The book is organized around 4 sections. The first deals with the creativity and its neural basis (responsible editor Emmanuelle Volle). The second section concerns the neurophysiology of aesthetics (responsible editor Zoï Kapoula). It covers a large spectrum of different experimental approaches going from architecture, to process of architectural creation and issues of architectural impact on the gesture of the observer. Neurophysiological aspects such as space navigation, gesture, body posture control are involved in the experiments described as well as questions about terminology and valid methodology. The next chapter contains studies on music, mathematics and brain (responsible editor Moreno Andreatta). The final section deals with evolutionary aesthetics (responsible editor Julien Renoult). Chapter "Composing Music from Neuronal Activity: The Spikiss Project" is available open access under a Creative Commons Attribution-NonCommercial 4.0 International License via link.springer.com.
Transdisciplinary Research (TR) is an emerging field in the knowledge society for relating science and policy in addressing issues such as new technologies, migration, and public health. This handbook provides a structured overview of the manifold experiences gained in these fields. In the first part, 21 projects from all over the world present their research approaches. In the second part, cross-cutting challenges of TR are discussed in reference to the same projects.
This accessible and timely edited volume is at once provocative and original in shedding new light on the roles of science and arts creativities for 'future-making education'. An international set of expert authors grapple with innovative ways of thinking about the complex, textured and contested entanglements of knowledge and practice reconfigurings in STEAM education.
In the United States, broad study in an array of different disciplines â€"arts, humanities, science, mathematics, engineeringâ€" as well as an in-depth study within a special area of interest, have been defining characteristics of a higher education. But over time, in-depth study in a major discipline has come to dominate the curricula at many institutions. This evolution of the curriculum has been driven, in part, by increasing specialization in the academic disciplines. There is little doubt that disciplinary specialization has helped produce many of the achievement of the past century. Researchers in all academic disciplines have been able to delve more deeply into their areas of expertise, grappling with ever more specialized and fundamental problems. Yet today, many leaders, scholars, parents, and students are asking whether higher education has moved too far from its integrative tradition towards an approach heavily rooted in disciplinary "silos". These "silos" represent what many see as an artificial separation of academic disciplines. This study reflects a growing concern that the approach to higher education that favors disciplinary specialization is poorly calibrated to the challenges and opportunities of our time. The Integration of the Humanities and Arts with Sciences, Engineering, and Medicine in Higher Education examines the evidence behind the assertion that educational programs that mutually integrate learning experiences in the humanities and arts with science, technology, engineering, mathematics, and medicine (STEMM) lead to improved educational and career outcomes for undergraduate and graduate students. It explores evidence regarding the value of integrating more STEMM curricula and labs into the academic programs of students majoring in the humanities and arts and evidence regarding the value of integrating curricula and experiences in the arts and humanities into college and university STEMM education programs.
This exciting new state-of-the art book reviews, explores and advocates ways in which collaborative research endeavours can, through a transdisciplinary lens, enhance student, academic and social experiences. Drawing from a wide range of knowledges, contexts, geographical locations and internationally renowned expertise, the book provides a unique look into the world of transdisciplinary thinking, collaborative learning and action. In doing so, the book is action orientated, reflective, theoretical and intriguing and provides a place for all of these to meet and mingle in the spirit of curiosity and imagination.
This contributed volume book aims at discussing transdisciplinary approaches to address common problems. By working transdisciplinarily, researchers coming from different disciplines can work jointly using a shared conceptual framework bringing together disciplinary-specific theories and concepts. There are numerous barriers that can obstruct effective communication between different cultures, communities, religions and geographies. This book shows that through bringing together different disciplines, researchers not only can surpass these barriers but can effectively produce new venues of thought that can positively affect the development and evolution of research and education. The book discusses new and emerging applications of knowledge produced by transdisciplinary efforts and covers the interplay of many disciplines, including agriculture, economics, mathematics, engineering, industry, information technology, marketing, nanoscience, neuroscience, space exploration, human-animal relationships, among others. Consequently, it also covers the relationship between art and science, as one of the most remarkable transdisciplinary approaches that paves the way for new methods in engineering, design, architecture and many other fields.
What kind of science do we need today and tomorrow? In a game that knows no boundaries, a game that contaminates science, democracy and the market economy, how can we distinguish true needs from simple of fashion? How can we distinguish between necessity and fancy? whims How can we differentiate conviction from opinion? What is the meaning of this all? Where is the civilizing project? Where is the universal outlook of the minds that might be capable of counteracting the global reach of the market? Where is the common ground that links each of us to the other? We need the kind of science that can live up to this need for univer sality, the kind of science that can answer these questions. We need a new kind of knowledge, a new awareness that can bring about the creative destruction of certainties. Old ideas, dogmas, and out-dated paradigms must be destroyed in order to build new knowledge of a type that is more socially robust, more scientifically reliable, stable and above all better able to express our needs, values and dreams. What is more, this new kind of knowledge, which will be challenged in turn by ideas yet to come, will prove its true worth by demonstrating its capacity to dialogue with these ideas and grow with them.
Art and science work is experiencing a dramatic rise coincident with burgeoning Science and Technology Studies (STS) interest in this area. Science has played the role of muse for the arts, inspiring imaginative reconfigurations of scientific themes and exploring their cultural resonance. Conversely, the arts are often deployed in the service of science communication, illustration, and popularization. STS scholars have sought to resist the instrumentalization of the arts by the sciences, emphasizing studies of theories and practices across disciplines and the distinctive and complementary contributions of each. The manifestation of this commonality of creative and epistemic practices is the emergence of Art, Science, and Technology Studies (ASTS) as the interdisciplinary exploration of art–science. This handbook defines the modes, practices, crucial literature, and research interests of this emerging field. It explores the questions, methodologies, and theoretical implications of scholarship and practice that arise at the intersection of art and STS. Further, ASTS demonstrates how the arts are intervening in STS. Drawing on methods and concepts derived from STS and allied fields including visual studies, performance studies, design studies, science communication, and aesthetics and the knowledge of practicing artists and curators, ASTS is predicated on the capacity to see both art and science as constructions of human knowledge- making. Accordingly, it posits a new analytical vernacular, enabling new ways of seeing, understanding, and thinking critically about the world. This handbook provides scholars and practitioners already familiar with the themes and tensions of art–science with a means of connecting across disciplines. It proposes organizing principles for thinking about art–science across the sciences, social sciences, humanities, and arts. Encounters with art and science become meaningful in relation to practices and materials manifest as perceptual habits, background knowledge, and cultural norms. As the chapters in this handbook demonstrate, a variety of STS tools can be brought to bear on art–science so that systematic research can be conducted on this unique set of knowledge-making practices.
This book addresses how innovation is generated in transdisciplinary work and learning, focusing on the interface between art, science and technology. It considers innovation in a new way by drawing on ideas about transgression, largely from a feminist perspective. Three of five case studies examined involve Synapse artist-in-residence projects where artists worked in collaboration with scientists in their scientific organisations in Australia as a means of encouraging innovation. The remaining two cases examine innovation and transgression in the collaborative work of the prominent Australian artist Patricia Piccinini and in the German Bauhaus school. This book appeals to artists and scientists, workplace managers, policy makers, researchers and educators interested in STEM or STEAM education.
