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Any lecture on art and science can not be contradicted. In many cases, as is the Dance of Life
lectures belongs scientific presentation methods, without content to be considered scientific.
We should call pre-axiomatic field in which hypotheses are written
considering that will appear after completing utterances,
to make the lecture to be scientific.
The Dance of Life title is very seductive, but the lecture in question appears to be a kind of invitation to
invent artistic means, such as children in their development to adulthood, that they are afraid not
by science, so easily get to understand Krebs cycle
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Overview of the citric acid cycle (click to enlarge)
The citric acid cycle — also known as the tricarboxylic acid cycle (TCA cycle), the Krebs cycle, or the Szent-Györgyi–Krebs cycle — is a series of chemical reactions used by all aerobic organisms to generate energy through the oxidization of acetate derived from carbohydrates, fats and proteins into carbon dioxide. In addition, the cycle provides precursors including certain amino acids as well as the reducing agent NADH that is used in numerous biochemical reactions. Its central importance to many biochemical pathways suggests that it was one of the earliest established components of cellular metabolism and may have originated abiogenically.
An example of seduction presents lucia mesquita bleasby
Matisse's composition course can be included in the title of the Dance of Life
Lucia suggest a literary digression that I will present
in what we might call generous ART LAB.
This theme reminded me of the work of Fauvist painter Henri Matisse (1869-1954) "DANCE" was undoubtedly the most expressive!. The table has a cosmic-mythic significance: the soil is the earthly horizon, the curve of the world, the sky is the depth of the turquoise blue of the interstellar spaces; figures dance like giants between earth and sky. The music and poetry converge in painting, and the painting is conceived as an architectural element in tension in open space; synthesis is between representation and decoration, symbol and corporeal reality, between the volume, line and color. We need to go further, identifying it as a beauty unseen and almost monstrous, supernatural, beyond the different naturalisms the beautiful classic romantic and beautiful. And that should be a pretty well encompasses and resolves itself its opposite, the ugly, because it had a nice one otherwise would not be universal: the same module beauty must apply to the figures, the earth and sky. Just as there can be no static equilibrium, there can be a fast and uniform, the pace should be generated in the frame (see the foot of one of the figures that is detrimental to the earth, as if it were elastic, and the circle always interrupted and resume the arms) and ascend gradually to a climax of maximum intensity, taking all values (lines and colors) to a corner where it can be captured only by a sensitivity stimulated beyond their own limits. Matisse now operates beyond all records of all ranges of all the combinations that the human eye is accustomed by the experience of nature: the size ultra-sensitive, but not transcendent of ultracores. Such was his intention "to a beautiful blue sky, the bluest of blue (the surface is painted to saturation, that is, until a little when he finally emerges from the blue, the idea of absolute blue), and the same goes for the green of the earth, to the vibrant vermilion bodies! ...Greetings from Brazil ......
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