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Some examples of common topics in arts and sciences are shown. But the connections between them can take centuries as for tiling and solid structures. A global historical approach enables us to estimate this variable distance from prehistory to nowadays. The part of opera in musical evolution in the nineteenth century is evidenced and the search for an optimal concert hall is introduced before asking about the future of this distance.
For a long time, the Y-shaped silhouette has been firmly established as the visual symbol of the antibody. Simple, direct, and easy to memorize, it is frequently repeated in textbooks and various brochures. It also appears at the heart of many corporate logos. However, although the scientific community is aware that this is merely an outdated cliché, what about non-specialists? This raises the question of what an image conveys within the broader framework of scientific education and public understanding. In this text, we will seek to examine the potential role of creativity in the representation of a scientific object and then illustrate the fact that this representation can be transferred into the potentially more accessible realms of aesthetics and artistic creation.
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.
2025
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