Science topics: Visual ArtsArt and Science
Art and Science - Science topic
For scientists actively involved in the arts and humanities
Questions related to Art and Science
What are the significant issues with Existing Software Engineering?
During this trip through the significant issues of existing software engineering issues, we will cite false claims in unlimited publications, technologies, tools, research, teaching, programs, developments, and others. We urge everyone not to take this personally. Anyone may disagree with the critical question, but please respond kindly. We experienced many bunches and losses and will speak to everyone about them later.
Experience as a software engineer for more than 40+ years as a practitioner and a Full academic professor, and we mastered every aspect of Software Engineering in different ways and interpretations than other claimed gurus in SWE.
Many software engineering practitioners and academics (including SJSU, where I am a full professor) present many false claims about SWE; all they see and know is the programming aspects of software engineering. Have a different understanding & knowledge of SWE, and they are missing the essential stages of SWE:
1) The Problem Space (Analysis) – Understanding the problem and representing the "WHAT."
We are talking about the functional and non-functional requirements, the responsibility, the collaboration of the classes, and the testing aspects of modeling these problem properties. Unfortunately, this Problem Space does not exist in teaching, training, research, and practice. However, the Problem Space is the most critical stage of software development in all fields of knowledge; By mastering the Problem Space, we can avoid many significant problems, including many failures.
2) The Solution Space (Design, Architecture, Coding) –Creativity of the solution and represent the "HOW-TO." This phase has many problems: 1) there are many solutions, 2) it Would lead to many different modeling techniques 3) The majority of research in SWE IS USELESS. Examples are many different modeling, architecture techniques, tools, and languages all over the solution space. Look at this statement carefully:
"if you do not understand the Problem Space, the outcome of the Solution Space is one of the following alternatives:
a) Useless Development and cancelation of the development – Billions of $s down the drain,
b) Software systems with maintenance nightmare, which causes a lot of system failures and cancelations after 5 to 6 years."
Unfortunately, in practice, coding represents 95% of the software development of any system.
We need to:
1. Unify the way we do everything in software engineering research and development
2. Emphasis on the Art, Science, and Engineering of Software Engineering
3. Stabilize the Engineering of Software
4. Standardize all aspects of Unified Software Engineering
5. Understand and accurate Execution of Software Quality
6. Allow Creativity and Innovations in Software Engineering
7. Prevent Software Maintenance
8. Unified and stabilize Methodologies, Techniques, and Processes
9. Reduce Cost and Effort
10. Produce of High Quality and Maintenance Free Software & Systems
11. Explore and Development of new Disciplines.
12. Free the Software Independency of Hardware
I just recently read Goethe's Faust I again and, as I read the scene Studierzimmer I (Study), I could not ignore the feeling that this
'... Who then art thou?
Part of that power which still Produceth good, whilst ever scheming ill.
What hidden mystery in this riddle lies?
The spirit I, which evermore denies!
And justly; for whate'er to light is brought
Deserves again to be reduced to naught;
Then better 'twere that naught should be.
Thus all the elements which ye
Destruction, Sin, or briefly, Evil, name,
As my peculiar element I claim.'
(Source: The Project Gutenberg Etext of Faust Part 1, by Johann Wolfgang Von Goethe - http://www.gutenberg.org/cache/epub/3023/pg3023.html)
could be one of the first "notions" of the "creative power of destruction" that probably influenced Friedrich Nietzsche, Karl Marx and ultimately Joseph Schumpeter. While I have only read about Marx and Sombart and also Nietzsche explicitly writing about this topic and thus (maybe) influencing Schumpeter to write about that which is now widely known (in an economic context) as Creative Destruction, I would argue that Goethe's depiction of "Mephistopheles" is probably one of the first and one of the most influential notions of "creative destruction". This is due to the fact that almost certainly every single one of the aforementioned scholars had been reading Goethe's Faust as it has been and still is a basic cultural asset in German literature.
