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Interdisciplinary research between science and art is becoming more active, because it stimulates the both fields with far different viewpoints. In the field of aerogels, exceptionally low-density porous materials, the authors have been promoting interdisciplinary research based on a unifying aesthetic idea. Since typical silica aerogels consist of nano-scaled colloidal skeletons and mesopores, they show high light transmittance and slight scattering that allows aerogels to be impressive bluish piece of the sky. With various techniques such as molding, inclusion, and surface machining/patterning, a number of artworks has been expressed with the material silica aerogel interpreting aerogels to the sky through fruitful collaborations between an artist and scientists including the present co-authors. In the present paper, we discuss the interactions between human and materials in visual arts and photography, and show how the aerogels are expended as the materia prima for the artworks of the first author. We will emphasize how the synergy between artists and scientists drove and stimulated the both fields through collaborative works.

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Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Much has been written on Claude Bernard as a relentless promoter of the experimental method in physiology. Although the paper will touch Bernard's experimental intuitions and his experimental practice as well, its focus is slightly different. It will address the laboratory, that is, the space in which experimentation in the life sciences takes place, and it will analyze the scattered remarks that Bernard made on the topic both in his books and in his posthumously published writings. The paper is divided into four parts. The introduction briefly sketches the coming into being of the physiological laboratory in the first half of the nineteenth century. The second section will give an overview of Claude Bernard's own itinerary in physiology and his personal laboratory experience. The third part of the paper will have a look at the image of the laboratory that Claude depicted in his Introduction to Experimental Medicine. In the subsequent section and by contrast, the image of the laboratory will come into focus as it can be reconstructed from Bernard's notebook that he kept between 1850 and 1860, the Cahier rouge. Finally, the fifth part of the paper will spotlight Claude Bernard's comparison of the sciences and the arts and their respective practices. A brief concluding statement tries to summarize Bernard's epistemological position toward experimentally practiced science. [ABSTRACT FROM AUTHOR]

One dominant explanation for Galileo's telescopic discovery of the rough and uneven surface of the moon is that he was well-versed in painting techniques such as perspective and chiaroscuro, which emphasize a realistic representation of objects. This allowed him to grasp the appearance of the moon most accurately. This paper proposes a new interpretation of the relationship of science and art through the Galilean case, which highlights the creative process rather than realistic representation as they pertain to the beneficial role of art in advancing science. Tracing the trajectory of Galileo's telescopic observation as described in Sidereus Nuncius, the author demonstrates that what Galileo saw were simply unidentifiable spots and that the discovery of the moon's rough surface was an inference--the key factor being a self-distancing imagination that allowed him to see, at an imaginary distance, the homogeneous relationship of the moon and the earth to the sun. The author discusses how this self-distancing imagination, which involves reestablishing the relationship of objects through light, is uniquely connected to pictorial artistic sensibility, especially through the Lacanian theory of art. Finally, the author suggests that a love for numerous partial objects, rather than for truth, constitutes the real ethical foundation of a scientist. [ABSTRACT FROM AUTHOR]

The essence of the Turing-Child theory (Schiffmann, 1991, 2017) is the direct and spontaneous conversion of chemical energy into simultaneous differentiation and morphogenesis, and all localised biological work and localised entropy-reducing processes. This is done via the identification of the Turing instability with cAMP and ATP being the Turing morphogens that mutually fulfil the five Turing inequalities. A flower model like the ABC model is derived from experiments with mutations. But what actually generates the model in real development? That is, how do genes of class A come to be expressed in the sepal and petal whorls, genes of class B in the petal and stamen whorls, and genes of class C in the stamen and carpel whorls. We suggest that the generation of the ABC model occurs via sequential compartmentalisation by Turing-Child eigenfunction patterns similar to the one occurring in Drosophila (Schiffmann, 2012). We also suggest a similar mechanism for the generation of the dorso-lateral-ventral polarity and bilateral symmetry. A mechanism for the generation of the regular location of the floral organs is also suggested. The symmetry and regularity of flowers, which are the source of their attraction and beauty, stem from the symmetry and regularity of the Turing-Child eigenfunctions. The central problem in developmental biology is the endless regress. This endless regress is halted by the Turing-Child pre-patterns and this is illustrated on a central example in flower generation. Both the shape and the chemistry — the steady-state rate of ATP synthesis and hydrolysis — of the Turing-Child pre-patterns are exactly what is required. Art and science meet in flower formation. [ABSTRACT FROM AUTHOR]

