Evènements passés

Evènements à venir

Université de Gand

14-16 Mai 1998

Congrès International

La découverte et la créativité

[ http://logica.rug.ac.be/~joke/global.html ]

International Congress on Discovery and Creativity

Thursday 14 May — Saturday 16 May 1998
Ghent University, Blandijnberg 2, B-9000 Ghent (Belgium)

Outline

Since the origin of the modern sciences, our views on discovery and creativity had a remarkable history. Originally, discovery was seen as an integrating part of methodology and the logic of discovery as algorithmic or nearly algorithmic. During the nineteenth century, conceptions in line with romanticism led to the famous opposition between the context of discovery and the context of justification, culminating in a view that banned discovery from methodology. The revival of the methodological investigation of discovery, which started some twenty years ago, derived its major impetus from historical and sociological studies of the sciences and from developments within cognitive psychology, and artificial intelligence.

The present methodological attention for discovery and creativity, although a reaction against romantic tenets, is by no means a return to the earlier convictions. On the one hand, the contemporary view is much more realistic. Far from being a priori, it not only considers empirical results as an important source of inspiration and refutation, but also aims at a methodology of which the normative aspects are justifiable in terms of our contemporary knowledge about humans and their environment. On the other hand, modern (especially non-standard) logic provides us with a wide variety of instruments that enable us to articulate complex methodological mechanisms in a precise way.

A large majority of philosophers of science and epistemologists agree nowadays that the classical conception as well as the romantic conception are mistaken. Against the classical conception, it is generally accepted that truly novel discoveries are not the result of simply applying some standardized procedure. Against the romantic conception, the idea that discoveries are produced by unstructured flashes of insight is rejected. An especially promising movement ties discovery and creativity to problem solving in the broad sense of the term, and focuses on heuristic rules (guiding innovative research where strong problem solving methods are missing) and on reconstructions (leading to standardized methods that reduce specific problems to routine). Especially this movement, it seems to us, should be credited for the effects of the new concern for discovery.

Three major types of results were produced by the contemporary movement. First, there is a host of excellent case studies. Next, there is a variety of more or less powerful (contextual) heuristic rules, usually deriving from reconstructions of historical cases, but seen as useful with respect to future research. Finally, there is a set of (descriptive and normative) models for explaining discoveries and creative processes. Descriptive models mainly aim at explaining the origin of novel products; normative models moreover address the question how rational researchers should proceed when confronted with problems for which a standard procedure is missing.

These results mainly induced a change within methodology itself. Conceptions of justification and acceptance, of rationality, and of scientific change, have been transformed or are under transformation. Other effects of the results concern the philosophy of specific sciences, first and foremost mathematics, and also the philosophy of the arts.

The motivation for organizing the congress is methodological in the contemporary sense of the term. The central values of such methodology are empirical accurateness, clarity and precision, rationality and normativity. In view of these values, the congress aims at stimulating a goal directed interdisciplinary interaction centring on methodologically relevant themes. Philosophers of science and epistemologists should be challenged and enlightened by historians and sociologists of science, by cognitive scientists, and by logicians. Logicians should confront their systems and approaches with real life applications that relate to important problems. Cognitive scientists should face the normative epistemological aspects of their trade. Historians and sociologists of science should learn about new methodological conceptions and hypotheses, some of which they will falsify and some of which will enrich their approaches. More than any other methodological theme, discovery and creativity are, in the present situation, suitable to provoke this open and enriching confrontation.

Invited Addresses

Diderik Batens: to be announced
Kostas Gavroglu: "Unexpected phenomena: A problem for the history or philosophy of science?"
Howard Gruber: "Discovery and Creativity: the case study method and its application to Darwin and Piaget"
Jaakko Hintikka: "What is abduction? The fundamental problem about ampliative inference"
Frederic L. Holmes: "Experimental systems, investigative pathways, and the nature of discovery"
Nancy Nersessian: "Creativity in conceptual change"
Thomas Nickles: "The fall and rise of methodology of discovery"

Workshop: Science and Art

The aim is to present case-studies of the influence of artistic theory or practice on scientific creativity.
Organisation: The International Research Network "Science and Culture" (sponsored by the Flemish Fund for Scientific Research).

Part 1: 17th Century (chair: A.I. Miller)

M. De Mey, "The constructive role of ambiguity in artistic creativity and scientific discovery: Kepler's theory of Vision (1604) versus Jan Breughel the Elder's Allegorical Representation of Sight (1617)"
S. Dupré, "Cigoli's Prospettiva Pratica and Galileo's Sunspot Discovery. A case study of the influence of artistic theory on scientific practice"
P. Hamou, "A visual language for a new world: telescopic and microscopic images in the 17th Century"

Part 2: 19th-20th Centuries (chair: F. Hallyn)

P. Heelan, "Van Gogh and the modern use of ancient perspective"
A.I. Miller, "How Einstein and Picasso explored the nature of space"
G. Cornelis, "Modern Physics and art. How different disciplines pair up."

@

1998 Molecular Graphics Art Show

Reuben H. Fleet Space Theatre and Science Center
Balboa Park, San Diego, CA
December 2, 1998 - January 15, 1999

David S. Goodsell, curator
Teresa A. Larsen, juror

The 1998 Molecular Graphics Art Show, held in conjuction with the 17th annual international meeting of the Molecular Graphics and Modelling Society, presents original works by seventeen artists, chosen for their ability to present the complexity, diversity, and beauty of the molecular world in visual form. As with the 1994 Art Show, works from a wide range of disciplines are represented, including work by scientists actively involved in structural research, work by commercial illustrators presenting these results to students and physicians, and work by fine artists exploring the meanings and implications of these molecules in our lives.

The Artists
Teresa A. Larsen
Michael Carson - Bruce Gaber - Richard Gillilan - Graham Johnson
Zoya Maslak - Kirk Moldoff - Garrett M. Morris - Craig Nutt
T. J. O'Donnell - Arthur J. Olson - Betsy Palay - Betty Rothaus
Junko SUZUKI - Ashton Taylor - Terese Winslow
David S. Goodsell

Comments from the Juror

The works presented in this show should not be treated as clip art. Copyrights to each of the images remain the property of each individual artist or their assigns. For information on availability of images for publication or personal collection, please contact the curator at goodsell@scripps.edu. Your request will be forwarded to the artist.

@

October Gallery. London

Meeting of Art and Science

March 1999

Réunion organisée par David Peat et qui a constitué l’étape initiale de la fondation du Centre de Pari.

Un manifeste Art et Science.

[ http://www.paricenter.com ]

Conference Hosting

The Center offers full facilities to host you conferences, workshops and meetings. 

Upcoming

Information on upcoming conferences at the Center. 

Past

Information on past conferences held at the Center. 

PCNL -> Conferences

Reports on the Art and Science Meeting

Overview | Reports on the Meeting | List of Participants

1. Official report
Event organiser F. David Peat summarises the events of the meeting, the feelings of the participants and makes recommendations for future meetings in this report written for the Arts Council of England.

2. Jemma Gascoine-Becker
Jemma Gascoine-Becker attended the meeting as an ACE observer. Soon after the meeting she provided these preliminary observations of the event.

---

Report on the Art and Science Meeting

by. F. David Peat

Introduction

On 3-5 March, 1999 a meeting artists and scientists was held at the October Gallery, London. The meeting was sponsored by the Arts Council of England, under the auspices of Bronac Ferran, and organised by David Peat.

The participants were as follows:

Artists:
Lori B - Contact dancer interested in the embodiment of thought
Ansuman Biswas - Artist and musician
Gisela Domschke - Media artist
Bruce Gilchrist - Artist collaborating with scientists
Anthony Gormley - Sculptor
Siraj Izhar - Artist/curator
Riccardo Morrison - Contact dancer interested in the physics of movement and the embodiment of thought
Michael Petry - Artist, with an interest in scientific themes
Martha Senger - Artist and organizer of the G2 artist and scientist cooperative in San Francisco
Tood Watts - Artist/photographer with an interest in scientific themes
Caroline Webb - Artist/photographer

Scientists:
Basil Hiley - Theoretical physics
Alan Watkins - Physician and medical researcher
Stuart Hameroff - Anesthesiologist and collaborator with Roger Penrose on theories of consciousness
David Peat - Theoretical physics

Planning

The topic of Art and Science has become fashionable of late with meetings, talks, exhibitions and publications focussing around this general theme. Most of these tend to be proscriptive with goals, themes, agendas and topics being set before hand.

The intention of the October Gallery encounter was to foster a creative atmosphere and conduct an experiment to see just what a highly creative group of artists and scientists would talk about when gathered together in a congenial environment. No goals were set and the participants were not required to address a general audience. The intention was for the participants to get to know each other quickly, spark off ideas, explore new pathways and suggest original approaches.

Within science there is a precedent for such intense closed meetings. In the early decades of the century the leading physicists, chemists and mathematicians met annually at the Solvay conferences. In the 1960s C.H.Waddington gathered a small group of biologists, physicists and mathematicians to map out the future of Theoretical Biology. Early in 1998 a small group met in London to compare new ideas of fields in physics, biology and psychology. In each case the meetings were highly fertile and, as a spin off, lead to long term collaborations and friendships. While public discussions have been held on art and science, such a closed meeting had never been attempted. Within the secure confines of a closed meeting, participants are willing to take more risks, speculate and talk openly about their beliefs and motivations. In addition to the artists and scientists, two contact dancers were invited to participate. They had been present at the Their introduced a somatic awareness into our discussions and, at times, moved the discussion from the purely verbal into physical movement.

To this end the meeting, along with a suggestion of topics, was discussed on an individual bases with the participants for the three months leading up to the March meeting. To focus the meeting Discussion papers were circulated and a Discussion Forum initiated on the Internet to which participants sent their comments and reactions.

In addition to the group present at the October Gallery meeting, several other artists and scientists were active in the planning stage and contributed to the Internet Discussion Forum. In several cases, circumstances prevented them from attending at the October Gallery. They included:

Susan Derges - artist and photographer
Anish Kapoor - sculptor
Cornelia Parker - artist
Martin Kemp - history of art
Chris Isham - theoretical physicist
Brian Goodwin - theoretical biologist

The Structure

Most of us met for dinner on March 2, the evening before the meeting, and were therefore able to launch directly into an animated conversation on the following morning. Discussion on the first day ranged over a wide variety of topics as artists and scientists explored each others view points and investigated their different ways of working. Clearly this was a stimulating and liberating experience. The artists wanted to understand the ways in which scientists worked, and the nature of their ideas. For their part, the scientists were interested in the ways artists think and the broad range of their interests.

While many of the participants found the range of topics exciting some felt frustrated at the possible lack of depth. Therefore, on the second morning the meeting focussed on two topics - the significance of human consciousness and the need for artists and scientists to create a new type of space for discussion. In the afternoon the meeting split up spontaneously into several small groups to explore individual topics in greater depth. Several of the participants made plans for future collaboration and meetings together.

On the final morning the meeting moved to a different location - a larger room was needed as observers from funding and arts organisations were to join the group towards lunchtime. In retrospect this move was something of a mistake. Over the previous two days the group had developed a considerable sense of solidarity. In particular they had discussed the pressures and stresses they were experienced from university administrators, funding agencies, dealers, galleries, the market place. Although the change of location had been previously discussed its effect was to break continuity. Several of the participants felt uncomfortable and even hostile towards the presence of outside observers. At least this aspect of the encounter did expose the strong sense of frustration that is currently being experienced, and shared, by both artists and scientists. Also the sense that institutions and funding agencies are neither listening to nor responding to the needs of artists and scientists. It is an issue that should clearly be addressed at any future meeting.

Topics Discussed

The Connection between Art and Science

From the start there was a strong sense that all the participants were on the same side of the fence. The similarities of their approaches, philosophies and sensibilities was far greater than their differences. Indeed one of the scientists, Basil Hiley, said that he found it more rewarding to explain his speculative ideas to the artists than with fellow-scientists.

