Artscience

A separação entre arte e ciência é um fenômeno relativamente recente em termos históricos. Desde o nascimento da filosofia na Grécia, por volta do século VI a.C., quando o mundo ocidental passou a distinguir a razão do misticismo, até o século XIX, com o advento do positivismo, os conhecimentos científicos e artísticos estiveram intrinsicamente ligados. O breve período de afastamento, de cerca de 200 anos, parece estar chegando ao fim. Ciência, arte, tecnologia e filosofia, ou seja, raciocínio lógico, criatividade, desenvolvimento de técnicas e capacidade de reflexão e abstração fazem mais sentido conectados e são cada vez mais necessários diante de um mundo cada vez mais complexo.

CP Snow’s mid-century idea that a “third culture” might come into being to connect arts and science is perhaps most publically realised today through art-science - a heterogeneous field of creative research and production, characterised by the collaboration of artists and scientists and by research combining scientific and aesthetic investigation. This paper reports on the development of a new method for investigating the value of third culture collaboration for both the expert collaborators involved (artists and scientists) and the audiences who engage with the work. The visual matrix is a recently developed psychosocial method for evaluating aesthetic experience, which has been used in various sociallyengaged and site-specific art contexts. In 2014 it was experimentally applied to two art-science exhibitions staged in the UNSW Galleries, Sydney: Amnesia Lab and Body Image. This paper discusses the unique potential of this method to capture the shared, complex, emergent and transfo...

The book is a work in exploration and discovery by reconfiguring the history and philosophy of knowledge through the lens of artscience. Science fiction, games, philosophy of physics, natural history, decolonial history of knowledge, performance arts, media archaeology, and the history of technology all come together through a concatenation of ideas welded with stories and philosophical arguments that poke into obscure cracks to find brilliance in the unexpected, regardless of the situation of the objects and the ideas attached to the objects. This book represents a collection of essays held together by a theorization of artscience practices within, around, and beyond identifiable disciplines. A preview chapter is included.

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At least since C.P. Snow’s seminal Rede lecture The Two Cultures, the idea of a significant difference in kind between the natural sciences and the arts and humanities has been prevalent in Western culture. A gap has been perceived to exist not only in methodology and theory, but more fundamentally, in understandings and worldviews. This has resulted in a dichotomous debate both in academic and media discourses.
As a reaction to this, and parallel in time, some actors have strived to achieve a ‘third culture’. This is a common attitude in the still emerging field of ‘artscience’, whose actors seek to combine the advantages and knowledges of the sciences with those of the arts and humanities. Researchers from every concerned field have contributed to the exploration of the interface between ‘art’ and ‘science’. However, I argue in this
article that the very term artscience, in simply joining together the words ‘art’ and ’science’, is reenforcing an old notion of a binary opposition between these two fields. The idea of ‘two cultures’, still implied within the image of a ‘third culture’, disguises the plurality of perceptions and approaches within and across fields. While useful in pointing out lack of communication between fields, it tends to overemphasize divisions, ignore complexities, and, in some cases, leave out important parts of the picture. I suggest that the discourse of the ‘third culture’ and the term ‘artscience’ may jointly occlude the multiple possible constellations of practitioners, roles and approaches, and may be a potential limitation to interdisciplinary collaborations.

“On Soil” is combining images and text in a transdisciplinary way to fuse together
science and art in order to form new meanings.
The aim of my work is to raise the social, cultural, economical and environmental
importance of the soil. Since most of the people nowadays are rarely seeing or touching
the dirt, it has been left out from the cultural focus and legislative protection. Land art
picked up the issue in the 70-s and now it seems to be re-introduced in the artscience
movements where soil and sustainability tends to go together.
In my theoretical part of the thesis I ponder over the different aspects of land, soil
and environmental art. They are all connected by soil, which has been the key substance
of human culture and settlement throughout the times. Soil has a very important role for
human society: it feeds us, regulates the climate and acts as a carbon pool. I consider
soil as habitat for living organisms. Mythically it is named after Gaia – the Greek
Mother Goddess.
Descartes’s Cartesian approach to simplify nature’s interconnected web of life to
the mere levels material objects, played an important role in the development of modern
sciences. The invention of artificial fertilizers changed the way farmers grew their crops
towards less sustainable but economically more profitable mono-cultural schemes.
Since the industrial revolution the population has been crawling up to the levels, where
scientist start to predict a threat of over consuming our natural resources and depleting
our fertile soils.
The most effective way to acknowledge the situation is to communicate the
scientific data to the public and educate people. That’s where the artscience comes in. A
cooperation between an artist and a scientist could result in a way that benefits the
society in a whole new way. The human culture and the civilization is based on dirt,
therefore it is importance to show more respect to the humble life giver – the Soil. As an
artist I feel like continuing to probe this field and contribute for the sake of Gaia.

