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“Study the science of art and the art of science.” - Leonardo Da Vinci

Leonardo Da Vinci: "Study the science of art. Study the art of science. Develop your senses and especially, learn how to see. Realize that everything connects to everything else" and "only through experimentation can we know anything."

Science is the king of art subjects. It is the art of inventions, discoveries, innovations and gaining more knowledge.

"Science is the new art".

Science-art: selling art to scientists and science to artists.

Education is all about learning all those you want to learn and applying wherever possible.

Albert Einstein’s quote — “the greatest scientists are artists as well”.

Science has always relied on visual representation to convey key concepts.

‘If you can’t explain something simply, you don’t understand it.’ - Albert Einstein

Math is undeniably artistic

An interdisciplinary researcher must face the challenge of being proficient in two (or multiple) different research areas! Not only must s/he be familiar with key principles and methodology in each area, but also understand baseless "biases" and "dogmas" that are a result of inbreeding, and struggle to fight these, as new knowledge emerges from her/his research. An unenviable task indeed! The pointlessness of evaluating such researchers work with conventional metrics should be aptly emphasized.

“The best scientists, engineers and mathematicians are incredibly creative in their approaches to problem-solving and application development”.

"Science, like art, is not a copy of nature but a re-creation of her." – Jacob Bronowski

In scientia veritas, in arte honestas — in science truth, in art honor

E.W. Sinnot, the American biologist and philosopher: "Stored images in the mind are the basis for new creative ideas."

Science based art and literature : communicating complexity through simplicity - Krishna

All religions, arts and sciences are branches of the same tree. All these aspirations are directed toward ennobling man's life, lifting it from the sphere of mere physical existence and leading the individual towards freedom.
--Physicist and Violinist Albert Einstein

Music gives soul to the universe, wings to the mind, flight to the imagination and life to everything by Anonymous

Every science begins as philosophy and ends as art - Will Durant

Life itself is a beautiful interaction between art and science. You can't escape it! - Dr. Krishna Kumari Challa

"The Science of Art is like putting a microphone to the whispers of creativity that echo through the halls of every research laboratory fused with the late night musings of the artists in their studios" - Sachi DeCou

“Every Science begins as Philosophy and ends as Art, it arises in hypothesis and flows into achievement”- Will Durant, The Story of Philosophy

Scientists can be artists as well, while they submit their academic papers, and theses they often draw their own illustrations!

Is suffering really necessary? Yes and no. If you had not suffered as you have, there would be no depth to you, no humility, no compassion.
-Eckhart Tolle

Science has enabled the kind of art we’ve never before seen.

Without the arts, science is hobbled. Without science, art is static.

John Maeda wrote of Leonardo da Vinci’s observations that art is the queen of science.

“Science is as much cultural as art is cultural,”

Art is science made clear (what!).

"The aim of art is not to represent the outward appearance of things, but their inward significance." - Aristotle.

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.

DaVinci himself said, "Art is the queen of all sciences communicating knowledge to all the generations of the world. "
"Art is the heart's explosion on the world. Music. Dance. Poetry. Art on canvas, on walls, on our skins. There is probably no more powerful force for change in this uncertain and crisis-ridden world than young people and their art. It is the consciousness of the world breaking away from the strangle grip of an archaic social order." - Luis J. Rodriguez.

For Dawkins, understanding the science behind natural phenomena (and sometimes being reminded of how much more we have yet to learn or discover) can still make our encounters with them sublime. From this point of view, science is the champion of artistic creativity, not its enemy.

"Scientists and artists are both trying to get a better understanding of the world around us, but they are doing it through different lenses,"

It takes many skills to achieve truly remarkable things. A diverse view to solving problems is best.

You need a deep understanding of science to actually manipulate concepts in novel ways and get creative in science - Krishna

"If you hear a voice within you saying, 'You are not a painter,' then by all means paint ... and that voice will be silenced, but only by working."
-- Vincent van Gogh, in a letter to his brother Theo, 28 October 1883.

"The line between art and science is a thin one, and it waves back and forth”

"One of the most common misconceptions about science is that it isn't creative — that it is inflexible, prescribed or boring. Actually, creativity is a crucial part of how we do science"!

"All knowledge has its origins in perception." Da Vinci.

“The scientist does not study nature because it is useful to do so. He studies it because he takes pleasure in it; and he takes pleasure in it because it is beautiful." Jules Henri Poincare

The beauty of art lies in the inimitable creativity of the artist and in the interpretation of the beholder.

