Art and Science - Science topic

Dear Haris Shekeris, thank you for your response. Yes, socio-cultural influences play an important role in shaping creative and scientific imagination. Just as society benefits from science and its practical implications for the betterment of the world, science, in turn, can be enriched by individual and societal influences. As Albert Einstein said, "Imagination is more important than knowledge. For knowledge is limited, whereas imagination embraces the entire world, stimulating progress, giving birth to evolution."

Hello Maryam Hassan Thank you for your question.

I don't know about the best journals in Eastern Europe, but I can recommend a few journals that are among the best in Europe and the world in general. I don't know exactly their Q rating, but it is very difficult to publish in these journals and they only publish high quality papers.

JOURNAL NAME (ISSN / E-ISSN)

Best Regards

Yes, here are some recommended resources for wargame facilitators:

These resources can help facilitators improve their skills and knowledge in wargaming.

Significant issues in existing software engineering include:

Other issues might include burnout among developers, inadequate documentation, and insufficient focus on user experience.

Yes, I would be interested in learning about innovative keys and facts related to words, as it enhances understanding of language and communication. Insights into word usage can enrich discussions and creativity.

The unified and stable art of any word lies in its ability to convey meaning and evoke emotion consistently across contexts. This stability allows words to serve as tools for communication, expression, and connection, while their artfulness emerges from their nuances, rhythms, and the cultural or personal associations they carry.

Sweden's re-emphasis on handwriting and books aligns with research showing that handwriting enhances cognitive skills and memory retention. It promotes critical thinking and creativity, which are essential in learning. Additionally, the tactile experience of books fosters deeper engagement compared to digital formats, making it a valuable approach in education.

In media arts, poetry often manifests through experimental films, multimedia installations, and digital storytelling, where individual narratives are conveyed in innovative ways. These works explore personal experiences, emotions, and social issues, often blending visual and auditory elements to create immersive, reflective experiences that challenge traditional storytelling formats.

Sure thanks a lot

Science of the Word, sometimes New Science of the Word. Sylvia Wynter takes hold and reaches forward with Cesaire's conceptual phrase: a new science of the word. In her words this is the mode through which “the study of the word (the mythoi) will condition the study of nature (the bios).” For Wynter, the science of the word is essential for understanding ourselves as a hybridly human species, that is shaped by both genetic and cultural codes. In the future, the science of the word may also be the mode through which other-than-human forms of knowledge are apprehended. The science of the word accounts for how much of the natural is indeed unnatural: it is constructed and constrained and co-produced by human activity and political economy. The science of the word approaches the study of the world as a kind of poetics. It calls forth new ways then of writing and reading the unnatural world, with a predilection not for forced discrete and transparent knowledges but ebullient and broken-open meanings and theories. This new science looks at and seeks to express the world of words and the worlds words make. It was Cesaire’s belief that without the self-aware study of human culture and storytelling capacities, the natural sciences would remain “starved.”

Rock art, ancient or prehistoric drawing, painting, or similar work on or of stone. Rock art includes pictographs (drawings or paintings), petroglyphs (carvings or inscriptions), engravings (incised motifs), petroforms (rocks laid out in patterns), and geoglyphs (ground drawings).

Yes, but it is also a great topic in ancient Greek mythology; Goethe knew Greek at age 8. Every natural genius is fascinated by the creative and destructive powers of our physical and psychological world; in this understanding, our creative talents connects us to the primordial forces of the our inner and outer universe.

Wolfgang Borchert (1921-1947): The Rats Sleep at Night; The Man Outside; The Sad Geraniums; The cherries; The Bread; The three dark kings; Along the Long, Long Road ..

Dear Colleague Bahéra Oujlakh

Of course we can link art to science. My whole research has been related to this.

I am a liaison between the sciences and the English Department at the University of Arizona. One big area of overlap in literature is science fiction. By that I mean the more cognitively challenging science fiction such as that of H. G. Wells, Isaac Asimov, Jules Verne, Stanislaw Lem, Karel Capek, Kurd Lasswitz, Josef Nsevadba, Octavia Butler, Joanna Russ, Ray Bradbury, Ursula LeGuin and so on.

For instance when in Tucson our university was the planner of the 2007 Phoenix Mars Lander Mission, the dance department gave a concert called Mars and Other Stories.

I just posted a new update in mu Rhetorical Analysis project called "How SF got its Ghetto." It is important to understand the socio-economic-political aspects of knowledge creation of all kinds since as the cliche goes, everything connects to everything.

