong>touch</strong> of art only electro-magnetism can <strong>match</strong></p>
<p><strong>Art</strong> and science that can never <strong>part</strong></p>
<p><strong>Whose</strong> appeal has a universal <strong>base</strong></p>
<p> Then</p>
<p><strong>Wondering</strong> world can't stop <strong>ponderin</strong>g</p>
<p><strong>Science</strong> in art or is this art in <strong>science</strong></p>
<p><strong>Stamp</strong> of a polymath or a hard work's <strong>pomp</strong>?</p>
<p><strong>Making</strong> people say, oh, what a <strong>feeling</strong>!</p>
<p>Dr. Krishna Kumari Challa</p>
<p>Copyright © 2011</p>
</div>
</div>
</div>
<p>So??</p>
<p>People who only want to see the partial picture of colours and admire the rainbow's beauty, can never see the wonder of its origin, how you too can make rainbows using the knowledge and how this realization takes them to sublime states.</p>
<p>Only when you have the ability to see the whole and the right picture and appreciate it and make use of it can you understand this. You need a new vision that comes at the confluence of science and art to go to these ultimate levels of glorious heights.</p>
<p>If you don't have this vision, develop it! It makes life more meaningful and very attractive!</p>
<p>My art work "Natural Prism" depicts this new vision:</p>
<p></p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/2866686578?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2866686578?profile=original" width="500"/></a>(From <a href="http://www.kkartfromscience.com">http://www.kkartfromscience.com</a> )</p>
<p></p>
<p>The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as poetry.<br/> Bertrand Russell</p>
This vision takes you to the new heights!!</div>
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<div class="boxyPaddingBig">References:</div>
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<div class="boxyPaddingBig">1. <a href="http://blogs.plos.org/scicomm/2015/11/09/science-vs-poetry/">http://blogs.plos.org/scicomm/2015/11/09/science-vs-poetry/</a></div>
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<p></p>
Another difference between science and art
tag:kkartlab.in,2015-08-12:2816864:BlogPost:129623
2015-08-12T03:00:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p>An artist said this recently: “Science always pushes for a rational explanation for our world, but eschews the notion that there may be two or more opposing ideas that could equally stand up to scrutiny, forcing us to choose and defend one idea over the rest. Art, on the other hand allows for —and even encourages—the clash and irresolution of conflicting thoughts, but often falls short of providing answers that exist in a greater context.</p>
<p>My view on this:</p>
<p>But, true scientists…</p>
<p>An artist said this recently: “Science always pushes for a rational explanation for our world, but eschews the notion that there may be two or more opposing ideas that could equally stand up to scrutiny, forcing us to choose and defend one idea over the rest. Art, on the other hand allows for —and even encourages—the clash and irresolution of conflicting thoughts, but often falls short of providing answers that exist in a greater context.</p>
<p>My view on this:</p>
<p>But, true scientists cannot tolerate cognitive dissonance ( science doesn't allow for the holding of two contradictory positions). They must choose the facts and stick to them. Should we cater to peoples' archaic or ancient views to maintain our friendships and relationships or to get into the good books of people who judge us? Can we be dishonest? Can we avoid the topic totally and allow delusions to flourish?</p>
<p>There can never be two opposing facts in a given set of conditions! When things are put to scrutiny, all weak ideas that don't follow Nature's rules and conditions have to be discarded. Only things that tally with the laws have to be accepted. Can't you understand that?</p>
<p>You have to accept the reality, no matter what your belief system says or how closely you are associated with the idea. You cannot escape it, no matter how well you try it and live in a pseudo-world. Therefore, scientists are realists unlike artists. Get this very clear!</p>
<p>He also says...''<span style="font-family: hoeflertext; font-size: 11pt; line-height: 1.6em;">Science and art, working together, can be used to celebrate both thesis and antithesis, and bring them into a kind of harmony where</span> <span style="font-family: hoeflertext; font-size: 11pt; line-height: 1.6em;">different answers do not create incongruity but instead facilitate</span> <span style="font-family: hoeflertext; font-size: 11pt; line-height: 1.6em;">innovation. In using both science and art, people can think about</span> <span style="font-family: hoeflertext; font-size: 11pt; line-height: 1.6em;">the world as a complex web where each fiber—no matter how far apart they may seem—help tie and strengthen the whole structure</span> <span style="font-family: hoeflertext; font-size: 11pt; line-height: 1.6em;">together.”</span></p>
<p><span style="font-family: hoeflertext; font-size: 11pt; line-height: 1.6em;">My view:</span></p>
<p><span style="font-family: hoeflertext; font-size: 11pt; line-height: 1.6em;">Let us understand the differences clearly first. And why people belonging to different fields approach things differently. It is extremely difficult for us - when once we find a fact and reality - to go to the realm of pseudo-world and ideas that don't fit into reality. The beauty of truth will never allow you to go back to the ugly falsehood. A mind that is broadened by knowledge can never go back to its original and narrow size again! If you don't try to understand this and try to criticize us for not co-operating, it will become extremely difficult for us to work with artists. <br/></span></p>
<p><span style="font-family: hoeflertext; font-size: 11pt; line-height: 1.6em;">As long as you don't ask us to compromise on scientific principles, it is okay for us to collaborate with you. Don't try to cross this red line artists.</span></p>
<p>It is not our differences that divide us. It is our inability to recognize, understand in the right way, accept, and celebrate those differences. </p>
The Thinking behind Science and Art
tag:kkartlab.in,2015-08-11:2816864:BlogPost:129535
2015-08-11T20:06:58.000Z
Arjit Kishore Jere
https://kkartlab.in/profile/ArjitKishoreJere
<p>Hello People.This is my debut blog post.All opinions and criticism is welcome.</p>
<p>Science and Art are perhaps the oldest human pursuits,and are equally hard to define.The human mind could choose different approaches for artistic / scientific problem,although both approaches can intertwine. Most psychologists agree our mind works on 2 system principle.The first approach is truly rapid,intuitive and instinctive.It involves less conscious thought and is reactionary feelings based…</p>
<p>Hello People.This is my debut blog post.All opinions and criticism is welcome.</p>
<p>Science and Art are perhaps the oldest human pursuits,and are equally hard to define.The human mind could choose different approaches for artistic / scientific problem,although both approaches can intertwine. Most psychologists agree our mind works on 2 system principle.The first approach is truly rapid,intuitive and instinctive.It involves less conscious thought and is reactionary feelings based based.The second approach is more time consuming,elaborate,logical and depends a lot on rational thought and reasoning.It can be argued that Science uses more of the second approach,and art the first.Writing however,flits between both!</p>
<p>If science is an unbiased,fact based way of logically analysing a problem, Art is ANY means used to express thoughts and feelings.A scientist thinks precisely,objectively and logically about a question,always considering its plausibility.Although imagination is an important part for any scientific idea to develop,it has to be coupled with ground reality in order to apply it practically.In science, the grounds of justifying anything on basis of opinion,Feeling and liking are very thin.Science is a quest for the truth.</p>