Sustainability is a universal goal that requires balancing social, economic and environmental dimensions, and that applies to both terrestrial and marine environments. Several authors argue that arts are valuable tools to frame and engage with current environmental issues related to sustainability, including pollution, climate change and biodiversity loss. Accordingly, our research question is: What is the role of art in the sustainability of coasts and seas? We searched our research question on the two most important scientific databases of articles (Scopus and Web of Science) and retrieved 1,352 articles. We narrowed the articles to 79 studies that actually address our question through screening. The dataset describes a variety of artworks from the four art categories (literary, media, performing and visual) around the world, although the more frequent countries are the US, theUKand Australia. Wefound that visual arts are more common (~40%), and engagement is a highlighted pursued impact (~40%) by these artistic practices. Other authors also intend to promote marine conservation and restoration, management, education and activism. Only 19 articles of the dataset measured the impact of artistic activities on their audience. This subset shows evidence of art contributions to sustainability mainly through raising awareness, learning, and promoting engagement and enjoyment of project participants. Through this work, we set the current state of knowledge on this emerging topic, and argue that further research and new strategies of impact measurement are needed to thoroughly understand the effect of art on coastal/marine sustainability. [ABSTRACT FROM AUTHOR]

This article is an introduction to the February 1959 issue of the Bulletin, assembled under the joint editorship of Martyl Langsdorf, a Chicago artist who served as art editor of the Bulletin for many years, and Cyril Stanley Smith, professor of metallurgy at the Institute for the Study of Metals, University of Chicago. It is republished here as part of a special issue commemorating the 75th year of the Bulletin. [ABSTRACT FROM AUTHOR]

Sustainability is a universal goal that requires balancing social, economic and environmental dimensions, and that applies to both terrestrial and marine environments. Several authors argue that arts are valuable tools to frame and engage with current environmental issues related to sustainability, including pollution, climate change and biodiversity loss. Accordingly, our research question is: What is the role of art in the sustainability of coasts and seas? We searched our research question on the two most important scientific databases of articles (Scopus and Web of Science) and retrieved 1,352 articles. We narrowed the articles to 79 studies that actually address our question through screening. The dataset describes a variety of artworks from the four art categories (literary, media, performing and visual) around the world, although the more frequent countries are the US, the UK and Australia. We found that visual arts are more common (~40%), and engagement is a highlighted pursued impact (~40%) by these artistic practices. Other authors also intend to promote marine conservation and restoration, management, education and activism. Only 19 articles of the dataset measured the impact of artistic activities on their audience. This subset shows evidence of art contributions to sustainability mainly through raising awareness, learning, and promoting engagement and enjoyment of project participants. Through this work, we set the current state of knowledge on this emerging topic, and argue that further research and new strategies of impact measurement are needed to thoroughly understand the effect of art on coastal/marine sustainability.

Of the three main time horizons specified in the German Repository Site Selection Act (the year 2031, 500 years after closure and one million years), the current public discourse largely neglects the “medium term”. However, many important choices will have to be made during this period. The article discusses different conceptions of time that could help to improve public understanding of the time horizons for high-level radioactive waste disposal and the decisions that still lie ahead.