Artists explore new territories in their work by exploring new media, imagining new futures, contextualizing ideas, creating aesthetic investigations into new environments, or posing questions and leading theoretical discussions. Interaction among art, science and technology can contribute to the creation of future societies – of future realities – on many levels, e.g., it can contribute to communication, create experience, enrich discussions, feed into scientific processes and support personal learning. Especially when it comes to something influential like current developments in Artificial Intelligence, contributions of artscience collaboration can be essential for designing a positive future reality for our society. Supporting collaborations in organizations through well-structured formats in the organization supports the realization of elaborate art on the topic that contributes to important developments in the organization as well as to an informed discussion with broad audiences and shareholder groups.

In 1838 The Society for the Diffusion of Useful Knowledge issued its first engraving of the islands forming New Zealand. The preceding year my ancestors had come ashore on these same islands, creating the starting point for this journey. In this article, I have traversed a tiny section of the terrain around mimesis from which I have fashioned maps that chart interweaving conversations, one of which is a reflection on the participatory project, My Personal Cloud (2016). Focusing on concepts that hover between mechanical and sensory understanding I have considered the notion of yielding-knowing as a means of letting go of established learning strategies. I aim to draw attention to sympathetic magic's educational potential. In doing so, I have scuffed the surface of a number of ideas leaning into the poetic and notions of being inhabited. These lungs suffuse with the taste of clouds; I allow sensing to replace seeing as my words yield to the unspeakable.

The arts, science and technology are experiencing a period of profound change. Normally we use the terms digital everywhere, because it is embodied in our culture. We could talk about third culture as John Brockmann writes. The third culture, according to him, consists of
those scientists and other thinkers in the empirical world who, through their work and expository writing, are taking the place of the traditional intellectual in rendering visible the deeper meanings of our lives, redefining who and what we are. We are talking about whole new
forms of subjectivity. We are seriously talking about mutated worlds that have never existed on this planet before. And it is not just idea. It is new flesh. Human beings are always already immersed in the world, in producing what it means to be human in relationships with each
other and with objects. In the 21st century, some of the most dynamic works of art are being produced not in the studio but in the laboratory, where artists probe cultural, philosophical and social questions connected with cutting-edge scientific and technological research.
Human life and culture will expand also beyond biological limits, through the Third Life, the life that humans are giving to the entities built by their culture. There are many emerging or growing fields: autonomous agents and artificial life forms, autonomous objects, robotics and biorobotics, nano entities, hybrids (organic/ inorganic), modified or expanded organisms, synthetic life. This growth and multiplicity will take place in a realm where connecting, collecting, communicating and sharing information can be easily and automatically achieved thanks
to the computer technologies and the Net. The artists during the third millennium have begun to tackle the concepts, the tools, and the contexts of scientific and technological research: the results of their works are provocative and intriguing. These artists, who have been working combining both scientific and technological approach, outlined new perspectives in the art fields, in order to explain the complexity of the world following a trans-disciplinary method.
Metrobodily is a brain expression for describing this spherical mutation, where the ubiquitous bodies are interconnected for a living, hybrid and hyperconnected planet. Bodies everywhere, absent and present at the same time. We have many bodies, physical, virtual, extended, multisensorial.
What can a body do? What is New? What is Innovation? What it the relationship between art and science?