<p>An artist not only uses imagination to spur his own art, but also tries to capture the imagination of the viewer of it. Art can be used to depict at truth,or hidden truth(allegory) or truth in a lie!Art as an expression is an open platform,transcending the barriers of logic.However ,that doesnt mean art is illogical.A look at da vincis "physics behind painting" tells us the great importance of logic utilised in painting.The social barriers of decency and aesthetics try to confine art.Aesthetics deals with pleasure to the viewer..as they say,"beauty is in the eyes of the beholder"or haronious music is in the ears of the listener!</p>
<p>. Art can be interpreted subjectively by the audience .Interestingly,Science hates subjectivity(based on personal opinion) as much as art hails it!On the other hand science prides itself in being based on facts and universality(objectivity)while a work of Art is almost always hard to judge on bare facts. This is what makes both special.</p>
<p></p>
<p>Now to the vital common human qualities between both.</p>
<p>1Observation-no work of science and art(be it a book,music or painting) is started without observation.Unless one observes nature and people around him it is almost impossible to come up with artistic or scientific ideas.</p>
<p>2Clarity of thought-Make an instrument or make a painting,clarity og thought is a vital catalyst to make ideas into reality or vice versa.</p>
<p>3.Method behind Madness-The Crazy scientist ,Mad artist moniker is well known.But behind all that madness or craziness there is a method.It is driven by practice and patience!</p>
<p>4.Creativity-The scientific or artistic mind both usually have the power of thinking of ideas hardly thought before!These spark the minds of great scientists and artists alike,giving rise to many innovations and inventions. </p>
<p>However a scientist should be open minded like an artist sometimes,while an artist should be analytical and logical when work requires the same! </p>
<p>Here are a few dsitinguished gentlemen who were scientist as well as artist in some way or another..or as i will call them...ARTSCISTS!</p>
<p>1Leonardo Da vinci(engineer,anatomist,painter)</p>
<p>2Albert Einstein(physicist,violin player)</p>
<p>3Edwin H.Land(chemist,photographer)</p>
<p>4Richard Dawkins(writer,evolutionary biologist)</p>
<p></p>
<p>and many many more...</p>
<p>"Fantasize artistically,apply scientifically"</p>
<p>Arjit Jere</p>
Exposição de arte Retalhos d’Alma
tag:kkartlab.in,2015-07-05:2816864:BlogPost:128904
2015-07-05T00:30:00.000Z
Maria Cecilia Camargo
https://kkartlab.in/profile/MariaCeciliaCamargo
<p align="center"></p>
<p align="center"></p>
<p align="center">MARIA CECILIA CAMARGO</p>
<p align="center"><b><i>Retalhos d’Alma</i></b></p>
<p align="center"><i>07 a 21 de julho de 2015</i></p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<h1>Mostra de pinturas, desenhos, colagens, aquarelas e gravuras de Maria Cecilia Camargo explora a figura feminina</h1>
<p> </p>
<p> </p>
<p>Com realização da <b>Nossa Galeria de Arte</b> (ngarteprodutoracultural.com.br), o <b>Clube de Engenharia</b> abre no dia 07…</p>
<p align="center"></p>
<p align="center"></p>
<p align="center">MARIA CECILIA CAMARGO</p>
<p align="center"><b><i>Retalhos d’Alma</i></b></p>
<p align="center"><i>07 a 21 de julho de 2015</i></p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<h1>Mostra de pinturas, desenhos, colagens, aquarelas e gravuras de Maria Cecilia Camargo explora a figura feminina</h1>
<p> </p>
<p> </p>
<p>Com realização da <b>Nossa Galeria de Arte</b> (ngarteprodutoracultural.com.br), o <b>Clube de Engenharia</b> abre no dia 07 de julho, das 18 às 20 horas, a exposição “<b>Retalhos d’Alma</b>” da artista plástica <b>Maria Cecilia Camargo</b>. Com entrada gratuita, a mostra permanece aberta à visitação na <b>Galeria de Exposições do Clube de Engenharia</b> até o dia 21 de julho de 2015, de segunda a sexta das 10 às 18 horas.</p>
<p> </p>
<p>Segundo <b>Xanda Nascimento</b>, Curadora da Nossa Galeria de Arte, a “<i>exposição traça um recorte temático na produção artística de Maria Cecilia Camargo com obras que colocam em evidência seu fascínio pela figura humana, em especial o universo feminino</i>”. Além de pinturas, desenhos, colagens, aquarelas e gravuras, a exposição também apresenta objetos do atelier da artista. Xanda Nascimento explica que “<i>ao trazer para o ambiente expositivo elementos do seu processo criativo, Maria Cecilia compartilha a intimidade de sua poética plástica, possibilitando ao visitante observar não somente o conjunto das obras expostas, mas também o meio circundante e fértil onde as mesmas foram criadas</i>”.</p>
<p> </p>
<p><b> </b></p>
<p><b>SOBRE MARIA CECILIA CAMARGO</b></p>
<p><b> </b></p>
<p>Desde criança a curitibana Maria Cecilia Camargo demonstrou seu amor pela arte, frequentando a Escola de Arte da Biblioteca Pública de Curitiba. A partir da década de 70 passou a residir no Rio de Janeiro. No Rio, formou-se em Design de Interiores pela Universidade Cândido Mendes, que também contribuiu para sua iniciação artística através dos cursos de “História da Arte” com Cristina Sá e “Desenho Livre” com Marcos Chaves. A formação artística de Maria Cecilia é pontuada por instituições de excelência: Escola de Artes Visuais do Parque Lage (EAV-RJ), com orientações de Carli Portella, Gianguido Bonfanti, José Maria Dias da Cruz e Orlando Mollica; Museu de Arte Moderna do Rio de Janeiro (MAM-RJ), com orientação de Aluísio Carvão; Museu Alfredo Andersen (Curitiba/PR), sob orientação de Viviane Zeni; e Solar do Rosário (Curitiba/PR), tendo como orientadora Lélia Brown. Especializada na figura humana, a artista passa temporadas dedicadas ao estudo deste tipo de representação em museus e galerias de Londres. Entre individuais e coletivas, Maria Cecilia Camargo expôs nos estados do Rio de Janeiro, São Paulo e Paraná.</p>
<p> </p>
<p> </p>
<p><b>Local</b></p>
<p><i>Clube de Engenharia</i></p>
<p>Avenida Rio Branco, 124 - 22º andar - Centro</p>
<p>Rio de Janeiro - RJ</p>
<p><b> </b></p>
<p><b>+ Info</b></p>
<p><i>Nossa Galeria de Arte</i></p>
<p>(21) 3071-6864</p>
<p>contato@ngarteprodutoracultural.com.br</p>
<p>contato.ngarte@gmail.com</p>
Other sensations adds to the aesthetic pleasure caused by fine art
tag:kkartlab.in,2015-06-23:2816864:BlogPost:128745
2015-06-23T17:00:00.000Z
Liviu Iliescu
https://kkartlab.in/profile/LiviuIliescu
<p><span class="font-size-3">In publication (link):</span></p>
<p><span class="font-size-3"><b><a href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/exercise-on-sensation-and-perception-in-fine-art" rel="nofollow">Exercise on sensation and perception in fine art.</a></b></span></p>
<p><span class="font-size-3">I present composition:</span></p>
<p></p>
<p><span class="font-size-3"> …</span></p>
<p><span class="font-size-3">In publication (link):</span></p>
<p><span class="font-size-3"><b><a rel="nofollow" href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/exercise-on-sensation-and-perception-in-fine-art">Exercise on sensation and perception in fine art.</a></b></span></p>
<p><span class="font-size-3">I present composition:</span></p>
<p></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866684060?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866684060?profile=original" width="432" class="align-center"/></a></span></p>
<p><span class="font-size-3"> <strong> </strong>Liviu Iliescu; Study NN ; Blizzard ; Oil on cardboard ; 47x32 cm; 2000</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> I return completing the presentation with some aspects of synesthesia (i</span>t could be considered)</p>
<p>I quote</p>