Artists have traditionally draw on ideas from science and technology. Now the transaction also appeared to be taking place in the other direction as well. In several fundamental areas theoretical physics had reached an impasse. Despite many years of work by top minds in the field, little true progress is being made. It was here, it was felt, that the different reactions, approaches, interests and researches of artists might help. For example, artists bring a refreshingly different attitude to issues of matter, space and consciousness studies that may help to give scientists an alternative perspective.

As to active collaborations between artists and scientists, it seems that these are best done in individual, idiosyncratic ways and cannot really be planned for or controlled. While many scientists, particularly in the fields of elementary particle, artificial intelligence and the human genome project, have learned to work together in large research groups, in general, the best scientists, like the best artists, are free spirits who have learned .to follow their instincts and enter a particular field because of curiosity and the stimulation it brings, rather than the thought of any external reward. For this reason things don't seem to work that well when external agencies become involved. These agencies are perceived as being driven by aims, goals, agendas and bureaucracy rather than by a free spirit of enquiry. For this reason they are not likely to get thanked for their pains in attempting to promote collaborations between artists and scientists!

There was general agreement that impulses and attitudes are remarkably similar in art and science. Both are motivated by a high degree of intellectual curiosity and in their respective ways are constantly asking questions in the pursuit of truth. In particular, scientists urge their students not to accept theories at face value but to look into them and question them. Likewise much of art takes place within the context of the history of art which is constantly being re-read and deconstructed.

In another area of common ground artists and scientists both felt that their work "came to them", rather than being something they intentionally set out to do. Maybe this is why scientific theories and works of art are defended with such vigour against commercial corruption - their origin lies beyond the individual ego or personal history in something more important than the individual who makes them.

On the other hand much of modern physics, and contemporary art, seems far from everyday life. Science is becoming increasingly abstract and mathematical and, for its part, the general public ignores much contemporary art. Should artists and scientists pay more attention to the relationship between their work and society in general? Should they be concerned with the moral and social values of their work? And to what extent is the need to comment on new ideas and relate them to society and to the business of art?

In their discoveries scientists are strongly guided by aesthetic criteria. All the participants agreed that in many ways creating a scientific theory becomes a work of art. On the other hand, as Antony Gormley spoke about his approach to sculpture, it appeared that the very physicality of matter, with its mass, scale and texture was of great significance to some artists. Possibly artists are less prone to abstraction and generalisation than scientists.

A difference between the two approaches may also lie in the artist's attitude towards continuity and art history. Much of art is concerned with a continued dialogue, deconstruction and renewal of the past. This seems to be of far less importance to most scientists who have never felt it necessary to read Bacon, Galileo, Copernicus or Newton and may even be painfully ignorant about the writings of Niels Bohr on quantum theory.

The artists were interested in Grand Unified Theories and the way that science seeks closure, ultimate theories and all-embracing explanations. Some felt this is a very masculine approach and noted how few women are making significant contributions to the physical sciences. Some participants wondered what a "feminine aspect" of science would look like. Likewise some aspects of the visual arts have a strongly male approach - these were characterised as big statements, large scale works and the sense of permanence as opposed to subtle suggestions, fleeting appearances and work that is designed to disappear. On the other hand, a case was made for "Neolithic" art of geological duration as an expression of human consciousness.

Consciousness

Consciousness was a theme that kept cropping up during the meeting. It is an issue that is currently engaging theoretical physicists who feel that their own topic may contain clues to its nature. For their part, several of the artists specifically felt that their work was about consciousness itself.

In a certain sense art and science explore the nature of consciousness, its evolution and transformation. Works of art change the consciousness of those who see them, and in turn, this change of consciousness permeates society in general. Scientific ideas also change the way we see and respond to the world.

The group also enquired how far consciousness extends - into the body, into society as a whole, into nature and right down to the elementary particles and space-time itself? And can a creative act change both consciousness and the nature of the matter it is manipulating? Clearly this is an area in which art and science offer each other mutual stimulation and support.

Values

The idea that art and science may actually change human consciousness is highly significant. One of the artists even suggested that what art does is to encapsulate and compress our present view of the world and then pass it on, in a symbolic form, to future generations.

Several of the participants urged us to think about immediate values in a world that is becoming increasingly obsessed with pseudo-events and where signs are rapidly replacing the real. What art can be produced in such a society? What significance, what importance, what values can it have? There was also general concern about the way scientific and artistic work is corrupted and comodified by society. One artist felt that changes made to work are akin to a kind of rape.

Some of the artists expressed frustration at the dislocation between their own work and demands of the market place, galleries, funding agencies and so on. Funding agencies and other institutions were perceived to be over constrictive and unable to cultivate fresh ideas. Others felt that, provided the spoon was long enough, it was possible to sup at the same table - provided one first negotiated a strong contract in favour of the artist.

Likewise the scientists expressed their anger and frustration at what had been happening within the universities over the last decades - original, creative work was no longer being fostered. In extreme cases the universities were in danger of becoming degree factories administered by accountants!

Some participants felt it was time for us all to take a political, social, moral and ethical stand. We were all leaders in our own fields and should assume the responsibility of leaders in society. Scientists should be concerned with the ethics and implications of their work and should not simply disseminate their results whole heatedly. Likewise artists should be concerned with the impact of their work on the whole of society.

Not everyone agreed with this position. Some felt that their first duty was to their own subject. While, as members of society, these questions were important, as artists or scientists they were not of primary concern. Following Voltaire's "il fault cultiver notre jardin", they believed that it was more important to pay attention to the excellence of one's own work rather than concern oneself with more global issues.

But in one area there was general agreement. That was for artists and scientists to claim their own space - a space in which to dialogue and in which to work.

Space and Meetings
The consideration of space and its possession led into a general discussion of the nature of this and future meetings. All agreed that it had been helpful and important to talk to each other in a free and open way and that that this process should continue. One of the artists pointed out that the meeting had made him realise how little artists talked to each other - and when they did it was only about extraneous matters like real estate and taxes. Not only was it important for artists and scientists to meet and dialogue, but also for artists to talk amongst themselves.

And what of scientists? Do they need to talk together? Certainly they attend many conferences but do not always explore values, meanings, ethics and metaphysics. Some years ago the physicist David Bohm had suggested a meeting of scientists, not so much to talk about their field of research, but about the whole process of doing science, its values and motives.

Was it possible for these discussions to be continued, and even extended, via the Internet? This would certainly play a significant role. But the participants also felt that it was important for people to meet face to face. The key issue was to find and claim a physical space. As one participant put it, "we need a large Victorian house with a cook and housekeeper"" There should be a strong sense of continuity with an absolute minimum of bureaucracy involved. People should be invited on the recommendation of other participants rather than having to fulfil a series of criteria.

An extension of this idea was the creation of physical centres in several locations with a variety of real and virtual links such as the Internet, larger meetings, and so on. The image of an exoskeleton was used. The general conclusion was that this should be only the first of a series of future meetings and discussions. Several of the participants intend to have their own one on one meetings to discuss possible collaboration.

The Future of the Academy
One issue that became clear during the two days was the problems faced by individuals and institutions within a changing society. In particular, what is the role of knowledge, research, learning, teaching and artistic expression within the context of our modern values.

Following the meeting an email was circulated to scientists, artists, academics, administrators. It described the issue as that of The Future of "The Academy" and asked for responses. ("The Academy" being the tradition of universities, and individuals such as artists, poets and philosophers, commenting upon, questioning and preserving values within a society.)

Replies were received from all over the world. The issue, raised at the October Gallery, had certainly touched a nerve.. An active debate over the Internet is now in progress. Several respondents have called for a conference on this topic and funding is now being sought for a planning meeting (8-15 persons) in October of this year.

Discussion Forum
Discussions were held with individual participants before the meeting, as well as via the Internet Discussion Forum itself. This produced several questions that were circulated to the participants. While the October Gallery meeting did not formally address these questions they were certainly at the back of all our minds. The questions, plus reaction from the meeting, are given below.

Is the current interest in Art and Science simply the latest fashion or the beginning of a new sensibility in which the barriers between art and science will finally break down?

The issues are deep. There has always been a link between art and science and it is important to keep lines of communication open, particularly in a period in which science has become increasingly inaccessible to the general public, and the audience for art is also small. Some scientists feel that the input from artists may help to free their thinking in areas where science is now blocked. In turn, many artists enjoy exploring the new scientific metaphors and modern technology. This may assist scientists in presenting abstract ideas to a wider public.

Funding is currently available to enable artists and scientists to work together. Is this the best way to proceed?

The whole issue of support and funding is controversial. Both communities feel that they are always being well served or listened to. Where "Art and Science" are concerned initiatives should come from the parties themselves, rather than necessarily being promoted by external bodies. Collaborations should proceed with a minimum of external interference. Arts organizations are most effective when they act as gentle and sensitive catalysts, listening to the needs of those they serve.

Are artist's residences in scientific laboratories desirable or effective?

The initiative must come from the artists and scientists themselves. It should not be forced or institutionalized. Scientists could very well resent the intrusion, unless they have some specific request or interest in what an artist is doing. Likewise artists could end up feeling they are wasting a great deal of time.

Open lines of communication are always important but the danger is that people can end up involved in lots of talk with nothing practical emerging.

Patrick Heron has suggested that artists determine the way we see the world, and in this sense act and think about it. He implies that art can actually bring about a chance in human consciousness. To what extent is this true? To what extent to art and science together create the world?

The participants felt very strongly that both art and science, at their deepest levels are about human consciousness. Both these subjects emerge out of society's values and perceptions. Science and technology has certainly changed our world but the origin of this change may lie even deeper. Artists, for their part, question the order in which society operates.

Are artists involved in a genuine examination of scientific ideas or merely attracted by new metaphors?

Some artists do work at a deeper level with scientific ideas. Others use a form of creative play, questioning the metaphors and subverting them. Yet others are interested to work at the level of perceptions and meaning, levels shared by scientists.

How can artists help develop new technologies and exploit scientific ideas in novel and unexpected ways?

Pasteur suggested that while discovery comes about by fortuitous accident, such accidents only happen to the prepared mind. Artists, by approaching questions from different angles, can certainly suggest new ways of employing technology. But while technology can be given a boost by funders, institutes and policy makers, the best scientific research cannot be not planned. It comes about when creative minds ask questions in exciting areas. The same is true for artistic investigation.

To what extend should art offer a critique of science?

This is a particularly important role for artists to take. Not simply to question science itself, but the economic, cultural and institutional structures out of which it arises. During the meeting some of the artists drew attention to ethical issues of science, and to questions of values.

Participant's Reactions to the Event

Ansuman Biswas
I'd like to thank you very much for organizing the event. Last week's meeting sparked a lot of ideas. I think it's wonderful to have the opportunity to experience alternative modes of communication. It would be good to maintain it as a continuing forum in some way. It was very frustrating indeed not to be able to participate with the energy I would have liked, as there are lots of things I would have liked to say.

Todd Watts
I think the conference was great. It was interesting to participate with a group of headstrong, project oriented people without a specific project. I think we all did quite well for a first attempt at an interdisciplinary melange and the e-mail I am receiving suggests that the communication will continue.

Gisela Domschke
You were brave to organize such an event. I think you provide us the opportunity of very fruitful exchanges, in knowing how to create an opened situation where everyone felt free enough to give and receive different ideas and points of view.

The meeting, as far as I felt through the lens of my camera, was very successful. And I think that even the restrictions that some of us felt on the last morning are positive to be experienced, since they made clear how things are established in this kind of structures supposed to support challenging initiatives.

Alan Watkins
I very much enjoyed the meeting. I do hope that some contacts have been built that will be long lasting.

1. The language was absolutely not a problem.

2. The artists were extremely well informed and refreshingly knowledgeable (more so than nearly all the scientists I know!)

3. Many of my understandings that I brought to the meeting were consolidated and I felt very much "of one mind" with many of the comments made. Commonalties were much greater than differences in opinion.

4. The opportunity to "dance" (metaphorically and literally!) with such wonderful spirited and passionate beings was a joy.