Islamic history, especially that stretching from about 700 c.e. to 1300 c.e., is replete with pioneering contributions, many of which subsequently developed further to underpin modern society. In alphabetical order, a (very) short list would relate to agriculture (including textiles), algebra, architecture, public libraries and colleges, numerous sciences and the humanities, medicine (including surgical tools), and optics. (There is coffee too.)

WHAT A FINE CONVERSATION! I AM A PSYCHOLOGIST AND ALSO AN ARTIST. I WRITE ABOUT CREATIVE ART SPACES AS WELL AS PROGRAM EVALUATION. SOMETIMES IT IS DIFFICULT TO SWITCH FIELDS BUT NOT ALWAYS. I BELIEVE WE HAVE BECOME TOO SPECIALIZED WHICH HAS SOME POSITIVE ATTRIBUTES BUT ALSO DRAWBACKS. MORE INTERDISCIPLINARY WORK WILL MODERATE OUR PERSPECTIVES AND PERMIT US TO EXPLORE WITHIN OURSELVES MULTIPLE TERRAINS.

My dear friend,

My new book has published. It is about design

as you are in this field i hope you will like it

Please read it and share it with everyone. It is talking about prosumer also for the first time in this book we talk about magic and its power in product design. It is talking also about future of consumers .I request you put the link of book on your page and your school website for your students.

Name: Everyone Is a Designer

Author: Mohsen Jaafarnia

Publisher: MJ

Ghochan, 2017

In Persian, Chinese and English

Topic: Industrial Design

Jaafarnia, Mohsen (2017). Everyone Is Designer. Ghochan, Iran : MJ Publication. ISBN: 978-600-04-7870-4

Very nice question. I have an article and published in academia edu but still bahasa Indonesia

A questionnaire can be interesting and worth if you dedicate awards for participants. Developing questionnaires often rely on surveys and programs; so, it is close to the scientific approach.

Can sources be defined before any discovery?

In science or in art?

What is discovered was there already but nobody knew it.

A source can only be traced after discovery (simple logic).

1 -Somebody sees some difference somewhere, looks twice,

2 -Thinks he/she saw something new, makes this public, and

3 - When the others didn't know it was there his/her name becomes history.

Afterwards the story of this discovery is made.

Afterwards one can speak of "sources"

Was this you question or did I get it wrong?

Several years ago the competitiveness of higher education was accepted and prepared students for adult life-the weakest going to the wall.

Dear Elizabeth,

These resources will be helpful. Best regards

I did not

H.K.

I'm sorry, but I did not add your name to your projects. I do not know what's going on?

Symmetry is a fundamental principle in aesthetics, and is present in some of humankind's creations from very early times.

Here are two interesting articles about the early evidence:

Hodgson, Derek

2008 “An ‘aesthetic’ explanation for the symmetry of Acheulian handaxes: some neuropsychological insights,” in Plasticités Sciences Arts (http://www.plasticites-sciences-arts.org/PLASTIR/Hodgson%20P12.pdf, uploaded: 22 September 2008, accessed: 2 April 2015).

2011 “The first appearance of symmetry in the human lineage: where perception meets art,” in Symmetry (MDPI AG), vol. 3, no. 1, pp. 37-53 (http://www.mdpi.com/2073-8994/3/1/37, uploaded: 1 March 2011, accessed: 30 January 2015).

Christopher,

"Perhaps the difference is between applied research and basic research? "

I would say not. This 'experiment' is riddled with unexamined faulty assumptions. The question of what makes something aesthetic is a cultural question, and not a neuroscience question. The goals of this work are in the same dubious category as seeking the gay gene or the god neuron.

Most neuroaesthetic research is stuck in a C20th internalist/cogntivist frame, and it was this frame that caused the demise of first generation artificial intelligence, in the 1980s. Hence my reference to FAI. Brains (if you follow Edelman), and certainly minds, are formed by cultures.

Long ago, I used to like bluegrass music, now I hate it. Did my bluegrass neuron die? As a kid I did not like olives. Now i like them - did I grow an olive neuron? Without doubt, there are useful questions to ask about the behavior of the brain under different stimuli,

About two years ago ICP NYC had done a group show. One of the pieces had a woman photographer digitally manipulate her pictures to arrive at different avatars. She had then posted them on facebook where people responded to them. I could find out the name of the artist if you're interested.

Another project which is currently up right now at the ICP Museum uses live curated material via twitter. 

