Better science through art

Les premières années du XXe siècle ont vu en France un essor de la presse féminine et de la production littéraire des femmes, marquées par une vogue de la poésie d’autant plus frappante qu’elle reste sans équivalent dans d’autres périodes. On ne saurait y voir un mouvement littéraire cohérent ni concerté – quoique certains commentateurs aient parfois, à la suite de Charles Maurras, parlé à ce propos de « romantisme féminin » –, et cette étonnante reconnaissance publique d’une poésie écrite pa..

StART

RN2019 Turkey is organized in Ankara by the Science and Society Center of Middle East Technical University (ODTÜ) to promote public recognition of “Science through ART – StART” and thus reveal the value of thinking outside the box. Art is utilized as an overarching theme because of its familiarity, which has great potential to break conceived barriers between science and society. The setting will be around five key areas each corresponding to a branch of art, namely drawing-painting, sculpture, architecture, music-dance, photography. Around each of these areas, we will host activities where invited science and art communicators will explain the many interactions between science and art through their works. That is, it will show how art can be inspired by science and vice-versa and how art and science can collaborate to better understand the world around us and increase our welfare. Our science communicators are mainly experienced researchers, but then again scientists and artists will be brought to the same platform since they both strive to see the world in new ways and communicate that vision; and thus “are more alike than different”. We aim to reach 10,000 on-site participants and 1,000,000 on-line or indirect beneficiaries regardless of their age and background. Nonetheless, special focus will be given to students ranging from pre-schoolers to high school students. The ultimate messages conveyed via StART will be “Science and art are indispensable to the human need of understanding the world around us.”, “A research career on science and art can be fun!”, and “Researchers are everywhere!”. Celebrating artistic creations and scientific discoveries can be a truly memorable experience for our beneficiaries. For younger audiences, the event may provide a life-changing moment, when they not only recognize the importance of science and how imagination informs scientific discovery, but also get to meet and talk to researchers and be drawn closer to careers in science.CSA - Coordination and support action ( H2020-MSCA-NIGHT-2018

The 12 prophets dataset

The "Ajeijadinho 3D" project is an initiative supported by the University of S\~ao Paulo (Museum of Science and Dean of Culture and Extension), which involves the 3D digitization of art works of Brazilian sculptor Antonio Francisco Lisboa, better known as Aleijadinho. The project made use of advanced acquisition and processing of 3D meshes for preservation and dissemination of the cultural heritage. The dissemination occurs through a Web portal, so that the population has the opportunity to meet the art works in detail using 3D visualization and interaction. The portal address is http://www.aleijadinho3d.icmc.usp.br. The 3D acquisitions were conducted over a week at the end of July 2013 in the cities of Ouro Preto, MG, Brazil and Congonhas do Campo, MG, Brazil. The scanning was done with a special equipment supplied by company Leica Geosystems, which allowed the work to take place at distances between 10 and 30 meters, defining a non-invasive procedure, simplified logistics, and without the need for preparation or isolation of the sites. In Ouro Preto, we digitized the churches of Francisco of Assis, Our Lady of Carmo, and Our Lady of Mercy; in Congonhas do Campo we scanned the entire Sanctuary of Bom Jesus de Matosinhos and his 12 prophets. Once scanned, the art works went through a long process of preparation, which required careful handling of meshes done by experts from the University of S\~ao Paulo in partnership with company Imprimate.Comment: Full dataset online at http://aleijadinho3d.icmc.usp.br/data.htm

Perishing Personhood

Many people think that art and science do not overlap, especially in an educational sense. As someone who is both a biology and studio art major, I wanted to explore this mentality. This past semester I dived into a project to prove just how much these subjects can work together to expand our understanding of how art can be used for research purposes in a medical setting. With support from my Life Drawing professor, I was able to create multiple drawings from life and from photographs centered around my grandmother\u27s Alzheimer’s Disease during my frequent visits to her nursing home. I was even able to get my grandma to complete a couple quick drawings for me to see how her thought process with dementia could be reflected visually. As healthcare starts to seek insight into human illnesses, diseases, perception, and suffering from a non-science perspective (history, art, ethics, anthropology, etc.) within the growing field of medical humanities, I feel that the use of art as research will continue to grow in relevancy. My presentation, Perishing Personhood, further explains how my perspective as a healthcare worker, family member, artist, and caregiver has helped me better understand what my grandma is experiencing with her diagnosis. As I explore how art research allows medical providers and family to better understand what a patient is going through, I hope that the audience will be able to better grasp the growing need for our society to adopt art research as legitimate source of information

The Arts: Building A Foundation To Increase Science Literacy Skills For Urban Youth

