scholarly journals Between Scientists, Writers and Artists: Theorising and Critiquing Knowledge-Production at the Interstices between Disciplines

2012 ◽  
Vol 16 (1 and 2) ◽  
pp. 399-412
Author(s):  
Aaron Plasek
Keyword(s):  
Creative Writing ◽  
Knowledge Production ◽  
Scientific Research ◽  
Fine Art ◽  
Creative Work ◽  
Interdisciplinary Work ◽  
Science And Art

Stars are Symbols was a collaboration between more than 40 individual writers, poets, artists, and scientists. Each writer/artist conversed with a scientist about the research the scientist was conducting. They then generated new creative work inspired by this process. All the art, creative writing and scientific research was galleried, culminating in an Associated Writing Programmes Conference Off-Site Reading on 7 April 2010. This paper considers some challenging questions that an exhibition like Stars are Symbols engenders. What can we hope to learn about the intersections of science and art by responding to these intersections in discipline-specific modes such as creative writing or fine art? How does one discuss such exhibitions in a precise manner that neither simplifies nor misrepresents ideas in science, nor echoes trite bromides, but helps us recognize new perspectives about the discourses we are considering? Three categories of interdisciplinary work are posited: convergent, radical, and phantasmal. Tentative comments on these questions and others will be offered in the hope of facilitating further discussion.

scholarly journals Killer Zucchini

M/C Journal ◽  
1999 ◽  
Vol 2 (7) ◽  
Author(s):  
Ric Masten
Keyword(s):  
Olive Oil ◽  
String Quartet ◽  
Fine Art ◽  
Creative Work ◽  
Sour Cream ◽  
Renaissance Man ◽  
The One

Slice and boil the one that got away the one that would play the lead in the Squash that Ate Chicago... the monster that always has the crowd wild eyed and screaming my god! is that really      A zucchini.      Strain off the water      Adding one bouillon cube (any kind)      and one tablespoon of olive oil      Puree and serve hot and steaming      with a slug of cold sour cream   dumped into the center of each portion.      Top with a sprinkle of dill seed,      salt and season to taste. and now let us praise the chef the only artist whose creative work must speak to every sense the literary labors of Shakespeare are immense feeding and filling the soul... but a steady diet of language leaves the stomach growling and although it would garnish your life and delight your eye a garden salad by Picasso would be as tasty as old canvas and varnish and whatever the sculpture Rodin might put on the table would be a masterpiece for sure but nothing you could get your teeth into no doubt the sound of a string quartet is more uplifting than the sizzle of bacon in a pan but by intermission a sweaty musician doesn't smell as good the fine art of cookery demands the heart hand and eye of a complete renaissance man and as always muttering into her napkin counterpoint to this my wife:  "Why is it when a woman   cooks a meal it is just a meal   but when a man   cooks a meal   it's such a big big deal!" Citation reference for this article MLA style: Ric Masten. "Killer Zucchini." M/C: A Journal of Media and Culture 2.7 (1999). [your date of access] <http://www.uq.edu.au/mc/9910/zucchini.php>. Chicago style: Ric Masten, "Killer Zucchini," M/C: A Journal of Media and Culture 2, no. 7 (1999), <http://www.uq.edu.au/mc/9910/zucchini.php> ([your date of access]). APA style: Ric Masten. (1999) Killer zucchini. M/C: A Journal of Media and Culture 2(7). <http://www.uq.edu.au/mc/9910/zucchini.php> ([your date of access]).

Science and Art

Philosophy ◽  
1930 ◽  
Vol 5 (19) ◽  
pp. 331-352
Author(s):  
S. Alexander
Keyword(s):  
Fine Art ◽  
Natural Object ◽  
Science And Art ◽  
The Mind

My object in these lectures is to show that Science is a form of Art, though not of fine art; in other words, that it is one example of a process of which fine art is the most obvious example, the process of making out of certain materials a result into which the mind itself enters. Clearly enough the material of the artist, whatever it be, marble or paints or tones or words, is moulded by the artist into a shape which it would not possess unless something in the artist’s mind found expression in it. Science also is a product of the mind’s interference and is artificial. But it differs from fine art, I shall try to show, in this respect: in fine art the material is controlled from the mind, or at least it is principally controlled from the mind. In science the material is the facts of nature (including of course the mind itself as a natural object); but while science would not be except for the mind of the scientist, the work is controlled from the side of the material itself, and his mind is instrumental to the product rather than in some sense intrinsic to it as in fine art.

scholarly journals From Science to Dance Ensaio Between Lab and Studio

2019 ◽  
Vol 22 (1) ◽  
pp. 205-243
Author(s):  
Ângelo Cid Neto
Keyword(s):  
Creative Process ◽  
Scientific Research ◽  
The Body ◽  
Artistic Process ◽  
Science And Art ◽  
Neuroscience Research ◽  
Reflection In Action ◽  
The Common ◽  
Key Features ◽  
Definition Of

Abstract This text is a reflection in action of an artistic process based on a scientific research. ENSAIO is the choreographic project that resulted from the translation mechanisms of laboratory concepts to a bodily approach, where it proposes a possible mainstreaming of artistic and scientific processes combined. This project joined artistic higher education schools in dance and scenic arts (ESD and FCSH) and Polavieja lab, a neuroscience research lab in Champalimaud Foundation – Center for the Unknown. This text aims to reveal the creative choreographic and performative potentials hidden in this scientific research concerning neurosciences. Identifying cross materials to artistic and scientific processes, it was possible to design a structure of the creation process and the construction of a choreographic performance. The common platform has been found in the process of translation and the definition of the same concept substrate, which made possible the approach of the two instances: studio and laboratory. One of its key features is the promotion of the communication among its agents: scientists and dancers. And the possibility of modelling and absorption from what it comes from this sharing and collaboration. The methods and the choreographic procedures mirrored and promoted this sharing and, therefore, the involvement of the body. Where, the body is the agent able to reflect and trigger this process, a body as an essay that is constantly in research. A body able to coordinate between various media and to expand the reflection on itself. Although science and art are individual instances that inevitably specialise and segregated away. Therefore, this text focuses on examples of cross-thinking of both scientific and artistic cultures, and the articulation of the theoretical and practical bodies in a practice-as-research on the development of the ENSAIO creative process.

