Science-Art News

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Comment by Dr. Krishna Kumari Challa on October 1, 2013 at 7:59am

http://documents.clubexpress.com/documents.ashx?key=EgOny09Mv0BbT/i...!
Evidence:
A Report on the Impact of Dance in the K-12 Setting
Abstract:
The National Dance Education Organization
(NDEO) undertook a review of recent studies of
ho
w dance impacts learning, with particular
attention to several areas determined to
be under
-
researched in the 2004
Research Priorities for
Dance Education: A
Repor
t to the Nation
(Bonbright
and Faber
). These areas included:
Creative Process, Neuroscience/B
rain Research,
Student Achievement, Affective Domain, Student
Performance, Equity, Cultural and World Dance,
and Children
-
at
-
Risk. A group of researchers
combed a variety of databases, including recent
theses, dissertations, and articles within the Dance
E
ducation Literature and Research descriptive
index (DELRdi), the Fast Response Survey System
(FRSS), and a newly discovered collection of
reports from the U.S Department of Education’s
Arts
-
in
-
Education programs in professional
development and model progra
ms. The researchers
prepared evaluations and summaries of each study,
article, or report that provided insight into the
evidence of how dance education impacts teaching
and learning in the first decade -plus of the 21st century

Comment by Dr. Krishna Kumari Challa on October 1, 2013 at 7:18am

http://www.swoknews.com/styles-new/entertainment/item/10494-love-of...
Love of art, science blend in new exhibit
There's a synergism that comes from bringing people with different ideas and different viewpoints and perspectives together because it's kind of like we all see the world through a little bit different of a lens. So an artist sees the world a little bit differently than a biologist might you get them together and combine that, you get another kind of image and that's how we learn."

Comment by Dr. Krishna Kumari Challa on September 30, 2013 at 5:55am

http://us2.campaign-archive1.com/?u=a754064eaa5eee7756f83e414&i...!
CALL FOR PROPOSALS

Waterwheel World Water Day Symposium 2014 - 3WDS14
We invite proposals for projects, papers, performances, panels and workshops, from scientists, academics, artists, architects, urbanists, engineers, practitioners, activists, inventors and water drinkers.

Symposium theme: WaterViews – Caring and Daring
Symposium dates: 17– 22 March 2014

Deadline for proposals: 22 November 2013 for 3WDS14
Download the pdf: English, Spanish and French

VOICE OF THE FUTURE

Youth Participation in Waterwheel World Water Day Symposium 2014 - 3WDS14
We invite young people up to 18 years of age to submit an artwork, a live presentation or performance, or a curatorial project from a group, on the symposium theme: Water Views - Caring and Daring. No Entry Fee.

Deadline for proposals: 31 December 2013 for VOICE OF THE FUTURE
Download the pdf: English, Spanish and French

PITCH MATCHING SESSIONS 18-21 Oct 2013

Fostering greater creative collaboration among artists and scientists in this year’s symposium, four days of “pitch matching sessions” will offer options for meeting others and exchanging ideas prior to submitting project proposals.
If you are interested, please:

join the doodle http://bit.ly/3WDS14-PitchMatch-doodle
introduce yourself and your work in the doodle comments section.

Comment by Dr. Krishna Kumari Challa on September 29, 2013 at 9:40am

http://www.wacotrib.com/blogs/entertainment_in_waco/imagining-a-fut...
imbabwe-born artist Shane Boddington, a guest artist for the ScienceFest part of this weekend’s Waco Cultural Arts Festival, wants festival-goers to think a little differently about Waco — specifically, about the city’s future more than its past or present.

To do so, he’ll do what he does best: create art. Although much of his work is in painting, Boddington intends to build a large polyhedron from semi-transparent glass panels that will reflect light and images on its internal surfaces.

The glass, geometry, lighting and math required for construction emphasis the role that science can play in art — hence Boddington’s appearance this weekend — and, symbolically, suggest the greater role science and engineering may play in Waco’s future, thanks to projects such as the Baylor Research and Innovation Collaborative.

His concept (and by now possibly a finished piece as I chatted with him early in the week) got me thinking on similar lines: How would you stimulate thinking about a community’s future through a piece of art? What visual language would you use in a place where much public art is representational, that is, art that looks like what it’s depicting? How much of its interpretation do you leave open-ended for viewers to supply, especially since the future is the domain of the imagination?

I found myself thinking of a large steel sculpture installed in Waco more than 15 years ago meant to do just that: Robert Wilson’s 1997 work “The Waco Door” standing outside Art Center Waco.