Does anyone else see this parallel or am I imagining connections where there are none?
One of the main tasks is to cultivate peacemakers. Anti-war arts (painting, sculpture, literature, music, photo) can be helpful in upbringing future generation. Cultivating a culture of peace through awareness of genius message (implicit and explicit) is important in schooling. We are going to research the sources, organize the conference and stage one of the creative works. We will be thankful for every contribution.
Facilitating wargames is often referred to as a mix of art and science. Do you have a book/article/best practice which you follow?
My current week research is about textiles and new technologies (clothes, installations, performance art) so, I'm looking for examples and opinions about art and sciences applications.
From Art To Science, Islamic scholars have made their contribution.
But do we appreciate and understand the extent of it?
How many other cultures play an invisible part in our lives?
Egyptian and Chinese and Zimbabwean and Hindu cultures go back many thousands of years
When data are combined with imagination -- a rare occurrence -- the explosion of discovery happens.
How does imagination operate? Is it baseless or a prelude to or synchronous with observation?
Does this fusion occur on a daily basis, as might be gleaned from the daily breakthrough NEWS in science, especially in the US of A, OR is it a painfully slow heuristic process that can spread across generations if not centuries or millennia?
Why is art at all important in science?
Is art synonymous with observation or does observation include art?
Can we redefine art within the confines of observation or is it the reverse?
I'm doing study entitled "Reviewing Art and Science Studies in the Middle East Region" trying to investigate the types of these studies in terms of themes, research design and methodology, foundlings, and future recommendations and so on. By Art is referring to fine arts, plastic arts and art and design. Science is referring to the three major sciences: Biology, Chemistry and Physics. Any studies in both Arabic or English languages based on Middle East Arab countries. (I have some but I'm looking for more)
Thanks in Advance for your consideration and help.
How inclusive (or not) is science? Is the scientific method the only valid approach to answer research questions in the pursuit of new knowledge? Can art and science merge together in the development of better worldviews?
I have been receiving this message for awhile and not sure if these guys can be trusted.
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New ideas in art and science contain something of innovation, artistry, creativity, emotional intelligence, higher human needs, etc.
On the other hand, the answer to this question will probably never be complete, because the cognitive and research capabilities of the human brain, the human consciousness are unlimited and creativity.
In view of the above, the current question is: How to define the sources of new concepts in art and science?
Please, answer, comments. I invite you to the discussion.
Excellent development in the higher education towards positive futures - a new course for the first year college students - initiated by The Center for Health Minds of the University of Wisconsin-Madison.
"Called “The Art and Science of Human Flourishing,” the class combines disciplines from neuroscience and psychology to philosophy and art to encourage students to think more carefully about how they maintain their own mental and emotional well-being, manage stress and build positive relationships with others."
Why do we need such programs/courses in higher education institutes/sectors around the world - because:
"College students, many living away from home for the first time, are also learning how to manage stress, respond to all sorts of new and different situations and prepare themselves for eventual entry into a professional world in which change is the biggest constant."
I am looking for references to current projects that involve collaboration between the arts and sciences as part of my Future Fellowship research. If you are working in this area, or know of any relevant ongoing projects, I'd love to hear about them.
Hello K.G.Sangeetha, you are not my co-author. Why did you add your name in my project? K.Sangeetha, Assistant professor in physics, Padmavani Arts and Science college for Women, is my co-author. So, please remove your name from my project.
Hello K.G.Sangeetha, you are not my co-author. Why did you add your name in my project?
K.Sangeetha, Assistant professor in physics, Padmavani Arts and science college for Women, Salem-11, Tamilnadu, India, is my
Co-Author. Kindly remove your name from all of my projects.
What are the symmetrical phenomena in your scientific or artistic field which are comparable with symmetry of two successive musical phrases (like two atoms which make up a molecule)?
The nature is full of symmetrical balances. I am working on identical futures of symmetry in arts and sciences. I would be grateful if you exemplify symmetries in features and components related to materials or issues in your field.