Basil Hiley
I found the meeting very interesting indeed. One of the difficulties I have in discussing my ideas within the physics community is that people are not generally interested in thinking outside their own little domain. As to trying to develop some thing radically new I find I get no help from within physics, forget it. Those who have embraced the simple version of the Bohm interpretation see only the trivial implications, clinging onto outmoded classical ideas. They just corrupt what David Bohm was trying to do. The implicate order is seen as 'vague, mystical, new age etc'. Artists have much better imaginations and I like to 'tap' into that.

Talking with artists makes me think deeply about what I am trying to do in general terms. This is particularly true when I am asking questions like "How do we see the word?" "How do we capture those deeper thoughts that are thrown up into our conscious perception for what seems to be a fraction of a second and then disappears back into the noise simply because we do not have the language to capture it in some stable structure?" It seems artists have the same problem. I found that particularly true with artists like Antony Gormley.

We had no planned agenda to begin with and I felt that freedom was essential to get the group to find their common interests. I felt that developed in a fruitful way. Had we been asked to address specific problems we would have 'died.' The fact that we so were free helped ideas flow and develop as they emerged. This produced a very interesting dynamics, which certainly helped me in what I was thinking about at the time.

Bruce Gilchrist
The value of the `October Gallery` experiment lay in the possibility of direct communication between people, chipping away at the generic, stereotyped definitions of artist and scientist; it became apparent to us I think that there are many shades of artist and scientist. Some more conventional than others. Maybe some residing on the same palette.

Participant's Proposals

Todd Watts
Perhaps the next meeting, as just having a meeting is a formal structure, should have a subject or a question. I think I like a question better. What do you think about….? I feel myself shrinking from a think tank sort of thing, so maybe the question should be phrased, "What are you thinking. If you would enjoy a chat, come to…..." A question might be a good starting point for a Web dialog

Basil Hiley
I think with all these things one must not try to push something if it does not have an internal dynamic of its own. I would welcome another meeting if the absent invitees could be persuaded to come. I very much like Todd's idea of a centre to meet. I would be careful of the word 'permanent'. Indeed I would avoid using it. I think Todd has been very generous and I wonder whether this should be followed up. I am not sure how because there are funding implications and I don't know how that could be thought through. In this

Alan Watkins
On the final morning Todd Watts gave a model of his vision - a Victorian house with a cook and housekeeper where people could drop in at any time to explore ideas and interact with each other. How can this be achieved?

Sponsorship would be the main sticking point. Personally I would tend to go for the money first before taking "possession" of a building. But there might be some advantage to taking over a site first then there is something that funders could see.

However, if you are talking about making a "house" space into some sort of site where collaborative research could be done, where scientists and artists could pursue their work without having to struggle with the restrictions universities and their funding streams make on people then you are talking about a considerably larger vision with very much more money pouring into it. This would be quite exciting but much harder to get going. There are such models in the US that might be worth investigating in more depth.

You need to formulate a specific vision (plan) and start canvassing support for you plan from influential players who might be involved and support your efforts. What you need in the short term is someone who can write all the grants and make all the approaches and get together some sort of marketing strategy. Advertising on the web site should be delayed until your plan is more mature.

Recommendations

1. The discussions held at the October Gallery were both audio and videotaped. This material could be disseminated to a wider audience. In particular an edited transcript should also be produced that contains the key points in the discussion (Audio and videotapes could be made available on request.

2. A improved and more active Dialogue Forum should be placed on the Internet with the aim of attracting a wider audience.

3. Additional meetings of a similar nature would certainly promote a creative exchange of ideas but, while these would be of value to the participants themselves, it is not clear what new ideas and approaches could be generated above and beyond those of the October Gallery. The results of that meeting were clear - artists and scientists do feel a need to talk together, but this requires a more extended infrastructure than an occasional two or three day meeting And, where active collaboration is involved, this is best done on a one to one basis.

4. The notion of a centre or space in which artists and scientists can, when they wish, meet informally to exchange ideas is quote a different matter. This is a proposal well worth pursuing but will require funding.

To date an offer has now been made of the part-time use of a property in the Italian countryside for such a purpose. A good first step would be to gather a small group of artists and scientists to meet informally at that, or some other location, and discuss how such a centre should be set up and maintained.

5. A serious dislocation exists between artists, funders and other arts organizations. Likewise between working scientists, granting bodies and university administrators. The causes are complex and the resulting atmosphere is far from pleasant with accusations of lack of faith, misunderstanding, failure to listen. This is an issue that certainly should be addressed. But any meeting that discusses these issues would have to be planned with great sensitivity and organized on neutral ground and in such a hands-off way that all participants would feel sufficiently secure to speak their own minds and clear the air.

6. An important further issue to emerge from the October Gallery meeting was the problems faced by researchers and academics in universities and other institutions. This resulted in an email circulated to scientists, artists and other academics in several countries. The response to this emailing was strong and is now the subject of an active Internet debate. The issue is connected to the changing nature of values in our modern world. It is, in part, a questioning of the significance of the function once performed by the universities. Is it needed today, if so then how and where should such work be carried out.

Several contributors to this debate propose we all get together to debate the issue in person under the title "The Future of the Academy.". A number of locations for such a meeting have been suggested and offered. As a first step a planning meeting of 8-15 persons has been suggested for October 1999. Funding for such a meeting is now being sought.

Recommendations for Funders

An edited transcript of the October Gallery meeting should be made. This could be disseminated through the Internet or print publication.

A planning meeting should be funded that will enable a small group of artists and scientists to investigate and plan the structure of a semi-permanent Centre of Space in which artists and scientists can meet to dialogue and exchange ideas.

A small planning meeting should be funded to enable researchers, scholars, academics and other to organize a planning meeting. This will investigate and discuss the future role of universities, teaching, knowledge and research in a changing society - under the heading The Future of the Academy.

Funders should consider their relationships with artists and arts organizations.

Acknowledgements:

I would like to thank Jemma Gascoine-Becker for sending me her own report on the meeting and for the participants who have sent me their comments and reactions.

---

Art and Science Dialogue Event 3-5 March

by Jemma Gascoine-Becker

Jemma Gascoine-Becker attended the meeting as an ACE observer. Due to the fact that she was so stimulated by the event she wrote this report in order to clarify for herself its outcomes.

Introduction

I attended the event in order to discover whether there were any links between Art and Science and the nature of those links; and also to observe the mechanics of a closed event which contained such a diverse group. My discoveries/findings follow, however I would like to point out that as Laurie B mentioned, as soon as words are uttered, they do not belong to the teller any more, the listener appropriates them for herself often interpreting something other than what was originally intended.

Why members of the group attended an Art and Science Event

Many attended because they were familiar with David Peat's work and respected him and his ideas. They consequently believed that the event would be interesting, perhaps even inspirational. The majority were present also because they felt that there was a crisis in their field. This crisis was in part due to the fact that disciplines had become more and more absorbed into their own area, had severed links with each other and had thus become isolated. This became problematic when a line of pursuit came 'to a dead end' and there were no further ideas on how to progress with it. By severing connections with other fields, inspiration from those fields had ceased, lateral thinking had by and large, halted.

Links

1. The most obvious common link between the scientists and artists present at the event was their intellectual curiosity. The artists were open-minded and inspired by scientific modes of thought/theories, the scientists were interested to discover the dilemmas and problematic issues facing the artists with regard to their work.

2. All present were concerned with the pursuit of the truth. Professor Basil Hiley was anxious that science students just accepted the theories that they studied and didn't question them. Martha Senger stated that 'Art was dead', as until recently, artists no longer questioned the world that they were a part of, or the systems that they were obliged to work under, such as Capitalism.
Art was linked far more with social responsibility than science was. Scientists seemed interested in knowledge whatever the consequences.

3. Professor Basil Hiley stated on the first day of the meeting that he felt that scientific paradigms needed to reach real life. These paradigms could be equated with the social and moral values that Laurie B and Martha Senger felt should be a part of an artist's work. There was a general feeling amongst the group that both scientific and artistic 'ideas'/questioning needed to inform reality more. It was decided that this was an education issue.

4. What was interesting was that disagreements within the group usually only took place between artist and artist, scientist and scientist. This was as a result of language in as much as that artists and scientists understood each other better and consequently the 'holes' in each other's arguments were more apparent and more easy to challenge.
It was acknowledged right at the beginning of the event that language was going to be an ever present issue and difficulty in terms of communication between artist and scientist. This was compensated for by the scientists agreeing to use as simple terms as possible. Semantics in fact was more of an issue between artist and artist. The contact dancing exercise however helped to disperse feelings of scepticism and distrust, establishing an environment which was conducive to enlightening discussion.

5. In terms of thinking, both artists and scientists seem to 'discover' theories/ideas. They 'happen upon them' rather than are poured over and created. The 'happening' occurs however because the scientist/artist are receptive to them.

6. Scientists and artists believe that their ideas/theories are often corrupted by society. Artists in particular felt that the commodification of their work was tantamount to rape.

7. It was clear that both Scientists and Artists resented and distrusted the bodies that fund them. They felt that these institutions do not understand the difficulties they face, are not broad in their view and are unable to cultivate fresh ideas. They believe these bodies to be constrictive.

8. In terms of time, scientists seem more concerned than artists about where we come from. Artists are only subjectively concerned with this. Artists are far more concerned about the future and where we are going, scientists are preoccupied with this matter as well.

Conclusion

It was agreed that there needs to be a physical space whereby 'ideas' people can come together:- to discuss topics that bother them in order to help make sense of them; and to jointly identify important matters that need to be taken on board by society immediately, using the influence of the network of people who attend the space to educate and to promulgate.

Such a forum as this would only be useful however if discussions were navigated, otherwise good ideas would be raised, nodded at and passed by rather than acted upon - and this would be to no purpose and thus extremely self-indulgent from my utilitarian view-point.

One member of the group asserted that discussion on the internet would be better than meeting face-to-face, as physical encounters led to hierarchies within groups. However surely a nominal 'Chair' or equivalent would prevent such hierarchies becoming a problem.

The main item that came out of the 3 day event was the need to break the ridiculous boundaries that demarcate each discipline and to make bridges instead.

home  .:.  sitemap  .:.  contact us  .:.  top of page

	copyright © 2000-2001 Pari Center for New Learning - all rights reserved web design by Marcel Gordon

@

Vrije Universiteit Brussel

17-19 Mai 1999

Conférence de Science Cognitive

La perception, la conscience et l’art

[ http://gopher.ulb.ac.be/~myin/conference.html ]

General The cognitive science of perception is developing rapidly. The explosive growth of empirical knowledge in the domain is accompanied by conceptual sophistication and has important philosophical and cultural implications. From 17 to 19 May 1999, a Cognitive Science Conference on Perception, Consciousness and Art will be held at the 'Vrije Universiteit Brussel', Brussels, Belgium. The aim of the conference is to highlight the fertility of the cognitive science approach to perception for the understanding of consciousness and art, as exemplified by the recent books of Susan Hurley on consciousness and Semir Zeki on art ('Consciousness in Action', Harvard University Press, 1998; 'Inner Vision', forthcoming).
Organisation The conference is organised by the 'Center for Empirical Epistemology' (VUB) and the FWOV Research Community 'History of Science: Study of the Interaction between Science and Culture'. The organisational committee consists of: Erik Myin (Vrije Universiteit Brussel) Mia Gosselin (Vrije Universiteit Brussel) Marc De Mey (RijksUniversiteit Gent) Susan Hurley (University of Warwick)
	Publications Some of the papers on Perception and Art have been published in: Goguen, Joseph & Myin, Erik, eds. (2000), Art and the Brain, II. Investigations Into the Science of Art, Journal of Consciousness Studies., 7 (No 8-9) This issue is also available as a book. See http://www.imprint.co.uk/books/ for more info, including table of contents and downloadable papers and abstracts. Some of the papers on Perception and Consciousness are in press as a special issue of the journal Synthese.
		This conference is part of the execution of the research project 'The Science of Vision and the Art of Representation', sponsored by de Vlaamse Gemeenschap

@

European Mathematical Society

Diderot Mathematical Forum

Quatrième Forum Mathématique Diderot

Mathématique et Musique

Paris. Ircam

3-4 Décembre 1999

Logiques mathématiques, logiques musicales

au XX ème siècle

[ http://www.ircam.fr/equipes/repmus/diderot99/page.html ]

Vienne

1-4 Décembre 1999

Computational and mathematical methods in music

[ http://www.mat.univie.ac.at/~moni/diderot/schedule.html ]

Lisbonne

3-4 Décembre 1999

Mathematics and music. Historical aspects

[ http://cmaf.lmc.fc.ul.pt/Events/Conferences/1999/Diderot ]

@

Cambridge

22 Janvier-26 Mars 2000

NO1SE

[ http://www.kettlesyard.co.uk/noise ]

Exposition multisite organisée par

Adam Lowe (artiste) et Simon Schaffer (historien des sciences)

Célèbre le monde en tant que signal et bruit

Catalogue :no1se Universal language, Pattern recognition, Data Synaesthetics. Adam Lowe and Simon Schaffer, eds. Kettle’s Yard. Cambridge. 2000. Une trentaine d’essais : Umberto Eco, Merrill Garnett, Lisa jardine, Malcolm Longhair, Roy Porter..........

