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We report on science-art-literature interactions around the world

Minor daily shows will be reported in the comments section while major shows will be reported in the discussion section.

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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 April 2, 2013 at 11:28am: STUDIOLAB CALL FOR WORKS
The deadline for submissions to the exhibition "Yours Synthetically" has been extended until 9 April 2013. The exhibition (co-organised by Ars Electronica, Science Gallery, Royal College of Art, Synergetica Lab and Medialab Prado in the framework of the StudioLab Consortium of which Leonardo/Olats is a member) will take place in the Ars Electronica Center, in Linz, Austria, July to October 2013. Studiolab is a 3-year Europe-wide initiative that merges the studio with the research lab to provide a platform for creative projects that bridge divides between science, art and design.

Comment by Dr. Krishna Kumari Challa on April 2, 2013 at 11:27am: LABS 2013
As we near the end of the academic year we encourage students who will be getting an M.A., M.F.A. or Ph.D. on a subject related to the intersection of art, science and technology to submit an abstract of their thesis to LABS (Leonardo Abstract Services). This peer-reviewed database has been in existence for over 10 years and functions as a way for international artists and scholars to learn about the work of the next generation. The top-ranking authors each year are invited to publish their work in Leonardo journal and LEA. The LABS peer reviewers for this year are: Yiannis Colakides, David Familian, Tom Leeser, Emmanuel Mahe, Andrea Polli, Lea Rekow, Edward Shanken and Charissa N. Terranova. The database can be viewed at http://leonardolabs.pomona.edu. Inquiries: Sheila Pinkel: spinkel@earthlink.net. Find out more

Comment by Dr. Krishna Kumari Challa on April 2, 2013 at 11:18am: http://www.clevelandjewishnews.com/features/leisure/arts/article_79...
Science, art fail to jell in ‘Struck’

In August 2011, theater artist Tannis Kowalchuk suffered a massive stroke at age 45. Following a remarkable recovery, Kowalchuk turned her experience into a work of art: “Struck,” a one-hour performance piece that captures her physical, emotional and spiritual recovery.

The world premiere is a co-production of NACL Theatre, a creative laboratory where co-founder Kowalchuk is artistic director, and Cleveland Public Theatre.

As one woman’s journey from a near-death experience to a life-affirming recovery and renewal, the show is inspirational, courageous and moving. But as a work of art, it is intensely personal, enigmatic and hard to grasp.

The piece evolved from a collaborative process that combines music, song, dance, movement, narrative, science, digital art and film, and physical theater. My problem with “Struck” is that while extremely well performed and often lyrical in nature and execution, it left me mostly puzzled and clueless.

The play follows Catherine, a stroke victim who travels through a dreamscape somewhere between life and death. Along the way, she encounters a mysterious male figure (Brett Keyser) who could be her husband, an angel or a manifestation of herself.

Directed by Ker Wells, the play blends science and poetry as Catherine walks us through the process by which her brain was restoring itself. Allison Waters, a former NACL company member who is now a neuroscientist, appears as the play’s neurologist via projected imagery.

According to Kowalchuk, the play is about facing death and how memory, family and personal history can consume one’s thoughts when dealing with mortality. Memories of her Icelandic grandparents become part of her mental landscape. She describes how her grandfather died of a stroke and how an angel appeared to him before his death. In like manner, Keyser appears as an angel with snowshoes for wings to help Catherine get through the ordeal.

In the first part, Catherine grapples with her brain injury as she keeps falling and dropping her favorite flower, whose name she cannot recall. The challenges of speech and communication following a stroke are vividly depicted. Catherine recalls her husband speaking to her in what sounded like a foreign language.

I found the science of the piece fascinating and the visual imagery hauntingly mysterious. Allison describes how a baby’s brain is poised for maximal growth and change and how that rate of change slows in adulthood. “We are ever changing beings; we are plastic,” the neurologist Allison explains, is key to understanding how the human brain works.