<p><b><a rel="nofollow" href="http://www.google.ro/url?sa=t&rct=j&q=&esrc=s&frm=1&source=web&cd=1&cad=rja&uact=8&ved=0CB8QFjAA&url=http%3A%2F%2Fwww.doctorhugo.org%2Fsynaesthesia%2Fart%2F&ei=D4V0Ve6hDMPSyAPKxID4Cw&usg=AFQjCNHa_huhnke_notVgGwwUYtJ03eDaA">Art and Synesthesia: in search of the synesthetic experience</a></b></p>
<p><b><font color="#CC0033" face="Verdana, Arial, Helvetica, sans-serif">Abstract<br/> <br/></font></b> <font face="Verdana, Arial, Helvetica, sans-serif">The objective of this study is to come to a better understanding of the <em>'synesthetic experience', </em>especially in the context of art. It consists of two parts: in the first part, I review naturally occurring synesthesia. In the second part, I discuss created forms of synesthesia in art. My starting point is the hypothesis that <em>'synesthesia-phenomena'</em> are at the roots of all artistic practice. The approach is multidisciplinary and from a philosophy of art perspective. It will be argued that <em>'art as a synesthetic experience'</em>, and <em>'synesthetic experiences by synesthetes'</em>, share certain basic concepts: the making of new connections between the senses. In the arts, the search for correspondences and complementarities between the senses is essential. Artists have brought the <em>'synesthetic experience'</em> to the surface —to share their vision with the world. The intention is to analyze the impact of synesthetic approaches as experiments in art. The focus will be on a visual presentation of artworks by artists/pioneers<font color="#000000">,</font> as study case examples of early modern art movements; <em>Expressionism, Futurism, Dada, Surrealism, De Stijl and Abstract Expressionism.</em> <font color="#CC0033">(*)</font> The 'Manifesto of Surrealism' has improved on the Rimbaud principle that <em>"the poet must turn seer"</em>. Art and synesthesia go hand-in-hand.<br/> <br/> <font color="#CC0033">(*)</font></font><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif"> I shall discuss the work and thoughts of</font><font face="Verdana, Arial, Helvetica, sans-serif"> twelve </font><font color="#000000" face="Verdana, Arial, Helvetica, sans-serif">key figures</font><font face="Verdana, Arial, Helvetica, sans-serif">: <em>Edvard Munch, Piet Mondrian, </em></font><font><em><font face="Verdana, Arial, Helvetica, sans-serif">Francis Picabia, Paul Klee, Umberto Boccioni, Luigi Russolo, Marcel Duchamp, Anton Bragaglia, Man Ray, René Magritte, Mark Rothko and Meret Oppenheim.</font></em></font></p>
<p></p>
<p><span class="font-size-3"> Exercise composition; NN ... Study is part of a series of images that I propose as examples applicable in visual psychotherapy.</span></p>
<div class="description" id="desc_2816864Comment128721"><div class="xg_user_generated"><div class="description" id="desc_2816864Comment128447"><div class="xg_user_generated"><p><span class="font-size-3"> As described in:</span></p>
<p><span class="font-size-3"><b><a rel="nofollow" href="http://www.binocular-rivalry.ro/c5.html">5. Laboratory hall for visual therapy</a></b></span></p>
<p><span class="font-size-3"><b><a rel="nofollow" href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/bioptical-art-cabinet-for-visual-psychotherapy">Bioptical Art -Cabinet for visual psychotherapy</a></b></span></p>
<p><span class="font-size-3"><b> </b> </span></p>
<p><span class="font-size-3">In this laboratory (cabinet for the investigation) is tested to determine</span></p>
<p><span class="font-size-3">which are compositions and techniques that would bring improvement in the condition of a particular patient.</span></p>
<p><span class="font-size-3"> I have proposed be established and offices as annexes, specialized in different areas, where they will be treated selected patients</span></p>
<p><span class="font-size-3"> These offices will be profiled areas: painting; sculpture; digital art, photography, video ...</span></p>
<p><span class="font-size-3"> At first glance, my composition appears as part of an outdated style.</span></p>
<p><span class="font-size-3"> These compositions still exists and is available for specialists to be evaluated in the following assumptions:</span></p>
<p><span class="font-size-3"> - Not interested</span></p>
<p><span class="font-size-3"> - May provide visual interest in psychotherapy, especially for patients who have mediocre intellectual preparation</span></p>
<p><span class="font-size-3"> I painted composition exercise; Study NN .. by hesitant attempts, seeking, sensation effect priority relative to perception, also obtain <strong>effects of synesthesia.</strong></span></p>
<p><strong><span class="font-size-3">In case could be assessed in this regard some particular sensations caused by composition.</span></strong></p>
<p><span> So I imagined a type of tree which I repeated in perspective, tree that resist the blizzard because elasticity the twigs.</span></p>
<p><span class="font-size-3"> <strong>Appear added sensation similar to those felt in contemplation</strong></span></p>
<p><span class="font-size-3"><strong>fine art compositions which exceed the limits of aesthetic pleasure</strong></span></p>
<p><span class="font-size-3"> Provide effects of synesthesia, the observer feeling and anger the invisible air.</span></p>
<p><span class="font-size-3"> Of course some of my proposals appear as assumptions for research topics.</span></p>
<p><span class="font-size-3"> In future not too distant, will be improvements in neuroesthetics,</span></p>
<p><span class="font-size-3">to determine, in fine art degrees of psychic influence. This view was also mentioned by Dr. Krishna Kumari Chall.</span></p>
<p><span class="font-size-3"> In recent years researchers using magnetic resonance have resulted images in the brain, when the observer was asked to look for graphic test.</span></p>
<p><span class="font-size-3">by binocular rivalry.</span></p>
<p><span class="font-size-3"> See link:</span></p>
<p><span class="font-size-3"><b><a rel="nofollow" href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/subcortical-discrimination-binocular-rivalry-magnetic-resonance">Subcortical discrimination; binocular rivalry; magnetic resonance</a></b></span></p>
<p><span class="font-size-3"><b> </b>It is unlikely that currently an expert to handle my proposals.</span></p>
<p><span class="font-size-3"> Therefore I consulted highlighting the themes, by Google, which apply for settlement in order of importance, more than 300 criteria, resulting in a huge bibliographic file.</span></p>
<p><span class="font-size-3">I have posted:</span></p>
<p><span class="font-size-3"><strong>blizzard storm snow and wind fine art images photo</strong></span></p>
<p><span class="font-size-3"><strong> </strong>I selected two similar images with, composition NN Study</span></p>
<p><span class="font-size-3">from: approximately 443,000 (the) results</span></p>
<p><span class="font-size-3"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2866684098?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866684098?profile=original" width="333" class="align-center"/></a></span></p>
<p><span class="font-size-3"> author not mentioned</span></p>
<p align="center"><span class="font-size-3"><b>Blizzard<br/> <strong>(a storm with lots of snow and wind)</strong></b></span></p>
<p align="center"><span class="font-size-3"><strong> </strong></span></p>
<p align="center"><span class="font-size-3"><a href="http://storage.ning.com/topology/rest/1.0/file/get/2866684308?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866684308?profile=original" width="336" class="align-full"/></a></span></p>
<p align="center"><span class="font-size-3"> Posted by <a rel="nofollow" href="https://waldotomosky.wordpress.com/author/waldotomosky/" title="View all posts by Waldo "Wally" Tomosky">Waldo "Wally" Tomosky</a> in <a rel="nofollow" href="https://waldotomosky.wordpress.com/category/educational/">Educational</a>, <a rel="nofollow" href="https://waldotomosky.wordpress.com/category/the-pilgrimage/">THE PILGRIMAGE</a></span></p>