I have reviewed the paper Specificity of Esthetic Experience for Artworks:
An fMRI Study - Di Dio, Canessa, Cappa and Rizzolati. The study compares photographs of two classical Greek sculptures with two contemporary young men in underwear and purports to derive some useful knowledge about the nature of aesthetic judgement. While I am not qualified to critique the experimental methods, I question assumptions underlying the study.
The study seems to ask this question: "What is the difference between looking at a Greek sculpture and looking at a dude in the gym change room?" As if the difference were simple. I contend the mater is far from simple. Let me elaborate why. The first complexity is the question of who is looking?
The first set of assumptions are about the normative (white? western? male?) viewer. Did the experimenters ask a Nuigini native or an Inuit? An Australian Aboriginal or a Mixtec?
Some people might be immediately outraged by being requires to view an image of a near-naked young male human, some might find the experience pleasurable.
In the case of viewing the images of two near-naked young men - if the viewer is a gay male or a straight female, they might look at the images and wonder:
Is he 'well hung'? Are his nipples pierced? Does he have a tattoo?
They might become sexually aroused.
A straight male or lesbian would likely not pursue such inquiry, but any viewer might ask "Am I looking at a genre of soft porn?"The images bear some resemblance to those by 'Tom of Finland'.
They might look for markers of ethnic or social status:
What brand/style of underwear is he wearing?
Does he look smart or stupid?
What does his haircut tell me? Does he look like a neo-nazi skinhead?
Would I want to have conversation with him?
These and many other considerations will occur in any experimental subject.
Clearly, few are going to ask these questions about an archaic Greek sculpture.
To add another dimension of complexity: these are images, representations, not the things themselves. As a moderately educated westerner, I know immediately I’m looking at an image of an archaic Greek sculpture, which fits into a particular version of cultural history which I am, to a greater or lesser extent, enculturated to. I can take a position, not about the sculptures as representations of naked guys, but as icons which stand for an entire historical and ideological narrative – I can endorse, reject, qualify, etc. Indeed, art history asks us to de-eroticise 'art', lest it become debased. This, in my opinion, is Victorian nonsense, but still very much part of the idea of 'art'.
The authors seem confident that there is such a thing as 'art', that we can distinguish between art and non-art, and that these Greek sculptures epitomise it. As an art professor, I dispute these assumptions.
Further, as a culturally educated person, I read these images - regardless of what they represent - as, not just black and white (chemical) photographs indicative of a certain period of C20th image technology, but as offset lithographic translations of these photographs in mass paper media publication, possibly a compendious history of world art, circa 1970.
I may have opinions about such compendious histories of world art, and the way they reduce all artworks to small flat rectangles, and the way they thus create a false sense of continuity supporting a thesis about the history of art.
The authors seem to feel that the Archaic Greek sculptures automatically qualify as some epitome of 'beauty'. This is indicative of an axiomatic endorsement of a theory of art history by the authors. I do not endorse this version of art history. I therefore do not automatically confer 'beauty or aesthetic value on these images.
As I hope to have indicated,the ways contemporary westerners think about images is profoundly complex. To assume that fMRI data collected from subjects viewing these images represents aesthetic response, it to me, an unjustified assumption.
I'm interested not in promoting art via social media, but in projects that use the capacity of social media to connect people.
I'm searching for the very first publication that talks about the detection of titanium white pigment in a painting using a scientific technique.
Art is not based on evidence, but on experience. Art does not confine to logic, it is an expression of feelings. Literature is a form of art from which meaning are extracted that form the basis of certain forms of philosophy. Religious and spiritual books are expressed using poetry from which we get themes and messages on morality. Art does not work with hypothesis and does not need evidence and hence art is separate from science, although, there can be some overlaps, their goal is different. Artists try to express the reality through their intuitive understanding - they work on a creative future or with verse and colors try to express the meaning of life, scientists try to logical express it with investigation and evidence and engineers use it to develop solutions for certain problems. Some of the greatest engineering achievements of today come from creative works from artists few hundred years ago. Howsoever, the spirituality of today may become science of the future when with better technology and theories, scientists will be able to paint a better picture and holistic viewpoint of life.