This study examined issues related to the development of science literacy skills for urban youth, which affected school performance and achievement in science. Examined were historical and societal educational issues, identity and perception of place in society, perceived individual cultural advantages, self-efficacy, and future career interests in science. Strategies used to addrress these issues included culturally responsive approaches using hip-hop art forms, as an infusion into the urban middle school classroom. Middle school teachers and youth in large Midwest urban districts were surveyed to discover their attitudes about science education and to determine the students\u27 level of science literacy. A performance arts-based approach was then established to connect science investigations to science literacy, and to build a foundation for science literacy skills. Students and their teachers were then trained to create spoken-word science poetry, intertwined with science inquiry explorations, to develop culminating hip-hop science performances. An assessment of this performance arts approach to learning science revealed that eighty-six percent of the students thought that they had learned science better through science poetry developed into a poetry song. Seventy-one percent of the students felt that drama, or acting out science concepts, helped them to have a better understanding of concepts. In addition forty-three percent of the students gave advice to the researcher in regards to making science education approachable through the training they had received

Body, Blood, and Flood: The Ripple of Kinesics through Nature in Leonardo da Vinci\u27s Art

Leonardo da Vinci\u27s art and science have a dynamic relationship that can be used to better understand the role of the individual and the human body within his art. Leonardo believed that movements of the body were expressions of the soul. He also thought that the body was as a microcosm of the physical world. The theories, based in ancient tradition, would be challenged by his work with the human anatomy. By studying his notebooks it becomes evident that Leonardo held nature to be the highest creator of the world but as he worked to understand the human body and through extension the physical world, his ideas about nature and the divine became more incomprehensible. Leonardo\u27s art reflects this turn of perspective as he becomes unable to define the physical world through the human body

ArDIn. Art, Design, and Engineering Merging in a New Method

Teaching technical drawing to fine arts students in 2001 is the beginning of an idea that searches for an integration of different fields of knowledge. Life brings you then to teach artistic drawing to industrial design engineering students and, therefore, to face again the difficulty of merging into one concept: art and science as a whole. So lets introduce a better connection with the professional world into our teaching-learning process. In 2011, Silvia Nuere created a scientist journal called ArDIn, Art, Design, and Engineering to promote the STEAM approach to learning. Art, design, and engineering must configure the basic elements of a new way of understanding not only the teaching-learning process but the way of being in the twenty-first century. ArDIn becomes then their method to involve students in the necessary integration of art and science through a constant dialog and critical thinking. Between the educational contexts, we want to point out transmedia narratives as a movement that enhances the creative process. We need to be opened to new proposals as well as going further looking for connections beyond media. Through this project working interdisciplinary, we prepare students remotely for their story in a possible transmedia format

Summer 1969

Massachusetts Turf and Lawn Grass Council Better Turf Through Research and Education Contents: New Lawn Seeds Ready to Sprout Profits by Robert W. Schery (page 3) Potash Experiments on Turf Grasses by Edward G. Konieczny (4) Understanding the Basis... Fertilizer Spreader: Spreading Relationships (9) TVA Shows Sulpher Coated Urea (13) Salinity Tolerance of Turfgrass by Jeff Wheeler (19) Poa Annua by William H. Daniel (23) Turf Management by Elwin E. Deal (26) The Art and Science of Greenskeeping by James W. Timmerman (27