Copyright of Journal for Technology in Theory & Practice / Zeitschrift für Technikfolgenabschätzung in Theorie und Praxis (TATuP) is the property of Oekom Verlag GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay gives an account of the pre-history for Puerto Rican artist Raphael Montañez, Jr. (b. 1934), not by turning to his family tree or to his artistic and intellectual influences. Nor do I proffer a pre-existing historical “context” that then explains the artist and his art against the backdrop of his “times.” Instead, I use the occasion of his birth to establish the interrelationship between science and art amidst struggles for political self-determination in the last decades of the Spanish Empire and the first four decades in the formation of the U.S. as an empire in the hemisphere. In going backwards from 1934 to 1882, I connect the formation of the National Archives in the U.S. with the first call for a Puerto Rican national museum by physician and natural scientist Agustín Stahl over fifty years earlier. These institutions are guided by a scientific evidence-based imperative to collect, organize, and describe, and they serve as central tools in nation-building projects, whether among the colonized or colonizer. At both sites, art serves both rational and affective roles in connecting artifacts to national belonging as a product of historical facts and inevitability, family romance, and sacral obligation. Rather than seeing art, science, politics, and religion as discrete, or even as overlapping, categories, I consider how they are mutually constitutive forms of knowledge-production organized around destruction.

Contemporary scientific research is competitive, costly and coupled to the parallel universe of commerce. A Faustian bargain between scientists and politicians allows the funding to flow. There is another path: to slow down, think and experiment without the pressure of competition and frequent publication. That path will come at a cost: reduced funding for people and equipment. The article compares and contrasts the most creative musical and visual artists with the current scientific model. I suggest that science requires acceptance that true creativity can only come by decoupling from current commercial and political imperatives.

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article considers the function of twenty-two hand-colored prints of mathematical instruments in Tycho Brahe's Astronomiae instauratae mechanica (Instruments of the renewed astronomy; 1598), a hand-painted presentation treatise dedicated to Emperor Rudolf II and conferred on a network of individuals connected to the imperial court in Prague. Although the accompanying text communicates the instruments' use and composition, the images demand close inspection because they articulate Brahe's observationally driven astronomy. They do so through structured, repeated, and consecutive representations; through expanded viewer access, achieved by adhering to multiple perspectives; through the juxtaposition of colors, which focuses attention on the heads of the instruments (the part that does the measuring); and through the use of gold paint, which emphasizes the head and brings to mind the very metallic nature of the instruments. Much like an astronomer taking multiple measurements of cosmological phenomena, these images allow viewers and readers, as they leaf through the pages of the treatise, to become virtual participants in Brahe's instauration of astronomy. [ABSTRACT FROM AUTHOR]

We suggest with this study a differentiated way of working science teaching. With a possible approximation between art, culture and science, it becomes possible to promote a greater interest of students in science teaching. We aim to investigate which coins have the potential to be used in science teaching. Thus, investigative research was carried out in the Brazilian homepage: http:// www.moedasdobrasil.com.br/moedas/index.asp and a total of 29 different coins were selected, whose potential for use in science teaching is great. With these coins, teachers can discuss numerous contents with their students, such as the zoological and religious aspects of birds, the content of botany interconnected with Brazil's history, the importance of healthy food education, the damages caused by the use of pesticides in the environment, aspects related to the zoology of fishes, the content of Earth and Universe, among others, as endangered animals of the Brazilian fauna. As coins carry the history of Brazil, we also perceive an opportunity to promote interdisciplinarity and transversality between the contents of history and science disciplines, contributing so that the different pieces of knowledge are studied jointly. [ABSTRACT FROM AUTHOR]

Copyright of Interface - Comunicação, Saúde, Educação is the property of Fundacao UNI and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annals of 'Constantin Brancusi' University of Targu-Jiu. Juridical Science Series is the property of Universitatea Constantin Brancusi din Targu-Jiu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Decades of efforts to achieve comprehensive and sustainable soil (biodiversity) protection resulted in a moderate to limited success. The ecological arguments - the extrinsic approach - are largely formulated and known. However, it is not possible to make them sufficiently heard as they stand against the interests of lobby groups. Therefore, in order to protect the soil, its functions and biocoenoses efficiently, I plead for an extended, intrinsic, centripetal approach, which includes physical-haptic, but also digital experience, transdisciplinary networks and the establishment of sympathizers for soil biodiversity. To this end, I name best practice examples from the past and present. For the development and establishment of this ‘strategy for a comprehensive sensitivity for soil (biodiversity) protection’ I expect a period of 10 years.