The language is most expressive when Allison explains how Catherine’s brain has changed. Allison wants Catherine to listen to her newly rewired half-brain. “It has new things to tell you about your new world. Be open, curious; it’s a rare and wonderful opportunity to redefine what is true.”

The final section is about recovery. Catherine resumes living with a new zest and appreciation for life, including time to read the Sunday paper, play Chopin, see her son drive a car, and resolve to leave work at a reasonable hour.

The workings of the human brain remain largely shrouded in mystery. Ditto for this largely obtuse theater piece.

WHAT: “Struck”

WHERE: Cleveland Public Theatre’s Gordon Square Theatre, 6415 Detroit Ave.

WHEN: Through Saturday, April 6

TICKETS & INFO: $10-25. 216-631-2727 ext.501 or

www.cptonline.org

WHAT: “Struck”

WHERE: Cleveland Public Theatre’s Gordon Square Theatre, 6415 Detroit Ave.

WHEN: Through Saturday, April 6

TICKETS & INFO: $10-25. 216-631-2727 ext.501 or

www.cptonline.org

Comment by Dr. Krishna Kumari Challa on April 2, 2013 at 11:15am: http://dailyfreepress.com/2013/04/01/crossroads-environmental-progr...
‘Crossroads’ environmental program to combine art, science

Comment by Dr. Krishna Kumari Challa on April 2, 2013 at 7:57am: Associate/Full Professor and Assistant Professor in Emerging Media and Communications

Institution:
University of Texas at Dallas

Posted:
March 12, 2013

Location:
Texas

Employment Level:
Tenured, tenure track

Website:
http://www.utdallas.edu/

Comment by Dr. Krishna Kumari Challa on April 2, 2013 at 7:20am: http://biocreativity.wordpress.com/2013/04/01/evolve/
Evolution at Art.Science.Gallery.

Comment by Dr. Krishna Kumari Challa on April 2, 2013 at 6:14am: http://davis.patch.com/articles/explorit-science-center-mixes-art-a...
Explorit Science Center Mixes Art and Science
"Left-brained" and "right-brained" alike will no doubt feel a charge from the new Explorit Science Center exhibit that opened last week and runs through August 31.

Using both distinctive disciplines, the new exhibit “Beautiful World: Science and Art” is giving young scientific minds a chance to apply their creativity while investigating science.

Comment by Dr. Krishna Kumari Challa on April 2, 2013 at 5:59am: http://journals.cambridge.org/action/displayAbstract?fromPage=onlin...
The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation
Nicolas J. Bullota1 and Rolf Rebera2

a1 ARC Centre of Excellence in Cognition and its Disorders, Department of Cognitive Science, Macquarie University, New South Wales 2109, Australia. nicolas.bullot@mq.edu.au http://www.maccs.mq.edu.au/members/profile.html?memberID=521

a2 Department of Education, University of Bergen, Postboks 7807, N-5020 Bergen, Norway. rolf.reber@psysp.uib.no http://www.uib.no/persons/Rolf.Reber#publikasjoner

Abstract

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework.

Comment by Dr. Krishna Kumari Challa on April 1, 2013 at 5:10am: If you happen to be in NYC April 20-May 20, pleasevisit a solo show of a new larger scale sculpture/installation work at NYU Langone Medical Center.

Titled HydroLogic, the mechanized pieces are made from re-appropriated medical materials and parallel the Environmental Hydrologic Cycle with the internal biological ones. Address: NYU Langone Medical Center, MSB Gallery 550 1st Ave (at 32nd St) NY, NY Show dates: April 20-May 20. Artist reception, April 25, 5-7pm Artist talk at Brooklyn Metal Works (640 Dean St, Brooklyn) on May 5, 7-9pm

Comment by Dr. Krishna Kumari Challa on March 31, 2013 at 6:06am: http://nicolas-bullot.org/Publi/PDF/2012/Bullot_BBS-D-11-00012_prep...
http://www.mq.edu.au/newsroom/2013/03/24/art-versus-science-no-more/
Abstract

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework.