Art and Science

ArtSci - ISSN 2515-8767 - © ISTE Ltd

Journal issues

Recent articles

This article explores a poetic and symbolic bridge between the archaic cosmogony of Greek primordial deities (Chaos, Nyx, Achlys, Erebus, etc.) and modern theoretical physics (antimatter, vacuum fluctuations, the graviton, compactified dimensions, quantum fields). Through an interdisciplinary narrative, the piece proposes a mirrored cosmogony, in which ancient mythological figures are reinterpreted as metaphors for fundamental scientific concepts. The style is lyrical, rigorous, and deliberately hybrid, combining scientific reasoning, metaphysical depth, and symbolic resonance. This work aims to create a fertile dialogue between myth and science, not through simplification, but through structural and conceptual echo.

This study offers an in-depth reassessment of the critical fate of Leda and the Swan by Leonardo da Vinci, by cross-referencing the analysis of early inventories, erudite seventeenth-century testimonies, Franco-English diplomatic networks, and the mechanisms of historical confusion. It aims at deconstructing the fragile, often arbitrary attributions that have contributed to the marginalization of certain works of the master. By refocusing attention on the Leda kept at Wilton House, regarded until the mid-20th century as a work by Leonardo himself, this research proposes a critical reassessment of its current attribution, considering newly uncovered historical and stylistic evidence.

Original encounters during childhood or youth can contribute to a scientist’s great appetite for poetry.

The article explores the interactions between performing arts and ecological sciences through the Imaginary Futures cycle, organized by Théâtre Vidy-Lausanne and the University of Lausanne. It highlights how theatrical performances reinvest scientific knowledge by making it tangible and embodied. Three main axes are developed: the theatricalization of ecological knowledge (performed lectures, staging of knowledge), the animist transformation of ecological theater (decentering perspectives, body metamorphoses), and the (re)politicization of ecological knowledge (environmental justice, decolonial issues). The article emphasizes how these art-science encounters reconnect knowledge with lived experience, mobilizing emotions and imagination to transform perception and action in response to ecological crises.

Corneille de Lyon, a famous Renaissance portrait painter, is known for his many small-scale painted portraits. Analysis of six of his female portraits shows that each of them has an internal geometry. Corneille de Lyon’s geometric approach is close to that followed by Jean and François Clouet.

Black has always been enigmatic and paradoxical. Absence of light, and therefore non-color for physicists, it is indeed color for chemists and artists. Matter or energy (still in the form of lack) for astrophysicists, it has never ceased to inspire philosophers and poets. This article begins by examining the evolution of scientific and artistic disputes over the nature of black. It then looks at the forms of its presence on Earth (mineral, vegetable and animal), and describes its pursuit in the cosmos (black holes, dark matter, dark energy). Returning to Earth, it looks at the processes involved in producing the color black, up to and including Vantablack and outrenoir. Finally, it traces the artistic uses and functions of black in relation to light and other colors and concludes with the infinite quest for black in its poetic and metaphysical resonances.

This article explores phenomenological and enactive approaches in the fields of artistic creation and pedagogy. The author begins by sharing their personal and professional journey, emphasizing the importance of resisting "disciplinary capture" as well as the interdisciplinarity in their work. They describe their discovery of Francisco Varela’s enaction theory and how this theory has influenced their artistic and pedagogical practice. The author provides several examples of enactive practices in both artistic and pedagogical domains. For instance, they mention the use of mind mapping as an enactive practice "without knowing it", and a pedagogical experiment at the University of Evry where students were given great autonomy to create a collective performance. They also discuss their photography practice in the giant sequoia forest Muir Woods Monument Park, where they experimented with camera movement to capture the energy of the place. Finally, the author discusses intentionally enactive projects, such as their participation in a Cerisy colloquium on chance and creation, and The Haiku Project, where they explore the concept of haiku in various artistic practices.