The project goal was to bridge the gap between scientists and policy/planning professionals and communities, especially in marine conservation. Art has proven a successful means of communication between communities throughout human existence. This project seeks to use art as another means by which complex environmental matters can be communicated, and perhaps even begun to be resolved. For this project, a workshop was held at the Tijuana River National Estuarine Research Reserve with six scientists and over 20 artists. Scientists lectured about the ecosystem services provided by the area, conservation challenges it is faced with, and possible solutions for these problems. There were small group sessions where artists could speak to scientists, along with a tour of the Reserve and explore a kelp holdfast. Ten of these artists agreed to produce artwork based on what they had learned during the workshop, generating a body of estuarine related artwork for public showing.

This essay gives an account of the pre-history for Puerto Rican artist Raphael Montañez, Jr. (b. 1934), not by turning to his family tree or to his artistic and intellectual influences. Nor do I proffer a pre-existing historical "context" that then explains the artist and his art against the backdrop of his "times." Instead, I use the occasion of his birth to establish the interrelationship between science and art amidst struggles for political self-determination in the last decades of the Spanish Empire and the first four decades in the formation of the U.S. as an empire in the hemisphere. In going backwards from 1934 to 1882, I connect the formation of the National Archives in the U.S. with the first call for a Puerto Rican national museum by physician and natural scientist Agustín Stahl over fifty years earlier. These institutions are guided by a scientific evidence-based imperative to collect, organize, and describe, and they serve as central tools in nation-building projects, whether among the colonized or colonizer. At both sites, art serves both rational and affective roles in connecting artifacts to national belonging as a product of historical facts and inevitability, family romance, and sacral obligation. Rather than seeing art, science, politics, and religion as discrete, or even as overlapping, categories, I consider how they are mutually constitutive forms of knowledge-production organized around destruction. [ABSTRACT FROM AUTHOR]

In the last part of our Essay, we outline a future of consilience, with a role both for fact‐seekers, and for searchers for understanding. We begin by looking at theory and simulation, surrounded as they are by and interacting with experiment, especially in Chemistry. Experimenters ask questions both conceptual and numerical, and so draw the communities together. Two case studies show what brings the theoretician authors joy in this playground, and two more detailed ones make it clear that computation/simulation is anyway deeply intertwined with theory‐building in what we do, or for that matter, anywhere in the profession. From a definition of science we try to foresee how simulation and theory will interact in the AI‐dominated future. We posit that Chemistry's streak of creation provides in that conjoined future a link to Art, and a passage to a renewed vision of the sacred in science. [ABSTRACT FROM AUTHOR]

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Much of the literary criticism devoted to interpreting the work of W. Wordsworth tries, on the one hand, to overcome and moderate, or, on the other hand, to directly accept the manifest opposition against science and scientific practices that the poet maintains, mainly throughout his work The Prelude. I will examine the conceptual basis of such hostile attitude by digitally analyzing the lexicon used in this work. The results obtained permit confirming Wordsworth’s hostility towards science, and more precisely, the prejudice that modern science would not allow a humanized perception of nature. But I argue that this attitude is due to a latent enchanted worldview, in a Weberian sense, more suitable for the sentimental description than for the perception and description of the natural landscape based on the explanatory knowledge of nature.