@

La Facoltà di Architettura "Biagio Rossetti" of the University of Ferrara presents
	NEXUS 2000 Relationships Between Architecture and Mathematics Third International, Interdisciplinary Conference 4-7 June 2000 Ferrara, Italy Conceived and Directed by Kim Williams
The Conference Proceedings, Nexus III: Architecture and Mathematics Edited by Kim Williams, Published by Pacini Editori

About Nexus 2000

Schedule of Events

Related Sites on the WWW

la soluzione IBM per Architetti e Ingegneri

The Nexus 2000 Conference is sponsored by Leonet

@

Zentrum für Interdisziplinäre Forschung

Universität Bielefeld

13-17 Juin 2000

Reconceiving pictorial space?

Conférence organisée par Margaret Atherton, Heiko Hecht et Robert Schwartz

[ http://www.uni-bielefeld.de/ZIF/Bildkonf/picture.conf.html ]

@

2^nd Annual Symposium on

Systems Research in the Arts

Music, environmental designs

and the choreography of space

Baden-Baden

31Juillet-5 Août 2000

[ http://www.jcrhodes.net/asprog.htm ]

@

Séminaire Entretemps

Année 2000-2001

Ircam

Musique Mathématique et Philosophie

[ http://www.entretemps.asso.fr ]

@

Laboratoire de Musique et Informatique de Marseille

Cité de la Musique de Marseille

Intersens et Nouvelles Technologies

28 Novembre-2 Décembre 2000

[ http://www.labo-mim.org ]

Les actes du Colloque « Intersens » sont disponibles au format pdf sur ce site, ainsi que d’autres publications……….

				Chaque art correspond traditionnellement à un de nos sens (la musique à l'ouïe, la peinture à la vision...), mais les sens peuvent entrer en résonance, écouter la musique peut évoquer des sensations de couleurs, ou inversement, c’est la synesthésie, elle se manifestait notamment chez Olivier Messiaen, et Van Gogh qui parlait de “la haute note jaune” de ses peintures. On peut plus généralement examiner les correspondances possibles entre nos sens, et donc entre les arts. Cette correspondance a fasciné de nombreux artistes du XIXème siècle, Goethe, Baudelaire pour qui les "parfums, les couleurs et les sons se répondent" (le poème “correspondance”) ; Rimbaud qui attribuait des couleurs aux voyelles, Scriabine,ou encore Wagner qui prônait un art total… Pendant 5 jours, Intersens propose des exposés, des concerts, des spectacles multimédia, ainsi que la possibilité pour les participants et visiteurs de manipuler six ordinateurs programmés sur ce thème.

@

MOSAIC 2000

[ http://www.cs.washington.edu/mosaic2000 ]

MOSAIC 2000 will feature the following invited presentations:

Thomas Banchoff

Tom is a professor of mathematics at Brown University and the current president of the Mathematical Association of America. He is well known for his work on the visualization of higher dimensional spaces.

Jean-Marc Castera

Jean-Marc is an artist and mathematician who has written on Islamic architecture and tilings. He is the author of Géometrie douce, published in 1992, and Arabesques, published in 1996 with an English translation in 1999. He is currently working on new developments of this type of geometric art in connection with contemporary mathematics.

Corey Cerovsek

Corey is a concert violinist with an international reputation. He has grduate degrees in both mathematics and music, and when not performing, he likes to discuss the philosophy of science. He'll be doing both at MOSAIC 2000.

Ed Catmull

Ed is a co-founder of Pixar and has served as the company's vice president and chief technical officer since the incorporation of the company. Dr. Catmull was twice awarded the Scientific and Technical Engineering Award from The Academy of Motion Picture Arts and Sciences for his work. He also won the Coons Award, which is the highest achievement in computer graphics, for his lifetime contributions.

Brent Collins and Steve Reinmuth

Brent is a leading sculptor whose work is intuitively mathematical. He is naturally inclined towards forms that exhibit a high order of geometric refinement. His collaboration with Carlo Séquin is one of the great successes of the Art-Math conferences.

Steve is a metalworker who has cast almost all of Brent Collins's bronze sculptures.

Charles Dodge

A professor of music at Dartmouth College, Charles is well known as a pioneer of electronic music composition. He is interested in the relationship between fractals and musical composition, as well as the role of real and synthetic voice in music.

Helaman Ferguson

Helaman's sculptures are explicitly influenced by mathematics. His highly regarded works in stone and bronze have helped strengthen the bond between mathematics and sculpture. Helaman was the keynote speaker at SIGGRAPH 99.

George Francis

George is a professor of Mathematics at the University of Illinois, Urbana-Champaign. He has an international reputation as a leader in computer-supported mathematical visualization. He has collaborated in producing videos illustrating deep mathematical results and is also known for his intricate freehand illustrations of complex topological constructions.

Andrew Glassner

Andrew is a well-known author of many books and articles in the field of computer graphics. He is also interested in the structure of fiction, and the integration of traditional storytelling techniques with new media such as computer-based gaming, participatory stories, and e-books. After many years as a computer graphics researcher, Andrew is now a full-time writer of contemporary novels and a part-time consultant to the entertainment and computer industries.

Charles Ginnever

Chuck is known worldwide as a leading creator of monumental geometric steel sculpture. His work is in many important public and private collections. His current exhibit at Stanford University is a monumental steel hypersculpture consisting of four related sculptures.

Rona Gurkewitz

Rona is an associate professor of math and computer science at Western Connecticut State University in Danbury Ct. She has degrees in math and computer science from the Courant institute at New York University and UCLA. Rona will be giving a workshop on modular origami polyhedra.

Craig Harris

Craig Harris is a new-media artist, composer, performer, writer, and arts presenter. He is Executive Editor of Leonardo Electronic Almanac, an online journal exploring the intersection of new media art and culture, and is the Executive Editor of the Minneapolis-based dance company Ballet of the Dolls. His artwork includes concert works, music theater and performance art, multimedia works, and installations. His book Art and Innovation, documenting collaborations between artists and research scientists at Xerox Palo Alto Research Center (PARC), was released in June 1999 by MIT Press.

George Hart

George W. Hart is an artist and interdisciplinary independent scholar: a sculptor, mathematician, engineer, researcher, writer, computer scientist, and educator. His geometric sculpture has received praise and awards in numerous exhibitions. His publications center on mathematical applications in sculpture and other fields.

Ken Perlin

Ken is an Associate Professor in the Department of Computer Science and the director of the Media Research Laboratory at the Courant Institute of Mathematical Sciences of New York University. He is also the director of the NYU Center of Advanced Technology, sponsored by the New York State Science and Technology Foundation. He has a broad range of interests in computer graphics.

Stephanie Strickland

Stephanie's work has long been inspired by mathematics. Author of several prizewinning poetry books, she has also written a prizewinning full-length hypertext poem, True North, as well as award-winning Web poetry. She lectures widely on hypertext issues, and her essays appear in the Electronic Book Review as well as in print.

@

Maubeuge

International Colloquium on Mathematics and Art

Aims : (1) to allow to artists to present works inspiered by mathematics and/or using mathematics ; (2) to permit mathematicians to present and discuss works that can inspire mathematics and artists (tilings, all kinds of surfaces and topological objects, trajectories) ; (3) to debate on the use of art as a tool to help the teaching of mathematics, and to compare experiences and projects.

Advisory committee : R. Brown (Bangor), J. Bochnak (Amsterdam), C.-P. Bruter (Paris 11), M. Chaves (Porto), M.  Emmer (Roma 1), T.C. Kuo (Sydney), Richard Palais (Brandeis), V. Poenaru (Paris 11).

Proceedings : to be published by Springer-Verlag.(cf Preface)

Information : contact C.P. Bruter,

fax : 01 60 92 51 43

e-mail : bruter@univ-paris12.fr

or in Maubeuge Idem + Arts,

fax : 03 27 62 04 73

e-mail : idem.arts@wanadoo.fr

Ce Colloque a fait l'objet de deux articles (Le Monde du 27 Septembre, The Economist du 17 Novembre). Richard Denner en a fait un compte-rendu en relation avec des expériences pédagogiques dans quelques lycées et collèges.

COLLOQUE

MATHEMATIQUES ET ARTS

Maubeuge 20-22 Septembre 2000

PROGRAMME  

Claude-P. Bruter, Université Paris 12 : Présentation du Colloque. Le projet ARPAM

George Hart, sculpteur, USA : Constructing new polyedra.

Konrad Polthier, Technische Universität Berlin : Stability of SoapBubbles

Michael Field, University of Houston : The design of 2-colour wallpaper patterns using methods based on chaotic dynamics and symmetry.

Maria Dedo, Università di Milano : Mirrors and symmetry

Video : The Mandelbloom (présenté au Congès International de Mathematiques, Berlin, 1998, et realise par Lewis N.Siegel)

Antonio F. Costa, Universite de Madrid : Art islamique et groupes cristallographiques

Erich Neuwirth,Vienna Universität: A short history of mathematically tuning musical instrument. Tuning Maubeuge

Petit Concert, Yves Hellegouarch, violoncelle, 6ème suite de Bach (ré majeur)

Charles O. Perry, sculpteur, US : Large scale mathematical sculpture

John Hubbard, Universite Aix-Marseille 1 et Cornell University : Images du comportement dynamique du pendule forcé.

Scott Crass, Buffalo State College : Solving polynomial equations by iteration : An aesthetic approach. (Soyez patient : huge pdf file)

Carlota Simoes, Universite de Coimbra : The order of numbers in the second Viennese School of Music.

Michele Emmer : Mathematics and Art : the film series

Yves Hellegouarch, Université de Caen : Une interprétation mathématique de la justesse expressive (en Jean-François Colonna, CNET et Ecole Polytechnique : Visite guidee de galeries enfouies (dans un ordinateur)

John Robinson, sculpteur, GB : A virtual presentation of some physical works

Forum : comment l'art peut-il venir en aide à l'enseignement des mathématiques ? R. Brown, C.P. Bruter, M. Chaves, M. Emmer, M. Field, K. Polthier

Petit Concert, Carlota Simoes, piano

Dick Termes, peintre, USA : The geometry of visual space.

Michel Deneuve : Un instrument en cristal : présentation de sa conception, suivie d'un récital

Ronald Brown, university of North Wales, Bangor : Knot theory : a paradigm for mathematical methodology

François Apéry, université de Mulhouse : Construction de modèles en fil de fer

John Sullivan, university of Illinois : The optiverse, video commentée

Stewart Dickson, sculpteur, USA: Mathematiques Tactiles

Philippe Charbonneau, sculpteur, France : Quelques sculptures en tant que surfaces réglées et mobiles

Projection de Not Knot (David Epstein, Charlie Gun et al.)