scholarly journals Relief: Observations on Creative Nonfiction as Pedagogy

2019 ◽  
Vol 12 (1) ◽  
pp. 249-258
Author(s):  
Mark Silverberg
Keyword(s):  
Creative Writing ◽  
Creative Nonfiction ◽  
Nursing Student ◽  
Standard English ◽  
Creative Work ◽  
Aesthetic Appreciation ◽  
Esl Students ◽  
Personal Writing ◽  
Pedagogical Tool

“Relief: Observations on Creative Nonfiction as Pedagogy” offers a case study in the possibilities of using creative writing as a pedagogical tool with ESL students. Analyzing the experience, comments, and creative work of a Chinese nursing student named Wei Wan at Ryerson University, the essay explores the benefits of personal writing and peer workshops as tools for self-exploration, aesthetic appreciation, and confidence building. While urging teachers to see the advantages of this methodology, the paper also reflects on the literary values of creative work in hybrid, non-standard English forms.

scholarly journals PENGEMBANGAN KOMPETENSI CREATIVE WRITING DALAM PEMBELAJARAN SASTRA DI PERGURUAN TINGGI

LITERA ◽  
2013 ◽  
Vol 9 (2) ◽  
Author(s):  
Putra Manuaba
Keyword(s):  
Creative Writing ◽  
Theory And Practice ◽  
Creative Work ◽  
Ideal Model ◽  
High Quality ◽  
Creative Processes ◽  
Writing Theory ◽  
Writing Course ◽  
Writing Competence ◽  
Depth Interviews

This study aims to identify creative writing aspects and formulate a model for the development of creative writing competence. It was a qualitative study involving literature students from four universities in Surabaya. The data were collected through in-depth interviews. The findings show that only few students have writing experience. The learning model in the campus is one important aspect that can motivate students to write. An ideal model for the development of creative writing competence is one that integrates a variety of aspects that can develop creative writing. Some important aspects include (1) a creative writing course inliterature learning as a compulsory course at universities, (2) theory and practice (practice being more dominant than theory) for literature students, (3) attempts to make lecturers good at writing theory and practice, (4) reading enrichment in quality literary works, and (5) use of creative processes from high quality authors as inspiring part of creative work writing.

scholarly journals Research In Creating Artworks – Comparison 3 Case Studies of Fine Art Creative Process

2017 ◽  
Vol 3 (1) ◽  
pp. 31
Author(s):  
Octalyna Puspa Wardany
Keyword(s):  
Case Studies ◽  
Research Methods ◽  
Significant Role ◽  
Creative Process ◽  
Fine Arts ◽  
Scientific Research ◽  
Fine Art ◽  
Water Color ◽  
Art Exhibitions ◽  
Research Type

In fine arts, creating artworks need doing research. The research has many types. Mostly, it is not the scientific research type. But, nowadays, scientific research is commonly implementing in creating artworks too. It is important to know the various researchs in creating artworks, so it could be able to understand how research has the significant role in creating artworks. This study examines the research in creating artworks through comparation of 3 case studies of fine art exhibitions; (1) the creative process of water color painting exhibition Climen by Surya Wirawan in 2012 which the process held for 4 years (2008-2012), (2) the painting exhibition Melupa by Ugo Untoro in 2013 which the process held for 13 years (2000-2013), (3) the art project Tentang Hutan by gerimisUngu Production 2014 which the process held for 4 years (2011-2014). Each of those 3 creative process has different type of research, methods, and period, artworks as the output, experience of the artist whom get involved, and certain location in Indonesia. These 3 case studies describe that the research in creating artworks can be scientific with fully consideration, or semiscientific in consideration, or unscientific between consideration and uncosideration. And, the certain research implemented in creating artworks is related to the artist (individual and cultural), purpose of the artworks and exhibition, and content of the artworks which appointed.

scholarly journals University of Wyoming Outdoor Studio Art Class

2012 ◽  
Vol 35 ◽  
pp. 172-173
Author(s):  
Patrick Kikut
Keyword(s):  
National Park ◽  
Scientific Research ◽  
University Of Wyoming ◽  
Studio Art ◽  
Research Station ◽  
Creative Work ◽  
Direct Impact ◽  
Art Students ◽  
History Of

Since its inception as a Summer Innovative Course in 2000, the Department of Art Summer Outdoor Studio class has been exceptionally grateful for the opportunity to stay and work at the AMK Research Station as part of the three week summer intensive. For art students, the dramatic setting and accommodation are inspiring and it is a highlight of the experience. From the AMK Ranch, students have full access to the Teton NP, Yellowstone NP as well as the National Wildlife Museum in Jackson. Art students also appreciate the interaction with students from different disciplines in the sciences and often those conversations have direct impact on the creative work student’s produce during their stay. The AMK staff and in particular Professor Hank Harlow have offered us incredible hospitality and generosity. Professor Harlow’s knowledge of the geology, biology, and history of Teton National Park is invaluable to this course. Also, his enthusiasm for art and scientific research is infectious. Our stay at the AMK always culminates in an exhibition of student and faculty creative work, hosted by Hank Harlow, UW NPS Research Station Director.

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