The best book I have ever read on the nature of oil painting is by Elkins and is entitled What painting is. There is all manner of information concerning the chemical properties and use of oil paints. The book relates oil painting to Alchemy. Highly recommend. As a painter I regret  that one can no longer obtain Flake White because of its lead content.

Dear Rohitash and friends, here are my comments from my point of view:

a) Where do they overlap

--Both art and science are interacting with reality through experiences(E) and ideas of that reality(I)

--Art links observations to experiences and imagination to ideas and science links observations with experiences and experiments with ideas.

--Both art and science have a component based on experience that we can call practice(P)

-But while science is based on theories(T) of the ideas of reality that are testable art is based on theories(T) of the ideas of reality than come from imagination.  So both maybe based on theories about the ideas of reality, but only the ones from science are testable

-Science has to respect the theory(T)-practice(P) consistency principle, art does not  requires that

b) what are their goals

--Both may pursue the truth, science as the scientific truth and art as non-scientific truth

c) who needs evidence

--Only science must be based on evidence, art does not have to.

Wish a good day to all;

Dear friends, as to "burlesque", the word in Spanish —in the Spanish Golden Age— does not always mean the same as the word in English as it is used from the 19th century on.  

Best regards, Lilliana

Thanks. That was very helpful. The site looks like it has all kinds of resources well beyond the scope of my question, as well. Much obliged for your advice!

Wasylko and Stickley (2003) uses drama. Send me a request through RG and i'll send you full text

Don't forget that nondestructive methods like XRF (or any analysis - EDS, AAS - of tiny amount of sample from surface) are all techniques which are characterizing surface only. Not only sculptures but any old objects can be gilded/plated and under this layer material with completely different composition can be found (and corrosion or patina can affect surface techniques results aswell). If the sculpture is hollow, you can try to get some small piece of matter from inside. If it is possible and sculture is not too big, very useful can be hydrostatic weighing (applications of Archimedes rule). This can confirm/disprove very easily and cheaply the composition found on surface by other techniques (ofcourse too complicated alloys is hard to determine, but for Ag/Cu, Cu/Au or Ag/Au alloy it si quite easy). For example: if XRF will find 80% of Au and the density of object will be e.g. 11.2 g.cm^-3 (and no cavities are present) than it is clear that object is not composed from material with 80% of gold (inside can be e.g. silver or lead). Very useful for binary and ternary Cu, Ag, Au alloy is article from Kraut and Stern (first link). Once I have nondestructively analyzed some gold medal (second link) which has nearly 100% of gold on surface but on some scuffed places only 70% Au, 20% Cu and 10% Ag was found with EDS and than confirmed with hydrostatic weighing (possible compositions of ternary alloy with known density is expresed by the red line).

I do not belive that there is any substantial connection.

hello

here are the publications :

Michal I find it interesting that a number of us art therapists are looking at this same phenomena.  In my own art making I do not feel like there is a single mental/physical state that I experience. For me much of the process depends on my reasons, or intentions, for entering into the art making process.  I use art making as expression and understanding. Often I enter into art making in a state of anxious arousal, irritation, or frustration.  The process itself unfolds as a long process of moving towards, through, and being with my own anxiety.  On the other hand, If I am entering in to art making trying to create a relationship with something then I find myself more tentative and my state is full of questioning, uncertainty, and timid experimentation.  I would have to conclude that, for me, art making is not contingent or linked to a specific state.  Instead it is a point of entry into my own experience with all it's myriad and overlapping states, emotions, thoughts, etc.

In real 3D scenes visual perception all  familiar local objects that we  recognize is the FIGURES - for example, in searching lost ball on the grass. In this case the texture of grass is the GROUND. However in other tasks - for example in searching the way in the mountains -  ground becomes the FIGURE itself because space perception is based on the texture gradients of Gibson and some others monocular features. And what  do we need to consider as  the GROUND in this case?

Some of the essays in this book could interest youhttp://www.ashgate.com/isbn/9781409433415

We used a very simple RL algo in order to add some adpatibility capability to the iCub playing DJ with a human partner which could give feeback about the music quality.

(see the video attached). We never really investigated the effect of this adaptation though...

I cannot answer your technical question about the bassoon, but insofar as Arne's music becoming more popular, I think that was consequent upon a tiredness of Italian music and the related theatrical changes e.g. as portrayed in Hogarth's The Enraged Musician. I recently added a new analysis of that print to my website at http://tobiassmollett.blogspot.co.nz/2015/01/william-hogarth-and-enraged-musician.html which discusses Arne and the London theatre, and it may be of interest?