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Le arti, la scienza e la tecnologia stanno vivendo un periodo di profondo cambiamento. Normalmente noi utilizziamo il termine digitale ovunque, perché esso è incorporato nella nostra cultura. Potremmo parlare di
terza cultura come scrive John Brockmann. La terza cultura, è costituita da  scienziati e pensatori del mondo empirico che, attraverso il loro lavoro e la loro esposizione  stanno prendendo il posto dell' intellettuale tradizionale nel rendere visibile il più profondo significato della nostra vita, ridefinendo chi e cosa siamo. Stiamo parlando di nuove
forme di soggettività. Stiamo parlando di nuovi mondi che non sono mai esistiti su questo pianeta prima. E non è solo un' idea. È la nuova carne. Gli esseri umani sono sempre immersi nel mondo, nel produrre ciò che significa essere umano e nelle relazioni con l'altro e gli oggetti.
Nel XXI secolo, alcune  opere d' arte sono state prodotte non dentro ad uno studio, bensì in un laboratorio, dove gli artisti hanno indagato culturalmente, filosoficamente le questioni sociali legate alla ricerca scientifica e tecnologica d' avanguardia.
La vita e la cultura umana si espanderanno anche oltre i limiti biologici, attraverso la Terza Vita, la vita che gli esseri relegano alle entità costruite dalla loro cultura. Ci sono campi emergenti come la robotica e la biorobotica,  agenti e oggetti autonomi,  forme di vita artificiale,  nano entità ibride (organiche/ inorganiche), organismi modificati o espansi e
vite sintetiche. Questa crescita e molteplicità avrà luogo in un ambito dove connettersi. La comunicazione e la condivisione delle informazioni possono essere realizzate in modo semplice e automatico grazie a
alle tecnologie informatiche e alla rete. Gli artisti del terzo millennio devono affrontare i concetti, gli strumenti e i contesti della ricerca scientifica e tecnologica. I risultati delle loro opere sono provocatori e intriganti. Gli artisti, perseguendo un metodo transdisciplinare, lavorano coniugando diversi approcci scientifici e tecnologici, delineando così nuove prospettive nell'arte per "risolvere" la complessità del mondo, .
Metrocorporeità è una mia espressione cerebrale per descrivere questa mutazione sferica, dove i corpi sono interconnessi in un pianeta ibrido . Corpi ovunque: assenti e presenti contemporaneamente. Abbiamo molti corpi, fisici, virtuali,  estesi, multisensoriali. Cosa può fare un corpo? Cosa è nuovo? Che cos' è l' innovazione? Che cosa è il rapporto
tra arte e scienza?