I have read some books on the subject but it seems to be as much art as science. Does anyone do literature meta-analyses regularly and have the best program to recommend to automate the steps somewhat? By "best" I mean best combination between high quality and user-friendly. Thanks.
I want to conduct a study on this topic.
How can we find the % of gold in a vessel with out damaging the item? Also how can we extract the metals like Ag or Au from its alloys?
Many scholars believe that the diversity of architectural styles in the 21st century depends on the diversity of information resources which are provided by the internet.
In my submission "A Brief History of Modulation in Musical Rhetoric and Brahms' Harmonic Ambiguity ", I identify the need for a study to correlate musical devices and mental states. The first step is to develop[ a catalog of such devices. These include among many effects, modulation (shifts in tonicity), silence, unison, changes in rhythmic texture etc.
By using the term "mental states", I choose a broader field than mere "emotion".
With an understanding of composition/improvisation (generative), there are a great many possibilities. Just within modulation, Max Reger has developed an extensive catalog of the devices, alas no mention is made of effect on an audience. Rameau in his treatise on Harmony discusses very briefly an emotional response to chromatic modulation (please see my article for the citation specifics; Reger is not cited in this paper yet. It remains in an unfinished form: more than a few citations TBD.
Gee, how do I put a citation here? - simple footnote:
Max Reger: Modulation (Dover Books on Music) Paperback 2007
Jean-Philippe Rameau: Treatise on Harmony Dover 1971
By the word 'state' I mean a mental state, a physical state, a general atmosphere.
By art-making I am referring to the arts and creativity (music, drama, plastic arts, dance etc.).
I am interested in the distinction between figure and ground in art (typically 2 dimensional art, drawing and painting). My interest ranges from historical / philosophical models such as Rosalind Krauss' Klein group model to the neuroscience basis of figure ground distinction. I am most interested in how artists are able to operate within the strictures of such understandings. Does anyone else have similar interests and would they be willing to share these with me?
I have reformulated my earlier question because the answers I have received, although very interesting, referred mostly to violence in the performing arts, or to periods later than the one I am researching presently.
I am specifically looking for literature that discusses the subject of violence as a recurring theme in painting, from the Baroque to the Romantic period.
For example paintings such as Rembrandt's "Blinding of Samson", Titian’s The flaying of Marsyas, Poussin's Massacre of the Innocents, Caravaggio's Judith and Holofernes, Rubens' Rape of the Sabine Women, Goya's Third of May 1808 or Delacroix's Death of Sardanapalus, discussed from the point of view of the violence they represent.
I am working on a research on adaptive systems in art practice and would like to know of any media art installations or other forms of artworks (apart from music) that make use of reinforcement learning. The only examples I have been able to find thus far are works that I have authored or co-authored.
I have become intrigued by the musical devices employed in such a simple piece of music as Thomas Arne's closing chorus to Alfred "When Britain first at heaven's command"; My latest fascination has been with the Bassoon line as that's my primary area of study right now.
That particular part is so lovely but the question arose in my mind. How did this piece become the quintessential patriotic song.
But my question for wider consideration is in the area of prior scholarship on this point. Surely there is a 19th century clergyman who studied the rhetorical devices (and there are many - try the 3 sixteenth note syncopated flutterings throughout). How do these devices so clearly define the "us" group which triumphs over the "them" group (to put it in simple terms)?
Eye Tracking Devices (ETDs), developed in Berlin for studies carried out in the International Space Station from 2004 to 2008, and now commercially available from Chronos Vision (http://www.chronos-vision.de/en/medical-engineering-products.html), among other companies, have potential for studying how we perceive art.
