What Are The Arts And Sciences

What constitutes the study of philosophy or physics? What exactly does an anthropologist do, or a geologist or historian? In short, what are the arts and sciences? While many of us have been to college and many aspire to go, we may still wonder just what the various disciplines represent and how they interact. What are their origins, methods, applications, and unique challenges? What kind of people elect to go into each of these fields, and what are the big issues that motivate them? Curious to explore these questions himself, Dartmouth College professor and mathematician Dan Rockmore asked his colleagues to explain their fields and what it is that they do. The result is an accessible, entertaining, and enlightening survey of the ideas and subjects that contribute to a liberal education. The book offers a doorway to the arts and sciences for anyone intrigued by the vast world of ideas.

An abundantly illustrated history of the dynamic interaction between the arts and sciences, and how it has shaped our world. Today, art and science are often defined in opposition to each other: one involves the creation of individual aesthetic objects, and the other the discovery of general laws of nature. Throughout human history, however, the boundaries have been less clearly drawn: knowledge and artifacts have often issued from the same source, the head and hands of the artisan. And artists and scientists have always been linked, on a fundamental level, by their reliance on creative thinking. Art and Science is the only book to survey the vital relationship between these two fields of endeavor in its full scope, from prehistory to the present day. Individual chapters explore how science has shaped architecture in every culture and civilization; how mathematical principles and materials science have underpinned the decorative arts; how the psychology of perception has spurred the development of painting; how graphic design and illustration have evolved in tandem with methods of scientific research; and how breakthroughs in the physical sciences have transformed the performing arts. Some 265 illustrations, ranging from masterworks by Dürer and Leonardo to the dazzling vistas revealed by fractal geometry, complement the wide-ranging text. This new edition of Art and Science has been updated to cover the ongoing convergence of art and technology in the digital age, a convergence that has led to the emergence of a new type of creator, the “cultural explorer” whose hybrid artworks defy all traditional categorization. It will make thought-provoking reading for students and teachers, workers in creative and technical fields, and anyone who is curious about the history of human achievement.

In recent history, the arts and sciences have often been considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson’s Drawing as a Way of Knowing in Art and Science introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics and art. Inspired and informed by collaboration with contemporary scientists and Goethe’s studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, vegetable, mineral and four dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of new knowledge in science as well as in the arts.

The book is organized around 4 sections. The first deals with the creativity and its neural basis (responsible editor Emmanuelle Volle). The second section concerns the neurophysiology of aesthetics (responsible editor Zoï Kapoula). It covers a large spectrum of different experimental approaches going from architecture, to process of architectural creation and issues of architectural impact on the gesture of the observer. Neurophysiological aspects such as space navigation, gesture, body posture control are involved in the experiments described as well as questions about terminology and valid methodology. The next chapter contains studies on music, mathematics and brain (responsible editor Moreno Andreatta). The final section deals with evolutionary aesthetics (responsible editor Julien Renoult). Chapter "Composing Music from Neuronal Activity: The Spikiss Project" is available open access under a Creative Commons Attribution-NonCommercial 4.0 International License via link.springer.com.

Rousseau attacks the social and political effects of the dominant forms of scientific knowledge. Contains the entire First Discourse, contemporary attacks on it, Rousseau's replies to his critics, and his summary of the debate in his preface to Narcissus. A number of these texts have never before been available in English. The First Discourse and Polemics demonstrate the continued relevance of Rousseau's thought. Whereas his critics argue for correction of the excesses and corruptions of knowledge and the sciences as sufficient, Rousseau attacks the social and political effects of the dominant forms of scientific knowledge.

In the United States, broad study in an array of different disciplines â€"arts, humanities, science, mathematics, engineeringâ€" as well as an in-depth study within a special area of interest, have been defining characteristics of a higher education. But over time, in-depth study in a major discipline has come to dominate the curricula at many institutions. This evolution of the curriculum has been driven, in part, by increasing specialization in the academic disciplines. There is little doubt that disciplinary specialization has helped produce many of the achievement of the past century. Researchers in all academic disciplines have been able to delve more deeply into their areas of expertise, grappling with ever more specialized and fundamental problems. Yet today, many leaders, scholars, parents, and students are asking whether higher education has moved too far from its integrative tradition towards an approach heavily rooted in disciplinary "silos". These "silos" represent what many see as an artificial separation of academic disciplines. This study reflects a growing concern that the approach to higher education that favors disciplinary specialization is poorly calibrated to the challenges and opportunities of our time. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education examines the evidence behind the assertion that educational programs that mutually integrate learning experiences in the humanities and arts with science, technology, engineering, mathematics, and medicine (STEMM) lead to improved educational and career outcomes for undergraduate and graduate students. It explores evidence regarding the value of integrating more STEMM curricula and labs into the academic programs of students majoring in the humanities and arts and evidence regarding the value of integrating curricula and experiences in the arts and humanities into college and university STEMM education programs.

How the tools of STS can be used to understand art and science and the practices of these knowledge-making communities. In Art, Science, and the Politics of Knowledge, Hannah Star Rogers suggests that art and science are not as different from each other as we might assume. She shows how the tools of science and technology studies (STS) can be applied to artistic practice, offering new ways of thinking about people and objects that have largely fallen outside the scope of STS research. Arguing that the categories of art and science are labels with specific powers to order social worlds—and that art and science are best understood as networks that produce knowledge—Rogers shows, through a series of cases, the similarities and overlapping practices of these knowledge communities. The cases, which range from nineteenth-century artisans to contemporary bioartists, illustrate how art can provide the basis for a new subdiscipline called art, science, and technology studies (ASTS), offering hybrid tools for investigating art–science collaborations. Rogers’s subjects include the work of father and son glassblowers, the Blaschkas, whose glass models, produced in the nineteenth century for use in biological classification, are now displayed as works of art; the physics photographs of documentary photographer Berenice Abbott; and a bioart lab that produces work functioning as both artwork and scientific output. Finally, Rogers, an STS scholar and contemporary art–science curator, draws on her own work to consider the concept of curation as a form of critical analysis.