The establishment of the Exploratorium, known as the pioneer of the science center movement, reflects the social history of science education in the United States during the 1960s. Frank Oppenheimer (1912-1985), the founder of the museum, realized the gap between experts and the public while he participated in the Manhattan Project and found the answer from science education in a museum setting. As scientist and educator, Oppenheimer developed his own philosophy of science education, which emphasized the pleasure of discovering nature by tinkering with laboratory apparatus. With his plan to build a new museum, Oppenheimer arrived in San Francisco in 1967, when he soon encountered obstacles in leasing the museum site, "the Palace of Fine Arts." To obtain the site over many competitors, he strategically contacted the local media, utilized personal connections to eminent physicists, and emphasized the importance of art in the proposed museum. In this process, Oppenheimer devised a "curious alliance" of science, art, and human perception, which became the distinctive characteristic of the Exploratorium. Through the early history of the Exploratorium, this study traces Oppenheimer's invention of a new type of science museum within the context of the experience of scientists in Cold War America. [ABSTRACT FROM AUTHOR]

‘Panstereomachia. This title, as long as a man’s arm, belongs to an exhibition of a novel kind, which was opened on Monday, 19th June, 1826.’ Devised by Charles Bullock, the exhibit featured a large model of the ‘memorable battle of Poictiers’ where the English hero, Edward the Black Prince, defeated French forces in 1356.[1] The exhibit spoke to a burgeoning market for historically-themed exhibitions and a growing fascination with the Middle Ages in the nineteenth century. A key selling point of the exhibit was its mysterious name which alluded to a new type of exhibition experience. Yet the Panstereomachia was only one of many ‘educational’ exhibits which employed old and new technology to bring the past to life in order to edify and entertain new consumer audiences. This essay will trace three exhibitions across the nineteenth century to assess how exhibitors drew on science and technology to offer competing visions of the medieval past. Moving from the Panstereomachia model, it will look at the introduction of medieval-themed figures and tableaux at Madame Tussaud’s from the mid nineteenth century before exploring the 1894 Heraldic Exhibition and the debate over the preservation of medieval artefacts. Underpinning this discussion are two key questions: What role did technology play in the ways in which people exhibited and accessed the past historically? How can visual and material culture inform our understanding of shifting notions of the Middle Ages?

This review summarizes possibilities of including scientific methods for investigation of art objects into the secondary school chemistry curriculum. We discuss methods such as X-ray radiography, infrared reflectography, neutron activation autoradiography, X-ray fluorescence, and Raman spectroscopy and provide recent examples of their use. The results obtained, especially when combined with modern digital image processing algorithms, are indeed impressive. The second part of the paper is devoted to suggestions for actual use in teaching. The activities in the classroom can be centered around scientific investigation of a single painting, properties and use of a single pigment, or utilizing parallels in the history of Chemistry and history of Art. Finally, scientific methods for detecting art fraud including actual historical examples are especially motivating for the students and various teaching activities can be designed around this aspect.

This contribution is part of a special issue, comprising an essay by Tim Ingold ("From Science to Art and Back Again: the Pendulum of an Anthropologist") and nine invited responses. [ABSTRACT FROM AUTHOR]

In this paper we describe how honors students of an art university and a classical research university in the east of the Netherlands, came together to work on the development of new ecologies of art and science. We narrate a yearlong learning journey by highlighting two main projects, first a local Wunderkammer project and subsequently a joint research trip to New York, Boston and Cambridge for investigating similar initiatives across the Atlantic. While going beyond the borders of disciplines and institutions, in search of new terrain, students reframe their own field as well. By experimenting with the form of our honors tracks we hope to widen the horizon of young people and help them unleash their potential. Our meandering story describes how the honors track kept on changing form, by allowing students to claim radical ownership, and how this has taught us that such experiments can not only be carried out in a responsible manner, but may also create more powerful environments for learning across borders.

Copyright of Journal of Theory & Practice in Education (JTPE) / Eğitimde Kuram ve Uygulama is the property of Journal of Theory & Practice in Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Theoretical contributions are proposed for the formation of science teachers from the distinction between knowledge and thought presented by Hanna Arendt. For the author, the action of knowing, accomplished by science, seeks truths, while the thought, as a action of spirit, seeks meanings. The concept of creative potential is used, suggested by the plastic artist Fayga Ostrower, as a motivational factor of thinking for production of meanings. It can be concluded that science teaching must aim at the development of the ability of not only knowing, but also thinking, promoting the expansion of the creative potential of students and teachers. [ABSTRACT FROM AUTHOR]