"Artists see things one way and scientists another and the really interesting thing is in what's in between."

Einstein’s support of artistic endeavors is both well-known and well-documented.

“The greatest scientists are artists as well,” he once said.

Atul Dodiya (Indian Artist) : Life is beautiful as a painter. Changing colour, observing life and paying attention to every detail that we’re exposed to, and then giving our own vision to it… Nothing gives me more joy.

Art : You accomplish a task that is called art as there is no specific postulates or guidelines.

Science : You do the work with a set of guidelines.

"Change and risk-taking are normal aspects of the creative process. They are the lubricants that keep the wheels in motion. A creative act is not necessarily something that has never been done; it is something you have never done."
-- Nita Leland in The Creative Artis

Pablo Picasso once said, "Good artists copy, great artists steal." All creative artists build upon the work established by the masters before them. ( Not me!- Krishna)

Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep – Scott Adams

‘Art makes science come alive for students’

Albert Einstein - “The greatest scientists are artists as well”.

“ Science art shows some of the incredible natural beauty that researchers in life sciences see every day in their work.”

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Comment by Dr. Krishna Kumari Challa on May 28, 2013 at 6:22am: http://www.isa-sociology.org/congress2014/rc/rc.php?n=RC23
Fostering Trans-Disciplinarity amongst the Social and Natural Sciences, Engineering, Arts and Design
Session Organizers
Benjamín TEJERINA, Universidad del País Vasco, Spain, b.tejerina@ehu.es
Cristina MIRANDA DE ALMEIDA, Spain, cristinamiranda.de@gmail.com

Session in English

Not open for submission of abstracts.
The Network for Science, Engineering, Arts and Design, (SEAD), a U.S. National Science Foundation supported group, has launched an initiative to raise awareness of the impacts, values, opportunities and challenges of cross-disciplinary research and creative work. Following on a vision initiative first developed in 2010, an International White Papers Working Group was formed to issue an open call for White Papers.

The objective of this proposed session is twofold. First, we will present the results of the Open Call for White Papers collected from over 50 papers received from 24 countries. We will summarize the meta-view of needs, opportunities and recommendations concerning trans-disciplinary collaboration in the confluence of the Sciences, Engineering, Arts and Design. Second, we will invite inquiry from other researchers. Therefore, in addition to presenting a first set of pre-selected papers that focus on different models and case-studies for trans-disciplinarity in research and in creative practice (see list of authors below), the session welcomes new papers and will be organised around the following research questions:

what are some impacts resulting from trans-disciplinary collaboration between sciences, engineering, arts and design in relation to current research practices?
What are some opportunities and roadblocks related to trans-disciplinary collaboration for individuals and organizations, including government, industry, civic and academic institutions (for example, blended forms of informal and formal learning, and rethinking the distinction between Art, Science and Technology departments in educational institutions)?
How can trans-disciplinary collaboration practices and actions better support research around complex problems?
How can SEAD include Humanities in general and Sociology in particular?

We are seeking to survey concerns, roadblocks and opportunities, and solicit recommendations for enhancing collaboration engaging the sciences and engineering with arts and design.

Comment by Dr. Krishna Kumari Challa on May 28, 2013 at 5:44am: http://www.theaustralian.com.au/arts/creative-fellowship-for-hip-di...
Creative fellowship for Hip Disk inventor
IT looks like a tutu, but it isn't from a ballet. It can play a musical scale, but it isn't a musical instrument. If the Hip Disk defies easy description -- it looks like a pair of Frisbees worn on the hips -- that's because it's from the far frontier where art meets science.

The Hip Disk was developed by Melbourne artist and researcher Danielle Wilde. She describes it as a form of "body instrument" that deliberately makes the wearer feel strange in their own skin.

"I'm interested in how engaging with culture can transform the way we live," Wilde says at her house-studio in Melbourne's inner north.

She may not look as ridiculous as some when wearing the Hip Disk. As she bends forwards, backwards and sideways from her waist, the two disks touch at electronic contact points that make a tone. With practice, she could play a tune. She once had a quartet of "Hip Diskettes" attempting a performance of The Girl from Ipanema.

Wilde is one of seven artists to have been awarded Sidney Myer Creative Fellowships in the most recent round of grants. The fellowships are worth $80,000 a year for two years, for mid-career artists who demonstrate "outstanding talent and exceptional courage".

The other recipients are filmmaker Sophie Hyde, theatre director Chris Kohn, curator Marco Marcon, composer Paul Stanhope, author Maria Tumarkin and actor Matthew Whittet. Nominations for the 2013 fellowships are open.