Wilson, a Waco native, is an artist, designer and director known internationally for his vision and boundary-stretching work. His towering, 22-foot tall steel door, crafted with his hometown in mind, stands slightly ajar and in that ambiguous space past, present and future mingle.

Does it symbolize a conservative mindset unwilling to open more widely? Is it opening into a promising future? Is it shutting? Why is it so tall? Is it rusting for color’s sake or is that commentary?

Good art never exhausts its interpretation and one hopes Boddington’s festival piece, located near ScienceFest activities in the Waco Convention Center, prods viewers’ curiosity — a quality on which both art and science thrive.

Comment by Dr. Krishna Kumari Challa on September 29, 2013 at 9:39am

http://www.bostonglobe.com/lifestyle/travel/2013/09/28/the-tip-berk...
Charming and accessible, the 110-year-old Berkshire Museum invites visitors of all ages to make connections between art, history, and science. This current exhibit, “PaperWorks: The Art and Science of an Extraordinary Material,” through Oct. 26, is a case in point. Innovative and provocative works in paper by 35 contemporary artists range from delicate hand-cut paper narratives to graceful sculptures of curved folds to accordion-like carved figures of mind-boggling construction. Displays and videos address the history of paper around the world, especially honoring museum founder Zenas Crane’s heritage in papermaking, which continues to be a key Berkshire industry. Objects and artifacts, including ancient cuneiforms and tablets dating to the seventh century, attest to paper’s importance in communication, technology, science, industry, even fashion.

Comment by Dr. Krishna Kumari Challa on September 28, 2013 at 8:46am

http://www.therecord.com/whatson-story/4130253-art-exhibits-affirm-...
Art exhibits affirm value of questions

We spend our lives looking for answers.

In the process, we lose sight of the importance of asking questions.

It's akin to concentrating so much on the destination that we miss out on the fun and enjoyment of the journey.

Science is a search for answers, based on logic, rationality and verification. Its workplace is the laboratory.

In contrast, art is a search for questions, based on intuition, feeling and speculation. Its workplace is the studio.

A pair of complementary exhibitions — Circling the Inverse Square and The Lost Minutes, Stage One: Shadow of the Platypus — affirms that asking questions is as important as getting answers.

Organized by the Kitchener-Waterloo Art Gallery and curated by guest curator Shannon Anderson, Circling the Inverse Square takes place at the intersection of science and art.

The multimedia exhibition features installation, sculpture, photography and drawings of six Canadian artists who, in various ways, give visual and audio expression to the abstractions of theoretical physics. As such, science becomes the departure point or springboard for art.

Toronto artist Adam David Brown investigates the notion of infinity in Nowhere, a cut-out consisting of a white board with black, oblong holes. The holes are made from concentric rings that suggest a spiral with no ending, suggesting infinite depth.

Comment by Dr. Krishna Kumari Challa on September 28, 2013 at 8:44am

http://therapidian.org/impart-local-artist-brandon-belote-sees-link...
artist Brandon Belote sees links between art and science
I think in a lot of ways art and science are related. Art comes from an honest inquiry, much like science does. People are such a strange thing in the universe. Here on earth there are these forms of matter that realize they are matter. This sort of awareness is such a unique thing and I think art focuses on that small part of what it is for us to be an aware piece of matter in this universe. It sort of excercises that awareness. I think for us, art isn't necessarily how beautiful can you make a thing but how aware can you be. I think science in the same way is about that observation. Science is still is an art form. Once you learn how something works than you can imagine what you can do with it and that's how art and science are related because both require observation. Art focuses more on the imagination and what things can become whereas science focuses on what the mechanics of that thing are."

Comment by Dr. Krishna Kumari Challa on September 28, 2013 at 8:42am

http://www.popsci.com/science/article/2013-07/james-turrell-psychol...
The Mind-Bending Science Of James Turrell's Art

Turrell, whose solo exhibit at the Guggenheim closes Wednesday, doesn't just play with the way our eyes work; he exploits how our mind processes images to reveal that at a fundamental level, everything we see is an illusion.

Part of what makes Turrell's work so salient is that, on a basic level, he's playing with the science of how we perceive the world, using his knowledge of our retinal structure and visual system to upend what we think "seeing" really means. Since his days as an undergraduate psychology major, he's been carefully exploring and manipulating the ways people's eyes and brains process light and space, reminding us that at a fundamental level, everything we see is illusion.

