This report will discuss the influence of research into superfluid turbulence on my composition Der Rufer for percussion quartet. Written for Professor Olaf Tzschoppe, director of the Bremen Percussion Quartet, this work is the first result of a planned long-term collaboration with J.G. Weisend II, a Deputy Head of Accelerator Projects at the European Spallation Source (E.S.S.).
“Art and Life” - an international exhibition as part of the “Art and Science” project where artists try to answer important questions : Where do we come from ? Who are we ? Where are we going ? This title of the painting, painted by Paul Gauguin, was the main ideological inspiration of the invited artists from Europe, Asia and America.
Beulah Mitchell Clute (1873-1958) was a talented artist who specialized in the design of bookplates. She was well known in her time, from her days as an art student, and today is still recognized as a very talented designer. Among her most famous creations are 3 bookplates for scientists of the faculty of the University of California in the early 1900’s. Here the story of Beulah Clute will be told, the range of her work demonstrated, and her bookplates for three very successful University of California scientists will be shown in the context of her many bookplates for others. Clute’s bookplates were usually decorative and mainly served to show ownership. In contrast, the bookplates for the scientists were dominated by depictions of items and scenes related to their professional careers. The bookplates of the scientists did not simply show ownership. They prominently showcased their achievements and lives. The hypothesis that the scientists, each of whom who rose to chair their respective departments, indulged their vanities with their bookplates, is put forward, in line with observations that high ego personalities are successful in the sciences.
On the one hand, scientific performance is mainly based on intellectual rigor and rationalism such that sciences could be considered as an aseptic world without any artistic intentions. On the other hand, arts are usually seen as a no limit space without any constraints, far away from science uses. However, the main principles and practices of both arts end sciences show important similarities reducing the distance between them and suggesting the development of art-science programs.
The lack of reflection on iconography used in order to teach computer science is one of the reasons why its ontological status is continuously disputed. This article explains how and why animated diagrams of invertebrate animals help to teach mainly client/server systems and Unix system administration. While being in tune with the current methods of knowledge transmission, these diagrams represent a less distorted computer system than the unacceptable anthropologi-cal metaphor of a “computer brain”. These diagrams have been developed over the course of many years of experience teaching students in the areas of science and graphism. They are based on established dogma in science language and the necessity of research in subject didactical models.
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