Bruce Hunt, Helaba : A Gallery of Algebraic Surfaces. (Soyez patient : huge pdf file)

Richard Palais, Brandeis university :

A Mathematical Exploratorium. Favorite Sites

projection de SIGGRAPH 99 (video adressee par Helaman Ferguson, sculpteur,USA

Conclusions et perspectives

Expositions

gravures de Patrice Jeener, modèles de Bernard Morin et de Richard Denner http://publimath.irem.univ-mrs.fr/biblio/IST99010.htm et http://publimath.univ-lyon1.fr/biblio/IST99003.htm , sculptures de F. Apery, Philippe Charbonneau, Christian Lavigne http://www.toile-metisse.org , Alexandre Vitkine

Ateliers

Dick Termes, Alexandre Vitkine et Christian Lavigne, Richard Denner et Bernard Morin

Malettes et matériel pédagogiques

Bernard Maitte, Philippe Ferret

@

Université Paul Sabatier. Toulouse

Commission Culture

Enjeux et Défis de la Science

Au tournant du XXI ème siècle

Cycle 2000-2001

Cognition et Création

artistique contemporaine

Vers une nouvelle alliance Art-Science

Pris dans les grands bouleversements de la culture contemporaine, le projet humaniste de dialogue entre l'art et la science doit être profondément réexaminé. En effet, il adopte aujourd'hui des formes particulièrement précises et une dimension toujours plus opératoire, pour des raisons qui tiennent tout autant à l’ émergence de nouvelles problématiques scientifiques et techniques qu'au mouvement de l'art contemporain.

Particulièrement révélateur, le développement récent des Sciences de la cognition rencontre de manière inattendue les préoccupations de certain courants parmi les plus créatifs de l'art d'aujourd'hui. Les premières -qui " ont pour objet de décrire, d'expliquer et le cas échéant  de simuler les principales dispositions et capacités de l'esprit humain- langage, raisonnement, perception, coordination motrice, planifications "(Daniel Andler, Encyclop. Universalis) - associent de manière transdisciplinaire, autour du concept de computation, des disciplines aussi diverses que les neurosciences, la psychologie, la linguistique, l'informatique, les mathématiques... La création contemporaine, quant à elle, sollicite toujours davantage sciences et techniques - matières, mais surtout modèles et processus abstraits, ordinateurs, etc. -dans un mouvement qui confie à diverses formes du jeu mental un rôle de plus en plus significatif dans sa conception comme dans les conditions de sa jouissance (par exemple, conceptualisation, multisensorialité, virtualisations). Par des voies et avec des objectifs fort différents, ce sont pourtant des territoire étonnamment proches, et que tout séparait jusqu'à présent dans l'activité de l'esprit, qui se trouvent ainsi rapprochés de manière inédite.

Bien entendu, cette " convergence "est encore largement balbutiante, mais il importe de commencer à en comprendre la nature. Il ne fait pas de doute que la multiplicité et l' importance des enjeux de la partie historique qui s'engage, sur le plan du savoir scientifique comme sur celui de l'art et de la culture de ce monde en mutation, justifient que l'on commence à les examiner, dans un esprit de dialogue et de large compréhension critique ouverte à tous.
Pourquoi ne pas ouvrir dès à présent cette réflexion multiple dans le cadre de l'Université Paul Sabatier  ? Le cycle original de conférences et de débats proposés cette année par la Commission Culture exposera les réflexions issues du dialogue entre travaux scientifiques et expériences artistiques en cours dans des domaines créatifs aussi divers que la musique, l' image, l'architecture, le parfum, la chorégraphie, la poésie.
Des " confrontations " qui devraient nourrir un dialogue accordé à nos interrogations.

Mario Borillo

Jeudi 26 Octobre 2000

Jean Claude Risset

Calculer le son musical :

Une synergie Art-Science-Technologie

Mardi 5 Décembre 2000

Philippe Joly

Méthodes informatiques et création chorégraphique

Mardi 16 Janvier 2001

Jean Charles Lebahar

Architecture, design industriel, art :

Une ou plusieurs approches pour les sciences cognitives

Mardi 27 Février 2001

Bernard Gortais et Guillaume Hurtzler

Vie artificielle et création multimédia

Mardi 20 Mars 2001

Jacques Virbel

Aperçus cognitif

dans « une analyse objective de l’art du langage »

Mardi 24 Avril 2001

André Holley

L’art du parfum :

Approche cognitive de la création olfactive

@

Londres

Two10 Gallery

The Wellcome Trust

22 Février- 27 Juillet 2001

Exposition

Growth and Form

[ http://wellcome.ac.uk/two10gallery]

Catalogue

[ http://wellcome.ac.uk/two10gallery/en/images/GFCatalogue_3797_3976.pdf ]

Images biomédicales et travaux de neuf artistes contemporains influencés par des aspects

du monde biomédical.

Les formes vivantes vues par les scientifiques et les artistes.

@

Pari Center for New Learning

Italy

Conference

Chaos theory and the arts

in the context of social, economic and organisational development

18-21 March 2001

[ http://www.paricenter.com/conferences ]

Conference Hosting

The Center offers full facilities to host you conferences, workshops and meetings. 

Upcoming

Information on upcoming conferences at the Center. 

Past

Information on past conferences held at the Center. 

PCNL -> Conferences -> Past

Chaos Theory and the Arts in the Context of
Social, Economic and Organisational Development

18-21 March, 2001

Overview | Report on the Meeting | List of Participants

Note: Papers and news articles related to this subject are currently being posted in the Library. In addition a Discussion Forum has been initiated in the Forums section. All visitors to this site are invited to contribute.

Chaos theory has attracted wide attention as a new kind of science. A description of large complex systems -- everything from weather, to ecologies, to populations of neurons and the growth of cities -- chaos appears to have important lessons to teach us about how large groups of intensely interacting people make patterns, create new forms or get stuck in old forms. Chaos is a physicist's description of creativity and the phenomenon of transformation-in-motion. Thus, in curious ways, it has much in common with the arts.

Some organisational consultants and economic and social thinkers have felt that there must be important applications of Chaos Theory to the arts and creativity in general as well as to the "practical" world of business and society. There appears to be a special attraction to these approaches as an antidote to the increasing amorality and "soul-lessness", as David Whyte calls it, of modern economic, business and social forms.

The analogy between the creative process of art and the emerging process of organisational and societal transformation is also rich in offering a more holistic picture of "transformation in motion". In capturing the fluidity of the change process and its non-linear progression, Chaos Theory provides alternative perspective to the conventional wisdom of how to conduct change programmes within a firm or a society. It legitimates the concerns for space and time in pattern formation within any given organisational change. The conventional hierarchical model of organisation is also challenged by artistic creativity and by several tenets of chaos theory-- therein lies its attraction.

However, attempts to apply Chaos Theory and artistic creativity to business and society have not been entirely clear or productive.

Are there clear ways to use these creative insights to inspire our organisations to be more like complex organisations in nature and less like feudal kingdoms?

Note: A discussion forum dealing with the subject matter of this conference can be found in the Forums section of this web site.

Organizing Committee
John Briggs, Western Connecticut State University
David Peat, Pari Center for New Learning
Lynda Keen, Plectics Consulting
Raymond Saner, Centre for Socio-Eco-Nomic Development
Lichia Yiu, Centre for Socio-Eco-Nomic Development

For inquiries and further information please write to: info@paricenter.com

home  .:.  sitemap  .:.  contact us  .:.  top of page

	copyright © 2000-2001 Pari Center for New Learning - all rights reserved web design by Marcel Gordon

@

Beauty and the Mathematical Beast: Part I - Pattern, Aesthetics, and Mathematics A Symposium hosted by the Centre for Mathematics, Science and Technology Education (MSTE) at the Faculty of Education, Queen's University April 18-19, 2001 Beauty and the Mathematical Beast I is a component of the Tomorrow's Mathematics Classroom Project in the Centre for Mathematics, Science and Technology Education at Queen's University supported by the Imperial Oil Foundation. A second symposium, Beauty and the Mathematical Beast: Part II - Learning, Art and Education, looking at the educational implications of the links between mathematics and aesthetics is planned for 2002.

I Made a Rainbow by John, grade 8 student

Public Lectures

April 18th 20h30	Jonathan Borwein: Aesthetics for the working mathematician A239, Faculty of Education, Duncan McArthur Hall Jon is Shrum Professor of Science at Simon Fraser University and the President of the Canadian Mathematical Society
April 19th 19h30	Doris Schattschneider: Beauty and Truth in Mathematics A239, Faculty of Education, Duncan McArthur Hall Doris is Professor of Mathematics at Moravian College, Pennsylvania and the author of Visions of Symmetry - Notebooks, Periodic Drawings, and Related Work of M. C. Escher.

Invitational Seminars (All to be held in Rm. 239, Faculty of Eduction)
These sessions are open but interested parties are asked to 'register' in advance by emailing or telephone Bonnie Knox at knoxb@educ.queensu.ca 613.533.6221

April 19th 9h00-11h30; 13h30-16h00

WIlliam Higginson (Queen's): Homo Maestheticus? Martin Schiralli (Queen's): Beauty Bare: The Meaning of Patterns Nicholas Jackiw (KCPTech): Behavior as Medium: Aesthetics in Dynamic Geometry Nathalie Sinclair (Queen's): The Aesthetic Pulse of Mathematical Activity

Nathalie Sinclair
March 29th, 2001
nathsinc@educ.queensu.ca

@

Université Paris Sud

Rencontres du Groupe de travail

Voir et produire

des images d’art et de science

Informations

Damien Schovaert-Brossault

10 voie Elie Gras

94400 Vitry sur Seine

Tel 01 46 78 41 25

e-mail : imaginalia@freesurf.fr

Samedi 26 Mai 2001

Visage et Masque

D. Schovaert- Brossault. Perception et reconnaissance visuelle du visage

J. Mermet.Prendre et donner son masque. Fabriquer et jouer son masque.

Samedi 30 Juin 2001

Interaction Lumière Matière

D. Schovaert-Brossault. Ombre et lumière

dans la représentation et la perception. Interprétation.

Q. Schovaert-Brossault. La lumière au cinéma, approche phénoménologique.

@

Minary Center

Darmouth. USA

Cognitive neurosciences and the arts

Opening a conversation

11-13 Juin 2001

[ http://www2.bc.edu/~richarad/lcb/fea/minary.html ]

@

Image and Meaning

MIT

13-16 Juin 2001

[ http://web.mit.edu/i-m/intro.htm ]

Un évènement majeur. Une initiative essentielle au MIT

@

International Society for the

Interdisciplinary Study of Symmetry

5^th International Congress & Exhibition

Sydney. Australia

8-14 July 2001

Intersections of Art &Science

[ http://www.isis-s.unsw.edu.au ]