In the last decade researchers have used this technology to try to replicate Russian psychologist Alfred L. Yarbus's classic studies of eye movements and art, published in English in 1967 (Yarbus used relatively crude techniques to measure ocular fixations and saccades):
Marianne Lipps & Jeff B. Pelz, “Yarbus revisited: task-dependent oculomotor behavior,” in Journal of Vision (Association for Research in Vision and Ophthalmology), vol. 4, no. 8, August 13, 2004, article 15 (http://www.journalofvision.org/content/4/8/115, access: January 25, 2014).
Jonathan D. Nelson, Garrison W. Cottrell, Javier R. Movellan & Martin I. Sereno, “Yarbus lives: a foveated exploration of how task influences saccadic eye movement,” in Journal of Vision (Association for Research in Vision and Ophthalmology), vol. 4, no. 8, August 13, 2004, article 741 (http://www.journalofvision.org/content/4/8/741, access: January 25, 2014).
Does anybody know of other studies using ETDs to study how we look at art?
I have real data of various cellular components, and dispersion over time in various stress situations. I want to make an average 3d model per time in each stress using the data. I tried Virtual Cell and other softwares like that, but all are based on simulations and not on real data.
Scientific research has shed much light on how we see, and on how visual art resonates in our minds. I am interested in reading about contemporary visual artists who have applied this information in their creative processes.
The impact of augmented reality on art...
What are the links between play/ playfulness and artistic creativity of adults? I am looking for materials on the subject as well as any personal input from individuals in creative professions. Can play constitute a significant part of creative process, and if so in what way?
The topic is about influense of architecture or design objects to the spatial evolution
A strand of my research is into the links between neuroscience, psychology and fine art in terms of art creation by artists and also in terms of art perception and reception by viewers. I have recently published a book on this topic and I am wondering who else has an interest in this area and what research in this area anybody is aware of?
Is blue vs. red and pink dead?
Art, Geometry and Nature: Exploring the creative expression of order and chaos in the Natural World.
Stefanus Rademeyer is a South-African based artist known for his intensive research and creative investigations of the natural world. From the microscopic to the macroscopic realms, nature is governed by systems and processes that are balanced between order and chaos. This underlying characteristic gives rise to the beautiful symmetries and geometry that we see around us...
the shape of galaxies, clouds, trees and leaves. Rademeyer's prints, sculptures, animations and installations celebrate these complex and intricate natural forms and processes
There are many efforts that are being done pertaining to this but it should be more effortless. The students of science and mathematics should be introduced to the importance of art and design in their education.
I received a Faculty Research Grant to complete an "eARTh Painting" using soil from all 50 states as the paint medium. I still need more soil. If you are willing to participate in the process of gathering a sample please contact for further information. All postage is paid for ~ I just need collectors.
The arts have the ability to promote, maintain and enhance health. It connects us with our self and others, promotes skills such as problem-solving, novel thinking and can have a sustained positive effect by encouraging self-expression, confidence and good self-esteem. But how much arts engagement is needed before health benefits occur? Are low levels of arts engagement the same as no engagement? Are there parameters for low, medium and high levels of engagement so as to achieve health benefits?
I am trying to locate alternate English translations of Goethe's text on colour, especially ones that have the 'missing' parts - those not translated by Eastlake.
Sterlac is an artist, who deals with the concept of body and technology, also called "the architect of post-human"
"Sky in a bottle" is a concept from a new material, developed by NASA, which is made of 99 percent air and one percent glass
Tactical media as political engagement
Is there something science missed given how pervasive art is to employ these methods or is art simply misguided in it's thinking concerning color theory?
I need to know how prefrontal area is involved in doing sandplay, a kind of playtherapy.
[EN] - How is possible to estimulate other senses different from the hearing through music? Is possible to taste flavors, see colors or feel aromas through music? I'd love to read your experiences.
[ES] - Es posible estimular otros sentidos distintos al del oído a través de la música? ES posible probar sabores, ver colores o sentir aromas a través de la música? Me encantaría leer sus experiencias.