<p></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">I quote a sculpture that causes the feeling (synesthesia) the dynamism of human strength</span></p>
<p><span class="font-size-3"><b>Umberto Boccioni</b> ; 19 October 1882 – 17 August 1916) was an influential Italian painter and sculptor.</span></p>
<p><span class="font-size-3"><b><a rel="nofollow" href="https://www.google.ro/search?q=boccioni+unique+forms+of+continuity+in+space&biw=1024&bih=685&tbm=isch&tbo=u&source=univ&sa=X&ei=galqVfSHIMvlUvP2gJAI&ved=0CB4QsAQ"> Unique forms of continuity in space</a></b></span></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866684275?profile=original" target="_self"><img width="200" src="http://storage.ning.com/topology/rest/1.0/file/get/2866684275?profile=RESIZE_320x320" width="200" class="align-center"/></a></span></p>
<p><span class="font-size-3"> This imagine appears in numerous publications: an example> link</span></p>
<p><span class="font-size-3"><b><a rel="nofollow" href="http://www.google.ro/url?sa=t&rct=j&q=&esrc=s&frm=1&source=web&cd=1&cad=rja&uact=8&ved=0CB8QFjAA&url=http%3A%2F%2Fwww.doctorhugo.org%2Fsynaesthesia%2Fart%2F&ei=D4V0Ve6hDMPSyAPKxID4Cw&usg=AFQjCNHa_huhnke_notVgGwwUYtJ03eDaA">Art and Synesthesia: in search of the synesthetic experience</a></b></span></p>
<p><span class="font-size-3">"Art and Synesthesia: in search of the synesthetic experience"</span><br/> <span class="font-size-3">by Dr. Hugo Heyrman</span></p>
<p><span class="font-size-3">Synesthesia caused by fine art seems to be more complex than the typical case.</span></p>
<p><span class="font-size-3"> For example, when some people contemplating the image of a rose and feel perfumed smell (typical case)</span></p>
<p></p>
<p><span class="font-size-3">The compositions of the above and the like will be included in the program:</span></p>
<p><span class="font-size-3"><b><i>Cabinet for visual psychotherapy</i></b></span></p>
<p><span class="font-size-3"><i> </i></span></p>
<p><span class="font-size-3">As shown in previous publications in fine art I propose the application of stimuli resulting from esearch areas:</span></p>
<p><span class="font-size-3"> <b>Binocular rivalry (Br); Fusion colors (Fc) -Helmholtz ; Stereoscopy (St)</b></span></p>
<p><span class="font-size-3">These stimuli causes sensations and perceptions designed by differences in eye, on the two retains</span></p>
<p><span class="font-size-3"> In the case, stereoscopy, as we know, the differences resulting from reconstituting a pair of photographic images differences, projected on two, retain the eyes, when a person looks an object.</span></p>
<p><span class="font-size-3"> In cases (Br) and (Fc) also use two images (compositions), but the image for the right eye differs shapes and colors of the image for the left eye. For examplein the case of (Br) vertical lines and respectively horizontal</span></p>
<p><span class="font-size-3">lines and in the case of (Fc) blue respectively yellow.</span></p>
<p><span class="font-size-3">In the test on many people I found reproducibility, in similar proportion to those which result from Stereoscopic observation.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"><b> Unique effects that occur in my, Bi-optical compositions are certitudes (demonstrable).</b></span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3">I have numerous publications on Bi-Optical Art, especially for inviting artists to practice the techniques that I proposed.</span></p>
<p><span class="font-size-3">Compositions and texts by which I explain techniques to achieve of such compositions, with evidence reproducibility, I think they match the <strong>prediction philosophical criterion</strong>. </span></p>
<p><span class="font-size-3"> My utterances to promote Art biopsy are generally self-critical content are possible misunderstandings or incorrect statements</span></p>
<p><span class="font-size-3"><b> </b>I have developed <b>Bi-optical Art</b> findings using scientific areas</span></p>
<p><span class="font-size-3">mentioned above, which is based on training habit inherited structures, while being of human phylogenesis have two eyes placed laterally as is the dove.</span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b> My compositions have not reached the level of those professional artists who have developed artistic sensitivity, on a particular genetic background.</b></span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b> </b></span></p>
</div>
</div>
</div>
</div>
Final da Exposição Sou Assim
tag:kkartlab.in,2015-06-23:2816864:BlogPost:128867
2015-06-23T00:31:47.000Z
Maria Cecilia Camargo
https://kkartlab.in/profile/MariaCeciliaCamargo
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/2907552874?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2907552874?profile=original" width="709"/></a><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/2907552725?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2907552725?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/2907552874?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2907552874?profile=original" width="709"/></a><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/2907552725?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2907552725?profile=RESIZE_1024x1024" width="750"/></a></p>
60 digital works
tag:kkartlab.in,2015-05-29:2816864:BlogPost:128494
2015-05-29T20:30:42.000Z
dima27
https://kkartlab.in/profile/dima27
<p><a href="http://d27.ge/dimad.html" target="_blank">http://d27.ge/dimad.html</a></p>
<p><a href="http://d27.ge/dimad.html" target="_blank">http://d27.ge/dimad.html</a></p>
Exposição de arte Sou Assim de Maria Cecilia Camargo no Rio de Janeiro
tag:kkartlab.in,2015-05-07:2816864:BlogPost:128077
2015-05-07T14:40:07.000Z
Maria Cecilia Camargo
https://kkartlab.in/profile/MariaCeciliaCamargo
<p><strong>Não perca a minha exposição de arte Sou Assim no Rio de Janeiro.</strong></p>
<p></p>
<p><strong><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/2907551406?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2907551406?profile=RESIZE_1024x1024" width="750"/></a></strong></p>
<p><strong>Não perca a minha exposição de arte Sou Assim no Rio de Janeiro.</strong></p>
<p></p>
<p><strong><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/2907551406?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/2907551406?profile=RESIZE_1024x1024" width="750"/></a></strong></p>
Why you cannot create lots of sci-art works
tag:kkartlab.in,2015-01-28:2816864:BlogPost:123718
2015-01-28T05:30:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p>One of my artist friends creates lots of art works. At least ten to fifteen in a month. Most of the works are landscapes and nature-related. It is as if some machine is working in her studio producing innumerable works in no time. And sells them cheap, attracting people and making lots of money in the process. She copies from photographs, pictures in news papers and magazines. She need not put much of an effort mentally. I am sure she can paint thousands of these things in her life…</p>
<p>One of my artist friends creates lots of art works. At least ten to fifteen in a month. Most of the works are landscapes and nature-related. It is as if some machine is working in her studio producing innumerable works in no time. And sells them cheap, attracting people and making lots of money in the process. She copies from photographs, pictures in news papers and magazines. She need not put much of an effort mentally. I am sure she can paint thousands of these things in her life time.</p>
<p>In the beginning I used to wonder how people can do that. I tried her technique myself painting landscapes and realized how easily it could be done. Yes, I could beat her out and paint at least one in a single day! If only I were a landscape painter! I could produce tons and tons of art works and become prolific, rich and famous in no time!</p>
<p>But that kind of work doesn't appeal to me.</p>
<p>My main aim is communicating science to a lay man at the same time do justice to all the fields I work in.</p>