Neuston, defines the community of organisms that live associated with the surface, at the air-water interface. With neuston as metaphor, the project proposes an explorative experiment on the science-art interface in marine sciences. Intended as transdisciplinary experiment, the Neuston project establishes 15 collaborative partnerships between scientists from the Institute of Marine Research in Vigo – Spanish National Research Council, on the one hand, and writers, poets, and artists on the other. Starting from a scientific publication, each researcher exposes a specific aspect of his or her work to the artist; this initiates a dialogue, which involves visits of artists to laboratories and scientists to study the artists. This dialogue forms a background to the art (painting, sculpture, photography, installation) or literature (poetry, story, comics) work. The resulting artistic proposals raised a reflection on i) the forms of representation and language, ii) the object of study and its formal or conceptual relationship with other objects, iii) the context in other levels (social or intimate) of the research work, or its decontextualization, and iv) scientists, practice and knowledge processes of science face to artists and processes of art. All this implies, finally, an approach to a more complex knowledge of the subject of study and the subject-researcher, which includes aesthetic experience.

Photomicrography has been subject of several studies over the years, mostly on a technical perspective. The artistic side of photomicrography is a promising topic of study, which has gathered important contributions for the connection between art and science. In contemporary times it is generally regarded as a form of artistic expression, alongside its role in science. Nonetheless, this subject would benefit from a comprehensive approach so as to understand the process of artistic recognition of photomicrography as part of an increasing dialogue and mutual acceptance and respect between art and science. The present study aims to clarify how photomicrography came to be accepted and fully acknowledged as art from past to present. Moreover, it aims to shed light into collaborative contemporary practices where art and science meet to stimulate a greater appreciation of the natural world. Documental analysis and interpretation was conducted, namely of written texts and images comprised in The Photographic Journal of the Royal Photographic Society between 1853 and 2013. The data retrieved and analysed was complemented with information regarding contemporary artistic photomicrography. Research has shown that, despite persistent resistance, in the early years of the twentieth century artistic photomicrography was accepted and subsequently acknowledged and encouraged. Photomicrography is currently on a growing path, to a great extent due to contemporary practices where its scientific and artistic potential are brought together to promote the experience, understanding and appreciation of the natural world.

We are made of many parts and many types of parts. Many of these parts are alive and, like the study of the human microbiome has revealed, most of them are not of human origin. In this project, I explore how the microbiome challenges our sense of identity by creating a new view of the body and by blurring the boundary between generations, and even between individuals. The result revolves around the creation of portraits using the microbiome of the subjects as a medium, inviting them to consider their other selves. The project exists in multiple forms: the process of creating the portraits is a participatory performance, and the resulting portraits can be experienced as an installation and online gallery (microbialart.tumblr.com). This work was developed in partnership with Dr. Rob Dunn and Holly Menninger of North Carolina State University and with Dr. Julie Urban of the North Carolina Museum of Natural Sciences. Collaborating with scientists was key to provide scientific direction, guidance in the development of the protocol and in managing privacy and safety issues.

Throughout the XXth century, the materials, means and techniques used by the artists expanded in an unprecedented way. Art freed up to explore new areas of knowledge which became not only inspiration sources but also working methods. The artworks included in the so-called “bioart”, which use Biology and biotechnology as artistic media, illustrate this tendency. In this paper we address the case of Nature?, by the Portuguese artist Marta de Menezes (n. 1975), which belongs to Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC). We explore the challenges posed by the musealisation and conservation of this artwork. The research included a review of all published documentation on the artwork, interviews with the artist and with MEIAC conservation staff, as well as the study of the information pertaining Nature? in the museum’s archives. This installation – born from the artist’s first residency in a scientific laboratory – includes live butterflies, whose wings have been altered by the artist with artistic purposes. The inclusion of live beings entails a significant increase of the knowledge that needs to be kept and transmitted in order to ensure the artwork’s survival. It demands a rethinking of the museological strategies, and opens up new opportunities of collaboration between artists, scientists and museums.