Hello Carla,

not answering for David - but -

as an artist, and someone reasonably well informed in cognitive, neuroscience and philosophy of mind, the question which preoccupies me in this conversation is "why are we treating 'looking at art' as a special kind of looking?" And with respect to what?

Until we answer that question, it seems to me that any experimental 'findings' will be dubious and any  decision to follow a particular methodology 'topsy-turvy' or theoretically dubious.

It seems that scientist are often willing to accord something they call 'art' special status. Some artists have 'science-envy' and some scientists have 'art-envy'. Both seem based in some sort of insecurity and probably anachronistic information. For instance, take Joseph Kosuth's canonical conceptual art work 'one and three chairs' which consisted of: a chair, a black and white photograph of the chair, and a textual description of the chair. All three were chosen to avoid any aesthetic quality. It was an ordinary chair, the photograph was deadpan.

The specific point is that while being 'art' the work sought to avoid any of the trappings of 'art'. That is a general characteristic of progressive art. For the Venice Biennale a couple of years ago, a couple of guys dragged a row boat over the alps.

The general point - if we are talking about 'art' from a vision point of view, 'art vision' is  no different from any other kind of vision because 'art' can take any form - or non-form.

If on the other hand, we are talking about 'looking at pictures', then lets try to be clear about what distinguishes an art picture from a non-art picture. I suspect we would be drawn into the same kind of regress because many artists, perverse as they are, try to make art pictures indistinguishable from non-art pictures. I had a grad student whose graduation work consisted of the restaging of mail-order catalog pictures, pictures which have no pretense to art.

best

Simon

I propose this solution:

- Transform the models in point cloud;

- Regiter all models with respect to a reference (eg CAD model);

- Save the new point cloud;

- By using Matlab, import clouds of points and, for each point, evaluate the average.Regarding the points to consider in the average, this depends on how the models are; they may be the respective points or those closest to each point of the reference model

Dear Mr. Georgakakis,

The odd-sided regular polygon with the largest number of sides constructible by compass and straightedge has 4,294,967,295 (=3x5x17x257x65537) sides. Gauss showed that such a polygon would have a number equal to a product of distinct Fermat primes. The number you inquire about has repeated odd primes, so it is definitely not constructible. By the way, if anyone ever finds another Fermat prime, the number I cited would jump; there is no known proof that such a prime does not exist.

If you are interested in this topic I would strongly recommend reading Eric Kandels recent book entitled "The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present". In this book the Nobel Prize Winner basically covers exactly the topic you are interested in, namely how Expressionist artists like Egon Schiele or Gustav Klimt and others have (implicitly or explicitly) used principles of visual information processing (such as those developed by Gestalt-Psychology) to create pieces of art that strongly appeal to the viewer. I have almost finished reading the book, and it is one of the best books I have ever read, covering interesting aspects of both art and neuroscience.

Actually, it will bring the Internet of things not only to art but to culture in general.

It is bringing real tangible objects to life, adding narratives and further interaction to pieces of art.

For example, we have had some experiences working with museums that can be extrapolated to art) you can check them in my you tuve cannel Andres Navarro newball

Dear Carolyn,

According to my interpretation of play (not necessarily the only interpretation), that activity is goal-oriented or purposive, but the goals lie within the activity itself. Precisely their freedom from extrinsic goals and purpose makes them play and makes them creative.

I am sure they do but you need to specify the types of effects you are interested in.

Paul,

I will make one last attempt to clarify the basis of our disagreement. It is not unusual, and I have experience it before. Lets make an analogy:

There is a field of architecture in which professional architects push the limits of emerging technologies and their imaginations and generate works which are sometimes, and historically, regarded as significant markers of human achievement. These people may have psychological issues but in the bigger picture that is irrelevant.

Then we have people who like to renovate old houses, build kitchens and paint walls. They find this rewarding and satisfying on a personal level. Those people do not call themselves architects and if they did someone would sue them for appropriating a legally definition.

Do I get to call myself a mechanical engineer just because I built, ie a lego robot - no, and mechanical engineers would be right to be annoyed at my presumption. They would be right to send me 'cease and desist' letters.

So it is with art. A combination of factors - paucity of language; a general naivety or confusion about what artists do; the influence of psychoanalysis; the emergence of art therapy: have led to the absurd idea that 'anyone can be an artist'.