总第307期 2018 11 024 我们已经重新设计了艺术， 让我们重新设计科学吧！ 内容摘要 ：在 20 世纪 50 年代，艺术界与科学 界泾渭分明，几乎没有艺术家将借助望远镜、 显微镜、脑成像技术这些新仪器观察到的新图 景作为他们艺术创作的灵感源泉。但 50 年后， 我们对这些新图景都十分熟悉 ：从月球表面的 图像到我们身体各个器官的 X 光片。如今，我 们已进入一个驱使我们重新设计科学的新时 代，包括科学条理自身与科学的社会介入性。 [ 美 ] 罗杰·马利纳 Roger Malina [ 美 ] 大卫·罗森伯姆 David Rosenboom 整理 ：李 拓 Edited by Li Tuo 同时，随着有关大数据的科学成果与作品的出 现，许多科学工程与科学探索仍然需要艺术家 与设计师的参与。我们需要创造新的方式来描 绘通过数据形式观察到的世界。50 年来， 《莱 奥纳多》一直主张艺术家参与到科技工作中， 以及科学家参与到艺术创作中。一方面，那些 更多地参与到艺术活动中的科学家比那些没有 业余艺术爱好的科学家能够探索出更多的科学 Now that We Have Helped Redesign the Arts, Let's Start Redesigning the Sciences 发现，我们的期刊记录下了这些科学家的成果； 另一方面，我们发表的许多艺术家的作品也涉 及全息摄影、虚拟现实，以及近期的生物学与 遗传等。 关键词 ： 《莱奥纳多》 、艺术与科学、设计、跨 学科 我在航空航天领域有着丰富的工作经验，包 括研究和管理的工作。我曾经设计过一个新型天 文望远镜，但可能这个想法太过领先了，在工程 上难以实现。这样一个望远镜要制造出来，不但 要在图纸上进行设计，还要在工程上能够实现。 (图 1) 在我的工作中，设计是非常重要的。我上学 的时候还使用 Codex 软件来工作，现在这个工具 已经不存在了。如今我们都讲大数据，数据分析 就是一项不同寻常的设计工作。我们今天已经进 入了大数据时代，但实际上，现在对大数据展开 工作的方式还是非常原始的，我们需要进行更好 的设计， 更好地开发数据文化。我也和 NASA(美 国国家航空航天局)共同设计卫星，设计卫星的 功能和运行，提高它的运行能力，并且要进行全 质量的控制，以及对流程的改进。其实，尽管我 们一直在研究宇宙，但实际上只是研究了宇宙表 面的装饰而已，这里面其实还有非常深入的哲学 问题。 我的博士学位是航天物理学，在麻省理工学 院和伯克利大学，一直非常执迷于航天研究。在 罗杰·马利纳 ：今年是《莱奥纳多》期刊创 刊 50 周年纪念，非常高兴到这里庆祝《装饰》 杂志成立 60 周年活动， 《装饰》可以说是《莱奥 纳多》的大哥哥。首先介绍一下我的个人背景， 一个人的背景对其今后从事的工作和思想的形成 会有比较深刻的影响。我从事航天研究，所以我 想从三万英尺的高度来介绍《莱奥纳多》的情况。 《莱奥纳多》是一个复合体性质的刊物，在它 50 年的历史中与很多人展开了合作，他们终其一生 用设计，以及科学技术工程和医疗的结合提供新 的视野。对传统的科学或艺术界的人来说，我们 的合作者看上去都是非常奇怪的人。今天我们使 用的一些术语，例如跨学科的、多学科的、学科 之间的，等等，可能无法来描述我们实际所做的 一些事情，这些事情本身并不是一门学科。对于 像《莱奥纳多》这样的出版物，我们的角色就是 进行观察。有了这样的出版物，使得我们这样一 个团体，能够让他们所做的事情为人所知，邀请 一些企业与非营利机构一起合作。那些原本相互 之间很难进行沟通和交流的人，他们通过《莱奥 纳多》这个平台产生了沟通和交流。 我加入 《莱奥纳多》 是在 1983 年。 现在我深信， 作为这样一个专业团体的一员，我们必须要实验 性地找到新的、记录这个行业发展的方式，并且 将它分享给其他人。 在西方文化中，个人往往成为英雄。而现在 我们面临的问题常常需要一个团队去解决，这与 我们对英雄的传统认识是不一样的。因为就机构 而言，我们的资金主要来源于个人募资，所以我 们也要看到有一些新的设计尝试。 2 1 1. 马利纳教授的航天学设计图 2. 澳大利亚行为艺术家 Stelarc 及其"第三只手臂" (third arm)

The number of cooperative research projects in art has grown significantly in the last decade – something that is due to institutional developments as well as technological change and the digital age. One reason is that art educational institutions are pressured to incorporate a research requirement, which has given rise to a paradigm of “inquiry” in artworks. But the spread of research element in art is more complex, and the institutional factors play just as important a role as the momentum of art’s own internal logic. We can’t overlook developments based on artists’ curiosity, their desire to try new media and create new works.

O livro "Ciência em Cena: teatro no Museu da Vida", evidencia a reaproximação e simbiose entre arte e ciência em quatro atos, como em uma peça de teatro, e conduz o leitor a explorar as conexões entre teatro, ciência e divulgação científica dentro e fora da Fundação Oswaldo Cruz (Fiocruz), uma relevante instituição de pesquisas brasileira. A obra merece aplausos por retratar com brilhantismo como um sonho feito de ciência e arte se tornou realidade e se destaca como uma referência essencial para compreensão da relação entre teatro e ciência no cenário contemporâneo brasileiro.

This paper explores the relationship between nature and culture during a series of scaffolded live action role-playing (larp) activities designed as part of a science, technology, engineering, art, and math (STEAM) summer program for indigenous youth. As a linked construct, nature and culture implicitly ground much of human activity, figuring centrally in core ontological and epistemological frameworks (Bang, Warren, Rosebery, and Medin 2012) and human cognition and development (Medin & Atran 2004). After forefronting cultural stories as the launch of activities, scaffolded larp practices were used as one series of activities of a multiple site, multiple year design-based research study. The STEAM programming was designed to explore the complex connections of indigenous culture, knowledge systems, philosophies, and relational epistemologies with perspective taking (Galinsky, Ku, & Wang 2005). Larp was used to add embodiment of non-role-players through degrees of immersive practices. This paper focuses on the larp finale of the 5 activity larp series at the Seattle site. Preliminary analysis of the video recordings, both handheld and point of view, demonstrated that children took up multiple perspectives of the complex systems of local plants and animals. The participants role-played those relationships with nuance and understanding of how those plants and animals interact and relate. Those interactions also characterized the three layers of role-play that were taken in steps when physical representations of the non-human characters were lacking as a part of the design (Fine, 1983; Bjork and Holopainen 2003).