<p>Try connecting science to art with a high quality clarity of the theme . You will soon realize how difficult it is! It is not easy!</p>
<p>Yes, I agree, if you are trying to show only the aesthetics of science, it is easy concentrating on all the aspects of art without worrying much about the science part of it. But communication is a different ball game all together. That is why, I think you don't get many art works based on science communication done by artists and scientists.</p>
<p>And try connecting all these three subjects: Science, Art and Literature. Your mind will blow off! That is what I am trying to do and why my mind is going haywire these days. And I didn't come across people doing this as it is extremely difficult. I have seen some people trying to connect science to art (mostly with aesthetics as the purpose, not communication ), some art to literature, some science to literature but never saw anybody trying to connect all the three like me ( maybe I am the only crazy person around to do this trying to damage her gray matter). I haven't seen anyone else trying to do a three subject work on a single theme of science till now.</p>
<p>And try to connect science to theology and philosophy too apart from art and literature. Need I tell you what happens? You will die a hundred deaths! <span style="color: #ff0000;"><span style="color: #000000;">Because science is mainly based on facts and other subjects on fiction, beliefs, personal views, metaphors and intuitions that science finds difficult to accept.</span></span></p>
<p>The difficulty limits the number of works I can create. I cannot be prolific. But still I could manage about 130 sci-art works till now, aesthetic ones included, in eight years. And just a few sci-art-litt ones. People will have to see the quality and not the quantity of work when they judge my work .</p>
<p>Sci based art is no ordinary art, leave alone paintings. It is a highly specialized field and need rare talents to practice. </p>
<p>As my works are rare, they are very expensive too. No complaints please.</p>
<p></p>
Experiences for compositions of fine art forms in space
tag:kkartlab.in,2015-01-27:2816864:BlogPost:123838
2015-01-27T08:10:16.000Z
Liviu Iliescu
https://kkartlab.in/profile/LiviuIliescu
<p></p>
<div class="tb"></div>
<div class="xg_module_body"><div class="discussion"><div class="description"><div class="xg_user_generated"><p><b> </b><span class="font-size-3">Proposals are in the experimental phase.</span></p>
<p><span class="font-size-3">I considered as shown in figure 8,9 bi-optical causes <em>hallucinatory!</em> effects</span></p>
<p></p>
<p><span class="font-size-3">I applied more stimuli from Binoccular rivalry, Colour fusion , Stereoscopy,…</span></p>
<p></p>
</div>
</div>
</div>
</div>
<p></p>
<div class="tb"></div>
<div class="xg_module_body"><div class="discussion"><div class="description"><div class="xg_user_generated"><p><b> </b><span class="font-size-3">Proposals are in the experimental phase.</span></p>
<p><span class="font-size-3">I considered as shown in figure 8,9 bi-optical causes <em>hallucinatory!</em> effects</span></p>
<p></p>
<p><span class="font-size-3">I applied more stimuli from Binoccular rivalry, Colour fusion , Stereoscopy,</span></p>
<p><span class="font-size-3">making its synergistic action in examples of fine art compositions, stimuli that I called bi-optical</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">I make additions to what I wrote about their application in sculpture (see link)</span></p>
<p><span class="font-size-3"><b><a rel="nofollow" href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/about-dioptica-bioptical-visual-sense-hyper-stereoscopy-c">About dioptica-bioptical: Visual sense, Hyper-stereoscopy (c)</a></b></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Applying in fine art my knowledge of optics, I insist in</span></p>
<p><span class="font-size-3"> compositions that activate dominant sensations</span></p>
<p><span class="font-size-3">These techniques would be of interest to artists and researchers in science.</span></p>
<p><span class="font-size-3">I agreed assumption that the skill the awareness binocular rivalry test result from</span></p>
<p><span class="font-size-3"> activation of phylogenesis</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> For references I posted the following keywords, resulting sites:</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> <b>binocular rivalry philogenetic</b></span></p>
<p><span class="font-size-3"><a rel="nofollow" href="http://www.google.ro/url?sa=t&rct=j&q=&esrc=s&frm=1&source=web&cd=1&cad=rja&uact=8&ved=0CCcQFjAA&url=http%3A%2F%2Fwww.ncbi.nlm.nih.gov%2Fpubmed%2F15066273&ei=lZ2_VLetKM3faJqHgOAB&usg=AFQjCNFU6NAV5Y-S9DeveQ4-WFbdfylRoA&bvm=bv.83829542,d.d2s">Subcortical discrimination of unperceived objects during ...</a></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Extract certifying results in scientific activities:</span></p>
<p><span class="font-size-3"> <i>We used binocular rivalry to present stimuli without conscious awareness, thereby eliminating the IT object representation and isolating subcortical visual input to the amygdala. Functional magnetic resonance imaging revealed significant brain activation in the left amygdala but not in object-selective IT in response to unperceived fearful faces</i></span></p>
<p><span class="font-size-3"><i>compared to unperceived nonface objects. These findings </i></span></p>
<p><span class="font-size-3"><i> </i></span></p>
<p><span class="font-size-3"> In aceasta cercetare</span></p>
<p><span class="font-size-3">s-au folosit testele penru studii de binocular rivalry, ale lui R. Blake :</span></p>
<p></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866684438?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866684438?profile=original" width="277" class="align-center"/></a></span></p>
<p><span class="font-size-3"> Fig. 1 ; Test: R.Blake</span></p>
<p><span class="font-size-3"> Look crossed eyes</span></p>
<p><span class="font-size-3"> Appears alternately portrait or mosaic at intervals of ~ 5 seconds.</span></p>
<p><span class="font-size-3"> At this time, without intervention, produces a mixture of the two images.</span></p>
<table border="0">
<tbody><tr><td valign="top"><p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b>binocular rivalry phylogenetic perspective</b></span></p>
</td>
</tr>
</tbody>
</table>
<p><span class="font-size-3"> [PDF]<a rel="nofollow" href="http://www.google.ro/url?sa=t&rct=j&q=&esrc=s&frm=1&source=web&cd=1&cad=rja&uact=8&ved=0CCQQFjAA&url=http%3A%2F%2Fwww.theassc.org%2Ffiles%2Fassc%2FHallmarks_of_consc_in_non-mammal_species_pre.pdf&ei=OZu_VPWtG5HTaKXngPAG&usg=AFQjCNHo9EJW0DlD-nbaZr_-x-KwMjHpLw&bvm=bv.83829542,d.d2s">Identifying Hallmarks of Consciousness in Non-Mammalian ...</a></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">I communicate a new type of object intended to be considered</span></p>
<p><span class="font-size-3"> as part of the class fine art compositions,</span></p>
<p><span class="font-size-3">artistic object that could be called Bi-optical Sculpture</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> In what follows I fill explanations about bi-optical sculpture, describing</span></p>
<p><span class="font-size-3">results of recent experiments.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Elements, the composition forms (sculpture), are such that when viewed by</span></p>
<p><span class="font-size-3"> bi-optic device occurs the feeling that the depth increases tens of times,</span></p>
<p><span class="font-size-3"> associated with binocular rivalry effects and color fusion.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">I agree that believes that any new way that induces</span></p>
<p><span class="font-size-3">dominance of visual communications sensation must experienced in perspective</span></p>