Back to ISIS - Symmetry Home Page

Proposed Speakers  - Authors by Index>>>>>>>>
Surname	Country	Proposal title
Aguil\’o Gost	Spain	On constructing 2D and 3D equidecompositions using tessellations as a tool
Argumedo, Blanco& Giordano	Argentina	Heterotopy. Heterogeneous structures through combination of geometric bi-dimensional systems.
Ashburn	Australia	Comments by Congress Organiser
Baines	Australia	Reconstruction of Historical Jewellery and its Relevance as Contemporary Artefact
Bérczi	Hungary	See Takaki - Katachi session
Bier	USA	Visions of Infinity: Looking at Symmetry in Islamic Art.
Blanco & Pisonero	SPAIN	An Application of Graphs in Architecture
Blanco		See also Argumedo
Brodyk	Australia	Genetic Art and Culture
Bulckens	Indonesia	The Parthenon’s Symmetry
Caivano	Argentina	Rhetoric and Symmetry: A Neglected Linkage
Chiba & Nagahama	Japan	Curie symmetry Principle in Nonlinear functional Analysis.
Coats	New Zealand	Morphic Painting 1997
Couceiro da Costa	Portugal	Geometry, Architecture and Video
Davis	USA	Nature’s Statistical Symmetries and Asymmetries, A Characterization by Wavelets.
DeLorenzo	Australia	Discourses on Photography and Nature across Time and Place
Dunham	USA	Artistic Patterns in the Classical Geometries
English	Canada	Cosmos versus Canvas: Tensions between art and Science in Astronomical Images
Garavaglia, Meilan & Zalvidea	Argentina	Quasi-Moire patterns: Their Generation and Geometry
Giordano		See Argumedo
Goranson	USA	String Figures and Metaphoric Concept Indexing
Higashi & Isii	Japan	Two-Dimensional Icosahedral B12 Networks as seen in Boron-Rich Crystals.
Hiller	Australia	Environment and the Virtual Exhibition
Hirayama, Takaki, Koshizuka & Yanai	Japan	Model Analysis For Evolutions Of Population And Railroad
Hofman-Jablan	Yugoslavia	Antisymmetry and Colored Symmetry in Musical Works
Huff	USA	The Hinged Dodecahedron.
Huylebrouck	Belgium	Colour Partitions on Rotating Disks
Isii	Japan	See Higashi, (Higashi to present)
Izuhara	Japan	A Study on the Diagrams by Baien Miura and Sontoku Ninomiya
Jablan	Yugoslavia	Visual Mathematics
Jablan	Yugoslavia	See also Radovia
Jashenkova	Russian Federation	Binary Opposition as Symmetric Illusion
Kappraff	USA	The Golden Mean, Systems of Proportion, and Polygons
Kawamura	Japan	See Takizawa
Kirihara	Japan	Katachi Emerging from the Ocean
Koblyakov	Russia	TD-Symmetry as a Criteria of the Value (Integrity) of Musical Composition
Korren	Israel	Identical Dual Lattices and Subdivision of Space
Koshizuka	Japan	See Hirayama
Labarque	Belgium	See Huylebrouck
Lugosi	Australia	Abstract not in
Makarova	Japan	Symmetry, Dissymetry, and Antisymmetry in Dostoevsky’s “Crime and Punishment”
Matsuura	Japan	Reaction-Limited Development of Ramified Patterns
Meilan		See Garavaglia
Mellick	Australia	Neuroscience Art and Consciousness
Menning	Australia	The Confluence of Art and Science: Holographic Symmetry, Methodologies and Concepts
Michniowski	Poland	Mathematics models as ‘artifical limbs’ of human reasoning. On Liz’s machine 13/2/01
Moriyama & Moriyama	Japan	Art of Dynamic Symmetry: Ikebana, or Japanese Traditional flower Arrangement.
Morrison	Australia	The Typology of the Meandering Symbol and an Application of this Typology to the Cretan Labyrinth
Mukaigawa	Japan (in Italy April to December)	A Study of Leonardo’s “Treatise on Painting” : the enrollment of his Porportional theory in the meaning of “Divina Proportione”
Mullican	USA	1. Reconstructed Reality: Synthetic Image Generation and the Use of Symmetry Operations to Transform Meaning and 2. Irregular 3-Space Infinite Polyhedra and Architectural Implications
Nagahama		See Chiba
Nagahama		See Nanjo
Nanjo, Nagahama & Yodogawa	Japan	Symmetry in the self-organised criticality
Nagy	Australia	Abstract not in
Ogawa	Japan	Viva Philomorph
Papas	Australia	The Reliance on the Architectonics of Simple Geometric Form
Park	USA	Theme and Variations: A Comparative Analysis of Two Housings in Symmetry
Pisonero	SPAIN	See Blanco
Price	Australia	GEOMETRICAL AND ARTISTIC SYMMETRY IN THE _ULBA S_TRAS
Radoviå & Jablan	Yugoslavia	Reconstruction of Ornaments
Ramírez-Sánchez	Spain	Cyclic Environment and Brain Asymmetry. Unable to attend. Abstract accepted for publication.
Rämme	Sweden	Musicolor - Visualising Music by means of a Soap Film.
Rebielak	Poland / Japan	Space Structures Shaping and Visualisation of their Digital Models by means of Formian
Reyes Iglesias	SPAIN	The Polygonal Proportions and their Applications in Art and Nature
Ruiz López & Rico	Espagna	Visualization of Numerical Patterns by Means of Congruence Relation
Rico		See Ruiz
Sano	Japan	See Takaki - Katachi session
Schofield	Australia	Comments by Assistant Congress Organiser
Schwabe	Suisse	Polytopia Performance
Séquin	USA	Symmetries on the Sphere
Singer	USA	Engineering a Visual Field
Suffern	Australia	Broken Symmetry in Ray Tracing
Sugimoto & Tanemura	Japan	Random Sequential Covering of a Sphere with Identical Spherical Caps. joint paper with Tanemura
Takaki	Japan	Katachi (form) as a Motivation to Human Activities.
Takaki	Japan	See Hirayama
Takeshi	Japan	Automatic Extraction of Tissue form in Brain Image
Takizawa, Kawamura, Tani	Japan	Reproduction of Burge’s Concentric Circle Landuse Model by Multi Agent system.
Tani	Japan	See Takizawa
Tarnai	Hungary	Pentagon Packing in a Circle and on a Sphere
Tawa	Australia	Symmetry: sun-metron - logic of the incommensurable
Tanemura	Japan	Random Voronoi Cells of Higher Dimensions
Tanemura	Japan	See also Sugimoto.
Taylor	USA	Fractals: A Resonance Between Art and Nature (to be read by Colin Clifford)
Tolmie	Australia	Abstract not in.
Trivedi	India	The Asymmetry of Symmetry: the Left and the Right in Hindu Philosophy, Life and Art
Voglino	Argentina	The Structure of the Universe Based on the Fibonacci’s Series
Winitsky de Spinadel	Argentina	Symmetry in Art, Science and Technology
Yanai	Japan	Parabola Drawing Methods in Traditional Japanese Architecture
Yanai	Japan	See Hirayama
Yevin	Russia	Complexity Theory of Art and Principles of Brain Functioning. Unable to attend. Abstract accepted for publication
Yodogawa		See Nanjo
YazicIoglu	Turkey	Spatial and Locational Symmetry in Historical Bosphorous

Les communications de cette conférence sont publiées dans Visual Mathematics. Vol. 3, n°2, 2002 et disponibles sur le site

[ http://members.tripod.com/vismath7/proceedings ]

Symmetry: Art and Science

Fifth Interdisciplinary Symmetry Congress and Exhibition

of the

International Society for the Interdisciplinary Study of Symmetry

(ISIS-Symmetry)

Sydney, Australia
July 8 - 14, 2001

Intersections of Art and Science

---

Organisers:

Liz Ashburn, Elisabeth Burke,
George Lugosi, Dénes Nagy, Philip Schofield

Special Issue Editors:
George Lugosi and Dénes Nagy

---

NEXT

Un festival Art et Science

@

B R I D G E S

Bridges In Pictures	Bridges Virtual Museum	Bridges Resource Center	Bridges Interesting Links

SOUTHWESTERN COLLEGE

Announces

The Fourth Annual Conference

BRIDGES

MATHEMATICAL CONNECTIONS IN ART, MUSIC, AND SCIENCE

July 27 - July 29, 2001

Suggested Topics: Fractals, Math and Music, Tessellations, Geometry in Quilting, M. C. Escher Work, Math and 3-Dimensional Art, Origami, Mathematics and Architecture, Computer-Generated Art, Math and Art in Culture, Art in Hyperbolic Geometry

---

CONTRIBUTORS

INTERESTING LINKS

---

Contact Reza Sarhangi for any questions

Pictures: Courtesy of Michael Field and Martin Golubitsky

This Page: A computer-drawn pentagonal symmetry based on chaos theory created after 30,000,000 iterations. It is a dihedral group of order 10. Pentagon has connections with the Golden Ratio. The pantagram, the star at the center is a symbol of the order of the Pythagoreans.

Last Updated 7/27/01
Webmaster: Simon Luhur "

Les communications de Bridges 1998, 1999, 2000 sont reproduites dans Visual Mathematics, Vol3, n°1, 2001 et Vol2, n°3, 2000

et disponibles sur le site

[ http://members.tripod.com/vismath ]

@

3rd Annual Symposium on

Systems Research in the Arts

Baden-Baden

2-4 Août 2001

[ http://www.jcrhodes.net/Program--2001.htm ]

@

Niels Bohr Archive Symposium

Copenhagen. 22-23 Septembre 2001

Copenhagen and beyond:

Drama meets history of science

[ http://www.nbi.dk/NBA/files/sem/22sep2001.html ]

[ http://www.nbi.dk/NBA/files/sem/abstracts.html ]

Autour de la pièce de théâtre de Michel Frayn, Copenhagen, qui prend prétexte de la rencontre entre Bohr et Heisenberg en Septembre 1941, dans le Danemark occupé par les nazis.

Le théâtre et la science.

@

YMCA Vieux Québec

650 rue Wilfried Laurier

Québec, QC. G1R 2L4

15-21 Octobre 2001

VI e Congrès Mondial de

L’Association Internationale de Sémiotique Visuelle

[ http://www.fl.ulaval.ca/hst/visio ]

Texte de présentation de la thématique: Le visuel à l'ère du post-visuel

L’idée du 6e Congrès de l’AISV répondra au thème intégrateur, " Le visuel à l’ère du post-visuel/The Visual in the Age of the Post-Visual ". Il s’agira comme projet scientifique d’y problématiser le champ visuel au sens large face au monde et à la culture électroniques actuels devenus le message et ce, suivant les 7 sous-thèmes rassembleurs suivants:

1) le visuel, le culturel, l’interculturel, l’intergénérationnel, l’interdisciplinaire, l’intermédiatique;

2) le visuel, l’espace-temps, le sensori-cognitif, le polysensoriel;

3) la cognition culturelle et la cognition spatiale;

4) l’image visuelle, l’image de masse, l’image digitalisée, l’image virtuelle;

5) les nouvelles technologies de l’information et les nouveaux médias artistiques: art assisté par ordinateurs, art internet, etc.;

6) les objets non-artistiques: médical, ethnographique, publicitaire,...;

7) les arts de l’action et l’objet spectacle: performance, théâtre, danse, mode.

Ce 6e Congrès aura ainsi pour objectif de faire critiquement le point en ce tournant de 21e siècle sur la situation incertaine du " domaine visuel " face à la nouvelle révolution copernicienne, dite post-visuelle, même parfois dans certains milieux " post-humaine ", qui a été engendrée ces dernières années par le développement de la culture digitalisée via l’omniprésence des massmédias (télévision, vidéo), la toute puissance des nouvelles technologies de l’information et de la communication (IA, ordinateurs personnels, photographie numérique, internet et www), la croissance et l’évolution du cyberespace à travers l’espace virtuel des navigations possibles sur la Toile, ainsi que par les effets perceptibles de cette nouvelle cartographie hyperdynamique sur les sensibilités humaines et artistiques. En témoignent, en effet, les bouleversements d’ordre cognitivo-perceptif et sémiotico-symbolique que l’on connaît présentement dans ces sensibilités, comme aussi dans les arts pratiqués: résonnances et appels multisensoriels, modes du sensible et figurativité regénérée face à l’imagerie de masse, digitalisation et numérisation, productions inter- et multi-médias, art internet, sculpture virtuelle en 3Ds, jeune peinture remédiatisée, etc.

Confronter, donc, en termes d’inscription dans les mouvances socio-sémiques comme syntaxico-sémantiques engendrées par et dans l’ici-maintenant, deux univers, deux réalités sensori-humaines et sensori-plastiques, le visuel et le post-visuel, ainsi que les types d’objets plus particuliers ancrés dans l’un ou dans l’autre de ces mondes et ce, en termes de concordances, de contradictions, d’écarts, de paradoxes, etc., tels seront ainsi en même temps le défi, l’enjeu fondamental, la provocation et la contribution escomptée de l’exercice.

Dans un tel contexte d’invention/production/réception artistique complexifiée, où la définition même du domaine visuel est mise en cause par les arts qui s’y pratiquent, quels sont ainsi la place, le statut, la fonction et le rôle que peuvent occuper ou jouer encore les productions artistiques visuelles, y compris l’objet visuel proprement dit (objet graphique, photographique, etc.), en vertu de ce méga-univers socio-artistique post-visuel traversé par les débordements ou les travestissements des frontières traditionnellement comprises, entendues, décodées et interprétées? Devrait-on discuter maintenant d’un domaine visuel où le visuel, au sens d’un objet visuel concret donné, cèderait la place à un nouvel objet artistique autant virtuel ou virtualisé que réel réaliste? Par exemple, pour ne viser ici que cette seule pratique parmi d’autres, la photographie d’art telle qu’on l’a connue sur plus de 150 ans de production artistique, se mute-t-elle nécessairement ou inévitablement au gré des changements technologiques récents en post-photographie, comme l’ont abordé des spécialistes de la photo qui étaient rassemblés dans une récente livraison de la revueVISIO (4,1)? Comment concilier l’analyse de l’imagerie visuelle développée selon les différents modèles sémiotiques d’interprétation issus des années 1950-1990 et celle qu’appelle aujourd’hui par sa configuration particulière même la nouvelle imagerie digitalisée? Existe-il des traverses possibles, des lieux de passage, des ponts cognitivo-perceptifs et métalangagiers du visuel au post-visuel?