Wilde recently has departed for a research trip to Europe where she has presented a paper at the CHI human-computer interaction conference in Paris, and will speak at the Nordes Nordic design conference in Copenhagen and Malmo next month.

She is interested in how body interventions such as the Hip Disk may affect brain function. Scientists have researched neuroplasticity and how the brain can "map new neural pathways" to help overcome certain conditions such as age-related cognitive decline.

Often, Wilde says, patients are given exercises that have them "sitting at a computer doing boring things". She wants to explore how devices such as the Hip Disk bring creativity and imagination into play, while stimulating brain function.

"It's not so much doing therapy, it's changing the way we think about culture in our life, and creating engaging activities," she says. Wilde originally trained in physical theatre and studied at the renowned Jacques Lecoq school in Paris. Later, in the US, she became fascinated with research being done in the field of future technologies that "blew my mind". Last year she became the first person to earn a doctorate in fine arts at the CSIRO.

She has made other "poetic-kinesthetic" devices, including the Light Arrays, which are attached to the limbs and back and trace paths of light. She won an episode of the ABC television program New Inventors with the Hip Disk -- a controversial win, as the other entrants were inventors of life-saving devices for snowboarders and rock fishermen.

"Working as an artist and as a researcher is an interesting tension," she says. "When you are doing scientific research, you have a hypothesis, you have a theory, and from one end or the other you work towards that theory. You can change directions and it's very creative.

"Whereas as an artist . . . the creative process requires you to not know what you are doing. You need to create circumstances out of which something can emerge."

Comment by Dr. Krishna Kumari Challa on May 28, 2013 at 5:41am: http://www.boston.com/news/local/massachusetts/2013/05/25/steampunk...
Steampunk as art therapy for the autistic

A whimsical device worthy of Rube Goldberg was the culmination of nine weeks of invention, reinvention, tinkering, and trial and error by 15 young adults on the autism spectrum taking part in a first-of-its-kind art therapy program, “Steampunkinetics: Building Art into Science,” at the University of Massachusetts Lowell.

“Steampunkinetics” came about through a collaboration between eminent steampunk artist and designer (and self-described “steampunk evangelist”) Bruce Rosenbaum of Sharon, and UMass Lowell assistant professor of psychology Ashleigh Hillier, who has been involved with various initiatives for young adults on the autism spectrum.

An exhibition of the “Steampunkinetics” project will be held from 6 to 7:30 p.m. May 31 at the Northeast Arc’s Gallery at Southside, 6 Southside Road in Danvers. Full story for BostonGlobe.com subscribers.

Taryn Plumb can be reached at tarynplumb1@gmail.com

Comment by Dr. Krishna Kumari Challa on May 27, 2013 at 5:31am: http://www.artlyst.com/events/art-basel-2013-mch-swiss-exhibition
This year's crop of Central Saint Martins graduate shows have surpassed expectations and created a first rate exhibition not to be missed. It is unusual to see such strong contenders from the undergraduate body competing strongly with the MA programme. I was especially impressed with the oversized drawings by Carla Raffinetti (see above) and the mirrored plexi sculptures by Samantha Scholtz.
The university has divided the degree shows into two distinct sections. Degree Show One shows work from the seven courses of the School of Art which now includes the work of the new two year postgraduate courses: BA (HONS) FINE ART, MA FINE ART, MA ART AND SCIENCE, MA PHOTOGRAPHY, MRes ART: EXHIBITION STUDIES, MRes ART: MOVING IMAGE, MRes ART: THEORY AND PHILOSOPHY

There have also been some promising achievements for the school of Art this year. BA FINE ART 2012 graduate, Conall McAteer and winner of the NOVA award for the best Central Saint Martins student of the year, has gone on to win the Clyde and Co Blank Canvas Commissioning prize 2012 and was shortlisted for the Catlin Art Prize.

MA FINE ARTʼs Martin Cordiano who graduates this year won The Red Mansion Award and was selected for the 2012 Threadneedle Art Exhibition. Classmates, Marianne Morlid and Yi Dai have also been selected for this prestigious award.

New course, MA ART AND SCIENCE collaborated with the British Library to put on an exhibition: Encounters Between Art and Science, inspired by the Library and itʼs Science collections.

Comment by Dr. Krishna Kumari Challa on May 27, 2013 at 5:26am: http://www.dnaindia.com/academy/1839266/report-a-happy-marriage-of-...
A happy marriage of arts and science
Saturday, May 25, 2013, 11:57 IST | Place: Bangalore | Agency: DNA
Malavika Velayanikal
Artists, filmmakers, and photographers. Scientists, engineers and innovators.

