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Singular value decomposition (SVD) is a mathematical technique used throughout the sciences and engineering, which decomposes data, represented in terms of matrices, to construct an "optimal base" that can contain key information. SVD serves as a conceptual framework in Singular Value Decomposition, a performance by a research collective consisting of Janet Biggs (visual artist), Agnieszka Międlar (mathematician), and Daniel Tapia Takaki (physicist) with dancer Vinson Fraley and musician Earl Maneein and supported by the Integrated Arts Research Initiative (IARI) at the Spencer Museum of Art. Their work together aimed to be substantive to their fields and generative of each other. Drawing from discussions of tool-sharing in the philosophy of science and performative research paradigms, this article examines the collaboration and performance to consider the sharing of conceptual frameworks as an approach to collaborative, interdisciplinary research. [ABSTRACT FROM AUTHOR]

Broad Vision was a program for art/science collaboration that adopted a model of interdisciplinary learning, teaching and research. It brought together students and tutors from art and science subjects to work collaboratively on emergent projects based around a different theme each year. In this case study, the authors discuss the critical success factors and learning gained from an interdisciplinary cocreated curriculum. This includes looking at how collaborative learning and working at the intersections of the disciplines enabled students to develop new knowledge and understanding in both their own and other subject fields. [ABSTRACT FROM AUTHOR]

To normalize ArtScience, examples need to be shared of its average practitioners within the sciences, in addition to its historical exemplars. Described here are two cases of arts practice informing scientific research as experienced by early-stage researchers in postdoctoral or PhD work. Each case involves different arts approaches and yields different effects on the science; both inform ideas for how to better support and institutionalize ArtScience work. [ABSTRACT FROM AUTHOR]

An introduction is presented in which author discusses articles on topics including focuses on IMERA that not only provided the beautiful surroundings but also served as a model of an institution dedicated to radical interdisciplinary research.

This paper discusses the conflicting expectations for media artists taking part in art-science collaborations. Despite the increasing opportunity to participate in these interdisciplinary projects, it can be unclear how media arts activities are best articulated, or even if they need to be defined at all. Additionally, this paper examines a methodological framework widely used in the visualization community for identifying different visualization tasks within research activities. Inspired by its success, this paper proposes a new methodological framework for media arts activities in art-science contexts. This framework splits media arts activities into overlapping areas: generation, augmentation, provocation and mediation, providing a useful way to articulate the broader importance of media arts in interdisciplinary collaboration. [ABSTRACT FROM AUTHOR]

This paper considers the merging of Chaos with art, including such forms as digital images, sounds and music, based on dynamic systems derived from Chua's Circuit and using appropriate coding methods. Design elements, logos, musical instruments, software environments, multimedia theater performances and virtual museums with strange attractors have also been realized. In the field of education, the paper introduces environments that have foreseen the virtual manipulation of patterns derived from Chua's Circuit, which has fostered a deeper understanding of the evolution of dynamic systems through computer simulation. [ABSTRACT FROM AUTHOR]

The article provides information on Sciences, Engineering, Arts and Design (SEAD), a network funded by the U.S. National Science Foundation (NSF) which seeks to address fundamental challenges brought about by the intersection of science, engineering, the arts and design. The article presents information regarding the vision, mission and goals of SEAD. An overview of the network's short term objectives as well as information on SEAD's Working Group on Learning, Innovation and Cultural Development is also provided.

The profusion of images following from the development of nanoscience/technology has coexisted with persistent confusion about how nano images work and what they mean in varying contexts. This article gives insights on some of the more pervasive images, how they can be categorized and what problems have occurred in efforts to use visual information in the exploration and confirmation of the nanoscale. [ABSTRACT FROM AUTHOR]

The interdisciplinary research environment coupled with supercomputer graphics is affording new opportunities for collaboration between artists and scientists. The author has collaborated with specialists in such fields as agricultural entomology, topology and astrophysics to render visual representations of multidimensional computations. One collaboration has resulted in a single, aesthetic form encompassing both a new art form and the discovery of a suggested mathematical theorem. These team efforts provide interesting examples of research dynamics between artist and scientist as they work toward a common goal: visualization of the invisible. Such interaction serves as a prototype of the 'Renaissance team' where specialists provide a broad spectrum of skills in the quest for discovery. Artists can and will make important contributions to this research. [ABSTRACT FROM AUTHOR]

This paper uncovers the relationship between texts and machines, two major human inventions seemingly situated at polarities. In the Western tradition, the former originates from Aristotelian poetics and rhetoric, while the latter is associated with science and technology. The two have started to overlap in the 20th century, especially with the advent of the computer--a machine simulating human mental activities. This article begins by revisiting a few cardinal ideas from various scholars. Then, having outlined a corpus of texts in different manifestations related to the essence of machines, the author attempts to devise a preliminary framework for an inventive taxonomy of media artifacts in the post-digital age. [ABSTRACT FROM AUTHOR]

The investigation of aesthetic processing has constituted a longstanding tradition in experimental psychology, of which experimental aesthetics is the second-oldest branch. The status of this psychology of aesthetics, the science of aesthetic processing, is briefly reviewed here. Building on this heritage and drawing on a host of related scientific disciplines, a framework for a strongly interdisciplinary psychology of aesthetics is proposed. It is argued that the topic can be fruitfully approached from at least seven different perspectives, each with multiple levels of analysis: diachronia, ipsichronia, mind, body, content, person and situation. Eventually, this work may coalesce into a unified theory of aesthetic processing. [ABSTRACT FROM AUTHOR]