<p><span class="font-size-3">of taking over in science and art movements.</span></p>
<p><span class="font-size-3">Link:</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> <b><a rel="nofollow" href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/compositions-of-fine-art-in-which-it-would-be-possible-observe">Compositions of fine art in which it would be possible observe the ...</a></b></span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b>Bi-optical Sculpture</b> is a conventional composition with changes resulting from the application</span></p>
<p><span class="font-size-3">stimuli that are applied in the fields, binocula rivalry, color fusion, stereoscopy,resulting the composition</span></p>
<p><span class="font-size-3">shown in figure 2, in simplified form.</span></p>
<p><span class="font-size-3"><b> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866685440?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/2866685440?profile=RESIZE_480x480" width="400" class="align-center"/></a></b></span></p>
<p><span class="font-size-3"> <b>Fig 2</b> Sketch for Sculpture bi-optical</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">sd; Ss; spaces that will sit forms with bi-optical effects</span></p>
<p><span class="font-size-3">Tc-Tc; two forms placed in the same vertical plane</span></p>
<p><span class="font-size-3">Td-Td; two forms placed in the same vertical plane,</span></p>
<p><span class="font-size-3"> at, distance in depth relative to the vertical plane</span></p>
<p><span class="font-size-3"> they are placed Tc, Tc.</span></p>
<p><span class="font-size-3"> C-C, D-D; conical space for conventional sculptural forms, with the base</span></p>
<p><span class="font-size-3"> Td-Td; Tc -Tc</span></p>
<p><span class="font-size-3">H-H: support for settlement sculptural forms</span></p>
<p><span class="font-size-3">L-R; eyes of the observer (subject receiver)</span></p>
<p><span class="font-size-3">B; bi-optical device (monocular stereoscope!)</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">Using bi-optical device, are induced in composition, depth virtual dozens of times greater</span></p>
<p><span class="font-size-3">than the real distance between planes Tc and Td-Td-Tc</span></p>
<p><span class="font-size-3"> See:</span></p>
<p><span class="font-size-3"><b><a rel="nofollow" href="http://kkartlab.in/group/science-and-art-bioptical-art/forum/topics/about-dioptica-bioptical-visual-sense-hyper-stereoscopy-c">About dioptica-bioptical: Visual sense, Hyper-stereoscopy (c)</a></b></span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b> Forme pentru sculpturi bi-optice</b></span></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866685496?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/2866685496?profile=RESIZE_480x480" width="400" class="align-center"/></a></span></p>
<p><span class="font-size-3"><b>Fig. 3</b></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866685667?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/2866685667?profile=RESIZE_480x480" width="400" class="align-center"/></a></span></p>
<p><span class="font-size-3"> <strong>Fig. 4</strong></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> <b>Scheme executed at the scale for positioning sculptural forms</b></span></p>
<p><span class="font-size-3"><b>in the composition of space</b></span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b><a href="http://storage.ning.com/topology/rest/1.0/file/get/2866685894?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/2866685894?profile=RESIZE_480x480" width="400" class="align-center"/></a></b></span></p>
<p><span class="font-size-3"><b> </b><b> Fig 5</b></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"><b>Projections on horizontal planes</b></span></p>
<p></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866686094?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/2866686094?profile=RESIZE_480x480" width="400" class="align-center"/></a></span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b> </b><b>Fig. 6 </b></span></p>
<p><span class="font-size-3"> 1- the observation on the right; 2- observation on the left; result</span></p>
<p><span class="font-size-3">sub-spaces: 4 C-C; D-D (figure 2)</span></p>
<p><span class="font-size-3">when it can sculpt shapes developed without restrictions;</span></p>
<p><span class="font-size-3">to decrease the length M (space observatory) grow all sub-spaces denoted by 4;</span></p>
<p><span class="font-size-3">when looking through bi-optical device, the real depth of N,</span></p>
<p><span class="font-size-3">appears transposed in virtually with the depth of tens of times higher.</span></p>
<p><span class="font-size-3"> </span></p>
<p></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866685981?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/2866685981?profile=RESIZE_480x480" width="400" class="align-center"/></a></span></p>
<p><span class="font-size-3"> </span></p>
<p><b> Fig7 </b></p>
<p><span class="font-size-3">Option for displaying in exhibitions; 1- sculpture;</span></p>
<p><span class="font-size-3">2- screen, which has the window indicated at 3, to produce contrast in observing by bi-optical device,</span></p>
<p><span class="font-size-3">window in which it is possible to intoduce a glass filter (stained glass), depending on</span></p>
<p><span class="font-size-3">artistic concept; 4 - socket</span></p>
<p><span class="font-size-3">The distance D is increased according to increasing distance N, thus the pair components</span></p>
<p><span class="font-size-3">be observed with the same angle.</span></p>
<p><span class="font-size-3"> </span></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2866686368?profile=original" target="_self"><img width="180" src="http://storage.ning.com/topology/rest/1.0/file/get/2866686368?profile=RESIZE_320x320" width="180" class="align-center"/></a></p>
<p><span class="font-size-3"> </span><b>Fig. 8</b></p>
<p><span class="font-size-3">From space M (Figure 6) with the naked eye observer sees flat bases, Tc-Tc; Td-Td,</span></p>
<p><span class="font-size-3">with paintings, and through bi-optical device will notice the increase of ~ tens of times</span></p>
<p><span class="font-size-3">depth, in, the virtual space</span></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866693926?profile=original" target="_self"><img width="450" src="http://storage.ning.com/topology/rest/1.0/file/get/2866693926?profile=RESIZE_480x480" width="450" class="align-center"/></a></span></p>
<p><b>Fig. 9</b></p>
<p><span class="font-size-3"> The settlement on horizontal the fields to see with eyes crossed bi-optical effects:</span></p>
<p><span class="font-size-3"> binocular rivalry, color fusion, stereoscopy</span></p>
<p><span class="font-size-3">Observation distance 50… 100 cm,</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866694019?profile=original" target="_self"><img width="400" src="http://storage.ning.com/topology/rest/1.0/file/get/2866694019?profile=RESIZE_480x480" width="400" class="align-center"/></a></span></p>
<p><span class="font-size-3"> </span><b> Fig.10 ;</b></p>
<p><span class="font-size-3">This composition represents variations on the theme Hirst's spots</span></p>
<p><span class="font-size-3"> 1 panel; 2, 3 - sculptural components, 4, 5 supports</span></p>
<p><span class="font-size-3"><b><a rel="nofollow" href="http://www.binocular-rivalry.ro/c8.html">8. About interpretations or exegeses by means of bioptics</a></b></span></p>
