ARTISTIC APPLICATION METHODS IN THE SCIENCE AND ART OF SYNTHESIS

Science and art are generally compared with each other in terms of their similarities and differences. Syntheses of science and art can be expressed with regards to terms art's contributions through imagination and scientific data's reflections on artistic applications. Research processes that begin with the sense of wonder also show similarity within the comparison between science and art. Also, evaluations are made in different perspectives with views concerning the differences between science and art. Nowadays, the applications that include interdisciplinary work with the convergence of fields of science and art have gained acceptance by a wide variety of research methods. Technology also plays a role in these applications through digitalization in obtaining scientific data and methods of visualization. Contribution to art and education fields is envisaged through application examples produced within the context of science-art synthesis and application-research methods guiding interdisciplinary education. The goal of this study is to reveal how the research methods of visual art works that contain scientific data created by scientist-artists become. The study has been carried out with the literature review. In the research, artistic applications that include scientific information were discussed under themes according to their different prominent characteristics. In the research, various viewpoints concerning application methods that artists who make use of scientific information and materials, that artists who are educated in science and art serve in these two areas, that are cooperative ones conducted through community participation and dual group or multiple groups having proficiency in various areas, and that are the multi-dimensional digital ones through the synthesis of science, art, and technology were revealed. In these practices, artists/scientists have demonstrated the holistic perspective of both fields by experiencing both the process of inquiry for scientific knowledge and aesthetic inquiry in their research paths. Keywords: Science, art, visual arts, artistic application methods

Aesthetic Objects, Aesthetic Judgments and the Crafting of Organizational Style in Creative Industries

In this article, we conceptually engage with style as central to creative industries. We specifically argue that style is crafted into being via an interplay between aesthetic judgments and “aesthetic objects.” We define aesthetic objects as temporary, material settlements fueled by a continual sense of dissatisfaction, eventually resolved through relational engagements. These remain under aesthetic inquiry throughout the process of crafting, until brought to particular close. We elaborate our theorizing with a non-traditional exemplar of the Bride Dress in the preparation of a 2009 Jean-Paul Gaultier’s fashion show. Our subsequent contribution is a richer conceptual understanding of style, with a material, aesthetic engagement at its center. In addition, in foregrounding under-explored features (i.e., aesthetic judgments, crafting of physical materials), and introducing new concepts (i.e., aesthetic objects), we outline promising openings for and significant connections with scholarship on creative or fluid industries, style, and organizational identity.

The Transformations of Aesthetic Theory

Recent decades have witnessed a dramatic broadening in the scope of aesthetic inquiry. No longer focused exclusively on the arts and natural beauty, the mainstream of aesthetics has entered a delta in which its flow has spread out into many channels before entering the oceanic expanse that is Western civilization. Several decades ago, environmental aesthetics began to attract interest and has grown to be an important focus of present-day inquiry in aesthetics. Along with environmental ethics, it has become part of the broader range of environmental studies and the environmental movement in general. This expansion has continued, interpreting environment not only as natural but also as social. Aesthetics has been applied to social relations and political uses, and now, most recently to the objects and situations of everyday life. The course of the arts has displayed a similar succession of changes.

“It’s a Trash”: Poetic Responses to the Experiences of a Mexican Egg Donor

This paper explores the use of found poetry as interpretive and aesthetic inquiry into the meaning and experience of reproductive tourism. The context is an ethnographic study of transnational egg donation, focusing upon the fertility services industry in Cancun, Mexico. Our source is an audio-recorded interview conducted with Maria, a young Mexican woman who struggles to maintain her integrity as a single mother donating eggs to a fertility clinic. Drawing upon Maria’s story, we experiment with three forms of found poetry as a method for listening deeply to her voice. In this paper, we share our research process, poems, and reflections.

Continuing a Conversation with Maxine Greene in Comics

Purpose To illuminate the concepts of aesthetic experience and wide-awakeness in the philosophy of Maxine Greene by using the aesthetic approaches she discussed - in this case, using the comic book form as a means of visually embodying and extending her ideas. Setting In Maxine Greene's living room, the view through the window, and on the sidewalk across the street from her apartment—under the tree that she looked upon each day. Research Design Philosophical-aesthetic inquiry. Conclusions/Recommendations This philosophical-aesthetic inquiry has left us with more questions than answers as we engaged in an imaginative dialogue with Maxine Greene. Maxine lived her philosophy not just in her work, but in her daily life. Her lived example leaves us with some of the following questions: How do we—as educators, researchers, and philosophers—reconcile the separation between our intellectual lives and personal lives? What does it mean to cultivate our imaginative capacities for social change? How do we see the unseen? How do we see movements in what seems static, and changes in what seems permanent? How do we refuse to accept given “truth” as true and so-called “reality” as real? How do we attend our world anew each day? Maxine's method of asking, rather than answering, opened her to seeing greater possibilities in her world. And it is this attitude for seeing and for asking rather than any “ism” that we take into our own work and seek to convey with this piece.