Space is the machine, part four: theoretical syntheses

Part IV of the book, ‘Theoretical Syntheses’, begins to draw together some of the questions raised in Part I, the regularities shown in Part II and the laws proposed in Part III, to suggest how the two central problems in architectural theory, namely the form-function problem and the form-meaning problem, can be reconceptualised. Chapter 10, ‘Space is the machine’, reviews the form-function theory in architecture and attempts to establish a pathology of its formulation: how it came to be set up in such a way that it could not be solved. It then proposes how the configuration paradigm permits a reformulation, through which we can not only make sense of the relation between form and function in buildings, but also we can make sense of how and why buildings, in a powerful sense are ‘social objects’ and in fact play a powerful role in the realisation and sustaining of human society. Finally, in Chapter 11, ‘The reasoning art’, the notion of configuration is applied to the study of what architects do, that is, design. Previous models of the design process are reviewed, and it is shown that without knowledge of configuration and the concept of the non-discursive, we cannot understand the internalities of the design process. A new knowledge-based model of design is proposed, with configuration at its centre. It is argued from this that because design is a configurational process, and because it is the characteristic of configuration that local changes make global differences, design is necessarily a top down process. This does not mean that it cannot be analysed, or supported by research. It shows however that only configurationally biased knowledge can really support the design Introduction Space is the machine | Bill Hillier Space Syntax Introduction process, and this, essentially, is theoretical knowledge. It follows from this that attempts to support designers by building methods and systems for bottom up construction of designs must eventually fail as explanatory systems. They can serve to create specific architectural identities, but not to advance general architectural understanding. In pursuing an analytic rather than a normative theory of architecture, the book might be thought by some to have pretensions to make the art of architecture into a science. This is not what is intended. One effect of a better scientific understanding of architecture is to show that although architecture as a phenomenon is capable of considerable scientific understanding, this does not mean that as a practice architecture is not an art. On the contrary, it shows quite clearly why it is an art and what the nature and limits of that art are. Architecture is an art because, although in key respects its forms can be analysed and understood by scientific means, its forms can only be prescribed by scientific means in a very restricted sense. Architecture is law governed but it is not determinate. What is governed by the laws is not the form of individual buildings but the field of possibility within which the choice of form is made. This means that the impact of these laws on the passage from problem statement to solution is not direct but indirect. It lies deep in the spatial and physical forms of buildings, in their genotypes, not their phenotypes. Architecture is therefore not part art, and part science, in the sense that it has both technical and aesthetic aspects, but is both art and science in the sense that it requires both the processes of abstraction by which we know science and the processes of concretion by which we know art. The architect as scientist and as theorist seeks to establish the laws of the spatial and formal materials with which the architect as artist then composes. The greater scientific content of architecture over art is simply a function of the far greater complexity of the raw materials of space and form, and their far greater reverberations for other aspects of life, than any materials that an artist uses. It is the fact that the architect designs with the spatial stuff of living that builds the science of architecture into the art of architecture. It may seem curious to argue that the quest for a scientific understanding of architecture does not lead to the conclusion that architecture is a science, but nevertheless it is the case. In the last analysis, architectural theory is a matter of understanding architecture as a system of possibilities, and how these are restricted by laws which link this system of possibilities to the spatial potentialities of human life. At this level, and perhaps only at this level, architecture is analogous to language. Language is often naïvely conceptualised as a set of words and meanings, set out in a dictionary, and syntactic rules by which they may be combined into meaningful sentences, set out in grammars. This is not what language is, and the laws that govern language are not of this kind. This can be seen from the simple fact that if we take the words of the dictionary and combine them in grammatically correct sentences, virtually all are utterly meaningless and do not count as legitimate sentences. The structures of language are the laws which restrict the combinatorial possibilities of words, and through these restrictions construct the sayable and the meaningful. The laws of language do not therefore tell us what to say, but prescribe the structure and limits of the sayable. It is within these limits that we use language as the prime means to our individuality and creativity. In this sense architecture does resemble language. The laws of the field of architecture do not tell designers what to do. By restricting and structuring the field of combinatorial possibility, they prescribe the limits within which architecture is possible. As with language, what is left from this restrictive structuring is rich beyond imagination. Even so, without these laws buildings would not be human products, any more than meaningless but syntactically correct concatenations of words are human sentences. The case for a theoretical understanding of architecture then rests eventually not on aspiration to philosophical or scientific status, but on the nature of architecture itself. The foundational proposition of the book is that architecture is an inherently theoretical subject. The very act of building raises issues about the relations of the form of the material world and the way in which we live in it which (as any archaeologist knows who has tried to puzzle out a culture from material remains) are unavoidably both philosophical and scientific. Architecture is the most everyday, the most enveloping, the largest and the most culturally determined human artefact. The act of building implies the transmission of cultural conventions answering these questions through custom and habit. Architecture is their rendering explicit, and their transmutation into a realm of innovation and, at its best, of art. In a sense, architecture is abstract thought applied to building, even therefore in a sense theory applied to building. This is why, in the end, architecture must have analytic theories

THE ART AND SCIENCE OF WOOD: FROM PYROGRAPHY TO TERMITES AND WOOD DECOMPOSITION

Wood is vital to many natural ecosystems, as it provides energy, nutrients, and habitat for organisms from the micro- to the macro- scale. Wood is also critical to humans for similar reasons, and can be an important medium of art and education. This dissertation addresses three diverse aspects of wood with the contexts of science, art, and education. First, we explored the impact of timber harvest techniques and site preparation on microbial wood decay and subterranean termite responses on a forest-stand scale. The amount of coarse woody debris removed post-harvest, coupled with the location and species of the test wood stakes, significantly affected both termite and microbial-mediated decomposition after two and a half years of exposure. These findings help to better understand the impact of timber harvest practices on carbon cycling and associated modes of decay. We then explored effects of wood species and wood surface preparation on pyrography, the art of woodburning. The species of wood and the surface preparation significantly affected line and shading work in pyrography, with more detailed linework produced on hardwoods (Acer rubrum, Populus tremuloides) than on softwoods (Pinus taeda, Pinus strobus). Lastly, placing wood into an educational context, high school level lesson plans that address several science curriculum state and federal benchmarks were developed, to be taught through the active learning technique of pyrography. A general “Introduction to woodburning” lesson plan is included, followed by lesson plans for cellular respiration, human impacts on the environment, photosynthesis, and the carbon cycle. Lesson plans provide instructors with the resources needed to teach across both science and art curriculums. Each lesson plan includes background material, vocabulary, assignments, instructional videos, and PowerPoint presentations. These three chapters weave together science, art, and education using wood as the common thread