We have a confusion between the therapeutic activities of self expression you want to call 'art', and what serious artists engaged in a high level international professional discourse do. I find this infuriating and demeaning. I do not denigrate 'art therapy' (in fact a member of my family is a professional art therapist). But we must understand that the two things that get lumped together under the banner 'art' are as different as chalk and cheese.

What is your background, interests, etc...

For more information on how to choose colors in your graphs that are friendly to colorblind people: http://jfly.iam.u-tokyo.ac.jp/color/

Fractals can explain everything that we observe in nature.

Yes, the UK writer of the book Carbon Diaries:2015 that describes a country that has limited its carbon use by all individuals, author is Saci Lloyd.

Issam captures the inseparable nature of the content well. However, institutions such as universities do divide them up as part of their functional structure. At our university we bridged the Arts and Sciences at undergraduate level through a vocational focus, museum studies. Here's the link to an old paper that outlines our thinking at the time.

Hi Allison

If you are still searching and want further scope

I would suggest putting this on the Franklin Furnace email

list www.franklinfurnace.org/‎

and/or the

Fluxus email group lists

or contact Cecil Touchon directly http://cecil.touchon.com/ as I'm sure he would be interested in this project

From personal experience I believe that you only need a small amount of engagement with the arts to relax and gain clarity in thinking and greater confidence. Just walking past the State Art gallery, looking at the signs displaying an exhibition can inspire thought and relax the body. Listening to a song on the radio can do the same thing, providing, of course, you like the song! Like nature and animals, art can create physical and mental changes that are beneficial to you. It can lower your blood pressure for one thing! How long the physical and mental changes remain may well depend on the degree of continuous engagement but I think a little bit can go a long way. Enjoy your day with your favourite art.

Mapping is about abstracting and representing spatial objects in a simplified way that we mere mortals can be able to interpret. Cartographers then use cartograms and other tools to create beautiful maps. The quality of such maps could in some ways be used to define the identity of the mapper as would an artistic masterpiece. GIS provides the necessary tools to aid the cartographer in this quest, but as we all know, it provides more than just tools for mapping as it provides ways of interacting with data in wonderful ways. My take is that GIS Mapping as posted is more than a means of creating an identity ... it allows that but much much more.

Yes, I mean the third ear... In fact I am writing a paper for which Stelarc was asked to take this photo.

I am not very happy with the term tactical media, althout the Leonardo Book Series for which I am executive editor published the book http://www.amazon.com/Tactical-Biopolitics-Activism-Technoscience-Leonardo/dp/0262042495 by Beatrice daCosta and Kavita Phillips.

One term I like at the moment is the 'hard humanities' to carry the idea that the arts and the humanities are now on the front line of the cultural change needed to develop

a sustainable society on our planet. We will not transform our society to be sustainable and control climate change without a profound change of culture= and the arts and humanities are key areas of expertise for this transformation.

roger malina

Phenomenal colour, the way we experience colour cannot be understood on the basis of the understanding of the spectrum of light. For understanding how we experience colour we need to describe the phenomenology of colour perception. Experimental psychology has done a lot on that in the last one hundred years but Goethe is probably the first person who understood that. Phenomenology of colour perception is not enough, we also need to understand the physiological mechanisms explaining this phenomenology. Hermann von Helmholtz did the pionneering works by developed the 3 receptor theory in 1850: that the three types of cone photoreceptors could be classified as short-preferring (blue), middle-preferring (green), and long-preferring (red), according to their response to the wavelengths of light striking the retina. A lot more has been done since that time. But the purpose of Goethe in doing his experimental work on colour and on the growth of plants was much more ambitious than learning some specific knowledge on these phenomenal domains. Goethe's purpose was to propose a new way to do science, a new epistemological method, a delicate empirism. Goethe's claim was that the goal of the traditional empirical method of science , the creation of a mathematical model that is emprically tested , is wrong. Goethe claims that the goal of science should not be the objectification of Nature, the project that began with Galileo and Descartes and which Newton firmly established and which continues up to today. Goethe instead made a demonstration that it is possible to do experimental science at the phenomenal level without any mathematical model and objectivisation. Goethe also claim that Nature is not an objective reality but a framework of participation. Are Goethe's intuitions been proven wrong? I personnally thinks that modern science is moving in the direction indicated by Goethe without giving up mathematics as Goethe would have like. The equations of quantum physics for example do not describe an objective reality out there. No, they describe our participation. Goethe's work on the morphology of plants, completely done at the phenomenal level have had a major impact on the work of Haeckel and his contribution and support of Darwin's theory of evolution.