"The emergence of deep history is shaping a contemporary concern with the origins of the human and its artifacts, beyond a reliance upon the written word of the (more shallow) past, which has formed a somewhat materialist history constituted by persons and things. Instead of a reliance upon documentary written evidence, a deep history attempts to re-instate the ‘pre-history’ of the written word – a genealogical and archeological history- through the traces of human consciousness left within human made artifacts, which themselves become containers for meanings and social relations (Shryock and Smail, 2011). Shryock and Smail insist that materials, just as the written word, contain traces of human kinship relations and exchanges. Seen within fossils, tools, pictures, household items, ecological change and genetic variation, these traces thus ‘document’ a deep history of the human mind, that extends into the material world. Such a reading of a deep history of the human through artifacts, may give evidence for an imaginary dimension of human desire, and by extension human perception, which opens up a deep history of thehuman beyond that of an axiomatic materialism."

CP Snow’s mid-century idea that a “third culture” might come into being to connect arts and science is perhaps most publically realised today through art-science - a heterogeneous field of creative research and production, characterised by the collaboration of artists and scientists and by research combining scientific and aesthetic investigation. This paper reports on the development of a new method for investigating the value of third culture collaboration for both the expert collaborators involved (artists and scientists) and the audiences who engage with the work. The visual matrix is a recently developed psychosocial method for evaluating aesthetic experience, which has been used in various sociallyengaged and site-specific art contexts. In 2014 it was experimentally applied to two art-science exhibitions staged in the UNSW Galleries, Sydney: Amnesia Lab and Body Image. This paper discusses the unique potential of this method to capture the shared, complex, emergent and transfo...

The emergence of deep history is shaping a contemporary concern with the origins of the human and its artifacts, beyond a reliance upon the written word of the (more shallow) past, which has formed a somewhat materialist history constituted by persons and things. Instead of a reliance upon documentary written evidence, a deep history attempts to re-instate the ‘pre-history’ of the written word – a genealogical and archeological history through the traces of human consciousness left within human made artifacts, which themselves become containers for meanings and social relations (Shryock and Smail, 2011). Shryock and Smail insist that materials, just as the written word, contain traces of human kinship relations and exchanges. Seen within fossils, tools, pictures, household items, ecological change and genetic variation, these traces thus ‘document’ a deep history of the human mind, that extends into the material world. Such a reading of a deep history of the human through artifacts,...

Among the ideas and meanings it explores, sci-art doubts these: art with intent, and natural with supernatural. Pry apart those assumptions until their halves exist individually, independently of one another — like water and gravity, pried from a river.

UNCERTAINTY is the latest in a series of Williamson Gallery exhibitions pondering the intersection of science and art. The art, artifacts, and visualizations herein are meant to symbolize the edges of knowledge and perception, and to encounter the poetic of a quest for unbiased truths.

For millennia humans have sought to acquire and cling to the comforts of certainty while it’s anxious opposite – uncertainty – has revealed the mysteries and sparked the imaginations, instincts, creativities, and curiosities that have shaped us into perennial seekers. A positive disruptor that activates curious minds and propels them to discovery, uncertainty is the conscience of science, the ignition of art, and an irritant to savor.

More on Uncertainty exhibit: http://williamsongallery.net/uncertainty

O-Tū-Kapua [what clouds see] is a Mixed Reality art-science project designed to stimulate young learners engagement with scientific concepts. Through complex, multidimensional narratives, this collaborative project has created a blend space where the interaction of Augmented Reality, physical place, analogue making and digital storytelling, are combined in the creation of a situated, embodied learning experience for primary school children.