Autant de questions qui, dans la perspective de développer de nouvelles contributions au savoir visualiste récent, ainsi qu’à la recherche sémiotique (visuelle) de pointe, définissent les principales orientations de travail comme la portée des débats thématiques envisagés pour le 6e Congrès de l’AISV.

---

@

Ecole Normale Supérieure
45 rue d'Ulm, salle Dusanne

75005 PARIS

Colloque sur la genèse de la perception et de la notion d'espace chez le robot et l'homme jeudi 18 et vendredi 19 octobre 2001

Avec le soutien de l'Action Cognitique du

Comité d'organisation : Kevin O'REGAN (LPE, Paris 5) et Jean-Pierre NADAL (ENS)

Colloque organisé dans le cadre de l'atelier
Géométrie et Cognition
http://www.di.ens.fr/~longo/geocogni.html
groupe de travail du CENECC :
CENtre d'Etudes des systèmes Complexes et de la Cognition
http://www.cenecc.ens.fr

Ces deux sites présentent une très riche information sur les recherches cognitivistes.

@

Fondation Electricité de France

Espace Electra

6 rue Récamier. 75007 Paris

Les mondes lumière

26 Octobre 2001- 17 Février 2002

Commissaire de l’exposition

Michel Menu

La Fondation Electricité de France présente une exposition qui rassemble pour la première fois les œuvres d’artistes qui se définissent comme hyperluministes. Avec la lumière, ces artistes élaborent des installations en s’appuyant sur les avancées les plus récentes de la science. Ils utilisent la lumière pour évoquer de manière sensible les espaces déformés des astrophysiciens, le vide habité de l’univers, les constructions fractales, les réflexions à l’infini, l’énigme des couleurs…..

Pour Michel Menu, cette démarche correspond au projet de nombreux artistes du XX ème siècle qui cherchent à représenter la quatrième dimension.

Les hyperluministes construisent des univers énigmatiques qui prolongent les recherches des peintres et des architectes de la Renaissance. Les hyperespaces des physiciens, à 4, 5…dimensions, offrent des modes de construction du monde actuel ou s’interpénètrent virtuel et réel, artificiel et naturel. Les artistes installent leurs œuvres dans un espace qui sensibilise le spectateur aux aspects merveilleux de la lumière. Associant logique scientifique et sensibilité artistique, la lumière est un guide pour accéder aux univers qui composent notre monde.

« Les mondes lumière » réunit deux installations spécialement créées pour l’occasion. Serge Salat et Françoise Labbé, avec « Les labyrinthes de l’éternité » envahissent l’espace par une structure de cubes emboîtés et pénétrables où la lumière est reflétée à l’infini. Jean Philippe Poirée-Ville et Patrick Blanc projettent un film en relief sur un écran végétal, « Photo-synthèses », qui confronte le spectateur aux interactions entre le réel et le virtuel. Le travail des dernières années de Bernard Caillaud regroupé dans « Aléatoires numériques » fait apparaître l’image dans son rapport à la couleur, à la lumière et au son.

@

Université Paris Sud

Rencontres du Groupe de travail

Voir et produire

des images d’art et de science

Informations

Damien Schovaert-Brossault

10 voie Elie Gras

94400 Vitry sur Seine

Tel 01 46 78 41 25

e-mail : imaginalia@freesurf.fr

Samedi 27 Octobre 2001

10-17 h

10 voie Elie Gras

Vitry sur Seine

Métro : Villejuif-Paul Vaillant Couturier

Mémoires du vivant :

Mémoires de formes,

formes de mémoires

Samedi 1 Décembre 2001

10-17 h

48 rue Henri Barbusse

93260 Les Lilas

Métro : Mairie des Lilas

Les nœuds

Michel Thomé. Approche globale pour la classification des nœuds.

@

Art and Science Collaborations, Inc.

3 ème symposium international

City University of New York (CUNY)

ArtSci2001

2-4 Novembre 2001

[ http://www.asci.org/current.html ]

Présentation de projets réalisés en collaboration entre un artiste et un scientifique .Très représentatif de la collaboration Art et Science.

@

A l'heure actuelle, le compte-rendu du colloque est en cours de composition. Il feront l'objet d'une publication en tant que Cahier

Colloque Arts & Sciences
'Qu'est qu'ils fabriquent ???'
- - -
rencontres artistes/scientifiques
- - -
22 23 24 novembre 2001
Université Bordeaux 1

Depuis de nombreuses années, se multiplient des manifestations (rencontres, colloques, séminaires, publications) sur les relations entre arts et sciences. Se développent, également, des expériences d accueil d artistes dans des laboratoires scientifiques et (plus rarement) de scientifiques dans des lieux de création artistique.
L Université Bordeaux 1 a pris largement sa part dans cette réflexion, puisque depuis plus de dix ans existent un enseignement et un séminaire arts et sciences, est publiée une revue annuelle les Cahiers art et science. De son côté la revue Alliage, depuis sa création voici plus de dix ans, ne cesse de confronter dans ses livraisons : artistes, scientifiques, philosophes, etc.
C est pourquoi, le service culturel de l'Université Bordeaux 1, le CNRS, Les Cahiers art et science, et la revue Alliage, associés au Rectorat de l Académie de Bordeaux ont décidé d unir leurs efforts et leur expérience pour organiser un colloque européen dont le but est, notamment, de permettre à des artistes et des scientifiques de dialoguer publiquement sur leur pratique quotidienne. Derrière les murs de l atelier et du laboratoire,

Inspiration et surgissement

• Comment une idée nouvelle surgit-elle ?
• Comment vient-elle à la main, au corps ?
• Comment l'intuition accède-t-elle à la conscience, à la raison ?
• Comment passe-t-on d une idée à sa réalisation ?

Exploration, fabrication, transformation

• Comment artistes et scientifiques explorent-ils des pistes nouvelles ?
• Pourquoi et comment vont-ils jusqu'au bout d une idée ?
• Quelles sont la part du sujet individuel et celle du milieu ambiant dans la création et la recherche ?
• Quels outils, quels matériaux et quelles méthodes utilise-t-on ?

Terme et clôture

• Pourquoi artistes et scientifiques abandonnent-ils en cours de route une idée qui leur avait paru féconde ? Le roman inachevé, la démonstration sans dénouement, l expérience stérile.
• À quel moment décident-ils qu une oeuvre est finie, une recherche close ?

P r o g r a m m e
- - -

lieu du colloque : amphithéâtre Kastler, bât [A9]
dialogues animés par:
- Michel Mercier, biologiste
- Alexis Michel, mathématicien
- Daniel Soutif, critique d art

Jeudi 22 novembre

9h15 ouverture
Geneviève Berger, directrice au CNRS
Francis Hardouin, président de l'université Bordeaux 1
Allain Glykos, responsable du colloque

9h45 conférence d'ouverture
Marie-José Mondzain, chercheur à l'EHESS
Lieux et sites de la fabrication


11h premier dialogue
Jean-Claude Risset, physicien, compositeur
et Michel Decoust, compositeur


14h15 deuxième dialogue
Etienne Klein, physicien
et Emmanuel Hocquart, écrivain



16h45 conférence
Antonia Soulez, professeur à l université Paris X
Le faire en musique

19h concert de musique électroacoustique
oeuvres de Jean-Claude Risset, Michel Decoust
(église de Talence)

Vendredi 23 novembre

9h45 conférence
Monique Sicard, chercheur au CNRS
Arts et Sciences : Fabrique de corps ?


11h troisième dialogue
Tom Johnson, compositeur
et Jean-Paul Allouche, mathématicien



14h15 quatrième dialogue
Daniel Kunth, astrophysicien
et Bernard Moninot, plasticien



16h45 conférence
Nathalie Heinich, chercheur au CNRS
Vocation et inspiration dans les arts et les sciences

18h15 « petit divertissement »
Michel Lenoir, préhistorien
Il y a 30 000 ans déjà ...?

20h dîner concert
Tom Johnson, musique
et Patrick Beurard-Valdoye, récital de poésie
(cafétéria - domaine du Haut-Carré)

Samedi 24 novembre

9h45 conférence
Jeanne Peiffer, chercheur au centre Alexandre Koyré
La recherche dans et hors ses murs



11h cinquième dialogue
Michel Mendès France, mathématicien
et François Seigneur, architecte

14h15 sixième dialogue
Jean-Marc Lévy-Leblond, physicien
et Giuseppe Penone, plasticien



16h45 conférence
Manfred Eisenbeis, professeur à l université de Cologne
Création et recherche à l épreuve des nouvelles technologies

Organisateur

Université Bordeaux 1 : Service culturel
En collaboration avec
- Cahiers Art et Science
- CNRS
- Rectorat de l Académie de Bordeaux
- Revue Alliage
- ASTS
- SCRIME

Comité scientifique

Président
Jean-Marc Lévy-Leblond, professeur à l'Université de Nice

Membres
Jean-Paul Allouche, directeur de recherche au CNRS
Eric Audinet, écrivain
Jean-Pierre Braquelaire, professeur à l'Université Bordeaux 1
Maurice Caron, vice-président de l'ASTS
Francine Delmer, maître de conférences à l'Université Bordeaux 1
Christian Eloy, compositeur
Allain Glykos, maître de conférences à l Université Bordeaux 1
Baudouin Jurdant, professeur à l Université Paris VII
Daniel Kunth, astronome, Institut d'astrophysique de Paris
Alexis Michel, maître de conférences à l Université Bordeaux 1
Michel Mercier, maître de conférences à l'Université Bordeaux 1
Didier Nordon, maître de conférences à l'Université Bordeaux 1
Jean-François Sabouret, directeur de la DIST au CNRS

@

Musée

de la mode et du textile

Union centrale

des arts décoratifs
111 rue de Rivoli. 75001 Paris

colloque

" Jouer la lumière : le textile, la lumière et l'œil "
L'effet visuel de la lumière sur le textile, un champ pour l'innovation.
Enjeux, état de la recherche, propositions méthodologiques et démonstrations.

12 et 13 novembre 2001

Colloque organisé par le musée de la Mode et du Textile/Union centrale des arts décoratifs, en collaboration avec le Centre Français de la Couleur, dans le cadre des 18es Rencontres Internationales " Image et Science " coordonnées par le CNRS Images/Média, à l'occasion de l'exposition " Jouer la lumière ", avec le soutien de Première Vision et de Sildorex/Lurex.

Le triple jeu de la lumière, du textile et du regard est demeuré l'objet de pratiques empiriques ou de recherches éclatées. Il recèle pourtant un vaste champ d'innovation pour l'offre textile et tous ses domaines d'emploi, de l'apparence vestimentaire à la création d'ambiances, et invite encore, au-delà de la mode, à une révision du rôle du textile en architecture, où l'orientation et l'angle d'incidence de la lumière et du regard et les rapports d'éclairement ont des relations à variabilité déterminable.

C'est ce que révèle l'exposition " Jouer la lumière " présentée au musée de la Mode et du Textile. L'ouvrage publié à l'occasion de l'exposition propose une étude générale sur le sujet, et rend hommage au travail précurseur de Chevreul, sa Théorie des effets optiques que présentent les étoffes de soie, 1846.

