Scientists are famous for believing in the proven and peer-accepted, the very ground that pioneering artists often subvert; they recognize correct and incorrect where artists see only true and false. And yet in some individuals, crossover learning provides a remarkable kind of catalyst to innovation that sparks the passion, curiosity, and freedom to pursue--and to realize--challenging ideas in culture, industry, society, and research. This book is an attempt to show how innovation in the "post-Google generation" is often catalyzed by those who cross a conventional line so firmly drawn between the arts and the sciences. David Edwards describes how contemporary creators achieve breakthroughs in the arts and sciences by developing their ideas in an intermediate zone of human creativity where neither art nor science is easily defined. These creators may innovate in culture, as in the development of new forms of music composition (through use of chaos theory), or, perhaps, through pioneering scientific investigation in the basement of the Louvre. They may innovate in research institutions, society, or industry, too. Sometimes they experiment in multiple environments, carrying a single idea to social, industrial, and cultural fruition by learning to view traditional art-science barriers as a zone of creativity that Edwards calls artscience. Through analysis of original stories of artscience innovation in France, Germany, and the United States, he argues for the development of a new cultural and educational environment, particularly relevant to today's need to innovate in increasingly complex ways, in which artists and scientists team up with cultural, industrial, social, and educational partners.
After creating a general understanding of what artscience collaboration is and a deep reflection of the mechanisms artscience processes trigger that affect artists and scientists, one question remains: how is it possible to support ...
In so doing, this volume brings to bear the "practice turn" in science and technology studies on the empirical investigation of multifaceted experimentation across contemporary art, science, and technology in situ.
The fullest technical study of industriel , 1866 ) , but Brücke's conclusion was that its yellowish or this painting is in J. Leighton and R. Thompson 1997 , Seurat and the reddish cast was essentially subjective , and could be ...
* Explores the architecture and history of ArtScience Museum Singapore, the cultural heart of Marina Bay Sands* The museum has staged large-scale exhibitions by some of the world's most famous artists, including Leonardo da Vinci, M.C. ...
The book explores all aspects of the process, including aesthetics, technology, and practicalities, in a clear, concise manner designed to provide the reader with a full working knowledge of lighting design.
The Timetables of Technology: A Chronology of the Most Important People and Events in the History of Technology. Simon & Schuster, 1994. Buxton, Bill. “The role of the Artist in the Lab.” Meisterwerke der Computer kunst, ...
The dialogue between art and science has powerfully shaped both endeavors since antiquity. Artists have been pioneering figures in disciplines from engineering to medicine, while scientists have decisively influenced our...
deal. with. likenesses. between. seemingly. diverse structures . As open systems , the brain and cosmos " live " in the way we know all life - giving processes live— “ experiencing ” their environments through flowing exchanges of ...
This sixth volume in the AVISTA series considers medieval travel from a variety of interdisciplinary perspectives, placing the physical practice of transportation in the larger context of medieval thought about the world and its meaning.
Exposure is a central aspect of the craft of landscape photography, and Randall tackles the challenges of this topic from every angle-from tips on calculating exposures in the field, to achieving correct exposure in high-contrast lighting ...