His work draws on a background of psychology and mathematics that's somewhat unusual in the art world. "[M]ore than most artists he considers the boundaries between science and art," as Guggenheim co-curator Nat Trotman writes in his exhibit's catalog.

Turrell studied perceptual psychology at Pomona College in the 1960s, and later, in pursuit of a master's degree in art, started experimenting with how beams of light can transform depth perception, appearing to occupy three-dimensional space in a room. He fascinated with what he calls the "thing-ness" of light, the idea that light isn't just a way to illuminate objects, but an object itself.

Early in his career, he also began to play with what's known as the Ganzfeld effect, ("whole field" in German), a disorienting perceptual experiment that consists of filling the entire field of vision with a solid, undifferentiated color. Without any contrast to occupy the brain, it becomes like sensory deprivation, and visual blackouts and hallucinations can sometimes occur.

Comment by Dr. Krishna Kumari Challa on September 28, 2013 at 8:40am

http://www.syracuse.com/news/index.ssf/2013/09/syracuse_university_...
Syracuse University Lava Project mixes science, art in a man-made volcano
SU's Visual and Performing Arts (VPA) professor Bob Wysocki and Earth Sciences professor Jeff Karson are co-directors of the facility, which mixes art and science in a cool man-made volcano. According to Wired, the geological experiment uses molten basalt to make synthetic lava flows on various surface types next to the Comstock Art Facility in Syracuse.

Comment by Dr. Krishna Kumari Challa on September 27, 2013 at 8:42am

David Cordes, an artist who teaches organic chemistry at Pacific University in Forest Grove, says his paintings are “thought provoking.” The many colors, faces and text integrated into each of his pieces will likely make you agree.

“Reflections on Organic Chemistry,” featuring Cordes’ artwork, will be on display in the Fireside Gallery through Oct. 27. The exhibit offers 17 paintings and a wide range of chemistry topics, including posing notable scientists as paintings subject.

Cordes is from New York City, raised in Queens and later living in Brooklyn and Manhattan. He studied history at Hunter College in the city, then moved west and taught high school and junior high school history in the San Francisco Bay Area.

He grew more interested in science and decided to study chemistry in California, before migrating north to Oregon. “I really like the Northwest over all; it’s a glorious place,” he said.

Despite teaching at a private university, Cordes said community colleges hold a special place in his heart. “I had my first chemistry class at a community college in California and it made all the difference in my career. I was very inspired by the people there and by the environment, and I see MHCC as one of those kinds of places,” he said.

Besides his artwork, Cordes is doing research for a new series on alchemy and its history. He enjoys playing the bass and guitar in his spare time, and is learning to play the organ.

His paintings require a lengthy creation process, he said. “What I’ll tend to do is just sketch out kind of an initial picture right on the canvas and gradually work it out from there, consulting organic chemistry text books, history of chemistry books, online resources, maps, as well anything that kind of bears on the story.”

Cordes said he is a “very slow and deliberate kind of painter. The paints are quite thick… you can see that (his work) is very saturated colors, it’s all oil on canvas.”

His love for teaching and chemistry is clear in his paintings, which blend text, portraits and other abstract techniques. Each portrait is unique in the sense that it tells a story. “As humans we like stories, we like narratives and we like tragedy and comedy,” he said. “I think you can inject some of those ‘Aha!’ comedic and tragic kind of elements into the stories behind each of the paintings.”

His pieces aren’t meant as teaching aids, he said, but instead are “more meant to represent at least my own impressions about particular characters and themes in organic chemistry.”

One standout story is that of August Wilhelm Hofman, a 19th century Jew who was both beloved and hated at the same time. Anti-semantic groups wanted Hofman removed from the university where he taught, said Cordes, whose portrait features examples of molecules he helped to map.

He hopes someday to display his past and new artwork together in one place, perhaps in a textbook, for use as a learning tool for students.

Cordes has big plans for his future artwork. He would like to pay tribute to Linus Pauling, an Oregonian who won a rare science-related Nobel Prize for “incredible work on the structure of proteins” who also worked against the spread of nuclear weapons, he said. Pauling is one of his favorites because “he was able to bring together the humanities and the sciences. He’s going to be a special subject for a painting.”

That level of enthusiasm is apparent in Cordes’ displayed collection at Mt. Hood, which he describes like this: “(A) number of very colorful, kind of exciting, bright, cheerful, paintings that can get you excited about science, or at least get you to ask some questions about science and ponder some of the early history there.”
- See more at: http://www.advocate-online.net/living-arts/organic-chemistry-teache...

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