All of them coming together, experimenting and collaborating, to create an unusual
experience. That is Ruins of the Renaissance, a two-day creativity and innovation festival opening on Saturday at the Innovative Film City, Bidadi.

ROTR will have art shows, workshops, film festivals, galleries, live performances, storytelling sessions, puzzle parties, talks, exhibitions and installations. This festival will nudge one to disentangle from the mundane and reconnect with the joyous inner self to take a fresh perspective on life, Graffiti Collaborative, the organisers of the festival promise.

“We have brought together artists and scientists from different places to collaborate and create around 200 unusual experiences, merging different streams of study like arts, history, science, religion and so on. Those who come to the festival wouldn’t just be spectators, but also will be participating in the projects,” said Shweta Thakur, one of the brains behind the show. “The idea is to share the joy of creativity with the audience.”

Basic photography workshops, which will tackle topics like visual language, know your camera, and simple photography techniques, will be held every few hours, said PeeVee, an engineer-turned-photographer, who runs Korkai, a photography initiative in charge of curating the photography aspect of this festival.

“Most of these workshops would be free for people or at a nominal fee of Rs100. We had invited amateur and professional photographers to submit their photographs. Selected works among those will be exhibited. There will be another photography exhibition curated by acclaimed photographer Clare Arni,” he added.

While these activities go on during the day (11am to 6pm), the evenings are for live performances, which will go on till 11pm, Thakur said. The Manganiyar Seduction—a visually stunning performance by 43 Manganiyar musicians seated in red-curtained cubicles lighting up one after another—directed by Roysten Abel is one of the main highlights of the ROTR.

Comment by Dr. Krishna Kumari Challa on May 27, 2013 at 5:18am: Kirsten Hudson, Guy Ben-Ary & Mark Lawson The Dynamics of Collaborative Resistance: Negotiating the methodological incongruities of art, cultural theory, science and design

In potēntia is a liminal, boundary creature created as an artistic and speculative techno-scientific experiment with disembodied human material, diagnostic biomedicine equipment and a stem cell reprogramming technique called ‘induced pluripotent stem cells’ (iPS). It is a functioning neural network or ‘biological brain’ encased within a purpose built sculptural incubator reminiscent of eighteenth century scientific paraphernalia, complete with a custom-made automated feeding and waste retrieval system and DIY electrophysiological recording setup. Created by artists Guy Ben-Ary and Kirsten Hudson in collaboration with Mark Lawson (Course coordinator of Product and Furniture design at Curtin University) and Stuart Hodgetts (Director of the Spinal Cord Repair Laboratory at the University of Western Australia), in potēntia prompts us to consider how techno-scientific developments have led us to a point where, rather than being a concrete and discrete category, who or what is called a person is a highly contingent formation.

Starting from the position that the collaborative dynamics of art, cultural theory, science and design offer fertile grounds to both critique and resist the fetishisation of stem cell technologies, this paper explores how the collaborative team behind in potēntia critically and creatively embrace the methodological dialectics that occur when trying to accommodate the different disciplinary methods and approaches of art, cultural theory, science and design. Constantly negotiating aesthetics versus accuracy, tacit knowledge versus discovered knowledge, risk versus rigor, experimentation versus speculation, appropriation versus expertise, protocol versus intuition, known versus unknown, proof of concept versus creativity, and problematising versus problem solving, this paper positions in potēntia as an exemplar of multi-disciplinary collaborative practice, to suggest how cross-disciplinary collaboration, although fraught with friction and challenges regarding disciplinary protocols, priorities and precedents, also presents new and unique opportunities for unexpected creative discoveries to emerge.
http://www.isea2013.org/events/bio-art-session-1/

Comment by Dr. Krishna Kumari Challa on May 27, 2013 at 5:17am: http://www.isea2013.org/events/bio-art-session-1/
Stuart Bunt Unintelligent design, the evolutionary limits to biological design