The Foundation of Ernst Haeckel’s Evolutionary Project in Morphology, Aesthetics, and Tragedy

Most scientists and philosophers by focusing only on expressing their ideas clearly using mathematics NEGLECTs the process of discovery, what brought them there. This is not part of science. All that is published and discussed are the final forms. The process of discovery, the subjective indwelling into the phenomena is left untold into the mystery of consciousness. Researchers consider taboo all this subjective side. Personnally all my scientific ideas have been revealed by a sudden vision/myth which guide me all my life. The implicit first reveals itself through such vision and then the real scientific work began in order to find a rational explicit expression for such idea. Michael Polanyi tacit knowledge has elaborated this into a modern conception of science. Recently a Russian mathematician prove a conjecture made by Poincarre 100 years ago. Poincarre did not manage to find a mathematical path to his idea , but his mammalian brain had found one.

Interesting question, i'd like to update my knowledge of the subject, essentially based on this paper by Hirstein and Ramachandran : http://www.ingentaconnect.com/content/imp/jcs/1999/00000006/F0020006/949

Some work has been done on that

for intro : http://www.molecularrecipes.com/molecular-gastronomy/taste-music/

a lot from that lab :

(publications not updated, but there are a lot of recent work)

from that, you should find more, enjoy !

Have you seen the work being done by Jacque Fresco on http://www.thevenusproject.com/? I see this initiative as a major fusion of art and economics. Great question, Joseph. Thanks!

=)

@imee

Just an interesting piece on American divergence from British English...

People perceive colors differently, as sensory, cognitive and psychological effects are convoluted by the brain when interpreting what a color is. This also happens when getting a prescription filed at the optometrist, vision/perception is part psychological, and thus they don't correct for all the physical errors in your vision. And, for instance, magenta or brown are not colors in the rainbow (i.e. light wavelengths), but we can still perceive them. This is why pantone (R) and other similar systems were invented, so that there is an accurate language to describe any and all colors very specifically.

As I understand it Japanese has only one word for both blue and green, and makes little distinction between them, but pantone does, into the minutia.

Complexity coexists with coherence through hierarchies of levels (such as spatial size), each level characterized by repeating elements of a given size. Patterns with hierarchical complexity revert to simpler appearances when you look at them in defocus. There are theories for how hierarchical patterns can be used. For example, see Christopher Alexander's "A Pattern Language" (Oxford U. Press, 1977), and for more theoretical discussion see the articles by Nikos Salingaros (e.g., http://math.utsa.edu/ftp/salingar.old/Universal.html) , The iconic picture I carry of this discussion is a wall with a small door in it, but with friezes and other structures that span the intermediate scales between the whole wall and the little door. In the past, people have attended in such way to multiple scales, and the result is aesthetically pleasing. What tends to be done in modern architecture is to quit once one has the big wall and the little door in it. Complexity should be artfully introduced on several spatial scales to remedy the small-door-in-a-big-wall problem. To be more specific to the question here, interesting batik also has hierarchies of scale.

Michael H. Brill

For those of us who do not read Spanish I have translated Susana's comments:

I do not know what it is! But the feeling it gives me: disturbing, garbage, aggressiveness, thorns ... visual stress! The colors are very aggressive, like the profiles of the objects, the color saturation and contrast ... Come on, something like the word CRISIS we hear so much! Greetings to all!

For Susana:

Thanks for your comments:

this was a very large potato that had sprouted large, ugly, distorted shoots. After I took the picture I worked with my image editing program and came up with what you see. The title, "Monstero" suggested itself.

Para Susana:

Gracias por sus comentarios a:

esto era una patata muy grande que había surgido grandes brotes feos y deformes. Después de haber tomado la foto que trabajó con mi programa de edición de imagen y vino para arriba con lo que se ve. El título, "Monstero" en sí mismo sugiere.

I live in Chennai city, which located in Tamil Nadu, South India. Our city is flanked by Bay of Bengal which is a part of the Indian ocean. When I interact with fisherfolks who live along the coast, they tell me that the tidal amplitude has increased and the sea is coming closer to the village year by year. Moreover there are also changes in the shore currents which erode the shore to occupy space.

Some time ago I found an article about the relation among ants' life and researching and developing artificial intelligence in tech industries. Based on that I created a pciture artwork for an Art bienale: Patterns in ants behavior follow a logic, when you invade or distord that logic they get in chaos for a while, but somehow they found the way to reset... that reminds me some metaphore of anarchism (chaos-order naturally)