As our civilization continues to dive deeper into the information age, making sense of complex data becomes critical. This work takes on this challenge by means of a novel method based on complete interdisciplinarity, design process and built-in evaluations. The result is the design, construction, testing and deployment of data environments supporting real-time decision-making in such diverse domains as anesthesiology and live art performance. Fundraising success, technology licensing, market implementation and many live art performances provide evidence of the great potential of committed interdisciplinary work for advancing science, art and technology while benefiting society at large. [ABSTRACT FROM AUTHOR]

The new interdisciplinary science of ALife has had a connection with the arts from its inception. This paper provides an overview of ALife, reviews its key scientific challenges and discusses its philosophical implications. It ends with a few words about the implications of ALife for the arts. [ABSTRACT FROM AUTHOR]

The article offers information on Spectra 2018 symposium, presented by the Australian Network for Art and Technology (ANAT). Topics discussed include impact of inter- and transdisciplinary research and practice upon the arts, sciences and individual practices; role of collaboration of artists and scientists to approach creativity, exploration and research differently; opportunity to explore new forms of knowing and understanding through cross-disciplinary collaboration; and focus on stem-cell research, ecological research, and quantum mechanics.

A correction is presented to the article "Sounding Time: Explorations in Audio Time-Lapse and Temporal Layering in Interdisciplinary Collaboration" which appeared in the August 2017 issue.

The author talks about higher education in the U.S. and the need for a change in discourse about it. Topics discussed include the transdisciplinary, integrative research and education; the think tank hosted by the U.S. National Academies of Sciences, Engineering, and Medicine (NASEM) in this regard; and the work of Donella Meadows on complex systems.

The article highlights the Leonardo Satellite Symposium on Arts, Humanities and Complex Networks (AHCN) at the International School and Conference on Network Science (NetSci) which aims to foster cross-disciplinary research on complex networks with the help of the arts and humanities. The AHCN electronic (e)Book published by MIT Press features 58 articles under different themes such as networks in the humanities and research in network visualization. The "Leonardo" journal continues to serve as a catalyst for trends emerging within the arts and humanities as well as the scientific community and continues to welcome submissions relevant to those topics.

The article features a thesis on the visual perception of the South American Lepidosiren (L.) paradoxa, spotted African Protopterus (P.) dolloi, and Australian Neoceratodus (N.) forsteri lungfishes through biological science, history, and visual art as well as artworks generated through the interdisciplinary research.

Social and Human Sciences have recently discovered the potential of a hybrid research process, where the specificity of design knowledge and the peculiarity of design thinking can be exploited. Two ongoing experiences demonstrate how - after a first stage where Communication Design has been placed at the end of a linear sequence from data to prototypes - a more integrated and collaborative research process can be established, building on the proclivity of humanities scholars to mingle thinking and making. [ABSTRACT FROM AUTHOR]

"La Durance, parcours et regards" is the title of an audiovisual experiment (2003-2004) carried out in association with the laboratory "Environment, genome, evolution" (EGEE/Aix Marseille Université). Conceived at first as a scientific documentary, the project advanced mixing different approaches, including biology, biodiversity, eco-paleontology, history, geography, sociology and arts. The support of new digital technologies appeared a better way than a linear documentary to reproduce a multidisciplinary conception and the complexity of the Durance River. [ABSTRACT FROM AUTHOR]

The authors present animations based on the aggregated journal-journal citations of Leonardo during the period 1974-2008. Leonardo is mainly cited by journals outside the arts domain for cultural reasons, for example, in neuropsychology and physics. Articles in Leonardo itself cite a large number of journals, but with a focus on the arts. Animations at this level of aggregation enable us to show the history of the journal from a network perspective. [ABSTRACT FROM AUTHOR]

This paper discusses the role of models in the development of an interactive artwork made as the result of interdisciplinary collaboration. A variety of different types of model were used, each with different functions and status to the team. [ABSTRACT FROM AUTHOR]

The Grafting Parlour is a collective of artists and external researchers who exchange and combine their methodologies through thoughtful experimentation. Our collective was formed through the framework of the eMobiLArt lab project. Our art practice includes interdisciplinary research viewed in the gallery, workshops, performative experimentation and public discussion. The Grafting Parlour's conversations with scientists in the field punctuate and re-direct our research and methods of enquiry. We have developed portals into live habitats, spanning from the sky to the forest to the laboratory, creating accessible interfaces to these remote habitats and biological forms. [ABSTRACT FROM AUTHOR]

In this article the authors present an ongoing research project aimed at supporting scholars in the exploration of historical networks through a highly visual and interactive environment for the construction and the manipulation of graphs. They briefly illustrate and discuss a set of techniques defined within a multidisciplinary academic context to better integrate scholars and students' knowledge beyond the graph. [ABSTRACT FROM AUTHOR]

Introduces a series of articles on the interdisciplinary research collaborations of artists with industries and the academy.

The author argues that the concept of risk capital could be used in academic settings in regards to multidisciplinary and interdisciplinary research. The author focuses on interdisciplinary research focusing on gaps between cultures, focusing on the relationship between art and science. The author discusses the idea that artists, scientists, and humanists are engaged in the same culture, focusing on the ideas of scholar Don Michael Randel.