Art and science have enriched each other for many centuries, but the 20th century separated the two subjects by focusing on specialisation. Yet, during the sixties, some artistic projects started to associate artists and scientists widely inspired by contemporary scientific progress. When studying works of art inspired by biotechnologies, their production appears complex because of they are fragile, often instable or mortal, and implies cautions for the exhibition. Moreover, biotechnologies require an intensive knowledge and high tech equipment. The use of living materials as medium will be analysed in works of art from Jun Takita, Art Orienté objet, and Eduardo Kac. The concept of medium will allow focusing how much the use of biotechnologies exceeds the simple logistical question of the material. Actually, the medium carries a hybrid purpose, between materiality and concept, which allows the questioning of art history and science epistemology, and seems relevant to underline during the exhibition.

As an artist I pursue a transdisciplinary practice and my process evolves and takes place in time, in different contexts and through distinct materials. The collaboration between artists and scientists is no longer a surprise and is validated as a strategy by many differing authors. However, the proposed inquiry to reflect on the working relationships between artists, scientists and communicators of science, in the process of art production, became a challenging task. Through the analyses of the production of an art installation (The Therapy) developed in the context of my PhD research during an artistic residency in neuroscience laboratories and a hospital, I devised an approach that touches issues of authorship and collaboration, and co-construction of knowledge and meaning in a relational network. In creative terms, the major conclusions are the development of several novel methods of research, the resulting artefacts and the practical materialization of these via the agency of installation.

The art world changed forever when Jackson Pollock picked up a can and poured paint onto a vast canvas rolled across the floor of his windswept barn. Fifty years on, art theorists recognize his patterns as being a revolutionary approach to aesthetics. A significant step forward in understanding Pollock's aesthetics occurred in 1999 when my scientific analysis showed that his paintings are fractal. Fractals consist of patterns that recur at finer and finer magnifications, building up shapes of immense complexity. Significantly, many natural patterns (for example, lightning, clouds, mountains, and trees) are also fractal. In this essay, I will present some personal reflections on this relationship between the fractal patterns of Pollock and those of nature, and also on the interactions between art and science as the project evolved.O mundo da arte mudou para sempre quando Jackson Pollock apanhou uma lata e despejou tinta em uma enorme tela esticada sobre o chão de seu celeiro castigado pelo vento. Cinqüenta anos depois, os teóricos da arte reconhecem que seu estilo constitui uma abordagem estética revolucionária. Um passo importante na compreensão da estética de Pollock se deu em 1999, quando, de acordo com a minha análise científica, suas pinturas eram fractais. Fractais são padrões que recorrem em sucessivos desdobramentos, construindo formas de imensa complexidade. Sugestivamente, muitos padrões naturais (como raios, nuvens, montanhas e árvores) também são fractais. No presente trabalho, apresento algumas reflexões pessoais sobre essa relação entre os padrões fractais de Pollock e os da natureza, assim como sobre as interações entre arte e ciência.

This paper discusses the representation of women in five comedy films and the absence of women in the scientific field; these films were used as subsidies for a study case used in support of Deontology teaching. The films selected for this case study were: "The monkey business” (1952); "The Nutty Professor” (1963); "Junior” (1994); "The Nutty Professor” (1996) and "Senseless” (1998). The films were centered around experiments with therapeutic substances, in which the scientist responsible for the research was always a man. When the resolution of the case study was presented to students, even though most of them were women, they did not realize this situation except when they were made aware of it. This shows that even potential scientists perceive the underrepresentation of women in science as natural. The feminist concept within film critique, called "Male gaze”, and other references for techno-scientific relations were used as a basis for the debate. The analysis of the films showed that although they have been produced within a timeframe of 46 years, women were still portrayed as passive and were excluded from important positions by hierarchization and oppression mechanisms. Thus, comedy films can contribute to humanistic education, which is a goal of the current National Curriculum Guidelines for Pharmacy, particularly focused on making students aware that drug development is also a role to be played by women pharmacists. [ABSTRACT FROM AUTHOR]