Artists are often seen as innovators and producers of creative and extraordinary new ideas. Additionally, experiencing art and artistic processes is an important opportunity for learning and exploration. Thus, corporations and scientific organizations have experimented with initiatives that generate artscience collaboration, such as fellowships, long‐term collaborations with artists, and
artist‐in‐residence programs. Looking at outcomes in the long‐term, it is possible to identify
important contributions to scientific, technological, and artistic fields that stem from artscience collaboration opportunities in organizations. On the other hand, it is often difficult to define immediate tangible outcomes of such processes as innovation as interdisciplinary interaction and learning processes are valuable experiences that do not always manifest directly in outcomes that can be measured. Drawing from cases of artscience programs and qualitative interviews with
program managers, scientists, and artists, this article explores how artscience collaboration in an organization adds value and helps overcome organizational challenges regardless of such outcomes. By shifting the focus from the outcome to the process of artscience collaboration, it is possible to discover in more depth value‐added contributions of artscience experiences on an individual level (e.g., new ways of knowing and thinking, understanding of materials and
processes, and learning). Moreover, such contributions tell stories of connecting the process of artscience programs to the organizations’ goals of developing a new generation of leaders and driving a more adaptive, innovative culture. These benefits of artscience opportunities need to be supported by managerial activities in the organization. Thus, it enables a more differentiated understanding of possible contributions of artscience collaboration to organizations and helps to define the best model to create such opportunities.

RESUMO: O objetivo desta investigação foi explicitar tendências de pesquisas em ensino de ciências brasileiras que abordam o teatro de temática científica e estabelecer um diálogo com a pesquisa educacional baseada em artes. Foi utilizada metodologia qualitativa do tipo estado da arte, tendo-se como corpus de análise artigos constantes no WebQualis da CAPES. Encontramos que os conteúdos curriculares mais abordados foram química, biologia, física e educação ambiental, e que os focos temáticos mais frequentes foram educação não formal e divulgação científica, história e filosofia da ciência e métodos e estratégias de ensino. Os métodos utilizados nas pesquisas analisadas foram estudo de caso e pesquisa-ação. Verificou-se que as pesquisas estão em diferentes distanciamentos em relação a PEBA. Esta investigação promove reflexões que sinalizam para a possibilidade de pesquisas em ensino de ciências permeadas pela estética. Abstract: The aim of this investigation was to explains trends of Brazilian's researches about science education whose object is the Scientific Theatre and to dialogue with art-based educational research. Qualitative methodology was used, having as corpus analysis contained in articles WebQualis CAPES. We found that the curricular contents most approached were chemistry, biology, physics and environmental education, and the most frequent thematics were non-formal education and scientific dissemination, history and philosophy of science, and methods of teaching. The analyze methods used in these investigations were case study and action research. It was verified that these researches are in different distances respect to PEBA. This investigation promotes reflections about aesthetics approaches in research in science education.

The cyborg, whatever formulation it might have post-Haraway, has challenged the specificity of the ego, the separation of the social from the epistemological, and the sanctity of the natural. The manifesto of the cyborg had informed my own grappling of the semiotic machine of art-science/science-art. The cyborg, which Haraway refers to as a “condensed image of both imagination and material reality,” (p. 150) personifies that space of possibilities and impossibilities of  the disciplinary irreverence of art-science and science-art.

Reflecting on the history and development of art science (ArtSci) in Australia since the late 1980's, this article surveys examples of creative practice that have emerged through Australian ArtSci collaboration over the last 35 years and explores how funds have been mobilized to ensure such activity continues. These ArtSci creative practices and the structures that support them are examined against new challenges faced by Australian artists and scientists respectively. The challenges explored are the imbricated issues of cultural cringe, climate change denial, shifting policy directions in government funding and discourses of education and innovation that inform government policies. Given that practitioners of ArtSci globally must rely on institutional support to ensure equipment and expertise to perform necessary work of creative development, this paper offers insight into how practitioners and ArtSci communities in the Australian context have built and sustained support in the past and how they seek to maintain it in present and future.

Listening requires attention, engagement toward an environment, and relies on subjectivity and (self) consciousness. The paper explores mechanisms of listening in the sonic arts through an ongoing research based on art process informed by cognitive science. The project focuses in particular on the American composer Pauline Oliveros’ concept of deep listening (Oliveros 2005). She proposes an expansion to all what is humanly possible to listen to. It leads to the phenomenal world that lies inside the auditory cortex about one’s personal space perception. To engage toward an environment as a sonic architecture and as a perceived atmosphere, necessarily involves the body. Sound and space are linked to vibration, and resonating energy within the body may result in mental imagery of space. The vibrational aspect of sound through experience provides new ways for spatial perception, as well as new paths in novel philosophy of sound and auditory perception. That is, the paper investigates fields of possibility of sonic meaning and experience in mind in relation to the world. Collaboration with cognitive science includes the investigation of body perception in relation to a spatial ecology.