The increasing use of biological forms and metaphors in art, engineering, architecture and design is based on assumptions about the efficiency, beauty and novelty of biological design, while the apparent efficiency and complexity of natural mechanisms has even been used by ‘intelligent designers/creationists’ to reject evolutionary orthodoxy. I will challenge these assumptions by presenting case studies of ‘unintelligent design’, biological inefficiencies and limitations. While biological structures are indeed marvellous in their design and intricacy, there are many design restrictions on biological tissue that man-made constructions can escape. The very nature of our carbon-based life forms restricts the temperatures, pressures and chemistry that can be employed in construction. Cells require a constant energy supply, while the need for nerves and blood supply means that many kinematic pairs are impossible in biological organisms. Biological scale is also restricted by this cellular basis; Reynolds numbers restrict the physical capabilities of biological organisms. The need to self-assemble, the fact that evolution can only act on pre-existing structures and can never start with a ‘blank page’, the need for variability; all place constraints on biological solutions. Selection drives the evolution of a beneficial trait until the marginal costs of continuing are balanced by the costs of not doing so. Evolution selects for traits leading to reproductive success rather than for longevity or health. Much of modern medicine is actually about treating the results of developmental and evolutionary compromises. Even some of our aesthetic tastes may be evolutionarily determined. I will discuss how inaccuracies (usually referred to as ‘natural variation’) are key to evolution and natural selection. How, paradoxically, far from being perfectly adapted biological machines, we may actually be selected and developed to be imperfect.

Comment by Dr. Krishna Kumari Challa on May 27, 2013 at 5:16am: The Great Work of the Metal Lover: Art, Alchemy and Microbiology

The alchemical term ‘The Great Work’ (Latin: Magnum Opus) refers to Western alchemy’s perhaps defining, yet seemingly unobtainable, objective – to create the ‘philosopher’s stone’, a mysterious substance considered capable of transmuting base metals into gold or silver. The term has also been used to describe personal / spiritual transformation, as well as individuation, and as a device in art and literature.

The Great Work of the Metal Lover straddles art, science and alchemy in its attempt to solve the ancient riddle of transmutation through modern microbiological practice. A metallotolerant extremophilic bacterium is paired with gold chloride in an engineered atmosphere to produce 24 carat gold. Extremophiles are microorganisms that are able to survive and flourish in physically and/or chemically extreme conditions that would kill most of the life on our planet. It is believed that they hold the key to understanding how life may have originated, due to their unique ability to metabolise toxic substances such as uranium, arsenic and gold chloride. Gold, in turn, has been treasured throughout history for its rarity, malleability and incorruptibility, as it resists oxidation, corrosion and other chemical bonding processes.

This artwork, in addressing the scientific preoccupation with trying to shape and bend biology to our will in the post-biological age, questions the ethical and political ramifications of attempting to perfect nature.

http://www.isea2013.org/events/bio-art-session-1/

Comment by Dr. Krishna Kumari Challa on May 27, 2013 at 5:15am: http://www.isea2013.org/events/bio-art-session-1/
Microbial Identity: Art and biodiversity of self

Knowing that nonhuman microorganisms outnumber our own cells, we are only just starting to understand the extent of the impact these organisms have on our physiology. Our microbial fingerprints are very complex and specific because as individuals we differ remarkably in the microbes that occupy the habitat of our bodies. Human Microbiome Project’s goal is to establish the largest microbial map of a human body serving as habitat, showing that microbes play a vital role in our lives. This certainly calls for a shift from the traditional notion of body understood as a sealed one-species unity to the notion of human-nonhuman ecology. Such a realisation made the editors of a special issue of Nature dedicated to microbes, in 2008, propose to rephrase the question “Who am I?” and start asking “Who are we?”

Yet our microbial self is of interest not only to life sciences, but also to art and humanities. Artists such as Sabrina Raaf, Stephen Willson, Sonja Baumel, Stelarc and others consider microbes outside of pathogen histories, and work with microbial communities inhabiting human bodies. Examining their work, I am going to show various strategies employed to deal with both the prominent presence of microbes themselves and the impact the microbiological research has on us. Starting from an individual microbial cartography of a human body, I will move on to the serious practical consequences of microbial research, such as controlling our health and identity in medicine, forensics and other profiling practices. I will also elaborate on the ontological consequences of considering the human as a cellular minority. In this context our bodily identity seems to be process-based and graspable only through its current function in the web of trans-species dependencies; hence the life form we identify as our own is only a specific temporary trans-species ecology which constantly reconfigures itself.

Comment by Dr. Krishna Kumari Challa on May 26, 2013 at 5:31am: http://news.medill.northwestern.edu/chicago/news.aspx?id=221977
Art makes it fun to learn about science in Chicago
The integration of art with the STEM fields, and is the reasoning behind legislators and academics push to add art to the national STEM agenda, making a new acronym, STEAM. The STEM initiative promotes science, technology, engineering and math.