Le colloque, pluridisciplinaire, tentera de baliser ce champ diversifié pour mettre à la disposition des chercheurs et des praticiens de la mode et du textile les bases d'une méthodologie de caractérisation et de conception de ces effets visuels. Il s'adresse aussi aux architectes, aux éclairagistes, aux photographes, aux gens du spectacle. Il intéressera encore les chercheurs et les praticiens d'autres domaines, comme celui du cuir, du papier, du bois, du métal (tissé, déployé, perforé) ou même du verre, et les créateurs d'images de synthèse : effets de la texture, de la matière et de la forme des fils, jeu du mat et du brillant, de l'opaque, du transparent et du translucide, géométries changeantes, qui se relient aux recherches pluridisciplinaires très actuelles sur la psychophysiologie des apparences.

Comité scientifique
Robert Biguet, Bureau de normalisation des industries textiles et de l'habillement (BNITH)
Patrick Callet, enseignant-chercheur, Ecole Centrale de Paris, secrétaire général du Centre Français de la Couleur
Roger Chatelin, responsable du service Innovation et Technologie, Institut Français Textile-Habillement (IFTH)
Michel Indergand, chromatologue consultant et directeur artistique, vice-président du Centre Français de la Couleur
Jacques Lafait, directeur de recherche au CNRS, Laboratoire d'Optique des Solides (UMR 7601 CNRS-Université Paris 6)
Jean-Paul Leclercq, conservateur au musée de la Mode et du Textile, commissaire de l'exposition " Jouer la lumière ", auteur principal du texte et des photographies de l'ouvrage du même titre
Bernard Légé, ingénieur, architecte et ethnologue, chargé de mission au CNRS Images / Media.
Jean-Paul Longavesne, Professeur à l'ENSAD (École nationale supérieure des arts décoratifs, coordonnateur du secteur " Espace Vêtement ") et à l'Université Paris 11, Directeur du GRIP (Groupe de Recherche en Informatique Picturale), consultant couleur auprès des manufactures nationales de tapisseries
Michel Menu, chef du département recherche, Centre de Recherche et de Restauration des Musées de France, Palais du Louvre
Robert Sève, Centre Français de la Couleur, délégué français à la Commission internationale de l'éclairage pour la couleur et la vision
Françoise Viénot, Muséum National d'Histoire Naturelle, Equipe Vision, Laboratoire de Photobiologie

Thèmes généraux

lundi 12 novembre 2001
8 h 45-19 h : étendue des variations, origine, typologie, exemples d'applications, enjeux, avec une insistance particulière sur les phénomènes liés à la direction de la lumière et à celle du regard sur des textures tridimensionnelles, à l'échelle et à la perception, avec les effets de brillance et de transparence.
mardi 13 novembre 2001
9 h-13 h : méthodologies et instrumentation, buts et faisabilité : caractérisation, spécification, conception, contrôle de conformité, modélisation, démonstration.
14 h 30-17 h 30 : travaux pratiques, études de cas par reverse engineering, manipulations et discussion : dialogue avec l'architecture et la lumière, naturelle et/ou artificielle, esthétiques et situations pour l'habillement.
.

informations : www.ucad.fr/colloque-lumiere

coordination scientifique : mailto:leclercq@ucad.fr
Jean-Paul Leclercq - tél. : 01 44 55 58 54 - fax : 01 44 55 59 47

exposition temporaire - jusqu'en janvier 2002
" Jouer la lumière ", musée de la Mode et du Textile, 107, rue de Rivoli, 75001 Paris, 01 44 55 57 50

ouvrage
Jouer la lumière, sous la direction de Jean-Paul Leclercq, coédition Adam Biro/UCAD, 31 x 24 cm, 336 p., 360 ill., 390 F (59,46 euros)

@

Center for visual sciences

ANU Canberra. Australia

5-7 Décembre 2001

The art of seeing and the seeing of art

[ http://cvs.anu.edu.au/artsci ]

@

The New York Institute

for the Humanities

New York University

1-2 Décembre 2001

Art and Optics

Towards an evaluation of David Hockney’s new theories regarding opticality in western painting

of the past 600 years

[ http://www.artandoptics.com ]

A cette discussion passionnée pour savoir si les peintres ont utilisés ou non des dispositifs optiques s’ajoute un site web entièrement consacré à ce problème 

[ http://webexhibits.org/hockneyoptics ]

@

University of California

Berkeley

12 Janvier 2002

[ http://brain.berkeley.edu/%7Eplaisir/Conference1/ ]

First International Conference on Neuroesthetics

The pleasure of art

as sensed by the brain

@

Science Museum

London

Head on :

art with the brain in mind

15 Mars-28 Juillet 2002

[ http://www.wellcome.ac.uk/en/1/misexhhom.html ]

Oeuvres artistiques sur le cerveau et oeuvres résultant de la collaboration entre artistes et neuroscientifiques. Trois thèmes :Anatomie du cerveau. Visage, forme et caractère. Modèles de l’esprit.

@

Rochester Institute of Technology

School of Photographic Art § Sciences

Rochester

Images from Science

t h e

i m a g e s from s c i e n c e

p r o j e c t

c

http://images.rit.edu

a photographic exhibition & book

celebrating

"the pictures made in science"

Fall 2002

Organized by the School of Photographic Arts & Sciences

Rochester Institute of Technology

Rochester, New York

Project Overview

The School of Photographic Arts & Sciences(SPAS) at the Rochester Institute of

Technology in Rochester New York is proud to be organizing a traveling photographic

exhibition and book for the Fall of 2002, entitled "Images from Science". The show will

feature work drawn from the broadest definition of science, which might include:

oceanography, geology, biology, engineering, medicine and physics as some examples.

The project is being organized to celebrate the picture made for science. The organizers of

the show, would appreciate you furthering the scope of their work by sharing this

information with all interested parties.

The mission of the Images from Science exhibition will be to showcase important and

compelling pictures that were originally made to document, reveal or discover aspects of

research, treatment, or scientific discovery. Participation in the show will be based on a

juried entrance. The judging will take place in Rochester, New York March 2002.

The project will accept approximately 100 photographs. This will allow the (SPAS) gallery

to effectively display the exhibition. The SPAS gallery will be the first venue for this

exhibition which will also be available for travel should there be additional interest from

other hosts.

Submitting images for consideration

Up to 4 JPEG image files with a resolution of 640 x 480 or equivalent can be submitted

for consideration. Entries should be e-mailed to { HYPERLINK mailto:RITphoto@rit.edu

} by February 28, 2002. Any picture made in science is eligible for submission , technique

and era independent so long as it satisfies the above listed criteria. In the email

submission, please include the photographer or organization's name, the title of the

photograph, the subject photographed as well as any other relevant data to help the

judges understand why the image is interesting. All "picture makers" are encouraged to

submit. Successful entries will need to authorize permission to reproduce the photo(s) in

the web gallery and book. Successful entrant will be expected to supply Successful entries

will be asked to supply a their own custom print, no larger than 14" (350mm) in the long

dimension or an equivalent digital file by April 1

@

Cap Sciences

Hangar 20. Quai de Bacalan.

Bordeaux

16 Mars-6 Octobre 2002

La Fabrique du Regard

Artistes et scientifiques inventent le monde

[ http://www.cap-sciences.net/cadres.htm ]

A l’origine du thème de l’exposition le livre de Monique Sicard :

La fabrique du regard. Images de science et appareils de vision

(XV-XX ème siècle).

Odile Jacob.1998

.

@

Centre Français de la Couleur

C2RMF

OKHRA

Ecole de Printemps 2002

18-22 Mars 2002

La couleur des matériaux

Aspects chimiques

[ http://www.cf.couleur.org/Ecoles/2002/Rous2002.html ]

@

Musée du Louvre

Conférences

Art et Science

au temps de la Renaissance

Jeudis 21, 28 Mars 2002

Jeudis 4, 11 Avril 2002

A l’Auditorium

« Il disséquait des écorchés et reproduisait avec le plus grand soin les os, puis situait les nerfs, l’es revêtait de muscles, d’abord ceux qui tiennent aux os, en second lieu ceux qui relient les jointures, en troisième lieu ceux qui donnent le mouvement » observe , au XVI ème siècle, l’historien d’art Vasari, émerveillé par un des traités illustrés de Léonard….Cette fascination pour la constitution du corps humain s’insère, à l’époque de la Renaissance, dans une réflexion étendue aux diverses sciences, notamment la physique, l’optique et l’astronomie. A en croire Vasari, l’intérêt des artistes pour les domaines de la recherche scientifique nourrissait également les connaissances des scientifiques. Comprendre le monde signifiait donc le posséder et, par là même, le reconstituer

Jeudi 21 Mars. 18h30. P. Griener. L’optique de Hans Holbein.

Jeudi 28 Mars. 18h30. K. Park. L’empire de l’anatomie et la dissection du corps féminin.

Jeudi 4 Avril. 18h30. D. Arasse. Entre art et science : les fonctions du dessin chez Léonard.

Jeudi 11 Avril. 18h30. C. Asman. La conception maculée :Marie et la lune.

@

MATOMIUM

Bruxelles-Terwuren-Bruges

9-13 Avril 2002

[ http://www.matomium.org ]

Matomium est un atelier européen sur les conceptions mathématiques en architecture, en art et en design.

Textes des conférences sur le site

@

European Science Foundation

Euro conference on

consciousness and the imagination

Kerkrade. Pays Bas.

20-24 Avril 2002

Mind, language and metaphor

[ http://www.esf.org/euresco/02/hc02184 ]

Conférence organisée par

The Metaphor and Metonymy Group( Leeds, Nottingham).

[ http://www.psyc.leeds.ac.uk/research/metaphor ]

@

Zenter für Kunst

und Medien Technology

Karlsruhe

4 Mai-14 Août 2002

Iconoclash

Au delà de la guerre des images

en science en religion et en art

[ http://hosting.zkm.de/icon ]

Une extraordinaire exposition multidisciplinaire mobilisant de très grands spécialistes internationaux sous la direction de Bruno Latour et Peter Weibel.

Un superbe catalogue est édité par MIT Press.

Le but de l’exposition est de mesurer à nouveau la confiance et la méfiance que nous avons dans les images et plus largement dans les procédures de représentation , en confrontant systématiquement les pratiques de construction et de bris d’images en science, en religion et en art.

@

International Society for

Literature and Science

Aarhus Denmark

8-12 Mai 2002

Experimenting Arts and Sciences

[ http://imv.au.dk/SLS-Europe/logo.html ]

[ http://imv.au.dk/SLS-Europe/elements/programme.html ]

The conference will gather scholars from human, social, medical, technical and natural sciences as well as artists, who are interested in inter- and transdisciplinary approaches and linkages between the study of culture, literature, visual arts and technoscience, and between science and the arts.

Culture and technoscience used to be regarded as disparate activities and fields of study that referred to separate spheres of society, and to different epistemologies, methodologies and practices. But in recent years, a growing number of scholars from many disciplines have forged transversal lines and links between the study of culture/literature/visual arts and technoscience, exploring issues such as for example

* links between fact and fiction
* transversal lines between science and story-telling
* links between cultural imaginaries and scientific practices
* semiotic-material practices
* how metaphors matter and matter performs metaphorically
* intersections and incommensurabilities between visual arts, literature, culture and technoscience
* translations between physical and virtual spaces
* cyborg identities and cyborg bodies
* feminist and postcolonial perspectives in technoscience studies

The conference will be a forum for exchange of ideas between senior and junior researchers committed to the exploration of such issues and to experiments with transgression of boundaries between the formerly disparate fields of culture/literature/visual arts and technoscience. In particular, the conference will give space to scholars who want to compare notes cross-nationally and cross-Atlantically.

@

Fondation Internationale Balzan

The Royal Society London

13-14 Mai 2002

Symposium on

The Two Cultures

[ http://www.balzan.it ]

@

Université Paul Sabatier

Toulouse

Musée des Abattoirs

23-24 Mai 2002

Rencontres

Art/Sciences de la Cognition

[ http://www.ups-tlse.fr/Culture/index.htm ]

@

Société Internationale d’Art, de Mathématique et d’Architecture

Fribourg en Brisgau

22-26 Juillet 2002

Troisième conférence interdisciplinaire

I S A M A 2002

[ http://www.ph-freiburg.de/ISAMA2002 ]