As definições de arte e ciência têm passado por permanentes transformações ao longo da história e já foram praticamente indistinguíveis no início da história da filosofia ocidental. Depois de longo período de afastamento, há uma série de indicações que apontam para uma intensa (re)aproximação entre arte e ciência na contemporaneidade.

[ITA] Le relazioni dell’ecosistema tra ricerca artistica, scientifica e tecnologia sono importanti per una maggiore consapevolezza e conoscenza e per affrontare i problemi complessi del mondo post-contemporaneo.

[ENG] The ecosystem relationships among artistic research, science and technology are important for a greater awareness and knowledge in order to address the complex problems of today’s post-modern world.

Creative connections are so essential to the innovation model that organizations considered innovative promote events to bring together creative groups so as to accelerate the movement of ideas, from their concept to their fulfillment. An international example of initiatives that converge in this sense is the Hacking Arts, a forefront action in the integration among art, science and innovation. Conducted within the academic environment, although open to the community at large, this festival aims to stimulate entrepreneurship and innovation within creative arts and outside them.  e event is subdivided into three: the Conference, the Tech Expo, and the Hackathon.  is article describes and analyzes the event that took place in Cambridge, United States, in 2015.  e intention, through this paper, is to describe its format, putting it in a context derived from the authors ́ ideas.  e purpose is that the exposed information and discussions may serve as inspiration for the development of future events that reduce the distance between beginners and renowned professionals, fostering a closer relationship among art, science and innovation in Brazil.

ACTION CLUSTERS TRANSLATING: Problem-driven connections among academic, commercial, and civil societies 1. Project formation and translational value CONVENING: Overcoming transdisciplinary thresholds 2. Conferences, workshops, camps ENABLING: Sustaining balanced S-E-A-D relationships 3. Establishing safe places for hybrid individuals and practices INCLUDING: Creating a dynamic, varied network 4. Global communities and local diversity EMBEDDING: Public engagement and negotiation 5. Outreach, dissemination, “citizen science” SITUATING: An emerging ecology of creative places 6. “Alt spaces” SENSE-MAKING: Multi-modal knowledge and ways of knowing 7. Integrating understandings through the SEAD perspectives DOCUMENTING: Recording and transmitting 8. Capturing, publishing, curating, archiving LEARNING: Tapping into the passion and creativity of lifelong curiosity 9. Sharing blended experiences PRELIMINARY SEAD REPORT - 5 - COLLABORATING: Methodologies working across discipline and institut...

CP Snow’s mid-century idea that a “third culture” might come into being to connect arts and science is perhaps most publically realised today through art-science - a heterogeneous field of creative research and production, characterised by the collaboration of artists and scientists and by research combining scientific and aesthetic investigation. This paper reports on the development of a new method for investigating the value of third culture collaboration for both the expert collaborators involved (artists and scientists) and the audiences who engage with the work. The visual matrix is a recently developed psychosocial method for evaluating aesthetic experience, which has been used in various sociallyengaged and site-specific art contexts. In 2014 it was experimentally applied to two art-science exhibitions staged in the UNSW Galleries, Sydney: Amnesia Lab and Body Image. This paper discusses the unique potential of this method to capture the shared, complex, emergent and transfo...

Art explores technological and scientific frontiers: it is an act of revelation. So research asks questions about the possibilities and implications of technological innovation, exploring paths of inquiry, conceptual frameworks and cultural associations different from those investigated by scientists and engineers. Artistic research in relation to scientific research is shaping the future in profound ways. Our culture desperately needs broad involvement in shaping research agendas, processes of inquiry, and exploring the implications of what is discovered and shared in schools, universities, and academies. Artists can contribute significantly to this discourse by developing a new kind of artist-researcher role, and STEAM can be our ecosystemic performance so that the imaginary becomes the engine of undisciplined; environment for radical change in thinking.