Describe situations in which you experience economic benefits because of art in all forms.
Why are most English documentaries in a British acccent although producers/channels are American? Does it sound more scientific?
Color differentiation seems as though it would be ideally suited for complex language.
Monroe Beardsley described the complexity of modern batik:
To realize the modern batik design that both involve complex systems in the manufacturing process. The complexity of the awakened nature of interaction among system elements and design principles, as well as the background, characteristics, and the perspective of the designer. It is important for the designer to understand the importance of complexity and how complexity can result in batik aesthetic sensation. The most important issue is managing the complexity of inter-element design, so as to increase sales and appeal.
How do we evaluate aesthetic complexity? How can we increase the sensation of aesthetic complexity for consumers?
Look at it from either a scientific/intellectual background or from a poetic/artistic view. Apart from its having been altered are you able to determine what it might be?
Monstero - (c)daisy morant
Estoy seguro de las relaciones entre budismo y anarquismo, y sospecho que también las hay con las investigaciones sobre vida artificial
I am currently working on a PhD with the title "Arctificial Territory" at the University of Reading, UK. Kind of an art/science/psychology project (practice based). I am an artist, who is interested in science, was tempted to study physics once, but had decided to go for Fine Art/Film & Video. Currently talking to many scientists about their approach to research. Mostly empirical ... and somehow this is the holy cow, also in art and art education. Governments, university boards with their managers and the industry want to measure outcomes respective success; and it seems that unis think that they need to apply empirical measurements to art and humanities. Anyway, there is not only one way of doing science, as there is not only one way of making art. I am quite interested in Paul Feyerabend, an Austrian (like me) who wrote a book called: Against method. He also refers in this book to Michael Kropotkin, the father of anarchy and thinks that anarchy could be a good method for science. I know that I have simplified this a bit. I actually think that anarchic methods (a paradox perhaps) might be quite refreshing and useful for whatever envelopes SCIENCE. SO, yes, even Feyerabend, who is against universal methodologies, cannot deny methodologies. Perhaps, best art and best science come about by using different approaches and developing new methodologies. Thinking and feeling the unusual way. Circling around the questions (research ones or whatever) in a spiral structure or as Timothy Morton has mentioned mesh. Perhaps some meshy thinking and sensing might be helpful. Who says that the only road to Rome leads via empirical systemising?
hello I am an artist creating a work that In the ebb and flow of tidal imagery, collected while sailing, will use still and moving images in a lyrical journey along land margins that questions the increasing impact on tidal boundaries and their communities. This will be performed online and i am interested in incorporating others firsthand thoughts and opinions on local impacts
Is it viable to be used in response of interaction or subliminal correspondence? Can it generate that intense amount of hype or intrigue that people will be willing to experience?
I am currently finishing my degree work on the composition of a concerto for a folk instrument of my country, Colombia.This instrument called tiple is a plucked string instrument typical of the Andean region of Colombia and played for the melodic interpretation, harmonic accompainment and more recently, as a soloist instrument (melodic and harmonic simultaneously). I would like to know if you consider right that the product of my research is ideal to the difussion of the instrument in the context of foreign art. Thank you very much.
These two words resembles the life, it explains everything from the beginning till the extinct.
I am thinking, that the synesthesia is one of the resources of symbolic culture: this, I understand as a ritual/habitual substitution of one object by another one. And I am looking for an answer, if there is any coincidence in the responds of our imaginations; what would be a simple way to proof the origin of archetypes (the Jung´s conception) in our culture. I think now about the western one, which is well designed by Aristotle.
Digital revolution ,how it affects our reading and writing practices
There used to be a discussion if Marilyn Monroe and Albert Einstein get married in creating the new generatioin inher albert enstein"s brain an the beuaty of Marilyn Monroes, but the probliem is if the man with the brain of Marilyn Monroe and the beauty of einstein. The project of discussion pustponed untill now
So glad to learn of your interdisciplinary focus. Hoping to learn more on curriculum...