<p><span class="font-size-3"><b><br/>Extras</b></span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">We know about "variations on a theme" in music. Variations are introduced in a certain theme in point of melody (to a certain extent), rhythm, relative values of the notes, harmony. Some composers are known to revive the works of other musicians, as a homage. It is also known that composers use to introduce cadences of their own in the concertos created by others. </span><br/><span class="font-size-3">The bi-optical art permits to introduce similar modalities, as I shall show in the following lines. Many compositions of the modern plastic art succeed in conveying only a little of the artist's sensitivity. They have a high entropic degree. Art critics try to cover the distance between the artist and the recipient subject. I provide the opportunity to introduce in well-known compositions a different type of wordless comments, with the help of bioptical means. They may complement known types of visual psychotherapy with beneficial effects. </span></p>
<p><span class="font-size-3"> </span></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2866695809?profile=original" target="_self"><img src="http://storage.ning.com/topology/rest/1.0/file/get/2866695809?profile=original" width="302" class="align-center"/></a></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p style="text-align: center;"><span class="font-size-3"><b>Fig.11 </b>Damien Hirst’s spots</span></p>
<p style="text-align: center;"><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b>I have described constructive details relative to optical composition, in:</b></span></p>
<p><span class="font-size-3"> see links</span></p>
<p><span class="font-size-3"><b> <a rel="nofollow" href="http://www.artabioptica.ro/art10.htm" target="main">Elemente geometrice in Arta Bioptica</a> </b></span></p>
<p><span class="font-size-3"> <a rel="nofollow" href="http://www.artabioptica.ro/cap10.htm" target="main">Geometrical elements in bioptical art</a> </span></p>
<p><span class="font-size-3"><b><a rel="nofollow" href="http://www.artabioptica.ro/manual.html">Manual</a></b></span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b>I adds completions regarding some geometrical characteristics</b></span></p>
<p><span class="font-size-3"><b>of bi-optical sculpture.</b></span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866695791?profile=original" target="_self"><img width="500" src="http://storage.ning.com/topology/rest/1.0/file/get/2866695791?profile=RESIZE_1024x1024" width="500" class="align-center"/></a></b></span></p>
<p><span class="font-size-3"><strong>Fig12</strong></span></p>
<p><span class="font-size-4"><b> </b></span><span>In bi-optical painting (figure 1), double forms are placed</span></p>
<p><span class="font-size-3">vertically at the same distance H,</span></p>
<p><span class="font-size-3">(between centers K; ~ of gravity) so that they are seen with the same angle α.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">In bi-optic sculpture, shown in figure 7, increasing the depth virtual</span></p>
<p><span class="font-size-3">is done by introducing in sculpture conventional the</span></p>
<p><span class="font-size-3">bases, Tc-Tc; Td-Td.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> In bi-optical culpture distance varies depending on the distance N,</span></p>
<p><span class="font-size-3"> so that from C (the place the observer), the angle of observation, shapes,</span></p>
<p><span class="font-size-3">Tc-Tc to be equal to the angle of observation shapes of Td-Td, resulting distance D.</span></p>
<p><span class="font-size-3"> The angles are equal when the two chords, formed in the circular arc α2, are equal</span></p>
<p><span class="font-size-3"><b>Differences are tolerated at angles up to 0.25 deg</b></span><b style="font-size: 12pt;"> </b></p>
<p><span class="font-size-3">Tolerance is the norm binocular optical appliances</span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2866696021?profile=original" target="_self"><img width="250" src="http://storage.ning.com/topology/rest/1.0/file/get/2866696021?profile=RESIZE_320x320" width="250" class="align-center"/></a></p>
<p><span class="font-size-3"><b> </b></span><b> Fig 13</b></p>
<p><span class="font-size-3"><b> </b></span><b> </b><span>Applying the method of Figure 14 can compose complex sculptural forms,</span></p>
<p><span class="font-size-3"> eg pyramid trunks and cones trunks B, and</span></p>
<p><span class="font-size-3"> cones, tending to form spiral.</span></p>
<p><span class="font-size-3">I deduced this form but I have not experienced this; I do not have</span></p>
<p><span class="font-size-3">appropriate technical knowledge.</span></p>
<p><span class="font-size-3"> Course can be designed computer programs, and possibly mechanical processing on automatic</span></p>
<p><span class="font-size-3"> cars with program.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"><b>I believe that these methods are helpful, but it is recommended that artist</b></span></p>
<p><span class="font-size-3"><b> sculpt using traditional techniques, step by step, so that he felt every moment</b></span></p>
<p><span class="font-size-3"><b> as is confirmed by its artistic sensibility</b></span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"><b>Bi-optical device</b></span></p>
<p><span class="font-size-3">11</span></p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/2866696188?profile=original" target="_self"><img width="150" src="http://storage.ning.com/topology/rest/1.0/file/get/2866696188?profile=RESIZE_180x180" width="150" class="align-center"/></a></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866696315?profile=original" target="_self"><img width="150" src="http://storage.ning.com/topology/rest/1.0/file/get/2866696315?profile=RESIZE_180x180" width="150" class="align-center"/></a></span></p>
<p><span class="font-size-3"> <a href="http://storage.ning.com/topology/rest/1.0/file/get/2866696292?profile=original" target="_self"><img width="300" src="http://storage.ning.com/topology/rest/1.0/file/get/2866696292?profile=RESIZE_320x320" width="300" class="align-center"/></a></span></p>
<p><span class="font-size-3"> </span><span> </span></p>
<p><span>1 the plate the base</span></p>
<p><span class="font-size-3">2 lever by turning, getting vertical movement of the right eye image</span></p>
<p><span class="font-size-3">3 fixed mirror</span></p>
<p><span class="font-size-3">4 mirror fixed to the lever 2; 3 + 4 forms a vertical periscope</span></p>
<p><span class="font-size-3">5 adjuster screw</span></p>
<p><span class="font-size-3">6 button to lock lever 2</span></p>
<p><span class="font-size-3">7 diaphragm; piece that contains a form to support the forehead.</span></p>
<p><span class="font-size-3"> </span><span> </span></p>
<p><span class="font-size-3">Verlapping, real image with virtual image obtained 3 + 4 mirrors, rotating lever 2, which has an axis of rotation YY, perpendicular to the plate the base 1 being that the screw axis 9.</span></p>
<p><span class="font-size-3">When observing a disorder, to the overlap images the rotation screw 5</span></p>
<p><span class="font-size-3">around the axis XX, which is in the plane motherboard 1,</span></p>
<p><span class="font-size-3">ensure appropriate control</span></p>
<p><span class="font-size-3">The two axes ensure the correct overlay images.</span></p>
<p><span class="font-size-3">ensure appropriate control.</span></p>
<p><span class="font-size-3">The two axes ensure the correct overlay images.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">In over 50 years of study I created several variants of devices for the contemplation of bi-optical images.</span></p>
<p><span class="font-size-3">This is the latest design.</span></p>
<p><span class="font-size-3"> </span></p>
<p><span class="font-size-3">The device was executed in several copies of my friend Petrica Damian</span></p>
<p><span class="font-size-3"> with bricolage tools.</span></p>
<p><span class="font-size-3"><b>I will distribute free to people who want to apply bi-optical techniques.</b></span></p>
<p><span class="font-size-3"><b> If there are numerous requests, for obtaining such devices, I have to recommend a professional workshop.</b></span></p>
<p><span class="font-size-3"><b> </b></span></p>
<p><span class="font-size-3"> </span></p>
</div>
</div>
</div>
</div>
Being both a specialist and a generalist helps!
tag:kkartlab.in,2014-12-02:2816864:BlogPost:122146
2014-12-02T01:30:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p>Being both a specialist and a generalist helps!</p>
<p>Well, yes. I am a specialist on toxins produced by micro-organisms in food. I specialized in a particular subject. That really sounds weird. Because that doesn't make me an absolute specialist. I am a relative specialist because there are several microbes and the toxins produced by them are different. I am a myco-toxicologist, because I specialized in mycotoxins, i.e., toxins produced by fungi. And I am not a specialist on all toxins…</p>
<p>Being both a specialist and a generalist helps!</p>
<p>Well, yes. I am a specialist on toxins produced by micro-organisms in food. I specialized in a particular subject. That really sounds weird. Because that doesn't make me an absolute specialist. I am a relative specialist because there are several microbes and the toxins produced by them are different. I am a myco-toxicologist, because I specialized in mycotoxins, i.e., toxins produced by fungi. And I am not a specialist on all toxins produced by fungi. I studied in detail only toxins produced by fungi in food. That is super-speciality. That makes my field very narrow. Woof! In all other things I am just as good as any other layman.</p>
<p>Am I? Wait a minute. I think I am better than many laymen. Because, I specialized in general in Biological sciences by doing my masters in life sciences. Before that I did my graduation with Chemistry, Physics and Biology as my special subjects. In the beginning, at school, I studied both arts and sciences. I passed through generalization before entering specialization. When I entered the field of art when I was a child and became a self-taught or life-taught graduate in the subjects of both visual art as well as literature, my generalization increased. Then, I started experimenting in several other fields like designing, learning about journalism by making this network into an online journal, by learning social skills, and...I became a total human being.</p>
<p>Yes, now I am both a specialist and a generalist. When I combined all my skills I became somebody really special because my world is no longer narrow, it grew to such a size that my entire view of the universe changed so much that I became a new species of the mind!</p>
<p>This really helps in understanding the world from a new and special points of view and my world has become very broad. And who says a specialist's world becomes narrow?</p>
<p>Generalists tend to have a broad range of skills and experiences across a range of disciplines within their field, while specialists invest time and effort in becoming the go-to person in a certain niche. Usually, specific skills are valued more because they are more difficult to teach. Having a range of different experiences and skill sets can allow people to identify what their ideal role would be over time, and then look for specialist careers. Generalist skills are useful in becoming good leaders and trend setters because the skills help in dealing with different people efficiently. <span class="st">A <em>generalist</em> will be able to thrive in a wide variety of conditions and can make use of a variety of different resources.</span></p>
<p><span class="st">Recently I read this online (1): What’s the difference between a generalist and a specialist? A generalist knows less and less about more and more until eventually he or she knows nothing about everything. A specialist knows more and more about less and less until eventually he or she knows everything about nothing. Being either a generalist or a specialist is useless, and anyone trying to be both at the same time inevitably self-destructs.</span></p>
<p><span class="st">I think this is a dumb and old argument said by people who cannot understand how to gain and utilize the knowledge obtained properly. A generalist can know more and more about more and more of various things if s/he is really interested in learning things and acquiring knowledge. S/he becomes more stronger and stronger mentally. A specialist can learn as much as possible in the subject s/he is specializing in and become very confident. Both processes deal with gaining knowledge. Then one can bring the vast amount of knowledge one gathers to creatively connect things and bring benefit to various fields one is working in.</span></p>
<p><span class="st">And when the situation demands it, a specialist can use the large amount of knowledge gathered in a single subject for specific purposes to help the world. It all depends on how well one can manage and differentiate things depending on the needs of the world around you.</span></p>
<p><span class="st">I didn't self-destruct myself by being both a generalist and specialist. On the contrary, I flourished and reached the pinnacle of intellectualism! A mind broadened by vast knowledge can never go back to its original size!
<br/>
</span></p>
<p><span class="st">References:</span></p>
<p><span class="st">1. <a href="http://www.forbes.com/sites/georgebradt/2012/08/10/us-womens-olympics-gymnastics-team-lessons-re-generalists-vs-specialist/">http://www.forbes.com/sites/georgebradt/2012/08/10/us-womens-olympics-gymnastics-team-lessons-re-generalists-vs-specialist/</a></span></p>
<p></p>
<p><iframe src="//www.youtube.com/embed/We760YM5-iM?wmode=opaque" frameborder="0" height="315" width="560"></iframe>
</p>
Are people of science dumb?
tag:kkartlab.in,2014-11-24:2816864:BlogPost:122111
2014-11-24T05:00:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p>I have read 'several' articles recently that say, " sciences should embrace art to get more creative and do out of the box thinking". </p>
<p>Well, this really stumps me. Are people of science dumb? All these inventions, discoveries, thinking in new ways to understand the world and help it - observed for so many years came out of nothing? Isn't there creativity in science? Are scientists limited to their narrow boxes ( some are trying to call them pigeon holes!)? <strong>Somehow I don't like…</strong></p>
<p>I have read 'several' articles recently that say, " sciences should embrace art to get more creative and do out of the box thinking". </p>
<p>Well, this really stumps me. Are people of science dumb? All these inventions, discoveries, thinking in new ways to understand the world and help it - observed for so many years came out of nothing? Isn't there creativity in science? Are scientists limited to their narrow boxes ( some are trying to call them pigeon holes!)? <strong>Somehow I don't like this belittling science and scientists to promote art.</strong></p>
<p>Some people of art told me because of the character of super speciality, scientists can obtain only narrow views. They fail to see and do things differently. This made me think deeply. Because of my specialization in a particular subject has my world became suddenly narrower? Have I forgotten how to think and do things in a smarter way?</p>
<p>The answer I got was a big "NO"!</p>
<p>In fact my science specialization made me become more creative connecting science, art and literature and doing things more creatively in science. Don't forget that before becoming a specialist, I was a non-specialist and I came to this level after studying several things and subjects. I became a specialist by passing through non-specialization! When a brain is expanded to a certain level, it can never become narrower again!</p>
<p>Moreover, it has been observed that people belonging to different science subjects and regions, when brought together and made to work in collaborations, yielded fantastic results. Scientists give CERN's achievements as a good example of this.</p>
<p>An art-science organization's ad starts with these words: 'The new economy needs scientific and creative minds to come together, understand each other and work together across sector boundaries'.</p>
<p>Aren't scientific minds not creative?! Science subject is based on creativity - more specifically scientific creativity. Without obtaining knowledge in various ways, seeing things differently, finding alternate solutions when encountered with problems, how can science progress?</p>
<p>I agree, art is important for the growth of people's personalities. It is important to make things easy for common people to understand complexity. But to say 'science lacks creativity' and say things that mean 'scientists are dumb' or 'their visions become narrow because of their specializations' is not appropriate to promote arts. How can art and artists come to this level of denigration? Do you have to suppress something so important in human welfare to promote your own subject? People of art think about this before giving another lecture or writing article.</p>
How an artist helped science unintentionally
tag:kkartlab.in,2014-10-31:2816864:BlogPost:121544
2014-10-31T02:00:00.000Z
Dr. Krishna Kumari Challa
https://kkartlab.in/profile/DrKrishnaKumariChalla
<p>Nikolai Peristov, a Russian artist who carves jewellery from ancient mammoth tusks, helped science unintentionally! In 2008, Peristov was looking for ivory along Siberia’s Irtysh River when he noticed a bone jutting from the riverbank. He dug it out and showed it to a police forensic scientist, who identified it as probably human.</p>
<p>The bone turned out to be a human left femur, and eventually made it to the Max Planck Institute for Evolutionary Anthropology in Leipzig, Germany, where…</p>
<p>Nikolai Peristov, a Russian artist who carves jewellery from ancient mammoth tusks, helped science unintentionally! In 2008, Peristov was looking for ivory along Siberia’s Irtysh River when he noticed a bone jutting from the riverbank. He dug it out and showed it to a police forensic scientist, who identified it as probably human.</p>
<p>The bone turned out to be a human left femur, and eventually made it to the Max Planck Institute for Evolutionary Anthropology in Leipzig, Germany, where researchers carbon-dated it. It was a 45-year-old leg bone from Siberia and it has yielded the oldest genome sequence for Homo sapiens on record — revealing a mysterious population that may once have spanned northern Asia. The DNA sequence from a male hunter-gatherer also offers tantalizing clues about modern humans’ journey from Africa to Europe, Asia and beyond, as well as their sexual encounters with Neanderthals. “It was quite fossilized, and the hope was that it might turn out old. We hit the jackpot,” says Bence Viola, a palaeoanthropologist who co-led the study of the remains. “It was older than any other modern human yet dated.” The luck continued when Viola’s colleagues found that the bone contained well-preserved DNA, and they sequenced its genome to the same accuracy as that achieved for contemporary human genomes (1, 2).<br/> The researchers named their find Ust’-Ishim, after the district where Peristov found the remains. They dated him to between 43,000 and 47,000 years old, nearly twice the age of the next-oldest known complete modern-human genome, although older, archaic-human genomes exist.</p>
<p>References:</p>
<p>1. <a href="http://www.nature.com/nature/journal/v514/n7523/full/nature13810.html">http://www.nature.com/nature/journal/v514/n7523/full/nature13810.html</a></p>
<p>2. <a href="http://www.nature.com/news/oldest-known-human-genome-sequenced-1.16194">http://www.nature.com/news/oldest-known-human-genome-sequenced-1.16194</a></p>